An amateur journey of digital recording
Posts tagged Canon 7D
Sachtler Cine DSLR fluid head
Sep 23rd
Sachtler, a Vitec Group brand, presents a new fluid head specially designed for DSLR filmmakers. The Cine DSLR has a payload range of 2 to 11 lbs (1 to 5 kg) and is thus ideal for state-of-the-art digital single-lens reflex cameras with HD video function. A counterbalance in ten steps as well as three vertical and horizontal grades of drag allow for professional operation. In addition, the Cine DSLR comes with a special camera plate with an anti-twist retainer for HD DSLR cameras.
“If a video-enabled DSLR is being used for filming, precise panning and tilting are only possible with fluid heads equipped with a corresponding tilt range. And it also requires well-engineered damping,” explains Barbara Jaumann, Product Manager at Sachtler. For smooth horizontal and vertical pans, the new Cine DSLR fluid head works with the fully developed technology of the big Sachtler heads: The 3-step damping is based on the patented Sachtler damping system. “In comparison to other manufacturers, our fluid heads in this payload range offer extremely soft and finely graded damping,” says Barbara Jaumann.
Speedbalance technology for fast counterbalance
The new Cine DSLR fluid head works with Sachtler Speedbalance technology that enables a fast and target-oriented counterbalance of the camera set-up. The long sliding range of the camera plate as well as the self-illuminating Touch Bubble are practical features of the new head. The Cine DSLR has a tilt range of +90° to -75°.
The Cine DSLR is lightweight, compact, and easy to transport. It has a robust metal housing that dependably protects it from exterior influences. Thanks to the special Sachtler lubricated oil damping, filming is also possible in extreme temperature ranges, as the damping is not negatively influenced by them. With the Cine DSLR, Sachtler offers professional photographers and filmmakers alike an authentic, professional fluid head for filming with video-enabled DSLRs.
For more information visit www.sachtler.com or contact: Sachtler, 709 Executive Blvd., Valley College, NY 10989, Phone: 845-268-0100, Fax: 845-268-0113, Email: info-cd-usa@vitecgroup.com
Vinten’s Vision blue Pan Tilt Head and Tripod System
Sep 7th
Vinten®, a Vitec Group brand and a global leader in camera supports, is launching its new Vision blue at IBC2010. This new, competitively priced pan and tilt head and tripod system is designed to provide the experienced camera operator with professional support to match the extremely high-performance of today’s popular small lightweight camcorders and DSLRs equipped for video.
Vision blue addresses the need for a broadcast quality tripod system capable of genuinely balancing the smaller, lightly accessorized cameras, managing payloads between 4.6 – 11lbs (2.1 – 5kg) with a low center of gravity of approximately 55mm.
The Vision blue head incorporates Vinten’s innovative and award winning Perfect Balance technology, an integral part of Vinten’s existing Vision range, which enables consistent movement and easy positioning of the camera at any angle helping operators to achieve perfect shots with minimal effort. It also features infinitely adjustable Vision LF drag technology for silky smooth movement and precise framing. This functionality has never before been available for such light cameras, and will bring a new consistency of movement to every user.
The Vision blue is sold as a pan and tilt head, or as complete system with a two-stage aluminum tripod and a choice of floor or mid-level spreader. It also includes a high contrast blue LED illuminated leveling bubble for quick and accurate set-up in all lighting situations.
“All camera operators and professional videographers want the same thing: smooth, predictable and controllable movement; fast set-up; and a reliable product,” said Peter Harman, Vinten product manager.
“With Vision blue, we can now bring true Vinten Vision performance to users – ensuring for the very first time – that operators of the smallest professional cameras can work without creative compromise. We know this is something the market has been waiting for and we are delighted to be able to showcase the Vision blue for the first time at IBC2010,” concludes Harman.
For further information, please go to www.vinten.com or contact: Vinten, 709 Executive Blvd., Valley College, NY 10989, Phone: 1 888 2 Vinten, Fax: 845-268-0113, Email: info-cd-usa@vitecgroup.com
Lighting, Lighting, Lighting – Shooting in 720p versus 1080p
Sep 2nd
I recently attended the Cincinnati JACL Potluck. Great food and company and Taiko Drummers. The room was relatively small. To shoot the video, I used the Tamron 17-50mm f2.8 VC lens my Canon 7D with my zoom H4n for audio. Finally, I matched up the audio and video using Final Cut Express. (Can’t wait to get FCP)
First, it was a very good thing i decided to use the Zoom H4n for audio. When I got home, the audio off the Canon was severely clipped and sounded like, well… you know what it sounded like. In order to get the transients corrrect on the H4n, I had to manually reduce the recording level to 20 (Which is real low). The results speak for themselves. The audio really does capture the dynamics that we experienced live.
For the first video, I thought I would try to record in 720p 60fps. My thought process was that the high speed of the drummers would be better captured at the higher frame rate. When I looked at the full res version of the video I was, not impressed. Here is the video below.
720p 60fps + Low Light = Digital Noise!
I was really surprised to see all the digital noise on the drum casing. At first, I thought is was an issue with the lens. Luckily, I recorded one of their later songs (performance?) in 1080p 24fps. There is a significant difference. See the video below.
1080p 24fps + Low Light = Less Digital Noise
Even in the compressed youtube version, you can still see a significant improvement in the digital noise. What gives. So I looked at my settings for my Canon 7D. In the 720p mode, I have the shutter speed set to 125 or roughly double what the fps (frames per second) spec of this recording mode. In the 1080p mode, I have the shutter speed set to a lower 50 speed. From these settings I can assume that more light will get let in at the lower setting. This makes sense.
Conclusion
I guess I learned the hard way that if you shoot at higher frame rates, you need more light. Duh. The ambient light was not enough to prevent the digital noise captured in the 720p mode. Good lesson. Let me know what you think.