Until the current beta version of 5DtoRGB goes alpha, here’s a shell script for Mac users that allows batches of Canon h.264 .mov files to be converted to ProRes in one go.
http://www.noside.fr/5dtorgb-batch/
5DtoRGB is third-party software that generates QuickTime compliant ProRes files while bypassing QuickTime’s messy color handling retrofits. For more information, see these articles:
(Thanks to Craig W. for the heads-up)
Two new workaday updates (it’s no Magic Lantern-sized update, though that’s in the works).
According to the Canon website, the T2i update…
“Fixes a phenomenon in which tone jumps become noticeable in some images, depending on the shooting scene, when shooting with the Auto Lighting Optimizer settings (Low / Standard / Strong).”
The 7D update…
Ratty looking fleshtones? Blocky crawling color in your footage? QuickTime, your constant companion, could be the problem because of its legacy of color handling retrofitting.
Workflow guru Charles Roberts of Fitchburg State just presented this piece of software, currently in open beta, at the UFVA conference:
With it you can convert your individual clips (.MOV wrapped H.264) to QuickTime compliant files (the ProRes codec of your choice, or even DPX), bypassing QuickTime’s color transformations.
Here are some comparisons from the company’s website, comparing color handling with QuickTime via the Canon provided EOS plug-in for Final Cut and the currently popular CineForm codec.
Here are a couple of other links discussing the software:
http://nofilmschool.com/2010/06/is-5dtorgb-the-dslr-post-production-solution-weve-been-waiting-for/
A debate opened here about the merits of Cineform vs. this Rarevision plug-in.
It’s slow, and currently has no built-in batch capabilities, but the results show a marked difference in color handling, resulting in less color noise, and reduced banding. And as the first link above mentions, this might be overkill for most current web-delivered content. But for large screen presentation, the difference is significant.
Caveat: It currently only runs on Intel based Macs with OS 10.5 or later.
There’s an interesting article and software here:
http://www.diyphotography.net/capture-720p-hd-with-any-liveview-capabale-canon-camera
concerning a new free application that lets users record 720p video from Canon DSLRs that feature Live View mode.
Following the recent T2i firmware update, this is said to correct some of the same aperture shift issues.
Derrick Faw has generously collected a list of iPhone – iPad applications for filmmakers, including the iSlate and FilmSlate apps.
You can find them here: http://www.wwangle.com/blog/2009/iphone-apps-for-filmmakers/
You might also check out Kodak’s Cinema Tools app, which provides a Depth of Field calculator for various lenses and film stocks, as well as a footage calculator:
http://itunes.apple.com/us/app/kodak-cinema-tools/id355215215?mt=8
Any ‘Droid users out there with useful apps? Please comment…
Fixes an issue where manual exposure may shift while using certain lenses.
If you are a T2i owner (you should not try to install this on equipment that is not your own, i.e. University equipment) this is a significant and important upgrade that really does improve the aperture performance of certain lenses. It has the practical benefit of minimizing the effect of aperture shifting while zooming, as some the lowest available f-stop changes as you change focal lengths with many zoom lenses. The shift still occurs but it is more fluid and is not accompanied by the previous flashing and dimming of the image when at the start of the zoom.
Installation is easy.
More information, instructions and downloads here.
Oh, you mean for stills…
http://www.ononesoftware.com/detail.php?prodLine_id=38
Pro version offers “Live View” but live video monitoring and triggering …?
http://itunes.apple.com/us/app/dslr-camera-remote-professional/id316771002?mt=8
(This video comes to you courtesy of Andy Richards. Thanks Andy.)
The Canon cameras can give good looking images out of the box, but much picture information is discarded between the moment light hits the sensor and when the .mov is written to the card.
This tutorial demonstrates one method of shooting “flatter” images, in an attempt to retain more picture information from the sensor. The rationale is to have more picture information available during color grading. Though the original video looks “boring” (technical term) it theoretically contains more detail in highlight and shadow areas.
Here’s the video link, and the accompanying text:
How to increase the Canon 7D dynamic range (Tutorial) from Luka on Vimeo.
“Custom picture styles are an amazing feature that almost compensate for the lack of a raw codec for video capture on the Canon DSLRS. The default picture styles on the camera are geared towards producing nice results out of the box but are not very good if you intend to do color correction and grading in postprocessing. This tutorial shows how to use custom picture styles that produce very flat, high dynamic range footage (similar to real film cameras).
The actual picture styles have been made by other people, and here are some references:
Super Flat, Genesis Panalog and Velvia:
http://www.cinema5d.com/viewtopic.php?f=14&t=3401
Marvel’s Cine Style:
If you have problems downloading them, you can get them from here in one package (http://www.crnkovic.org/video/picture_styles.zip). I do however recommend that you get them from the original sources and read the forum posts/blog posts associated with them.
The final example footage was shot handheld (Zacuto rapid fire + zfinder) at Skogskyrkogården cemetery in Stockholm. I scouted the place for a possible future shoot and the footage I shot was never meant for release – it did however come handy in this tutorial as it was all shot using the super flat picture style.”
*****
If you test this strategy, please report back with your results.
(I’ll throw in the first 2 cents: At the theoretical level it seems to me that midrange detail might be sacrificed (or thinned) to retain highlight detail. You’re choosing one compromise over another, perhaps? The resulting examples in the video are often pushed to extremes. I wonder how this method fares when you’re seeking more natural tonal and color reproduction… Franklin? – CLR)
… boasts some impressive modes that use color overlays to indicate
– over- and under-exposure problems
– points of critical focus.
The Peaking Filter is used to aid the camera operator in obtaining the sharpest possible picture. When activated, all color will be removed from the display and a black-and-white image will remain. The internal processor will display RED color on the screen where sharp edges appear.
The False Color filter is used to aid in the setting of camera exposure. As the camera Iris is adjusted, elements of the image will change color based on the luminance or brightness values. This enables proper exposure to be achieved without the use of costly, complicated external test equipment. Colors correspond to IRE values
For those of you thinking about buying a T2i or 7D and getting lenses other than the kit lens, I thought I would share some of my recent research on the subject. Probably the best zoom lens if you want more than the kit lens is the canon 24-105 f4L. On these cameras it is really a 38mm-170. It is expensive too ( ~$1K). The nice thing is the Image Stabilization. For stills you can go to long shutter speeds: for video it’ll smooth your shaky hands.
If you are looking at primes to supplement either this lens or the kit lenses, life gets much more interesting. Personally, I don’t care about auto-focus and I really like the tactile feedback I get from an actual f-stop ring. That leads me to Nikon lenses and a Nikon to EOS adapter. The Nikon lenses are widely considered to be top shelf optically and you can get manual focus used Nikon F mount lenses for relatively small amounts of money. I have tried 3 different adapters:
a $16 one from ebay (KAWA), a $44 one from Adorama, and a $220 one from Novaflex. They all worked equally well. The Adorama one has a knurled ring that makes it a lot easier to remove so I prefer that one. On the other hand, if you get 3 Nikon primes you could get 3 of the Kawa ones and just leave them on the lens permanently. I would have done that if I knew at the beginning what I know now. DO NOT WASTE MONEY on the Novaflex. Except for a bit of black paint, it looks identical to the KAWA.
Look on Ebay or the used stores at Adorama and B&H for Nikon lenses such as the:
Nikon 50 1.4 Ai Lens (80mm equiv on 7D) for ~$100
Nikkor 28 2.0 (44mm equiv) for ~$200-300
Nikon 35 F2 (50mm equiv) for ~$75-150
You could even get a Nikon mount Zeiss 50mm 1.4 for $500. That is $225 less than the EOS version and you get to have a f-stop ring (yay)
To get those extra f-stops I now have a used Nikon AF 20mm f2.8, Nikon AF 35mm f2, and a Zeiss 50mm f1.4 for my 5D. Except for the Zeiss, they are also a lot lighter which has been an advantage for me in some situations.
Send me question if you have any, Remember–Primes are fun.
-Leighton Pierce
The third and final installment of the Zacuto DSLR shootout was just posted… (Thanks Steven!)
http://www.zacuto.com/shootout
“The DSLR vs FILM showdown ends with tests looking at Green Screen, Resolution, Pseudo Raw & Color. Hear discussions by top ASC & filmmakers at the Midwest Independent Film Festival Screening in Chicago.” {from the Zacuto description}
DSLR Show – Rolling Shutter – Episode 4 from Conscious Minds Productions on Vimeo.
You should also check out Managing Depth of Field.
…it’s right here in Reports from the Field.
Here are two great articles submitted by Jeff P.
Motion Pictures is a good overview of the pros and cons of DSLR cinema and provides advice on putting together a workable outfit.
Going to Battle looks at how Ithaca-born DP Shane Hurlburt (We Are Marshall, Swing Vote, Terminator Salvation and the Zacuto Shootout) brought 15 DSLRs to the set of The Only Easy Day Was Yesterday. Once you get past the outrageous first sentence.
Here’s a visual comparison of the 5D mII and 7D at ISO 2500 – wide open on an F1.8 Canon EF prime lens (85mm).
Is the 5D the clear winner? Does the 7D demonstrate more blocking noise and “jello effect” in these hand-held shots?
Have a look and let us know what you think…
On a related note, EyePatchEntertainMen recommends that in low-light situations you favor the faster lens over the sharpest lens…
Not sure a resolution chart tells us much about noise in shadow or flesh areas, where they’re most noticable…
The JuicedLink microphone preamp defeats Canon DSLR’s AGC (automatic record level) function and direct-to-camera sound recording using professional mics. (link to manual)
Promotional videos describe a 13db difference in S/N ratio, in JuicedLink’s favor, over BeachTek devices…
iowadslr 