Canon: EOS 7D Sample Images & Movies (http://web.canon.jp/imaging/eosd/samples/eos7d/)

AUUGGHHHHH!!! Damn those people at Canon--Trains going by and NO rolling shutter effect. Now I want one! If the footage had had the tearing I've seen from other cameras, I wouldn't want it. Now I've gotta have one. Curses!

i assume the oversharpening and highlight clipping is just poorly processed footage and/or bad picture profile. i am a bit impressed i dont see any jello going on on the extremely shaky motorcycle pov shot, but it might just be too fast to see anything.

actually there is plenty rolling shutter on the train if you pause it on a frame with the dark gap between carriages. Bad as ever.

The shaky car footage proves it for me, looks great!

I'll check it out again, but if I can't see it when it's playing at normal speed, I can live with it. Could be the train is going too fast. However, they have some other shots at slower speeds with lots of vertical lines and I don't see any problems.

I'll check it out again, but if I can't see it when it's playing at normal speed, I can live with it. Could be the train is going too fast. However, they have some other shots at slower speeds with lots of vertical lines and I don't see any problems.

Here's a sample: http://www.dvinfo.net/conf/1296869-post12.html

I wonder what happens with slower horizontal movement. In the Nikon footage I saw, the image would tear, like the bottom half of a vertical line was behind the top half. It was really noticeable. I didn't see this black thing when playing at normal speed.

AUUGGHHHHH!!! Damn those people at Canon--Trains going by and NO rolling shutter effect...!

Actually the rolling shutter effect is *huge* as the train passes by up close in the opening of the clip. Take a look at it again: the black lines between the cars are completely skewed from top to bottom as a diagonal. However when you see the train in the far shot crossing over the river it's clear those black lines between train-cars are in fact perfectly vertical.

This is also evident in every telephone pole and building that passes by from the inside-train view.

Unfortunately there's no getting away from the side effects of a rolling shutter; maybe at some point Canon - and other's brands using rolling shutters - will create software in-camera to compensate for skew but for today it's a very evident and potentially nasty "gotcha" that you must be aware of with either fast moving objects or camera panning.

Unfortunately there's no getting away from the side effects of a rolling shutter; maybe at some point Canon - and other's brands using rolling shutters - will create software in-camera to compensate for skew but for today it's a very evident and potentially nasty "gotcha" that you must be aware of with either fast moving objects or camera panning.


RollingShutter might be worth getting. It certainly looks impressive: RollingShutter Reminds Us That While Jello Wiggles, Videos Should Not - Rollingshutter - Gizmodo (http://gizmodo.com/5351453/rollingshutter-reminds-us-that-while-jello-wiggles-videos-should-not)

The rolling shutter I have seen on the 5D and 7D samples seems to be much lower than the D90 samples I've seen. I think I could mostly live with the examples seen in the 7D

I agree with the assertion that nobody in the world cares about rolling shutter artifacts except video people. In every instance, I have had to point it out to family members and friends on shows I have shot with CMOS cameras with rolling shutter.

It's all us people, nobody else gives a ****

Dan

I agree with the assertion that nobody in the world cares about rolling shutter artifacts except video people...

Same with aliasing. Aliasing didn't stop NTSC from earning trillions of dollars for the industry over its lifetime.

Good one Jon, I totally agree. Most people in our line of work worry far too much about the techno geek nitpicking search for the "perfect" camera and image and not enough on the writing, concept, storyline, directing and acting.

Dan

Did anyone not see those shaking car footage? The roller is almost none existent!

How often do you film passing trains perpendicularly?

Same with aliasing. Aliasing didn't stop NTSC from earning trillions of dollars for the industry over its lifetime.

Yeah. Aliasing, interlace twitter, skew, oversharpening, oversaturation, OOF shots, cockeyed horizon, poor resolution, wonky compression artifacts, clipped audio, and tons more. Most people don't care one whit about any of that stuff, yet it all drives me absolutely crazy. I want to claw my eyes out sometimes.

Not too impressive for a 20 person production team team with a $300K budget IMO.

I guess the 7D dosent have an adjustable knee point judging by the blown out image in most of the scenes.

I guess the 7D dosent have an adjustable knee point judging by the blown out image in most of the scenes.

It does not have a knee control per se, but it does have other controls for retaining more dynamic range, including the picture profile (contrast & curve control), highlight tone priority, and Automatic Lighting Optimizer. Their blown out images don't indicate what the camera can do in the right hands. (See Jon's 48 hr project for an example of doing it right.)

Thanks, Daniel!

Of course, we had the Magic Lantern advantage on the 48-hour shoot. The zebras made all the difference.

Back when we shot our 15-minute short film, we often overexposed, and were inconsistent. Sure, that was when we were tricking the camera to set the exposure, but lack of manual control wasn't the problem. Using the photo histograms helped, but it's not a good method for getting scene to scene matches.

Can you post a link to Jon's 48 hr project? I'd like to check it out! Thanks!

Can you post a link to Jon's 48 hr project? I'd like to check it out! Thanks!

Here it is, Paul: The Last Outpost on Vimeo (http://vimeo.com/2668705)

Aside from some color correction for special effects, all but about five shots were edited with no color correction whatsoever. On the five shots, we underexposed slightly, which is the risk with zebras - you know when you're over the line, but not how much below the line you are. We didn't underexpose by much, so it was easy to get those shots to line up.

Ha HA! Love it Jon, thanks for sharing. And your exposure looks right on.

Ha HA! Love it Jon, thanks for sharing. And your exposure looks right on.

A big Oops! I gave the wrong link. We don't have snow here in August. ;) Here is the right one: Dream Job on Vimeo (http://vimeo.com/6179655)

As compared to Dream Job, we had to tweak The Last Outpost like mad! We shot that after owning the camera a couple of weeks. It was all auto (with us jumping through hoops to fool it.) We didn't have an ND filter, so the shutter is 1/250 or 1/320 for the outdoor shots. The sun and clouds kept changing, so white balance was all over the map. In a lot of cases, we had to mask and tweak things separately - especially for the zombie. Fortunately, we spent the time with photo histograms to ensure that we got usable shots.

Another problem is that we shot The Last Outpost before the black crush problem had been fixed. We used a custom picture style that attempted to lift the blacks as much as possible. It helped, but wasn't ideal.

Dream Job was the opposite experience. We dialed stuff in, used zebras to fine tune things, edited for timing, and generally used the out-of-the-camera look. On The Last Outpost, not a single shot was left untouched.

Glad you liked it though. :)

Even funnier! Nice work, plus your link led me to all your audio on the 5D videos that I really find informative! Thanks again!