7D Someone tell me about skew

Jambredz, yeah that's exactly it. The almighty (or not, depending on how you look at it haha) dollar. But that's something to be worked with.

wgzn, that's my feeling exactly. Apparently its okay for vertical lines to suddenly be... not vertical. I miss film... so simple, so straight forward...
 
I can't comment on skew for sports, but for action film making, which we do, it has nothing to do with inexperience. It has to do with freedom of what you want your image to look like.

While I am not a fan of the Bourne Identity style of filming, can you imagine that filmed with a 7D? :) Hahaha.

And that's the point. Saying that it isn't a problem if you film correctly isn't the whole story. I moved to an AF100 and later an FS100 because the skew in the 7D was just too much for the action shots we were doing. The same things that on film, which we knew because we were studying shot composition for our film, we couldn't do. It looked HORRIBLE on the 7D.

That said, reading about the skew of a camera definitely will NEVER prepare you for how it feels. The difference between 30ms, 23ms, 21ms and 14 ms are NIGHT AND DAY in camera. (Those times are how long it takes to read from the top to the bottom of the sensor).

The only way to know if the camera will work for your filming style is to try it :)
 
dory_breaux said:
If Panasonic gave me an HPX with interchangeable lens options, I would have bought it yesterday.
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Haha join the club. For that price range you may as well spring for an fs100 or af100 (although I feel the af100 is more of an interchangeable-lens hmc150 more than an hvx200/hpx170, which was fairly disappointing to me).



Rick Burnett said:
While I am not a fan of the Bourne Identity style of filming, can you imagine that filmed with a 7D? :) Hahaha.

And that's the point. Saying that it isn't a problem if you film correctly isn't the whole story. I moved to an AF100 and later an FS100 because the skew in the 7D was just too much for the action shots we were doing. The same things that on film, which we knew because we were studying shot composition for our film, we couldn't do. It looked HORRIBLE on the 7D.
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I agree completely. My central point isn't supposed to apply to the "whole story"; it pertains to skiing only. You will never find yourself in a "bourne identity" style of filming when you're shooting skiing because the conditions don't allow for it. Most of the time you're either shooting long lens (in which case you better have a nice tripod considering your subject could be a quarter mile away or more in the backcountry), which won't induce skew due to how slow the movements are and absence of linear shapes, or you're shooting UWA, in which case the skew isn't a problem either due to the width of the lens.

The only time skew could possibly be a problem (assuming you aren't skiing handheld with a camera, which is a no no) is if you're shooting urban rails because there are linear shapes. But even then, if you're truly fluid with your movements it won't be an issue. Overall, in this situation moiré will be a concern over anything. Have you ever watched a PBP film that used 7Ds to shoot urban environments with brick buildings? The moiré makes them completely horrendous, but then again it appeared as if the filmers had sharpness turned all the way up, which is always a bad idea with DSLRs).
 
By chance do you know what filming settings, export settings and camera that was used for that skiing video you posted on first page of thread, absolutely breathless. Thanks
 
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