Canon has a new HDSLR camera and a new Final Cut Pro plug-in. The EOS 550D (or Rebel T2i as it is also called) is their latest HDSLR camera, with an 18 MP APS-C size sensor and the ability to record full HD video. In terms of video, the specs are very similar to that of the 7D:

• 1080 recording at 24,25, and 30
• 720 recording at 50 & 60P
• Full Manual Video mode
• HDMI output
• Stereo Mic Input

The big differences from the 7D is a lower ISO range (100-6400), and it records to SDHC or SDXC cards instead of CF cards. The sensor is not exactly the same, so some comparison will have to be made, but the price is significantly different at under $1000. Read a full review of the new 550D at DPreview.

The other big news is that Canon is developing a plug-in for Final Cut Pro. It will allow importing of ‘EOS Movie’ footage into FCP through the Log and Transfer mode. The plug-in will convert the QuickTime movies created in Canon HDSLR cameras into Apple’s ProRes 422 codec at approximately twice the speed of Apple’s standard conversion. Additionally, users will also be able to add timecode, reel names and metadata to footage quickly and easily. This is great news for anyone working with Canon HDSLR cameras. A beta of the plug-in will be available in March.

Not all shoots take place on comfy sound stages. Currently in production, Thunder Perfect Mind takes place almost entirely on an ice-breaker ship off the coast of Antarctica. The movie is shooting on a pair of RED One cameras, as well as the Aaton Penelope 35mm camera, shooting in 2-perf. Much of the shooting is on the open decks of the ship, so the ASL Gear T-Bag is being used to protect the cameras from the salt water spray. At least one shot calls for the camera to start at the waterline pointing at the tip of an iceberg, and then dunk under to see the massive blue ice below.

The gear was rented out of Abel NY, and I built the package for the production to checkout. Putting the Penelope into the T-Bag worked beautifully. Here are some observations from that setup.

For the RED One camera, there’s a special enclosure that allows the use of the RED 5.6” LCD panel as a viewfinder. When the Penelope is in the T-Bag, the production will switch to the ASL Underwater 4” HD/SD SDI montior. We used a small AJA converter box to transform the Penelope’s composite video signal into a 4×3 SD-SDI feed. Everything is powered off of the camera’s batteries.

While the movie is mostly shooting on prime lenses, I took the opportunity to try out an Angenieux Optimo 15-40 on the Penelope inside the T-Bag (see picture below). There’s so much space inside the splash housing that the little zoom almost disappears! In fact, with a little wiggling we can even get the Angenieux Optimo 17-80 to fit.

Sony recently announced the MEAD-MS01, a memory stick adapter that works in the EX line of cameras. This is a low-cost alternative to the SxS card and is really handy when in a bind. For sometime now, there have been different SDHC card adapters that work with the EX cameras including the MxR and SxSxSDHC card adapters. Now Sony has come out with their own version – the MEAD-SD01. This will work in very much the same way as those other adapters, but it’s nice to see one officially sanctioned by Sony. The EX1 original and EX3 will require a firmware upgrade to work with the MEAD-MS01 and MEAD-SD01 adapters. Additionally Sony has announced that Class 10 SDHC cards will be supported with their adapter, but ALL EX cameras (EX1, EX1R, EX3, PMW350) will require a firmware upgrade to use Class 10 cards. The SD adapter will be available in mid-March, and you can look for this firmware upgrade earlier that month. Sony has officially tested and sanctioned the following SanDisk Class 10 cards – DSDX3-032G-A31A for 32GB, SDSDX3-016G-A31A for 16GB, SDSDX3-008G-A31A for 8GB.

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Do you Tango? Students who attended last weekend’s workshop hosted by Abel LA and taught by veteran instructor and respected operator Peter Abraham of Tiffen Steadicam now can! The hugely successful two-day workshop gave students the opportunity to learn hands-on the techniques of flying a camera on a Steadicam Rig. The workshop focused on the fundamentals of setting up a rig, including proper vest adjustment and how to balance a sled. Students were then taught real world techniques such “Tango” and “Don Juan” and tried their hands at flying cameras using the Pilot and the Flyer LE systems, rigs that can handle smaller to mid range cameras ranging from the EX1R to the RED. The class culminated with a long test scene that included navigating doorways and stairs. By the end of the weekend, students were Certified Steadicam Operators and most had discovered sore muscles they didn’t even know they had!

Stop by Abel Cine Tech LA, and Joe Guilfoyle, who was among the newly certified, will be happy show you his “Tango” technique and get you into a rig of your own. For more information on future Steadicam workshops, visit their site, thesteadicamworkshops.com.

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With the growing popularity of HDSLRs, we’ve gotten a lot of questions about doing remote start/stop with these cameras. Today Switronix announced their new Flex DSLR remote, which allows for easy, one-button start/stop with cameras such as the Canon 5D and 7D. Thanks to Ross at Switronix I got to play with it last week; watch my video above to learn more about this new piece of gear. It will be available to purchase on February 8th.

Lately we’ve been getting a bunch of questions on 4.5″ polarizing filters. There are several variations which can get quite confusing for those that are not familiar with them.

So here’s a rundown on the essential parameters:

4.5 inch is in fact the same as 114mm. Different manufacturers use metric or imperial. Likewise, some manufacturers refer to 138mm as 5.5 inch. These are both round filters.

…continue reading 4.5″ Polarizing Filter Variations Explained