HDSLR
Not content to deliver a clear and simple message at today’s launch, Canon also revealed an “EOS Movies” “concept camera” today. I’m just going to let Engadget handle this one:
Promised to be “ideally suited for cinematographic and other digital high-resolution production applications” this camera packs a 35mm full frame image sensor capable of shooting Motion-JPEG encoded 4K video at 24fps.
I was the guest host on this week’s Mostly Photo show with Leo Laporte and Lisa Bettany. We talked about shooting stills and video and getting the most out of post-processing, and I showed off some video gear from Redrock Micro and Zacuto. I’ve been a huge fan of Leo’s entrepreneurial empire and Lisa’s photography for years, so it was a blast getting to hang with them.
Click the photos to jump directly to my three tips:
I used this shot to talk about what I call “decoy shooting.” Canon 5D, 50mm F1.4.
I used this shot as an example of achieving appealing (i.e porange) skin tones. Canon 5D Mark II, 50mm F1.2L.
I used this shot as an example of color contrast, and showed how to use the split-tone controls in Adobe Lightroom to achieve this look. This image is available as a free iPad wallpaper here. Canon 5D, 24–105 F4L.
Lisa very kindly mentioned my Fact, Moment, Light post. Please do check it out if you’re a new visitor to Prolost!
There are some exciting new camera options out there these days, ranging from inexpensive, large-sensor hybrids from the likes of Panasonic and Canon to groundbreaking high-end digital cinema rigs from folks like RED and Arri. When contemplating buying or using these cameras, one has many resources to evaluate things like focal length equivalencies and depth of field. This chart from Barry Green is a great example — it’s extremely helpful and the kind of thing you could refer to again and again.
In fact, if you’re like me, you’ll need to refer to it again and again, because there’s nothing really intuitive about it. It’s a bunch of numbers. You might find yourself staring at it and thinking, “Yeah, but what kind of shot can I actually make with these camera/lens combinations?”
Read down the thread on DVXuser and you’ll see one member exclaim with glee that with only three Panasonic zoom lenses, he can cover every focal length from 7mm to 300mm on his Micro Four-Thirds (MFT) rig. Barry quickly points out that this is true, but at undesirably slow apertures. The poster is, I’m sure, left scratching his head, trying to grok just how these slower lenses are going to affect the cinematic look and feel of his shots.
You can feel my own frustration with this in my article on the Panasonic AF100. I discussed there the dilemma of MFT — is it “big enough” for cinema? Yes, but if you want cinematic DOF, you’ll need fast lenses, faster than most of what Panasonic makes.
Another example — you might be looking at the recent demonstrations of the fixed-lens RED Scarlet and wondering just how much DOF control you’ll have with an ƒ2.4 lens on a 2/3” sensor.
All the charts and sensor-size comparison images and spec sheets won’t answer the question: “Yeah, but what shot can I make?”
So I’m introducing a new Prolost feature designed to help answer that question. It’s called the Shot You Can Make (SYCM) Simulator, and it’s sort of a 3D “Marcie” for focal length and depth of field. Here’s what it looks like:
I started with a shot from a movie called 12 Rounds. Directed by Renny Harlin, 12 Rounds is an action flick set in New Orleans and starring WWE’s John Cena. It’s the kind of movie you can rely on to contain the kinds of shots you see in many movies — in this case, a guy (Cena) with a gun. The focus is on Cena’s face, the gun is slightly soft, and there are a few big, boke-liscious out-of-focus lights in the background.
12 Rounds was shot with Panavision cameras on Super 35mm film. My guess is that this particular shot was made with a 125mm Panavision Primo at ƒ2.0. Based on this estimation, I simplified the image into cartoon-shaded layers and split them out in 3D in Adobe After Effects, essentially recreating a simplified model of what was in front of the lens that night. Using a lens blur plug-in rigged with expressions, each 3D layer gets the correct amount of defocus for its distance from camera. The result is a simulation of the shot with accurate angle of view and depth of field.*
The shot contains a number of recognizable things, like a man, a hand, a gun, and some distant lights. If you’re familiar with your camera — any camera — you can probably easily imagine what kind of shot of this setup you could make. But what about a camera that you’re not familiar with?
The Shot You Can Make Simulator allows me to place any camera I want, with any lens, at any stop, into this same scene, and re-photograph the virtual scene with that rig. In this way it provides a real-world-ish benchmark for the kind of lens performance that matters most to filmmakers:
Here’s an example. Simulating a Canon 5D Mark II with a 50mm lens at ƒ1.4, you can see that I’ve had to move closer to my virtual Cena to achieve similar framing. His hands appear larger, and much softer. The lights in the background are still blooming, but not as much. Although we’ve opened up about a stop and focused closer, we’ve also gone wider in AOV, so our ability to make big circles in the background has diminished.
Another example, this time simulating the shot you might make with a Canon 5D Mark II using the Canon 70–200 F2.8 II IS, at maximum zoom:
Note that we now have a slightly narrower Angle Of View than the Super 35 125mm baseline, so we’ve stepped back a bit to maintain the framing. But despite focusing longer and stopping down, we have a much larger image sensor on the 5D, so we maintain the same “feel” in terms of the softness of the gun barrel and the size of the background boke.
Now, if someone tells you that 200mm on a 5D Mark II is a decent rough match for 125mm on Super 35, that’s useful information. But unless you’re a Cybog Killer from the Future, you might have a hard time getting a sense of how all the other factors will balance out — slower lens, but larger sensor, but longer focus, but more money left over for tacos.**
I was trying to explain to someone the other day why I felt that the MFT zooms Panasonic has on offer are not very sexy. Maybe this will help — here’s the same shot at 140mm ƒ5.8, the max zoom of a popular “do it all” MFT lens from Panasonic:
Even though we’re zoomed way in, tighter than the baseline shot, we can just barely soften the background, and the gun is razor sharp. Interestingly, the Shot You Can Make with the Panasonic 14–140mm is not unlike the Shot You Can Make with a Canon HV20, which has a tiny sensor by comparison, but a surprisingly fast lens. Here’s the HV20 making the shot at its max zoom of 61mm, ƒ3.0:
The similarity between these images shows that you can very easily slap a lens on a MFT camera that will completely undo any perceived DOF advantage of the large sensor. To me, this is useful information. If you agree, I’ll use the SYCM Simulator to profile lenses and cameras I discuss here.
* My respect for you the reader demands that I generally avoid disclaimers, but in this case I would like to point out that this is all guesswork on my part, from the original lens used to the dimensions of the set. And I could very likely have my math wrong on any of the DOF calculations too. Please let me know if anything jumps out at you as wrong.
** Tacos have not yet been integrated into the SYCM Simulator.
Update
on 2011-01-13 18:28 by Stu
Be sure to also check out this camera/lens comparison tool from Abel Cine. I’d been looking for the link when writing this, but luckily Jason Wingrove helped me out on Twitter.
Update
on 2011-01-20 05:35 by Stu
Those of you asking about a mobile app version of the SYCM Simulator, be sure to check out this follow up post.
A frequent concern about shooting to a heavily-compressed digital format—something the DV Rebel often finds herself doing—is the degree to which the footage will be “color correctable.” Will the shots fall apart when subjected to software color grading? Or will you be able to work with the footage as fluidly as you tweak your raw stills in Lightroom?
It’s a valid concern. The movies that the current crop of HDSLRs shoot are highly compressed. This compression is perceptual, meaning that it takes advantage of visually similar colors and shapes, and represents those regions with less accuracy than the detailed and varied parts of the image. This makes perfect sense, but often in color grading one seeks to enhance color contrasts—to make a face pop off a similarly-colored background for example—and so you may well create high contrasts between colors that were once nearly identical, and as such were given short shrift by the camera’s compression.
You might have noticed a similar phenomenon in audio. An low-bit-rate MP3 that sounds decent enough can suddently sound awful after even a tiny amount of EQ. Another case of perceptual compression limiting your options.
While you will never find as much data and detail in your HDSLR video as you do in that same camera’s raw stills, the H.264 movies created by the Canon 7D, 5D and 1D Mark IV will withstand some massaging in post. Here are some tips (similar to those found in greater detail in The DV Rebel’s Guide) to help you get the best results.
By folllowing these guidelines you can make good-looking shots even better with color correction. But what about a shot that isn’t so great to start with? Turns out there’s hope. Below is a 7D shot that I grabbed in an uncontrolled situation. In my haste, I underexposed, and used the “cloudy” white balance when I probably should have used tungsten. But with a little denoising, careful analysis of the colors in the image, and a Colorista Power Mask, I was able to rescue this shot.
Yes, you can color correct your HDSLR footage, and you should. Color correction can make a good shot great, and in a pinch, put an unusable shot back in the game.
Nothing profound here, just some fun new gear mixing well with some trusty old gear into what for me is a “where have you been all my life” rig.
Pictured here is the Canon 7D with the venerable Canon 50mm f/1.4. It’s sitting on the skeleton of the Redrock Micro “Captain Stubling” rig, handles removed, and slipped into Redrock’s tripod platform plate. That’s sitting on a crusty old Bogen fluid head that I had lying around (the current equivalent in size would probably be the popular Manfrotto 701HDV).
That’s mounted to my new slider rig from Glidetrack. It’s the Glidetrack HD to be specific, and I chose the 1M length, which feels like the right balance of utility and portability for me. I’m more likely to use it for push-ins than for side-to-side motions, and when you’re using it for the “slow creep,” there’s only so long a slider can be before it shows up in your shot. There are a number of terrific options out there for slider rigs, but the Glidetrack was the right choice for me because of its minimal weight and mechanical simplicity.
Hovering above it all on the Noga arm is the Ikan V5600, which is a comparatively inexpensive, lightweight HDMI monitor. It doesn’t have quite the full 720p resolutionthe peaking features of the Marshall V-LCD70P, [CORRECTION, Mitch below pointed out that the Marshal is not 720p—in fact it has a lower resolution than the Ikan!], but it’s still quite usable for focus. The photo above lies in its streamlined simplicity—the power and HDMI cables for the monitor make it quite a bit messier in practice.
Speaking of focus, the Redrock Micro whip makes that a little easier when back-panning on the slider. The whips come in sets of three — shown below is the shortest of the bunch. The build quality on the Redrock whips is very good.
What’s missing obviously is a good set of sticks, or possibly two, to properly support the Glidetrack. I’m still shopping and open to suggestions.
Gear porn shots like these requires bokake, here courtesy of the Canon 50mm f/1.2L on my 5D Mark II, the price of which was recently lowered.
Disclaimer: I contributed to the design of the Redrock Micro Captain Stubling rig, which recently received a glowing review on episode 53 of the always awesome Red Centre podcast.
As always, I am grateful if you shop through any of the above links, or at the ProLost store 7D Cine page!
