Steve Crow
Forum Replies Created
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Wait a minute guys there can be lots of reasons you might want an external monitor that have nothing to do with HDMI
1. To better postion the viewfinder so that it aligns more naturally with your eye while on a shoulder rig
2. For features like peaking and Zebra striping
3. So that others, like a focus puller, can see better what’s going on image wise
And it occurs to me if the camera did provide a “clean” HDMI signal to the external monitor then you would not be able to see all that helpful info like shutter speed, ISO, aperture, etc –
Just my 2 cents!
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Yes there are. One of the most popular color grading applications is Magic Bullet Looks and it’s baby brother/sister product QuickLooks. This is the one I hear about and see used most often although there are others, in fact Final Cut Pro X has some new built-in looks. I am sure others here on this forum can come up with other software packages similar.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
I come from the online world but TV and commercial shooters are definitely still using HD DSLRs – read some of the trade publications and you will find plenty of examples. Check out DSLRnewsShooter.com for insight into how some in the news business are moving away from bulky and expensive videocameras for certain news features, docs and interview situations.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
I’ve been using the Canon T2i for a couple of years now and here are some of my basic thoughts in relation to your questions:
HD DSLRs are not ideal for every situation, for instance filming a long event or presentation is not what they are best at due to the clip duration limit of as short as 12 minutes. However, for more controlled or even documentary uses, the clip duration issue is easy to work around. They are definitely not as easy to work with as traditional videocameras however, in my opinion, the advantages outweigh the challenges. Audio with DSLRs is another area that requires a lot of attention – much more than traditional videocam shooters may be used to.
I think the build qualities are generally excellent, even the lower end models like mine. Higher end models like the Canon 5Ds are used in Hollywood as “crash cams” and can withstand a lot of abuse and weather related issues.
I find them to be VERY cost effective if you compare them to more traditional videocameras with the same size sensor chips or larger. Full frame videocameras are hugely expensive (10s of thousands of dollars) and that’s before you’ve invested in glass, stabilizers and the mountain of other accessories you end up needing. Now the latest Canon videocameras – the C300 is one – I am not including as they are more like traditional videocameras that share some of the characteristics and features of HD DSLRs but, again, at a huge price increase that leaves me shaking my head.
I recently had to turn down a job that was very ENG focused (news gathering) and my Canon T2i is not ideal for this type of run and gun and don’t count on mic’ing anyone beforehand environment but there are news guys that are doing it, just not me – so what I look for are situations where I have a large amount of control, where 2nd takes are possible and where beauty shots with shallow depth of field can really be showcased.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
I’ve heard that the head is the Manfrotto 701HDV (special version) which can be purchased separately
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
That wold be exactly my worry too. I have seen pro-quality suction cup solutions that I would trust at reasonable prices but those probably don’t have the mounting flexibility you are looking for – hmmmm, interesting question you pose.
Have you looked at the Joby Gorillapods?
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
I don’t know of any videocameras with a manual aperture ring, you can probably find some with manual aperture control but that might be through on-screen buttons or some kind of jog wheel…the videocameras I am familiar with don’t really offer direct aperture control, they do have “gain” control which is different.
To handle high contrast situations I think that right away puts you in the large sensor chip arena but at your price point the only option I know of is the Canon T2i which IS a DSLR that has basically the same video capabilities as the 7D but with a few less high end ISOs and a different control layout. It’s the camera I use and I love it
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Yeah Phil, I hear ya! I too have bought cheap crap that broke almost instantly, leaving me out in the cold and minus the money spent on it.
However, I also realize some times you just have to settle for the best gear you can afford at the moment if it means either that or going without the extra capability. My Konova slider isn’t the best in the world, but it works and is sturdy so for right now it is what I have. I like systems where you can start off more cheaply than add to it over time as needs and budget allow…also buying used can be a good way of getting a step up in quality – I should be buying more stuff used myself come to think of it.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
meant to type “not AT all” ha ha
Oh and women are, of course, equally able to snap stuff off! (Wew, caught that in just the nick of time)
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Not all Joe I think that is a very fair assessment – plastic components DO ‘tend” to break under stress more easily than plastic – I think we’ve all twisted off some piece of gear in our lives since all shooters are so naturally strong and masculine we can’t help ourselves! 🙂
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com