Leica M9 World’s Smallest Full Frame 18MP camera with the Worlds biggest price £4850

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Is Leica “avin a laugh” or what…this German company is renowned for it’s optics and overpriced cameras…this is no exception… £4850 is outrageous if you consider the alternatives. I have also seen a 1600 ISO picture taken with this camera and it’s noisy. You can get a new Canon 7D (18MP) with a 50mm f1.2 L lens for £2977 or a Full Frame Canon 5D Mk11 (21MP) with same lens for £3162 !

Times have changed Leica had a small following in the film days of people who craved the best in optics in a rangefinder camera with interchangeable lenses…there was a market in the 60s and 70s for such camera designs but sadly the M9 camera looks dated among todays sleek cameras and let’s not kid ourselves until recently Panasonic have been making their digital cameras.

Having just looked at the dPreview tour of the Leica factory you get to see why you pay so much for this camera…”IT”S ALL HAND MADE” which is quaint and very commendable but in the dog eat dog 21st century world we live in and a value for money, recession world …sadly I still see no market place for such a dear basic digital camera. PS I have no doubt that the optics will be of a very high standard as will the build quality.


Personally Leica and their prices have had their days…who is going to spend the best part of five thousand pounds today for a camera that looks like a hand me down from World War 2, delivers noisy 1600 ISO pictures and a small basic LCD in todays standards and why go to all the bother to add rangefinder optics when you have an LCD or has it not got live view ?

Take a trip over to www.dpreview.com to see a hands on preview. (Link is at the right hand side of this page)

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

AJA Ki PRO now shipping

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After phoning AJA today I have been told that the new drivers for the io HD will be about two weeks away and that AJA do not release drivers until they are 100% correct. There are at least two issues to be resolved with Apple and we are set to go. Also I was told that the Ki PRO is now shipping and they are working flat out to fulfil their back orders.

Ki Pro provides a new way of connecting production and post with its extensive analog and digital connectivity; virtually any video and audio source can be fed into Ki Pro to record pristine 10-bit ProRes 422 media that is then immediately available to edit within Apple’s Final Cut Studio.

“We have had unprecedented interest in this product, and remarkable pre-release sales coming off of our recent 24-city Ki Pro global road show,” said Nick Rashby, president, AJA Video Systems. “We’re pleased to be shipping a very robust 1.0 version, and will be supporting our customers with frequent software updates and additions. Ki Pro provides significant workflow efficiencies for everyone from cinematographers and filmmakers to editors and post professionals.”

Ki Pro allows filmmakers, broadcasters, video professionals and prosumers to skip the process of re-rendering to an editing codec by giving immediate access to full raster edit-ready Apple ProRes 422 files directly from camera. Ki Pro records hours of media to a removable storage module. The device is a small, portable unit that can sit on a table, in a bay or mounted between a camera and tripod. Ki Pro is also ideal for on-set monitoring, providing instant access to multiple display devices simultaneously.

Core Ki Pro Features:

  • Record hours of pristine Apple ProRes 422 QuickTime media to a removable storage module that offers built-in FireWire 800 for immediate editing and file access on OSX.
  • Record natively to Apple ProRes 422 and ProRes 422 HQ for full raster 10-bit 4:2:2 HD and SD.
  • Bridge proprietary compression schemes by recording to the edit-friendly Apple ProRes 422 codec.
  • Connect any digital camera via SDI or HDMI, or any analog camera with multiple input options.
  • Convert in real time from SD to HD, or 720 to/from 1080, in full 10-bit quality.
  • Extend client review capabilities with simultaneous recording to camera and to Ki Pro.
  • Extend productive life of existing cameras and embrace future workflows with powerful conversion capabilities.
  • Built-in WiFi and Ethernet for complete control via a web-browser, or iPhone.

For a complete set of features and technical specifications, please visit www.aja.com. Ki Pro is available now via AJA’s network of worldwide resellers for an MSRP of US$3995.

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

NEXTO DI 500GB storage for SxS, P2, SD (SDHC), CF, MS and xD cards.

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Portable memory card backup storage with native Sony SxS card.Panasonic P2 Card Flash Media and SD cards concurrent backup to both internal SATA HD & external USB HD. The Nexto Video Pro Storage Device (500GB) from NEXTO DI is a compact device designed to provide a mobile storage solution for video. You can back-up Sony SXS cards faster then you can download to your laptop. The storage device is also compatible with a wide array of memory cards and connectivity types.

For internal storage, this device houses a 500GB 2.5″ SATA 7200rpm hard drive. Multiple interfaces allow you to transfer data on and off the unit. Compatible memory cards include CF, SD, MS, and xD. Also featured are interfaces for USB 2.0, firewire and eSATA PC connectivity.

• Hard Drive For internal storage…This device houses a 500GB 2.5″ SATA 7200rpm hard drive • Designed for Video Back-up Panasonic P2, SD cards  Flash card Media and Sony SXS cards 4 times faster than downloading to your laptop

• Interfaces… It supports multiple connectivity formats, giving you many options for transferring data on and off the device: CF, SD, MS, & xD cards, as well as USB 2.0, firewire & eSATA PC connectivity

• Preview… Preview your video on the 2.4″ color LCD screen

What’s in the Box Nexto DI Nexto Video Pro Storage Device (500GB) w/7200rpm Hard Drive

Comes Complete with the below items

  • USB Cable
  • Firewire 6 to 6 Pin Cable
  • eSATA Cable
  • AA Battery Holder
  • AC Adapter
  • Car Charger Cable
  • Manual
  • One-Year Warranty Against Defects in Material & Workmanship

The only one problem with this device is it’s name “Nex to Di” I am not sure this is one of the worlds best names for a unit holding a 500GB SATA hard drive that is backing up all your days precious footage !  I think it’s a tad late to appear in the P2 and SxS market and at a whopping £1500 for a fancy card reader with a 500 GB hard drive will not have it flying off the shelves.

UPDATE : CVP have this unit for £1242 incl vat.


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

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.

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

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…


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

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™

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

“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)

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

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.


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

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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