Almost from the very moment it was discovered that high-end Canon HDSLRs such as the EOS 7D could be used to capture affordable, quality HD video, filmmakers and cinematographers have been trying to figure out ways to modify the cameras to better suit their motion picture purposes. One of the common modifications is the lens adapter, which a lot of folks use to swap the high-end automatic Canon EF lenses for older, more affordable glass. (Nikons seem to be a popular choice.) Most consumer-grade adapters will run you anywhere from $30 to $300, depending on the quality, style and vendor, but they can fall victim to the third-party tendency toward awkward compatibility.

	FGV PL7D with Master Primes

Going in the other direction—stepping up the lens quality—is another story. There are a couple of PL adapter kits on the market, and unlike adapter rings, these mods actually transform the camera to accept the added weight and unique physiology of cinema-style lenses.

At the top of the heap sits FGV-Schmidle, a Munich-based camera rental house currently offering a Canon 7D PL mod called the FGV PL7D. The item is sold as a single package and distributed in the U.S. through Band Pro Film & Digital.

For $7,800, FGV-Schmidle performs a professional gut and rebuild of the camera's internal components: First, they remove the 7D's sensor, mirror, autofocus unit, ground glass and prism viewfinder. A PL mount and stainless steel tripod mounting block are joined and reattached to the camera. The sensor is remounted onto the sensor carrier inside the PL block. To prevent reflections, the interior of the camera is blacked out with a matte finish. A three-pin Fischer connector for remote operation is installed in place of the optical viewfinder, leaving live view via the LCD screen intact. The shutter is kept intact, which means the PL7D will continue to operate as a still camera.

	FGV PL7D with Angénieux Zoom

“All PL-mount lenses that we've tested so far work with the camera, with the exception of the Angenieux Rouge zoom lens, which uses an extreme retro-focus design, meaning the rear of the lens pokes way out into the camera body,” says Band Pro technical consultant Randy Wedick.

FGV's reason for initially choosing the 7D over other, equally capable HDSLRs like the Canon 5D Mk II or 1D Mk IV is in the camera's active sensor size. According to FGV, the 7D's APS-C sensor is closer to the Super 35mm 3-perf 1.78 format than the other two cameras. This creates a depth of field much closer to that of 35mm film. (Also, at the time the 7D was the only HDSLR capable of typical film frame rates.)  As of NAB, the company was in the planning stages for a similar upgrade to the upcoming Canon EOS 1Ds4 and 5D3.

	FGV PL7D Front

Since receiving the initial shipment of 20 FGV PL7Ds, Band Pro's been struggling to keep up with demand. “People tend to use them for your classic C-camera applications: crash cams, car interiors, background plates, inserts, and even as a high-end director's viewfinder,” Wedick adds.

The upgrade is of such high quality that Canon will continue to honor its manufacturer's warranty, in addition to FGV's one-year warranty. In the way of accessories, FGV currently offers a Hybrid Light Weight Support package with a riser plate and two pairs of 15mm rods for mounting lens control motors, follow focus knobs and matte boxes. Technical specs and ordering information can be found at the Band Pro Web site.

• Canon 7D FGV-PL at CSC, Jon Fauer's Film and Digital Times, March 9, 2010