APS-C replacements soon? The first of what will probably be many spec lists about the mentioned cameras. With the knowledge of an 18mp T4i, it stands to reason that Canon will retain the same megapixel count in the next xxD and xD APS-C cameras. Still no mention whether or not it’s an updated sensor. I would certainly hope it is.

EOS 70D

• Digic 5
• 18mp
• 100% viewfinder with grid lines like 7D
• 19 AF Points from 7D
• Continuous AF in LiveView & Video Recording
• September Announcement

7D Mark II

• Dual Digic 5
• 100% viewfinder
• 61 Point AF from 5D Mark III
• Announced after 70D

This is a grain of salt spec list, though I do think anything announced for Photokina would be mostly finalized by now.

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BG-E11 User Preview A reader of the site sent in some pics of the new BG-E11 battery grip for the 5D Mark III. It was noted a view new features and differences between it and the BG-E6 for the 5D Mark II.

• Better build quality and stiffer than the bg-e6
• New battery door cover storage setup
• New way to insert batteries
• Feels close to holding a 1D series body

Retail for the new battery grip is $349USD.

thanks Oliver

Continue reading for pics of the BG-E11.

What's in the box"

New design for the battery cover

New design for the battery cover

Top view

The new joystick for vertical shooting

Joystick and buttons

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Canon U.S.A. would like to bring to your attention a new resource from Canon’s Digital Learning Center (CDLC) that would be of interest to your readers. Designed for prospective users of the EOS C300, the CDLC has developed a fully interactive menu simulator to allow users to familiarize themselves with the camera’s Main Menu and Custom Picture Menu.

With this innovative training tool, users can navigate and master the menu system of the EOS C300 camera with a mouse, keyboard arrow or your fingers (when using a device with a touch screen) This system has been optimized for use on personal computers and tablet devices.

For access to this new feature please visit: usa.canon.com/c300menu

Canon EOS C300 Menu Simulator sample

(cover photo credit: snap from the Canon site)

Remember when we first heard about the Mosaic Engineering anti-aliasing / anti-moiré filter for 5D mark II in August of 2011? What a great invention that would solve our biggest problem with HDSLR.

Now that the 5D mark III is out, healed from moiré problems, people have a good reason to upgrade, but then there’s the issue with the price: The 5D mark III is $3500, hefty for many HDSLR shooters.

How good that the guys over at Mosaic Engineering have now officially started selling their filter for the 7D: The VAF-7D. This upgrade will set you back by $325, but put you into the aliasing and moiré free realm of the mark III.

Versions for the Nikon D800, T2i/T3i and 60D are in production.

LINK: Mosaic Engineering Store

Say bye! The following products have been officially discontinued by Canon, so if you find them in stock anywhere, the time is now.

• Canon Speedlite 580EX II
• Canon EF 24 f/2.8
• Canon EF 28 f/2.8
• Canon EF 24-70 f/2.8L

Everything on this list has been replaced by newer, and more expensive versions. The EF 24 f/2.8 IS, EF 28 f/2.8 IS and EF 24-70 f/2.8L II have not begun shipping yet, and we’re hearing July 2012 at the earliest. The Speedlite 600EX-RT has begun shipping in pretty good quantities.

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Canon EOS-1D X As of the end of last week, Canon is still holding to the end of June for shipments to begin. That’s what is still being told to a couple of large retailers.

Canon EOS-1D X at B&H $6799

Canon EF 500 f/4L IS II & EF 600 f/4L IS II These two lenses are proving to be more elusive to nail down. Current Canon says they’re begin shipping in May, however 2 retailers I spoke to have said they’re now being told the end of June to the beginning of July for availability.

If any of this changes (and it probably will), I will update.

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Not long after Barry Andersson and I decided to shoot “Incident on Marmont Avenue” with the Canon EOS 5D Mark III, I thought it would be great to keep a ‘production diary’ and my plan is to share it with you – but not all at once as that would be a book (I’ve written over 13,000 words in my draft!). The production itself has been an incredible learning experience and I know many of you will be interested to follow along.

In this second entry, we’ll discuss the early planning as well as needing a camera to shoot with.

Monday, Feb 27 thru Friday March 2nd:

I didn’t accomplish much on the film this week tho Barry and Janie did.

For me, the week was filled with busting my fanny trying to create content for the blog about the Canon EOS 5D Mark III that would be announced at midnight Friday morning (Thursday night). I was working with Canon to get final details and answers to questions. There’s a lot to do when you’re putting together all of the regular blog posts for the week (you have to pretend nothing special is going on so you have to produce what you normally would have produced) plus 6 special posts for the 5D3 announcement!

Barry and his wife were tossing around a bunch of script ideas but they’re not sharing it with me right now – allowing me to concentrate on the blog and the Canon EOS 5D Mark III announcement.

It quickly dawns on us tho that even before the 5D3 is announced that in order to produce the short, we’ve got to have a camera!

Getting a camera

I’ve been talking with Canon about how to get a camera and it looks like we’re not on the top of the list for a loaner. Canon has tons of pre-existing relationships with other photographers and filmmakers and since planet5D is relatively new to the game (tho planet5D is over 3 years old, it is only recently that we’ve gotten access to early info from Canon) and tho we’re very popular with readers, their existing relationships shouldn’t really be broken. I’d be upset if Canon bumped me down the list for some whiper snapper young upstart blogger so I understand why I’m not at the top of the list (yet). So we won’t be getting a loaner or two and Canon won’t be sponsoring us like they have some others.

It looks like getting a camera or two (would be good to have a backup!) for this project will come down to trying to buy our own cameras. The rental houses aren’t likely to have them either as early as we want to shoot.

We’re told (and Canon put it in the press release) that cameras should be available by the end of March and we want to have the film ‘in the can’ before NAB – so we’re going to have to hustle. Heck, it may be really tight – especially if they’re not going to ship until the end of the month!

We’d love to have a camera before the production release, but that’s not looking good. So, our target is to shoot the week of March 26th. That leaves us just under 4 weeks to get a camera, write a script, find actors etc. This is going to be hectic!

We’re planning to go back to LA to shoot the film because that’s where Barry’s filmmaking relationships are and where we can find the most talent.

Also, it dawned on me this week that I could still manage to cover the news at NAB, but only if I were to work with another blogger who was already going to cover it like I would have. I’ll have to see what I can figure out!

The Canon EOS 5D Mark III announcement on March 2nd comes quickly and the blog is slammed with traffic! Good thing that I contacted my host (HostDuplex – if you need a place to host your site, you MUST call Sam at HostDuplex. I’ve never seen such incredible support!) and warned him the site would be getting 10x its normal traffic or more (turned out to be much more!).

So the next two days were spent dealing with the Canon EOS 5D Mark III traffic as well as answering questions, tweeting about the 5D3 etc. So let’s move on.

Coming tomorrow:

“Incident on Marmont Avenue” – Production Diary #3 – beginning to think about budget and sponsors.

Previous entries

• “Incident on Marmont Avenue” production diary – day 1

(cover photo credit: snap from the Canon EOS 5D Mark III preview)

New stuff to read I have posted a couple new articles from one regular guest at Canon Rumors, Roger Cicala from LensRentals.com and a new article from the good people at Creative Pro.

A History Lesson: Exploding Photographers, Disappearing Clothes, and the Development of Film Roger Cicala has done history articles in the past, and I’ll be honest, they’re about the only ones I read top to bottom. So if you like photography history, check the article out.

Get your B&W inspiration flowing: Learning to See in Black and White This article is a great place to get some inspiration shooting black and white. It seems to be more popular than ever now. For more How-To articles, visit www.creativepro.com.

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While you probably can’t find the official Canon BG-E11 battery grip for the Canon 5D Mark III at $350 US dollars (seen here), The Pixel brand is already claiming to be working on an ‘Alternate’ BG-E11 battery grip for about $90 bucks. [Thanks Joel]. The Pixel images so far look very close in design including the small joystick button and rubberized coating (according to their description). The listing via eBay is posted as a Pre-order to be released June 10th. Check out more of the images and information following the link (click here).

Canon 5D Mark III (alternate) Aftermarket Battery Grip BG-E11

YouTube member Wandomphoto performs a distance test with the Yongnuo RF603n (the n is for Nikon), and claims some pretty good results up to 1/4 mile away. These are very basic triggers and receivers that lack all the other high speed sync and communications that other high end triggers offer, but are fairly reliable. I am still using the RF602 triggers which included one remote trigger and one receiver. I haven’t upgraded because they are not compatible with the RF603. The RF603 made a change in design that makes them ‘Transceivers’ which is both a transmitter and receiver. That’s actually a much better design when you need to keep adding another remote or another receiver to the kit. A pair of these will run you about $30 bucks, and you can check them out via eBay (click here)

Yongnuo RF603 Wireless Trigger Receiver

Kickstarter, the largest crowd-funding platform, has brought some really cool projects to life and ever now and then another creative product comes to the realm of HDSLR.

Like this one: “Backer Capper“, a lens cap holder that can be attached to your belt or backpack strap and makes swapping your lenses on the go easy and avoids the dangerous lens juggling performance we’ve all been through when there was no surface or other person to hold our camera body.      

While everything else but the idea looks and sounds very cheesy about this project it sure seems like they managed to get it right. It works with Canon and Nikon and for $20 at Kickstarter you’re in and they need another $18,500 to reach their goal in 27 days: KICKSTARTER LINK

via gizmag

Finally! We’ve had spottings of the BG-E11 showing up in Australia and the UK. They should make their way around the rest of the planet fairly quickly. I’m told we’ll be able to get them in Canada next week, I assume it’s the same in the United States.

Proof! From @iSimonDavis in the UK

 Canon BG-E11 for preorder for $349 at Norman Camera |  B&H | Amazon | Adorama 

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Hayley Morris orchestrates another tapestry of texture and delight with ‘Bounce Bounce’ set to lauded violinist Hilary Hahn and composer Hauschka, who places found objects into his piano to create a layered and unexpected resonance….much like Hayley’s work. From an IFC Fix interview-

Some nicely made making-of films that are sure to develop both a sincere crush and technical interest in the director & artist:

My name is Mike McCarthy, and as the production engineer for Act of Valor, I worked with Shane and his team in developing solutions to the obstacles presented by early DSLR filmmaking, both on set and in post. Now that the movie has been released, I have been publishing many of the details of the process that went into making it on my site HD4PC.com. While my focus is primarily on post-production issues, Shane wanted to share some of that information with Hurlblog readers. Since most of you probably come from a production and shooting perspective, the following is a summary of that series of articles, with links to my site, depending on which individual topics you are interested in learning more about.

We considered many different camera options for the movie, and the Canon 5D hadn’t even been released when we started our search. It ended up being the right camera for the right job at the right time. If you roll back through Shane’s archives, you will find information on the Terminator prequel shoot, which was our first experience with DSLR filmmaking at a production level. There were still many obstacles in that process that needed to be worked out, both by Bandito Brothers and Shane’s Elite Team before we could shoot an entire movie that way. For a project that scale, we had to adapt our workflow to integrate Avid and come up with a solid naming convention. Improvements to the camera, in the way of firmware updates, also helped simplify the shooting process, but the 24p update wasn’t developed until we were basically finished. Here are more details on our approach to Preparing for Act of Valor.

The 5D camera package

I was the media manager for most of the larger shoot locations, which entailed using laptops to backup the few CF cards we had, so they could be cycled back to the camera crew. I would review and rename the media when time allowed, and my HP DreamColor review display eventually became one of Shane’s staple tools for DSLR production. Eventually we were able to have a full editing workstation in a trailer near set for reviewing shots and prepping them for our Avid edit. This allowed Scott Waugh to do the initial editing in between shoots. Here are more details about our experience Shooting Act of Valor.

Directors Mouse McCoy and Scott Waugh watching playing on an HP Dream Color

Director Scott Waugh watching playback

Based on our shooting style and the options made available by using the 5D, we shot nearly 200 hours of footage. Since there was no way to automate the syncing process between the different cameras and separately recorded audio, that became a labor intensive process for our assistant editors in Avid. Instead of using a Unity, we just duplicated the source media across our editing systems. As sequences came together, would get source lists to start Twixtoring the Canon source files in AE and link them into Premiere sequences using EDLs. We added the 2K film scans and scaled the rest of the footage to 2K to match. Here are more details about Editing Act of Valor.

While Bandito Brothers has always prided themselves in being authentic and real, we did end up with hundreds of visual effects shots in the movie. About half of them were in response to issues that resulted from shooting with the 5D, but we also needed to add blood hits and do fixes like painting out crew members. Additionally, we did a fair bit of motion graphics work. While the film based VFX shots were relatively straight forward, with 2K film scans at 24p, the Canon footage was much more challenging.

Twixtor is an amazing tool, but it is not perfect. Whenever there is too much motion in a scene for the software to accurately track what is going on, it gives some strange results. Since Act of Valor is a fairly dynamic movie, to put it lightly, we had our share of issues to fix manually. For complex visual effects shots, our artists had to do this cleanup process on nearly every 5D source layer before they could even start doing any regular VFX work. We also dealt with a number of different types of rolling shutter artifacts.

We also had over a hundred subtitles, due to the Spanish and Russian dialog of the bad guys. Our map graphics were rendered as overlay layers with alpha channels and composited over the backgrounds directly in Premiere Pro. Dust busting was done as a final step in Photoshop after our color correction and texture passes. Here are more details about the process of doing Visual Effects on Act of Valor.

The biggest challenge we faced in the finishing process was preparing for three different aspect ratios for our deliverable (2.39, 1.78 and 1.33) without sacrificing resolution. The traditional approach to this costs you resolution and detail, which we couldn’t afford to lose with DSLR source material. Doing the online edit in Premiere Pro CS5.5 gave us some interesting workflow options. By doing the work across a series of subsequences, we were able to synchronize changes across multiple cuts of the movie at different aspect ratios. We also did a full texture pass in Cinnafilm’s Dark Energy software to match the DSLR footage to our film footage. Our final delivery of DPXs was used to make film prints, DCPs, and SR tapes. I have many more details on my site about Finishing Act of Valor.

2.39 aspect ratio tape marks on the 5D

Anyhow, it was quite the process to get the final product on the big screen, but the results have been well received. The good news is that many of the limitations we faced, like 30p frame rates, have been solved, but the same principles can be applied to other obstacles that are sure to be faced when pushing the envelope of traditional filmmaking.

Our sponsor Redrock Micro has a new HDSLR cage called the ultraCage DSLR and base they’ve announced.

The all new ultraCage DSLR and ultraBase: the essential accessory for your video DSLR camera. Beautifully crafted, form fitting, the ultraCage and ultraBase deliver maximum stability with minimum weight, and open up a world of accessories and add-ons to create exactly the rig you need. Use your ultraCage standalone or as part of one of our award-winning DSLR rig Bundles. Transform your DSLR camera into a video production powerhouse.

Redrock Micro Launches New ultraCage & ultraBase for Video-Capable DSLR Cameras

Hollywood, CA and Dallas, TX – Redrock Micro, the recognized leader in affordable professional-level cinema accessories, today launched the new ultraCage DSLR and ultraBase support for video-enabled DSLR cameras. The ultraCage DSLR has been called an essential accessory for converting the DSLR camera body into a movie-making production powerhouse.

Next Generation Support for the New Generation of Video DSLRs

Video DSLRs have arrived as legitimate filmmaking tools. Groundbreaking cameras like the Canon 5D MKIII and the new Nikon D800 deliver advanced movie features and outstanding results. However, the form factor of DSLRs severely limits the stability of shots and the ability to adapt accessories that are commonplace for high-quality filmmaking. Redrock products have evolved along with DSLRs and now offer the best solutions for shooting high quality movies with DSLR rigs.

Professional-level Support and Stability

The ultraCage DSLR delivers rock-solid support and stability for DSLR cameras. The ultraCage secures the camera body at three points: screws into the camera base, fastens to the top hot shoe and locks the camera in place with the anti-rotation pin. The ultraCage supports a wide variety of DSLR bodies and has been tested with the Canon 60D, 7D, 5D MKII, 5D MKIII, and Nikon D800/ D800e camera bodies. You will not find a support cage anywhere that is more stable, functional or reliable.The ultraCage DSLR adds industry-standard 15mm bottom rails for accessories such as a mattebox, follow focus or lens support. The built-in 15mm top rail support is great for adding accessories you want to keep with your camera on every setup, such as camera-top monitors or remote focus motors.

The cage surrounds the camera with 22 mounting holes (standard 1/4″ and 3/8″) that are perfect for attaching and positioning virtually any other accessory available. The ultra Series of accessories from Redrock can extend the ultraCage with extended top and bottom rails, triple the mounting points and additional mounting plates for advanced accessories such as external batteries, external recorders, audio units and remote focusing.

In addition, the powerPack Universal accessory delivers a powered cage option so all camera-top accessories and the camera itself can be powered from a single, long-lasting source using an external battery.

The ultraCage DSLR and ultraBase are ideal for the following types of users:

• Professionals using DSLRs for filmmaking
• Enthusiasts looking to get better results from video DSLRs
• Amateurs who want something they can start simple with and grow
• Steadicam, riggers, camera/jib operators needing rock-solid support and stability
• Anyone looking for better support for their video DSLR

Redrock Micro's new ultraBase

Slim, Contoured Design Molds to DSLR Body, Adds Features Without Bulking Up
Unlike other offerings, the ultraCage curves with the camera’s contours and doesn’t make it any larger than absolutely necessary. All doors and features are completely accessible, and the cage is unobtrusive enough to stay on the camera even when shooting stills. The precision-machined aluminum housing and available carbon fiber rods keep things light without sacrificing strength. 

The Foundation for Any Shooting Style, from Handheld to Studio
The ultraCage DSLR can be used to create any type of rig, from handheld to full studio. Redrock offers pre-built bundles for handheld, shouldermount, and studio setups based on the original ultraCage. Using Redrock’s family of 400+ cinema accessories and building blocks, virtually any rig can be created to fit your shooting style and budget. With the ultraCage DSLR, your camera can now take advantage of Redrock’s ultra Series of advanced support accessories for sleek, sophisticated camera setups.

The ultraCage DSLR Advantage
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• wireLock protects and converts HDMI output to full size HDMI supported connector
• Cage provides 360 degrees of protection for your DSLR
• Build any rig you want with Redrock’s family of ultra Series and cinema accessories
• Can be used for handheld, studio or rigging, and can fast-change between setups.
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For More Information

Product details can be found on the ultraCage DSLR and ultraBase at store.redrockmicro.com/Catalog/ultraCageHandheldRigs/ultraCage-DSLR

Pricing and Availability

ultraCage DSLR and ultraBase are shipping starting mid-May, and are available from Redrock direct at store.redrockmicro.com and from authorized Redrock Micro resellers worldwide. ultraBase starts at $299, ultraCage DSLR starts at $595.

About Redrock Micro

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(cover photo credit: snap from the PR)

One of the big announcements that caught my interest at NAB was Adobe CS6′s inclusion of the high-end color grading software SpeedGrade within the suite.   This is a similar move to what Final Cut Studio did several years ago when they included "Color" within their suite for free – and I have always been a huge fan of that software and the added creative control if gave me over the final look of the video I produce.   SpeedGrade  gives us the ability to do high end color grading within the Adobe CS6 ecosystem without outsourcing that process to a third party plugin – and that’s a very welcome move.

To get started with SpeedGrade on some of your own clips, you can send footage directly from Premier Pro, import via EDL, or import individual clips from your hard drive.  For the purposes of this tutorial, we are using a clip shot on the 5D.

When you open up the main viewers you will see a Histogram, waveform, preview window, etc.  All of these windows can be moved around to make the window comfortable for you.  You will find also that the different color corrections and color effects are applied via layers – so it will be familiar to users of Photoshop and After Effects.  Here, we start our grade with a primary layer that includes an Offset, Gamme, and Gain slide to adjust the main levels within your image.  However, also included in the primary layer are a number of other sliders that help you with saturation, contrast, color temperature, hue, etc.  Once your primary is set, it would be easy to add another primary layer to start creating an overall look for your clip, but you also have the option of using a number of presets that come stock with SpeedGrade.   As with any color grading software you ideally want to do your work within a two monitor setup.   

On our clip we added the "Cinematic 1" LUT – which we though helped pop the colors in the woman’s red hat.  In order to further this effect, we can add a secondary to isolate the red colors of the hat and tassel to help it pop more.   Once we have the color of the hat isolated using the sliders, we can increase the intensity of just the red.  However, we have found it useful to go back to your secondary layer and then reduce the opacity on it until you get something that is a bit more natural looking.

In order to get rid of any portions of the clip that were affected by the increase in red saturation that we did not want to be, we can apply a mask to our secondary layer so that only that which falls within the bounding box of the mask (or outside of it – depending on what the user defines) retains the attributes of the secondary layer.  In this particular clip, the camera is on a slider, so we are able to using motion tracking, which is built into SpeedGrade, to move the mask with the image.

Finally, for this clip we wanted to add a vignette.  To do this we added an entirely new image layer on top of our original clip (this should not be confused with the layers we have applied within a particular look).  Here we created an ovular vignette mask, which we were able to manipulate using the Widget tool – which lets us adult the size, shape, rotation, and feathering of the mask.  We pulled down the offset for this entire layer, and then defined that the effect would only occur outside the vignette mask that we created.

And with that – we have done a simple color grade in Adobe CS6 SpeedGrade.  While we only used a few layers in the above example, you are not limited to any number of primary or secondary layers within the application.  We also only worked with a single clip in the above tutorial, but for when you are grading entire sequences, there is the ability to have two playheads so you can preview your grade consistency between clips.  There are also a variety of out put options too, from within the application, and the ability to conform back to RAW clips when working with cameras like the RED EPIC and ARRI Alexa.  One note to C300 users:  SpeedGrade is missing is the ability to work with MXF files at this time, so you cannot grade C300 files natively.   However, this application is new to the suite, so I am sure we will see such enhancements down the road.

All in all, this is a powerful new Adobe application with all of the standard tools for high end color grading and a welcome addition to the suite.

Nick Bicanic from http://www.purposelabs.com does a better job than I did with his DIY Steadicam Smoothee (a.k.a Baby Merlin) by shaving down the entire platform to get a perfect fit for his quick release adapter [Thanks Nick]. That little bit of effort definitely makes it look much more solid mounting platform than adding a quick release on top of the stock mini quick release plate.

Notes:

I drilled two holes by eye to match the threaded holes on an MH621 Giotto I had lying around. Both are 1/4″/20 – note that the front hole on the giotto as stock is not threaded. So for those of you who don’t have tap/die kits – you’ll have to use another method. (you could mount with the 3/8″ and a 1/4″ but I didn’t want to take off that much material.

Actually i was originally gonna shave it totally flat but then I realised that the way it’s built that might not work (e.g. it could no longer be screwed together. You can see on the picture how far I decided to go.

This is clearly a one-way street – because if you screw it up you gotta buy another one..ha

That said – I got it right by eye first time – the only extra thing is a washer – see the second picture:

http://www.purposelabs.com/baby_merlin_washers.jpg

(one washer sanded down to fit) the reason for the washer is to tighten the bottom bracket of the quick release – otherwise the thin plastic would flex.

End result is awesome. Btw I didn’t use washers at the bottom to spread the load because the bolts sit right on top of the plastic crossbeams themselves.

Here’s a picture of how it sits together – very tight and solid. http://www.purposelabs.com/baby_merlin_lookin_pro.jpg

btw not a lot of clearance down there – so I used hex button bolts.

Tools/hardware needed beyond the usual tools for the original mod are pretty much just those two bolts. (dremel + drill does the rest). Only tricky part is threading the baseplate if it isn’t already done

If you guys aren’t familiar with this project, it’s basically taking the cheap Steadicam Smoothee (originally for GoPro or iPhone) and modifying it to fly other cameras like a Canon DSLR. The Smoothee provides you with fine tuning knobs to help get you balanced much like the $800 dollar Steadicam Merlin. You can find the details on that DIY Steadicam project here: http://cheesycam.com/diy-steadicam-smoothee-mod-cheesycam-baby-merlin/

Steadicam Smoothee Stabilizer

Some Directors may want to look over your shoulder to see what you’re shooting, so by streaming a video feed over, they can stand aside while you shoot. This is a test of an 8″ monitor that has built in wireless, powered by a Canon LP-E6 battery, and a remote is mounted to the camera. It also has an HDMI input for non-wireless. That’s all I can say for now.