Welcome to our community

Be a part of something great, join today!

Register Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Canon 7D Zone Plate Shots

John Nguyen said:
... and I was hoping to just shoot 2K RAW.
Click to expand...

I dunno how many of us that makes, but untill I started to play with the 4k images for real, I didn't think I'd ever really want to shhot more than 2k.

gee, did that change in a week...
 
I'm gonna make zone plate t-shirts
 
Liam Hall said:
A good cinematographer will make a great shot with any camera. But, that doesn't mean all camera's are good or great.
Click to expand...

Just look at Anthony Dod Mantle, he makes all kinds of cameras look amazing.

Canon XL1 - 28 Days Later
Aaton A-Minima 16mm - Last King of Scotland (should have been nominated and won for Best Cinematography IMHO)
Canon EOS-1D Mark III - Slumdog Millionaire
Red One - Antichrist

Granted his is probably the Best DP in the world right now (maybe 2nd to Roger Deakins).

But I'm sure noone wants to shoot on a Canon XL1 if they don't have to.
 
And I dunno, Gunleik. I think I had some 4K RED footage and on my computer it was too stuttery to work with in RedCine so I clicked on the 2K downres deal and it was workable. The best part of the RAW workflow for me was just having an easier time to color correct before I started grading. For most of my projects I'm always downressing to 720p for distribution anyways =/

Jeff Kilgroe said:
I'm gonna make zone plate t-shirts
Click to expand...

Hahhahahahaahahhahaa------you gotta make it a lenticular printing and make it spin for the real deal
 
The point of this is to make sure everyone knows exactly what they have... you can shoot with anything you want, including Super 8, 16mm, 35mm film. Those were pretty easy to understand. The difference was clear. Line-skipping and other digital tricks of the trade have made it easy to assume... maybe the wrong thing.

Jim
 
I just bought a 7D and I love seeing tests like these that show me exactly what it can and can't do. I need to know all it's weaknesses so when i shoot with it I won't ruin shots by not knowing that the camera couldn't handle it (like striped shirts and quick pans).

I still view the camera as a step up for me. I like it better than the HVX which is what i had been using. It's everything I need right now (until Scarlet comes out). I'm gonna shoot a lot of beautiful things with the 7D. I'm also going to want to punt the stupid thing from time to time when it's line skipping and crummy codec ruin what would have been a nice image.

For the price it can't be beat, but let's not fool ourselves either. It's a sub $2000 stills camera that can also shoot video. It is what it is.
 
Graeme Nattress said:
The world around is full of texture and detail. Edges define our world, not amorphous blobs of light and colour. These vDSLRs treat edges with contempt and when forced to record them, don't define them with the respect they deserve.
Click to expand...

Here is an example of that detail and texture. RED One @4.5k and Zeiss Super Speeds.

[EDIT] Link to original over-sharpened file. [/EDIT]

 
Jannard said:
The point of this is to make sure everyone knows exactly what they have...
Click to expand...

You'd have to be a fool not to know the difference between R1 and 7D. Granted, there are lots of fools in our business, but really we should all be concentrating on the benefits of R1/Epic/Scarlet and putting that message across to the wider industry as strongly as possible and not involving ourselves in the tittle-tattle of lesser technologies.
 
John Nguyen said:
And I dunno, Gunleik. I think I had some 4K RED footage and on my computer it was too stuttery to work with in RedCine so I clicked on the 2K downres deal and it was workable. The best part of the RAW workflow for me was just having an easier time to color correct before I started grading. For most of my projects I'm always downressing to 720p for distribution anyways =/
Click to expand...

Yup.

For me: 2k/1080
But the difference in output when capturing 4k over 2k is addictive. The oversamplingis pretty much THE reason.

I'm not talking about 4k deliveries - as they're pretty much irrelevant for me, like 12-bits are for most of my use. But 12 bit 4k starting point gives so much more to play with for that 2k/1080 delivery.
 
Justin O'Neill said:
Here is an example of that detail and texture. RED One @4.5k and Zeiss Super Speeds.

Click to expand...

That's exactly what I'm talking about - would love to see that projected at full rez!

Graeme
 
The 7D is a pretty darn small package for electronics. It probably isn't even physically possible at this time for anyone, much less Canon, to do a "proper desample" with the right hardware in that kind of space, with passive cooling and at that price. The circuit boards are literally wrapped around the mirror box and other structure. Compare that with EPIC and Scarlet which according to RED has many, many circuit boards and thousands of components and active cooling. Now if Canon still does a poor job in a larger, more expensive video camera, then I'd say that's pretty poor. But as a design engineer, I can totally see why they made the compromises that they did within the available envelope. I think people should keep that in perspective.

The real questions are: does Canon have the engineering expertise to design and produce a large sensor that can read out fast enough and can they do a proper real-time desample given a larger design envelope and price target? Only they know, but I think the odds are pretty good since they're a sensor company and a digital camera company. In engineering, almost anything can be done if you have enough experience or you're willing to get that experience by either learning yourself or buying it. It's just a matter of time, resources (both money and engineers to do the job) and what product they choose to design.
 
Tim Le said:
The real questions are: does Canon have the engineering expertise to design and produce a large sensor that can read out fast enough and can they do a proper real-time desample given a larger design envelope and price target?
Click to expand...

The real question is: does Canon have the will to subvert their trickleware business model...?
 
Graeme Nattress said:
That's exactly what I'm talking about - would love to see that projected at full rez!

Graeme
Click to expand...

To me, that looks oversharpened and overcontrasty and I venture to say it would probably look horribly so (if not worse) on the big screen. Alas... unless that was part of the original artistic intent.

And therein lies the rub about technology vis a vis artistry.

Who is to say?
 
Resolution is a necessary but not sufficient quantity.

Graeme
 
Tico Llaurador said:
To me, that looks oversharpened and overcontrasty and I venture to say it would probably look horribly so (if not worse) on the big screen. Alas... unless that was part of the original artistic intent.
Click to expand...

[EDIT]I went back to the RAW file and made a much less aggressive image. Keep in mind this was not a supposed to be a 'filmic' looking image as it was shot with a 1/192 second shutter from a helicopter moving at 70mph. It was just a project I was working on for a project that happened to have a lot of detail so I threw it up.[/EDIT]

 
You must log in or register to reply here.
Back
Top