The Hot Rod 7D-PL Mod is a custom modification that allows the use of any 35mm PL-mount cinema lenses on the 7D, an important addition now that HDSLRs are being utilized in more and more professional environments. The 7D-PL Mod can be purchased for your existing 7D, as well as part of a Deluxe Kit, which includes a modified Canon 7D, a PL adapter, support system and handles. Check out the video to learn more about this exciting mod!
The 7D is ‘modified’ in a very physical way: some of the interior parts are changed and you lose the optical viewfinder. It basically makes for a movie-only, very affordable HDSLR camera!
The whole kit is available for $4800 (pre-order – shipping in April) at Abelcine.
I’ve added a tool to this website:
the Frame rate conversion wizard will let you calculate the number of frames/seconds you will get when you convert from one frame rate to another.
E.g. when you convert a 30 second clip from PAL video (25 fps, European TV standard) to film (24 fps, global cinema standard), you get:
CONVERSION TYPE 1 = ‘CONFORM’ / keep # of frames
Slow down by 4.00%
To correct audio: pitch up by 4.17% (0.71 semitones)
Duration of output = 31.250 sec (750 frames)
CONVERT TYPE 2 = ‘INTERPOLATION’ / keep # of seconds
# frames of output = 720 frames (30.000 sec)
Using the terminology introduced in convert between framerates.
The 5D originally only shot in 30 fps (NTSC-inspired, undoubtedly, since it was meant for USA news agencies anyway). So when the footage was to be used for TV (PAL in Europe = 25 fps) or for cinema (24 fps), it had to be converted. Also, when you shoot in 720p60 (at 60 fps) so that you can make a nice slow motion effect, you have to ‘convert’ your material. We already referred to an article about how to ‘conform with Cinema Tools/FinalCutPro‘. But let’s talk some more about this conversion and how to do it with a free open-source tool like
1. Conversion with fixed # of frames.
This is what is referred to as ‘conforming‘. You keep the same number of frames, so a 20 second long 30 fps clip (20 x 30 = 600 frames) becomes 25 seconds at 24 fps. The same number of frames are played at a slower speed. The only thing you have to do for the video is to change the metadata of your clip. The audio will have to be played slower too, so will sound lower. If you want to fix this, you have to pitch this up (with audacity or sox).
How to do this with ffmpeg? Well, in two steps:
- extract the frames as rawvideo
ffmpeg -i input.mov -f rawvideo -b 50000000 -pix_fmt yuv420p -vcodec rawvideo -s 1920x1080 -y temp.raw
- recreate the video with new framerate
ffmpeg -f rawvideo -b 50000000 -pix_fmt yuv420p -r 24 -s 1920x1080 -i temp.raw -y output.mov
- To save on needed intermediate disk space, you could send the output of the first to stdout and pipe it to the input of the second
2. Conversion with fixed running length.
This method keeps the total length, but in order to do so, it has to interpolate (estimate frames that are between 2 original frames) . In other words, for each second you get 30 input frames and you need to create e.g. 24 output frames. Output frame 3 of that second will be created out of input frames 3 and 4, combined in some way. If this interpolation is done with a low quality/fast algorithm, any steady smooth movement in the input movie, might become jerky and unnatural. Therefor this procedure will be slow (might be slower than real time – you’ll need more than 1 hour of conversion time for each hour of footage) The audio will remain untouched, since the total length does not change.
How to do this with ffmpeg? Easy:
- convert framerate in one step:
ffmpeg -i input.mov -sameq -r 24 -y output.mov
Unfortunately, this is quite slow AND low quality. So you might want to look at tools like FinalCutPro to do this kind of conversion. Also, MVtools (AVIsynth) seems to be able to do this better, I still have to check that out.
Byron Shah has made a test movie with 3 digital cinema cameras together: the HDSLRs Canon 5D ($2500) and Panasonic Lumix ($1500), and the RED 3K Scarlet camera ($3000). Every shot has been watermarked with the material it was shot with: e.g. “RED3K/300mmNikkor2.8/60fps” or “Canon 5D2/ISO50/50mm ZE/T2/Ultracon3“.
The RED camera can shoot at 60fps which can then be slowed down to esthetic slo-mo. The 5D performs really well in low light conditions (using up to ISO 2500). In some indoor (or should I say, in-car) situations, I can imagine that the Lumix GH1′s swiveling viewfinder came in really handy.
Continue reading ‘Compare RED, Canon 5D and Lumix GH1 in 1 spot’
DigitalPhotoPro gives us an overview of the HDSLR market place today: while one year ago, there was only the Nikon D90 and the Canon 5D Mk II, they now talk about 10 cameras in the market. If you allow for cameras that have HD recording, but are not technically SLR cameras (they don’t have the ‘reflex’ part, the optical viewfinder with mirror), we now count 14 digital photo cameras that support HD video capture:
- Canon EOS: 1D Mk IV, 5D Mk II, 7D, 550D, 500D
- Nikon: D3s, D300S, D90, D5000
- Panasonic Lumix: DMC-GH1, DMC-G2, DMC-GF1 (not SLR)
- Pentax: K-7
- Samsung: NX10 (not SLR)
If you only want Full HD (1080p), these are the options:
- Canon EOS 1D Mk IV (24, 25, 30 fps)
- Canon EOS 5D Mk II (24, 25, 30 fps – with new firmware)
- Canon EOS 7D (24, 25, 30 fps)
- Canon EOS 550D (24, 25, 30 fps)
- Canon EOS 500D (30 fps)
- Panasonic Lumix DMC-GH1 (24fps)
with prices between $6200 (Canon 1D MkII) and $650 (Canon 500D). Not counting decent lenses
Canon press release of March 2, 2010: the 5D mk II gets a Firmware 2.0.3 update.
Developed following feedback from photographers and cinematographers, Firmware 2.0.3 further enhances the EOS 5D Mark II’s excellent video performance. The addition of new frame rates expands the camera’s video potential, providing filmmakers with the ability to shoot 1080p Full HD footage at 24fps (actual 23.976fps) – the optimum frame rate for cinematic video. 25fps support at both 1920×1080 and 640×480 resolutions will allow users to film at the frame rate required for the PAL broadcast standard, while the new firmware will also change the 30fps option to the NTSC video standard of 29.97fps.
So the days where you had to buy a non-full-frame camera (7D) instead of a full-frame (5DmkII) to be able to shoot in 24p native are over!
Wedding photographers are plenty, and so some people take it one step further. Kevin Shahinian of Pacific Pictures is “leading the wedding videography industry in creating hollywood/bollywood concept videos that add a story element to the clients wedding video“.
In the fall of 2009, Melissa & Samir embarked on an incredible journey to Udaipur, India, to fulfill a lifelong dream of having their wedding in the country of their ancestry. This transcendent place, affectionately called the “CITY OF LAKES,” located in the breathtaking region of Rajasthan, would be the setting for their extravagant, three-day marriage celebration, and the backdrop of our unprecedented film production – shot entirely on-location. We believe this to be the first ever live event/scripted concept production ‘hybrid’ film ever produced on this scale. It was shot entirely on DSLRs, the Canon 5D Mark2 and 7D.
Continue reading ‘“City of lakes”: Wedding Photography 2.0′