Canon 7D
Monday, August 31, 2009 at 11:55PM 
I wonder if someday, maybe when I climb both Mount Fuji and Yellow Mountain in the same week, I will understand how Canon names their SLR bodies.
Today Canon announced the EOS 7D. The name makes it sound like the 5D, but it is decidedly unlike it. It is vastly superior in every way, except in pixel count, and by a very significant difference in sensor size. The 7D is an APS-C body, with a crop factor of 1.6.
The main reason you’re reading about the 7D here is that it records HD video. Canon has done with the 7D what they either could not or would not do with the 5D Mark II: they have included a plethora of useful frame rates (revised, see update below).
- At 1920x1080: 23.976, 24, 29.97, 30
- At 1280x720: 50 and 59.94 (often called 60p)
Check, check, and check. That’s pretty much awesome. I mean, we can dream of 50 and 60 fps at 1080p, but in all fairness those frame rates are usually only found at 720p even on very high-end HD cameras.
Combining that with the same manual control that came at long last to the 5D Mark II, and you have a camera that addresses some of the biggest shortcomings of DSLR cinematography.
Some, but not all. Does the 7D skip lines to create its HD images? Seems so. Is the compression still aggressive and unfriendly to post? Probably. Rolling shutter Jell-O? Likely. And there’s still no video-friendly autofocus such as we find in the Panasonic GH1.
(I know that we classy filmmaking pros are supposed to hate on autofocus, but as I wrote in the DV Rebel’s Guide, the truth is that, for the crew-of-few, it’s a nice option to have. Especially when it’s smart enough to track faces, even specific faces. Focus pulling is hard. Focus pulling while operating a clumsy camera with no focus aides of any kind and a VistaVision-sized chip has had me secretly longing for video autofocus on my 5D Mark II. Focus pulling while swinging your SLR around on a Steadicam Merlin is actually impossible. So please forgive my pining for fingertip on-off smart-as-heck autofocus on my big-chip digital cinema camera.)
What’s missing from the 7D?
- Autofocus (see above).
- Focus-assist while recording, in the form of an edge-detection display overlay.
- Gentle compression (although it seems the 7D’s video bitrate might be a little higher than the 5D’s).
- Funky frame rates. Even Jackie Chan shoots his fight scenes at 22 fps. After a big lunch, he might call for 21 or even 20fps.
- Decoupling shooting frame rate from playback. I’ll probably shoot a ton of stuff at 60p for slow-mo, adding more fun to the workflow puzzle posed by these cameras that crash the video party without a SMPTE invite.
- Video ergonomics. The 7D lacks a flip-out LCD. They call it that because if the 7D had included one, I would have seriously flipped out. I’d like to lose the double chin.
- Quality. The 7D still skips lines to make its HD images, resulting in aliasing and color artifacts. And it still has rolling shutter issues.
- Recordable HD HDMI output.
- Full-frame.
Yeah, let’s talk about that last one. Yesterday, when the 7D’s specs were “translated” from Chinese into English by some sort of cruel, sadistic computer, many people, presumably 5D fans, called its APS-C sensor a “deal breaker.”
The 5D Mark II is the camera I want for shooting stills. How luxurious that it also shoots video, albeit with many limitations. I very publicly hoped Canon would shore up those shortcomings, and they did, some. It did occur to me though, when the Canon/Nikon DSLR arms race grew to encompass video, that my ideal stills rig may not always happen to be my perfect motion rig.
Ever since I treated myself to the original 5D, I’ve been hooked on full-frame. Or should I say re-hooked, as it was the 5D that made digital photography once again as rewarding as it had been with my 35mm Nikormat. I have no interest in a crop-sensor DSLR for shooting stills. But is APS-C an acceptable sensor-size for filmmaking? Ask any RED One owner. Or for that matter, any 35mm motion picture camera owner. APS-C is quite similar to the Super-35 imager size regarded as a holy grail in digital cinema.
APS-C is a perfectly awesome sensor size for filmmaking. The proof is… movies.
But it’s not that simple.
RED, Panavison, Arri, and others have optimized their cinema prime lens offerings for that Super 35 size. Canon’s range of big, expensive primes make sense on their big, expensive, full-frame cameras. Canon’s 24, 35, 50 primes become 38, 56, and 80 equivalencies, respectively. There’s a pricey 14mm that becomes a 22, but nothing between that and the 24(38)mm. To achieve a nice range of focal lengths for 7D filmmaking, you’ll have to use zooms. Since you have to work harder to achieve shallow depth of field, you’ll need expensive, fast-and-wide zooms. The optional kit lens will kill your DOF fetish faster than a $3500 1/4” JVC GY-HM100U. The 16–35mm f/2.8L will be a popular lens for filmmakers—it is to the 7D (roughly) what the beloved 24–70mm f/2.8L is to the 5D.
UPDATE: Several commenters have pointed out that the less-expensive, longer-ranged EF-S 17–55mm f/2.8 IS (27–88mm equivalent) might be an even better choice if you don’t care about compatability with a full-frame body. The 17–55 seems like a terrific lens, but I will stick to lenses that I can use for both video on the 7D and stills on my 5D Mark II.
The twice-as-vast area of the 5D Mark II’s sensor means more flexibility with more lenses, and more control over DOF. Yes, this includes the option to push it to a fetishistic extreme, but also the ability to achieve cinematic DOF with the slower stop of an affordable, flexible zoom lens. So Canon, if complaints about the 7D’s sensor size get annoying, you have no one to blame but yourself. It was you who hooked us on the glorious excess of affordable digital VistaVision filmmaking.
So now there’s a camera that, technically speaking, does everything better than my 5D Mark II. Better autofocus, more stills-per-second, better weather sealing, and better flash control.
But I don’t care. For stills, I’ll stick to my 5D Mark II. Eight-perf VistaVision, what stills folk think of as “full frame,” is the right sensor size for my kind of photography.
But APS-C, roughly the same as four-perf 35mm and what cinema folk consider full-frame, has been well-established as a wonderful size for filmmaking.
So you got me Canon. I’ll probably buy a 7D, and use it for nothing but video. I may have to switch up my lens shopping list, bumping up the 16–35 ahead of the 70–200. At least I can buy lenses that I can use with both my stills rig and my interchangeable lens, variable-frame-rate, Super 35(ish) sensor HD video camera.
That costs $1700.
And that’s the punch line: An interchangeable lens, variable-frame-rate, Super 35(ish) sensor HD video camera for $1700.
Canon, you’re gonna sell a bazillion of these. And you deserve to.
It’s tempting to project right past the 7D and imagine that maybe the rumored successor to the 1Ds line will capture all the new stills improvements of the 7D and combine them with a full-frame sensor. For a mere several thousand dollars you could have it all. Maybe. At some indeterminate time in the future.
Screw that. The 7D costs as much as a nice lens and it’s real.
If you can get your hands on one.
Do I still love my 5D Mark II? Absolutely.
Do I wish Canon would sprinkle it with magic 24p dust? Of course.
Is the 7D the perfect DV Rebel Camera? No. I still recommend a good, solid HD camcorder for filmmaking that doesn’t require fetishistic shallow depth of field. Which, FYI, is almost all filmmaking.
Has DSLR cinematography arrived?
Yes.
As of today (and barring any unforeseen surprises), the answer is yes.
Pre-order your 7D from Amazon now.
I sure did.
Stu
Chuck Westfall clarified the 7D’s frame rate options on the CML today:
The accurate video frame rates for the EOS 7D are stated correctly in the Canon USA press release: The 30p setting is actually 29.97 fps; 24p setting is actually 23.976 fps; and 25p setting is 25.00 fps. In the 720p and SD video modes, the accurate frame rates are as follows: The 50p setting is 50.00 fps and the 60p setting is 59.94 fps.
He’s right, the press release reads like this:
The EOS 7D Digital SLR camera will record Full HD at 1920 x 1080 pixels in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); 720p HD recording at 50p or 60p (59.94) and SD video at frame rates of 50p or 60p (59.94).
I’ve revised my frame rate list above to match.
Reader Comments (94)
Geez Eugenia take a deep breath.
The dpreview video sample is terrible, they did not use a tripod or adjust the exposure properly, the Vimeo samples are a little better but it is very, very early days.
I wonder what Vincent Laforet is up to at the moment?
The imaging-resource videos are not "vimeo" videos. They are directly out of the camera (maybe you haven't seen them yet?). Surely the guy was shooting against the sun, but still, there should have been more detail in his videos (especially in his stationary shots). I am just saying.
I personally would pick the canon 17-55 f2.8 zoom over the 16-35 2.8. You drop just 1.6 mm on the wide end, but jump from 55 mm to 88 mm on the long. So you gain a portrait lens without swapping lenses, same aperture, all for 500 bucks LESS.
Personally, whenever I shoot wide I seldom need super shallow depth of field, so canon's 10-22 mm f 3.5-4.5 should do the trick nicely. Then either a nice 85 or the wonderful 24-70 f2.8 zoom, and your covered completely with only 3 lenses in your bag.
Ultimately if your on a tight budget the 17-55 is all your really gonna need, camera and lens for right at 3k after tax. The 35 sensor red brain is projected to be 7k, plus however much the pieces cost needed to make the brain actually work....
Oh, and not a filmmaking thing, but I can't wait to put a telephoto on this camera and take not pictures but MOVIES of my son, right up close, all the way across the soccer pitch. Nature photogs will also love this camera.
I don't get it. If Canon can put out this camera – at this price – why can't they have a Scarlet-killer to market within the year?
What's stopping them making a camcorder shaped, APS-C sensor-sized, compact-flash-based, digital-cinema camera with proper audio-in, improved "anti-jello" hardware and firmware, and a great-for-the-price (built-in?) "kit" lens with similar characteristics to their SLR kits?
Is it that the CMOS issues run deeper than they care to admit, that Jannard et al. are truly on to something qualitatively better, and that as long as they (Canon) keep saying "it's really a still camera, video is just a bonus, deal with it" they don't have to admit that fact?
Forget the 7d and the 5d for shooting motion. Put the cmos chip (preferably the FF one) in a cinema style body that can handle the rigors of a motion shoot. Variable frame rates, higher data rate, better codec, and no Jelly while going handheld. PL mounted plus an adapter if using eos lenses. I want to put on a decent piece of glass, pick my shutter and aperture, put on my accessories and shoot. Dump all the prosumer addons. Make a real digital cinema camera canon, I dare you.(I know canon might not ever see this).
I will pay the amount of five 7d's for the body alone. I guarantee others will pay also.
For the person who said that the 5DMII will go down in value because of this camera, I think you're misreading the common 5D customer. Full Frame rules in photography. You just can't touch it. This camera will have a niche with filmmakers, and those who can't go full frame. I'm a filmmaker. I like the 7D because it allows me to have more breadth with my lenses, and it allows me to shoot 24fps, which is what filmmakers want to use. Also, the slow motion stuff at 60 fps and the 8fps burst rate make this camera a must have.
What are the chances of a project similar to the Hydra mod on the HVX200 being created for the 5D2? Bypass the H.264 compressor to get full uncompressed 14-bit RGB off the sensor. Would it be worth it if (for the sake of argument) the modification doubled the price of the camera?
http://cgi.ebay.com/Panasonic-AG-HVX200-Hydra-Modified-2-2K-RAW-4-4-4_W0QQitemZ250480530752QQcmdZViewItemQQptZCamcorders_Professional_Video_Cameras?hash=item3a51cd9540&_trksid=p3286.c0.m14
IMHO the Hydra, and the Andromeda for the DVX100, were great hacks. I'd love to see a similar effort for the 5D2.
Hi there, everybody talk about the same but nobody talks about the limitation of recording videos of 13 + - minutes !!!! to make short films that no problems but for documentaries is fucked.
Anybody know if this has been fixed also?
Eugenia: "With the 7D Canon killed all their VdSLR competition, plus the low-end Scarlet. For now, they are also killing their prosumer camcorders too, which...."
But they are also killing Sony, Panasonic, JVC camcorders. If I buy a 7D instead a camcorder, perhaps I avoid buying a Sony, etc.
The quality of the clip of dpreview is terrible: effective resolution is low, bad looking sharpening and questionable latitude. Just try to find out how much detail is inside the tunnel.
But worst of all is the codec: I took the clip to After Effects and raised gamma just a bit:
http://img529.yfrog.com/img529/7016/mvi9579b.jpg
Look what the codec is doing in the circled part.
And this one is a frame of my latest short film shot with the Red One:
http://img24.yfrog.com/img24/5308/a001c11806112000224684.jpg
That's the quality you should expect from the Scarlet S35.
Alex, you're right about lossy codec & red one image. But they are (cameras) not in one price range.
Btw, http://www.red.com/epic_scarlet/ said about S35 brain price: 7000$. That is NOT full camera. This is just a "brain".
But 7D video looks bad, I agree with you.
You're right, Yuri. I know it's everything about the depth of field, because image wise, I think the canon GH1 delivers better HD video.
There is no problem using this camera for a documentary (at least not concerning the recording time). After having spent the last 10yrs working on documentaries with no budgets to docs with 1mil+ budget, I can tell you the worst docs, hands down, come from directors who feel they need the ability to shoot constantly. You don't need to shoot constantly, you need to constantly be ready to shoot, and once you understand the difference, you are ready to shoot a doc. Remember that docs used to be shot on film.
The best advice I've ever received about docs came from an award winning editor with 20yrs experience. It wasn't so much advice as much as a complaint about the low budget dv doc we were working on. "I've worked on docs for 20yrs. I've made something out of nothing more times than I can count and I can't make anything out of this sh*t. Used to be the dp was ready to shoot and when something would happen they would always miss the beginning. But they would look for something, some shot, to replace what they missed. Now you have people running around shooting hours and hours of footage with these little dv cameras and they don't get sh*t."
So now when I work on my own docs, I spend more time waiting and watching, ready to shoot. It's hard to see the world around you when one eye is closed and the other is looking through a viewfinder.
Hmm, I can't help it - although it really seems to be the camera I'd like to buy, I'm not quite convinced looking at the first sample videos. Framerate: fine, bandwidth: great, Sensor: ok - but all I've seen so far looks like "video" to me. The 5D material I've seen and the D300s samples by Ami Vitale look far more film-like. I know - it also depends on the operator and lighting conditions, but to me film look is not all about shallow DOF, but more about dynamic range. The Venician night shots look to contrasty with terrible overblown highlights. Same for the time square shots. Can't help it... I have to see good low light examples to check for noise and some examples showing proper dynamic range to be fully convinced.
and, btw - the 7D is only a further step - wait what's still to come next year. I'm very sure that Canon is about to release a full frame or at least APS-C sized pure camcorder next! You'll have muuuch better controls and bitrate, maybe even 10 bit, whatever. It is rumored already, and even if it will cost about 8.000,- $ - I guess it'll be much more worth your hard earned money. Just wait and see...
Good post Stu.
Yeah, I'll probably be buying a 7D. Been shooting with a 5D2 for a while now and love it- it really is/was a game changer. The imagery can by downright astounding when used properly- just like any cinematic tool. I shoot with the RED too and love it- but the 5D/7D is just SO much easier to shoot with for small indie style productions- and many times you just can't tell the difference.
That said, I would really like to see Canon work with Cineform or someone to get a raw workflow going... until then a low con picture style curve + H.264 + prores + Magic Bullet Looks will work for me...
If you are a 5D mkii owner then you should probably have a look at this...
http://www.youtube.com/watch?v=HZp9WMy4ihg&feature=related
all those sample shots look completely un-sharp to my utterly untrained eye
if it's not due to some software bug that can be solved by firmware upgrades, it looks pretty much useless, the level of detail seems less than on a real 720p image
Do we still need to use light source in dark, lets say wedding reception? I would love to get rid off that annoying light, everybody hates.
Is the sound decent with external mic?
Sound is still pretty bad. Zoom h4 fixes that but you'll need a clapper.
Magic lantern may come to the 7D, which would help sound.
- Along with this GREAT release called 7D, is the reaction of THOUSANDS of people who invested (millions of dollars around the world) in the 5D Mark II and all expensive full-frame lenses and have requested for MONTHS to Canon to improve its Firmware, so they can shoot at those standard frame rates (29.97, 25, 23.976 fps).
- PLEASE check these 2 links:
http://5dmark2.wordpress.com/2009/09/03/canon-what-is-going-on-2/
http://5dmark2.wordpress.com/2009/09/03/canon-what-is-going-on/
- IF WE WANT something to happen, we must CALL CANON and politely request what we are requesting since months ago.
THIS IS THE RIGHT TIME.
Be respectfull, and make your VOICE HEARD It only takes 5 minutes.
- Check above links for Canon's North America phone numbers and EUROPEAN Professional Representatives phone numbers & e-mail address
- It's a WORLDWIDE effort that will benefit everyone, Canon included (keeping this best seller's profit, already designed, already in production, already selling).
Customers DESERVE more attention, service and to "be listened" in REAL facts.
Thanks a lot in advance for everyone's support and help
---------------------------
QUOTE:
""Reader Eugenia commented on my last post (the 60th comment!) that she'd called Canon's product feedback line and politely requested a choice of HD video frame rates on the 5D MarkII. If you care about 24p support on the 5D and would like to see it added in a future firmware update, please do the same.
Eugenia wrote:
I called (800) 828-4040, for the US. I pressed then the 3rd option, and the guy was set up to take feedback immediately...
She requested both 24 and 25 fps modes, as well as the NTSC speeds of 29.97 and 23.976 fps."
"Please do call and make your voice heard. This blog has gotten a record number of visits and comments in the last few days.
There are definitely enough of us who care about this to catch Canon's attention."
I wish they would have slapped in an SD slot... Why are they so afraid of change? :P
I was waiting for the Scarlet but you're saying the sensor will not be full frame.
Does this means we'll have to do lens conversions just like on the 7D ?
boy, I am so disapointed..
Personally, this is what I was waiting for. I'm a devoted 20D user. The 20D definately has its shortcomings in today's market. When the 5D was announced - it was my swan song - imagine full frame still - no crop factor, etc. it's what I've dreamed about for about 4 years...and at $2300-$2600 - I just could't make the shift. Even though this one uses a smaller sensor - the video capability and ultra-cool features, made me cave enough to fork over the $1899 to get the kit. Sold me. Anxious to start using it!
From Amsterdam IBC2009, 7d racked and ready to film:
http://www.flickr.com/photos/40809477@N00/sets/72157622227264431/show/with/3914478592/
Hey Stu. How's it goin'? I'm totally gonna sound ghetto here (and anyone feel free to chime in with oppinions) but, aside from the "bad investment in case I buy a full frame camera someday" factor wouldn't the ef-s 18-55 f2.8 ( http://www.amazon.com/gp/aw/d.html/ref=redir_mdp_mobile/184-5800627-1345756?a=B000EW8074 ) do the job as good as the lens you mentioned for the 7d? I mean I hear that the glass in that specific lens is comparable to that of an L lens, annnnnd it has IS. Grilla' or ghetto?
-Landis
Hi Landis. You're not the first commenter to point this out, and I have updated the post to mention the 17–55.
Hey Stu, some time ago you tweeted about the 'El Mariachi' DVD, and recommended the commentary. Watched it, and in it RR describes his filming of the shootout in the hotel, which he shot with a wide lense and a high f-stop. So wouldn't cranking up the f-stop be a viable solution for your mentioned autofocus 'problem'?
Sure, at which point you've eliminated any advantage of shooting with an SLR. If you want wide and infinite DOF, there are a hundred video cameras that will happily comply.
Does anyone know if the 7D has a 'live focusing preview' feature, as on the 20D? (This is a feature whereby you can zoom the LiveView LCD image to 5x or 10x magnification, particularly helpful when trying to get the *exact* right focus during astrophotography).
You write the 7D is "vastly superior" but you don't really explain why you think so.
I'm curious because the overwhelming majority would disagree with you.
Michael, actually what I wrote is "It is vastly superior in every way, except in pixel count, and by a very significant difference in sensor size." I then went on to describe the 7D as "a camera that, technically speaking, does everything better than my 5D Mark II. Better autofocus, more stills-per-second, better weather sealing, and better flash control."
I followed that up with "But I don’t care. For stills, I’ll stick to my 5D Mark II. Eight-perf VistaVision, what stills folk think of as “full frame,” is the right sensor size for my kind of photography."
Disagreeing with any of this?
I didn't mention it at the time because word was not out on this yet, but it certainly seems that low light/high ISO performance is way better on the 5D Mark II than on the 7D.
I don't understand why you would use a still camera for video. Get a video camera. If you can't afford one, then keep saving. For still, the full frame format still give better results and the lens work properly. I will never own another crop frame camera again. And if larger formats become affordable I'll buy one of those. The full frame Nikon's and Canon's have great low light abilitiy because of the larger pixal size which collects more light and you have greater resolution which helps when you crop pictures. The 7D is a wonderful camera but the 5dmii is worth the price difference to me. However, I don't shoot video. If I did, I'd buy a 5 or 6 thousand dollar video camera.
Thank you for your opinion about video cameras, guy who doesn't shoot video.
Hey Stu,
Did you read the following last month from Chuck Westfall on Canon's naming convention. Found here at http://digitaljournalist.org/issue0909/tech-tips.html
Q: Has anyone figured out why Canon named the EOS 7D as they did? I thought they had a theme going with the 1000D, then the 450D/500D, then the 40D/50D and then 5D and lastly the pro level 1D series? I'm not sure I understand why they named it 7D (and didn't Minolta once had a camera called 7D and then some other brand too?). Why not 60D?
A: There actually is some sense of continuity in the naming of the 7D if you look at the 22-year history of the EOS system. However, the reasoning might not be obvious at first glance.
In the film era, the basic idea for EOS model numbers was clear enough: the lower the number, the higher the ranking. The EOS-1 series ranked higher than the EOS 3, which in turn ranked higher than the EOS 5 (or A2E in North America), which in turn ranked higher than the EOS 7 series, etc.
In the digital era, after some initial models were named for their sensor resolution (as in D30 for 3 megapixel and D60 for 6 megapixel), Canon changed the model numbering scheme for consumer-grade digital SLRs to a chronological base, as seen in the xxD series, the xxxD series and the xxxxD series, with an initial model in each. For example, 10D through 50D are chronological, 300D through 500D are chronological, and 1000D is most likely the first of a series of entry-level models slotted a bit lower than the xxxD series.
But above the xxD series, EOS model numbers appear to honor the original film-based sequence where lower numbers signify higher rank. In this context, the 1D series ranks higher than the 5D series for obvious reasons, while the 5D series ranks above the 7D because of its use of full-frame sensors. It remains to be seen whether this numbering scheme (or feature differentiations) will continue in future models, but it wouldn't surprise me if it did.
Why wasn’t the new camera named 60D? Because the 7D is considered to be the start of a new series in the EOS line-up. It ranks higher than xxD models like the 50D, just as the 50D ranks higher than the 500D even though both have APS-C sensors with the same resolution.
Oh yeah. Makes perfect sense now. Wait, lemme read it again...
Honestly I am going crazy reading stuff about 5d, 5dMII, 7d ect....... Who says this who say another. I am going up and down which to buy if a DSLR or a HD camcorder.
Fck all I am going to buy the 7D
If I will not change my mide again on the road.
I'm way late to the party, but I just wanted to respond to Benjamin's question on page 1 about comparing 7D DOF to cinema DOF.
I am not now missing anything am I? There’s no special trick that Super 35 shooters are using to achieve the same effect with their smaller area of sensitive material? Film-makers must shoot from really far away?
No, you're not missing anything. Here's our trick: we use T1.2 and 2.8 lenses.
Zeiss Super Speeds are the hollywood standard for low-light or shallow-DOF shots. Yes, most of those lenses (particularly older models) show significant bloom and CA wide open, but for day shots it's not as noticeable. For the rest, Angenieux, Cooke and Zeiss 2.8's are the weapon of choice for most cinematographers.
Hi there,CAN SOMEONE HELP.
Ive got a new 7D think its fab,but im new to the SLR.
WHEN I WORK IN 'P' MODE THE BRIGHTNESS IS FAR TOO HIGH.
How do i get it back to normal
HELP!!
@ Kirsty, woh, If you haven't done a photography course (Basics; Aperture & Shutter Speed) and have just bought a 7D, Do one, or return the camera for a simpler model or you are going to have a hard time learning.
Anyways, I have been looking into upgrading from my HV40 camcorder. I've looked at many videos online and currently editing a music video shot entirely on 7D, but my only drawback on buying this camera is the true resolution after watching all of the raw footage on my wonderous LED monitor...
TBH, I think my HV40 has a sharper picture at HDV resolution! I know it isn't 35mm, but considering that a Letus Mini + Decent Lens would set me back a bit, a 7D would be more logical.
But I certainly loving the 35mm depth. The DOP shot on a 70-200m EFS lens (the exspensive one) and the closeups look great.
But another thing i noticed, the wides of the band have a serious aliasing issue on the speakers protective covers!
I do intend on purchasing a camera LIKE this, but until Canon improve the downscaling algorithm, then I'll buy it.
Has anyone seen the post with Robert Rodriguez using the Canon 7D to film a music video. http://www.shotonhd.com/new-video-gear/robert-rodriguez-filming-and-bob-schneider-with-canon-7d/
I owned a 7D and I sell it after a few days because the format rec ording mode 720/50P is afflicted by bigger problem of aliasing and moirè effect thet really made the video unuseable!!! So now I own a 5D that's have lot of latitude and gamma and I'm waiting for the firmware upgrade. I'll buy a 7D again when canon will fix the aliasing problem at 720/50P.
You convinced the hell out of me !!! Damn ur too good.. :) thanks for the wonderful review.. im goin to but the 5D since i dnt really care for the video shooting. Stills are what i need.
I recently bought myself a canon 7D and i love it, the image quality is amazing and the video quality still drives me crazy. Its the best camera there is for its price. i bought a new rokinon 8mm fisheye lensfor it because im a skateboarding photographer and filmer. i took some great photos but my friend already broke my lens by hitting it with his skateboard. i have a video of it on my blog if you would like to see the horrifying experience