More DSLR Footage From The Show “24”.

February 10th, 2010

Here is take two form the plate shots used on the show “24”.  This one is a little more in-depth than take one. We get a little pressure here for Canon to finally make some cine-style lenses for the new breed of DSLR’s. Did he really say “First Unit”? I can’t wait to see that.

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mayhem
mayhem
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February 14th, 2010

What kind of battery grip are they using, it doesn’t look like the BG-E6.

fleshoff
fleshoff
Guest
February 12th, 2010

If they end up shooting first unit with these they better have a pretty big mattebox or kiefer’s gonna have a fit!

k wasley
k wasley
Guest
February 12th, 2010

Thing is Canver, this camera (alng with the 1D) is being used by Shane Hurlbut ASC (Terminator Salvation) along with 35mm on his latest feature film. Whole sequences are being shot on the 5d and 1d alone. This camera has serious potential in the right hands. It’s not just a camera that shoots highly compressed video. Have you seen the 5D shot on good lenses, put through a good post process, then projected onto a 40 foot screen and intercut with 35mm film?

In terms of aliasing it is because the Optical Low Pass filter is not tuned for 1080, that’s why it is there, it is not ‘inherent’ to cmos in the sense that all cmos cameras have aliasing. They only have aliasing if they don’t have a properly tuned OLP. The problem with the 5d is the OLP is tuned for stills at 21 MP.

In terms of Jello/rolling shutter, you can’t pan a 35mm camera fast either. As long as you are using UDMA and fast CF cards the Jello on 5D is ok for someone used to shooting on 35mm film. There are also plugins that can fix the rolling shutter issues.

This camera has unlocked the imaginations of many creative people, in the right hands it is capable of stunning results. You have more in this camera than you think. The point is, it can be made even better, Canon just need to be reminded of what potential this has. When they developed the 5d they had no idea it would explode like it has, just assuming it would be used for low end video, bug the capability of these cameras is being shown to Canon themselves in ways they never thought possible. Imagine if canon used this technology to create a full frame DSLR that leans towards video instead of stills, with a OLP filter tuned for video so there was no aliasing. And all at a price point inconceivable a few years ago. As mike skinner would say.. ‘lets push things forward’.

k wasley
k wasley
Guest
February 12th, 2010

Cavner. Do you want this camera to be improved? That’s what this is about.

The same thing happened with the RED. It was ripped to shreds by professionals when it arrived, it is now a much improved camera, not to mention the effect it has had on the scarlet and epic. Hopefully DSLR’s are going to improve just as much for pro film-making, but at an unbeatable price. The thing with DSLR’s is they were never meant for pro film-making, whereas the RED was, but the public has decided that’s what DSLR’s could do, hence the talk of better features (24p et al). It doesn’t matter if aliasing is in the final 24 show (it won’t be because the shots with aliasing won’t be used), it’s here now in these shots and canon can improve it, but only if people make a fuss.

Cavner
Cavner
Guest
February 12th, 2010
Reply to  k wasley

People need to be realistic as well and understand that there are limitations especially for a three thousand dollar stills camera that isn’t meant to be a motion picture camera. From what I have read, the aliasing is an inherent problem with the cmos chip as is the jello effect.

Sure, it is great when they improve the camera but you need to be realistic when it comes cheap equipment. I own the 5d and think it’s great. I also know it is what it is. It’s an awesome, full chip stills camera that takes highly compressed video.

Cavner
Cavner
Guest
February 12th, 2010

Why don’t you just watch the show and look for the aliasing. I can’t believe how moronic these conversations get.

k wasley
k wasley
Guest
February 11th, 2010

Ryan

“Um, keep in mind this is a standard definition clip at 16:9 inside of 4:3 with bars.

Also, aren’t these shots either used in VFX or they’re projected onto screens around a car that isn’t moving to film actors inside the car as if it is…”

VFX plates need to be as good as anything else. These won’t be projected onto screens, they’ll be used as greenscreen plates. The wide street shot with aliasing in the background would be unusable as a plate on a professional production whether 4:3 or 16:9. I don’t understand the mentality of defending these defects, they are unacceptable in a professional context. They could have been fixed easily by adjusting the depth of field, which leads me to assume these shots are the first test run and camera tests. Not to mention that they’re not using matte boxes with ND filters etc etc.
Anyway, Rodney Charters says ‘with new improvements that we hope canon will listen to’, and this is the key thing. People must contact canon as much as possible to make these cameras better with new improvements.

ryanfarnes
ryanfarnes
Guest
February 12th, 2010
Reply to  k wasley

k wasley,

You sound like you’ve got more experience than me with VFX work. I was just pointing out my experience with internet distributed video, that it is rarely looks the way the original does.

As Teuvo Lörskä pointed out, that RED M-X clip had aliasing because of scaled resolution and compression or whatever. The original doesn’t have it.

Perhaps you see aliasing that it tell tale 5D, I just see a really crappy SD vimeo clip. I mean, 16:9 with bars? Thats so 2001.

Teuvo Lörskä
Teuvo Lörskä
Guest
February 11th, 2010

You can’t really compare aliasing from a badly done Vimeo clip now can you? The Red Mysterium X quicktime clip that’s been circulating also shows aliasing but that’s just because the resizing has been done pretty damn bad.

Ryan
Ryan
Guest
February 11th, 2010

Um, keep in mind this is a standard definition clip at 16:9 inside of 4:3 with bars.

Also, aren’t these shots either used in VFX or they’re projected onto screens around a car that isn’t moving to film actors inside the car as if it is…

k wasley
k wasley
Guest
February 10th, 2010

joe, i don’t know why you assume these comments are from reduser people. These aliasing issues are a fact; look at the image, it’s pointless pretending they aren’t there and aren’t something to seriously consider when shooting a project. Some of this footage is not suitable for broadcast (the wide shot in particular). I don’t own a Red, can’t afford one, but i love my 5D mark II. Unfortunately it has drawbacks as shown here. Thing is, i don’t understand why they didn’t shoot at a wider stop to throw the focus out a bit in the background.

Anyway, there’s no point comparing RED to DSLR’s. I don’t think you realise what it’s like working with these two systems in a professional context. They are different tools, and in many ways the RED is far more professional and higher end, as would be expected for a camera costing far more. No red user would sell the red for a DSLR with the current state of DSLR technology, that’s crazy. There are problems with DSLR’s (aliasing/moire due to not being able to resolve the resolution and rolling shutter/overheating etc etc), and until these are fixed along with more professional features added DSLR’s will always be a particular tool for particular circumstances. Problem is, a DSLR low pass filter (which fixes the aliasing problem) is set for stills and not video, which will probably be a quandry for some time since these cameras are built for photographic use primarily. Even if they did add a LPF tuned for 1080, it would cut the resolution by quite a bit. Can’t wait to see what happens in the future though…

bwhitz
“yea, because this is obviously the finished broadcast clip…

Some of these comments are so stupid. Wasn’t there also aliasing in new Red M-X clip (Audi steering wheel)? I guess RED is tHe suCksOr!!!”

Bwhitz, this aliasing/moire can not be removed, broadcast or not. They seem to have shot the clip without creating a bit of depth of field adjustment to sort out this problem, no idea why though. Don’t be so defensive. The red clip was a prerelease m-x without OLP tuning. Either way, the red will never produce aliasing like a DSLR, it’s a fact, get over it. What do you expect for a camera that costs so much less?

Joe
Joe
Guest
February 10th, 2010

Lots of REDUser.com people on this board. They trash this camera, but will be the first ones to sell their RED ones & buy canon DSLR’s

k wasley
k wasley
Guest
February 10th, 2010
Reply to  Joe

joe, i don’t know why you assume these comments are from reduser people. These aliasing issues are a fact; look at the image, it’s pointless pretending they aren’t there and aren’t something to seriously consider when shooting a project. Some of this footage is not suitable for broadcast (the wide shot in particular). I don’t own a Red, can’t afford one, but i love my 5D mark II. Unfortunately it has drawbacks as shown here. Thing is, i don’t understand why they didn’t shoot at a wider stop to throw the focus out a bit in the background.

Anyway, there’s no point comparing RED to DSLR’s. I don’t think you realise what it’s like working with these two systems in a professional context. They are different tools, and in many ways the RED is far more professional and higher end, as would be expected for a camera costing far more. No red user would sell the red for a DSLR with the current state of DSLR technology, that’s crazy. There are problems with DSLR’s (aliasing/moire due to not being able to resolve the resolution and rolling shutter/overheating etc etc), and until these are fixed along with more professional features added DSLR’s will always be a particular tool for particular circumstances. Problem is, a DSLR low pass filter (which fixes the aliasing problem) is set for stills and not video, which will probably be a quandry for some time since these cameras are built for photographic use primarily. Even if they did add a LPF tuned for 1080, it would cut the resolution by quite a bit. Can’t wait to see what happens in the future though…

tanakan
tanakan
Guest
February 10th, 2010

wau very ugly aliasing

bwhitz
bwhitz
Guest
February 10th, 2010
Reply to  tanakan

yea, because this is obviously the finished broadcast clip…

Some of these comments are so stupid. Wasn’t there also aliasing in new Red M-X clip (Audi steering wheel)? I guess RED is tHe suCksOr!!!

coverupfilms
Guest
February 10th, 2010

I love the way Rodney’s chosen to wear the worst possible scarf to show up the aliasing.

k wasley
k wasley
Guest
February 10th, 2010

i find it very surprising that they are choosing deep focus plates as a place to use the 5d since this is one of it’s weakest areas. You can see on the main plate at the beginning the bad aliasing/moire that is happening on the building in the distance. This would surely not be acceptable at all for a final plate. The side stuff looks fine so far though. Surprising.

pressure
pressure
Guest
February 10th, 2010

Weird that they didn’t use any lense hoods…

Ryan
Ryan
Guest
February 10th, 2010

Wow. That is so cool to see a show like 24 using Canon DSLRs in significant production roles. The thing that really blew me away was their talk about wanting to get Canon to allow auto focusing while recording….and how they talked about face recognition technology.

Would that quite possibly start to eliminate the need for dedicated focus pullers at some point in the future? A single camera operator could shoot dynamic shots with the depth between the subject and the lens changing with the camera automatically adjusting the focus to stay with the face?

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