Phil Balsdon
Forum Replies Created
-
Hi Buddy,
My previous post was not to put down the HDSLRs. I love them and my preferred camera for my own work is my 7D. I know many other cinematographers my age whose enthusiasm for their work has been rejuvenated by these cameras.
All I meant to point out was that some aspects, particularly audio, need “work arounds”, ie dual system if you want pristine quality sound. As I said these methods are easy for someone like myself who was brought up with dual system audio and limited shot run times on film, but I understand that someone who has only shot with traditional video cameras would see them as a little frustrating, maybe even a backward step.
I’m prepared to work around all the “inconveniences” of the system for the aesthetic benefits of using a compact camera that shoots in extremely low light and offers the range of depth of field choices of the HDSLRs. I love the fact that people can now access this equipment without a major financial outlay.
They are however made as a still camera, and the major market for Canon, Nikon et al is still photographers. Sony and Panasonic have made inroads in introducing the large format chips integrated into what is primarily a video camera, and I love this, it will make my workflow much simpler without depleting the quality.
Re Canon, I wonder if they are developing a video version of the HDSLR, surely they are aware of the revolution their 5D has inspired. I was recently asked to do an evaluation of their new XF-305 series. This is a wonderful camera, 4.2.2 compression, extremely high quality pictures for the price and technically excellent, but whilst it’s compact it doesn’t offer the range of inter changeable lenses the low light performance or other aesthetic properties to the image that I love about my 7D.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The 5D has 1080p @ 24, 25 or 30fps.
The 60D has 1080p 24, 25 or 30fps and 720p @ 50 or 60fps. If you want to do slow motion this is useful.
The 60D APS-C sensor size is very similar to Super 35mm film movie frame size, so depth of field characteristics are similar. The 5D is larger so at the same f stop depth of field is lower, offering softer backgrounds, some people like this but in practical terms focusing can be more difficult.
The 60D has a flip out rotatable viewfinder, very useful for situations when the camera is not at your eye level.
One more possible thing, the recent Zacuto Great Camera Shootout shows the 7D with a stop better contrast range at the high end than the 5D. I found this a little difficult to believe but the tests showed it clearly. The 7D and 60D (they didn’t test the 60D) are apparently technically identical in processing.
If you are shooting mainly stills the 5D will give better results. For video the 60D maybe more practical.
Save money on the body (which will be superseded by new technology reasonably quickly) and spend the savings on good lenses which will last many years.Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
We need to remember these are a stills camera with a video facility developed at the request of press organisations so that press photographers could shoot video occasionally in an emergency. They were never intended to be a hardcore video production tool.
It was the video users who saw the huge potential and pushed the boundaries. For those of us fortunate or old enough to have dealt with dual system sound on film it wasn’t such a big deal, we used to do it all the time. For those who didn’t it’s justifiably a big inconvenience that seems unnecessary.
No worries though Sony et all have come out with cameras like their FS-100 that eliminates the sound and record time hassles while retaining the large chip benefits in a compact body.
But why haven’t Canon done anything yet? Will they ever?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The audio recording quality of the H4n will be superior to the 60D. The HDSLRs do not have top quality pre amps.
If you use the H4n for recording interviews that run longer than the 12 minute limit of the Canon HDSLRs you can button the camera on and off during a question and leave the H4n recording. You can re shoot the questions as reversals if you need the vision. You’ll need PluralEyes or similar in post for easy syncing.
You can also take an output from the the H4n using a dual adaptor and feed into the camera as a duplicated high quality input (I don’t know why they discontinued the Line Out and Phone Out from the original H4). You’ll likely have to do this if you use the H4n mikes as a handheld device.
Re convenience of a shotgun mic or lavalier wireless. If the subject is seated or some how prevented from moving around, even slightly, I use a mounted shotgun. In a standing type interview a lavalier wireless mic means they don’t move off mic if they step a little forward or backward.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
A Beachtek DXA-SLR will help control the AGC control level fluctuations in the 7D. However the audio recording abilities of any HDSLR are not prime quality, you need to record on another device and use dual system. (Juice also make something similar).
The Zoom H1 is not really the answer because it doesn’t have external xlr mike inputs, you need a Zoom H4n or Tascam DR-100.
Mike placement is also important, use a lavalier or shotgun mike placed close to the speaker. Using a top mounted mike is not desirable for quality interview recording.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I have a Canon 16-35 L, and 24-70 L and Sigma 70-200 f2.8. I had the Sigma prior to going to HDSLR video. Testing against a Canon L showed in VIDEO there was no noticeable difference on a resolution chart. I doubt this would be true in stills mode though. However Philip Bloom claims his Canon 70-200 L series 2 is too sharp for video and has given him moire problems.
I also have a Sigma 10-20 (moire difficulties on city scapes) a Canon 50 f1.4. Mamiya645, 55 f2.8, 80mm f2.8, 500mm f5.6 and whole range of Pentax lenses, but only occasionally use the 40mm f2.8 pancake lens which is very compact (not much bigger than the camera body cap).
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The prime reasons for buying an HDSLR are depth of field factor and low light performance (and possibly compact size).
You need a good fast lens for low light and Steve’s suggestion of the 50mm f1.4 is perfect, especially for shooting people / interviews in low light. As well as being a little slower and much cheaper the Canon 50 f1.8 is a less robust in the build quality.
Figure out what focal length range you mostly need and gradually grow your kit from there. I’d suggest the minimum you need to add to the Tokina for a basic versatile kit is a 24-70 and 70-200.
That all said keep in mind that your camera will likely be out of date before too long but lens technology changes more slowly. Buy really good lenses and take care of them and you’ll still be using them 10 or 20 years from now.
Like your Tokina reputable other brand lenses (I have a couple of Sigma lenses) can also save on cost. If you are mainly shooting video on a Canon the pixel shedding factor in creating the 1920 x 1080 image will lose some of the resolution of a really good sharp lens.
If your budget is really tight and you can’t wait consider buying quality used lenses, even of another lens mount, and use an adaptor to convert it EOS. Nikon are good and they have a manual iris on the lens barrel.
I’m occasionally using some lenses from my old Mamiya 645 kit that is 30 years old with a Fotodiox adaptor, they hold up really well.
That said since investing in my 7D ( I already had a Canon 20D) I’ve only bought Canon L series lenses.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
This is not an HDV playback problem because you are trying to playback uncompressed HDTV. Very different.
Import it as, or convert it to Apple ProRes. (No need to use HQ for original HDV footage).
Get another drive so your video files aren’t coming off the same drive as the boot drive which has the fcp app and project files on it. This can be an external firewire 800 or an internal SATA in one of the spare bays inside your computer.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The Canon XF300 records 4.2.2 to CF cards, the only camera in this class so far that can do so.
It’s still only a 1/3″ chip though.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I use PluralEyes very successfully with my HDSLR kit and FCP7.
I don’t edit much dual cam stuff, but once a month I do a 2 camera shoot (interview), the producer/editor syncs the two cams with PluralEyes in FCP7 then does a multi cam edit, he says its a breeze.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/