Budget freindly 7D video tweaks...

[jim_krupnik]

<p>HD video has recently become an expected feature on modern DSLR cameras. When I bought my 7D, 1080P video wasn't the deal maker, and even when playing with video after the fact, it seemed more than a bit alien to me compared to my comfort level shooting still pictures.</p>

<p>That said, I have two friends who are intimately involved in TV video production, and they kept prodding me to give 7D video a serious shot, as they claimed that Canon gives top video billing to the 5DII because it is at the top of their price pyramid for "affordable" video DSLR's, but the 7D is at least as good in most cases, and much better in a few other cases. In particular, the APS-C sensor still delivers better shallow DOF than many mega buck commercial studio video cameras, while it is easier to control with the 7D vs the 5DII, in terms of keeping focus in track. Nice... Even the low light capability of the 7D exceeds the ability of most mega buck studio video cameras, and the real difference between it and the 5DII is minimal by comparison.</p>

<p>Also, the 7D has two Digic 4 chips, and unlike the 5DII with one Digic 4 chip, the 7D can stream full live HD video via WiFi connection to a remote capture device (I never knew that). Apparently, the two Digic 4 chips in the 7D also give the 7D a significant edge in reducing the funky rolling shutter distortion that DSLR based video cameras (including the 5DII) are subject to. To cap it off, they offered comparison captures between the two cameras, and no matter how well their assertions stand up to debate, all of the video examples, and TV shows recorded on both cameras looked fantastic!</p>

<p>Which caused me to ask why my basic attempts at shooting video with my 7D tend to look like amateur crap, even for a rank video amateur. Two things were suggested as built in roadblocks to video heaven in both the 7D, and the 5DII. First, the stock mic is awful. It picks up everything, including internal camera noise, and the gain circuitry is set to boost all captured sound to what the camera thinks is a normal level, so aside from the fact that it's frequency response suffers at the low end in an attempt to control camera sourced noise, the built in mic also offers no directional sensitivity at all, and the sound you record is pretty bad compared to what might have been with a better mic. An high quality external mic is a serious priority with either camera...</p>

<p>The second tidbit offered is that it is all but impossible to maintain reasonable focus in a video by looking at the naked rear LCD screen on either camera. It's even more of a problem with the 5DII LCD. Beyond that, smooth video generally requires a bit more camera mass, and a comfortable grip at eye level, even if IS is in play. I absolutely agree with that last assertion.</p>

<p>So, a comfortable grip, a better mic, and a full view, magnified LCD hood seems to be the minimum recipe for video nirvana with either camera. Unfortunately, that stuff tends to cost way too much. I looked at, and tried a variety of solutions, and this is what I found to do the job in spectacular fashion, and at an affordable price point. What I mean by "spectacular fashion" is that adding these relatively affordable devices will transform your 7D, 5DII into a serious quality HD video camera that also happens to be a breeze to use. The difference between trying to use either one for video recording in stock condition, vs with these few additions is truly spectacular.</p>

<p>Here is what I ended up with to date. First, the battery grip and hand strap are perfect for video use. I hate neck straps with a passion, and have only used battery grips and hand straps for many years. For video use, the added mass of the grip, and the natural way a hand strap allows proper camera orientation, while leaving your fingers free of any camera support duty at all really comes into it's own. Your fingers are free to control the camera. That is a universal truth that people who use a hand strap already understand, but in video service, it is an even greater bonus.</p>

<p>Next, there is the need for a good microphone. I tried a few over the past several months that I have been working on this project, and some were plain garbage, while others were better suited for people with an unlimited budget. Even then, the mega buck models were not always the clear winner in an A vs B sound test. In the end, I was surprised, and pleasantly so. The RODE VideoMic ($140 US) just powered ahead of the others in all around price, performance, size, isolation, and just plain light weight and rugged build. It also has a standard 10 year warranty, and ships with a full spare set of eight rubber bands that isolate the entire mic assembly from the standard shoe mount.</p>

<p>It is really amazing in practice, and it does not pick up lens motor sounds, or even my breathing behind the camera. It is directional enough to clearly record your subject whispering at 18 feet, while it also delivers high fidelity recordings of your favorite band at a practice session. Are there better mics on the market? You bet there are, but I'm not cheap (to a fault), and this model from Australia just won me over as a great all around high quality mic, and it happens to cost the same, or less than some serious garbage offerings on the market. It's worth a long look if you want to persue video with your 7/5D.</p>

<p>Last, is the video focus problem. There were few choices that answered that problem directly, and still allowed for the use of a battery grip, or a wireless grip. Even then, they were priced in the realm of crown jewels, and out of my budget by a longshot. That's when I tripped on the Hoodman "Hood Crane". It's a goofy name, and I never bought anything from Hoodman before, but I am very impressed with the quality of this product. It retails for right at $200, and it is a very robust kit that has the look, feel, fit, and finish expected of top quality gear. It is sweet. It attaches to the camera hot shoe, and has a quick release to swing it out of the way in a split second. When in place, it is rock solid, and it offers a large rubber eye mask that can swing through 360 degrees, a fully adjustable 3X eye piece that not only matches most any state of user vision, but also delivers a clear view of the entire LCD screen without any external light leaks to spoil the fun. It makes critical focus a matter of course, and makes follow on action focus an intuitive breeze. No kidding, you have not experienced video shooting with a 7D, or a 5DII until you have used a video specific LCD hood.</p>

<p>Obviously, I am still learning DSLR video, but for a total of only $350 (if you already use a battery grip, or wireless grip), these two tools really transform your DSLR into a solid video platform within seconds, and cost far less than many other popular choices on the market. Here are a few shots I took today to illustrate the kit details described in this post. If nothing else, it's food for thought among the many 7D/5DII owners here. Enjoy!<br>

<img src="http://farm5.static.flickr.com/4075/4754670484_beff0c6781.jpg" alt="" width="500" height="375" /></p>

<p><img src="http://farm5.static.flickr.com/4098/4753527931_78f76212c3.jpg" alt="" width="375" height="500" /></p>

<p><img src="http://farm5.static.flickr.com/4121/4753515709_58ce05d762.jpg" alt="" width="375" height="500" /></p>

<p><img src="http://farm5.static.flickr.com/4116/4754162560_5d2165abb7.jpg" alt="" width="375" height="500" /></p>

<p> </p>

[keith reeder]

<p>Hi Jim,</p>

<p>I haven't really hooked into the 7D as a video device, but I can see it happening in the longer term (being a wildlife <em>film-maker</em> is quite an appealing proposition!) so I for one am <em>very</em> grateful for this post.</p>

[grahams]

<p>Useful stuff, Jim. Thanks.</p>

[paul_russell1]

<p>Interesting article, I'm a video professional so it's good to see how those from outside the discipline tackle obstacles and problems.</p>

<p>I've found the following works well for me, which I hope you won't mind me sharing, some through previous video knowledge, some through knowledge sharing on sites like this, so in that spirit:<br /> External mic: A must, but an external mic alone will not solve the monitoring issue. You also need some way of outsmarting the automatic gain control, until such time as Canon builds a new firmware as they did for the 5D2. For the time being, and perhaps for a time after that you need something like a beachtek DXA unit. They do two flavours, the DXA-5Da and the DXA-SLR. Ignore the DXA-5Da, crap build, crap meters, no powered pre-amps, monitoring from the source only, not the camera. The DXA-SLR solves all of these problems at a modest extra cost. Both units give 2x XLR inputs, with seperate level control and an effective auto-gain bypass.<br /> If you get the beachtek you open up the door to connecting all sorts of professional audio gear, as they generally use XLR connections on field mixers and pro mics. With 2 channels you could record a close wireless mic on your subject on one channel as well as a more nuetral ambience pick up from a second mic on the other channel.<br /> You will want an XLR mic. The Rode NTG-2 is a good budget option (I say budget, like anything broadcast it has a different meaning) though the K6/ME66 combo is a nicer kit to use with the rycote grip and softee.<br /> Lenses:<br /> 1. No AF. Ever.<br /> 2. No IS. Ever.<br /> F-drop is a pain in the arse for video users. Although you probably won't use live zooms, you may want to zoom between takes. If you use consumer zooms with varying max apertures you may need to adjust your ISO between shots, not ideal for intercutting (if you zoom from wide to tele on a 18-55 lens at max aperture you lose a stop and a half of light) NB shutter is usually fixed at 1/50th (PAL) or 1/60th (NTSC) for video, unless you have very specific requirements for the rendering of motion. <br /> So if you can afford it, use constant max aperture zooms, a 17-40 f4 & 70-200 f4L (non-IS), or sigma 18-50 & 70-200 f2.8 is about the cheapest way to achieve this.<br /> The kit lenses have other short comings: usually scratchy short throw focus rings, rotating filters, extending as you zoom etc. An f4L or f2.8L combo gets round all of these problems, and besides, they are better optically.<br /> It's a shame not to have a fast prime in the mix for ultra shallow DOF video, the nifty fifty f1.8 is adequate for this, let down by it's horrible focus ring. The Canon 50mm f1.4 is the better option for this reason alone. But its up to you to decide if it's worth the extra cost.<br /> Filtering: So we know we really need to shoot with a fixed shutter, we also know that a constant aperture is useful for intercutting footage. If we want to shoot for minimal DOF, especially outside, then even ISO 100 may be too fast.<br /> Stock up on ND filters. ND4 and ND8's are the most useful. Square filters might be the better option, saves you buying 3 sets of filters.<br /> Camera supports:<br /> Forget your still photo ball and socket head. You need something a little more fluid, manfrottos 128RC is the least costly option, the 701hdv and 501hdv are much better, the 501hdv having adjustable dampening.<br /> For handheld, get a fig-rig. Steadicam style shots at a fraction of the cost.</p>

<p>When it comes to editing convert your rushes to an uncompressed format, such as Apple ProRes422 or Apple Intermediate codec (I use a mac, don't know the windows equivalents, though if you have quicktime pro installed, which you should, these codecs should work) as this saves your editing app a lot of processing and re-rendering. Sure it takes up more space on the short term, but the quality of the results make it well worth it.<br /> Use a second drive (not a partition) for storing the video files. Your system will fall over if you try to run an OS, video editing App and chuck the intensive video files around all from the one hard disc. If it's an external second disc, then you need 7200rpm, you need firewire.<br /> I have been very impressed with the footage from my 7D, it does have its limitations, you need to adapt your shooting style by avoiding fast pans and crash zooms, but I never really used these anyway. Edit as you work the camera, 3 shots make a sequence. Rather than just using the zoom, use your feet.<br /> Have fun.</p>

[john_suarez]

<p>Thanks for the research and info. The editing side of the house was keeping me at a standstill for a while so I haven't even started looking into the hardware side. Your suggestions will definitely be helpful.</p>

<p>I've only shot one short basically so I could play with the camera: <a href="http://www.vimeo.com/12375746" target="_blank">http://www.vimeo.com/12375746</a>. The 50mm 1.4 is amazing to use.</p>

 

[jaydesi]

<p>Thanks for this! I've shot some video at a rock concert with my 7D, and the noise of the show drowned out any camera noise, but the audio blew out a little. Still audible, but still too much for the little mic to handle. Not sure what they would have thought if I came in with this setup, though, although photography was encouraged.</p>

[PuppyDigs]

<p>I don't shoot much video but, when I do, it's usually musicians. And the Rode in the hotshoe sucks green donkey. And, as Paul mentioned, the auto gain is crap for audio. I found the easiest and cheapest fix for the audio is to use a separate audio recorder and sync the tracks during editing. I used a Tascam DR-100 with 2 Neumann KM 184 mics. Extremely portable and amazing sound quality.</p>

[paul_russell1]

<p>had considered a zoom h4n, but the idea of watching two devices, finding that I never hit record on one, or that the battery ran out, or that I had set one to 44.1 and one to 48khz etc... has to be on camera for me. I appreciate that I'm perhaps different from most 7d users that the video is a significant part of it's use, I suspect that for many it is an occassionally used add on. I would say though that when you do something professionally the equipment has to be stable, reliable, predictable, the out of the tin audio on the 7D isn't. Recording seperately isn't, or at least, is best done by a sound op, which negates the cost and portability efficiencies of the 7d and similar cameras.</p>

[carnagex_carnagex]

<p>Hey Paul, instead of the H4n, which is overkill for most. (great for recording bands live though through a sound board for the band and xy for the crowd). Before you drop the cash on the H4n, you may want to wait, as Zoom is introducing a DSLR friendly product, the H1. (1/4 20 hot shoe mount, built in, lightweight, and without all the H4n bloat-ware type features a normal DSLR shoot does not need, and the best part, under $100. It comes out in July).<br /> http://www.samsontech.com/products/productpage.cfm?prodID=2053<br /> <img src="http://www.samsontech.com/images/productImages/h1-images/H1-DLSR-T2i-back_no_wire-web.jpg" alt="" width="243" height="450" /></p>

[paul_russell1]

<p>Cheers for the heads up, already have the beachtek unit and a sennhiesser MKE300 for camera top use, generally prefer to mic off camera anyway.<br>

Ta.</p>

[jim_krupnik]

<p>Paul, thanks for the advice. If nothing else, this post struck a chord with some other potential DSLR video shooters, and I learned a few more details along the way from people like you who have already been down the path. I agree with the advantage of constant aperture lenses, as others have already cautioned me to use manual mode, and 1/60 second shutter speed as a baseline for my learning experience here in the US. The lens in the shots above is the EF-S 17-55 f/2.8 IS. I also have the 17-40 f/4 L lens, but I prefer the 17-55 for crop sensors, as it offers similar or better optical quality, a full stop wider aperture, and IS (if IS tickles you). The other lenses I use are also constant aperture, but for one. The 70-200 f/2.8 IS lens seems to be very well suited for video duty, although I have only worked with it on a tripod to date, and have not used the IS feature. With the 17-55 f/2.8 lens, however, I have not noticed anything but silky smooth hand held camera motion when the IS is switched on. I would like to read more about your reasoning behind never using IS. The one lens I rely on that does not sport a constant aperture is the EF-S 10-22 f/3.5-4.5 lens. It has not been a source of trouble so far, as I tend to use it more in the way of a fixed prime than a zoom in video service, and it excels in that capacity.</p>

<p>Also, thanks to Paul and Puppy for the mic information. I do own some high end studio recording mics, and I am very familiar with the audio benefits of very high quality recording tools, but my high end mics are not suited for portable operation mounted on a video camera, and my main concern at the time I chose the Rode mic was to gain noticeably higher audio fidelity than the built in mic at an affordable price, isolation from camera/lens generated noise, very light weight, and enough directional capability to partially offset the very annoying Canon audio gain scheme that makes the stock mic pick up the sound of someone passing gas in the background (and my own breathing) nearly as loud as the target subject without being too narrow for general use. I have read reports that suggest recording the audio tracks separate from the video track, and merging them in PP, but that dictates a weight and effort tax on my kit, and also becomes a budget buster for my novice level entry to DSLR video.</p>

<p>In those respects, even if the bargain priced Rode Videomic "sucks green donkey", compared to more expensive options as Puppy indicated, it meets every one of my purchase time goals remarkably well. It is very well built, and feather light. It records audio that may be reasonably described as dramatically better than the built in mic is capable of delivering. It does not pick up camera/lens operation noises, operator breathing, grip adjustment noises, or even background farts that the built in mic happens to pick up amazingly well. Even with the evil Canon audio gain control algorithm working it's magic, the directional nature of the cheap Rode mic places far more emphasis on sounds emitted by the subject in the video frame, rather than giving equal billing to a 360 degree bubble of background traffic noise the built in mic responds to. Best of all, it only costs $140. Very sweet...</p>

<p>That said, I really do appreciate the information about higher quality options, as I fully expect to be bitten by the DSLR video bug enough to pay close attention to the learning curve, and end up with a no-excuses kit over time. Still photography has been a significant part of my income for 40+ years, and I understand that there is no real lasting value in spending significant cash on junk gear and lenses. I prefer to suffer and wait until my budget can deliver what I really think will be a premium choice for decades to come. In this case though, I was very impressed with the potential of the 7D/5DII as HD video capture tools based upon the work presented by others. Both cameras have the essential bits to do a great job.</p>

<p>The idea of owning a relatively inexpensive camera body that not only makes outstanding use of my hard earned collection of Canon glass in still photography, but can also deliver stunning HD video was too much to resist. The main problems I faced were A); video photography is not still photography. Not even close. Granted, we never stop learning (thank God), but between experience and raw understanding, I have done pretty well with still photography. At least not too bad. It became obvious though, that the video techniques I learned growing up with a Bolex Super 8 camera 40 years ago need some serious updating. Maybe a complete system reset....</p>

<p>That quickly made me aware of problem B); both the 7D/5DII apparently have a fantastic inner video soul, and the 7D even sports a few new tweaks and buttons that are clearly targeted for the video capture market, but both cameras are just as clearly optimized for still photo capture in form and control layout. So.... My goal was to find a very affordable basic solution to the most glaring deficiencies of the 7D/5DII when pressed into video capture service. In most instances, I consider a camera body to be a secondary player in my working kit. Lenses always have top budget priority. In this case, I (and scores of others who buy a video capable DSLR) already have a selection of fine lenses, and for once, the camera body has become the core component, and not just a device to help connect a photographer with his or her lenses. That being the case, I want to learn to master video techniques (to some degree), and not have to constantly work around the limitations of a tool set that was clearly designed to be a still camera, even though it is capable of "L" quality video in various scene settings along the way.</p>

<p>That is why I chose the two add on components I detailed at the top of this thread. The camera body itself is already the core component. The additional parts only cost about $350 US, which is a reasonably cheap budget hit, considering that it offers a still photographer who already owns a 7D/5DII the means of almost instantly transforming their very fine still camera that also happens to have the soul of a fine HD video camera into a reasonably functional HD video camera that handles much more like a video camera is expected to handle, and doesn't demand anywhere near the level of operational compromise that it's factory still-photo optimized configuration requires without third party assistance. In other words, learning good video recording technique with a 7D/5DII can become both fun, and rewarding for a relatively small additional financial burden over the cost of meeting currently budgeted still photography goals.</p>

<p>The bang for the initial buck is huge, and as skill and expectations advance, the initial $140 Rode mic will have served it's purpose by upstaging the performance of the built in mic by a huge margin, and making the larger than life constant presence of an accessory mic seem as right as rain to someone who might be a bit shy about toting gear around town that says "look at me" (even casual acquaintances ask if I'm feeling OK when they see me without a camera hanging from a grip on my right hand, but I have met plenty of people who will choose a lesser quality lens mainly because it is smaller, as they are uncomfortable standing out in public by virtue of their camera gear). When the desire for even higher quality audio reaches the point where my budget is in line with desire, that $140 mic will have long since paid for itself, and I won't feel a bit of pain when I hand it over to someone who has just been bitten by the video bug, as it's initial purpose will have been served in fine fashion.</p>

<p>Again, thanks to all of you for your replies, and I really hope that I see more video-centric EOS DSLR threads in this forum. Video recording has become a significant standard feature on even consumer model DSLR's lately, and the experience of those who have started down that video path ahead of the rest of us plays an important role in our understanding, and the choices we make at every step along the way. It took some time for me to accept the concept that a DSLR can really record video worth watching, but after I propped up my 7D with the 10-22 lens a mere foot away from the front of a salt water aquarium solely illuminated by it's top mounted incandescent light and let it record for 10 minutes (manual mode 1/60 sec shutter, f/5.6, auto ISO), at a party a week or so ago, and later played it back on the new 50+ inch LED HD TV that was the reason for the party, I was stunned by the quality of the video. Maybe shocked is a better word... So was everyone else. I had no idea that my latest APS-C camera body (bought for what it brings to the still shooting table) offered such an amazing alternate identity as a free bonus.</p>

<p>If you already have a 7D/5DII, spend just a little money on a change of clothes that better suits it's video alter ego, and you might believe in Santa Claus again, or a free lunch......</p>

[paul_russell1]

<p>Reasoning behind avoiding IS is that the shutter speed is going to be fixed anyway, the main benefit of IS is that you can handhold at a slower shutter.<br>

IS is also noisy, your rode mic and the on camera mic will pick it up, and if you leave on when the camera is supported it can go into a cyclical floating mode that can be vomit inducing on 50" plasma.<br>

For video you need camera support, tripod where it allows, something like a fig-rig when it doesn't.<br>

IS is briliant for stills where the camera only needs to be steady for the length of the single exposure, video is contiguous, so things like IS, AF, AE, AGC, all show up pretty bad.<br>

I use everything from full size digibetas to Z1's, and whilst the z1s have OIS built in, I always switch it off.<br>

If the camera is properly supported you won't need it, and if the camera isn't properly supported it probably won't help that much.<br>

That and I'm scottish and a tight wad. The IS versions are cheaper.</p>