New Canon EOS 7D DSLR

[Rene Borroto]

There's a new player entering the digital SLR market, the Canon EOS 7D
(not yet released). It boasts 1080p and 720p HD video (at every frame
rate you can dream up) and external stereo audio input. And STILL no
manual audio recording capability. I don't know if the 24p (23.976p)
frame rate is natively recorded, or if it resides over a 1080i stream
with pulldown like in the Panasonic GH1. I'd also like to know if the
HDMI output is active while shooting video.

Clips are limited to 4 GB in size (MPEG-4 AVC). The MSRP is $1,699 for
the body only.

René Borroto
Media Consulting
rbor...@yahoo.com
http://home.rborroto.comcast.net

[Allan Tépper]

René,

The 23.976p is definitely native recording (no pulldown in the recording).

It still isn't clear whether the 25p and 29.97p are native or not, but I hope so.

The HDMI output is active during recording, but at 480 (okay for composition, but no good for recording on a nanoFlash or KiPro).

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[Larry Vaughn]

Too bad about the HDMI out. I wonder what kind of data rate they could engineer from that port...

Larry Vaughn

Video Production

www.vprod.blogspot.com

[Allan Tépper]

Larry,

The HDMI connector only carries uncompressed video, but it has been scaled down to 480 in this case (during recording).

In most "video" camcorders, the HDMI output is full raster and "never compressed" when used live.

Allan

[Rene Borroto]

Here's a review by Philip Bloom:

 
http://philipbloom.co.uk/2009/09/07/dublins-people-shot-on-a-canon-7d-in-native-24p/

and a sample movie titled “Dublin’s People.”

http://www.engadget.com/2009/09/08/canon-eos-7d-24p-footage-tries-to-make-indie-filmmakers-chain/

Good looking footage. I like the Zacuto Tactial Shooter for DSLRs too. Kinda pricey, though:

http://store.zacuto.com/DSLR-Tactical-Shooter.html

René Borroto
Senior Editor
Multivision Video & Film
305-662-6011
re...@multivisionvideo.com
www.multivisionvideo.com

This message (including any attachments) is intended only for the use of the individual or entity to which it is addressed and may contain information that is non-public, proprietary, privileged, confidential, and exempt from disclosure under applicable law or may constitute as attorney work product. If you are not the intended recipient, you are hereby notified that any use, dissemination, distribution, or copying of this communication is strictly prohibited. If you have received this communication in error, notify us immediately by telephone and (i) destroy this message if a facsimile or (ii) delete this message immediately if this is an electronic communication.

Thank you.

---

From: Allan Tépper <SFFCPU...@TecnoTur.us>
To: sofla...@googlegroups.com
Sent: Tuesday, September 15, 2009 11:53:30 PM
Subject: [SoFlaFCPUG] Re: New Canon EOS 7D DSLR

[Tim Baker]

I sent this to a buddy of mine...and this is his thoughts:

"Been out for a few weeks to selected users. Great cemera but is not full frame. It has a 1.6 crop. A 20mm lens shoots at like a 33 mm lens.  No wide angle shots."

The demo footage looks very nice though...like I keep telling the still guys on my worldofshooters website...they do not know the power they hold in their hands with these DSLRs.  A perfect example is my friend with the above comment covered an event for me last Saturday night at Disney for a corp. sponsor client that I just picked up...and the only reason he got the gig for me was because he could capture full raster 1080p b-roll and high res stills all at the same time with the one camera.

Tim Baker

www.chameleonmvp.com

(407)615-4078 Office

(239)849-3295 Cell

[Luna Studio]

To chime in. I like the 7D but agree with Tim's friend. I cannot see myself stepping back into cropped frame. Cropped frame also brings with it some significant differences, these include (generally, have not tested the 7D) a more pronounced rolling shutter effect and an increased depth of field (whether this is good or bad is in the eyes of the photographer). One of the benefits of shooting with the full frame DSLR is superfast lenses from Super Wide to Telephoto, you lose a lot of the wide capabilities with the cropped chip. The argument that you get longer focal length is sort of true, with video you cannot really crop down as this is processed in the camera, with photos of course you can crop and achieve the same final image. 

OL

--
Orlando Luna

[Brooks Reid]

Has anyone heard an update on the RED Scarlet release?

Brooks

[Brooks Reid]

I'm looking for purchase a used Panasonic DVX100 (A or B).
If anyone know of one for sale at a good price please email me off list.

Thanks

Brooks Reid
Air Time Design Productions
Miami, FL
305-298-3791

[Rene Borroto]

We can dedicate an entire blog on the discussion of pros and cons of the various DSLRs and their respective sensors. HD video, by its very nature when shot with a "still" camera, is always cropped. For example, the full-frame sensor (comparably sized like 35mm film) has a 3:2 aspect ratio, so shooting video, even with this large-size sensor, will require cropping of the image in order to achieve a 16:9 aspect ratio for HD video. Micro-four thirds, and the new generation of Panasonic GH1 cameras, use a native 4:3 aspect sensor, so it too crops when capturing HD video.

Invariably when discussing and comparing DSLRs, it's pretty difficult to make an apples-to-apples (sorry Orlando) comparison without bringing up cost. Setting up a "kit," if you will, with a full-frame architecture DSLR camera, is more expensive than getting started with micro four thirds, or even APS-C cameras.

When it comes to today's imaging electronics I sometimes feel that we're starting to split hairs. When I look at some of the many gorgeous sample movies created with a Nikon 5D MKII, Panasonic GH1, or the new Canon EOS 7D, I find it difficult to tell them apart. They all look good thanks to the photographer's skills, and technical prowess ultimately succumbs to the power of content. Nobody cares how Slumdog Millionaire was shot, or what camera(s) was used for the Planet Earth series, etc. When was the last time you left the movie theater after watching a great film wondering about those acquisition details (unless you're a media geek like we are)? The viewer, for the most part, doesn't care. But since we as a group do, it's fun playing comparison pong.

 

René Borroto
Senior Editor
Multivision Video & Film
305-662-6011
re...@multivisionvideo.com
www.multivisionvideo.com

This message (including any attachments) is intended only for the use of the individual or entity to which it is addressed and may contain information that is non-public, proprietary, privileged, confidential, and exempt from disclosure under applicable law or may constitute as attorney work product. If you are not the intended recipient, you are hereby notified that any use, dissemination, distribution, or copying of this communication is strictly prohibited. If you have received this communication in error, notify us immediately by telephone and (i) destroy this message if a facsimile or (ii) delete this message immediately if this is an electronic communication.

Thank you.

---

From: Luna Studio <lunas...@gmail.com>
To: sofla...@googlegroups.com
Sent: Wednesday, September 16, 2009 9:28:18 AM

[Chuck Fadely]

35mm motion picture film is 17mmx24mm, I think, which is the same or
smaller than the new 7D. Canon has a 10mm wide zoom for the APS-C
cameras, so you can get wide, just not wide and fast. And folks are
already adapting Panavision lenses to the Canon mount. If you want to
tilt and shift, Canon has a 17mm T/S with a lot of movement, so even
architecture is possible. I like the full frame, too, but it doesn't
make APS-C bad.

Chuck

[Larry Vaughn]

I was trying for what seemed like an hour trying to get my I-mac with
snowcat and Final Cut Studio II to communicate with my Canon XH-A1
today. The OS didn't have a problem most of the time, but FCP did. At
one point, while trying to get the connection to work, the built in
Imac camera light came on. What's up with that?

I finally got it to work, and captured one big DV 16:9 file. Why can
get the clips to break at the time code breaks with HDV but it wont
work this way with DV?

LV

[Luna Studio]

I rarely chime in on the list as the distinction between Orlando the filmmaker and Orlando the guy that works for the fruit company is not one that is possible to maintain. I recently showed a short at a Cinematographers retreat where I had kept a low profile and thought I had maintained that distinction. Of course later I read a review that stated filmmaker Orlando Luna that works for the fruit company... etc. The problem is a post even on gear can morph from my opinion to this what the fruit company says... And now that the fruit company technically makes still and video gear, even more caution.

If you read my post I clearly stated differences. No where did I say APS-C is bad. I could not see myself getting back into cropped frame after switching to full frame after years on cropped systems. Again I am giving my opinion on what I use.  I still have a Canon 20D with an APS-C lens that I use from time to time for personal stuff. I am a still photographer that moved into film and video and for me its about the glass. I use and rent primarily Canon's L Series of Lenses. Typically if I am talking Panavision, I am on other gear. I was also on Nikon gear for 15 years and would switch back if I needed to (almost did before the Canon 5D Mark2). 

I am lucky enough to work around a lot of incredibly talented folks, I always seek their opinion on what they like to use and why the use it. Then I go grab the stuff myself and test and shoot. I am fortunate enough to have shot with with most of the gear (not the 7D yet) mentioned in this thread first hand. Taking the gear first hand through its paces allows me to profile the gear for my use. I try to choose the right tool for the right job (again personal preference). One of the beauties of this DSLR gear, is I have it on hand 24/7. If I decide to put something together over the weekend, I can just go and shoot. 

I agree wholeheartedly with Rene that the storytelling and imagemaking aspects of our craft is what what end up making the image. I think everyone on this list understands that. But this is a group and list that revolves around the technology. And yet the technology is not what I base my decisions on, there is still a personality to optics and gear that we all connect with. Probably because we just layed out some $$$ and want to feel good about our decision.

Cheers

--
Orlando Luna

[MTV PRO]

Hi guys,
 
Here is the comparison for Canon sensor sizes:
 

 
M. Torres
 
> Date: Wed, 16 Sep 2009 17:19:04 -0700

> Subject: [SoFlaFCPUG] Re: New Canon EOS 7D DSLR

> From: chuck...@gmail.com
> To: sofla...@googlegroups.com

[re...@multivisionvideo.com]

Chime on, my friend.

Rene

Sent via BlackBerry from T-Mobile

---

From: Luna Studio
Date: Wed, 16 Sep 2009 22:17:21 -0400
To: <sofla...@googlegroups.com>

Subject: [SoFlaFCPUG] Re: New Canon EOS 7D DSLR

[Rene Borroto]

I'm hoping that Panasonic comes to their senses and updates their GH1 firmware to NOT record 23.976p over 1080i, or at the very least give the user the option. Now that the Canon 7D is 1080/23.976p native (albeit at a somewhat higher price than the GH1) the Panasonic is on the back burner for me.

René Borroto

Media Consulting

(305) 790-3537

rbor...@yahoo.com

http://home.rborroto.comcast.net

On Sep 15, 2009, at 11:40 PM, Allan Tépper wrote:

[Allan Tépper]

René,

For video people, the GH1 has some Achilles' heels, and the 7D has others.

The 7D is much better for framerates (as you just pointed out), but the 7D (just as the 5D) limits you to a maximum of 12 minutes of HD recording. This is an issue for some types of video productions (i.e. covering a long live event) but not for many other types of events.

For the 7D, there is a huge offering of used directly-compatible Canon lenses, while for the GH1, there are practically no offering used directly-compatible lenses, since (even though it is an open standard) the mount is so new.

Both the 7D and the GH1 are weak for live audio, unless you add external converters or record the audio separately with a professional recorder at 48KHz.

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[Larry Vaughn]

Magic Lantern has figured out how to get 1080 video from the hdmi port, not sure of the details, on the 5D II. Can the 7D be far behind?

[Brooks Reid]

Yes Allan you are quite right about audio on the Digital SLR cameras
but if the shoot includes an audio mixer then you can deal with it.
I worked with Discovery for a shoot last week where we used 2 Canon
5D MkII cameras. I recorded sound "wild" on a digital recorder and
did audio syncs for post. I've edited with wild audio tracks and it's
not a big deal if you have a visual and audio slate. Just like the
old days with film!
The other cameras on the shoot were Panasonic HVX200 with P&S Prime
Lens adapters. There are a lot of "gotchas" using the Depth of Field
adapter on a fixed lens video camera and the setup with the rail rig
becomes unwieldy. The DOF is great for portrait type shots but other
type shots, not so good. So a lot of what we shot was with the Canon
5D Mk II and an array of lenses. One other caveat, the Canon 5D has
no steady shot so hand held shots are challenging.
BTW, Discovery has very strict guidelines on what cameras and
equipment you can shoot with and the Canon 5D was just approved.

Brooks

[Allan Tépper]

Brooks,

It is vital to do the recording at 48KHz on the audio recorder.

Many people make the mistake of recording at a different setting, which results in a disaster to maintain audio/video sync.

I am glad to know you did it at 48KHz!

There are several virtual clapsticks available now for the iPhone and iPod Touch :)

Did you use one of those, or a mechanical one?

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[Larry Vaughn]

Brooks, your last sentence answered part of my question. Do they then
consider the Canon 5D II good enough for HD work? Can we assume the 7D
is not far behind?

LV

[Tim Baker]

I use iSlate a bit and love it...

Tim Baker

www.chameleonmvp.com

(407)615-4078 Office

(239)849-3295 Cell

[Allan Tépper]

Larry,

What he means is that Discovery has accepted the 5D picture quality.

However, if you use a 5D is it's your responsability to fix the audio sync, which is a difficult thing to fix at 30.000p instead of 29.97p. Not impossible, but difficult.

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[Brooks Reid]

Allan, are you a mind reader?
I never mentioned digital audio recorder or the resolution but yes I
did record at 48K.
You are correct, 48K is the best way to go for FCP.
I've used all kinds of things in a pinch for audio slate. Just
somebody shouting a take number and clapping there hands will work fine.
Typically I use a real slate with the clapper. (mechanical)

Brooks

On Oct 4, 2009, at 5:01 PM, Allan Tépper wrote:

[Larry Vaughn]

http://support.apple.com/kb/HT3629

17" mac pro

optical digital audio, in and out.

[Larry Vaughn]

Understood. Good thing the 7D is actually 29.97p fps.

[Allan Tépper]

Brooks,

48 KHz is not only good for FCP... it's the correct way to do it for digital video in general.

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[Brooks Reid]

The "full frame" 5D is more inline with pro gear. Allan has covered
this topic in his article but I still think a full frame sensor is a
significant advantage because there is no magnification factor in the
lenses. I have not seen a side by side comparison of the images from
both cameras but since they are both shooting 1080 and both encoding
to H.246 then I would think it would be hard to tell them apart.

Brooks

[Tim Baker]

Holy cow...I did not know that doubled as an optical out...I'll be
darned!

Thanks Larry,

Tim Baker
www.chameleonmvp.com
(407)615-4078 Office
(239)849-3295 Cell

[Brooks Reid]

That was the reason I asked. Macs have had digital audio out for a
while but no one seems to know about them.

Brooks

[Larry Vaughn]

I would think so, since the 7D's depth of field is closer to 35mm film
camera that want comes from the 5D, and focusing might be a bit less
critical. There are some online comparisons, including the 5D II and
another Canon EOS that makes video, other than the 7D.

[Larry Vaughn]

My Imac has one, I could connect it to my 600 watt Pioneer receiver
that has optical in
and get some better you tube sound.

[Larry Vaughn]

Perhaps this will shed some light on the discussion.

http://www.youtube.com/watch?v=HZp9WMy4ihg&feature=related

On Oct 4, 2009, at 5:19 PM, Brooks Reid wrote:

>

[Brooks Reid]

That's great, I love it!

Brooks

[edgar garcia]

Hey Allan,

I am working with Discovery on a show and the 5D is NOT an acceptable format for any show, Discovery had a format system level from Platinum, Gold and Silver. In the Platinum it has HDCAM SR, DVCPROHD, Film 35 and 16MM.

and the formats go down from there, i wanted to use the 5D for some reenactments of scenes and i was not given permission from there EP.

even the RED camera is not listed in the allowed formats for Discovery yet, Funny the 5D sensor is larger then the Red camera and all the other HD camera's. When i get back to my office i will be more then happy to post there specs so everyone can see that not even HDV is permitted, only on special permission but only about 10% of the show footage.

[Allan Tépper]

Edgar,

I wasn't the one who said that it was. I merely quoted Brooks.

Brooks: Do you want to quote someone from Discovery?

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[edgar garcia]

I did mean to say it in any mean way, i am working on a show for Discovery as the DP and they said no way on the 5D even for just broll.

I wanted to use it because in my test i liked the way it look in dark location with minimal lighting and in this show many of my shots are at night.

[Allan Tépper]

Édgar,

As long as the exposure is correct, the content is good, and the audio is properly synched, I think that Discovery is nuts if they don't accept footage from the 5D, 7D, or GH1. All three cameras all start out with a much larger sensor and much more spatial resolution than almost any HD video camera every has.

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[edgar garcia]

I agree and i debated that with them but it comes down to deliverable, when we deliver the show its in HDCAMSR 1080p and all the footage we shoot has to be delivered on tape media only no hard drives, the only thing that comes on a DVD is the EDL from the post. I also wanted to shoot this show with the Panasonic 3700, with the P2 and 1080p format. and Discovery did not want the deliverable on hard drives that is why they have not approved the Red Camera.
 
No that does not say they would not allow me to shoot with a P2 camera but all the footage has to be backed up to tape, a costly work flow to had a digital assist on site then at the office have a post supervisor transfer all the footage from a P2 player on to tape.

[Larry Vaughn]

I know someone who said he supplied the Discovery Channel with HDV from a Canon HV30. Not sure how he delivered it, however.

[Allan Tépper]

Édgar,

It sounds like their discrimination is now the medium on which you deliver the final product, not the the original camera used.

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[edgar garcia]

you can use about 10 to 20% of broll footage with HDV with approval, in a case like using an HDV camera with a underwater housing for a show they will allow that. now a day when discovery only allows about 10% profit margin it kills production house that have high end equipment and cant make a decent profit from your investment.

[Brooks Reid]

All I can tell you is what the director told me and that Discovery approved the 5D for this shoot whereas previously it was not allowed. This could have been by special permission. The shoot also included the panasonic HVX200 which were spot at 24 p. 

Brooks

Sent from my iPhone

[Tim Baker]

Know we have gotten a couple unsubscribes during this conversation, but it is all great info and timely. I am working on a project that may well be pitched to Discovery or A&E and this info really puts me ahead of the curve. Thanks guys...very important info.

Later,

Tim Baker

www.chameleonmvp.com

(407)615-4078 Office

(239)849-3295 Cell

[Brooks Reid]

A little more information on the Canon 7D:

$1699- (body only)
$1899-kit with 28-135mm

18 MP

22.3 X 14.9mm CMOS sensor (4X3)
note: Image sensor is SMALLER than a 35mm frame and all lenses are
subject to focal length multiplier of 1.6X (example: a 17mm lens on
the 78D is the same field of view as a 27.2 on a 35mm camera)

(for comparison-RED ONE camera sensor is 24.4 X 13.7mm *)

1920 X1080 at 29.97, 25, 23.976 fps
720p at 60 and 50 fps
H.264

Magnesium body

Standard metal EF/EF-S Lens mount and supports all Canon EF/EF-S lenses

New viewfinder with 100% coverage

3.0 inch Clear View II LCD screen 920,000 pixels

Stereo mic input and built in internal mic for mono audio

dedicated switch for changing to movie mode

Full manual control for aperture and shutter speed.

*The RED ONE shoots a 12 bit native raw 4K file format as opposed to
the H.264 compressed image of the Canon.

Brooks Reid
Air Time Design Productions
305-298-3791

[Rene Borroto]

Good info Brooks... thanks.

It's also important to note the storage medium used. Canon has opted
for Compact Flash, and I believe they specifically recommend (for fast
fps stills and 1080 video) the UDMA variety. Panasonic has opted for
SDHD Class 6.

Allan, do you have any insight on storage media requirements based on
video resolution and frame rate for the Canon 7D?

René Borroto
Media Consulting
(305) 790-3537
rbor...@yahoo.com
http://home.rborroto.comcast.net

[Allan Tépper]

René,

Initially there was hope among many of my colleagues that these hybrid cameras could record externally either to the nanoFlash (MPEG2 high bit rate, full-raster 4:2:2 8-bit, selectable long-GOP or i-frame) or the KiPro (ProRes422 or ProRes422, both of which are 10-bit full raster and both are 4:2:2). However, for now that is unfortunately not possible, since none of the discussed hybrid cameras offers a live HD signal over HDMI. In the meantime, we should use the type of chip recommended by the respective manufacturer.

Obviously, the FCP workflow varies between the 2 Canon cameras (H.264 with a .Mov extension) versus the GH1 (H.264 in an AVCHD file structure). There are very few different AVCHD>FCP workflows at present, but there are many more options with the Canon approach. I'll be publishing about all of those workflows very soon.

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[Rene Borroto]

Thanks Allan.

Saludos,

René Borroto

Media Consulting

(305) 790-3537

rbor...@yahoo.com

http://home.rborroto.comcast.net

[Brooks Reid]

Allan,

So what is the HDMI output on the Canon 7D?

Brooks

On Oct 5, 2009, at 2:21 PM, Allan Tépper wrote:

[Allan Tépper]

Brooks,

With the Canon 7D, while you are recording, the output over HDMI is standard definition. It becomes HD when you play back what you already shot. So it's okay for composition if used on a crane.

Allan Tépper

TecnoTur LLC

AllanTépper.com

TecnoTur.us

TecnoTur.ProVideoCoalition.com

+1-305-668-8556 x939 (capicúa)

[Brooks Reid]

I'm sure live HD over HDMI feature will be included in the next Canon or Nikon model released 6 months after this :-)

Brooks

On Oct 5, 2009, at 2:21 PM, Allan Tépper wrote:

[Allan Tépper]

Brooks,

Many people are hopeful for firmware updates to add that to the current Canon and Panasonic Lumix models. 

Allan Tépper

www.AllanTepper.com

Enviado desde la unidad móvil de TecnoTur

Escúchanos gratis en iTunes o www.TecnoTur.us

[Rene Borroto]

Yes, and that Hitler guy will get even more angry.

René Borroto

Media Consulting

(305) 790-3537

rbor...@yahoo.com

http://home.rborroto.comcast.net

[Larry Vaughn]

http://www.mysuncoast.com/Global/story.asp?S=11269058&nav=menu577_2_2

No comment.

[Chuck Fadely]

Canon reps are in our office today and I played with the 7D for a
while.

I tried my HDMI monitor on it and unlike the 5D, the hdmi out doesn't
switch to 480 when you hit record - it stays 1080. It has all the
viewfinder info - don't know if you can turn it off.

Don't judge the video quality at the default settings.... it gives
severe aliasing - but it's better if you set the picture profile to
"Neutral" instead of "Normal."

Chuck

[Brooks Reid]

Hey Chuck,

Are you saying that the HDMI output at 1080 looks severely aliased?

Brooks

[Larry Vaughn]

Did your rep buddys tell you when the cameras will be available?

On Oct 7, 2009, at 2:19 PM, Chuck Fadely wrote:

>

[Chuck Fadely]

No, what I'm saying is that, as the camera comes out of the box, there
is a lot of aliasing in all the footage, and you can reduce it by
changing the picture style to neutral. You get little crawly things
on fine, sharp diagonal lines. The 5D is the same way - but I've seen
more internet whining about the aliasing on the 7D for some reason.

I didn't capture anything over HDMI and only had an 8" monitor, so I
can't comment on the HDMI out quality.

The reps had a lens which is even bigger news, I think: the new 100mm
f/2.8 macro which is the first lens with a new multi-axis image
stabilization. The rep had a brand-new one which I shot handheld on
the 7D (160mm equivalent) and it was fairly steady - and silent. In
theory, more lenses will have the new stabilization in the future.
That lens is truly revolutionary and changes everything. Handheld
telephoto with a small camera. It's amazing. It's $1050 at B&H. I
have lust in my heart.


Chuck

[Brooks Reid]

Chuck,

Thanks for the info.

Brooks

[Brooks Reid]

The stabilization lens is great news. Sounds like they hit the mark on
this and if Canon continue along these lines they are going to make
inroads into the RED market.
Everyone is still waiting for the Scarlet for a 3K frame at $3000. If
the HDMI out delivers 1080 and can be capture to ProRes via Ki Pro,
Audio could be also recorded using the XLR ins on the Ki Pro.

Brooks

On Oct 7, 2009, at 2:38 PM, Chuck Fadely wrote:

>

[Chuck Fadely]

Both the 7D camera and the new 100mm macro are shipping now. Scarce,
but available.

Chuck

[SoFlaFCPUG]

I just shot a Discovery Channel project with the 5D, although this was
a third camera for pickup shots next to a HDX900 the image quality
just blew me away. we brought it into the same time line with the HDX
and the EP from Discovery liked the look of it and is allowing me to
use it for the next show for all the reenactments. the frame size is
much larger the the HDX and even though i am not editing it and do sit
down with the editor and check each shot for exposure and image
quality. no issues on the playback because we are using a 8 core mac
with 12 gigs of ram. on the next shoot i am using a full frame lens
100mm 200mm 300mm, 50mm, 35mm and 18mm. i will post some of the edited
footage on my youtube page by the end of the week for your review.

On Oct 4, 4:21 pm, Larry Vaughn <lancechar...@gmail.com> wrote:
> I would think so, since the 7D's depth of field is closer to 35mm film  
> camera that want comes from the5D, and focusing might be a bit less  
> critical. There are some online comparisons, including the5DII and  
> anotherCanonEOS that makes video, other than the 7D.
> On Oct 4, 2009, at 5:16 PM, Brooks Reid wrote:
>
>
>
>
>
> > The "full frame"5Dis more inline with pro gear. Allan has covered
> > this topic in his article but I still think a full frame sensor is a
> > significant advantage because there is no magnification factor in the
> > lenses. I have not seen a side by side comparison of the images from
> > both cameras but since they are both shooting 1080 and both encoding
> > to H.246 then I would think it would be hard to tell them apart.
>
> > Brooks

>
> > On Oct 4, 2009, at 5:02 PM, Larry Vaughn wrote:
>
> >> Brooks, your last sentence answered part of my question. Do they then

> >> consider theCanon5DII good enough for HD work? Can we assume the  

> >> 7D
> >> is not far behind?
>
> >> LV
> >> On Oct 4, 2009, at 4:55 PM, Brooks Reid wrote:
>
> >>> Yes Allan you are quite right about audio on the Digital SLR cameras
> >>> but if the shoot includes an audio mixer then you can deal with it.
> >>> I worked with Discovery for a shoot last week where we used 2Canon

> >>>5DMkII cameras. I recorded sound "wild" on a digital recorder and

> >>> did audio syncs for post. I've edited with wild audio tracks and  
> >>> it's
> >>> not a big deal if you have a visual and audio slate. Just like the
> >>> old days with film!
> >>> The other cameras on the shoot were Panasonic HVX200 with P&S Prime
> >>> Lens adapters. There are a lot of "gotchas" using the Depth of Field
> >>> adapter on a fixed lens video camera and the setup with the rail rig
> >>> becomes unwieldy. The DOF is great for portrait type shots but other
> >>> type shots, not so good. So a lot of what we shot was with theCanon

> >>>5DMk II and an array of lenses. One other caveat, theCanon5Dhas

> >>> no steady shot so hand held shots are challenging.
> >>> BTW, Discovery has very strict guidelines on what cameras and

> >>> equipment you can shoot with and theCanon5Dwas just approved.
>
> >>> Brooks

>
> >>> On Oct 4, 2009, at 2:10 PM, Allan Tépper wrote:
>
> >>>> René,
>

> >>>> For video people, the GH1 has some Achilles' heels, and the 7D has
> >>>> others.
> >>>> The 7D is much better for framerates (as you just pointed out), but

> >>>> the 7D (just as the5D) limits you to a maximum of 12 minutes of HD

> >>>> recording. This is an issue for some types of video productions
> >>>> (i.e. covering a long live event) but not for many other types of
> >>>> events.
>
> >>>> For the 7D, there is a huge offering of used directly-compatible

> >>>>Canonlenses, while for the GH1, there are practically no offering

> >>>> used directly-compatible lenses, since (even though it is an open
> >>>> standard) the mount is so new.
>
> >>>> Both the 7D and the GH1 are weak for live audio, unless you add
> >>>> external converters or record the audio separately with a
> >>>> professional recorder at 48KHz.
>

> >>>> Allan Tépper
> >>>> TecnoTur LLC
> >>>> AllanTépper.com
> >>>> TecnoTur.us
> >>>> TecnoTur.ProVideoCoalition.com
> >>>> +1-305-668-8556 x939 (capicúa)
>

> >>>> El oct 4, 2009, a las 1:57 p.m., Rene Borroto escribió:
>
> >>>> I'm hoping that Panasonic comes to their senses and updates their
> >>>> GH1 firmware to NOT record 23.976p over 1080i, or at the very least

> >>>> give the user the option. Now that theCanon7D is 1080/23.976p

> >>>> native (albeit at a somewhat higher price than the GH1) the
> >>>> Panasonic is on the back burner for me.
>

> >>>> René Borroto
> >>>> Media Consulting
> >>>> (305) 790-3537

> >>>> rborr...@yahoo.com
> >>>>http://home.rborroto.comcast.net

>
> >>>> On Sep 15, 2009, at 11:40 PM, Allan Tépper wrote:
>
> >>>>> René,
>

> >>>>> The 23.976p is definitely native recording (no pulldown in the
> >>>>> recording).
> >>>>> It still isn't clear whether the 25p and 29.97p are native or not,
> >>>>> but I hope so.
>
> >>>>> The HDMI output is active during recording, but at 480 (okay for
> >>>>> composition, but no good for recording on a nanoFlash or KiPro).
>

> >>>>> Allan Tépper
> >>>>> TecnoTur LLC
> >>>>> AllanTépper.com
> >>>>> TecnoTur.us
> >>>>> TecnoTur.ProVideoCoalition.com
> >>>>> +1-305-668-8556 x939 (capicúa)
>

> >>>>> El sep 15, 2009, a las 10:40 p.m., Rene Borroto escribió:
>
> >>>>> There's a new player entering the digital SLR market, theCanon
> >>>>> EOS 7D
> >>>>> (not yet released). It boasts 1080p and 720p HD video (at every
> >>>>> frame
> >>>>> rate you can dream up) and external stereo audio input. And
> >>>>> STILL no
> >>>>> manual audio recording capability. I don't know if the 24p
> >>>>> (23.976p)
> >>>>> frame rate is natively recorded, or if it resides over a 1080i
> >>>>> stream
> >>>>> with pulldown like in the Panasonic GH1. I'd also like to know if
> >>>>> the
> >>>>> HDMI output is active while shooting video.
>
> >>>>> Clips are limited to 4 GB in size (MPEG-4 AVC). The MSRP is $1,699
> >>>>> for
> >>>>> the body only.
>
> >>>>> René Borroto
> >>>>> Media Consulting

> >>>>> rborr...@yahoo.com
> >>>>>http://home.rborroto.comcast.net

>
> >> Larry Vaughn
> >> Video Production
> >>www.vprod.blogspot.com
>

> Larry Vaughn
> Video Productionwww.vprod.blogspot.com

[Larry Vaughn]

How do the shots look on a 60" plasma TV? 5d vs HDX 900?

> --
> You received this message because you are subscribed to the Google Groups "SoFlaFCPUG" group.
> For details on meetings and other events, visit the SoFlaFCPUG site at http://www.soflafcpug.com
> To post to this group, send email to SoFla...@googlegroups.com
> To unsubscribe from this group, send email to SoFlaFCPUG-...@googlegroups.com
> For more options, visit this group at http://groups.google.com/group/SoFlaFCPUG

[edgar garcia]

Tim, Before you go all out shooting this for a network make sure they approve the format for the project, not all EP will allow you to do so and the main reason is the final delivery of the project. not only do you have to deliver the final show in HDCAMSR but you also have to hand over all the raw footage on TAPE not on hard drive or dvd's. that is part of the final delivery.

--~--~---------~--~----~------------~-------~--~----~

You received this message because you are subscribed to the Google Groups "SoFlaFCPUG" group.
For details on meetings and other events, visit the SoFlaFCPUG site at http://www.soflafcpug.com
To post to this group, send email to SoFla...@googlegroups.com
To unsubscribe from this group, send email to SoFlaFCPUG-...@googlegroups.com
For more options, visit this group at http://groups.google.com/group/SoFlaFCPUG

-~----------~----~----~----~------~----~------~--~---

[Tim Baker]

Would love to see as soon as it is up...very cool.

Tim Baker
www.chameleonmvp.com
(407)615-4078 Office
(239)849-3295 Cell

On Nov 22, 2009, at 6:29 PM, SoFlaFCPUG wrote:

> --

[Brooks Reid]

I'm looking for an Elementary school classroom in Southwest Miami to
use as a location. This is a half day shoot that could be on the
weekend.
Or if anyone knows a set that has a classroom look. Please call or
email me back directly.

Thanks

Brooks Reid
Air Time Design Productions
305-298-3791

b.r...@mindspring.com