HD DSLRs: More Possibilities for Indies
Enter the Canon EOS 7D.
Buyers on a waiting list eagerly snapped up the
first round of 7Ds. Luckily, I heard that Mark Rutherford and John
Champlin of Lux Digital Imaging Services in San Francisco were
planning a shoot-out between Canon’s 5D Mark II and new 7D at
Pro Camera Rental & Supply, and would I like to sit in? Sure!
They mounted the Canon bodies, one at a time,
behind a Horseman view camera fitted with a Schneider Digitar 90mm
lens to eliminate differences in image caused by the lens. To account
for the 7D’s 1.6x focal-length multiplier, they simply moved
the camera back and re-framed to approximately the same crop. The RAW
files were processed in Digital Photo Professional 3.7.1.2, and the
‘cooked’ TIFFs were evaluated back at the studio.
Rutherford and Champlin concluded that both Canons
are functionally noiseless at speeds up to ISO 800 for most forms of
reproduction. From ISO 800 to ISO 3200 some additional noise
reduction would likely be required in post, particularly if the file
needed to be enlarged. At ISO 6400 noise is noticeable at most
magnifications, with the 5D showing less noise than the 7D.
Surprisingly, the movie files appear very similar
between the 5D and 7D, with the 7D faring nearly as well in overall
image quality. Lux posted all of the full-res TIFF files and the
original MOV files in a wide range of ISOs. These may be downloaded,
with recommendations to view in PhotoShop or other color-managed
image editing program on a calibrated display in a dimly lit,
color-neutral environment.
The motion files were shot under the Canon
‘Neutral’ picture style with Sharpness, Contrast and
Saturation at their lowest settings. Noise reduction was set to
‘Low.’ Since the camera was locked down and the subject
motionless there is nothing to distract your eye from the subtly
moving noise, making it more apparent than you would likely see in
normal use.
I found the 7D slightly more ergonomic than the 5D
Mark II. Some controls are new: top left on the back is a Quick Menu
button next to another very useful button for rapidly accessing and
changing the zone focus modalities.
Inside, there are significant changes, including
better auto-focus, viewfinder and metering. The 7D shoots drop-frame
24p and 30p (23.98 and 29.97) which is most important, because
although you can convert the 5D Mark II’s 30p frame rate to
24p, it isn’t a slam-dunk, and it’s time consuming in a
feature-length workflow.
At an MSRP of $1,699, the 7D’s drop-frame
24p makes it far more indie-friendly, and the sensor is only 10.5%
narrower than a 35mm motion picture camera, a Red, or a Sony F35.
This means that when a film-experienced DP looks
at a shot and says ‘I want a 30mm lens at T4’ s/he can
readily extrapolate to 27mm, so a 28mm lens at f/4 will be close
enough in both angle of view and depth of field. The film-shooter’s
experience translates almost exactly. With a 5D Mark II, it would be:
‘er, let’s see, I really need 45mm for the same angle of
view, so I’ll have to use a 50mm; now what gives the equivalent
depth of field? Maybe f/5.6? Anybody got a depth of field chart?’
While I was observing the 7D test by Lux,
cinematographer Dan Kanes had already completed photography on the
very first feature to use the 7D, Winter Nights, directed by
Ari Dassa. Kanes said, “We shot with two 7Ds simultaneously. I
used Tiffen Glimmerglass filters to soften sharp edges, decrease
contrast, and glow highlights nicely. This also protects against
strong aliasing.”
Kanes expanded, “No difficulties on this
film whatsoever. One of the 7Ds overheated once: but it just gave a
heat warning, it never shut down. No hot pixels, no problems,
nothing. My future hopes for Canon or other brand video SLRs is the
introduction of a higher bit depth, like 12-bit TIFF sequences at 24
or more fps, or the use of a wavelet RAW codec like Red. The only
boundary now is your creative imagination.”
Then Canon announced the 1D Mark IV.
Mark Rutherford observed, "I saw Laforet's 1D
Mark IV video (on Vimeo) before Canon had him take it down.
Absolutely noiseless at ISO 6400 and very little at 12000. Figure
about two stops improvement over the 5D and three over the 7D. Very
nice for shooting at night. Personally, I won't get too excited about
any new camera unless it has a RAW codec and full HD video tap.”
And from Dan Kanes: “There’s no
question in my mind. I'd rather see greater color depth and a
compressed RAW video codec than higher ISO sensitivity recording to
the same highly compressed codec. My belief is that Canon is saving
10 and 12-bit video for the EOS video system. Whether it or the Red
DSMC systems come to market first is the real question. For now I'm
very happy to have my 7Ds, and even after I move on to a Red system
or an EOS video system I’ll keep at least one 7D, as it truly
has the potential of being the digital ‘eyemo’ – a
perfect stuntcam/crashcam.”
As we were going to press, Canon announced another
firmware upgrade for the 5D Mark II, enabling it to record 24p and
25p, presumably drop-frame 23.98, like the 7D. This upgrade will be
available by mid-2010. Don’t replace your 5D Mark II with a 7D
yet!
Relevant Links:
www.lux-sf.com
www.dankanes.com
www.theaspectratio.net/WinterNightsLog6.htm
www.theaspectratio.net/WinterNightsLog7.htm
www.usa.canon.com
Indie Slate Contributing Editor Robert Render
Harrison is a producer, Steadicam operator and stills photographer
based in Marin County, CA. He has used a variety of HD, HDV, DV and
film cameras, lenses and camera support items in his work. Contact
him: resourcesdvd@aol.com
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