5D Leaks

This is the introduction from a very good article from Phillip Bloom's website by James Miller about an interesting technique called "Lens Whacking." If you don't want to bother with creating the technique in-camera, he has a set of post productions presets...that are on sale this week! Details at end of post.

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James Miller is a talented guy. Apart from designing a lot of my graphics and the background for this site he has been my right hand man on many of my UK shoots. Having a talented shooter as your right hand man makes your life so much easier. He has become synonymous with “lens whacking” which he explains about here. You can see more of James’ work on his vimeo page here. One bit of advice. This is a great and cool effect. But like all effects use them in moderation for the most impact! - Phillip Bloom

Lens Whacking, whats its all about then?

When a cameras lens is fixed firmly to a camera the only light falling on the sensor is through the lens. Thats great most of the time and when you want something different you can either add effects, layers, overlays in post. Or you can remove your entire lens.

- Read the Full Article Here -

Here are a couple of examples of James' work and what the effect looks like when done with a camera.

James also sells a set of presets that he calls "5DLeaks" that can be added in post.

20% off code for 1 week only with code philipbloom at checkout expires on 8th February 2012

- Visit the 5DLeaks website -

Xume Adapters

Xume Adapters allow quick attachment and removal of any round screw-in type photo filter. One lens adapter is needed for each lens and one filter holder for each of your most used filters. The Adapters can be interchanged with additional lenses or filters but that defeats the purpose. The adapters and holders are precision-machined and beautifully finished. They are ingeiously designed to automatically self-align and lock into place.

Check out more info: XumeAdapters.com

Marking Batteries and Cards

I ran across this clever tip and thought it might be helpful to a few others!

Do you have an efficient way of keeping track of which batteries or memory cards are fresh and ready to use? Flickr user Damon Hair uses Post-it Flags to tag charged batteries and formatted memory cards, letting him quickly swap out used ones when shooting without having to check them one at a time. For an even cheaper solution, you can try wrapping a small rubber band around them instead.

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60D Mega Review

Article by: Chad Stembridge

“It’s the best filmmaker’s DSLR out there right now.” – Stu Maschwitz.

There’s a reason he said that.

To date, I’ve had opportunities to shoot on four different dSLRs: the D5000 (we’re not even gonna go there…*shudder*), 7D, T2i, and now, the 60D (I sold a DVX and bought one a couple weeks ago). A few months ago, I compared the 7D and the T2i. The 60D fits in between the two, in price, size, and features. Well, on a lot of features.

But let’s not jump the gun. First off:

The Tech Specs

The 60D has the same APS-C CMOS sensor as the 7D, and, like its little brother the T2i, has only one DIGIC-4 processor (the 7D has two). And unlike its little brother, it shares the same control the 7D has in regards to ISO (100-6400, expandable to 12800) and shutter speeds (up to 1/8000 sec.).

Like the T2i, it records to SD, SDHC, or SDXC media. The 60D’s between the 7D and T2i when it comes to still frames per second, able to shoot at a little over 5 fps, compared the 7D’s 8 fps and the T2i’s 3 fps.

As for as the size, it’s just slightly smaller than its big brother, and definitely bigger than the T2i. I love how the 60D feels in my hand—my hands are bigger than many people’s, so the T2i feels too small to me. The 60D doesn’t have as much of the bulk and weight that the 7D does, but still feels good.

Practicality

Okay, enough of the comparing specs… Video’s what we’re interested in.

About 10 hours after my 60D (and Canon EF-S 10-22mm) arrived via UPS, I left to help shoot an outdoor-adventure documentary in Florida. My 60D definitely got a trial by fire. Here’s why:

I was primitive camping out in the wilderness for almost 6 whole days (hehe…besides the night we got rained out), the main shooter out in the woods with a father as he put his son through a rite of passage. There was a wide gamut of shooting environments and situations to deal with, from warm Florida days to cold nights, extreme low light, bright sunlight, forest, brush, dust, sand, dew, and water. Lots of water. Including rain, flash floods, and a 16 mile kayak trip (and yes, I did have the 60D with me on the river).

There are two big things that set the 60D apart from the others. One, the flip-out LCD. Two, manual audio controls.

LCD

I’ve shot with the 7D. I know how hard it is to see the fixed LCD on the back, especially when the camera needs to be in an awkward position to get the best angle.

Enter the 60D and the flip-out screen. Enough said.

Most of that data displayed on the screen in the photo above disappears once recording starts, but it’s super nice having that histogram displayed for setting up shots. There’s also the option to show the camera level display, instead of the histogram.

Audio

With the manual audio controls, one can theoretically record high quality audio directly into the camera. The onboard mic isn’t too terribly bad, if it’s in the right shooting environment, but almost any other mic is going to be able to capture better sound. There’s still no way to monitor sound while recording (no onscreen meters, and no headphone jack), but manual control is a step in the right direction for Canon.

I attempted plugging my Audio-Technica AT-897 into it via an XLR to 1/8″ adapter, and that was a no-go. After researching the problem online, turns it that the in-camera amp on the input messes up the incoming audio if there’s no pre-amp, which caused it to come out as a bunch of garbled hissing.

After ditching that idea, I went with the on-board mic quite a bit (which was surprisingly not that bad)—and then discovered that one of the lapel mics we had with us actually worked. I’m not sure what it was about it, but I was able to record clean audio directly into the camera using the mic…I’m guessing it was perhaps due to the mic going through the receiver first (which has a pre-amp?). I’m not sure why it worked, but it did.

It’ll take more experimenting to figure out a setup that gives as good results as plugging an XLR mic into a camcorder, but I think it can definitely be done. For now, I definitely wouldn’t trust the internal mic for any kind of narrative stuff, but for documentary or capturing reference audio for later syncing, it works fine.

Buttons!

As with the 7D, many of the controls on the 60D are on the outside, not buried in a menu. That makes it much more friendly than the T2i. My only complaint about it is that the Manual Mode and the Movie Mode are way too far apart on the mode selector dial…Almost on opposite ends, and there’s only one way to go around.

Taking a quick glance at the back of the 7D (here, and here), then looking at the 60D (above and right), there’s not too much of a difference. The 60D is missing the dedicated button for white balance on the top, as well as the custom function button next to the top dial. But it retains the back scroll wheel, which is extremely useful in my opinion.

I think the 60D also improves on the back scroll wheel, in that it combines the selector button with the wheel and center button (the 7D has a joystick control just above the wheel).

Because of the flip-out screen, there aren’t any buttons on the left side like the 7D has. Canon did a smart move in putting the delete button far away from any other buttons on the 60D; it’s directly to the left of the viewfinder, below the mode selector dial and power switch.

Though it’s also missing dedicated buttons for picture styles, RAW/JPEG, and white balance, all of those important things can be quickly accessed using the Quick menu, which has a dedicated button directly above the scroll wheel.

Image & Performance

The 60D performed amazingly well. It didn’t matter if it was during the day in full sun, kayaking down the river, or at night with the only light source being a lantern or campfire… Even shooting at super high ISO speeds. You naturally expect noise when your lighting is a dim campfire, shooting at ISO 3200. But believe me, there’s a big difference between doing that on the 60D, and doing it on a run-of-the-mill HD camcorder, even a prosumer-grade one. That big sensor is a HUGE advantage.

And of course, I’m shooting flat.

Click on the thumbnails to the left to see full-sized screen captures from three video clips: (top) fireside talk, campfire as the only light source (using Canon 10-22mm @ f/3.5, ISO either 3200 or 6400, can’t remember which); (middle) hiking, near-noon sunlight (using Tamron 28-200mm @ 200mm, ISO 100 I think); (bottom) and my brother, single incandescent bulb (using Pentax 50mm f/1.7, ISO 100).

Though it’s a CMOS sensor with a rolling shutter, I didn’t run into any real problems caused by that…The only hint of a problem was shooting at the long end of my Tamron 28-200mm. It’s not a very stable lens when it’s extended out that far, and a bit of jello would happen sometimes if there was a lot of wiggling going on. Despite this, I was able to get solid shots at 200mm.

The 60D can autofocus during video recording, but I don’t recommend doing it. For one thing, it’s not continuous autofocus; when you half-depress the shutter button to focus, it does the normal hunt-for-focus thing it does when you’re shooting stills. For another thing, it causes the video recording to glitch until the focusing is finished.

Because of its size, the 60D was the perfect camera for a project like the documentary in Florida. It was completely portable, lightweight, rugged, and gave a very good image (shooting with both the 10-22mm, and Tamron 28-200mm). I was extremely pleased with its performance.

Lenses

Quick little blurb about the lens I bought with it…Originally, I was going to go with the Tokina 11-16. But I wavered for a day or two, then finally settled on getting the Canon 10-22mm, and was very happy that I did. It’s a very sharp lens, produces accurate and pleasing color tones, and it’s super wide!

I also got a Fotodiox Pentax K mount to EOS adapter, so I can use all my Pentax glass. So far, that’s worked quite nicely. The only issue with it has been that every once in a while, the video will randomly flicker slightly darker for a frame or two…Not sure what’s causing that, but I’m thinking it could have something to do with the dandelion autofocus confirmation chip…

Sample Test Video…

Before we finish up, here’s a quick narrative-style test video I shot with my Mom and brother. Yeah, it’s cheesy, but I wanted to shoot a scene with the camera…

Shot mostly with the Pentax 50mm f/1.7 @ ISO 100, with one shot using the Canon 10-22mm @ 12mm, ISO 500 (I think).

The Card Game – 60D Test from Chad Stembridge on Vimeo.

Conclusion

There’s definitely a reason why the 60D is being called the best dSLR for professional video. Looking back, I’m quite happy with choosing it over the others. It’s definitely worth the extra money over the T2i, and unless the added photo features are needed for pro stills work, it beats out the 7D for video.

It’s well built, is capable of making great images, and provides the needed manual controls for any type of shooting. In the words of Stu:

“If you’re shopping for a DSLR right now, for the primary purpose of shooting video (being familiar with all the pros and cons), what you want is the Canon 60D.”

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Article by: Chad Stembridge

HDSLR Shopping? What You Want is a Canon 60D.

Article by: Stu Maschwitz

If you’re shopping for a DSLR right now, for the primary purpose of shooting video (being familiar with all the pros and cons), what you want is the Canon 60D.

I felt compelled to write this because the 60D seems to get left out of the conversation a lot, and it shouldn’t. It’s the best filmmaker’s DSLR out there right now. People still ask my which they should buy, the 5D Mark II or the 7D, and when I recommend the 60D, I sense resistance. How is it possible that a sub-$1,000 camera body shoots video as good as one costing $600 more? 

The 7D is a great camera, and it was the first HDSLR to offer a smattering of useful frame rates and manual control. It also is a Canon, so if you were a 5D Mark II shooter, a 7D was an easy body to fold into your kit. I bought one the day they became available, and encouraged you to do the same — arguing then, as I still believe today, that the APS-C sensor size — while not as luxuriously huge as that of the 5D Mark II — is a perfect size for filmmaking, being a close match to the Super35mm film frame.

The sensors of the 7D and the 60D are the same size, but with the 7D you’re paying for a best-in-class APS-C stills camera, which you may or may not need. It has a more advance autofocus system than the 5D Mark II, a weatherproof metal body, and dual DIGIC 4 chipset for rapid-fire motodrive. If you’re not a serious stills shooter, these features are overkill. They have no affect at all on the camera’s video performance.

Still, the 7D got lodged in the hearts and minds of not only shooters, but their clients. Everyone knows the 7D.

Then along came the Rebel T2i and the 60D. Both have almost the exact same video features as the 7D (with one notable exception, as you’ll read in a moment). The 60D even has a handy feature that the 7D lacks: manual audio level control. But more importantly, the 60D alone has something I routinely wish my 7D had: an articulating LCD screen.

This single feature is enough reason to recommend the 60D. Quite simply, it’s painful and often impossible to shoot video with an HDSLR without an external monitor. While the amazing Zacuto Z-Finder is great for shoulder-mounted work, if you’re like me, you often shoot at something other than eye-level. A flip-out LCD has been on my HDSLR wishlist for a long time, and we finally have it with the 60D. And by the way, you can use the Z Finder with the 60D, as shown here.

I don’t have a 60D (yet) or a Rebel T2i, but everyone I’ve spoken with who has done comparisons says the video from the three cameras is nearly identical. So here’s my recommendation:

If you are just getting started and are on a budget, sure, consider the Rebel T2i. Do not, under any circumstances, buy it with the kit lens. A year ago the only SLR worth shooting video with was $2600. You just got one for $750. Take the extra money and buy some fast lenses. At the very least, get a thrifty fifty.

If you are a serious amateur or aspiring-pro photographer who doesn’t care about full-frame or “real” pro bodies like the 1D Mark IV, and you also want to shoot video, the 7D is a great camera. And it is worth noting that the 7D does have one advantage over the 60D: The 7D outputs an HD signal through its HDMI port while recording, while the 60D, like the 5D Mark II and Rebel T2i, outputs Standard Definition. If your primary shooting mode will be with an external HD monitor such as the SmallHD DP6, the 7D will give you a better signal for frame and focus. 

The 5D Mark II remains an awesome stills camera hampered only by an aging autofocus system, and it shoots lovely 24, 25 and 30p video with better low-light performance than any of Canon’s APS-C offerings, including the 60D. Its full-frame sensor allows beyond-cinematic depth of field control. The 5D lacks 50 and 60p modes though, and costs a lot. It’s entirely possible that your heart and photo soul are screaming at you to own a full-frame DSLR, and if that’s the case, of course the 5D Mark II is great. But it’s no longer the king of the video hill unless achieving the shallowest-possible depth of field is your top priority.

If you are specifically interested in video, and stills are a nice feature but not your raison d’être, get the 60D. You’re basically paying the difference between the Rebel and the 60D for manual audio levels, the flip-out screen, and the (occasionally reported) possibility that the 60D is slightly less prone to overheating than the Rebel. It’s a great camera for a great price, and the articulated screen alone is worth it. Again, just say no to the kit lens.

Proof that the universe loves you: as I began to write this, the Canon 60D went on sale at Amazon for $899. Use coupon code BF8JNEEK at checkout.

If you’re already a Canon shooter, remember that while the 60D shares batteries with the 5D Mark II and the 7D, it uses SDHC cards instead of CF. I’ve put together a 60D Cine page on the ProLost store to help you get your kit going.

Using a DSLR for video a compromise. In addition to the technical limitations we’ve discussed here at length, the time-honored form factor of the SLR just wasn’t made for movies. The 60D takes a big step toward fixing this. To me, this matters a lot. The 5D Mark II shot you blew because you couldn’t see the LCD well enough to focus is worth nothing compared to the 60D shot you wrangled from an angle.
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DSLR Rig Suggestions

If you own or are looking to purchase a DSLR, I would highly recommend checking out this article by Peter Salvia.

He covers everything from SD Cards, batteries, and lots of lens choices and suggestions!!

First Impressions of the Canon Rebel T2i

"Canon's Digital Rebel T2i is the latest addition to the still young video dSLR market.  These cameras are designed at heart to take still photos, and thus do have a few limitations during video capture when compared to your average prosumer camcorder.  However, the benefits of the dSLR cams can often outweigh the limitations if used correctly.

The biggest advantage is the ability to attach 35mm lenses to the camera which produces that shallow depth of field "film look" that everyone is after.  Up until now it was necessary to attach a 35mm adapter on the front of a camcorder to achieve this look (which is what we used while shooting "The Penny").  Another thing that has really stood out to me in my limited work with the camera so far is it's amazing low light capabilities.  Ethan's wedding took place in a VERY dim sanctuary which would have been impossible to shoot with a normal camcorder.  The T2i on the other hand was not only able to capture it, but with an acceptably low level of noise as well.  As a bonus the camera takes really nice still images as well.

For now I can say that the T2i has met and exceeded my expectations up to this point.  If you're willing to work around the camera's limitations nothing else at this price point ($800 body only) comes close to shooting footage this good." ~Nathan Webster (Filmweavers)

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Canon 5D Mark II - FIRMWARE UPDATE

The 24p firmware update for the Canon 5D Mark II is live on Canon’s site.

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How DSLRs Compare to RED Cameras

"I’m sure we’re all familiar with the excitement that hits when someone is on the verge of discovering something new, when Christmas is fast approaching, or when a client tells you that your project turned out “beautifully.” That is the kind of head to toe excitement many videographers felt when Oakley billionaire Jim Jannard unveiled some astonishing details about the RED Scarlet camera back in 2008. It’s also the same kind of excitement that many digital cinematographers are feeling even now.

At first glance, this camera seemed to have it all: a 3K resolution recorded to a superior codec, virtually no compression artifacts, RAW recording, a highly modular design for added functionality, more dynamic range than you probably know what to do with, and a good price at $4,750 with a fixed lens or $2,750 without. Even with a $2,750 price tag, for a camera that can shoot at higher resolutions than anything else on the market, it was and still is a real steal.

Unfortunately, there is no fairy tale ending to this story. Unfortunately, in order to get the kind of fully functioning camera you’re used to, you would have to get a lens, a battery, an audio interface, a viewfinder, and grips for shooting. All together that high quality equipment can cost upwards of twenty grand – a very steep price for those who want to make great looking films on the cheap. Also, one of the biggest complaints about the RED camera is its post-production workflow. In order to have a chance at editing the footage from a RED camera, an editor would first have to make low resolution proxies from the original 4 or 3k files. Otherwise, these files are usually too large for any computer to handle successfully. As you’ve probably figured out already, this proxy rendering takes an awful lot of processing power and time which is often a real deal-breaker for getting projects done on a tight deadline. On the other hand though, super high resolution files above 1080p are a problem for any computer and RED founder Jim Jannard does have a knack for making very high quality equipment in which he spares no expense. As a result, you can expect to definitely get what you pay for with these products.

So is there a less expensive option that can do something relatively close? Well, the answer is…more than likely. We are probably all too aware of the benefits and downfalls of DSLRs in the market today (if not, be sure to check out more from our previous blog posts), however besides RED cameras DSLRs probably have the best chance of making any footage you shoot look just as good as film. With their long history and ubiquitous availability of interchangeable lenses, they have a real solid lead on the RED cameras. They produce great results at a good price, but are not without their own set of headaches. For instance, DSLRs have been notorious for having bad audio options with their lack of XLR ports and forced auto gain control. Also, most videos shot on DSLRs are highly compressed meaning a loss of details in dark areas and the introduction of artifacting. Also, DSLRs need accessories in order to give them a similar feel to the kinds of camcorders you are used to such as XLR inputs, shoulder mounts, and viewfinders. Also, let’s not forget the problem of “the rolling shutter” which can make vertical lines in your video look slanted when the camera is panned. This is due to the camera sensor scanning your image from top to bottom instead of all at once. This can really make video shot on a DSLR look unprofessional rather quickly.

After all of that, when it comes down to what a person should buy for shooting high quality footage, the question undoubtedly comes down to how you’re going to use it. If you are looking at making films, the RED camera, even with it’s slow transcoding times, is probably the best option since it modular, has all of the right accessories and shoots at the correct frame rates for film. However for standard HD videography, DSLR makers have a real advantage since they have good prices, cameras that are already on the market, and codecs that don’t require long processing times.

Undoubtedly, if and when DSLR manufacturers decide to fix some of the problems that have been outlined above, and if the good people at RED find ways to make their equipment even more affordable, we may very well be lucky enough to witness a new era of digital videography." ~Article by Brunsdan

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Canon Comparison - 7D vs. T2i

Three years ago, I would have never dreamed that I'd be shooting video on digital SLR still cameras.

But the technology is here, it's happened! dSLRs have become quite popular for shooting video, and for good reason. Their larger CMOS and APS-C sensors are much better than 1/3" and 2/3" CCD sensors normally found in professional/prosumer video cameras and they can take practically any lens. They're small, compact, and comparatively inexpensive.

For example, because of their large sensors and use of SLR lenses, dSLRs can achieve a shallow depth of field that video cameras simply can't get without using 35mm lens adapters. After buying a video camera, 35mm adapter, and one lens, one could be spending well over $6000. A dSLR costs half that.

Canon is leading the way in the HDSLR movement. They currently make four cameras that are some of the most popular for dSLR video right now: 1D Mark IV, 5D Mark II, 7D, and the 550D T2i. Of these, the 7D and the T2i are both under $2000. In fact, the T2i is under $1000.

A lot of people right now are thinking about switching to dSLRs, and aren't sure what camera they'd like to go with. For most, the 7D and T2i are the first options, because of their price tags. A couple of my friends recently acquired both a 7D and a T2i. I've had some time to work with both, so for those who are wanting to know what the difference is between them, this is my comparison.

Tech Specs

7D
From Canon's official specs list on the 7D:
- Sensor size = 22.3x14.9mm (APS-C)
- Recording Media = CF card
- Sensor type = CMOS
- Pixels = 18.0 megapixels
- Video codec = MOV, h.264,
- Linear PCM audio
- ISO Speeds = 100-6400, one-stop increments
- Shutter Speeds = 1/8000 to 1/60 sec.
- Monitor size & dot count = 3.0 inches, 920,000 dots
- Weight = 29 oz. (body only)
The 7D can shoot 1920x1080 HD video at 23.976 frames per second (it can shoot other frame rates and sizes, but this is the one we're interested in). It has a bitrate of 48 megabits per second (which is really good).

T2i
From Canon's specs list on the T2i:
- Sensor size = 22.3x14.9mm (APS-C)
- Recording Media = SD card
- Sensor type = CMOS
- Pixels = 18.0 megapixels
- Video codec = MOV, h.264,
- Linear PCM audio
- ISO Speeds = 100-6400, one-stop increments
- Shutter Speeds = 1/4000 to 1/60 sec.
- Monitor size & dot count = 3.0 inches, 1,040,000 dots
- Weight = 19 oz. (body only)
The T2i can also shoot 1920x1080 HD video at 23.976 frames per second, at a bitrate of around 44 megabits per second (source — bitrate info at the bottom of the page)

Compared
So, as you can see, there's not too much of a technical differences. The sensors are the same size, video capabilities are pretty much exactly the same, etc. The main differences are the weight, the monitor dot count (T2i actually has a better LCD screen resolution than the 7D), ISO control (7D has more ISO options), and the 7D has dual Digic 4 image processors while the T2i has one. Oh, and the price (T2i is almost a thousand dollars less than the 7D).

The 7D has a few more manual controls, as well. There are more ISO options than the T2i, and the ability to choose a specific color temperature for white balance. That's the tech specs, though.

When it comes down to a decision between the 7D and the T2i, it comes down to the outside of the camera.

The Outside

For one thing, the 7D is bigger than the T2i, at 16 cubic inches larger. For people with larger hands, like me, that's a good thing. The weight, too — the 7D is 10 oz. heavier than the T2i (without lenses). Generally, weight is a good thing, because it deadens shakiness and movement.

The 7D puts more of its control on the outside of the camera in buttons and dials than the T2i.

Take a look at the back of the 7D:

And here's the back of the T2i:

The first thing that stands out is the lack of the clicker wheel on the back of the T2i, replaced instead by buttons. It's actually amazing what all can be done with that clicker wheel. For one thing, it's a lot simpler than the four buttons that replace it on the T2i. In manual and video shooting mode, it controls aperture.

The layout of the buttons is different, as well. The 7D's menu buttons are on the left. The T2i's menu button is on the left, but everything else is on the right.

Take a look at another angle. 7D:

T2i:

The 7D has an incredibly useful display on the top which shows aperture, shutter speed, ISO, white balance, battery level, etc. The T2i has the mode dial on the right side (7D's is on the left side), and no display on top. The 7D also has white balance, ISO, auto-focus drive select, and LCD backlight buttons. The T2i only has an ISO button. The 7D has a switch right beside the viewfinder to switch from stills mode to video/live-view mode.

It's pretty easy to see that the 7D offers more physical manual control over shooting. The T2i was simply made more compact, and as such can't have as many external buttons or dials.

Personally, I would choose the 7D over the T2i, simply because of its size and external control. The video features between the two are almost exactly the same, so the T2i does make a great choice for anyone wishing to spend a bit less on a camera of the same image quality.
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This article was written by guest blogger - Chad Stembridge