Expert Column / Canon 1DS Mk3 vs 5D Mk2 - by Doug Williams

First off let me just point out that the 5D mark 2 is NOT  a video camera it is a still camera with the option of video.  It seems since its birth the camera has stirred up talk about why one should spend 8 grand on a 1ds mark 3 when they can get the same size file and get video for much less.  In this article I will touch of some of the things that makes the price difference worth it or maybe in your opinion not worth it.

     The major difference between the two systems is their image processor which is the heart of any system.  The 5D MK2 uses the latest processor from canon the DIGIC 4.  DIGIC by the way stands for digital image core. The major improvements to this processor from the previous ones are noise reduction in the higher iso’s, faster image processing and of coarse the ability to shoot HD1080p video. Now the for the 1DS MK 3, this system uses a Dual DIGIC III image processor, which gives you faster capture speeds and better detail and overall image quality.  Both image processors are full frame CMOS chips

     Now the minor stuff or maybe these will be the major stuff to you.  The next thing that’s on peoples mind is speed, the 1DS mark 3  (don’t confuse it with the 1D mark 3 which is twice as fast but half the file size) has a capture rate at 5 frames per second with a burst rate of approx. 12 raw frames before it has to yell at you to stop, the 5D MK 2 has a capture rate of 3.9 frames per sec with a burst rate of approx. 13 raw frames before buffering. After speed I would say the camera companies are really focusing on  ISOs. It seems with every new digital camera their files are really holding up more in the high-end ranges and this is especially the case with these two cameras.  Now both cameras hold up great the 5D MK2 really pushes the range with in a range of  100-6400 with the option to expand with custom functions to (L)50, (H1)12800, (H2)25600 while the 1Ds MK 3 range between 100-1600 with the option of expanding to 50 and 3200. 

     Other differences, 5D MK 2 syncs at 200, has 25 custom functions, 9 AF points +6 AF assist points, and weighs 28.6 oz (body only) versus the 1DS MK 3 syncs at 250^th, has 57 custom functions, 45 AF points + 26 assist AF points, and weighs 42.5 oz (body only).

    So to say that these cameras are equals because they have the same file size, is not really a true statement, the 1DS MK 3 clearly has more bells and whistles and has better image detail.  So the question you need to ask yourself is, are all the extras worth it for what works with your budget.  If you have the budget for a 1DS MK 3, which rents for 345.00 a day, then that camera is clearly the choice, but if the budget is tight or you want to shoot HD video then go with the 5D mark 2 which rents for 195.00 a day.  Both cameras will give you amazing results, now it’s just up to you to make those photographs happen.  

Expert Column / All Amped Up - Part 2 by Joe Daly

continued from All Amped Up 1...

Knowing how to use your gear is, naturally, of the utmost importance. Shaping light, working with computers, building an environment, shooting, etc. These are the things that make a shoot what it is. But it is just as important to understand the gear as well. Not as its function on set, but simply, as a piece of machinery. Photography gear, particularly lighting gear, uses a lot of electricity. A standard Profoto 7A 2400 pack uses approximately 15 amps. So basically, you don't want to plug anything else into the socket that the pack occupies. It's kind of like money. You only have so much to spend, so how much does your gear "cost."

As your gear becomes more "costly," the more intense the situation becomes. What if your location does not support the amount of power you need? Once you get into larger HMI's, or even an abundance of small lights, a lot of locations will either not have enough power, or not have the proper plugs. Larger lights don't have a standard edison plug and they uses a lot more juice. Say, a 6K Arri, is roughly 60 amps and uses a Bates paddle. Therefore, it can't be plugged into any normal edison socket. This is where either generators (either portable or a generator truck) or a tie-in is required. Both of which require, at least, a basic understanding of power distribution.

A tie-in is basically tapping into the main power source of the location through the breaker box. Basically, it gives you access to the bulk of the power, to be distributed in the manner required for the shoot to run smoothly and accurately (with a few variables such as power drawn by house lights, fridges, etc.) Though helpful, TIE-INS can be VERY DANGEROUS and SHOULD NOT be done by anyone except a skilled, experienced technician.

Generators, generator trucks, house power, studio power and tie-ins still follow the same rules though. How much power is provided, how is it divided, and what do I need for each piece of equipment? With these sources, the power will be divided differently among different lines. It is, essentially, your job to know what is available with each line. For example, certain generator trucks provide 600A, distributed through 3 different lines on a cam-lock 5-wire (5 color coded wires put together as a ground, neutral, and 3 hots). Usually, studios have the same set up, as far as using cam-locks from the wall. So from there, you have to figure out how you want to balance your load. In this case, there are 200 amps per line to distribute accordingly. There are many different ways to split the power, so you would need to figure out where you want the hubs of power to be. This can be done during the scout, or day of.

With that in mind, say you want to run a 12K Arri (120A roughly), two 4K Arris (40A each), two Profoto 2400 packs (15A each), a computer, two make up mirrors with lights, and a hair dryer. The power has to come from different lines to power all of that. Maybe one line for the 12K. Another line for one 4K, one pack, and the computer. Another line for the rest. Really, however you wish to do it will be ok, as long as you don't exceed the allotted amount of power.

Its always better to have too much than too little. You never know when you might need a little more juice. Electricity, just like a photo shoot, can be unpredictable at times. So, try to give yourself some breathing room, scout your location, research your gear, and take your time. If you don't know how to do something or are unsure, don't pretend to know. There are technicians in this industry that can make your shoot smooth and safe. Even a small screw up with your electricity could tear down the entire shoot or be very harmful to your health. So, be careful, and good luck!

Expert Column / All Ampep Up - Part 1 by Joe Daly

The lights are set. The computer is on and ready. Hair and make
up are finished. The photographer is ready to shoot. Your edgy
abandoned Brooklyn factory is looking perfect and gritty. Just one
thing. Its a little too cold in there. No worries. Just get an
couple heaters, plug them in, turn them on and... lights out!
It's very easy in the hustle and bustle of location shooting
to lose track of how much equipment you are actually using. Plugging
to much gear into a specific line of power, can result in power lost,
just like your house or apartment, or anywhere for that matter. Its
something we all know, essentially. The only difference being, at
home, you don't have to deal with photographers, digital techs,
producers, hair stylists, caterers, etc., all trying to take from the
same power you are trying to use for high end, high draw lighting
equipment. The last thing you need is to have the photographer or
producer breathing down your neck, asking you why the computer went
down and now all of the lights are out and you are in the middle of
shooting. That is why it is good to have, at least, a general idea
of how much power your equipment takes. In order to have this,
though, it is important to start from the top of the chain.
First off, depending on where your location is, you must find
out how much power you have to work with. Shooting in the US, unless
in situations with high power, high wattage lights (such as some
large Arri lights), or places that usually operate heavy machinery,
you will be probably be dealng with 110 volt power. Yet, it is
always good to find out, just in case. Plugging in a 110V strobe
pack, or any piece of equipment for that matter, into a 220V outlet
could mean fatal results for your gear. For basic shoots, though,
its is the amperage you need to be conscious of. How many amps does
your location provide, and how is it divided amongst the area? One
must figure out how many and what lines there are in the location,
along with what amount of power is on each line. The line is set up
to provide a few sources of power (multiple duplexes, outlets) with a
limited supply (amperage). What does all of this really mean? Once
you have the understanding of basic electricity and distribution, you
must obtain the information of YOUR electricity and distribution.
This means the location must be properly scouted.
Now that you've scouted your location and you've obtained the
info you need, you have to ask yourself, "does this amount of juice
support the gear I need for this shoot?" Well, that is where things
can get tricky....

to be continued....

Expert Column / Physics of lighting by Oleh Sharanevych

TREC owner, Oleh Sharanevych,  says many photographers don't understand or ignore these fundamentals. That's why they are always trying to find out from assistants the lighting of other photographers, instead of applying the physics of lighting.

1a. The larger the light source, the softer the light. 

Example: the light on an overcast day - the whole sky to the horizon - becomes one gigantic light source,  producing shadowless light. 

1b. The closer the light source, the softer the shadow

2a. The smaller the light source, the harder the light (creating strong, sharp shadow), like the bright sun overhead, the size of the sun is much smaller than we assume. If we take the tip of a pencil eraser and extend it to full arm's length, we can completely block the point of light.

2b. The further the light source, the harder the light.