A Promise Kept: New Firmware for the Canon 5D Mark II is on the Horizon

On or about March 17, the Canon 5D MarkII moves a few steps closer to becoming the “ultimate” HDSLR motion-capturing camera. That’s when the long awaited firmware announced in the summer of 2009, bringing enhanced functionality to the camera’s video capabilities, becomes available for download. The improvements included in Firmware 2.03 are far beyond what many had envisioned when Canon originally announced the planned firmware update, and as outlined in a recent release by Canon, appear to be well worth the wait. The improvements and new features include the option of recording at 24 and 25 fps (NTSC and PAL respectively), an adjustment of the camera’s original frame rate of 30fps to conform with the NTSC protocol, manual adjustment of recording sound levels, a change in sound sampling frequency to match that of the 7D and 1D MarkIV, shutter and aperture priority movie shooting modes which give users control over shutter speed and aperture, and histogram display during manual exposure shooting. I can’t recall a camera manufacturer that has implemented this number of substantial changes to a product, and one which is nearly 18 months old at that. While the changes do not bring all of the resolution and frame rate options available on Canon’s newest models to the 5D MarkII, they do bring consistency to what are probably the most widely used frame rates available on Canon’s latest releases (7D, 1D MarkIV and Rebel T2i.) and the 5D MarkII. Those using multiple camera models will appreciate this.

The nature of the firmware changes underscores the fact that today's digital image-capturing tools are computers. It also confirms the belief of many that manufacturers have tremendous latitude to adjust and improve products, as well as add functionalities during their lifecycles; unfortunately, many do not, opting instead to release new products. Canon could have easily introduced a new model and left the 5D MarkII as is; thankfully, they did not. As a HDSLR, these changes make the Canon 5D MarkII with its full frame (35mm film-sized sensor) an undeniable value leader in terms of price, features and image quality. This is tremendous for those who have been shooting with it since day one, and have come to appreciate what it offers as well as understand and work around its limitations for video, both capture and after-capture workflow. With this firmware release, a stellar imaging machine will be getting even better. The fact that the firmware update is free makes this all the more compelling. While Canon has not announced or indicated that similar firmware upgrades will be made available for other cameras, 7D and 1D MarkIV users must be wondering if they are going to see some of these enhancements made available for those cameras as well.

Canon does acknowledge that the new advances are targeted specifically towards professional video users. Last month’s announcement of the EOS MOVIE Plugin-E1 which was developed to enhance the workflow for Canon HDSLR users editing with Apple’s Final Cut Pro software makes it abundantly clear that they feel there is a substantial professional videographer market for the 5D MarkII as well as their other HDSLRs. The fact is that as the Firmware 2.03 has been described, most video shooters, from the seasoned professional to the enthusiast to the novice, should benefit from the changes and enhancements to the 5D MarkII, although as is the case with all camera features, everyone may not take advantage of them: By way of example, people who are shooting video without recording sound, may not appreciate the significance of the audio control and/or the frequency change.

As the ranks of HDSLRs grow, the technology continues to evolve. Not everyone is going to be happy with some of the features or the lack thereof or the balance between still and video capture capabilities. It is difficult—if not impossible—for a product to be all things to all people. This is and will remain particularly true for multi-media capturing devices. As far as Canon and the 5D MarkII are concerned, the bottom line is that Firmware 2.03 represents a promise kept and then some.

For more details on the upcoming 5D MarkII firmware release, click here.

UPDATE 3/16: The 5D MarkII firmware is available now. Make sure you read and follow the instructions carefully.

The H(d)SLR Evolution – Beyond the Stills and (e)Motion

I was very excited with the announcements of the first HDSLRs nearly a year and a half ago. The promise of being able to capture some quick video clips while shooting stills was so alluring. During this period I have been shooting still and motion, I have not only shot clips as part of still projects, but ventured beyond. I asked myself if I was just getting caught up in the film making juggernaut or was there something else going on. After a lot of examination, I concluded that my thought processes and use of stills and motion was a natural evolution, which happens with availability, exposure and comfort. Do I consider myself a film maker or aspire to be one? Not by any stretch of the imagination, but I do find myself thinking about my work differently: I now consider motion capture as a part of my normal shooting options. Motion capture is also something clients looking for stills do not even know they want–until they see it.

While HD video is a feature which I showing up on a growing number of new DSLRs, it is still in its infancy and therein lies the problem: Whose baby is it? Is it for the enthusiast who is buying the camera primarily for still capability to capture personal images? The inclusion of HD video on entry and some mid level products from Canon, Nikon, Panasonic, and Pentax, would suggest that it is. Is it for the budding film maker? The changes that Canon in particular has made since the introduction of the 5D MarkII in frame rates and controls, says it is. The huge number of accessories available from manufacturers to make Canon, Panasonic, and Nikon HDSLR offerings more “movie maker” friendly, suggest it too.
And of course, the inclusion of video capture on the “professional” photojournalist and sports big guns from the big two DSLR makers suggest that the motion capture has professional overtone for even these primarily still shooters. It seems that the HDSLR is everyone’s baby!

The challenge for some HDSLR users is figuring out how to use this capability without taxing their budgets and intestinal fortitude as it relates to getting their motion work from the camera to the Web or small screen. This may describe the people who want to use the video capability without having to get into the intricacies of codec and wrappers or can warrant/justifying spending a “king’s ransom” to make their camera more video friendly. The good news is that they do not have to if they choose not to. They need to be thoughtful with respect to the equipment and software they are considering. They also need to remember before they start shooting that motion capture is about the visual story and sound.

Film makers and aspiring film makers have a different set of challenges. They understand the significance of the story and sound. The film maker is often working with other people with specific expertise and defined roles in the movie making process. They need to make a tool with drawbacks and limitations work for them. Obviously, the limitations pale in comparison to the benefits derived from the larger chip and greater depth of field control that HDSLRs and the lens options offer at a fraction of the cost of traditional movie cameras. How important are film makers to the HDSLR evolution? They are very important, and Canon, cites film makers’ desires and needs as a factor in changes and further development and refinement of their HDSLR offerings.

While the film maker is concerned about camera stabilization, more often than not, the concern is over stabilizing more than just the camera. A host of other accessories and equipment is often used to optimize their capture work. The need to attach sound equipment, focus follows, matte boxes, and monitors among other items. The film maker also has a different set of video editing needs and will usually require substantially more expensive and/or involved software solutions. The use of separate recording devices can add another level of complexity to after-capture work flow as the footage and sound must be synced, and multiple tracks of sound may be needed. The advantage the film maker picking up a HDSLR has over other users is a better understanding of its limitations, as well as what things they will need to make it work for them.

For the camera makers all of this means that they have a lot of markets to address and try to keep happy. A few years ago, the concerns were over dynamic range, improved autofocus, better in-camera white balance, and other things relevant to still capture. Today, in addition to having to address issues related to and improving still capture, the DSLR manufacturers have to address issues and enhancements related to motion capture. It will be interesting to see how everyone’s baby grows up.

To view the current issue of the guide, "Outfitting Your H(d)SLR" click on the embedded magazine below and enjoy checking out the H(d)SLR friendly gear.

"Outfitting Your H(d)SLR " a new resource for those shooting motion and stills

I am pleased to bring you our inaugural resource for H(d)SLR users, "Outfitting Your
H(d)SLR". The guide which will be published quarterly, is intended to provide information to those seeking to add accessories to their cameras to enhance the motion capture experience. I hope you find it informative and useful!
Byron

Click on the embedded magazine to view the publication full screen.

Welcome: H(d)SLRs in Motion goes to Photo Plus Expo 2009

As I was walking around the floor at PDN’s Photo Expo Plus surveying products that would be useful for motion capture while using a Video enabled DSLR, I was struck by the number of different names that are being used to describe these cameras: VSLR, VDSLR, DSLR with video, HSLR and HDSLR. The one name that I absolutely refuse to support is VDSLR. Imagines you are sitting in a restaurant and the person at the next table tells their lunch companion that their husband/wife/boyfriend/girlfriend/significant other gave them a "V-D-S-L-R last week!" I really wish we could agree to call them by one name, and the one that makes the most since to me is HDSLR. The “HD” can either stand for High Definition or Hybrid Digital - you can decide, but let’s adopt a standard shorthand/moniker!

Speaking of Photo Plus Expo, I wanted to kick off the entries on this site with the a few of the items being exhibited that can be used for still and motion capture that made me stop and want to know more. I call these items, “Floor Stoppers”

The first Floor Stopper of day two of the expo is courtesy of Canon. It is the wickedly “tricked out” 7d sitting atop a Redrock Micro shoulder mount rig, and outfitted with matte box, monitor, Litepanels Pro, and audio equipment at the Canon display counter. It is one thing to see a picture; it is quite another thing to see it up close and personal. Wow!

(Yes, there really is a 7D under all those accessories.)


The next “Floor Stopper” is a new continuous light from Lowell Lighting that can be used for still or motion, the Lowel Blender. The Blender, which is 4”x3”x3”, is a LED product that offers something unique: the ability to mix daylight and tungsten balanced LEDs in one fixture. The result is a degree of customization that is not offered on any other comparably sized LED light. The Blender can be run off of AC or can be powered by Panasonic, Canon or Sony camcorder batteries mated to the appropriate battery sled. The battery sled is either clipped to a belt or hung from a light stand. The Blender which is scheduled to hit retailers shortly has an MSRP of $750; however expect a lower street price.


Interfit‘s Monstar3 is also a Floor Stopper. The Monstar consists of three 150 watt daylight balanced fluorescents bulbs, which puts out the equivalent of approximately 600 watts of tungsten lighting per bulb. Since each bulb has a switch you have the equivalent of 600 to 1800 watts of hot lights at your finger tips. This is a nice range for still and motion work. The Monstar, which has a MSRP of under $450, comes with a 39” octobox, speed ring, light stand and carrying case.




So those were a few of the motion related items that grabbed my attention today. If you want to check out my Floor Stoppers from the first day of the Expo, visit my other blog:
http://hdhd.wordpress.com