Andrew Kramer talks a bit about the 7D..,.

Ian-T said:
How was Kholi able to get some nice looking low contrast shots in his sample video?
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I have watch a boatload of 5D and 7D footage and I noticed the lens choice can have a big impact on this. The old Zeiss Contax T* lenses have a really flattering smooth effect, especially when compared to very contrasty Canon lenses. They also seem to make the colour look more natural too. To my eyes at least.
 
Woah, he doesn't look how I pictured him looking. It's odd to put a face to the voice we've all heard for years now.
 
If you want the most filmic look out of the 7d use faithful and lower the contrast and saturation about minus 2 clicks. This is just my findings. This is the closest i've come to film to date.
 
LanceB said:
Don't know the tech about "limited" versions of h.264 but I'll say from experience the 7D buries the EX1/3 in image quality and look.
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I agree with you on the fact that the 7D, for normal amateur use, gives VERY impressive, as clean as the EX1. However, on the down side, the 7D has limited dynamic range compared to the EX1 and the rolling shutter issue makes it impossible to shoot any fast moving action scene. :embarasse

LanceB said:
The quality of how the Canon's handle light is way beyond ANY camcorder at ANY price.
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That is a bit over generalized. Light handling of 7D (and the 5DII) do surpasses the XH-A1, EX1 maybe and other pro camcorders... but ANY camcorder? The Red One simply puts the 7D and 5DII to the ground. :violent5:


LanceB said:
I think these DSLR's are gonna get better and better and the days of the clunky camcorder are numbered.
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Seconded. I believe in a future where vDSLRs will be a category of its own in the world of motion picture and cinema. :happy:
 
Yeah we're going for a very high key CSI Miami/Michael Bay look - though that will be created after the edit. Really comes down to lighting style and personal taste - depends how you're gong to finish the show and the look you're going for.

Thanks reem12 - will play with your settings and see how we like it. So far we're shooting everything on Neutral and liking it.

We picked up the cams on Tuesday and had to start shooting Friday AM because of talent schedule. We resume at the end of the month for another 2 weeks of shooting so we'll have plenty of time to play and test.

Really like the L Series glass - we shooting 2 cams at all times - one wide - one tight - up to 400mm at times on close-ups which is looking stellar. We're using the 16-35 L II, 24-70L, 70-200 L 2.8 IS (my favorite) and 100-400L IS - all looking good.
 
Yeah we like the RED too - great with a lot of light - BEYOND horrible in low light - really need quite the Hollywood crew to do it right which is out of our budget on this show. As far as quality of image though, the stuff we're getting looks as good as anything I've seen with the RED. Not talking 4k here - just deliverables.
 
Yeah I'd need to see some real data and serious ASC testing to substantiate that claim. I've shot with both and I'll take the 7D for feature work.

AS far as the RED - which a 25 yr veteran DP friend of mine calls the "DRED", it does not have great dynamic range - what it has is resolution - 4k is HUGE and gives you a lot of options in post. But a real pro rig like a F35 or Arri D21 have 4 or 5 more stops of dynamic range than the RED. I'd also say from experience that, visually, the 7D surpasses the RED, I didn't say technically, just at first glance.
 
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