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Visual comparison between the 7D, 5D, RED ONE

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Stephen Smith
Visual comparison between the 7D, 5D, RED ONE
on Mar 9, 2010 at 7:23:33 pm

Take a look at this:






Stephen Smith
Utah Video Productions

Check out my Motion Training DVD

Check out my Motion Tutorials


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Ryan Orr
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 10, 2010 at 2:05:36 pm

IMO, the Red One will always win with quality of footage, simply due to the codec that is used. Files are created RAW...which means virtually no compression, and extra data/info that let's post production have control over the image dramatically. Plus it's 4K...not 1080p

Yes, technically the MK2 had a much larger sensor, but it will never give you RAW data/footage. The H.264 codec is nice, and the camera still gives very nice images even at 1080p size, but it doesn't compare to the Red One.

The 7D is nice, and it can do over/under crank in post (plus it's sensor is very near in size to the Red One), but still, won't compete.

Kinda disappointed in people when they try to compare these cameras. Hands down, the Red One will win every time in my books...IF YOU CAN AFFORD IT. But simply, all 3 are just tools in your arsenal. Get what you can afford and do your job!

If you shoot crap, no matter the resolution or DOF, or any specialness you may try to apply, you are just polishing a turd :)



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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 10, 2010 at 3:42:14 pm

Also it depends where you're comparing. Looking at something on Youtube or Vimeo makes the quality comparisons a lot harder to gauge. See it projected on a 60 foot screen and all those differences are shockingly apparent. You get what you pay for with the RED. But of course if you're going out to DVD, online or even over the air HD, you can get away with a *lot* with the lowered codec quality and frame resolution of the Canons.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Joel Mielle
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 12:38:43 am

Your film looks great!
I'm about to start my first feature soon with a 7D. Any advice you can give me? The audio is probably my major concern as it's quite dialogue intensive. The last thing I want to do is ADR. Any suggestions to get the best audio possible? I hate the thought of recording audio separately, but I may have no better option. I'd like to know if the Juicedlink DN101 is good enough, it seems to trick the auto gain somehow. Or should I go the Zoom H4N option. I also know that magic lantern are reworking the software for the 7D, but how good will the signal to noise ratio be. I've seen a few tests on YouTube but it's difficult to really tell.


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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 2:08:40 am

[Joel Mielle] "
Your film looks great!
I'm about to start my first feature soon with a 7D. Any advice you can give me?"


For audio- you must go double-system that's not even a question. The onboard audio of the 7D is pretty much worthless beyond a guide track- low internal circuitry quality, automatic gain control- you name it- barely an afterthough in terms of quality.

If you want pro sound go with something like the zoom with a nice shotgun mic on a boom and lavs when you have to. I've got a new DVD here that gives a lot of simple but effective tips on greatly improving audio.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Lance Bachelder
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 7:11:27 pm

Agree with Noah - gotta go with separate sound and sync it later - pain - doing it now on our 7D feature. We hired a pro sound crew with the best sound gear available - sound is so important, especially on indie films where you're gonna get scrutinized for every decision you make. We did buy a Zoom H4n for some run and gun stuff and in-the-car audio and it is an amazing tool for the money - really pristine.

Don't forget to use a slate on EVERY take!

Lance Bachelder
Southern California



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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 9:17:11 pm

Try Pluraleyes if you're on FCP (or Sony Vegas). Does a suprisingly good job of auto-syncing with or without a slate. http://www.singularsoftware.com/pluraleyes.html

Naoh

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Robbie Carman
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 10, 2010 at 7:22:07 pm

[Ryan Orr] "which means virtually no compression,"

This is simply untrue. RED footage is hugely compressed-big time! Because its wavelet based it gives it several advantages in quality compared to codecs like H.264 and flexibility like extracting proxies and things like like being able to support RAW data RGB data from the same scheme but it is still lossy. In fact I think RED themselves saw its visually lossless but mathematically there is still loss.

Don't get me wrong I think the brilliance of the RED system is all in REDCODE. Sure the bodies and gigantic sensors are cool but REDCODE is very neat indeed - but it is compressed.

Robbie Carman
----------------
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion





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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 10, 2010 at 8:08:29 pm

I wouldn't characterize it as 'hugely' compressed. In terms of file size compared to say 4K uncompressed- sure the size is a tiny fraction. But we're talking about a very efficient and totally optimized codec. It's far better than just about any other compression codec in use in cameras today.

Personally I care less about the file size as I do about the resulting image quality. REDcode is a nice, clean 4K signal that's visually close to a nice 4K film scan. Only with a lot less of the attendant expense and time to acquire it.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Ryan Orr
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 10, 2010 at 8:19:46 pm

Okay, in the spirit of the subject of this thread (comparing the Red One to the 5D and 7D), the Red camera is virtually uncompressed compared to the H.264 codec.

I'm not 100% sure, but when rating a codec lossy or lossless, is it in the terms of mathematical data, or picture quality? If it's picture quality, I consider it virtually lossless/uncompressed. If it's in mathematical terms, then yes, it is lossy/compressed.

Maybe it would have been best to have said visually instead of virtually to avoid the confusion?


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Robbie Carman
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 10, 2010 at 9:53:36 pm

Don't get me wrong Noah and Ryan I agree with both of you 100% about the quality of REDCODE - 100%. It's just that I see so many people talking about RED RAW saying that its the same thing as RAW still photography - and its not that was really my point.



Robbie Carman
----------------
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion





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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 10, 2010 at 10:15:58 pm

Yeah I'm with you- it's RAW in terms of giving you the ability to manipulate the original sensor data i.e. not baked in gamma/color like a JPEG based or MPEG based compressor has. But it's not RAW in the sense of being without compression. I would call it visually lossless/lossy depending on how well exposed it is.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Neil Abeynayake
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 11, 2010 at 2:48:30 am

Ryan,

The primary role of a codec is to take large data sets presented to it in a logical array, deduce and compile that data to be used by an end user more economically. The RED One uses codec by the name "RED code".


(I quote);

Redcode RAW is a variable bit rate wavelet codec which allows raw sensor data at resolutions of up to 4096 x 2304 to be compressed sufficiently for practical on-camera recording. Two variants were offered previously, one with a maximum data rate of 28 MB/s (224 megabits), and one with a maximum data rate of 36 MB/s (288 megabits), but the camera was recently updated to record with an additional data rate option of 42 MB/s (336 megabits). Compared with the uncompressed data captured by the sensor, these bit rates represent compression ratios of about 12:1 and 9:1, respectively. Because Redcode is a wavelet codec, similar to CineForm RAW and JPEG2000, the blocking artifacts associated with other digital video compression algorithms are absent. However, sample images detailing Redcode specific artifacts have been posted on the manufacturer's forum.

Redcode is a mathematically lossy codec, meaning that decompression does not fully restore the original image data captured by the camera. Red does claim the codec is "visually lossless", meaning that the information loss is not visible to the naked eye when images are viewed; however this is a subjective statement.

Unlike cameras that record RGB data, the camera records raw data similar to the Dalsa Origin and Silicon Imaging SI-2K. Recording raw data allows white balance, gamma and other image processing parameters like sharpening to be set during post production. Adjusting these settings directly on camera does not impact the raw data that is actually recorded. Such adjustments only influence live monitoring outputs, but are attached to the recorded data as metadata.

(End quote)


Recently, I had an interesting conversation with a Canon Engineer who is involved with the current incarnation of EOS DSLR line. His and Canon's view about the DSLR's could be summarize as; The DSLR form factor is designed to complement established ENG trade. However, the camera (is designed and) could perform much more than just ENG work (Yes, we know this!).

The Canon 7D's image sensor outputs 5,184 x 3,456 pixel (RAW and Large JPEG) images. As you know, it can capture 8 frames a second. This is happening at 12% of the capacity of its dual DIGIC 4 processors. In reality those processors can handle over 40 frames a second. There is couple of drawbacks to this however. The main issue at hand is the enclosure. Because of the form factor of the DSLR, there are restrictions in dissipating heat. This could lead to serious over-heating of onboard electronics and associated parts. The second is the ingest of RAW data by transport" media (CF cards). According to Canon 7D owner's manual, the camera can output a RAW image using 17.90 (Megapixels) which corresponds to about 25.1 Megabytes + 17.90 Megapixels JPEG image @ 6.6 Gigabytes, 8 times every second. This corresponds to a data transfer around 253.6 MB/s every second.

Now if you want to capture at 5K resolution for digital cinematography (according to the Canon Engineer, theoretically the 7D can resolve at 24 frames @ 5K), get just the RAW data file (i.e. 25 MB/frame) and multiply that by 24 frames a second = 600 MBytes/second. Not very many flash memory cards available today can handle that kind of ingests unless, they are custom made for that camera.

Also, you would have all kinds of work-flow related problems within Canon's current user base. Therefore, Canon uses a h264 based codec with a QuickTime wrapper (at least for now [they may add other PC based file options later because half of the Windows based clientele is pretty upset about the current QT only ingest]).

We work with a couple of RED One's and use Assimilate Scratch work-flow. I agree about the aesthetic look of RED output. We also, work with 1D, 5D and 7D footage as well.

About "RAWworks" comparison of 5D and 7D to RED, the company and the people who are associated with them are well qualified to do so. Some may not like it but, there is a lot of merit in what they have done.



"Always remember that you're unique. Just like everyone else".

Confucius


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Uli Plank
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 11, 2010 at 7:05:51 am

While I second everything that was said about the high quality of the codec and the advantages of having more latitude for color grading with the RED One, let's not forget another problem of the current DSLRs.

As confirmed by the Canon engineer, they can't handle full rez at motion frame rates. So they are 'binning' (sampling down groups of pixels before further processing the image). This introduces another big problem: aliasing! The OLFP in the camera is optimized for photography – as it should, or all photos from the Canon's would be soft, but they are tack sharp with good lenses.

So it can't be optimized for 1920 x 1080 at the same time. This is why you get all kinds of aliasing effects, moiré and the like. Shoot a rez chart with the Canon and you'll see that it resolves around 720, all the rest is fake detail produced by stepping over the Nyquist/Shannon border…

Now I admit that the shallow focus will help you keeping regular patterns (like brick, fences or the like) out of focus most of the time. But if the person in focus has the wrong clothes, you'll the horrible aliasing all over critical patterns. Been there, bitten by that, since you don't see that when shooting, Plus, you don't see it on the web. BTW, the Canon was initially seen as a tool for web jounalism by Canon.

The OLPF of the Red One is optimized for 4K – which they scan and record. Smaller sizes are produced by windowing, not binning, so the OLPF is still right.

Uli Plank

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts


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Joel Mielle
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 11, 2010 at 10:36:18 am

Just the fact that an under $2,000 camera body (7D) can be compared to a red, leaves little room for argument. Just go out and shoot, the average punter won't even know the difference even on a big screen.
Again, buy what you can afford. These are exciting times!


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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 11, 2010 at 1:50:08 pm

And now the T2i which is around $700. Good times for shallow DOF freaks.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Ryan Orr
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 11, 2010 at 1:53:41 pm

Exactly Joel. My point exactly in my original reply. Buy, rent, borrow, steal (jking!) what you can, and use it! All cameras are comes down to one simple fact. They are all tools, in which you use to tell a story. If you have the taste for a camera that's worth more then a new car, let alone all the accessories that's worth a few more thousands of dollars...THEN getting a post workflow that can handle 4k/2k nicely...then by all means get yourself a Red One.

But at the same time, I've seen lovely 5D and 7D work that whisked my breath away.


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Neil Abeynayake
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 11, 2010 at 11:09:15 pm

I was trying to emphasize objectively, what the 7D can do when compared to more expensive cameras. This is not the forum to explain what RED One can and cannot do. They have their own forum for that.

Can Canon DSLRs overcome overheating, data throughput bottlenecks (and other irritants that Uli had mentioned?) Absolutely. Canon did listen to their users and in less than three months after the release of the camera, came with a major firmware update. If you have not updated your 7D yet to firmware update ver. 1.1.0, it is available at the Canon (USA) website. Once you get the update, you will notice there are less aliasing artifacts, camera runs a bit cooler, faster scanning of the image sensor which relates to rolling shutter anomalies etc.

What Canon had done is to give everyone (@ sub US$5000.00 range - i.e. 7D, L series prime and 70 ~ 200 f2.8 L) an opportunity to access a region that was once the playground of a selected few. If someone think that they can buy this camera, press a few buttons and create a masterpiece with it, that person would be disappointed. 7D comes with a bunch of features that the user can customize and/or programmed. In the hands of a proficient user and with professional lenses attached, this camera can challenge (in certain areas) some of the mainstream digital movie cameras. Also, with optional (affordable) attachments an array of 7Ds can get motion captures for VFx at a fraction of the current (MoCap) rates.

One example is Canon's WFT-E5A Wireless File Transmitter:

(Quote)

With WFT the EOS 7D Digital SLR camera offers professional photographers a wide range of digital connectivity options including IEEE802.11a/b/g and Ethernet, ideal for commercial and studio work. The WFT-E5A opens the door to new possibilities in remote and Geotagged shooting applications. Photographers can fire up to 10 cameras simultaneously from across the room or across the country while maintaining control over camera settings and remote live view on a laptop or smart phone.

The WFT-E5A wireless transmitter can also transfer and display images on DLNA (Digital Living Network Alliance) compatible televisions and photo frames. Geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.

(End Quote)

Try doing this with a bunch of ARRI, RED, Viper, Dalsa or SONY F35 at a comparable price point.

Over its life cycle Canon will sell (perhaps) 200 million+ of 7Ds and a bunch of lenses. Do the math. I'd rather sell 200+ mil. of US$1300.00 (Canon's probable FOB rate) than maybe 5000 cameras @ US$ 17,500.00.

And Canon's global reach is huge. Their annual R&D budget on imaging products alone eclipses both RED One Camera Company and its owner's (Janard) net worth. They sell very high quality products. It may not be that difficult for Canon to change form factors, add a couple more to their existing DIGIC-4 chips, add decent cooling and create a workflow for their end-user. At that point, if they want to take on the RED One, they would win hands down. I think what needs be looked at is how you can tell your story aesthetically using this tool.



"Always remember that you're unique. Just like everyone else".

Confucius


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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 12:06:33 am

[Neil Abeynayake] "Over its life cycle Canon will sell (perhaps) 200 million+ of 7Ds and a bunch of lenses. Do the math. I'd rather sell 200+ mil. of US$1300.00 (Canon's probable FOB rate) than maybe 5000 cameras @ US$ 17,500.00."

While I totally agree Canon will sell many multiples of RED's numbers over time- I don't think 200 million is even a remotely realistic number. I'd be surprised if any SLR or Prosumer camera ever made has sold more than a couple of million units. Most I'm sure are very far under even that.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Robbie Carman
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 3:40:00 am

[Neil Abeynayake] "One example is Canon's WFT-E5A Wireless File Transmitter: "

Have you tested the E5A with video? My understanding ( I don't own one) is that it is limited to still capture transfer only

Robbie Carman
----------------
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion





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Neil Abeynayake
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 7:12:04 am

[Robbie Carman] "Have you tested the E5A with video? My understanding ( I don't own one) is that it is limited to still capture transfer only"

We are working with a client who is a VFx house. One of their requirements is a MoCap rig for a movie that is in budget planning stages. Effects guys are using Assimilate Scratch, Autodesk Inferno, Maya and LightWave. The minimum frame resolution requested by the effect supervisor/s is at 4K. However for keying and other critical effects they are exploring larger resolutions if possible.

One of the ideas that got tossed around was to rig 48 (yes, forty eight) 7D units in a "certain way", (each camera with its own wireless file transfer unit attached); triggered by a sensor. This seems to be the least expensive method to acquire imagery in real-time for this project.

We are writing custom apps to ingest MoCap @ 6K (image + telemetry and other data) in real-time. The end result will be screened at IMAX 3-D.



[Noah Kadner] "I don't think 200 million is even a remotely realistic number. I'd be surprised if any SLR or Prosumer camera ever made has sold more than a couple of million units. Most I'm sure are very far under even that".

If you are referring to the West coast market of the US, maybe you are correct. However, there are a few billion folks are living in other countries in Asia who are NOT affected by OUR economic downfall. If you take India which is the leading movie producer in the world, over 150 million of its 1.2 billion people are associated in the movie industry, one form or the other. China has a healthy population of over 1.6 billion consumers. And world over has over 6 billion people. Yes, not everyone can afford or may not even need toys we buy. But many can and will purchase if they see a value and a need. US is no longer the purchasing leader of the world. Many countries did not totally depend on the US to sell their products and services. I think the figures given earlier are still reachable. Please understand I am NOT a Canon fan boy. I work with clients who are on RED, Viper and F23 ~ 35 based work-flows. However, I see the potential of 5D, 7D other DSLRs and their contributions to complement existing pipelines.







"Always remember that you're unique. Just like everyone else".

Confucius


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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 4:57:01 pm

Yeah but have you really truly researched actual sales numbers? Just because a country has 6 billion people doesn't mean they all care about shooting video on HDSLR cameras...

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Neil Abeynayake
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 9:23:44 pm

[Noah Kadner] "Yeah but have you really truly researched actual sales numbers? Just because a country has 6 billion people doesn't mean they all care about shooting video on HDSLR cameras... ".

I've already addressed that in my previous posts. Figures stated were dynamic (and hypothetical) since they are related to a "life cycle" of a product which just began its life. This may seem strange to some but, Canon still sells the original EOS 650 (introduced in 1987). So it is fair to say, that model has not ended its life-cycle yet.

What this means is that there are immense possibilities to all who had taken steps to get involved in a new paradigm. Noah, you have written a few books about these cameras and work-flow related issues. Rather than arguing about Canon's anticipated sales and DSLR purchasing habits of others, I would look into getting a larger share in the market they (and other DSLR manufacturers) have created.

Example: If you were to translate your books into Chinese, Indian (Hindi), Spanish and Russian, think how many books would you sell? With proper marketing and strategic alliances, you could make extra income to fortify your already comfortable lifestyle. (I hope you will still be here sharing your knowledge in the COW forum, after becoming rich and famous).

Possibilities, there are a lot of them. What we have to do is to identify and act on them.

Good luck,








"Always remember that you're unique. Just like everyone else".

Confucius


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Noah Kadner
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 12, 2010 at 9:34:50 pm

It's really not that important to me how specifically many millions or hundreds of millions of cameras Canon sells. If that's a purely hypothetical number I'm perfectly happy to let you imagine a much higher hypothesis than me. Your underlying point regarding market share is well taken and I agree with your overriding conclusions.

As for translating my books- again you should do your research a bit more. The margins on a niche market book about the RED camera are tight enough as it is in English. RED has sold about 7500 cameras to date and is considered a runaway success in its market segment (which leads back to my reasonable doubt about your numbers on the Canon).

To do a credible job on a translation of a 352 page book into another language- with all of the technical jargon involved and all the reconfiguring of layouts- etc- would cost a fortune and make any profit impossible once you factor in all the printing/marketing etc. It takes 10 people working over six months just to do the English version. Now a Tom Clancy novel or a Dan Brown tome- sure that's a no-brainer because we really are talking about many millions of copies and the layout is typically pure text. In my case, not so much.

Of course I am looking into DSLR materials of my own making. Although so far I've found a lot of folks out there are doing it better than I could so I'm happy to sell their stuff instead- such as the Philip Bloom Canon 5D and 7D classes I resell. Those are pretty sweet. And one way or the other I'll always have room in my life for the forums. That's fun.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Neil Abeynayake
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 13, 2010 at 3:55:39 am


World is an interesting place to live when people have difference in opinion yet have a meaningful dialog between them.

You are a gentleman. Thank you!


Neil

"Always remember that you're unique. Just like everyone else".

Confucius


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Uli Plank
Re: Visual comparison between the 7D, 5D, RED ONE
on Mar 13, 2010 at 8:03:45 am

Getting back to the cameras, I'd like to put it this way:

I you can't play, no violin will be of any use to you. But if you can, of course a Stradivari will sound better than a piece of plastic from Woolworth (of whoever, nothing agains that specific company).

But you have to start learning with something. So, when you become better as an artist and get recognized for it, of course you'll strive for the best instrument you can get.

A Canon 5D or 7D will definitely be better to learn cinematic art than any video camera with small chips…

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts


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Phil Lister
Re: Visual comparison between the 7D, 5D, RED ONE
on Oct 31, 2010 at 3:33:34 am

I've read several posts here and I think it all comes down to the end result and your target audience. How many regular folks are going to know just which camera you shot with? Also, you can give anyone a Red One, but it also comes down to directing, story, acting, etc! What good does it do to shoot a film on Red, if all the elements I mentioned suck? I'm getting a Canon 7D, mainly due to my budget, bust also because I don't think anyone is going to question the quality!

Phil Lister


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