IBC 2009 without Sony ?

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How are plans for IBC2009?

Exhibition bookings for IBC2009 are still very strong. Currently we are about 10% down on the final space requirement for last year, which at this time is very good. My view is that we will have an excellent show, filling the RAI Centre, and perhaps the space available to us in the new Elicium building. Sony is the only major company at IBC2008 which has not signed up for this year.

Does that mean IBC2009 will be a smaller exhibition than last year?

We are a little smaller because many exhibitors have trimmed their stand space a little, and we fully understand why they need to do this. 

Sadly, we are seeing some cancellations from companies who are struggling in the market, but these are being replaced by fresh applications. Last month we were able to allocate stands to 25 new companies, who were waiting for space in the right areas for them. It may be hard to believe but I promise it is true: new bookings are still outrunning cancellations for IBC2009 
Sustainability is the keyword. 

IBC has been central to our market for more than 40 years and we want to help our all stakeholders continue to prosper. IBC is run by the industry, for the industry, and the market is continuing to show a strong commitment to IBC.

So you feel confident about IBC2009?

Confident but not complacent. The IBC team is very experienced in creating a vibrant and relevant IBC and is completely focused on delivering a valuable experience for everyone. At its simplest level, business is about people and relationships. Those relationships are important in good times and in tough times. Certainly in this industry, which is all about communication, people need to meet face to face to do business and compare the marketplace, and this is one of the great strengths of IBC. 

North American trade shows seem to be suffering. The exhibitions so far in the rest of the world – like BVE in London, CCBN in Beijing, Cabsat in Dubai and ISEurope in Amsterdam – have held up very well. IBC is very much a global event, and we remain confident that our audience will see the value in attending.

You mentioned Sony opting out of IBC2009 ?

Obviously this is a disappointment. Sony is a big player, and IBC has always worked well for them. We have been talking in detail for some time, of course, and they have explained their thinking. They have also been positive in their comments about IBC. For this year they have chosen another route. We wish them well, and I can say that we are continuing our dialogue with them, working hard to get them back into the show. 

For the last few years Sony has anchored hall 9 and made it a production zone. That is really important for IBC, so we are taking the space and creating in it a production village. One key feature will be the opportunity to compare a huge range of cameras from all the leading manufacturers. Nowhere in the world will you have the chance to make direct, side-by-side comparisons on this scale: another way IBC adds value to your visit. 

The production village will also include a training zone, looking at workflows as well as shooting, and we are investing even more in visitor marketing to the production community to tell them about what will be happening and why it will be valuable to them. We have not had a rush of cancellations following Sony’s announcement and I do not expect one: the value proposition of IBC is still exactly the same. If you are a competitor of Sony, it may even have got stronger!

Are you making any other initiatives to help exhibitors?

Like any other business activity, IBC has to be measured in terms of return on investment. And there are two sides to RoI: the cost, and the value received in return. Now we appreciate that everyone has to look carefully at the level of spend, and we are working hard to help people control this. We also recognise that people’s time is more valuable than ever, so we are helping exhibitors by reducing the effort required before the event. 

The new stand packages include a ‘walk on’ free design structure. This is for exhibitors who want to take more space than we can accommodate in our shell scheme offering, but want the convenience of a pre-built stand. 

For small exhibitors who really want to be a part of the IBC experience but are worried both about containing costs and about management time, we have a plug and play solution: a Zone-style exhibition pod, complete with broadband connection, power and light, a lockable cupboard and stand graphics. Also in the package is freighting for your equipment and two hotel rooms, all for a lead-in price of 10k euros.

We are working with our partners in other areas, too. In the next few days, Amsterdam will announce a reduction in hotel prices of around 10% in most areas. We are encouraging them to launch some other specific cost-saving hotel promotions, and I am confident we will hear more about those in May. 


What are you doing to encourage visitors to attend?

This is the value side of the IBC RoI, and I can assure you that we are investing heavily to make this year’s event unmissable. In particular we are looking at show floor visitor attractions and a whole range of new communications and promotions designed to add value for exhibitors and visitors. I have already mentioned the expansion of our popular training programme, for example, with production and workflow in hall 9 alongside post in hall 7.

Why are you investing in what is bound to be a difficult IBC?

When we talk about IBC being run by the industry for the industry that is not a marketing slogan, it is at the core of IBC’s mission. We are not running simply running an event – and taking money out of the industry – we are running IBC because we are a part of that community. 

We know what exhibitors, delegates and visitors are going through at the moment, in planning for IBC and across the whole of their businesses. We take that knowledge, add to it some creative thinking from our professional team, and build an event that will actively drive the industry forward.

What are your predictions on attendance?

I can promise is that we are making every possible effort to add even more value to IBC2009, with a very strong communication and promotions plan to ensure everybody is fully aware of the benefits of IBC. 

We are building a telephone marketing campaign to top broadcasters and media organisations across Europe, finding out how we can help them maintain their place in the IBC community. For example, where a northern European organisation can guarantee a strong delegation we are looking at providing coach transport to Amsterdam, additional conference facilities and networking events. 

Inevitably, when times are tight travel budgets are looked at, and we know that some bodies, particularly in Europe and the Middle East, are not able to fly to the US. But they do plan to be at IBC.

Registration opens in two weeks, and hotel bookings do not really start to come in until May, so at this stage there is no comparative data but I believe we will have another healthy, vigorous global event.

What would you say to those considering a trip to IBC this year? 
I would give them the same message as any other year. IBC is a key event in the calendar, the must visit show for all serious professionals in this market, worldwide. IBC offers 
- a comprehensive state of the art exhibition – which our bookings show remains the case in 2009 
- genuine thought leadership from the conference – and this year the programme has been reinvigorated to meet the challenges of the times 
- added value events – from briefings to screenings, training to unique presentations and demonstrations 
- unrivalled networking opportunities in a friendly and attractive city.

Those reasons resonate even more strongly this year. 2009 is the time to invest in the knowledge you will need to tackle the coming creative, technical and commercial challenges, and successfully navigate the post-recession media landscape.

You do have to question why Sony do not want to be a part of IBC but then with one new SD DP-175 DVCAM camcorder to show off maybe this has been the correct decision, it could also be like a lot of big companies like Apple, they have supported these big shows for years and the cost versus the financial return is making them cherry pick the biggest and best shows or in Apples case possibly no shows.  Another consideration must be the internet, if one of the big companies sneezes it’s round the globe within the hour so shows like IBC may becoming dinosaurs of the past.

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

Apple predicted to have new hardware on the 9.9.09

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Apple Concept TabletA source has told HD Warrior that Apple are going to announce something big this coming Wednesday the 9th of September 09. Some people are predicting the well overdue Apple tablet. I for one hope this is the case and also hope that Apple give us the ability to have video inputs as well as outputs allowing such a machine to be used for monitoring or prompting. Remember this is only a guess…keep your eyes on the Apple website at about 7pm GMT for an announcement hopefully from Steve Jobs himself.

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Conceptual film like Canon 35f

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Canons Mike Owen

Thanks to Canon’s web site we now have a name and the person to address for our new Canon film like camera the 35f. Video in both the 5D Mk11 and 7D is an afterthought and that comes from a professional video and photographer of well over 25 years experience. Mr Owen tells us that Canon spoke to hundreds of photographers but he does omit to tell us wether they were professional or amateur and there is no mention of videographers !

OK Canon… I have designed the 35f film like CF camera, this camera no longer takes pictures and is dedicated to filming in 1920-1080 50i – 1920-1080 25p (or variable from 15-30p) and 720 50p, has 2 mini XLR inputs and adjustable sound controls, need I say more…


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pCAM iPhone application for top end film use

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Having paid my £24 to the Apple APP Store I had a good look through this application…It’s a must for those using film cameras and Red ONE camcorders…I found two screens that may
find useful and they were colour correction which basically tells you what filter to use eg. Light source 3200K you will need an 80A filter to balance the light source to 5500K (Daylight)
loosing 2 f stops.
The other useful screen would be the Siemens Star used for back focus adjustment. This application is very specialised and basically comes from a film background, one of the windows
refer to “screen sizes” talking about projector screens. In the settings you get options for ASA or El, most video camcorders do not come with ASA ratings ! One other setting asks for film
speed once again pointless for most video operators. Yes you can work out your camcorders ASA rating but is it worth all the hassle.
My advice is that you only buy pCAM if you are working in film or top end video using a Red camcorder, for the majority of us using HDV, EX-3s or melding with a Canon 5D Mk11 this
application will in my opinion not set the heather alight.

Having paid my £24 to the Apple APP Store I had a good look through this application…It’s a must for those using top end film cameras and Red ONE camcorders…I found two screens that might be useful and they were colour correction which basically tells you what filter to use eg. Light source 3200K you will need an 80A filter to balance the light source to 5500K (Daylight) loosing 2 f stops.

The other useful screen would be the Siemens Star used for back focus adjustment. This application is very specialised and basically comes from a film background, one of the windows refer to “screen sizes” talking about projector screens. In the settings you get options for ASA or El, most video camcorders do not come with ASA ratings ! One other setting asks for film speed once again pointless for most video operators. Yes you can work out your camcorders ASA rating but is it worth all the hassle.

My advice is that you only buy pCAM if you are working in film or top end video using a Red camcorder, for the majority of us using HDV, EX-3s or melding with a Canon 5D Mk11 this application will in my opinion not set the heather alight as for the price, it reflects the speciality of the field at which it is pitched at, it’s one of my most expensive apps second only to Navigon Europe both applications available from iTunes APP store.

  1. Depth of Field & Hyperfocal Distance

  2. Bullet Splits-Aperture Finder

  3. Bullet Field of View (Image size) with Preview Illustrations & Angle of View

  4. Bullet Exposure (compensating changes in Shutter Angle, FPS Speed, Filters, Film Speeds & Light foot-candles or lux)

  5. Bullet Running Time to Length

  6. Bullet Shooting to Screen Time

  7. Bullet HMI (safe speeds & shutters)

  8. Bullet Color Correction (filters and mireds)

  9. Bullet Diopter

  10. Bullet Macro

  11. Bullet Time Lapse

  12. Bullet Underwater Distance (flat ports)

  13. Bullet Scene Illumination

  14. Bullet Light Coverage

  15. Bullet Siemens focus Star

  16. BulletIncludes all common professional Still Camera, Film & HD Camera Formats

  17. BulletUser-definable custom Camera Formats, CoC & Filters

  18. BulletWorks on iPhone™ and iPod Touch™

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“FRANKENCAMERA” open-source digital camera

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Stanford photo scientists are out to reinvent digital photography with the introduction of an open-source digital camera, which will give programmers around the world the chance to create software that will teach cameras new tricks.

If the technology catches on, camera performance will be no longer be limited by the software that comes pre-installed by the manufacturer. Virtually all the features of the Stanford camera – focus, exposure, shutter speed, flash, etc. – are at the command of software that can be created by inspired programmers anywhere. “The premise of the project is to build a camera that is open source,” said computer science professor Marc Levoy.

Computer science graduate student Andrew Adams, who helped design the prototype of the Stanford camera (dubbed Frankencamera,) imagines a future where consumers download applications to their open-platform cameras the way Apple apps are downloaded to iPhones today. When the camera’s operating software is made available publicly, perhaps a year from now, users will be able to continuously improve it, along the open-source model of the Linux operating system for computers or the Mozilla Firefox web browser.

From there, the sky’s the limit. Programmers will have the freedom to experiment with new ways of tuning the camera’s response to light and motion, adding their own algorithms to process the raw images in innovative ways.

Frankencamera at minimal cost

Levoy’s plan is to develop and manufacture the “Frankencamera” as a platform that will first be available at minimal cost to fellow computational photography researchers. In the young field of computational photography, which Levoy helped establish, researchers use optics benches, imaging chips, computers and software to develop techniques and algorithms to enhance and extend photography. This work, however, is bound to the lab. Frankencamera would give researchers the means to take their experiments into the studios, the landscapes, and the stadiums.

click to play animation

Animation demonstrating one example of how the Frankencamera extends and enhances photography.

For example, among the most mature ideas in the field of computational photography is the idea of extending a camera’s “dynamic range,” or its ability to handle a wide range of lighting in a single frame. The process of high-dynamic-range imaging is to capture pictures of the same scene with different exposures and then to combine them into a composite image in which every pixel is optimally lit. Until now, this trick could be done only with images in computers. Levoy wants cameras to do this right at the scene, on demand. Although the algorithms are very well understood, no commercial cameras do this today. But Frankencamera does.

Another algorithm that researchers have achieved in the lab, but no commercial camera allows, is enhancing the resolution of videos with high-resolution still photographs. While a camera is gathering low-resolution video at 30 frames a second, it could also periodically take a high-resolution still image. The extra information in the still could then be recombined by an algorithm into each video frame. Levoy and his students plan to implement that on Frankencamera, too.

Yet another idea is to have the camera communicate with computers on a network, such as a photo-hosting service on the Web. Imagine, Levoy says, if the camera could analyze highly-rated pictures of a subject in an online gallery before snapping the shutter for another portrait of the same subject. The camera could then offer advice (or just automatically decide) on the settings that will best replicate the same skin tone or shading. By communicating with the network, the camera could avoid taking a ghastly picture.

Of course users with Frankencameras would not be constrained by what is already known. They’d be free to discover and experiment with all kinds of other operations that might yield innovative results because they’d have total control.

“Some cameras have software development kits that let you hook up a camera with a USB cable and tell it to set the exposure to this, the shutter speed to that, and take a picture, but that’s not what we’re talking about,” says Levoy. “What we’re talking about is, tell it what to do on the next microsecond in a metering algorithm or an autofocusing algorithm, or fire the flash, focus a little differently and then fire the flash again — things you can’t program a commercial camera to do.”

Behind the lens cap

To create an open-source camera, Levoy and the group cobbled together a number of different parts: the motherboard, per se, is a Texas Instruments “system on a chip” running Linux with image and general processors and a small LCD screen. The imaging chip is taken from a Nokia N95 cell phone, and the lenses are off-the-shelf Canon lenses, but they are combined with actuators to give the camera its fine-tuned software control. The body is custom made at Stanford. The project has benefited from the support of Nokia, Adobe Systems, Kodak, and Hewlett-Packard. HP recently gave graduate student David Jacobs a three-year fellowship to support his work on the project. Kodak, meanwhile, supports student Eddy Talvala.

Within about a year, after the camera is developed to his satisfaction, Levoy hopes to have to have the funding and the arrangements in place for an outside manufacturer to produce them in quantity, ideally for less than $1,000. Levoy would then provide them at cost to colleagues and their students at other universities.

The son, grandson, and great-grandson of opticians, Levoy sees his mission as not only advancing research in computational photography, but also imbuing new students with enthusiasm for technology. This spring he launched a course in digital photography in which he integrated the science of optics and algorithms and the history of photography’s social significance with lessons in photographic technique.

As many ideas as Levoy’s team may want to implement on the camera, the real goal is to enable the broader community of photography researchers and enthusiasts to contribute ideas the Stanford group has not imagined. The success of Camera 2.0 will be measured by how many new capabilities the community can add to collective understanding of what’s possible in photography.


Marc Levoy, professor of Computer Science and of Electrical Engineering and graduate student Andrew Adams with the open source camera.

BY DAVID ORENSTEIN (Stanford University 2009)

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AJA io HD “Still no drivers 6 weeks later”

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Friday the 24th of July 2009 Apple brought out Final Cut Pro 7 that was 6 weeks ago…July 29th AJA announce support for their KONA card V6.5 and to rub salt in the wound we now have a new version 7 which is Snow Leopard compatible.

I have emailed AJA regularly for the last 4 weeks asking them for an ETA for these drivers, I was told within 2 weeks and today sees the end of that 2 week timeline. As a customer of AJA and having paid £2500 for their HD box I think I and many others have been dealt a raw deal.

Their web site tells you to stick with FCS-2 until the new drivers are ready but companies like mine need to get to grips with Motion 4 etc and a 6 week delay is in my books totally unacceptable. I have various productions on hold waiting for these drivers.


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7D using a Wireless File Transmitter-Remote viewing of Live Video Feed !

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Wireless File Transmitter WFT-E5/E5A Canon has also announced a transmitter companion for the 7D. It’s a battery grip-style wired/wireless device that is most similar to the WFT-E4/E4A for the 5D Mark II, with some slick new bells and whistles mixed in.

Like that unit, the WFT-E5/E5A has three operating modes – FTP, PTP and HTTP (the HTTP mode is renamed WFT Server in the newer transmitter) – and can send pictures and video over a wired Ethernet or Wi-Fi link. Or, to a USB drive as well. If a GPS unit is connected to the device’s USB port, location information is added to the metadata of each picture file.

It’s also powered by the same Battery Pack LP-E6, supports Wireless Protected Setup for quicker configuration with certain wireless routers and includes vertical shooting controls.

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Wired Up: The WFT-E5/E5A attached to a 7D. Click to enlarge (Photo courtesy Canon)

New in the WFT-E5/E5A:

  • Support for 802.11a wireless networks, in addition to 802.11b/g.
  • A GPS device can now link over Bluetooth as well as USB. A compatible USB Bluetooth module, such as Canon Bluetooth Unit BU-30, must be inserted into the WFT-E5/E5A’s USB port for this to work.
  • WFT Server mode allows for remote viewing of the camera’s Live View feed, adjusting of shutter speed, aperture, ISO and various other camera settings, plus firing the shutter, all from the web browser of a linked computer, iPhone or other smartphone.
  • A 7D with a WFT-E5/E5A attached can be configured to fire multiple remote cameras, up to 10 in all, in concert with the 7D in your hand. Once configured, pressing the shutter button on the camera you’re using causes the remote cameras to fire as well, presumably with a slight delay. Transmission range is specified to be about 328ft (100m).As of now, both the local and remote cameras all must be 7Ds sitting on WFT-E5/E5As, but it’s a safe bet that future Canon digital SLRs and their transmitters will support this same feature. If this comes to pass, then different Canon cameras should be able to trigger each other and it won’t be necessary to have the same camera model and transmitter all around.

    Video An evolved version of the video mode in the 5D Mark II graces the 7D. If you’re familiar with that camera’s video capabilities, then you know a lot about the 7D’s video mode already. The new camera has all the video features of the 5D Mark II, including both manual and automatic exposure, three static AF modes that can be activated prior to and during video capture, both a built-in mic and a 3.5mm miniphone jack for an external stereo mic, a built-in speaker, automatic audio gain with no manual override, H.264-compressed movie files with a .mov extension, a 4GB clip length limit, the ability to start and stop video recordings with Canon’s Remote Controller RC-5 and RC-1, plus:

    • More resolution and frame rate options The 7D offers the following video output settings:
    • 1080p: 1920 x 1080 pixels at 30fps (actually 29.97fps)
    • 1080p: 1920 x 1080 pixels at 25fps
    • 1080p: 1920 x 1080 pixels at 24fps (actually 23.976fps)
    • 720p: 1280 x 720 pixels at 60fps (actually 59.94fps)
    • 720p: 1280 x 720 pixels at 50fps
    • SD: 640 x 480 pixels at 60fps (actually 59.94fps)
    • SD: 640 x 480 pixels at 50fps
    • Canon projects that the typical maximum clip length for 1080p and 720p video will be about 12 minutes. This jumps to about 24 minutes for SD video. As with the 5D Mark II, the actual maximum clip length will vary greatly with scene content, scene movement and ISO.
    • Tweaked frame rates Some of the 7D’s frame rates – for example, 29.97fps rather than 30fps, as noted above – should allow for easier syncing with separately-recorded audio in a variety of video editing applications. (The 5D Mark II’s true 30fps frame rate leads to syncing difficulties in some programs).
    • Higher audio sample rate The 7D’s audio sample rate is 48khz, up from 44.1khz in the 5D Mark II.
    • Higher data rates, possibly When comparing 1080p video at the same frame rate of similar scenes, the 7D’s data rates are typically 5-10% higher than the the 5D Mark II’s (40mbits/s vs 47mbits/s, for example). This could be an anomaly of the video we’ve shot with the two cameras. Nevertheless, the data rate jump is consistent.
    • In-camera video trimming Trimming of the start and the end of a clip is possible.
    • Still/video mode switch The addition of the aforementioned mode toggle and start/stop button combo makes it much easier to switch to video and quickly start recording, without sacrificing ready access to Live View when shooting stills.

    The only apparent advantages of the 5D Mark II’s video mode are somewhat shallower depth of field effects (thanks to its use of longer focal lengths for a given field of view), a maximum ISO of 12,800 (the 7D’s maximum ISO when capturing video is 6400) and somewhat cleaner video at higher ISO settings.


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Philip Blooms take on the Canon 7D

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As you may have guessed I am not a big fan of the Canon 7D thanks to the APS 1.6x sensor, but Mr Bloom has re-edited this sketch and it’s rather funny, worth a watch.

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Rights Managed vs Royalty Free Footage

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Canon 7D with APS sensor “A glorified domestic camera”

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Canon boast they spoke to 5000 photographers when designing this camera well they never spoke to me nor Philip Bloom as we would have told them to upgrade the sound capabilities and a must would have been a swivel LCD viewfinder. I have been using the 5D Mk11 for an introduction to a video and take it from me the static viewfinder is definitely a big minus point when using a 35mm camera for video work. APS-C is also a downer considering it’s suppose to be the wee brother to the 5D Mk11. This means a 50mm lens becoming an 80mm lens with a 1.6x conversion. Unlike my counterpart Mr Bloom I think this is a backwards step for Canon users.

We all used to own 35mm cameras and a 50mm lens was always 50mm…since some idiot engineer in Japan decided to use smaller chipsets giving us a 1.6x conversion the world of 35mm photography has changed and not for the better. If you use a 50mm lens on an APS camera it’s 80mm and if you use an APS lens on a full frame camera you loose picture area…it’s a joke.

Nikon bring out the D3 full frame then bring out the D700 wee brother FULL FRAME…. why oh why do Canon insist on on getting it wrong. Canon don’t want to hurt sales of the “PRO” full frame cameras so why call it a 7D or are we going to get the 5D Mk111. Funny but in my maths class in school less than a handful of students enjoyed conversions and percentages yet if you are unfortunate enough to own an APS camera you are forced to calculate 1.6x what ever Canon L lens you buy…eg 24-105mm = 38-168mm. There is only ONE plus side to this camera for video users using the 1.6x conversion and that is a 200mm lens becomes a 320mm focal length, great for wildlife.







  • 18MP APS-C CMOS sensor
  • 8fps shooting
  • ISO range up to 12800
  • 100% Viewfinder
  • 19 cross-type AF points
  • iFCL metering system
  • Dual “DIGIC 4”
  • Full HD movie
  • Integrated Speedlite Transmitter
  • 3” Clear View II LCD
  • Magnesium alloy body with environmental protection

Designed by you, built by Canon

18 Megapixel APS-C CMOS sensor
The EOS 7D offers superb resolution thanks to its 18MP CMOS sensor. Offering the photographer the choice of flexibility and creativity.

8 frames per second
Shoot 18MP 14-bit images at 8 fps as standard, in a burst of up to 126 large JPEGs; photographers can capture both detail and action.

High ISO
For handheld shooting in low light, the EOS 7D offers ISO speeds of up to 6400. Expandable to ISO 12800, for low light scenes where using flash is undesirable.

100% Viewfinder coverage
The 100% coverage viewfinder with 1.0x magnification provides the most complete and natural view of your subject. The Intelligent viewfinder offers shooting information never before seen in an EOS, including the Dual Axis Electronic Level to ensure perfect horizons.

19-point cross-type AF system
A newly designed AF sensor with Zone and Spot AF modes gives the photographer new ways to select AF points. All points are cross type with the centre point offering both f/2.8 and f/5.6 sensors.

iFCL metering system
A new 63-zone dual layer metering sensor analyses Focus, Colour and Luminance information, providing accurate and consistent metering.

Canon’s Dual “DIGIC 4” provides the EOS 7D with the power to deliver outstanding colour reproduction from its high resolution CMOS sensor. DIGIC 4 also delivers 14 bit processing, excellent noise reduction, long battery life, Face Detection AF and Full HD movie recording.

Full HD movie recording
Complementing outstanding still imaging capabilities with Full HD 1080 video recording including selectable frame rates and full manual control.

Integrated Speedlite Transmitter
EOS 7D includes the ability to control multiple Speedlites without an ST-E2 or 580EX II, and includes a built-in 15mm wide angle flash. Expand your flash photography.

3.0” Clear View II LCD
The 3.0” Clear View II LCD features 920,000 dot resolution, a wide viewing angle and new solid structure for improved image viewing in bright conditions. Live View displays real-time images on the LCD, offering three auto focus modes.

Magnesium alloy body with environmental protection
The magnesium alloy body offers weather sealing equivalent to the acclaimed EOS-1N, EOS Integrated Cleaning System and 150,000 release shutter durability. The EOS 7D has been designed from the ground up to be used by the most demanding photographers.


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