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My take on the Canon 70D


Andrew Reid
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Andrew - is the 103MB/s on the 5D3 exclusive of audio, or does that include the audio stream...I have not got access to a 5D3 right now, so I am not sure if they have audio working or not...I think it came and went in some builds....I will dig on the ML site,  but figured you know...I guess I really need to get your book anyway. I will try to do so soon...

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7D2 will not have fully-articulated lcd. - 1 (and no touchscreen)

And I think it won't have output 3,5mm jack - 2

It will be more still camera than video one. 

imho

 

To shoot RAW you should know enough about color correction, so the post-production and editing processes become more longer. Even turning on Cinema-style preset in camera makes you work more in post-production. It's another step to prof shooting and colorizing with editing. Do all DSLR-videographers know about colorizing? I saw editors worked with colors on footages from 7D... They even keyed! It was horrible! 

 

So the main thing in 70D is AF combined with Touchscreen. Let's see what they've done for us. 

Having 5D3 I need just this as a second camera for videos. Till than... Followfocus and rigs are our best friends))

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Hi Andrew, nice article.

 

I looked a bit at the 70D's dual pixel AF, less from a practical point of view (don't have the camera). But I did a bit of background research. Found the original patent in the Japanese web and an algorithmic JP & US patent.

 

I wrote a blog article where I looked at the patents and tried to understand what it will eventually mean for the industry:

 

http://falklumo.blogspot.de/2013/07/comment-why-new-dual-pixel-af-will.html

 

I think it will eventually transform the industry. The 70D won't. I found too many compromises already in the patent (not using 2D image correlation analysis etc.) that I believe the 70D may provide a smooth focus experience in video (which is great enough) but will not outperform traditional phase detect auto focus.

 

But multi pixel auto focus (MPAF how I named the approach in a more general way) wil leventually blow PDAF out of the water. It is the only technology known today which both uses all available light for focus and at the same time, uses the parallax error information (phase shift) to compute the amount of defocus. Therefore, PDAF will not remain able to compete.

 

And this in turn will turn high end cameras into mirrorless ones. Think of what great things at the price point of e.g., a D4 can be done with the electronic viewfinder. Which couldn't be developed because it needed a mirror to perform. This may enable a new high end camera generation (which should help the movie fraction a lot) where innovation can trickle down from the top again. This is what I mean by transformation.

 

Kind regards,

Falk

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I wouldn't write off this camera just yet, there's a chance moire has been fixed and the card controller is faster than previous ones, those two things alone could make this a hell of a great s35 sized sensor camera, which to me is still preferable to full frame for video work.

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As a photographer and 5d3 user this camera really does excite me. I shot a wedding today and using the t2i as a B-cam really is becoming a burden. As long as moire is fixed and we see the same high ISO improvements I think I'll definitely be picking this up. Paired with the new Sigma 1.8 zoom or comparable fast zoom, and it could be a great documentary solution as Andrew mentioned

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Since there is a strong code of omerta among those who've handled a 70D, stopping them all from even mentioning "video moire," I would presume it's still using line skipping garbage.

 

I imagine Canon has a term sheet as to what can and cannot be discussed about pre-production cameras and that would be in boldface on the list. This is among the many reasons one shouldn't pre-order anything other than out of charity, which Canon certainly doesn't need. We'll know the skinny within days of shipment date.

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Since there is a strong code of omerta among those who've handled a 70D, stopping them all from even mentioning "video moire," I would presume it's still using line skipping garbage.

 

I imagine Canon has a term sheet as to what can and cannot be discussed about pre-production cameras and that would be in boldface on the list. This is among the many reasons one shouldn't pre-order anything other than out of charity, which Canon certainly doesn't need. We'll know the skinny within days of shipment date.

 

Yeah...seems similar to the 6D release. I'm hoping its fixed. If its not, I won't buy it

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"If usable AF in video mode and the need for an APS-C sized sensor to suit your extensive EFS lens collection"... and want the ability to use most any other brand of lens with simple, affordable adaptors. AND maintain the highest APS-C image quality, then GET THE SONY NEX 6...

 

+1. I shoot a NEX-7 as my walkaround photo/video camera and I have to say, configured properly, it puts out a really nice image. Just don't go too flat with the profile or overboard with the 1080p/60p. Detail and dynamic range are great though, and it will take any lens I throw at it. AF in video is smooth and usable. The only reason I'd recommend it over a NEX-6 is the mic input. The 10-18mm f4 and 50mm 1.8 lenses are a perfect combo for run and gun shooting.

 

That said, the 50D is the best bargain to come along in a while. At the very least, it's a solid way to get my feet wet in raw workflow, and the images it's capable of are quite nice, especially in anamorphic. Cool beans. I'm interested to see how the new mid-level Canon DSLRs will perform in this area.

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