 Being a Nikon shooter in a multimedia world has some disadvantages. In 2008, Nikon launched the D90, which was the first DSLR with the ability to shoot video as well as stills. The camera was rife with limitations. Without an audio mic jack, you could not use an external microphone to gather quality sound. The Motion JPEG codec the D90 recorded in was a nightmare for Final Cut Pro to deal with. My newspaper bought two of these cameras on release. I played around with one, shrugged my shoulders,
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 2010 will go down as a landmark year for helping level the playing field between studio and independent filmmakers. Like in ’09, 2010 was again dominated by HD DSLRs. Although the Canon 5D Mark II made its debut back in ’08, it still continues to transform the production industry in new exciting ways and is now the camera of choice for the majority of indie filmmakers. Even on the pro-level, HD DSLRs have gone on to shoot major TV spots, music videos, network shows and feature films with A-list
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 In a recent poll about HDSLRs, planet5D readers answered this question: “What are your top 3 needs for the next pro level HDSLR?” – we offered selections like 4k video, autofocus in video, reduced jello, HDMI out, RAW video and more. The poll recently closed, but I believe you’ll be surprised at the results – we sure were!
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 Welcome to our Video primer - or the "how to shoot video on Canon HDSLR guide". Using the HDSLR as a video camera is easy, but mastering it is a bit harder. It isn't exactly the same as using the simple Canon Camcorder you've been using to capture the rug rats running around the house. The HDSLR doesn't do the autofocus like your camcorder does and it isn't a fixed focal length either. Most of the experts are recommending you do manual focus "like the pros do" - there is a simple focus technique
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 4 shooters discuss the pro's and con's of shooting DSLR vs conventional video footage. In-depth discussion of what DSLRs are good for, where this technology excels and when to use conventional video technology. Featuring a wide array of DSLR and video footage to show the differences between the formats, and how each performs in similar environments.
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 The interest in HDSLR production and post shows no sign of waning. Although some of this information will seem redundant with earlier articles, I decided it was a good time to set down a working recipe of how I like to deal with these files. To some extend this is a “refresh” of the Round II article, given the things I’ve learned since then. The Canon cameras are the dominant choice, but that’s for today. Nikon is coming on strong with its D7000 and Panasonic has made a serious entry into the la
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 Jason Levine has a series of video tutorials on Adobe TV that show how to shoot and edit HD video from DSLR cameras using Premiere Pro CS5 and other applications in Creative Suite 5 Production Premium. These videos are aimed at photographers and other folks who are somewhat new to video editing, so this series serves as a pretty good overview of Premiere Pro CS5 in general.
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 The DSLR revolution has had a dramatic impact on videography, combining some of the best features of professional video with high-end photography. DSLRs are affordable and the image quality is spectacular.
October 2011 update.
Today's latest NLEs allow you to edit DSLR footage easily, as long as you have a powerful computer. We've updated this guide to include info about that, as well as our tips and tricks for using older versions. If you have questions about working with and
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 Recently I was reading a blog post from director Robin Schmidt over at ww.elskid.com which got me curious. He was doing a comparison between MPEG Streamclip and rarevisions 5DtoRGB. I was using MPEG Streamclip for myself to convert my 5D footage. From the beginning I was always aware of the obvious gamma shift you get using MPEG Streamclip. I just started to convert to Proxy files for editing and reconnect to my original files.
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 At some point in the evolution of today's DSLR, digital replaced film, and low light level photography became astonishingly clear. We saw our world in a whole new way. And then a seemingly innocent event occurred that for some would be the beginning of a whole new style, and for others, would be another nail in the coffin of quality cinematography.
Rather than schlep a real movie camera or camcorder around with your still outfit, wouldn't it be convenient if you could just lock the mirror
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 I attended a LIVA event (that's the Long Island Videographers Association and they meet monthly at the LI Marriott in Uniondale) on a Tuesday evening in May that was completely devoted to HD DSLR cameras and decided that I'd share a brief, but hopefully helpful, summary with my videographer and photographer friends, so they can partake in some of what was covered.
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 Canon U.S.A., Inc., a leader in digital imaging, would like to congratulate the cast and crew from the hit series HOUSE on filming the entire season finale episode on the Canon EOS 5D Mark II. This crowning achievement marks the first network television prime time drama episode to be shot entirely on a Digital SLR camera, making it an industry-first.
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 Over the past year Canon has produced and shipped tens of thousands of DSLR camcorders worldwide. With so many of these getting into the hands of such a wide range of videographers, from home users, to event videographers, independent filmmakers and now even Network TV shows and Hollywood movies, the impact has been dramatic. At Videoguys.com, we are getting calls and emails and reading new forum threads each day asking us what is the best way to edit and work with the footage created from these
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 After Canon PR jumped the gun a bit on the release of the EOS Movie Plugin-E1 for Final Cut Pro, they have finally released the tool here in the back half of March. If you haven’t heard about the EOS Movie Plugin-E1 for Final Cut Pro it’s adds an option to the FCP Log and Transfer tool to import Canon 1D, 5D Mark II and 7D H.264 Quicktime files and transcode to any of the ProRes flavors (or Apple Intermediate Codec) in the process.
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 We all know this fact: The Canon DSLRs (5D, 7D, 1D) use the H.264 codec for the video they shoot and wrap that into a .mov QuickTime. While Final Cut Pro does work with .movs, these H.264 versions are clunky to edit requiring much rendering when in a FCP timeline. H.264 wasn’t designed to be a robust edit format anyway so the files need to be transcoded into something more edit friendly.
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