Canon confirm problem with EOS-7D

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Canon-7D-webWe have confirmed that in certain camera settings and shooting conditions, the phenomenon described below may occur in images captured by the EOS 7D Digital SLR camera.

Canon is currently investigating and analyzing the cause of this phenomenon, and we are planning to release a firmware update to address this issue.

Once the support measures have been established, we will post the relevant information on our Web site.

We offer our most sincere apologies to customers using this product who have been inconvenienced by this issue. Going forward, we will spare no effort in our quality management to make sure our customers can use our products with confidence. We hope our efforts will earn your understanding.

In images captured by continuous shooting, and under certain conditions, barely noticeable traces of the immediately preceding frame may be visible. This phenomenon is not noticeable in an image with optimal exposure. The phenomenon may become more noticeable if a retouching process such as level compensation is applied to emphasize the image.

Affected Product
EOS 7D Digital SLR

This contact information is for residents of the United States and Puerto Rico only. If you do not reside in the USA or Puerto Rico, please contact the Canon Customer Support Center in your region.

Thank you,
Customer Support Operations
Canon U.S.A., Inc.

Contact Information for Inquiries
Canon Customer Support Center
Hours: Monday-Friday 8:00 a.m. – 12:00 midnight. ET,
Saturday 10:00 a.m. – 8:00 p.m., excluding holidays
Phone: 1-800-OK-CANON (toll free)
TTD: 1-866-251-3752 (toll free)
For additional support options:

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Shooting SD footage with the Sony PMW-350K

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HD DSLR “The Future”

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Sony PMW-350K

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For all your video production needs in Scotland, get in touch with Small Video Company Ltd

My First Day with Snow Leopard 10.6.1 and Final Cut Pro 7.0.1

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Having loaded Snow Leopard over 14 weeks ago onto my iMac I have seen the benefits, quicker start up’s, more responsive and very stable. Only last Thursday 22nd October brought the updated drivers for my AJA io HD now V7.1, along with these drivers came an update to Final Cut Studio V7.0.1.

As soon as these drivers appeared I loaded them onto my MacPro and “WOW” it was like going from 2 star petrol to 4 star petrol, the difference was remarkable and still running 32bit.

Tum TabIt was most noticeable in Motion 4, things that ran sluggishly were given a new lease of life and the best was still to come…if you use Motion you will appreciate that if you want to make “Tummy tabs” (TT) as they are known in the trade, an ident like the one on the picture to your right with my name on it.

In Motion 3 if you wanted to make a TT you had to make sure the output was an animation, millions of colours plus and choose movie plus alpha, then you had to export this and render it on the FC timeline… TTs took ages.

Now with Motion 4, FC and AJA io HD you can choose Apple 4444 ProRes as your export preset and thats it no faffing about, it exports twice as fast and once it reaches your timeline it renders at least 3x faster than choosing the animation option and better still you get a far superior picture…no more banding or shallow colours.

Final Cut seems far more positive…I have 20 SATA drives via four DP500′s and they are twice as fast to load up it’s all a plus, plus experience.

As I mentioned in an earlier post I did not recommend bringing a previous project into FCP-7 as it crashed to the desktop…with some anxiety I did this with a major edit and no problems, worked like a charm. All in all I am delighted with my switch over to Snow Leopard and Final Cut Studio 3…I will put my hands up and applaud AJA for their amazing drivers and the ability to use Apple 4444 ProRez in a box of tricks that I am not so sure was designed to give us that level of resolution, once again well done Apple and AJA.

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Why do I Shoot progressive from Alister Chapman

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I shoot all my own material as Progressive. About the only time I shoot interlace is when shooting airshows where the client specifies interlace, even that looks like it will change to P next year.

Interlace really is a hangover from the past where there simply wasn’t the bandwidth to broadcast full resolution (SD) progressive frames, so the compromise that is interlace was developed to split the frame into 2 half’s, transmitting one after the other. This enabled broadcaster to fit SD pictures into narrower bandwidth than would have been possible for progressive  analogue broadcast. These days with most display technologies centering around progressive scanning I’m not convinced that interlace is the way to shoot. Obviously if your client insists on interlace then that’s what you must deliver.

I supply hundreds of hours of footage to broadcasters, museums and corporate production companies around the world. I have been shooting progressive since 2004. Often I deliver the material recorded as interlace, but containing progressive images. Not once has that caused me a problem. As I write this I am converting some 1920×1080 25P footage to 1920×1080 60i for delivery to NBC. If I had shot 50i that conversion would be very difficult to do and to make look good. Software standards conversion of interlace material is troublesome to say the least. It is so much easier to start of with one frame rate of P and convert to another frame rate P or I. If you start with I then you immediately have a resolution drop if you shoot with a video camera because the fields are created by using overlapping line pairs from the sensor to prevent twitter an aliasing. Converting that already resolution compromised footage to progressive will almost certainly result in a further resolution drop as you will need to do some form of de-interlace procedure. On a big screen that drop in resolution is very noticeable. Converting from P to I on the other hand has none of these issues and frame rate conversions from P to P are easy.

More and more video is ending up on the web or being delivered to computers, so for this progressive is essential. Interlace on computer screens usually looks terrible. In the future it seems likely that television broadcasting as we know it will be replaced with video served over the internet or some other data pipe such as direct to home fiber-optic, again this will almost certainly require progressive material.

More and more broadcasters are now insisting on progressive delivery of HD material, especially for documentary, drama and other high end productions. Often this is because international distribution of progressive is so much easier and the quality better. Sure 25P is not ideal, 50P would be better. But working with progressive material is so much easier than working with interlace.

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A Day with Snow Leopard and FCP-7.0.1 coming soon…

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AJA io HD Drivers finally available V7.1

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The New iMac from Apple

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HD Warrior Camcorder announcement of 2009 … Sony PMW-350K

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So how did I come to that decision after all I have not even seen the camcorder !  I take Alister Chapmans word as gospel on this camcorder, although Alister is a Sony man his reputation as a Director of Photography (DoP) is on the line with this camcorder. Alister reckons the PMW-350 is a lot quieter than the EX-3 which up till now was the GOLD standard HD camcorder that all other camcorders in that price bracket were judged by.

2/3″ chipset is mindblowing, this camera take my word for it will be taken on by broadcast companies who are using the EX-3 at the moment with 2/3″ lens adaptors.

As I have said before and will say again Sony are trailblazers when it comes to video gear, their commitment to giving you the best quality at the cost of higher spec camcorders in their range is unsurpassed and that’s why I give the Sony PMW-350 the HD Warrior Camcorder announcement of 2009 award.

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