Sponsored By

The Next Gen in Digital Film Capture: Canon’s 4K 1DC

Today, I stand on the NAB floor with my wife Lydia, CEO of Hurlbut Visuals. We both reflect on how far we have come. It was Lydia’s vision to build the educational / inspirational HURLBLOG, which passes on our collective experience and trail blazing spirit. She envisioned the innovation arm, our Master Cinema Series in conjunction with the Letus Corporation to toss gasoline on the revolutionary fire, and the Hurlbut Visuals’ creation arm that has produced the next chapter in Canon’s story. What a visionary woman.

Canon 1DC

Canon 1DC

NAB Show

NAB show floor

NAB show floor

At a trade show such as NAB, you can get caught up in looking at all the camera technology, gizmos, gadgets, etc. so quickly. But the story seems to always ground me. Today, Hurlbut Visuals launches a short film written and directed by another very talented woman, Po Chan. “The Ticket” is her follow up to “The Last 3 Minutes.” Please enjoy!!!

The Elite Team and Talent watching playback on a HP Dream Color MonitorThe Elite Team and Talent watching playback on an HP Dream Color Monitor


 
The Ticket

 Director Po Chan on location at the Santa Monica Pier

Director Po Chan on location at the Santa Monica Pier

The right tool for the job has always been my mission. Whatever camera helps tell the story, aids in character development, helps deliver emotion and transports you to a unique cinematic world for you to experience — wouldn’t you say that is the primary goal of a cinematographer?

The 1DC on a Master Cinema series rig with Tiffen Glimmer GlassThe 1DC on a Master Cinema series rig with Tiffen Glimmer Glass

Getting in close with the 1DC with Canon 50mm Cinema Prime with MCS action cam rig

Getting in close with the 1DC with Canon 50mm Cinema Prime with MCS action cam rig

When Canon approached me to test and shoot a short film for their new 1DC 4K DSLR, I was more than excited. This is the world that I have been trailblazing for quite some time. When the camera was delivered to Hurlbut Visuals, my Elite Team and I sent it through various tests, using what we had learned from our collective experience with the Canon 5D MK II. After the first night of testing, one word came to mind. WOW!!!

Steadicam Operator Chris McGuire operating the Steadicam with the Revolution headSteadicam Operator Chris McGuire operating the Steadicam with the revolution head

Close up of the revolution head

Close up of the revolution head

When you harness 4K into the small footprint of a 1D, give it the processing power to record to little CF cards with no external recording devices needed.  Now that is where the WOW factor comes in. I can blind you with tech specs, wine and dine you with test footage, but this is not what I am about. If this unique device transports you and rivals 35mm film, then my job is done.

Elite Team Member Mike Svitak Elite Team Member Mike Svitak

Everything about this camera will blow your mind. The image stands alone, with not even one competitor entering the playing field. What you are going to see on the web will never do this camera justice. You need to run out, knock down doors and demand screenings of this camera on a 4K Sony or Barco projector. I have walked up to 6 inches from the screen, and you cannot see a pixel. If there were only one booth, you could visit this week, that booth would be Canon. This is a company that I believe in, not because they make the best DSLRs in the world, but because they are coming from R & D that is about replicating film, not HD video. This is a big difference. Canon is delivering DIGITAL FILM, now in 4K, and in this creation, they combined both divisions – Video and DLSR. So you are getting the collective brain power of two huge engineering monoliths. This is a big step for Canon.

 Shooting The Ticket

 

This is as Techie as I get

Out of the gate, the camera functions just like a 5D, 1D. It uses the same menus, and it is easy to navigate. You can save all your favorites and settings on a CF card and pass them from camera to camera. It records 23.98 at 4K at a size bigger than super 35, which gives you a shallower depth of field. It has a mirroring function so that you can view the back LCD screen, as well as an external EVF or monitor. 4GB equals 1 minute of 4K. Lexar cards that process at 1000 mb/s, UDMA 7 are the only things that can capture this baby. 60p at 1080 Full frame sensor, so you gain all the benefits that the 5D’s full frame sensor gave you. Rolling shutter was less apparent. Moire did not exist. Picture styles are like on the 5D, so you can go in there and make your own.

Canon Log was one of the most exciting functions of the 1DC. At 400 ISO, it will give you a dynamic range of 12.5 stops. The log looks unbelievable. You can expose it easily, not like Cinestyle or other flat files. No h.264 codec here. This records to motion jpegs, and the WOW factor goes up when you see how the slight compression to the cards makes it look just like film. This compression, that I have embraced and love, softens the highlights, skin and rounds the 4K capture.

Canon 1DC specsCanon 1DC specs

The contrast ratio feels more like a hill than a cliff. Skin tones are absolutely beautiful. Vitality abounds with the Canon’s sensor and color space. I could care less that it is 8 BIT color. I am getting it very close, and Dave Cole, our colorist at Technicolor, had a huge range to deal with. Canon’s 8 BIT feels like 12 BIT with its color space and reproduction.

The Ticket

 

ISO Range

The effective native ISO of the chip is 400 ISO in Canon Log. There are no native ISOs like the 5D, 7D, and 1D. Through testing, I was able to go to 6400 on the Neutral picture style as well as Canon Log and see the noise that I saw at 1600 ISO on the Canon 5D, which is what 70% of the night photography was shot at on Act of Valor. That noise is minimal. It doesn’t look like the C300 at 6400 ISO, which looks very noisy and a grain texture equal to 5219 pushed two stops, which is marginal. Shooting at 6400 ISO, with minimal noise/grain will shake things up. I felt that it handled the highlights of night photography wonderfully on Canon Log. Holding all detail in color on neon, flo’s, street lamps with no hot burning video looking boca. There was no evidence of sensor pattern in the out of focus highlights that you get from every other camera. It just plain looked like film. This is an A Camera system. Period!!!!

This is just the beginning of a 5 week series about the inner workings of The Ticket. There will be a BTS post, two lighting posts, a producing post and texture process post, so stay tuned. Thank you to Simon Beins and The Three Fishermen for the original song “Those Kisses” on “The Ticket.”

“Those Kisses” on iTunes

Like “The Ticket” on Facebook

Rate “The Ticket” on IMDB.

Author: Shane

Share This Post On
468 ad

177 Comments

  1. Incredible story. Very moving and powerful- the visuals did everything to bolster that. How much of this did you light and how much would you say was just shot with available light? The Ferris wheel and rest of pier looked incredible! Also, what are the perks of using that “revolution” head on steadicam?

    Cheers,

    Jon

    Post a Reply
    • Jon Chema, thank you so much for your kind words, I will pass this onto Po Chan. I would say that nothing I shoot is available. I am not that DP. This is the biggest disservice you can do to HD. The image always requires a little zing, a stinger, and accent. I shot available in the car but added a small Rosco Panel Light. I shot with available light on the street, but added little out of focus peppers and tweenies with color on them in the BG as well as Flo’s in doorways when they run down the street. The advantage of the Revolution rig is that the camera can move from 4.5 inches to 9.5 feet in one move. Very powerful tool. Whole different steadicam language

      Post a Reply
  2. Shane,
    What a fine and revealing review. I shot the 5DMKII for 4 years and used the 5DMKIII on a train in the same low light environment as I shot the 5DMKII and I was really blown away at how much more detail I could bring out.
    For the last 8 years we’ve taken a private train and set up the club car for live musical performances with a professional audio stage and lighting. This time, we were blessed to have Tom Russell, Ramblin Jack Elliott, Jimmie Dale Gilmore, Jonny Langford and Thad Beckman on the train for 6 days of concerts and seminars. I shot fron about 60 feet back above the heads of the audience with a 70-200mm Canon lens at 2.8 At 2500ISO and 30 speed and 4.0, I was getting by using the 5DMKII. The 5DMKIII allowed me to shoot at 8.0 instead of 4.0. The extra depth of field allowed me to keep all the musicians in focus all the time. The quality is really an improvement.
    I will be buying a 4X when they come out even if it’s to archive the performances until 4x is more available to the consumer.
    Shane, in your discussions with Canon, do you expect a new format above Blu_Ray to handle this resolution anytime soon? Thank you so very much. Peace, Joe Ray Skrha

    Post a Reply
    • Joe Ray Skrha, that sounds like a very cool gig. Thanks for all your kind words. Not yet but as everything technology will push this envelope very soon

      Post a Reply
  3. What ISO are the night footage shot at ?
    Because they look really really good :o

    Post a Reply
  4. Shane,

    What was “The Ticket ” edited on, was it edited with Premiere Pro CS 5.5 or what. It looks so darn good. It must be because it was shot in 4K. Great work and great camera. Keep up the great work as you always do.

    Ron

    Post a Reply
    • Ron Whitting, we edited this piece on the Avid. Thank you so much for your kind words.

      Post a Reply
  5. The shots in the cab made me do a double take. Wow.
    The only tell tale sign of digital was in the horizontal banding from the florescent lights (7D shooters will recognize the 1 second giveaway). I was thoroughly engrossed in the story thereafter (which means you did your job).

    Post a Reply
    • Chris Gonzalez, thank you so much for your kind words, yes I over powered the light most of the time to lose those banding lines but that one got pass me.

      Post a Reply
  6. Hey Shane, great meeting you, Lydia and Doug at the Supermeet this year – hope you had a chance to unwind a bit at the AJA party. So glad I was able to see The Ticket in the Canon theater – superb job and the best stop at NAB! Changed me from thinking Canon was nuts pricing the 1D C at 15k to thinking this is the biggest bargain at the show – just love the image and the fact that I don’t have to record to an outboard device and don’t have to give up the DSLR form factor to get insane imagery! Ironic I was hosting the C500/KiProQUAD in the AJA booth all week and thinking I don’t think I’ll ever use this… I want my 1D C!

    Lance

    Post a Reply
    • Lance Bachelder, it was great meeting you as well, thanks for the AJA invites. Yes this camera is impressive and I think a great value. Small footprint, Big VISION.

      Post a Reply
  7. Hey Shane! Now that you’ve had two amazing posts– one on the C300 and one now on the 1DC, being the price point for both of them is so close, I’d love to know what you feel the pros/cons of each of them are. The obvious I’d imagine is the 4K capability of the 1DC and slightly smaller body, but I’ve heard nothing but absolute raves over the C300 from DPs I’ve spoken with.

    What’s your take on the two cams, side by side?

    Post a Reply
    • David Kittredge, the 1DC is in a league of its own. Shooting at 6400 ISO without noise at all, this is a can of whoop ass.

      Post a Reply
  8. The running shot down the stairs where you handed off the camera to the other person on the ramp was awesome. Great film. I wish I could afford a 1D-C. :(

    Post a Reply
    • Kyle Rose, thank you so much for all of your kind words. I loved that shot, so simple with a camera that weighs 3.25lbs.

      Post a Reply
  9. HI Shane hope I will work on it soon or later, it sounds pretty cool!!!!

    Got one question: how is about the latitude of 1DC in the 4k mode?

    Thanx for the answer.

    cheerio josh

    Post a Reply
    • Josh, I felt the latitude was about 12.5 stops with Canon glass, if I had used the Leica’s maybe 13.5. This is an impressive camera.

      Post a Reply
  10. Shane,

    I note that the ‘share’ capability has been disabled. I would love to show this video to my students on our site (video hub.dcu.ie), but was wondering if you will be enabling sharing in the future?

    Regards,
    William

    Post a Reply
    • William – We are waiting on word from Canon on sharing. Will let you know.

      Post a Reply
  11. Dear Shane,

    Great work on “The Ticket”.
    Your style is quite influential to my work and I love your eye for light & composition,
    especially in this piece, as well as your decisions on how the camera moved through space.

    My question(s) to you:
    Based on the charts provided at the top of the article, and screenshots of the camera’s menu,
    With the 1D-C, are you only able to shoot at 4K, with the sensor cropped to S35?
    Or is 4K only available in APS-H mode, in which you’ll need lenses that’ll cover full frame,
    and you can’t use the Canon Cinema Lenses, or any non full-frame cine lens in 4K mode?
    If not, do you know if Canon will implement S35 4K onto their production 1D-C?

    Also, I know the internet’s compression doesn’t do the camera justice,
    so how does the 4K footage intercut with the 1080p footage?

    Thanks for your time.

    Best,
    Gem
    Cinematography Student

    Post a Reply
    • Hi Gem. Thank you for your kind words.

      4k can only be captured on a APS-H crop.
      All of the Canon EF lens will handle Full Frame including the new Cine Primes. So you still have all the lens choices that you had with the 5D Mark II plus the Cine Primes.

      Only the Cine Zooms will not cover APS-H. Even then you could use them but you might vignette at wider settings. We used the 24mm and 50mm a lot on The Ticket, and the image was tack sharp from edge to edge.

      You would have to ask Canon about implementing S35 4K onto the production 1D-C. But one of the greatest things about HDSLR’s is the large sensor, so anything bigger than S35 gives the image a shallower DOF and allows me to control where the audiences eye goes and how the image will tell the story.

      Post a Reply
  12. Shane, thanks for the wonderful “review”, even though it wasn’t really a review :-). I know you were at the AJA exhibits and party at NAB. Any thoughts on the Ki Pro Quad and 1Dc 4k workflow? Thanks, Hal

    Post a Reply
    • I really liked that device, and think it will integrate well into the workflow.

      Post a Reply
  13. Is that duck tape I spy in lieu of a mattebox holding up that filter? You guys are brave :P

    Post a Reply
    • Jack Yan Chen.Absolutely, but its actually matte black paper tape. Sometimes you need to improvise.

      Post a Reply
  14. Shane, why would it benefit to spend $15k on this camera which shoots 8bit 4:2:2 as opposed to a scarletX which shoots 12bit 4:4:4 for the same price?

    Post a Reply
    • It is not the same price when you start buying the basic add ons.
      I love scarlet and epic, but i have done a profile of the gears and accesories and at the end the 1d-c is around 60 to 70 % of the cost of a scarlet

      Post a Reply
  15. I just saw “the ticket” and my mouth is still open, what a good piece of art work. I love the picture quality and I think this camera (Canon I dc) has created a new generations of films to come. I love how you have used camera techniques to tell the story and give it an image that already speaks volume with having to listen to the sound of the story. I have seen the bts too and what a cache of equipment you have. I want to know where can i get the electronic clapper slate that you used and the special steadicam with a revolition head.

    Pedro Mendoza
    Namibia-Africa

    Post a Reply
  16. Doesn’t seem worth the price they wanna charge.
    The ticket looks great though. But for that money I can buy a scarlet. Hopefully they drop the price to $8k. That’s feels worth 8bit 422.

    Post a Reply
    • vince gortho, I could not agree more. I did love the look and feel of this camera. Felt so cinematic

      Post a Reply
  17. Shane, great job with “The Ticket”. What an exciting camera! I have two questions based on ambiguities I perceived (perhaps wrongly) in the text describing the 1DC on the B&H web page. First, is it possible to record in 4K to an external source, or only to the internal cards? And second, does the autofocus function in video mode (though I know most filmmakers would never use this, I am curious as to whether the feature is available at all, as with some of the lower end cameras). Thank you so much for your time!

    Post a Reply
    • Jim, Thank you so much for the kind words. 4K only goes to the high speed cards. No, Auto focus does not work in Video mode, but as a still camera it kicks serious ass.

      Post a Reply
  18. Thank you very much for your prompt reply. I wonder also whether you were given a chance to experiment with either of Canon’s new Cinema Zoom lenses. I am trying to understand what $42,000 buys you for an EF mount camera. Thanks again so much!

    Post a Reply
    • Jim, you are very welcome, so sorry it has taken me awhile to get back with you. Yes I have used the Cinema zooms and they rock. Loved the glass. You can get them in EF and PL mount.

      Post a Reply
  19. Hi Shane

    Thanks for having the generosity of spirit to share your knowledge, workflows, vision and experience. My cinematography and the landscape in general is better for it.

    I’ve pre-ordered a 1DC here in the UK and not having had my hands on it yet I wondered if you have a view on using older manual exposure lenses on it? I have a set of 1970′s Canon still primes that have been de-clicked and cine converted with new EF back ends. Based on your experience, image quality aside, do you foresee any problems exposing manually?

    Thanks for taking the trouble to contribute.

    Post a Reply
    • Gary Brown, thank you for those wonderful words. Much appreciated. That is great news, no problem with manual lenses, that is the main way I roll out. They will look amazing I bet

      Post a Reply
  20. Shane, Lovely work. Am I right to think there is only 422 at 4k? Thanks.

    Post a Reply
    • Nigel, yes that is correct, but it is the best looking 4:2:2 8 BIT that I have seen.

      Post a Reply
  21. Shane, do you know if the 1d-c will be released in Europe with 4K MJPEG in 25fps? If not, how would you deal with the electrical voltage differences? I mean wouldn’t shooting in 24fps cause flicker when shooting outside, because of the electrical differences? I hope you understand what I’m trying to say?

    Post a Reply
    • Mike, the camera as it stands now will not do 25fps. And yes it will flicker when shooting inside and or outside if you have fluorescents in the background. You can help this a little by changing the HZ select to 50 which is what your country is. I would test that before you go buy one of these babies.

      Post a Reply
      • Shane, Thank you for a great blog.
        About the no-go on 25, ok it’s for cinema, but as I understand it the 24fps is not a true 24, but rather the NTSC-TV land friendly framerate of 23,976fps – is this true, and if it is and they do intend it for “Cinema”, why is there no option for a true 24? (or is this possibly what you are referring to above in another post that switching the camera system to PAL will help slightly in reducing fluorescent flickering in 50Hz countries – does the PAL system setting flip the 23,976 to a true 24?)
        Kind regards
        Joachim

        Post a Reply
  22. Hi Shane, great blog!!
    following for a while…

    Just one question. the 1D-C from specs only outputs 1080 60i/50i/24p via HDMI; does it means that I cannot use an external recorder to record 50p (PAL) for a slow motion sequences? Am I stuck with the internal ALL-I codec?

    Thanks

    Post a Reply
    • Filippo, yes this is correct. You can extract clean HD signal from the HDMI, but not 4K.

      Post a Reply
  23. Hi Shane, really thank you for your honest answers. What I want to know is say that I buy a Canon 1d-c shoot 4K but want 2:40.1 crop, how do I set this? Can I do this in camera? Set guidelines? Or can I set this on the actual monitor? How would you do? Also If I write “physical” markers on the 1d-c screen for 2:40.1 crop, how would I do that?

    Post a Reply
    • Mike, you are very welcome. There are no lines that you can turn on. You have to do in manually. We use an EVF to generate the 2:40 aspect lines, or just tape the back LCD and your lighting monitor. We do this by creating a 2:40 framing chart. Then put in on a wall, then lens up the camera so that it fills the left and right side of the screen and you then mark you top and bottom frame line off of the chart. Hope this helps

      Post a Reply
  24. Shane WHAT ABOUT Battery life in 4k mode cant find info on web ,great info on 1dc, TECH SHEETS on paper are nice, but ultimately its the final picture that counts and the less workarounds you have to endure to get a film made.

    No external monitor for a 4k picture, lightwieght DSLR form factor, a canon company to backup the camera not an upstart company.

    Shane im almost sold on this or c100,

    WHAT is battery life if shooting in 4k, realistically how long will camera last if shooting in 4k and how much are replacement batteries, i ask because it would be amazing to carry a full days of batteries in a pocket for a shoot for cheap as opposed to battery external mounts

    Post a Reply
    • Jay C, the camera battery life is very good. I would say on 4K you could shoot most of the day on 3 batts. The camera has all the quirks of a DSLR but the most cinematic of all the cameras on the market. The 1DC and C100 are in two different leagues. One is for cinema and the other for weddings

      Post a Reply
  25. First and foremost, thank you for the excellent information you and your team provide.

    Regarding battery life, here is the info directly from Canon (keep in mind it will be a bit less if you use IS lenses):

    Movie Shooting Battery Life
    4K: 1 hr. 25 min. at 73°F / 23°C

    1 hr. 15 min. at 32°F / 0°C

    Full HD (30 fps, ALL-I): 2 hr. 10 min. at 73°F / 23°C

    2 hr. at 32°F / 0°C

    Some questions I have:

    1. On page 38 of the manual, “Even if [Record func.] is set to [Auto Switch Card] the card cannot be switched automatically during movie shooting mode.” I was under the impression that with a 12 hour continuous movie mode that spanned clips would be possible. Does that mean it will not automatically start recording to the second card when the first one fills up?

    1B. If it is possible, are the NLE’s (Avid specifically) able to stitch together the spanned clips?

    2. On page 44 of the manual, “When Canon Log gamma is set, vertical noise stripes may appear in movies depending on subject or shooting conditions.” Well, that doesn’t sound good. Did you experience this (specifically in low light, like your ferris wheel shots)? What are the workaround options (I imagine, add light or change out of Canon Log, but I’d like your opinion)?

    3. Does your MCS Cage allow space for the Canon GPS attachment GP-E1?

    3B. I want to attach the MCS cage to a different baseplate, is this possible yet, if not what is the ETA?

    Post a Reply
    • Matthew Marzano. Thank you so much for the kind words,information and support. Here are the answers to your questions.

      1. To my knowledge it will automatically switch from one card to another. The protocol for the elite team though was to only shoot on one card at a time to play it safe and better data management. Each card reflecting the a separate “roll”.

      1B. Just like the C300 and 5DMkIII there should be a Plug in when the Camera is released for the different NLE’s to stitch the clips together.

      2. Canon log on the 1DC provides increased dynamic range, but can’t be pushed into the higher ISO’s like the Neutral setting. It comes down to knowing how far you can push the camera. From testing I found that Log can be pushed to 1600-3200 ISO max without noticing fixed pattern noise, and Neutral as high as 6400 ISO.

      3. The MCS cage does not allow space for the Canon GPS attachment GP-E1.

      3B. All cages (except for the 1Dx/DC) can be attached directly onto a tripod and therefore if any baseplate that mimic the attachment of a tripod would work.

      Post a Reply
  26. You got it!!! The Real Film Look. Not emulated. That is what we can get only with Canon EOS DSLR and Raw Cine-cameras. Mr Hurlbut,you’ve the vision of a real cinematographer: finally a man who can see the difference.
    Many prosumer cameras are emulating the look,even the C100/C300 are to me too “videoish” .But when i take a look a DSLR (and the 1DC is really Amazing) i see the -feeling- of film: not too sharpened image,dynamic range,soft shadows,three dimensional 24p image,beautiful nuances of color.
    Great educational pages Shane,keep the very good work! and thank you for sharing your experience to all aspiring filmmakers. I’ll follow you on Youtube,Twitter etc. Great this pages too.
    Love “The Skulls” (i’m also a Randy Edelman composer fan) & Terminator Salvation photography. I’ve not seen Act of Valor,but the Blu Ray will be in my home soon. And “The Ticket” is absultely gorgeous.

    Regards,
    Lamberto,Italy

    Post a Reply
    • Lamberto Lamberti. Thank you so much for the kind words and support.

      Post a Reply
  27. Hey Shane,

    I noticed that you had a TV-Logic external monitor. Is the monitor connected by SDI or HDMI? If SDI, is that an after market accessory?

    Post a Reply
    • Zade Akkad. Hdmi was sent out from the 1DC into the EVF, Hdmi out the EVF into the TV-Logic and SDI out to video village.

      Post a Reply
  28. I want to thank you on sharing your knowledge! I have learned so much from you and am very grateful for that.

    I noticed the use of Anton Bauer batteries with the Canon 1Dc. Can you explain this camera configuration?

    Thank you for your time in addressing my question.

    Post a Reply
    • Justin Teichen. What we did is take the AC adapter for the 1DC and do a power step down so we can take Anton Power 13volt power and step it down to the voltage of the camera. This gives you a days worth of shooting instead of swapping batteries. Thank you for the kind words and support.

      Post a Reply
  29. Shane, thanks for sharing your experience and knowledge. I recently acquired the 1DC and was wondering if you could provide more detail on how to use the 1DC AC adapter and step down power in order to use an Anton Bauer. I would love to be able to power my camera all day from one battery. Is there rewiring involved or other adapters that need to be incorporated in the process or can I just buy the 1DC AC adapter and plug it directly into the Anton Bauer?

    Thanks,

    GB

    Post a Reply
    • Greg. I had the cables custom made. Contact Drew (drew@audiodept.com) at Audio Department in you would like to purchase some.

      Post a Reply
      • Here is a link to a photo of our innovative power solution for the Canon 1DC with Master Cinema Series 2.0. Power convertor in battery cache. Power Anton Bauer p-tap.
        http://ow.ly/i/25lPv

        Post a Reply
    • Greg, you are very welcome, that is great, you can buy the !DC to Anton Bauer adapter on Letus35. I designed that baby. I think they are shipping soon.

      Post a Reply
  30. Stop spamming with your stupid (not even functional) site.

    Post a Reply

Trackbacks/Pingbacks

Submit a Comment

Your email address will not be published. Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>