ViDSLR tuners : Modification of DSLR cameras for Cinematography

When you think modification, you think of cars and car tuners like Novitec Rosso, AMG or Ruf. But ViDSLRs also have their tuners, and FGV Schmidle has converted 2 of Canon's ViDSLR cameras to become cinematography beasts. The FGV PL1D (EOS 1D Mark IV) is the latest (Sep 2010) modification which includes removing the mirror system and viewfinder to refit a PL mount to use cinematography lenses like Arri-Zeiss and Leica. The APS-H sensor is the same size as the S35 4 perf film, making it the perfect vehicle for the FGV LWS assembly.

The LWS assembly includes 2x15mm thick rods to align and support PL lenses. Finishing touches include cable protectors for the HDMI/USB outlets, which can wear out when used constantly. The Canon 1DMark IV is considered to be the best low noise ViDSLR camera out there, due to features and image quality. The darling of ViDSLR cinematography, the 5D Mark 2 could not be converted because the full frame sensor is too big for PL mount lenses and vignetting would occur. Some PL lenses will vignette with the 1D Mark IV.

The PL1D

The PL1D with Arri/Leica Master Prime lens

For S35 3 perf and complete PL lens compatibility, FGV first converted the EOS 7D, calling it the PL7D. The sensor is a good fit to the S35 film (22.3 x 12.53mm vs 23.11 x 12.98mm S35 3 perf ANSI 1.78). FGV released that camera in March 2010.

7D with Angenieux zoom and Arri remote focus and zoom motors.

The price of the PL1D is €8500.

Another company which has been offering PL mount kits is Hot Rod Cameras, run by Illya Friedman in Burbank, CA. Their products have been used by many production companies for TV, commercials and music videos. The Hot Rod PL system is designed more for hand held applications and doesn't have the same exhaustive modifications as the FGV models.

There are PL kits for the 5D Mark II (along with the list of PL mount lenses that can be used without vignetting) and 7D.

The Hot Rod 5D PL kit

Hot Rod 7D PL kit

As the ViDSLR phenomena continues, it'll be interesting to see if housing manufacturers start incorporating video features into the still housings. Or maybe there'll be a tuner somewhere who can modify normal DSLR housings into real video power houses? One can only hope.

Another company which has been offering PL mount kits is Hot Rod Cameras, run by Illya Friedman in Burbank, CA. Their products have been used by many production companies for TV, commercials and music videos. The Hot Rod PL system is designed more for hand held applications and doesn't have the same exhaustive modifications as the FGV models.

There are PL kits for the 5D Mark II (along with the list of PL mount lenses that can be used without vignetting) and 7D.

Hi Drew,

Thank you for plugging my company.

I did want to correct a couple things you posted. Besides being the first professional PL conversion of Canon cameras, the Hot Rod 7D-PL modification is minimally invasive and we put 99% the support hardware outside the camera. The number one advantage to this is when the camera has run out of it's usefulness, it won't be entirely disposable. Nearly every piece on the PL mount system can be re-used/recycled on another DSLR profile camera.

Also while not on our website yet (the entire website is being revamped) Hot Rod Cameras is the only manufacturer building custom DSLR sized studio support in both 15mm and 19mm studio configurations for use of the largest zoom lens (with complete safety). Here are a couple recent photos of the support system. More are due to arrive soon.

The Hot Rod PL system is in use on several major TV series including:

No Ordinary Family

NCIS: Los Angeles

Human Target

Community

Criminal Minds

Thank you again. Please don't hesitate to get in touch if we can ever be of service.

I.

Illya Friedman

President

Hot Rod Cameras

www.hotrodcameras.com

PIMP My Camera!!!

Love it, but also when you are stick a 20K Master Prime on the front do you really want H264, line Skipping etc etc etc bugger that if I'm using a MP you might as stick something decent on the other end. Just because it can be done doesn't mean it should be.

Although in saying that I have worked with a guy that had is 40D converted way back to PL mount as he only has a set on MP's and used to use his 40D for timelapse..... so there you go juts blew a hole in my argument.

Hi Illya

Not plugging but just reporting I had to edit some of your wording as we have a strict non-commercial policy for industry members.

Jon, the H.264 stigma is out the door (so long as you understand how to shoot within its limitations) for broadcast TV. PL mounts have made a big play since Panavision refused to rent lenses to be mounted on DSLR, pending a lawsuit. The Leica Summilux-C would look fantastic.

Hey Drew,

I would be interested in knowing where to look for the non-commercial policy wording for industry members. Don't ever recall seeing that. Any chance it can be posted somewhere?

Steve

Hi Illya

Not plugging but just reporting I had to edit some of your wording as we have a strict non-commercial policy for industry members.

 

Jon, the H.264 stigma is out the door (so long as you understand how to shoot within its limitations) for broadcast TV. PL mounts have made a big play since Panavision refused to rent lenses to be mounted on DSLR, pending a lawsuit. The Leica Summilux-C would look fantastic.

It must have been minor editing, I just re-read what I wrote and didn't notice.

Just because it can be done doesn't mean it should be

To Jonny's well put point. I don't think that's may be the perception of what's happening, but it isn't what's happening. I've heard Cinematographers clamoring for a 35mm sized, full resolution, 24-frame per second HD camera in a tiny form factor since 2001. And with the GH1 and subsequently the 7D such an opportunity was finally available. It is possible to shoot in ways with these cameras, impossible with larger units- just as an A-minima can fit in places a GII can't. I think once people started doing the Pepsi challenge with the HDSLRs and realized that the image really does hold up, particularly well with HD broadcast, it's opened up all kinds of working benefits.

Of course the drawbacks to DSLRs cameras are not insignificant, and the most major drawback is the native DSLR lenses which were not designed for professionals shooting motion. There are other problems with monitoring, power and ergonomics as well. But the lens issue is the most fundamental to working professionally, and I think it gets the most attention because it's like installing a $20,000 race engine in a $2000 Ford. The stock engine can get you from point A to B, just like a $50 kit lens will. But it can't do it in the way a professional DP, or professional driver needs it to happen.

Illya Friedman

President

Hot Rod Cameras

www.hotrodcameras.com

Hey Drew,

I would be interested in knowing where to look for the non-commercial policy wording for industry members. Don't ever recall seeing that. Any chance it can be posted somewhere?

Steve

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