2nd Edition of Beyond Stills, e-Book for HDSLR Users, Now Available

The revised and expanded second addition of the e-book Beyond Stills: HDSLR Motion Capture for the Non-Filmmaker is now available. The second edition includes a more general discussion of HDSLR and interchangeable lens - mirror-less camera settings and operations regardless of brand, as well as discussion of the including menus, movie settings, and operations of Canon and Nikon HDSLRs including the Canon 60D, the Nikon D7000 and the D3100. The First section of the book focuses on the Camera - operations and settings; Part 2 of the book focuses on accessories to help facilitate motion capture; and the third section focuses on motion capture techniques. The book includes exercises which will better allow you to understand how your camera will behave under different shooting conditions. Additionally, the Interactive Resource Guide, which allows readers to access product and other information from manufacturers and was originally a separate publication, has been incorporated into the e-book. To view a video preview of the content, click on the thumbnail in the video bar to the right.
For more information or to buy Beyond Stills, click here .

A free copy of second edition of Beyond Stills is available to all those who have proof of purchased the first edition. If you purchased the first edition of the book from this site, your download instructions will be sent to you directly. If you purchased the book from the iBook Store, please contact me at Info@theimagician.com.

Be sure to check out the available Premium Content on the Beyond Stills site.

Reflections on HDSLRs and Imaging

Over the first seven months of 2010, some of the most interesting imaging products and product announcements have come from segments of the imaging market other than the HDSLR/DSLR segment. Other than the Canon 5D MarkII Firmware update/upgrade, there has been silence on the HDSLR front so far this year. This will undoubtedly change over the next few weeks, as many camera manufacturers will be unveiling their latest products since August typically signals the start of their new product announcement season. Additionally, some manufacturers may have been holding back and timing announcements to be made closer to the start of September’s biennial Photokina imaging exposition in Cologne.

The growth in the number and popularity of small interchangeable lens mirror-less cameras like those offered by Panasonic, and Olympus, followed by Samsung, and Sony has been surprising to some. It is a testament to the fact that DLSR-sized sensor and image quality need not be packaged in a larger body, and confirmation that there is an element of the camera-shooting public that is attracted to smaller options. The recent revelations by Nikon and Canon that they too are working on small-body interchangeable lens cameras, (and in Nikon’s case “with enhanced video performance”), should come as no great surprise to anyone. In 2009, Leica demonstrated with its M9, that a full frame, 35 mm size sensor need not be housed in a bulky and/or heavy package, and imaging manufacturer Ricoh pushed the envelope with a modular interchangeable lens/sensor unit with its GXR camera.

Between the growth in smaller form-factor still/video enabled cameras with: RAW capability; continuous auto focus during video capture; enhanced/articulating LCD screens; the growing number of optics becoming available (including the announcement by Panasonic of the development of a 3-d µ4/3 lens,) coupled with the announcement of dedicated interchangeable lens movie cameras from Panasonic and Sony with DSLR-sized sensors, some have opined that the run of the HDSLR as a movie making/motion capture tool may be coming to an end. The question is “Will the HDSLR become the technological equivalent of the two-minute man?”

HDLRs appeal to many different audiences. The wide selection of lenses and camera bodies at various price points and the resulting capabilities underscore their versatility. While the small interchangeable lens camera segment grows in number and popularity, the number of lenses available for them at this time, pales in comparison to the range of lenses available for HDSLRs/DSLRs. As is often the case, sometimes the needs of one audience for a particular product overshadow the needs of others. The focus on filmmakers’ use of HDSLRs and contests for filmmaking often seems to garner more attention than use for and/or by other types of users: The wedding photographer who uses it to capture some motion memories; the photojournalist in the field; the parent shooting stills that sees an opportunity to catch a moment where the kids are running; or the person who is shooting stills and sees a moment to capture something they want to share with their friends on Facebook. For filmmakers, HDSLRs are allowing access to high definition motion capture and creativity with DOF and framing given the lens options at extremely attractive prices. For the person aspiring to make films, they offer an inexpensive entry into the arena. For many aspirants, an $800 offering like the Rebel T2i will be a more attractive proposition than a dedicated $2,000 or $6,000 movie camera with a DSLR-sized sensor despite the HDSLR’s perceived shortcomings. I’ll be the first to admit that HDSLRs do not have many of the creature comforts offered by the average consumer camcorder, but then what camcorder up to this point has offered the creativity and flexibility associated with interchangeable lenses and full resolution RAW still capture? Some of the critics of the auto focus capabilities and clip limits of most HDSLRs fail to mention that for most movie makers or television productions, projects are shot using manual focus; and movies are filmed in scenes or clips, rather than extended continuous action.

The focus on filmmaking has also implied that HDSLRs need to be outfitted with expensive accessories to be functional. Critics of the HDSLR as a filmmaking tool rarely mention that filmmakers have been outfitting dedicated movie cameras with all kinds of accessories to improve operation long before the arrival of the first HDSLRs. Movie cameras have routinely been mounted to video tripods with fluid heads, and on stabilizers like the Steadicam® Merlin™ and the Glidecam to achieve the best results. There are and have been numerous products available to enhance consumer camcorder performance as well. The use of matte boxes, external monitors, follow-focus, rails, dollies, and gliders all pre-date the Nikon D90 and Canon 5D MarkII, as have the need for external microphones and other sophisticated equipment for motion capture sound recording. These facts are easily overlooked as HDSLRs seem to have spawned a “unique and robust” accessory market.

I am constantly amazed at the number of people who tell me they have not explored the video capability of their camera because they don’t have or want to buy the numerous accessories to make them functional: or that they don’t want to spend a king’s ransom for editing software. They are unaware that a tripod, a monopod, a flat surface or even just a camera strap pulled taut against the neck, is all they need to get started capturing motion or that there are very capable editing software options that are attractively priced or—best of all—free.

There is no doubt that we live in a multi-media age. For the person shooting stills and prefers the DSLR form factor, whether they earn a living at it or just do it for enjoyment, HDSLRs offer an opportunity to mix things up in a single package. And none of the cameras/packages available to date or those that have been announced are 100 percent perfect for every use. I maintain that the most capable camera is the one that is in your hand or bag. Each of us is responsible for understanding its strengths and weaknesses and putting it to use to our best advantage.

There is no doubt in my mind that the HDSLR will be around for quite a while. As they continue to evolve, it will be important for the manufacturers to incorporate the amenities that the larger consumer groups desire, rather than just those desired by filmmakers. Some of the features we will see in the near term include:

• The availability of continuous auto focus during video capture.

• Faster AF during video capture

• The ability to capture still image and video simultaneously without interruption

• Articulating LCD screens

• Better sound dampened dedicated auto focus lenses

What I have come to realize is that imaging is at a crossroad. The crossroad is not the convergence of still and motion because we have been there for a while even though some people have refused to acknowledge it, but the crossroad of cameras shedding their analogue lineage and truly becoming electronic devices. Thanks to live-view, sharper displays and now video, DSLR shooters are embracing and relying on the LCD screen display (as most point & shoot and cell phone-camera users have) more and more. HDSLRs have also helped to redefine the concept of what a “professional” camera is, as some amazing projects have been shot with cameras that are classified as “consumer/pro-sumer cameras” in many still photography circles. There is a certain irony to hearing someone boast that “I use the same camera and lenses to shoot video of my kids in the backyard, as they used to shoot the last episode of House.”

HDSLR Camera Accessories: White Balance Aids and Remote Controller Options

White Balance: The Foundation of Color Accuracy and Creative Editing
A white balancing reference aid can be an invaluable tool to take along with your HDSLR for use before and during motion capture. The reasons to custom or manually white balance your HDSLR video footage are the same as for doing it for still work: It allows you to make the decisions with respect to your color accuracy rather than relying on the camera to do so, and enables you to maintain greater control and consistency throughout your shoot. Setting a custom or manual white balance can reduce the need for some color corrections during the editing process. Additionally, accurate color capture is an excellent departure point for creative grading. While white balance is often spoken of in terms of color accuracy, it is as much about a pleasing appearance and /or the look you choose to create. If you are just beginning to shoot video and are editing with software that has limited color correction options, setting a manual or custom white balance may become even more important.

There are two ways to achieve in-camera custom/manual white balance:  The incident or reflective methods. The incident method of white balancing  involves placing a neutral "filter" over the camera lens and shooting a reference frame from the position of your subject, to measure the light and color of light hitting the subject. Popular aids using the incident method include Expo Imaging’s Expodisc and the Brno BaLens cap. The reflective method involves shooting a neutral gray or white card, and capturing and measuring the color of the light reflected by the card from the subject position back to the camera sensor for the reference frame. Products such as WhiBal, Vortex Media’s White Balancing Reference System, and a host of other 18% grey or white card-type products use the reflective method of measurement. Whichever method you use, the reference frame is used to set the custom white balance (you should refer to your camera manual for specific instructions as to how to use the reference frame to set the custom white balance).  As lighting conditions change, you should repeat the process for the best results. Is one better than the other? It really comes down to a matter of choice. Choice also extends to product price-points as there are white balance aids available at a variety of prices.

While there is a lot to be said for using products that have been manufactured to be color neutral or expressly to warm, cool or produce other specific results, there are people who use items like coffee filters and translucent plastic lid caps, as well as simple white paper or fabric to white balance. A word of caution, about using some of these products: White paper and fabric often contain brighteners or bleach which reduces their neutrality, and can result in color cast, so be careful.

Remote Controller Options for Canon’s 5D MarkII, 7D, Rebel T2i, and Rebel T1i Cameras

Do not underestimate the ability to stop and start the video functions of your camera via a remote controller. The benefit is that to the extent you do not have to touch the camera, you reduce the potential for causing camera shake. And with options from Canon that retail for under $30, the remote controller units should be essential for HDSLR shooters. The Canon RC-1 and the RC-5 (as well as the newly announced RC-6 remote controller) are capable of starting and stopping  camera video recording. The main difference between the RC-1 and RC-5/6 is that the RC-1 can be used for instant shutter release or a two second delay for still shooting while the RC-5/6 only has the two-second delay for stills. For stopping and starting video, you set the camera drive to one of the timer release modes. With the RC-5/6 you are ready to start your video by pressing the release. With the RC-1, you simply slide the switch to the #2 position and you can start and stop video recording by depressing the release button.  There is no delay when the controllers are used for video work.  Now the one drawback to the Canon remote controllers is that they require proximity and/or line of sight to the camera’s Infra-Red (IR) lamp on the front right side. I indicate proximity because depending on the camera model and the placement of the IR lamp,the start-stop can sometimes be activated if the controller is close enough without actually  having direct line of sight; but I would not want to take a chance or advise users to count on proximity working in the majority of situations.  Always strive for line of sight.

In order to address the proximity issue, Long Island-based Switronix has developed the Flex DSLR remote, the base of which can be mounted to a tripod or stabilizer. The Switronix unit uses a flexible gooseneck to allow the remote optical trigger to be placed in front of the camera’s IR sensor. The ability to position the optical trigger in this manner results in flawless wireless stop-start of the video functions without having to hold a remote controller in your hand.  While the Flex DSLR which sell in the vicinity of $150, is expensive relative to the Canon remote options, many users, especially those using the cameras for professional applications, will find it an attractive and viable solution.

So there you have it-- some additional items to consider adding to enhance your HDSLR motion capture experience. Feel free to click on the product insert below to get more information on some of the products mentioned in the entry as well as a few others which are noteworthy. Please note that the white balance products in the inset utilize the incident method of measurement. A separate entry on white balance aids which use the reflective method will be posted within the next few weeks in our companion blog www.hdhd411.com.
Click on the image below to enlarge.



Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.

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.

A Light and Portable Handheld HDSLR Stabilizer From Cavision

Recently, I was getting ready to go out and shoot some stills and motion for a personal project, and needed to travel as lightly as possible; this meant no monopod, tripod or larger stabilizer for video capture. I wanted a stabilizer that I could fit in a small to medium size camera bag, that was easy to store, required minimal assembly, and was lightweight for use with my 5D MarkII. My search led me to the Cavision Single DSLR Handgrip with Integrated Viewfinder. The Handgrip package is available for both the 5D MarkII or the 7D. (The difference between the 5D package and the 7D package is an additional spacer plate required because of the camera size differentials.)

On paper the handgrip package has a lot going for it: it is compact and the handle folds down, has an integrated swing away viewfinder which offers 6x magnification, is lightweight and best of all, is priced at $199. So I ordered one from a local retailer.



The stabilizer delivered all that it promised. It is lightweight, easy to get in my bag with the camera attached or detached, and nicely finished. No instructions are required as it is obvious that the camera is mounted by screwing it to the mounting plate. It also takes about two seconds or less to figure out how to engage and disengage and lock the hinged viewfinder. In terms of stability, with the camera mounted to the rig, there are three points of stability: One point at the hand grip, a second point at the eyecup and a third point can be established by the free hand, should you choose to place it on the camera.

In real world shooting, it works quite well with my collection of normal zooms and sub-200mm primes. But mounting the 70-200 zoom on it was challenging for me after a few minutes because the lens weight and length makes the rig front heavy. The viewfinder is a mixed blessing. I love the magnification; but it does not have a diopter adjustment which some users might prefer, nor is the viewfinder focusable. There is a price that one pays for the 6x magnification factor: There is some visible pincushion distortion (the corners bowing inward) when you view the LCD through the viewfinder. I mention this because some people may be disturbed by the visual effect of viewing the LCD where the corners lose their flat perspective and it potentially could affect critical manual focus of off-center subjects. I gave the rig to a couple of other photographers and they only became aware of the effect after I pointed it out. I did confirm that representatives of Cavision are aware that there is some pin-cushioning as a result of the higher magnification factor of their viewfinder. If you are using autofocus prior to the commencement of motion capture, the pincushioning if you notice it, is only a visual annoyance.

According to Bernie Koth-Kappus of the Vancouver based company, “We do have a wide variety of products for DSLR cameras, both at varying price points and for various different functions. One of Cavision’s primary goals is to create products that are universal and can fit a large variety of cameras. Because most of our systems are customizable and we already have many different types of components available, we can usually come up with a configuration for almost any camera.” As the HDSLR market continues to develop and mature, the ability to deliver products for various camera bodies and configurations is going to become increasingly important. In addition to the spacer plate to allow the 5D MarkII and the 7D to use the same stabilizer solutions, Koth-Kappus cites the development of a setup that would be suitable for the 5D MarkII with battery grip or Beachtek adapter (shown below on a shoulder mount stabilizer with extra accessories)



as examples of the ability and commitment Cavision has to crafting solutions. The company has an impressive lineup of attractively priced HDSLR related products from handheld stabilizers to shoulder mounts with follow focus ranging from $75 to around $900USD. Click here to visit Cavision’s website.

Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration.


As always we invite you to look through the current issue of "Outfitting Your HDSLR" by clicking on the pages on the embedded magazine below: