I ordered a 7D!

RieniO

RieniO

Well-known member
It should arrive in 2 days from now. If I like it, I will be selling one of my two GH1s. I will keep one with the kitlens and selling one with two Tokina lenses (11-16 and 16-50) with lens adapters. It's a PAL version, also very interesting for Americans since you won't have to deal with the pulldown routine. Everything in perfect condition, only used a few times. Mail me if interested.

Is it possible to match GH1 and 7D footage using color correction in post by the way? Anyone done this in FCS/color?
 
you can match the gh1 with the red if used properly. so i would think you could do the same with the 7d, just don't go crazy. your tokina lens, what' the speed on them and mount?
 
Ok cool about the color matching. I'm reading some books including one on using FCS color but they're big books so it's gonna take some time before I'm an expert. But someone else did some color correction for me the other day, on Canon HDV mini-DV footage, and the result was awesome.

Both Tokina's are F2.8 full lenght, and I wish they were EOS, I would absolutely keep them then. But they are Nikon mount, I would trade them for EOS mount versions though and otherwise I may buy a Tokina 11-16 EOS mount for the D7. The Tokina's are awesome lenses, good firm quality and hard stops on the focus rings so manual focussing (eventually with follow focus system) works very well.
 
I thought about that, but I assume that when using a Nikon/EOS adapter, auto focus and aperture won't work so I would rather use EOS mount lenses. I still have to try the Tokina on my Nikon D300 stills cam though, maybe I'll like that and who knows, maybe Nikon will bring out a DSLR with proper movie mode soon on which I could use my Tokinas. I am sure they're working on something. I'm not in a hurry with selling anything.
 
For film work I would use Nikons on a Canon for the same reason I love having FDs on my GH1: knowing that the camera's 'brain' cannot muck about with the aperture or focus during takes...
 
I will never use auto-exposure nor auto-focussing continiously. But I do like to control my lens from the camera itself and I absolutely do like to use push focus. It's a method I've been using succesfully for 20 years now and the GH1 doesn't provide with push focus. For certain shots I work with manual/follow focus but some shots just require push focus. When I have time I will show some GH1 shots in which I used the kitlens and auto-focus, but because in the GH1 auto-focus can only be used continiously, sometimes the focus is right and sometimes it gets lost, but I shot this with two camera's so in the editing, when focus gets lost on cam 1, I just switch to cam 2, which is on a tripod and manually focussed. The end result is awesome but not perfect, so that's why I'm going to try the 7D. Also, what I shoot probably totally differs from what you shoot, I work with models who are usually impatient and get annoyed when they have to wait for the camera operator to set up his camera :-) . Then on the other hand when you're shooting a band on stage you don't have much time for setting your camera either. Maybe it's just personal, I believe some things are better to be done by the camera's brain. I also like OIS.

Don't you miss push focus on the GH1, Martti, or did you never use push focus when you were working with conventional camcorders?
 
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For color matching the two cameras, if you can get access to a DSC Color Chart and shoot it under the same lighting with both cameras (using the same lens, same ISO, shutter and f-stop), it might be easier to balance them using color-correction tools in post. The chart will give allow you to view the difference on the vectorscope and waveform monitor in Apple Color or even FCP's 3-Way Color Corrector. Then you can easily adjust one cameras image to the other. Well, fairly easily. :-)
 
By the way, I was thinking about making a handle to put on the AFS/AFC/AFM knob so I would have some kind of push-focus that could be operated using a hand-held frame without moving hands, maybe I will still do this, just for the fun of it. During recording the AFS/AFC/AFM knob does function as push-focus when kept in AFM position and moved to AFC temporarily.
 
dvbrother said:
For color matching the two cameras, if you can get access to a DSC Color Chart and shoot it under the same lighting with both cameras (using the same lens, same ISO, shutter and f-stop), it might be easier to balance them using color-correction tools in post. The chart will give allow you to view the difference on the vectorscope and waveform monitor in Apple Color or even FCP's 3-Way Color Corrector. Then you can easily adjust one cameras image to the other. Well, fairly easily. :-)
Click to expand...

Also make sure to set your white balance on the cameras.

In Color you have the ability to copy your settings over to the other clips which helps when matching shots. For instance on one clip I had a splice in the middle of the cut that must have been an accident. When the sequence was transfered over to Color I had started working on everything already. I then came to this splice and when I had color corrected the first half I noticed the second half. Instead of going back to FCP and stepping backwards and going through a series of steps I just copied the settings from the first half over to the second half and works perfectly. You can really match your shots this way and use that as a foundation. You then will probably have to tweak to get it perfect but it is a time saver.
 
I sent you an e-mail about the 11-16mm lens. If you end up selling it, I'm very interested in buying it.
 
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