Showing posts with label hdslr cameras. Show all posts
Showing posts with label hdslr cameras. Show all posts
Monday, March 7, 2011
The Current Range of HDSLR and ILML Cameras
An updated and expanded edition of Going Beyond Stills: HDSLR and Interchangeable Lens - Mirror-less (ILML -because we hate referring to them as EVILs) Cameras is now available. You can view it by clicking on the "image" embedded below.
Friday, January 14, 2011
New Post Coming the Week of 1/17
Hey friends and readers,
I hope the Holiday season was a good one for you. I'm Finishing up a new HDSLR related post which will be be published early next week. In the meantime, feel free to enjoy the recent post in our sister blogs:
HD Imaging and a Few Thoughts Post-CES 2011 at http://hdhd411.com/
and
Going Beyond Stills: Is it the HDSLR or Other Things that Really Matter at: http://beyondstills.com/
Best Regards and Happy Imaging!
I hope the Holiday season was a good one for you. I'm Finishing up a new HDSLR related post which will be be published early next week. In the meantime, feel free to enjoy the recent post in our sister blogs:
HD Imaging and a Few Thoughts Post-CES 2011 at http://hdhd411.com/
and
Going Beyond Stills: Is it the HDSLR or Other Things that Really Matter at: http://beyondstills.com/
Best Regards and Happy Imaging!
Tuesday, December 21, 2010
2nd Edition of Beyond Stills, e-Book for HDSLR Users, Now Available
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.
Tuesday, November 16, 2010
2010 Holiday Ideas To Take Your Imaging Beyond Stills
Recently, I've gotten numerous e-mails from people asking about accessorizing their HDSLR for motion capture. So I decided to put together a little "guide" of holiday gift ideas that includes some of my favorite "affordable" HDSLR accessories and gear: With the exception of the cameras, most items listed are below $200. I actually own and use every piece of equipment listed. Additionally all the equipment is available at B&H.
If you want to see the gear upfront and personal and you have any question about this gear, gear in general or HDSLR motion capture, join me on Thursday December 2 from 11to 1 in the B&H Event Space. For more information or to register for the event click here.
The revised and expanded 2nd Edition of Beyond Stills: HDSLR Motion Capture for the Non-filmaker will be available shortly. The Second Edition has been revised and expanded to include a more general discission of camera settings and controls regardless of brand, as well a sections which cover the menus and movie controls for the latest Canon and Nikon releases. Much of the information and the links to product Websites that was formerly included in the seperate Interactive Resource Guide have been incorporated in the second edition. A notice will be posted here when the book is available. In the meantime, please enjoy idea guide! To view the guide, click on the publication embedded below.
If you want to see the gear upfront and personal and you have any question about this gear, gear in general or HDSLR motion capture, join me on Thursday December 2 from 11to 1 in the B&H Event Space. For more information or to register for the event click here.
The revised and expanded 2nd Edition of Beyond Stills: HDSLR Motion Capture for the Non-filmaker will be available shortly. The Second Edition has been revised and expanded to include a more general discission of camera settings and controls regardless of brand, as well a sections which cover the menus and movie controls for the latest Canon and Nikon releases. Much of the information and the links to product Websites that was formerly included in the seperate Interactive Resource Guide have been incorporated in the second edition. A notice will be posted here when the book is available. In the meantime, please enjoy idea guide! To view the guide, click on the publication embedded below.
Wednesday, November 10, 2010
The Recoil: A Sub-$100 Shoulder-mount Stabilizer from Ikan
Image Courtesy of Ikan
There is a lot to like about the Recoil, a shoulder mounted stabilizer from Ikan: It is light; portable; offers three points of body contact; and best of all, is attractively priced at just under $100. The Recoil is made of a resin composite which accounts for its light weight and durability. The Recoil consists of a padded shoulder hook-arm/adjustable chest pad assembly, a long base plate, a short riser base plate, and a grip. According to Ikan, when using just the long base plate, the Recoil can support a load of up to ten pounds. The beauty of the recoil is that the base plates and grip offer a degree of customization for users. By way of example, I have mounted the short riser in the reverse of what is shown in the Ikan instruction guide in order to shorten the distance between my eye and the LCD display. The Recoil also can be used in conjunction with Ikan’s Element Fly series of stabilizers offering the ability to accommodate additional accessories that Ikan offers such as lights, monitors, and their Friction Focus.
Photographer Ron Herard puts my Recoil through the paces with a Canon 60D onboard (above and below.)
The thing I really appreciate most about the Recoil is the fact that the adjustable chest pad allows one to achieve a tight fit whether you are wearing a tee shirt or a sweater or an over coat. No matter what apparel I have had on, the Recoil fits snuggly and provides enough stability that I have had no problems adjusting my camera with minimal to no discernable shake. I do want to add that the chest pad may not be universally appreciated by all users: Some people will like it and others will not. From my perspective, it is the combination of the shoulder hook and chest brace assembly coupled with your hand placement, either on the camera or on the handle, that make this stabilizer so effective. As snugly as the Recoil may be adjusted to fit you, it is not intended to be used hands-free.
The one concern I do have about the Recoil is the durability of the foam used for the shoulder and chest pad. It is very dense, but a substantial amount of the chest pad is outside of the support plate. After thinking about this concern, I’ve decided to cross that bridge if and when it happens.
The Recoil has a MSRP of $99.99. In addition to the items previously mentioned, the Recoil comes with a storage/carrying pouch and an additional piece of foam for use between the base plate and some camera models.
For more information on the Recoil, visit http://www.ikancorp.com/
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.
This article is protected by Copyright and may not be reproduced in part or as a whole in any electronic or printed medium without prior permission from the author.
Tuesday, August 17, 2010
Beyond Stills: the Interactive Resource Guide for HDSLR users
The Beyond Stills Interactive Reource Guide for HDSLR users is now available for viewing by clicking on the embedded publication below. The Guide which is the companion publication to the e-Book Beyond Stills: HDSLR Motion Capture for the Non-filmmaker, contains information on various products and accessories which can assist with and enhance motion capture with HDSLRs and other interchangable lens cameras. There are links to manufacturer's Websites where you can get additional information on the products they offer.
For more information on the Beyond Stills e-Book and to preview the book, click here.
Enjoy the Guide and spread the word!
For more information on the Beyond Stills e-Book and to preview the book, click here.
Enjoy the Guide and spread the word!
Tuesday, August 3, 2010
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 ยต4/3 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.”
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 ยต4/3 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.”
Monday, June 14, 2010
HDSLR Cameras: Products to Watch For
Periodically we will bring products to your attention that are new and noteworthy.
HDSLR Stabilization: Hoodman Style!
Hoodman, the California-based company that brought us the HoodLoupe 3.0®, the HoodLoupe 3x magnifier and the HoodCrane, has just introduced the DSLR WristShot®. The DSLR WristShot (pictured below,) essentially works by transferring the weight of the camera and lens to the forearm, thereby reducing
Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.
New e-Pub - Coming Soon
Okay, call this a shameless piece of self-promotion, but my e-book Beyond Stills: HDSLR Motion Capture for the Non-filmmaker (You Know More Than You Think You Know) and the companion Beyond Stills—Interactive Resource Guide will both be available later this month. Availability and additional information will be posted soon on the e-Pub page on this site.
What's in our Sister blogs:
HDHD: Frezzi: An Integrated Approach to HDSLR Lighting and Stabilization
Byron Says: Story Telling
HDSLR Stabilization: Hoodman Style!
Hoodman, the California-based company that brought us the HoodLoupe 3.0®, the HoodLoupe 3x magnifier and the HoodCrane, has just introduced the DSLR WristShot®. The DSLR WristShot (pictured below,) essentially works by transferring the weight of the camera and lens to the forearm, thereby reducing
Image courtesy of Hoodman
the potential for wrist strain and fatigue. It is similar to their existing product for camcorders, but has been adapted for HDSLR use. The DSLR WristShot can support up to 10 pounds, and ergonomically makes the most sense, when used with HDSLRs, mounted on the right arm. When coupled with the Hood loupe and HoodCrane assembly, the DSLR WristShot offers users multiple points of contact for stabilization. The DSLR WristShot is available now at a suggested MSRP of $149.99. For more information visit: http://www.hoodmanusa.com/.Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. All images which appear in this enty and blog are copyrighted and the property of their respective owners.
New e-Pub - Coming Soon
Okay, call this a shameless piece of self-promotion, but my e-book Beyond Stills: HDSLR Motion Capture for the Non-filmmaker (You Know More Than You Think You Know) and the companion Beyond Stills—Interactive Resource Guide will both be available later this month. Availability and additional information will be posted soon on the e-Pub page on this site.
Cover shot provided by Byron Atkinson
What's in our Sister blogs:
HDHD: Frezzi: An Integrated Approach to HDSLR Lighting and Stabilization
Byron Says: Story Telling
Wednesday, March 17, 2010
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 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.
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