Newly Refined Rig for TV Commercials

Since the earlier post detailing the HDSLR rig we were using for the ABC Family commercials, my team has done several more tv commercials and have extensively refined the kit. The last setup was highly functional but a bit of a Frankenstein monster.

The new rig is more compact, cleaner and more functional, especially from the standpoint of pulling focus — which is kind of a big deal. You can see the new rig in the slideshow below. The major changes outlined underneath.

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Camera Selection & Production Speed

For a recent project I just completed, we needed a lot of footage from many locations but were on a tight budget and even tighter time schedule. This is a common situation in commercial work. Speed of production is where HDSLR cameras can make the previously impossible more viable.

On the “Cages & Light” branded film, we needed to shoot many different settings, and do it quickly as well as inconspicuously. The 5D we shot it on made this possible.
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Fujifilm goes retro with new X100

It’s PhotoKina, so there’s going to be lots of gear news this week. Here’s something cool to start us off – the new Fujifilm FinePix X100, marrying the stylings of a 1950s 35mm camera with the technological ingenuity of today.

The result is something that looks terrific.

The X100 won’t be in the shops until next year, but will come with a 12.3 megapixel APS-C CMOS sensor, fixed f2 23mm prime lens (35mm equivalent), manual dials for exposure, ISO and aperture, a unique optical or electronic viewfinder, and 1280×720 HD video.

DP Review has the official press release with a diagram explaining that viewfinder, and some good pics of the controls. The forum is alive with people drooling over the design.

This design approach has taken everyone by surprise, and it’ll be interesting to see how it competes against micro four-thirds cameras, which obviously offer the flexibility of changing lenses, at the price of a smaller sensor.

The X100 is all about a large sensor in a simple, controllable body. (Personally I’m very excited about it, although I’d have liked to see the lens just a little bit wider.)

More new gear: Canon G12, Nikon D7000

As of today, there are 100 days left until Christmas Day, and the camera manufacturers are doing their utmost to ensure we have plenty of new stuff to choose from when it comes to buying gifts for ourselves our loved ones.

The endless Nikon/Canon games of cat and mouse are ongoing. Last week there was the Nikon P7000, a rival to the already out-dated Canon G11. Canon coolly responded this week with a gorgeous looking G12, which can record video at 1280×720, 23.9fps.

In the DSLR arena, the two of them are fighting out with Canon’s new EOS 60D and, new this week from Nikon in direct response, the D7000.

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Nikon finally responds to Canon G11 with Coolpix P7000

Just as the G11 starts to look a little worn around the edges, and the Canon rumor sites get all twitchy about its replacement appearing at any moment, Nikon steps into the fray with its long-awaited (and some might say looooong overdue) competitor.

It’s the Coolpix P7000, and you don’t have to squint too hard to see the similarities with the Canon G series.

Chunky, bumpy, black, and pockmarked with buttons and controls, this is one serious point-and-shoot.

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Comparing the 7D and 60D in detail

The arrival of the Canon EOS 60D set a lot of hearts a-fluttering, but the question a lot of people have been asking is: should I get the 60D, or a slightly older but no less respectable 7D?

Hmm. Tricky decision.

Dan Carr has written up a very helpful post comparing the two cameras – not just in terms of their specs (although it’s nice to see a side-by-side comparison table of which boasts what), but also how those specs are likely to affect real-world shooting circumstances.

So: the articulated screen on the 60D is a nice addition for video shooters; but the 7D’s superior dual DIGIC 4 processor means more frames per second. The 60D allows manual control of audio input, something that’s beyond the 7D; but the latter supports lens-by-lens autofocus calibration.

Ultimately, Carr gives the 60D the edge if all you’re doing is shooting video. But there are buts. If you want to be able to shoot in very low light or bad weather, the 7D’s probably better. The 7D is also a more versatile camera for video and stills together.

Hmm. Actually, after all that, the choice still doesn’t seem much clearer…