I think for sports, you can take it up to 30fps. It takes the edge off, but it still looks cinema-ish (at least to mee).
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Video is just a small "side bonus" on the 5D3, so don't be so surprised if Canon doesn't give you the features you want. They are saving all the good stuff for the 1DC-line. That is where you should be looking.
VERY helpful hints, a few more ??'syes, and yes
I already custom white balance for each of the different gyms I shoot, so I assume the same WB I shoot stills will be the same, correct?
Shoot Manual ? 30 fps, 1/30 or 1/60? , f 5.6 - f8, and adjust ISO to attain exposure
and I ASSUME that the 5d3 sensor would allow me to shoot lower ISO c/w the 7d, but if the 7d is 'adequate', I could set up both cameras, the 7d fixed and more WA, and then track / go handheld and tight with 5d3, but how much "post" will I have to do if I use 2 diff bodies? Granted I am probably going to pawn off the post on my videographer, but I'd like to learn to shoot it correctly and avoid common mistakes, which brings me to the compression formats. Between the 7d and 5d3, which format to use for the 5d3?
Time - synching? Cheap options for a multi-camera shoot? Necessary ??
Thanks for that explanation.
So technically, adjusting the shutter speed through it's range would also alter the "smooth/roughness" of the video, regardless of the fps? Ideally would you set shutter speed to match fps or slightly faster?
Note that the Y:Cr:Cb colour space can be converted back to RGB (it is simply a different 3-dimensional representation of the same data). Missing Cr:Cb values are filled in from surrounding values and then each pixel is converted back. This is done when viewing the movie.
When expressing chroma subsampling ratios the 4:2:2 doesn't refer to primary colours as G:R:B, it's Y:Cb:Cr which refers to Luminance (Y) and two colour difference components Blue Difference (Cb) and Red difference (Cr)