Any reason an indie film maker shouldn't buy it?
 

Like a lot of indie film makers, I've been following the HD DSLR revolution for the last couple of years with great interest.

Just finished my 4th feature, 6th EXTINCTION, shot on a JVC GY 100. Happy enough with the images the camera produced, which I'd compare to well shot 16mm film - as well as toughness and ease of use - but I'm looking to upgrade.

I know there remains the possibility that the Mark II will get 24p firmware (although with every passing day that looks more doubtful); that the RED Scarlet will be available in the next year for $3 grand (again, looking doubtful); or that a company will make a true video camera with all the goodies the 7D has -
Canon XL-H2 anyone?

All that said, at this point in time is there any technical reason for me not to jump on the bandwagon and buy the 7D?

Thanks for any insight guys -

john

None other than the fact that they aren't available. I haven't seen any expected ship date yet.

I suspect this will depend on your filming style and if the possible Jello effects will be an issue. If you're making the next Bourne film perhaps not, if you've a more static style perhaps.

Ergonomics aside, if you're happy with the image quality you see then go for it. I too was waiting for Scarlet, but this looks like a good cam to get until that finally gets resolved. This camera should hold its value very well.

I'm a John Carpenter devote, meaning I likes me some smooth dolly/crane shots, or smooth stedi-cam shots... but I do a end up doing a lot of hand held however b/c of the run and gun nature of shooting on a shoestring budget.

How bad is the jello on the Mark II and should we expect the same effect on the 7D?

john

End of this month.

At least in the 60p mode it is technically impossible for the 7D to have as much jello effect as the 5D. The 5D takes somewhere between 1/30 to 1/45th of a second to scan the frame from top to bottom (data on this measurement upon request). In 60p mode the maximum time available for the rolling shutter scan would naturally be 1/60th. The shorter the scan time, the less the jello.

I don't think any of the hybridcams would be too good for run and gun type work.

Aliasing. My advice is to rent a 5D Mk II before you buy the 7D... If you can live with the aliasing artifacts (which haven't been fixed in the 7D), then go for it.

Hard for me not to comment on the fact that I spent today operating Steadicam, then dolly, then crane shots for none other than John Carpenter!

Charles, you are da man! respect is due.

Dan

I second that. Love John Carpenter!!!

I'm not worthy! Not worthy!

(jealously yours)

john

Brushes with Greatnesses.

I interviewed John at his home a few years ago, he is an exceedingly gracious and interesting man. You are lucky to get to work with him.

Dan

Yes, it's been a great experience operating for him on this movie.

Just so I don't feel like I've hijacked this thread, maybe I'll tell him about the 7D tomorrow...!

Yeah, sure, but.. if a really, really heavy fog should start rolling toward the set - JUST LEAVE, ok?

I expect to see some good additions to that 'horror movie techniques' thread soon after you finish.

-MD

High jack away! It would be interesting to get JC's take not only on video cameras in general, but the HD DSLR revolution (I suppose that's the right word) that is happening.

john

Can you say what the movie title is? What its about? I'll be looking for it now!

It's called "The Ward". Psychological thriller. Should be out in a year or so. Check IMDB for details.

John has never worked in HD--in fact this is his first non-Panavision anamorphic feature (we are shooting Super35, with Moviecams).

Sweet! Def gonna check it out...

john

Thanks Charles, yeah, I'll definitely check it out too!

Also be sure to check out Charles's cameo appearance in the TV Show scrubs. The man could have made a fortune in silent movies. :)

edit:Here's the ink - http://www.steadishots.org/shots_detail.cfm?shotID=268

LOL... For that show and that particular scene his over the top acting worked perfectly. I was kind of hoping to see an all out fight where they ended up beating the pulp out of one another..lol.

OK, this poor thread has been officially hijacked by all things Papert...!

Ian, the fight portion of that scene did escalate into an all-out brawl which culminated in my much larger opponent throwing me to the floor, much to the crew's appreciation. And for the record, the director told me to "go big"...

Nearly wrapped on the Carpenter film, our principal photography is done in Spokane and we have one short day left in Seattle. I did in fact mention the 5D and 7D to John, he just shook his head--this digital acquisition thing is completely alien to him!

Here's a still from our interior set of the two of us--it really is an honor to work with a director who was one the pioneers of developing the Steadicam vocabulary.

Awesome! That's certainly one to be proud of, Chas... or should I say *another* one
to be proud of, since you've amassed quite a portfolio over the years. Well done!

Thts awesome, tell him to make The THING 2