I prefer it to the 50D as it’s a better stills camera and uses the same high capacity batteries as the 5D Mark II & III.
This should all but cure the moire and aliasing issues. One is that Mosaic Engineering make an anti-aliasing filter for the 7D (although they say one is also in development for the 50D). Image quality in raw is similar to the 50D but the 7D has a number of advantages. Video quality needs to be given the same serious thought that stills are given, it can no longer win hearts and minds as simply a point & shoot bolt on even in high end models. DSLRs need dedicated video chipsets and ProRes. To stay viable in the enthusiast market (and for filmmakers) alongside affordable cameras that shoot raw video, Panasonic, Canon, Sony and Nikon must step up their image quality so that more of the sensor data ends up on the card. I can never go back to an 8bit compressed H.264 based codec, especially not an implementation as bad as we find on most current DSLRs.įor me, the standard DSLR video mode is finished. The image responds beautifully and you can take it much closer to what your minds-eye and imagination expects from it. When you adjust colour in post, even on a much smaller and easier to handle ProRes file converted from the raw file, the grading experience is totally different. It really is like looking out of a window. Sharpness improves with raw, and blue water is brilliant blue, grass is rich green.
With the standard 7D video mode, colour looks flat and washed out, detail looks mushy. (Note these images are for illustration on the blog only, converted to 8bit JPEG for the web – so they don’t look as good as the original raw files) In raw video on the 7D, the noise is a distinct and separate layer on top of rich tones and details, and when you apply noise reduction in post, the image isn’t destroyed along with the noise. In the standard video mode noise in the shadows win, reducing what little is left to a crumpled heap of mushy brown.
#CANON 7D REVIEW RAW FILE FULL#
Skies are no longer full of banding and macro blocking. You can see in the video above that the shading and rendering of the 7D’s output has improved leaps and bounds with raw. All that colour data and tonality comes flooding back. The dynamic range would be clipped, and shades which are actually thousands of very subtle transitions would be rendered as one stripy block with perhaps 4 or 5 transitions. Usually low contrast areas of the image and inky black shadows in low light would be the most compressed part of the image.
Raw gives you rich 14bit colour, how does this affect the image? It’s also a huge step up for Canon APS-C video shooters and free. Magic Lantern’s raw recording module for the 7D is a perfect illustration of why colour depth and dynamic range are more important than resolution.
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