Danny Grizzle
Forum Replies Created
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I’m looking forward to telling you, “I told you so.”
If not next go round for the 5D Mk III, then on the Mk IV or EOS-1 line.
I would wager AJA is already working on portable Thunderbold devices.
I started shooting with Canon cameras when they were being imported by Bell & Howell. Back then, Canon was an unknown upstart and no serious professional would touch anything but Nikon. But I’m telling you I’d drop Canon like a hot potato if Nikon put RAW video out and Canon tried to ride h.264 as “good enough.”
(OK, maybe overstating that considering my Canon L glass… but I would definitely switch to Nikon for video.)
You guys would switch, too. And the whole DSLR industry would have to reshoot all their marketing materials because nobody would be caught dead being seen with an uncool h.264 limited platform.
Camera RAW output will be the definitive transition for HDSLR. It is do or die.
BTW – FireWire is dead and gone as my Kodak DSC Pro SLR/c, which does in fact have a FireWire port. Unless USB3 will get the job done, somebody is going to put a Thunderbolt bus on an HDSLR.
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Really, this is not a question of if, but when.
It can be simplified to this:
Will the next Canon 5D iteration contain a Thunderbolt connector?
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Yes, the 5D is a still camera first. But the core thing I want to see is simply an additional connector to spill RAW imager data. I’d be completely happy to use an external device like the ones from AJA or Sound Devices to capture that signal. This request seems entirely possible within the current scope of the product, and at negligible cost – not something that will add anything to the list price of the next 5D. And I actually believe Canon will do this because if they don’t, it will be an easy thing for some competitor within the DSLR space to do. Any DSLR manufacturer who does this will own the DSLR market if the feature goes unanswered by competitors.
Upping the resolution at a RAW video output would be an even more gutsy move. Why not? The data is already there on the sensor! AJA and Sound Devices would have to redesign their capture devices significantly, bringing the cost of the capture device more into question than a runaway feature jacking up the cost of the still camera. But the end result would steal a lot of thunder from RED and Alexa.
Canon should just open the camera to 3rd party developers like AJA. Just hand them the signal off the chip. Let AJA or Sound Devices determine what costs the video market will bear and deal with all the tradeoffs of line skipping, color space, compression algorithms, file formats, and storage media. The outboard storage vendors would probably come out with a tiered product offering if for no other reason than the performance limitations and capacity of Compact Flash Cards. They might offer higher end recorders using SSD or SxS or who knows what. And all this at no cost to Canon, nothing but upside in sales potential.
Let’s not pretend that DSLRs are the tool for theatrical release. But even in a world where 1080p is the practical upper limit of distribution, I would like to capture extra pixels, 2K, 3K, if not 4K, because more and more tools such as image stabilization, color grading, and other image effects are available, not to mention additional flexibility in the motion graphics suite to track, pan, zoom, and rotate in post.
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I bought iDC, and I like it. Like IKAN, it is a friction system. This makes changing lenses fast and easy.
I think iDC has superior build quality. The System Zero is perfect for typical T2i and T3i shooters (call iDC for info). System One is great for large rigs. I like mine and I would buy again, but with a couple of reservations. Access to thumb screws to tighten focus wheels can be difficult for fingers when rigging multiple wheel lenses for focus, zoom, and the side support. Second, I wish there were some kind of support for the Canon 70-200mm f/2.8 lens, which has a tripod collar supplied by Canon. Such a heavy lens simply puts a lot of torque on the lens mount and camera base when used without the tripod adapter. Still, it works – but I don’t like being hard on my equipment.
One other hesitation on the iDC is the “hex” bracket handle mount when used for heavy camera rigs. Being open sided, it flexes. That does not bother me so much as the fear that the rail clamp will come loose and I will drop my camera. I have no basis for these concerns, and I’ve experienced no problems. But I think about it constantly. If the handle attachment points were more confidence inspiring, it would be a load off my mind and less a distraction during production.
The iDC focus wheels look a little goofy because they are canted back at a 45 degree angle. I actually like this better because I never work with a real assistant, and I pull focus myself. The geometry on the iDC focus wheel is superior for one man band operation. This design has proved its worth to me in the heat of production, and I love it.
iDC is very modular. You can get follow focus at a nice price, but if you go with a full blown configuration like I did, you will spend comparable money to name brand rod based systems.
Besides friction drive follow focus, iDC is a monorail type design. The System One which I bought fits directly into Manfrotto and Gitzo heads, and can be adapted to anything else.
iDC just introduced a rod adapter which allows front of lens accessories. I use mine with a Red Rock Micro matte box and a Bodelin ProPrompter.
I also use a SmallHD DP6 monitor, and I appreciate that iDC offers mounting hardware specific to this monitor.
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I have loaded CineStyle successfully on a T3i (600D), but the procedure varies significantly from process on 5D Mk II.
Camera mode dial must be in Manual in order for EOS Utility to load CineStyle into camera.
After loading CineStyle in Manual mode, and while still tethered to EOS Utility, switch camera mode dial to Movie.
EOS Utility will reflect change to Movie mode. CineStyle must then be selected in EOS Utility.
Power down camera, remove USB cable, and on reboot, CineStyle will be there.
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QuickTime Player 7 Pro is an easy and fast way to ingest an image sequence. It works fine under Snow Leopard, but it is not included on the standard Snow Leopard install.
1) Place your sequence of images in a single folder
2) In QuickTime 7, select File –> Image Sequence
3) An Open dialog will be presented. Point at the first image in your sequence.
This works fast on my quad core i7 iMac.
The resulting full resolution file can be saved for pan & scan in After Effects.
Procedure works great for GoPro time lapses.
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Philip Bloom just posted an awe inspiring time lapse shot recently during NAB in Las Vegas. The page linked below also includes an audio commentary. Be sure to listen because Philip mentions specific techniques and inexpensive software that is essential for a fully professional time lapse sequence.
Philip Bloom’s 24 Hours of Neon
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How would the T3i intercut with 5D Mk II footage?
I’m going to buy a T3i as a second camera, specifically to mount on my Steadicam Merlin. The T3i size, weight, and flip out screen seem to make it ideal for this application.
Also, for the Steadicam application, I plan to buy the Canon 24mm f/2.8 lens, also because of size and weight. I’ve also got a 50mm f/2.5 macro which is almost identical in size and weight to the 24mm. I don’t know if it will be practical to fly the 50mm.
The Steadicam Merlin is wonderful, but it is also as delicately balanced as an old HiFi phonograph arm. My shooting days are too hectic to use the Steadicam unless I get a dedicated body and lens that can be setup and prepped in advance.
The T3i flip out screen is perfect for the Steadicam because it will allow shooting behind with the operator walking forward, a huge advantage over walking backwards with a non-articulating screen on the T2i.
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11 Jan 2011 – after months of waiting, a box arrived today with batteries promised by Behringer.
I suppose a pure coincidence after my disparaging comments here last week.
Frankly, I had concluded several days ago to throw all the Behringer devices in the dumpster. Luckily, I had not got around to doing it.
In any case, unless these lead acid batteries last longer than the previous set, I will discard the Behringer equipment (portable battery powered public address systems) the next time the batteries fail.
I use these devices only twice a year, at a recurring public event, Spring and Fall. Behringer claimed I abused the batteries by leaving them installed in the equipment and not properly conditioning (I left them plugged in and charging continuously, because the batteries appear identical to lead acid batteries in emergency exit signage.)
There was no warning by Behringer to remove batteries and leave them uncharged between uses.
Whether I am right or wrong about the quality of the equipment or the conditioning of the batteries, one thing is certain: Behringer does not stock parts in North America, and promised replacements took 4-6 months to arrive.
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3:26 PM today, Manfrotto finally returned call.
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An overview of follow focus systems. Somebody has already posted a quickie review of about 8 different manufacturers on YouTube. It is a very quick and dirty review.
It would be nice to hear from some shooters with hands-on experience.
I’m personally considering an iDC System Zero right now. Very unconventional friction approach, but it looks like it works, it looks simple, and it looks fast to setup and use, including lens changes.
Other Accessories:
Matte box systems, including details of filter stages and possibilities of square filters. Discuss swing away stages and lens changing.
ProPrompter
The $10 software for iPhone / iPad is outrageously wonderful. The matching HDi prompter hardware looks really sweet, lightweight, and a great match for DSLR production.