I next tested Canon’s High ISO Noise Reduction option found in their Custom Function II menu option. The camera gives you 4 options - standard (STN), low (LOW), strong (STR) and disable (DIS). The results tested at 3200 ISO are posted below.

There seems to be no improvement or variation between all 4 modes. I also tested this at 800 and 1600 ISO with similar results. It looks like this function of the camera might be relegated to the stills mode. Bummer.

Spent the day doing some preliminary tests with my new 7D. I tested ISO performance, Canon’s ISO noise reduction modes and a general over/under test. I’ll release all my results over several posts just to break it up.

The first testing was for ISO and noise performance. For the test I arranged some objects on a small table. I wanted something with lots of color, something with texture and black. I also threw in the defacto grey card. I’ll probably do a similar test when I can get my hands on a colored chip chart. The setting was lit with a 650 Arri Fresnel with some 216 on the doors. Base was T2.8 1/2 @ 100 ISO since that’s kind of an ideal stop I like to shoot at. The lens is a Canon EF 24-70 f/2.8 at 35mm focal length. Shutter was 1/50 and white balance set to 3200K. Recorded in 24P. I started at 100 ISO and went up from there - 200, 400, 500, 800, 1600 and 3200 were all tested. I’ve posted some screen grabs below. The files were all transcoded to Apple’s ProRes 422 HQ and then screen grabs where exported from Final Cut Pro as TIFF’s. They are at 100%.

Some initial thoughts and notes:

- I found that the image is still very workable at 800 ISO. Once you start getting to 1600 ISO and higher the noise becomes quite apparent though depending on how much you might resize the image and where you might be displaying the content you might be able to get away with using these higher ISO’s.

- 3200 is quite a bit more noisier than 1600. I would consider using 1600 if I were in a pinch and had to shoot. Considering it’s 1600 ISO I’m still quite impressed.

- Surprisingly 800 ISO doesn’t seem much noisier than 500 ISO and gains you an extra 2/3rd stop.

- Sharpness steadily decreases as you increase your ISO.

- The grey card in the 3200 test I think shifted somehow as it’s brighter than the rest of the other examples. I plan on testing this again with a broader range of contrast and textures.

Testing recap specs:

Camera: Canon 7D
Lens: Canon EF 24-70 f/2.8L USM @ 35mm
Record Media: Lexar 16gb 300x UDMA Compact Flash
Format: 1080/24P
WB: 3200K
Light: Base T2.8 1/2 @ 100 ISO, 1/50th shutter
High ISO setting: Standard

I’ve made some small tweaks to the blog page, as you’ve probably already noticed. The overall size has gotten wider so I can post my pictures and videos a little larger as well as some small aesthetic changes. I’ve also added a twitter update to the sidebar that links to my twitter page. Will probably continue tweaking the design in the coming days.

Initial camera test results for my 7D coming soon!

Yep.

I’m proud to announce the addition of a Canon 7D DSLR HD package to the arsenal of production equipment that I both own and operate.

As of recent I’ve been shooting more with DSLR cameras, and despite their shortcomings in certain areas, have been pleasantly surprised and excited with the images that one can create with this kind of tech. My first test with the D90 and then shooting some specs with the 5Dm2 (coming soon!) has really invigorated me with the resulting images. The 7D bridges the gaps where the D90 and 5Dm2 fell short - native 24P capture w/ full manual control (The D90 has 24P but no manual control, the 5Dm2 only does 30P). In addition the 7D does 50P and 60P for slo-mo work! I think overall the DSLR cameras provide a very nice alternative to the HVX/35mm adapter combo - which I’ve become a little frustrated with in terms of sensitivity and sharpness - and a cheaper alternative to RED for certain types of projects.

I’m shooting a music video this weekend for Winston Hacking and Co. and will be able to put the camera through its paces and will hopefully have more concrete feedback at that point. My immediate concerns are how well the camera will hold up in terms of noise with it’s smaller APS-C size sensor and what to rate the camera to get a good clean picture. (the 5Dm2 still has that large full frame sensor which improves noise and widens your FOV on all your glass). Will test before going to camera.

My basic package consists of:

(1) Canon 7D body
(1) Canon 24-70mm EF L f/2.8 lens
(1) Zacuto mini baseplate c/w 12″ 15mm rods
(1) Zacuto Z-Finder II
(1) Zacuto handheld rig
(4) On-board batteries
(2) Battery chargers
(2) 16gb UDMA CF cards
(1) 8gb UDMA CF cards
(1) 15″ Macbook Pro for onsite downloading
(1) Firewire 800 hi-speed card reader
(1) Quick release
(1) Support package - 1 regular legs, 1 baby legs, 1 hi-hat, 1 Manfrotto 503 head

I will be adding additional accessories - for monitoring, sound and support issues in the very nearby future. Stay tuned.

Please contact me for further details, availability and pricing.

A few pics from the Night Moves shoot. Thanks to Peter for sending. From our location at High Park.

Lining up a shot. From Left to Right - Me behind camera, Director Peter Genoway checking my frame, 1st AC James Hellyer, Key Grip Pete Dreimanis.

Shooting our lovely actress Juana Samper.

Peter and I figuring out our blocking. Camera team and Pete standing by.

I just finished shooting a short film for director Peter Genoway called Night Moves. The film is told entirely without dialogue, visually with sound cues.

We shot RED with Zeiss Superspeeds with the majority of the film being shot on wide lenses - the 18mm and 25mm were favored to render our location with a certain feeling and depth. Lots of mixed color temp play with a great location.

Thanks to lighting/grip team Adam Crosby and Pete Dreimanis who totally hustled and my stellar camera team whom I worked with for the first time - 1st AC James Hellyer and 2nd AC Brendan O’Brien.

Camera package from DJ Woods
Lenses and camera additionals from PS
Lighting/Grip from Whites
Small L/G additionals from barrycheong.com

Not a whole lot of photos…just some image randomness…maybe some more will surface at some point or I’ll post some screen caps once I can get some rushes…

Shot reference from the RED onboard shot w/ my iphone. 1200 HMI coming through the window with a Long 4 lighting the table.

Kitchen scene lighting ref w/ my D300. Key Grip Pete Dreimanis standing in. 1200 coming through the window and practical bulbs over the stove. I ended up taping up a short 4 bulb to a wall, camera side, to fill in the shadows a bit. I love the sheen of the tungsten on the appliances on the right side of the frame.

Camera team w/ our RED package shot on my Instax200 camera. Generally trouble free operation with our RED. We had one boot issue while we were shooting in a hot and steamy washroom but otherwise operated perfectly.

Brendan my 2nd AC ready with the marks…

Adam and Pete setting a Triple net in front of a 1200. Lots of trippl’ing down on this set!

I’m looking to sell my Nikon D300 Still camera package. I’ve had the camera for about a year and half and it’s seen very light use. I’m selling it to make the switch to Canon for its video use.

The package I’m selling includes:

(1) Nikon D300 body
(1) Nikon MB-D10 battery grip
(1) Nikon 18-135 3.5-5.6 Zoom lens w/ 67mm UV filter + hood
(2) Nikon EN-EL3e batteries
(1) 4gb Lexar CF card
(1) Camera Armor rubber impact protection
(1) Extended warranty on body (5 years total on the body and 5 years on the lens both items starting from purchase date March 2008)
(-) All original boxes + manuals + cables

Package is worth $2500+ at current market value brand new.

Asking Price: $2200. CASH ONLY AND ONLY LOCAL TORONTO SALE.

In between shooting the Stilwell project I took a day to shoot a music video for Armenian artist Khoren with director Jennifer Kassabian.

We shot at a gorgeous house in Kitchener on an HVX200 and Redrock M2 Encore setup with Nikon glass. The majority of the video is shot on an 85mm - a first for me! Beyonce’s Halo video was a strong visual reference.

Thanks to my tech crew - Gaffer Misha Petrenko and Key Grip Cliff Ramnauth. Also to cinematographer Kevin Rasmussen for letting me borrow his 400 Joker which came in real handy!

Lighting and Grip by barrycheong.com

Shooting a performance sequence on the lensbaby draped under a blanket. My white shirt was causing a bit too much fill! (Oops)

I’ve spent the last week and a half shooting a video series being produced by the School of Health Sciences at Humber College. The 7 different scripts have recreated scripted scenarios of various health crises and the associating care that’s taken. The videos will be used as a training aid for students.

A lot of the scenarios have been a lot of talking heads with a lot of medical jargon. It’s been a challenge to keep it visually engaging and so far I’m happy with a lot of the interior lighting we’ve been doing. We also had access to a doorway dolly last week so we employed that when we could. We’re shooting on HVX200’s and are often using 2 cameras to get the coverage on time (some of our “lighter” days feature 5 pages and others with as much as 9 pages per day!). That in itself has been interesting as I rarely use 2 cameras.

One of the highlights so far has been shooting some helicopter sequences at Toronto Island. The Ornge Helicopters (Medical Air Transport) take off from there. We got some visuals of the helicopters taking off as well as a sequence inside one of them.

We have 4 more days or overnight shooting at Sunnybrook Hospital. Almost there.

From left to right: Kristina Small, our director, Sound recordist Sean Van Delft and me waiting to shoot the take off.

Me and Gaffer (and B-cam op) Cliff Ramnauth in front of the “bird”. (Apparently you shouldn’t call it a “bird” or “the chopper”)