Compressing Canon 5D RAW Video to Save Space

I decided to compress my raw video footage to save hard drive space. It was always in the plan, but I've been too busy shooting for the past two weeks. So last night I finally had some time to try it.

I took a folder with about 32 minutes of footage (it was about 47,400 frames, at 24p that is about 32 minutes). At the varying resolutions I've been shooting the 5D Mark II at, finder told me that the folder size was 113GB. I fired up Adobe DNG Converter and told it to compress all of those DNG files using lossy compression, no embedded preview, no fast load data, etc. I believe my settings make for the tightest compression possible while preserving pixel count:

I let it run overnight and I compared the file size this morning. WOW, what a difference. The file size dropped from 113GB to less than 30GB. That's an over 70% reduction in size.

I know some guys will say not to use Lossy compression, but I would bet those fellows are probably amateurs or come from a stills photography background, or both. They will for sure say something like, "Hard drive space is cheap, keep the data!" But in reality hard drive space is not that cheap unless you buy the cheapest consumer drives and have room in your computer or a sufficient number of fast external ports for external drives.

In the world of moving pictures, the use of lossy DNG compression will not affect the end result at all. And a 73% reduction in storage requirement is significant.

Agree? Disagree? Let me know in the comments below!

Canon 5D High ISO RAW Video

I shot this for a client on Monday, using mostly ISO1600 and sometimes 3200 (the dog in sun was ISO100). The consequence was that I barely had to light it, and I could really run and gun, focusing my attention on content and pulling focus. Some of the footage has been pushed +1.0 to +1.6 stops of exposure in post (ACR) to match brightness levels from clip to clip. The post production cost is higher than shooting H264 though... I estimate for a short video like this, to add 1 to 1.5 days. With my workflow, that's the time to convert raw files to DNGs and adjust them, and also the time at the end to do color corrections and other raw adjustments and re-encode ProRes files.

The lesson learned here, for me, is that I can shoot at ISO1600 with impunity, and probably 3200 too. In post, I couldn't tell them apart. Can't wait to try with the 5D Mark III next to see if it's that much better. These are exciting times indeed. Arri Alexa eat your heart out!



Rare Breed Gourmet Dog Treats from John Ha on Vimeo.

Magic Lantern raw video test results on 5D Mark II

Lucy RAW test from John Ha on Vimeo.


I've been testing the Magic Lantern raw video capability on my 5D Mark 2 and 5D Mark 3 cameras. Well, I first tried loading it onto the Mark 3 and promptly bricked it. Oops, that's going back to Canon for repair.

So then I loaded it on my Mark 2 and it's been working fine. I installed the June 29th nightly build.

On the Mark 2 currently, here are my findings for shooting resolution (for 16:9 aspect ratio and 23.976 frame rate override, 180 degree shutter equivalent):

1880x1058 is the max resolution for the 5D2 and even with my Sandisk Extreme Pro 90MB/s card, I can only record for a limited time (maybe 1000 or 1500 frames).

At 1728x972, I can record continuously with my Extreme Pro 90MB/s card, but not with my Extreme 60MB/s card.

At 1600x900, I can get about 1500 frames out of the slower 60MB/s card. And of course continuous recording with the faster card.

At 1472x828, I can get continuous recording with the slower Sandisk Extreme 60MB/s card. I'm using the 64GB version and I estimate I can record about 22minutes of footage on that card.

At 1280x720, I estimate I can get about 28 minutes of footage on that slower 64GB card.

This is great news. I've seen tests comparing 720p raw vs 1080 H.264 and the 720p raw wins. So I think if you want to shoot raw on a job and don't want to buy or rent the faster 1000x cards (which are pretty expensive right now), this is a great compromise.

I am going to do a test of shooting the Mark 2 at 1472x828 and at 1280x720 and then uprezzing the files to 1080p.

Currently, the limiting factor of shooting these cameras using Magic Lantern raw at 1080p resolution is not the camera, but the acquisition media costs. The reliable 1000x 128GB cards go for $600-700, and you will need at least 2 or 3 for a job. At full resolution, you get about 25 minutes of footage per 128GB card. That is a pretty steep price. Of course you could rent the cards, and for a job that is probably a good idea.

But a good compromise at a lower production cost could be to shoot at 720p or 750p or 820p.

I will run some tests and post the results later. In the meantime I hope you enjoy the Lola and Lucy video above, shot in RAW on the 5D2.

Most reliable hard drives for photography and video

What brand of hard drive do you think I'll never buy again?

All hard drives fail eventually. It's just a fact of life. But some fail more frequently than others.

I used to buy all Hitachi drives and they were great for a while, but then their reliability went down the tubes. I switched to Seagate drives and they were fine, but then one by one they died. I have 10 drives inside my Mac Pro, and I use two externals. I used to RAID everything, so when I bought a set of drives, I would buy a dozen or more so that I would have matching drives and spares. Of the 14 Seagate drives I bought during my Seagate phase, only 2 still work! Now that is unbelievable.

I've since switched to Western Digital drives and they have, knock on wood, been very reliable. I use 3TB Green and Red drives for bulk storage, SSDs for boot, and Velociraptors as supplemental fast storage to the SSDs.

Here's what I recommend:

For SSDs, Samsung 840 series: http://amzn.to/YUNmy5
For fast supplemental storage, 1TB Western Digital Velociraptors: http://amzn.to/Y4lSqp
For bulk storage, Western Digital 3TB RED drives: http://amzn.to/10zXsve

If there's demand for it, I can talk about my crazy 10-drive configuration in my Mac Pro tower in a separate post.

Guide to Tethering your Canon 5D Mark II or Mark III

I recently wrote up some tethering instructions for the students in my studio photography class. I shoot tethered in the studio all the time, so for me it's second nature. But for my students, it can all be a little confusing, especially if you haven't tested all the different variations of software you need and know the limitations of each combination.

So I wrote up a cheat sheet for the most common setup we use in class. I thought I'd share it here in case it helps others.


Setup: For the Canon 5D Mark 2 or Mark 3 camera tethered to an Apple Mac OSX computer.  WITH live view shooting support. If you don't need live view support on the computer, then there is an easier setup (described below).

Description: There are two common ways to tether the 5D2 or 5D3, one way is a bit more complex but allows you to use Live View on the computer.  This method is useful for still life shooting because you can compose the scene and adjust the camera position while viewing on a large computer screen (instead of through the viewfinder or using the small screen on the back of the camera).

Concept: The general concept is to copy the files from the camera to the computer, viewing the photos immediately.  In this setup we use Canon's EOS Utility to do the copying, and Adobe Lightroom to do the viewing.

Required Software: Canon EOS Utility and a viewing program, like Adobe Lightroom. Canon EOS Utility is used to copy the files from the camera to the computer whilst one is shooting. It also allows the Live View functionality on the computer. Adobe Lightroom is necessary to view the images in an organized way. One thing about Lightroom is that your images need to be imported into the Lightroom "catalog" for viewing. I'll explain this further below.

Pre-Requisites: Lightroom needs to be installed and the Auto Import feature needs to be enabled.  The Auto Import feature "imports" images into the Lightroom "catalog" for viewing.  This feature basically keeps an eye on a single (empty) folder.  When it detects a new image in that folder, it will move it to a target folder that you specify.  On my computer, I have an empty folder called "To Autoimport" and another folder called "Autoimported."  I set Lightroom to watch the "To Autoimport" folder, and if any files show up, it will move them to the "Autoimported" folder and simultaneously import the files into the Lightroom catalog.

The idea here is to set the camera to immediately copy the files that are being shot to the "To Autoimport" folder. Then Lightroom sees the files and moves them into the current Lightroom catalog (the "Autoimported" folder) so that you can view them while you shoot.

Since we are using EOS Utility to do the real-time copying, we need to set that up to put the files from the camera into the "To Autoimport" folder. There is an option called "Destination Folder" in EOS Utility where you can specify the folder. Depending on the version of EOS Utility there are some other options you may want to set also, like the ability to save on the camera's card as well as the computer, and to sync the live view functionality between the camera and computer (so that when you press the live view button on the camera, the computer shows the live view display also).


Shooting with Live View: If you want to use Live View on the computer, switch to the EOS Utility software and (after you choose the "Camera settings/Remote shooting" option), click on the Live View button (in EOS Utility). If you have the software set to synchronize live view display with the camera, then you can also press the live view button the camera to enter live view mode on the computer. You may resize the screen to make the Live View image larger. (This is a benefit to using a Canon system, as the Nikon software Capture NX2 does not allow a large live view screen. Please fix this, Nikon!)


Shooting without Live View: Once you have the software set up correctly, when you are ready to shoot, run the EOS Utility program and choose the "Camera settings/Remote shooting" option to ready the software for shooting.  Then open Lightroom to the "Autoimported" folder.  As you shoot, the images should appear in Lightroom.

Alternative method to shoot without Live View: If you use a program like Lightroom, and you don't need live view on the computer at all, you can shoot directly into Lightroom (thus eliminating the need to use EOS Utility). Just initiate Lightroom for tethered capture, it should recognize your camera, then shoot away.


Troubleshooting:

1. In Live View, you see a black screen instead of your subject:  Ensure that, under Live View settings, the Exposure Simulation mode is OFF.

2. The camera won't fire, or the strobe won't fire:  Check that the Silent Shooting option is set to OFF.

3. EOS Utility won't work correctly:  EOS Utility has a lot of versions, you need to ensure that the version you have works with your camera.  For instance, older versions won't work with the new Canon 5D Mark 3.  Or some versions are buggy and will crash when used with the 5D Mark 3.

4. Lightroom won't display the images:  Updated versions of Lightroom 3 will process 5D Mark 2 files correctly, but you need an updated version of Lightroom 4 for 5D Mark 3 files.  Check that the Lightroom version is appropriate for your camera.


Other Variations for Tethered Capture:

There are many other combinations for tethered shooting. If you are working with a Nikon system and you want live view functionality on the computer, you will need to purchase a copy of Nikon's Capture NX2 software. This software is akin to Canon's EOS Utility.

Of course you can also shoot tethered in Capture One Pro. This is the preferred way (and as far as I know, the only way) of capturing if you make on-the-fly adjustments to your image and need the settings retained for the next capture (like crop settings, for instance). I have heard that the newest version of Capture One Pro (version 7) has live view support for some DSLRs. But I have not had a chance to work with it yet, so I'm not sure which cameras it supports. And I cannot seem to find a list of Live View supported cameras anywhere.

And of course if you shoot Hasselblad, you're likely shooting tethered into Phocus. Likewise Capture One Pro if you're shooting a Phase One or Leaf back, or you're shooting at high speed as with fashion or lifestyle photography.


Good luck! I hope this guide can help you sort out your tethered capture needs.

Nikon D600 now on sale under $2000

Wow, that was fast.  The Nikon D600 has been discounted to under $2000 street.  This is probably the best mulit-purpose DSLR on the market.  You can get it here: Nikon D600.

How to select the right focal length when shooting your mid-range zoom

So often I see people using their zoom lens to only change angle of view, with little to no consideration for depth of field, perspective and distortion.  I see them raise the camera to their eye, turn the zoom ring until their intended subject fills the frame to their liking, then shoot.  They are selecting their focal length based on field of view only (or how much you can take in, usually expressed in degrees, like 65 degrees horizontally).

But there are a couple other things to consider when selecting a focal length.  A wider lens increases depth of field and wide angle distortion.  So when you turn the zoom to go wide, you'll want to think about how that will affect your subject.  If you want to shoot a portrait, you'll usually not want to go wide as that can distort peoples' features and eliminate the nice soft blurriness of your background.

Let's take a typical kit zoom lens, like the Nikon 18-55mm or the Canon 18-55mm.

After shooting for a while with a zoom lens like this, you'll want to learn more about focal lengths.  Some people will think, hey maybe I should buy a prime lens and shoot with that for a while to learn more.  If that's you, then go ahead and buy the excellent Nikon 35mm f/1.8.  It's inexpensive, light, fast and ultra sharp.  In the Canon system, you can get the 35mm f2.  With one of these lenses, you'll learn just what shooting with a normal lens means.  Go shoot everything with it.  You'll learn that if you need to get closer to your subject, you'll have to use your feet to "zoom" in, and vice versa.

The benefit of a fixed focal length "prime" lens is you'll learn a great deal about that focal length.  You'll know how it responds to people subjects, landscape subjects, street photography, whatever you choose to shoot.  And importantly, you won't give into the crutch of turning that zoom dial to frame your subject.  You'll eventually know even before putting your camera to your eye whether you'll need to step back or step forward to get what you want in the frame.

You'll also benefit from a much faster lens (the prime will gather about 10x more light than your kit zoom).  You'll be able to shoot in much lower light conditions without flash, you'll be stunned when you first start shooting with a fast prime.

If you don't want to buy another lens, there is an easy way to simulate the effect of using a prime.  Get some duct tape or gaffers tape, set your lens to 35mm, and tape the zoom dial so it doesn't move.  Seriously, actually get your camera out and tape it and leave it this way for the next 3 months.  Resist the temptation to untape the zoom, as it will impede your learning.  You won't get the same shallow depth of field and low light shooting benefits as buying the prime, but you will get a taste of what shooting with a fixed focal length lens feels like.

After 3 months, switch the zoom position to 18mm and shoot everything there for 3 more months.  Eventually you'll learn what the different focal lengths will yield.

Below, I've summarized the different focal lengths for you.  If you choose the tape method of learning, I would recommend you go in this order:  35mm, then 18mm, then 55mm.  The equivalent lengths in full-frame are 50mm, 28mm and 85mm (or the classic lengths for "normal," "wide" and "portrait.")

At 18mm, the full-frame equivalent focal length is about 27mm.  This is considered wide angle, and is useful for creative wide angle effects and indoor photography due to the larger angle of view (about 65 degrees horizontally).  Wide angle is not traditionally used for portraits due to wide angle distortion (the sides and things closer to the camera get stretched).

At 24mm, the full-frame equivalent is about 35mm.  This is considered moderate wide angle or "normal."  The angle of view is about 54 degrees horizontally.  Neither wide or telephoto, this is a good focal length for street or documentary photography.  Great for interior social photography.  Not so good for capturing sports from the sidelines (not telephoto enough) or shooting architecture or landscapes (not wide enough).  The iPhone camera's angle of view is similar to this focal length.

At 35mm, the full-frame equivalent is about 50mm.  This is the classic "normal" lens for full frame film or digital photography.  The angle of view is about 39 degrees horizontally.  You'll see this length used a lot for a variety of styles including street photography, full length fashion photography or portraiture, still life and product shoots, etc.  It's a great focal length due to its relatively low distortion and very "normal" perspective which closely matches the perspective of the human eye.

At 55mm, the full-frame equivalent is about 85mm.  This is the classic "portrait" lens in full-frame.  The angle of view is about 23 degrees.  As the name implies, this focal length is used often for portraits and fashion.  The moderate telephoto length minimizes distortion and depth of field, which is flattering for people photography and yields nicely blurred backgrounds.