It all started with the introduction of the 5Dmk2 by Canon. Or better yet, shortly before that. Canon was asked by a big press agency if they could possibly incorporate a filming possibility so that correspondents would be able, in a simple way, to make content, which could be transmitted by Internet. This content could be delivered directly as “breaking news” to the TV stations, instead of having to wait for a bystander with an I-phone. So Canon does that with a frame velocity of 30p, ideal for American TV stations and websites, and a codec with a huge compression that enables a very small file to be uploaded very fast. Color quality is not the priority in disasters.

But as often is the case with modern technology, customers had other plans. Very soon it was discovered that this device creates a very chic film look, on a very low budget. And when the artistic photographer Vencent Laforet uploads the small movie ‘Reverie’ (Dreaming), on Youtube, a production made in two days on photogenic locations in New York, with a fantastic helicopter shot of the Empire State building, reflected in the glasses of a model, all hell breaks loose. Everybody wants to film with a DSLR.

Meanwhile Canon has introduced its third new model within a year and this time the film mode is one of the biggest selling tools. Laforet is introduced as the expert: he is allowed to make a film with the 1D, which plays at night in the streets of LA, with no more than the existing light. The 1D has a sensor with a sensibility of ISO 12.800. It is the start of the movie ‘Nocturne’.

Operation

The so called ‘LiveView’ function forms the basis for the video option on these cameras. With the ‘LiveView’ function, the mirror goes up, consequently disabling the optical viewer. The small LCD screen on the backside is now used as a monitor. ‘Third parties’ like Hoodman and Zacuto make a kind of loupe, which can be attached to the screen. You need bright light with this option, to assess somewhat the sharpness.

Zacuto viewfinder

It is also possible to connect an external SD or HDMT monitor, but the disadvantage is that the LCD screen doesn’t show an image at all. While testing, we became aware that the start button for ‘Liveview’ and the recording button, in all three cameras are different. Where the start button is in one model, the ‘Liveview’ function can be turned on or off in another, which can be very confusing, showing that Canon still does not know exactly what to do with the film function.

You may choose from three recording formats; all cameras can record in 1080 (HD) and 640 (SD). The 1D and the 7D are both capable of recording in 24, 25, 30 and in 720 50 or 60 images.

The 5D is still limited to 30fps, but Canon has announced a firmware upgrade with which the 5D can also record in 24/25 and 50/60 fps.

Both the diaphragm and the shutter time control are identical on all cameras, all three with scroll wheels, that are in the same place. The lighting can be set on manual or automatic. In the manual mode you can select the diaphragm of the shutter time while video recording, unfortunately only in small steps. It only works on automatic gradually, but that leaves you without control. White balance can be regulated manually and also has an automatic function, which adapts continuously. There is also a button that temporally locks the white balance and the lighting; pressing it just before recording, keeps the adjustments locked during the recording.

Autofocus does not work while in film mode.

Dimension of the sensors; differences in image angle and DOF

The 5Dmk2 is a so called ‘full frame’ camera; the sensor has a surface of 24x36mm, the same format as the old small image of a slice or photo negative. The sensor has an incredible amount of pixels, totaling 21 million (21 MP), compared to 12 MP in the RED.

To achieve the ratio in the HD of 16:9 a strip is left out at the bottom and on top.

The area used comes closest to the Vistavision format, which in the fifties was marketed by Paramount with its film: ‘White Christmas’, the first film using that system.

The 7D has an APS-C sensor, with a format of 22.3 x 14.9 mm, almost the same format as 35mm film (21.95x18.6 mm) and the RED (24.4x13.7 mm).

To conclude, the 1D has an APS-H sensor of 27.9x18.6 mm.

All this has a large effect on the angle; a 28mm on a 5D is a big wide-angle, and on the 7D it is a standard lens.

Using the so called crop factor this can be easily calculated. For us filmmakers, the easiest way is to start with the standard 35mm film format. For the 5D you have to multiply the focus by o,6 om to obtain the same wide-angle, for the 1D by0,75, and the 7D by 1.

An important difference between the cameras is that for a 5D it is easy to find wide-angle lenses that are light bright. The Zeiss 28mm for instance is 2.0, but the 18mm- gives the same wide-angle on the 7D-, is 3.5.

On the other hand a 200mm on the 7D is a super telelens.

Besides the wide-angle, the dimension of the sensor influences the sharpness (DOF). Therefore on a 5D the DOF is smaller with a wide-angle.

Sensitivity of the cameras.

On paper the cameras don’t differ that much in sensitivity, the 7D has a range of 100-6400 ISO, the 5D from 50-6400 and the 1D goes one step further in the dark: 12.800 ISO. The 1D can even be “boosted” to 102.400 ISO. Very impressive numbers, but are they of any use?

Hereunder you can see an example of the 1D on 12.800. These numbers are not to be found on the film and on HD cameras. The 1D sees literally more in the dark than your own eyes…

Herengracht (Amsterdam) 1D with Zeiss 28 mm F2.0 at 12.800 ISO

Raadhuisstraat (Amsterdam) Canon 1D with Zeis 28mm F2.0 at 6400 ISO.

For question or ‘hands-on’ with these camera’s;

Edwin Verstegen en Dick Harrewijn at Het Raam digital cinema

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dick@hetraam.nl