Currently browsing the "1Ds Mk IV" tag.

Canon Digital Learning Center – Introducing EOS Movie Plugin-E1 for Final Cut Pro

I know, I know – this is an old announcement but I randomly discovered this page on the Canon USA web-site with a lot more information about what, exactly, the plug-in is going to do.

I’m only going to put the first couple of paragraphs of the post here – read the whole thing on the Canon web site – but there are a few key features that I’d like to point out:

• -Time Code is added to the clips
• Automatic transcoding from Canon’s H.264 to ProRes (various flavors)
• Up to 3X Faster transcoding than Compressor
• Ability to transcode only portions of a clip
• DMG archiving or memory cards
• Compatible with: 1D-Mk IV, 5D Mk II and 7D (Rebel support coming soon)

There is a full workflow example on the Canon page…

Philip Bloom Workshop in Los Angeles

Our good friend Neil Smith over at Hdi RAWworks is presenting a workshop with Philip Bloom on March 6th. Philip lives on the other side of the pond so it is a rare opportunity to learn in person from this photographer filmmaker. He will be in town after finishing up some work for George Lucas at Skywalker Ranch.

From the Hdi RAWworks site:

World renowned filmmaker and Canon HD DSLR expert, Philip Bloom will be in Los Angeles on Saturday March 6th, 2010 to present the Canon HD DSLR Master Class.

Philip will be showing many examples of his filmmaking and will be sharing his experiences of shooting the pick-ups shots for ‘Red Tails’ a Lucas Films production.

Philip will be explaining and demonstrating all aspects of Canon EOS based filmmaking, workflow and output, including:

Main differences between EOS 1D Mk iv , 5D Mk ii and 7D for movie shooting In camera settings to maximize image quality in post Lens selection Stabilization platforms and accessories Exposure and shutter speed options Focusing and framing tips Audio Codecs and transcoding options Editing and Color correction Output for Web, BluRay, HDCAM SR and film Question and Answers

Follow this link for more info.

Zeiss Unveils New DSLR Cine Lens

Today at the Entertainment Technology Expo, Rich Schleuning from Zeiss is showing photos of and talking about an exciting new line of lenses aimed at the video DSLR crossover market.

In response to the high level of interest in using DSLR’s for filmmaking, Carl Zeiss has modified its Compact Prime lenses for use with EF-mount cameras. These new lenses feature a bayonet mount for a direct fit to the EF-mount and do not require any modification of the camera or use of intermediate optics. Since the optics are based on the awarding winning ZEISS SLR lenses, they cover a full 24×36 image format without vignetting. In addition, the lenses feature an interchangeable mount system that can be changed to a PL mount. at any point in the future. This design allows the filmmaker to graduate to any number of existing or future cine cameras and still utilize the same set of lenses. The level of versatility, image quality and value is unprecedented for cine style lenses and brings a professional caliber tool to a wide range of filmmakers.

Tyler Ginter Combat Photographer

Tyler Ginter is an experienced photographer/video DSLR shooter who according to his about page:

I am a Combat Camera Platoon Leader in charge of a team of videographers and photographers who travel the world gathering historical footage for the U.S. Army.

Nice video and write up about using the 1Ds Mark IV with some special night vision equipment:

Night Combat Equipment Airborne Jump from Tyler Ginter on Vimeo.

Some of his other articles of interest are: How to set up your 7D and 180 Degree Shutter – Learn it, Live it. Also check out a FreshDV podcast featuring Tyler:

In this hour-long podcast, Tyler, Kendal and I discuss the tools that Combat Camera is using in the field, the challenges of their unique workflow in Iraq and Afganistan, and specifically why they are looking hard at the Canon 5D MKII as a possible upgrade to their current kit. Along the way we also delve into Red Scarlet, and other convergence cameras. It’s a fascinating discussion, and we think you’ll enjoy the listen if you are interested in this new crop of cameras or just what it is that Combat Camera does.

Samy’s Camera HDSLR Contest

Our friends at Samy’s Camera are holding a HDSLR video contest hosted by PhotoCineNews friends and Collision Conference alums, Shane Hurlbut ASC, Alexx Henry and Frank Rohmer.

From the Samy’s website:

Here’s the lowdown:

Must be shot on an HDSLR camera Entries must be between 3 and 5 minutes and edited Entries must be post marked by March 5th, 2010

Entries will be posted on www.SmugMug.com and open voting will begin on March 8th and end on March 17th. The 6 entries with the most votes will go to our special guest panel where they will pick the 1st, 2nd, and 3rd place winners.

Link to contest page

Shane Hurlbut ASC Gives Great Newsletter

A lot of great activity over Hurlbut Visuals, the Shane Hurlbut ASC website and blog. I just received the newsletter and it was packed with cool information. Be sure to sign up for the newsletter to get access to this information because it isn’t all available on the blog. Pearls of Wisdom

Each month we share pearls of wisdom so that you may benefit from our extensive learning curve with the Canon 5D, 7D and 1D cameras.  Here is what we know to be true to save you time and money.

The piece of information that really stood out for me was:

Go into your menu and turn off the auto light optimizer.  It jacks your video.  In the image menu area and turn off your highlight tone priority because this ads noise.  Staying in that section, take your high ISO noise reduction setting and change it to low or disable it. It will help in the post color correction process.  The same applies to the sharpness in your picture style menu, which should always be at zero.  Do not use the cheap pro-sumer sharpening tool.

In a section about doing visual effects with Canon DSLRs, Shane says:

We found that blue screen work is a non-starter with all of these cameras.  It does not see the blue screen in a clean key image……….

Green screen on the other hand is where these cameras shine.  They are cleaner than all the professional HD cameras out there.  It is truly impressive.  Kurt Williams, VFX supervisor and producer (www.imdb.com/name/nm0931101/) was blown away on how clean the key was.

There is also information about new rental/purchase filmmaking kits. I think that warrants a second post.

Don’t miss out on getting solid information from a working DP and his team who use Canon DSLRs to change the way movies are made. Sign up for the Inside Track newsletter on the HurlbutVisuals web site.

Video Capture for Stills

Video Capture for Stills (VCS) is the term floating around (unless you’re Tom) for using an HD Video camera or hybrid DSLR (DSLR with video capability) to capture stills by shooting motion. Because the resolution of motion sensors has increased, the usefulness of a single frame as a still image has become practical. For instance, the RED One camera can capture a 4K video image which is roughly a 9 megapixel still frame (4096 x 2304 = 9,437,184 total pixels). The hybrid Canon DSLRs like the 5DMII, 7D and now 1DMIV all capture video at a 1080 resolution which provides a 2 megapixel still frame (1920 x 1080 = 2,073,600 total pixels).

Relative File Size Comparison Reduced 90%

Low light Laforet demo using 1D Mark IV

Update: Canon has apparently asked the Laforet camp to lock the video. Stay tuned…

Here’s a video from Vincent Laforet demonstrating the low light capabilities of the Canon 1D Mark IV. The video is appropriately entitled Nocturne .

Nocturne from Vincent Laforet on Vimeo.

Canon 1D Mk IV – the news is 30 FPS

Well, it looks like Canon is sticking with 30 FPS. I wonder if this is going to be the main difference between Canon and Nikon in the short time 24 vs. 30 – should make for an interesting debate and might finally answer the question as to which is more “useful”

If you want to read more go to Canon’s Product Page or see a brief article at Electonista.

A longer review is available at DP Review.