Canon 7D - Confirmed? (YES)
11-09-2009, 10:24 AM
#685
Earth-bound misfit
I got to put the servo through a workout at a 3-day event this weekend. It was flawless. I only dropped focus once, and it was clearly user error, as the little red box displaying my selected focus point was most definitely in front of the horse for those 2 frames!
I forgot to change the settings to activate the surrounding focus points to assist. Really, it was beautiful.
11-09-2009, 10:43 AM
#686
11-09-2009, 11:28 AM
#687
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I got to put the servo through a workout at a 3-day event this weekend. It was flawless. I only dropped focus once, and it was clearly user error, as the little red box displaying my selected focus point was most definitely in front of the horse for those 2 frames!
I forgot to change the settings to activate the surrounding focus points to assist. Really, it was beautiful.
Great news! And 
at the fluffy smilie.
11-09-2009, 11:29 AM
#688
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The improved servo mode is something I could really use for sports shooting. I'm afraid the 40D is lacking in this area, though great in most other areas.
11-09-2009, 11:32 AM
#689
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11-09-2009, 11:37 AM
#690
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I agree. It's one of the main reasons I took the chance on the upgrade. That, and I needed a backup body anyway. So far I'm very happy with it. I just need to figure out the 50mm (which is of course another topic). I had the 24-105 mounted on it for 1000+ frames in all kinds of lighting scenarios over the weekend without a single focus issue aside from the 2 frames that I know are my fault. That's really damn good.
I'm glad to hear you like the camera.
11-09-2009, 01:00 PM
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11-09-2009, 10:47 PM
#692
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off topic - My friend asked me if there was something up with his 5dmkii cuz he says hes better of shooting one - shot at a basketball game?
He said servo just didn't work for him. any suggestions on that
He said servo just didn't work for him. any suggestions on that
11-09-2009, 10:55 PM
#693
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what lens was he using?
11-10-2009, 01:00 AM
#695
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Okay, I posted some pics:
http://lishutterbug.com/09-11-10-nybgc/
Not the best pictures I've ever taken - I blew focus on a lot of pics. Not sure why. Too bad Lightroom can't show focus points - I'll have to cross reference with dpp (or the LCD maybe).
But anyway, it's good starter to see what the noise is like.
I think 7D's 3200 compares with my 40D's 1600. 6400/12k are obvious color noisy but uhhhhh, it's freakin' 6400/12k. It's hard to complain about color noise when you're outside, shooting 10 minutes after sunset, with no flash.
- Frank
http://lishutterbug.com/09-11-10-nybgc/
Not the best pictures I've ever taken - I blew focus on a lot of pics. Not sure why. Too bad Lightroom can't show focus points - I'll have to cross reference with dpp (or the LCD maybe).
But anyway, it's good starter to see what the noise is like.
I think 7D's 3200 compares with my 40D's 1600. 6400/12k are obvious color noisy but uhhhhh, it's freakin' 6400/12k. It's hard to complain about color noise when you're outside, shooting 10 minutes after sunset, with no flash.
- Frank
11-10-2009, 01:15 AM
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11-10-2009, 03:23 AM
#698
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If anything it's probably operator error. The center point on the 5D should be decent enough for sports.
Tell him to try servo but with the lens stopped down to 2.8 or so.
I remember when i first started out, I had my XTi and used the 50mm 1.8 to try and get shots. I missed alot because the dof was so thin
ohh and the 135L should af fast enough. I hear people use that lens alot for indoor sports.
Tell him to try servo but with the lens stopped down to 2.8 or so.
I remember when i first started out, I had my XTi and used the 50mm 1.8 to try and get shots. I missed alot because the dof was so thin
ohh and the 135L should af fast enough. I hear people use that lens alot for indoor sports.
11-12-2009, 01:26 AM
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11-12-2009, 01:36 AM
#702
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Yeah the reality is that is nothing.
Panavision has had an available canon mount for years. Back when they were pioneering a "preview system" Where they sent a canon digital SLR, thermal printer, laptop and tech out to the DP so he could test test shots and see how his film will look.
So, now a few people who have ins there have gotten the mount and used their lenses.
There is a shot of a 5D with an 3-1 Anamorphic zoom...Thats about a 30lb or more lens that it about 2.5' long.
Panavision has had an available canon mount for years. Back when they were pioneering a "preview system" Where they sent a canon digital SLR, thermal printer, laptop and tech out to the DP so he could test test shots and see how his film will look.
So, now a few people who have ins there have gotten the mount and used their lenses.
There is a shot of a 5D with an 3-1 Anamorphic zoom...Thats about a 30lb or more lens that it about 2.5' long.
11-12-2009, 01:38 AM
#703
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11-12-2009, 01:39 AM
#704
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Here is a pic of one with a 11-1...imagine a zoom twice as long and 3x as heavy
11-12-2009, 01:41 AM
#705
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seriously? lol
11-12-2009, 01:41 AM
#706
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Heres the pic....this lens is the bane of almost all camera assistants existence...so fucking massive and heavy...
11-12-2009, 01:43 AM
#707
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exactly how painful is it for you to post these pictures? heh
11-12-2009, 01:45 AM
#708
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If I have to shoot a DSLR....I'd want to use Panavision lenses if possible
They are considered some of the best optics in the movie industry. Have been for 40 years.
I just think that anamorphic zoom is retarded...I hate that lens regardless of what camera its on. And think about it...the lens is anamorphic. That means its squeezing the image onto the chip...increasing the amount of information being ingested. When its uploaded and unsqueezed you have one hell of an image.
They are considered some of the best optics in the movie industry. Have been for 40 years.
I just think that anamorphic zoom is retarded...I hate that lens regardless of what camera its on. And think about it...the lens is anamorphic. That means its squeezing the image onto the chip...increasing the amount of information being ingested. When its uploaded and unsqueezed you have one hell of an image.
11-12-2009, 01:45 AM
#709
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crazy.
i guess since i dont see this on a daily basis its nuts to me.
11-12-2009, 01:46 AM
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11-12-2009, 01:50 AM
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11-12-2009, 01:51 AM
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11-12-2009, 01:54 AM
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11-13-2009, 10:06 AM
#714
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The new season of NBC’s Saturday Night Live debuted not only with an a new cast, but with a new look for the opening title sequence as the entire opening montage was shot using the Canon EOS 5D Mark II and the new EOS 7D digital SLR cameras. The concept behind the opening sequence was portraiture
as the director and crew looked to capture “living” portraits of the city, the cast and the unique characters that make up the New York City nightlife.
The crew wanted to capture the city nightlife in as natural a look and setting as possible. This meant minimal additional lighting, and making those on-camera feel comfortable to act naturally. Their solution was the Canon EOS 5D Mark II and Canon EOS 7D Digital SLR cameras, with their amazing low-light performance, small form factor, and amazing depth-of-field, which enabled the crew to shoot in predominantly ambient light without big lighting gear. The crew also found it easy to covertly shoot around the city without drawing a crowd.
The entire sequence was shot using a combination of Canon’s full-frame EOS 5D Mark II and the selectable frame rates of the EOS 7D Digital SLR cameras. Filming at night, the new stars of the hit TV show were shot in various New York City hotspots by a small crew discretely capturing the cast as they participated in select New York happenings. The entire segment was captured and edited in a week’s time, incorporating 30p footage from Canon’s 5D Mark II as well as 60p footage used for slow-motion segments shot with Canon’s EOS 7D Digital SLR camera.
The end result was that the cast and crew were able to shoot in any location – from the Brooklyn Bridge, which has limited ambient light, to a dimly lit street corner, to a more controlled bar interior – using only an on-camera Litepanels MiniPlus for most of the exterior shots and two Kino Flo lights for an interior shot that required some illumination enhancement. The lack of heavy equipment allowed the crew to move around the city quickly and shoot in some tight spaces.
Both cameras record video up to 4GB clip length, depending on the level of detail in the scene, a 4GB clip can record approximately 12 minutes of video at full HD resolution or approximately 24 minutes in standard definition. For both the Canon EOS 7D and EOS 5D Mark II, sound is recorded either through an external stereo microphone or a built-in monaural microphone.
as the director and crew looked to capture “living” portraits of the city, the cast and the unique characters that make up the New York City nightlife.
The crew wanted to capture the city nightlife in as natural a look and setting as possible. This meant minimal additional lighting, and making those on-camera feel comfortable to act naturally. Their solution was the Canon EOS 5D Mark II and Canon EOS 7D Digital SLR cameras, with their amazing low-light performance, small form factor, and amazing depth-of-field, which enabled the crew to shoot in predominantly ambient light without big lighting gear. The crew also found it easy to covertly shoot around the city without drawing a crowd.
The entire sequence was shot using a combination of Canon’s full-frame EOS 5D Mark II and the selectable frame rates of the EOS 7D Digital SLR cameras. Filming at night, the new stars of the hit TV show were shot in various New York City hotspots by a small crew discretely capturing the cast as they participated in select New York happenings. The entire segment was captured and edited in a week’s time, incorporating 30p footage from Canon’s 5D Mark II as well as 60p footage used for slow-motion segments shot with Canon’s EOS 7D Digital SLR camera.
The end result was that the cast and crew were able to shoot in any location – from the Brooklyn Bridge, which has limited ambient light, to a dimly lit street corner, to a more controlled bar interior – using only an on-camera Litepanels MiniPlus for most of the exterior shots and two Kino Flo lights for an interior shot that required some illumination enhancement. The lack of heavy equipment allowed the crew to move around the city quickly and shoot in some tight spaces.
Both cameras record video up to 4GB clip length, depending on the level of detail in the scene, a 4GB clip can record approximately 12 minutes of video at full HD resolution or approximately 24 minutes in standard definition. For both the Canon EOS 7D and EOS 5D Mark II, sound is recorded either through an external stereo microphone or a built-in monaural microphone.
11-13-2009, 10:31 AM
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http://www.nbc.com/saturday-night-li...divan/1161213/
bladdivan segment on SNL shot with both the 5D and 7D.
and engadget is reporting that the SNL intro sequence is shot entirely on a 7D.
http://philipbloom.co.uk/2009/09/29/...non-7d-and-5d/
bladdivan segment on SNL shot with both the 5D and 7D.
and engadget is reporting that the SNL intro sequence is shot entirely on a 7D.
http://philipbloom.co.uk/2009/09/29/...non-7d-and-5d/
although yours has more information about it.
we're so behind the times.
11-13-2009, 10:10 PM
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this guy reminds me of Cleveland.
11-16-2009, 12:42 PM
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11-18-2009, 09:00 PM
#720
Camera Raw 5.6 is out