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49. Canon 7D - TV cameraman Matt Jasper unboxes and ri…
2 months ago
TV Network news cameraman Matt Jasper unboxes and rigs up his new Canon 7D.
Products from Canon, Redrockmicro, Genus, Zacuto, Zoom, Sony and Pinknoise systems.
More info on dslrnewsshooter.com
Shot on a Canon Eos5DmkII
Products from Canon, Redrockmicro, Genus, Zacuto, Zoom, Sony and Pinknoise systems.
More info on dslrnewsshooter.com
Shot on a Canon Eos5DmkII
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thanks for sharing this :)
Nice vid !, i like the sublte electro soundscape..
Also, if you pick-up sound via a Zoom flash card field recorder's mics and feed this into the D7, why do you also need a Sony wireless audio receiver in the backside? Since this particular camera only has one single consumer-class audio input, not like 4 separate XLR inputs for 4-channel audio recording, right?
1. The mattebox may vignette from approximately 22mm, while the lens used starts at 10mm? Did I miss anything here?
2. Where is the audo feed going, from the audio monitoring output from H4N to the Sony input (receiver or transmitter ??) ?
Could you enlighten me....?
So, good news is, there is no vignetting, maybe even when you use 10-15mm lens on the 7D. On the other hand, how much unwanted light will this thing really keep out from hitting the lens?
2. I guess if you use the wireless receiver for the audio feed, you will be bypassing the Zoom's onboard mics altogether, correct? No matter how we slice it, you will either have to sync-up audio later (make sure you use a slate board), or else live with the quality that an unbalanced 3.5mm jack can provide.
The audio from the radio mic should be cabled into the Zoom h4n, apologies. The audio is then recorded on the Zoom and a feed is sent to the camera to give a better sync track than you would get just using the camera mic.
Dan
At some point we stopped using film and went to UMATIC then betacam then sp betacam and then dvcam or dvcpro. Now some cameras dont even use tape. Its about personal preference - the job in front of you and how you want it to look.
You absolutely do not need any sensor larger than 2.2MP. Digital film cameras costing hundreds of thousands of dollars have 2.2MP sensors, and the new Arri D-film camera replacing the D21 next year will have a 3.5MP sensor, but that will cost upwards of 100,000 euros.
Red tried the "supersized sensor" brouhaha for a while, some folks fell for it, and many of them are now so sorry.
With respect to "broadcast cams," some are SD and some ar HD, as you know.
All of these HD-SLRs have major problems with their ridiculously shallow depth-of-field. We had problems keeping proper focus even with S16mm filmc cameras, more problems arose with S35mm shoots. To follow focus on a fast-paced chase scene with one of these ultra narrow DOF HD-SLRs requires a genius focus puller who probably hasn't been born yet.
Lastly, keep in mind that you are using CMOS sensors here coupled with the by-now notorious electronic rolling shutter. As long as there is no fast movement by the camera and/or the subject, you should be fine. Just don't esxpect the rolling shutter to perform well when you try to capture a fight scene, for instance, or a chase with fast pan. The image will fall apart due to the skew, jello, wobble, bent verticals, not to mention flash banding.
Tom - The battery could power any number of things including the camera/a monitor/ radio mic receivers. i havent decided 100% on powering options yet.
The balance of the whole rig is something i still have to work on and that will help me decide on what to do with any powering decision.
With the 10-22 at its widest i am not seeing any of the mattebox.
I have to say that the genus matte box is perfect for this rig and the z-finder is sensational.
You are perhaps wanting to have two single-channel wireless receivers instead?
Re. the Z-finder, entire movies (i.e. "The Fighter") are being filmed these days with MP film cameras, where framing and focusing is done on an LCD monitor. Especially film when 100% of the footage is shot with the camera flying on Steadicam.
If you always want to hold the VF against your eye, the Z-finder is fine, it's just these days many folks like to frame/focus using an LCD instead. Instead or in addition to the Z-finder, I would connect a 5.6 to 8.9-inch widescreen LCD monitor to this set-up via the mini-HDMI OUT from the 7D.
A monitor is part of the plan.
the death of film and videos cameras huh ? haha
You are talking about a $1,700 camera, Amigo, not about one costing $1.7 million.
Heck, I did not even know that shooting at 120p can be simply accomplished by shooting at 60i. Thanks, Ryan, I guess one learns something new every single day.
Since both cameras use electronic rolling shutters, I have no information to suggest as to why the rolling shutter artifacts would be less severe with the 7D than with its big brother, th 5D2? But maybe you know?
Now, if you are shooting flowers and still life or a few people sitting around a table or alking slowly in a park, no need to worry about skew, jello, wobble, bent verticals, flash banding, etc. But if you plan on moving the camera faster than at normal rate of speed, or else have faster then normal movement front of it by your subjects -- look out! Here comes nastiness!
These newfnagled DSLRs use pretty severe compression, consumer/prosumer codecs, and take in
unbalanced audio via a 3.5mm RCA jack. Try a full sized camcorder for sound: up to four independent channels of BALANCED XLR audio inputs PLUS headphone jack and/or built-in monitor speaker. Day and night, hmmm?
I agree with you, however, that you do not need "full frame." In fact, anything 2/3-inch or more diagonally across would work for a sensor, and "full raster HD" in video parlance means 2.2MP. Not 18MP, 20MP, 22MP, etc, as with digital still cameras.
eh!
ciao
KArl,
But it was the sexiest rig I have seen made for a DSLR until now sexier then all the scaffolding I have seen sofar. Look for Movietube. BTW any problem starting/stopping two devices? ( 7D /H4n). Try to learn to hold the camera properly like photograpers do. A bean bag does wanders too. But if you have to put your camera in an awkward postition so you can't see through the Z 2 you need an Ikan or Marshall monitor. 7D/H4n is a good choice but I have my doubts about the rig, whatever rig. Good luck.
Yeah, these days it's like "dang, I could have sworn I put a DSLR camera body in there someplace just this morning. Where the heck is it, I wonder?"
I also find these rigs where you have to use not one but TWO HANDS to grab ont the bicycle handles puzzling. You hold onto two handle bars with two hands, who the heck is going tio like OPERATE the camera for you, then?
And once you remove your left hand to like focus, bamm -- the rig is out of balance suddenly, dropping to the left. One handle bar rigs are great to balance, hold sterady, AND operate, but the second handle bar is not really needed, IMO.
I would definitely use an LCD monitor before any other accessory. Ikan, Marshall are all right, I prefer the Manhattan LCD, however, best deals going for the money, especially with their new line of monitors just being relesed as I write this.
Sometimes I wander why some men and women want to become a cameraperson. Is it the fact that they are running around with something that puts you in the centre of attention or is it what you are ging to frame with your camera. Now with all this rig stuff it is almost now wander, I know for sure the rig wins. Right you are it is difficult to focus with lens openings like 5.6, 2.8 or 1.4. In a controlled situation you might be fine. But most of the time you wish you could stop down to 16, just to have a enough DOF to do a proper shoot. Any one that has shot 35 or S16 or HD knows how difficult that is. So the rig is not important, craftmanship is. Camera is just a tool and BTW if those camera people don't start hosing they will be fine with the jello. For some people the 7D will be an interesting tool to work with for other a gadtget to get attention and the more pipes the more attention But I want be recognized as a plumber, but as a person that takes pictures.
I jsut don't see how anyone can single-handidly do focus on a DLSR when it comes to chase, fight, fast moving sequences. Now, if you got the camera on a steady support and on a group of friends having fries and coffee for an hour or two in "Diner 2," you'll be all right.
The very least I would want a follow focus knob like what Matt is using here, and a whip attachment. That way, you are not shaking the camera/rig. The next option would be to have a long cable that the asst. camera person manages, at the end of which an LCD monitor, and the whipped FF. And the ultimate would be wireless follow focus coupled with wireless video.
Back in the 1800s and in the very early part of the 20th century, depth of field on the early photographic eneses was very short. Then, optical technology evolved to "Citizen Kane" and beyond. Now, for some the trend seems to be going back to the dumb lenses that can focus only in a very limited focal range. What for?
The other thing is the use of fixed focal and prime lenses in FILM and VIDEO!? What for? Varifocal zoom lenses have been invented in 1951. You do not need a zoom lens for taking still pictures. But you do need one for taking interesting and alive moving image shots, unless you are going for that smooth, nothing-at-all-happening geriatric slideshow look.
I know you've got a point, I'm just trying to find it in amongst all the other crap and I'm not referring to you Matt.
Anyway it is what you think is best for you. Personally I like both hands on the camera. One for focus and one for start/stop and apperture. Redroxh has a very simple rig called The Event. Dafung Denis had an interesting solution using an adapted Glidecam 2000, that could be used as a monopod as well as I saw in the interview.
Good luck and great shots
Tom
Besides this, it is very usefull to have both your hands on the camera to operate at all times and no kind of moped steer where you have to move your hands from and to the camera, bringing it off balance to the left or the right, that happens also with a shoulder mount. With some rigs I have seen on the various trade shows, it is difficult to operate the camera, and in some cases it's even hard to find the camera at all hence the buttons to oprate it. But everybody should do what they like to do. I just gave my experience in the field. BTW I am not a still photographer but a cameraman for some odd 35 years and shot 16mm 35 mm and saw the first portable video cameras see the light.
The form factor of DSLRs were never made to shoot 24-60fps. Not 1/30 or 1/250 shutter speed 1 shot. Points of contact lead to a stable picture. Do you need a rig? No. I haven't. I've taken the center poat from the tripod out as my vertical bar and out the neckstrap arounnd my neck and I'm off. Is it steady? Sort of. Could it be better? Yes. Enter a rig of some sorts. Everyone has a way that they "should" go. I say Bollacks. Do what works for you. But I have to put my foot down on holding it like it was ment to be held. For stills yes. By all means. For motion picture. Good luck. And by the way. Swish pans are so 90s. I'm going back to the classic sequence with 7D. It WILL be groundbreaking because no one shoots that way anymore. I'm tired of reality-shaky-cam in films. *puke*
Oh, and I'm like old or something, and have made a camera out of a shoebox and wax paper, so this is the law commanded from on high.
u r kidding me rite?
if you gonna do video only.
firmware update to shoot in 24p coming out in mid 2010.
羡慕
Will film shooting changing the coming of Shooting camera with a larger and larger CCD or CMOS
I want to buy the same redrockmicro.
I can not understand what components should be ordered, to get the same version as you have in the video. Help me choose right positions please.
redrockmicro.com/products.html
and maybe the Genus choice will help me
genustech.tv/matte-boxes/genus-wide-4x4-matte-box.html
thanks
Well, the D7 images are good. Very good. The focus is troublesome. Very troublesome - tricky to handle and control, and the better the lens, of course.... The external mike issue is irritating, very irritating - the fact that you can't check if it's going in at all, let alone is it any good. After all, it's 'only' an SLR.
So, all was well when I had it on a tripod, shooting static, controlled interviews, in a static, controlled environment. The quality of the pictures is undeniably lovely, the HDV footage looks positively ropey, in comparison. But forget about handheld, really.
Would I shoot on it, again? Well, yes, as long as I have the money for a trusty soundman with a full kit (a must) and an assistant, obviously, who'll be downloading and checking footage whilst I'm shooting. So, that's back to three man crew, obviously.
Would I buy it? No, basically. It is an SLR, and I need a film/video camera that feels and behaves like one. I love the feel of a good SLR on a stills shoot, and I also love a moving image camera that is designed for that purpose. I was offered a rig for the D7 but it only scared me off, didn't make me go 'ah, in that case, fine'.
All in all, the D7 is a good compromise to shoot stuff that you'd otherwise have to shoot on something like the Sony Z1, provided the shoots is not too difficult and you have the budget for a professional minimal crew. A one-man job it is not!
To me, the BEST THING about the D7 is that it will make all the moving image camera manufacturers stop and think and try harder to deliver a really good, really cheap HD camera that does what it's meant to do, and it feels like it's meant to feel on your shoulder, in your hands, on the tripod. In the very least, it will make sure the Red guys don't get lazy, thinking they've got a great camera in their hands. There's lots more work they all need to do. Good effort, Canon! We're waiting.
I was just wondering what is the brand of the battery pack on the back and did you need any voltage modification to plug it on the 7d/5d?
Do you thing is possible to plug the Zoom in the same time?
thanks...