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.

HDSLRs: The Ranks Continue to Swell

I have expanded the exhibit of cameras that was included in the inaugural issue of “Outfitting your H(d)SLR” to include the newest members of the class. The models have increased from two in the fall of 2008 to twelve today (including the Panasonic GH1 which is technically not a HDSLR.) That number will continue to grow as the interest in multi-media collateral for personal and business applications continues to grow. I have to admit that I was surprised that Sony released new DSLR models over the last several months without video capability.

But before we get to the chart, let’s look at a few statistics:

• Social networking continued to gain momentum in 2009 with nearly four out of five Internet users visiting a social networking site on a monthly basis

• During December 2009, 86.5 percent of the total U.S. Internet audience (up from 79% in April) viewed online video.

• During December, 134.4 million viewers watched more than 13 billion videos on YouTube.com (97.1 videos per viewer) versus 107 million viewers watching 6.8 million videos (64 videos per viewer) in April 2009.

• 44.9 million viewers watched 423.3 million videos on MySpace sites (9.4 videos per viewer) in December 2009 versus 49 million viewers watching 387 million videos (8 videos per viewer) in April 2009.

• The duration of the average online video was 4.1 minutes in December versus 3.5 minutes in April, 2009.
Source: Comscore Inc.  JN6F8B57VCJJ

What is clear is that the demand for video continues to grow.

In terms of the chart, I have included the Panasonic Lumix DMC-GH1 because although it is not a DSLR, there are aspects of the video implementation which are superior to some of the HDSLR offerings in the market, and its price (which includes a video optimized zoom lens) makes it competitive to some of those offerings as well.

(Click on chart to enlarge.)

As always I invite you to look through the current issue of “Outfitting Your H(d)SLR.” by clicking on the magazine embedded below.



Disclosure: No consideration has been received in connection with this blog entry, nor has any manufacturer and/or retailer offered any consideration. Consumers should check and evaluate the features on any equipment for themselves prior to purchase.

H(d)SLR Stabilizers: A Modular Approach

I recently made a presentation on H(d)SLRs to a group of photographers in New York, and two of the concerns the audience had included the amount of money needed to get your H(d)SLR video ready and the size of the equipment. It got me thinking about a reasonably-priced, handheld stabilizing solution that would allow for growth and expansion as needed. If your curiosity is peaked, read on….

The Modular Stabilizer in Four Acts.

Act 1
The foundation for this handheld stabilizer comes from British Columbia-based Cavision (designated 1 in the images.) It is their Single Handgrip with the RCP4590 plate. The grip folds down and attaches to the camera via a tripod socket. The MSRP of the Handgrip and plate assembly is $75USD. In this configuration, you have a solid platform to handhold your camera which provides two points (handgrip, plus free hand on camera) of stabilization.
Act 2
The next component is a LCD viewfinder accessory. I choose the Cinema kit from Hoodman, which includes the Hoodman Loupe 3.0, Eyecup 3.0 and a cinema strap to attach the Loupe assembly to the camera. While the Hoodman does not magnify, it does enhance the viewfinder experience, by cutting out stray light and providing three points of contact (hand grip, free hand on camera, and face) for stability. The kit retails in the vicinity of $115USD. This is where I find myself a little divided: While I do have the strap, I have had some issues with keeping the loupe firmly anchored to the camera with the strap on.
As an alternative to the Hoodman strap, there is the Redrock Micro Microfinder Loupe Accessory kit (as attached to the Hoodman Loupe and designated 2 in the images.) The loupe attachment fits to the Hoodman loupe and is seated between the camera and the Cavision plate. The MSRP of the Microfinder Loupe Accessory kit is $55.
A word of caution: do not handle the camera by the viewfinder accessory because it is sandwiched between the camera and base plate and its security depends on tightening the mounting screw in the tripod socket.
Act 3
The next component is for those interested in on-camera lighting and/or a microphone. The item of choice is the Cool-Lux MD 3000 Light and Sound Bracket (designated 3 in the images.) The aluminum bracket has two cold shoes at different heights, so it can accommodate a microphone and a light. It can be mounted on-camera in the hot shoe or on an off-camera accessory (as you will see next.) The bracket retails for just under $30USD.
Act 4
The final add-on is intended to provide an additional stabilizing point and to get the mike and light off the camera body. I realized that the Cavision pate had additional holes which would accommodate and extension arm. I happened to have a Sunpak E-flash Grip and Extension Arm from experimenting a few years back with their flat panel E-flash units (designated 4 in the images.) The extension arm is simply screwed into one of the holes in the Cavision plate. It can be placed on either the left or right side of the camera. It provides a second hand grip, and an arm with a ball head attachment that the Cool-Lux Bracket can be placed on to further isolate a microphone and or light from the camera. Some people may prefer the balance that the additional grip offers. The good news is that the Sunpak Grip and Extension Arm kit retails for $34.95. Note: The Sunpak Extension Arm will fit on the Cavision 5D MarkII and 7D Single Hand Grip and Viewfinder package which was previously reviewed.

(The handheld stabilizer rig is shown attached to a light stand for illustration.)
So there you have it, a modular stabilizing solution that takes elements from different product lines and combines them in a unique and functional way. I am particularly fond of this solution because it is not camera brand specific. Although I personally prefer the Microfinder accessory, one of the benefits of the Hoodman Cinema Strap is that the Loupe can be used with different sized camera bodies and/or bodies with or without a battery grip. We recently learned from one of our readers that the Loupe 3.0 does cover the screen of the new Rebel T2i,(thanks to Paul G for that info.) This stabilizing solution is easy to carry, easy to assemble/disassemble, and for people just getting their feet wet with motion capture, can be enhanced as their skills grow.
As always, we invite you to check out the current copy of “Outfitting Your H(d)SLR by clicking on the copy embedded below.



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

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:

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.

Filter This: The Indispensable ND Filter

One of the early lessons I learned in my photographic journey was to pay attention to the “small stuff.” It is a piece of advice that I often share in response to the increasingly popular question: “What accessories should I consider getting for my H(d)SLR?” In the quest to get the perfect tripod, shoulder stabilizer or viewfinder accessory, an accessory which is often overlooked is a filter, and more specifically, a neutral density or ND filter. These gray, filters are all about exposure control: A neutral density filter effectively reduces the amount of light which hits the camera sensor. In still photography, that light reduction translates into longer exposures(shutter speed adjustment,) and the ability to blur motion such as waterfalls, currents and waves. For still photography as well as motion capture, the reduction in light can translate into the ability to shoot with larger apertures in order to obtain a shallower depth of field, a reduction in scene contrast, and/or the ability to reduce the risk of overexposure. If you are planning on shooting motion outdoors in bright light or shooting scenes with highly reflective materials in them such as sand and snow, or steel and glass structures, consider ND filters, H(d)SLR essential accessories.

The amount of light reduction that a ND filter facilitates depends on the strength of the filter you use. Different manufactures utilize different designation for filter strength. They are commonly expressed in "density value," "filter factor," or f-stops.

- A density value of .3 equals a filter factor of 2 which equals one stop.
- A density value of .6 equals a filter factor of 4 which equals two stops.
- A density value of .9 equals a filter factor of 8 which equals three stops.

Using a one stop ND filter will result in 50% of the original light intensity being transmitted to the camera sensor; a two stop ND filter results in 25% of the original light intensity being transmitted to the sensor; and a three stop ND filter results in 12.75% of the original light intensity being picked up by the camera sensor. A true ND filter will not alter color balance, as it is color indifferent or neutral. The the filter strenghts listed above should be more thatn adequate to handle the typical photographers needs, there are stronger ND filter available for more specialized usages.

Neutral density filters are commonly used in video capture. There are several brands of camcorders that have ND filters built into the camera. With professional cameras, you will often see them seated in the matte box (lens hood equivalent) apparatus filter holder if a scene calls for them.

If you are going to use neutral density filters, on your H(d)SLR, you may want to disable auto ISO, in order to have the greatest control of the exposure as well as the results. You should consider buying the best filters you can afford. At the very least, consider multi-coated filters, as the coatings reduce reflections and make it less likely that your captures will experience ghosting and flare. Several manufacturers offer filters for high definition capture as well. Tiffen, Schneider, Hoya, Singh Ray and Cokin are among the most popular filter manufacturers and these companies make ND filters in various strengths and sizes. While I carry a one stop and a two stop filter in my camera bag, if came down to having to carry only one ND filter, the two stop filter would be my choice.

ND filters are a small item, that can make a big difference!

To view the current issue of "Outfitting Your H(d)SLR" click on the embedded magazine below.