Pentax K-7.. turning it up a notch...

Started May 20, 2009 | Discussions thread
philbarton Senior Member • Posts: 1,618
Putting an end to the thread - video capabilities

A "Pentax intruder", that's also funny. Why did you talk about
Pentax on a Canon forum anyway?


Because that was the OP's subject. The Pentax posters were brought over by Steelski, because when he can't make a cogent argument, he brings assistance.

While Pentax has done some major and creditable work with the K-7, I cannot envision sensor-shift handling even adequately handling prosumer-level (or higher) video requirements as they evolve past the current primitive state on DSLR's.

With video, YOU move when shooting - and that becomes a stabilization problem calling for a Steadicam or other external device; making sensor-shift moot. Some cannot get their mind around that fact that the discussion has shifted to MOVIE/VIDEO mode; not stills. This is not 1920, where the camera was on a tripod, and the guy cranked while filming. Now, hand-held is normal - even while moving.

Before the steadicam, a director had two choices for moving (or "tracking") shots.

The camera can be mounted on a "dolly", a wheeled mount that rolls on tracks or leveled boards. However, this is time consuming to set up and impractical in many situations.

The camera operator can hold the camera in his hands. This allows greater speed and flexibility, but even the most skilled camera operator cannot prevent the image from shaking, if only minutely. Hand-held footage has therefore traditionally been considered suitable mostly for documentaries, news, reportage work, live action, unrehearsable footage, or as a special effect to evoke an atmosphere of authentic immediacy during dramatic sequences. The police television drama NYPD Blue uses hand-held camera work as a dramatic element.

A steadicam essentially combines the stabilised steady footage of a conventional tripod mount with the fluid motion of a dolly shot and the flexibility of hand-held camera work. While smoothly following the operator's broad movements, the steadicam's armature absorbs any jerks, bumps, and shakes.

Some video-associated issues:

a). Seamless panning without perceptible lag - essential to video

b). Dutch angle (see Wikipedia) - intentional tilting; which K-7 apparently corrects

c). Handling a subject (like a car) moving through the frame, and following it actively and rapidly (horizontal pan). This technique is also sometimes used with an analog SLR with focal-plane shutter, which requires 1/60th or 125th for full image capture - rather than the shutter speed; governed by the size of a slit between moving curtains.

d). Video of a tall building (vertical pan) while zooming and holding focus. Zoom rapidly from ground floor up; stop on 14th floor; zoom in to a pigeon on a ledge.

e). Problems in maintaining a continual specific point of focus (one face in a crowd) while the photographer circles around the subject for different POV's, as well as moving in and out (dollying).

Panasonic designed GH1 for movies. When you consider the requirements of an OIS lens and video, one can understand why their for-video lens costs so much.

Here's someone ACTUALLY shooting a video feature:

"But i think all these methods and workarounds with the camera will be obsolete pretty soon. The Panasonic GH1 should hopefully fix it all… I think that’s what we’ll shoot the feature on."

Canon can certainly do more with future DSLR's, as Westfall explains in detail here - and I look forward to seeing what they come up with (which is why I'm here, learning):,39001469,62052998,00.htm

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