“f2” is the “sweet spot” in low light…
A quick note that I forgot to share:
In very low light – shooting at the aperture of f2 was the key with this prototype 5D MKII camera in my opinion. Of the three clips that were released – only one of them was shot at f2 – the one with Jimmy (the model) splashing water on his face. You’ll have a hard time seeing any issues of “noise” or other technical negatives from most of the footage shot at f2 (which is what the majority of the film was shot at.) Understand that almost all of the light we shot in was the still camera equivalent of 1600ASA, f2, 1/15th. That’s very low light – no matter how you cut it.
The clip of the helicopter was shot at f 2.8 (the brightest f stop available on the 16~35mm 2.8 II) – and you’ll notice some small issues in the sky at times when you look very carefully.
The clip of the tilt-shift kiss under the Brooklyn Bridge was shot at f 2.8 as well – (the brightest f stop available on the T/S 45mm 2.8) and that’s against a murky black sky at night – ergo – very very low light.
This was also shot with a prototype 5D MKII not up to final specs… who knows if they are addressing this “one stop” issue – and tweaking the way the camera handles the compression of the noise etc… it’s quite possible that “f2.8” may be the “sweet spot” by the time the production version of this camera is released…
Also – remember that I had no manual. And I really left the camera set to factory defaults – with the following exceptions: I turned the Contrast, Saturation and Sharpening – to the lowest settings possible. I did not enable “highlight priority mode” which helps save highlights by a factor if 1x to 1.5x. And I did not even know how to lock down the exposure…
So I think it’s fair to ask all of you to take that into consideration. Go ahead and drop these clips into Final Cut Studio’s “Color” program – and de-saturate the colors a bit, open up the blacks (very easily) and add the “film look” that includes a bit of “film grain” – and those small artifacts are gone in a millisecond… as you all know – you can see a lot on a 30″ LCD monitor… when you watch in on a television – that television’s internal circuitry does wonders… and makes all of these minor artifacts disappear immediately – something else to consider as well. I edited the whole film on 30″ Cinema displays… when I down-sampled it to 720p and sent it to my AppleTV to watch on my large screen – my jaw dropped once again…. and this is after staring at the same footage for 3 days during the initial shoot and editing process.
Also – don’t forget that this is a pre-production camera… not tweaked to final specs. What I can also share with you is that footage shot under 1600 ASA – is very close to flawless. At 100-200 ASA – it is downright scary – every frame looks like a still.
Lastly – I don’t think this is a camera aimed at “killing” the motion picture business… far from it. This is Canon’s first DSLR foreay into this arena… it’s flattering to seem many DPs talking about it quite a bit… often very defensively. The fact that it’s even being discussed in those forums – let alone considered to be a potential threat – speaks volumes of how much of a leap this camera is making – specifically in low light.
Most of the film was shot with a 50mm f1.2, 85mm 1.2 and 200mm 1.8 – all set to f2. The helicopter sequences were shot with a 16~35mm 2.8, and the 200mm 1.8. The car scenes from the hood were shot with the 85mm 1.2 – and the 15mm 2.8 fisheye on the hood. When we were in times square with a bit more light obviously – the 15mm 2.8 clips showed ZERO noise. The Brooklyn Bridge car hood shot was also a 15mm 2.8 – and that’s a very low light scene. The kiss scene was the T/S 45mm 2.8. The DUMBO street scenes were a combination of the 200mm 1.8, the 50mm 1.2, and the 85mm 1.2. The car wheel shot was a 14mm 2.8 II- and while you could see noise in very dark streets – but close to zero noise in Times Square. If I had to chose 3 lenses to go “into battle with” – it would be the new 24mm 1.4 II (yet to be released – I have one on order) the 50mm 1.2, and the new 200mm f2 (recently released.) To get fancy – I’d then add the 85mm 1.2, 135mm 2 and the 16~35mm 2.8 II. All other lenses would be “specialty lenses.”
Thanks for the update on lens use. There was the “string of pearls” out of focus lights that show a dot in each light halo near the 2 o’clock spot. any idea what that is? Dust?
No it’s a dead pixel – very common on a pre-production camera. Whenever sensors are produced – one of the factors that leads to the high cost of the sensors is the high number of rejected chips due to “dead pixels” – out of the millions of pixels – if just one is bad – it’s rejected. Therefore a huge amount of sensors are made to get the good number of “perfect” sensors into the camera. Obviously given that this was a pre-production model – quite a bit fewer chips were being made. And the chance of getting a single dead pixel – is much higher as a result.
It also speaks to why Canon was very hesitant in releasing this footage – it’s not from their “final” version – but their first prototypes – which is NOT UP TO SPEC. So be kind in return – and respect them for releasing their “rough draft” for all to see – and nitpick at…
“Understand that almost all of the light we shot in was the still camera equivalent of 1600ASA, f2, 1/15th”
You’ve mentioned this a couple times – I assume you’re saying this is a light meter reading you took? The video is clearly shot at 1/30th, and since you were using 2.8 I’ve got to assume this means the camera was actually using ISO 6400. In any case it’s truly impressive – the noise you pointed out is still no worse than the XHA1 does in the 3-6db range. One question I haven’t seen answered is if you can use the extended ISO settings (12,800 and 25,600) in the video mode, and if so how they look.
I’m really looking forward to the creative possibilities for videos when using fast lenses nearly wide open and tilt-shift lenses!
You did a Great Job with this Vincent!
I can’t wait to start seeing more of your motion work!
Yes, this is a quick throw together on a prototype camera and you still get an:
A++++++++++++++
First off I have been watching all the videos since I saw them talking about them on gizmodo…awesome job!
I work at the capitol in Sacramento as a photographer and got approval to purchase the 1Ds Mark III, but after seeing the new 5D I am thinking of getting the 5D and some more lenses with the price difference.
I don’t see any big difference other then the Mark III being 5,000 more. I do like the duel card back up, but other then that, I don’t see the value in the 1Ds’s price difference (especially with no video feature). My question is, would you advise me to just get the 5D? Or stick with the 1Ds?
P.S. Canon please add 24P
Nice job on the Leo Laporte show. This camera is about to be huge. What is amazing to me is that there could not have been a more effective marketing campaign to get attention on this camera. Imagine in the future how everyone will associate your film with the moment the industry was turned on its head. Talk about being at the right place at the right time!
<<>>
Why was this raw footage not released too?
You would think that it would be a good idea to show both spectrums, Super low to high ASA shots.
My only concern about the camera is the awful noise in the distant light from the kiss scene. I was hoping it would be a compression artifact in the final encode but alas it is horrible in the ‘raw’ footage. In your opinion would this be less of a problem at f2 without the tilt shift lens?
It’s all looking great so far, and as you say, a stuck pixel can easily be forgiven. I for one would rather see ‘work in progress’ in the build up to a new bit of equipment being released – much more exciting! I look forward to seeing what you can do once you have one of these camera’s in your hands long term! As a Nikon shooter I’ll be interested to see how they rival this but as I’m a technology fan rather than a brand fan, the whole concept excites me regardless!
Vincent,
There is still a vast amount of confusion about the video controls the 5DII offers. In part you contributed to this due to not having had a manual, or the time to really nut the camera out. (BTW Rob Galbraith states here http://www.robgalbraith.com/bins/mul…id=7-9316-9607 that “any lens aperture can be selected” but this is WRONG.)
Please make it clear in a blog post, that the ONLY video controls are exp +/- and exp lock. Aperture, ISO, and shutter speed are chosen by fuzzy logic with NO USER CONTROL.
In the approx words of Chuck Westfall: it is not realistic to expect that you’ll be able to force a combination of a wide aperture and low ISO simultaneously with the 5DII in movie mode. (BTW, the fuzzy logic controled electronic shutter range is 1/30th to 1/250th.)
There is still time to change this!!!!!!! Please help.
At the moment thousands of people and going to buy this camera and then possibly curse you because they can’t get the camera to shoot video at f2.0 & 400iso, even with ND filters. 🙁
Great job on this project! I’m amazed at how well the 5D MarkII can produce jaw dropping moving images. Did you also use additional hardware like AJA or Blackmagic? And did you edit in Pro Res 422 HQ? Thanks!
Frank
Vincent,
There is still a vast amount of confusion around about the video controls of the 5DII. Forinstance, Rob Galbraigh’s write up incorrectly states that users can select an aperture in video mode.
Please make it clear that the ONLY video controls currently available are exp +/- and exp lock. The rest is chosed by fuzzy logic, and you need a high ISO before a very wide aperture will be selected.
In the approx words of Chuck Westfall: It is not realistic to expect that you’ll be able to force the combination of a wide aperture and a low ISO simultaneously in movie mode with the 5DII.
Vincent, you could help change this. Please help us all!
Vincent, I think you may have misread the question about the white spot. There are a couple of spots resulting from dead or stuck pixels (that white one, and I noticed some red ones, too), but I think Florian was talking about the white spot that appears in each spot of blurred city lights. These spots move with the image so can’t be dead or stuck pixels. They must be something on the lens (perhaps a water droplet or dust spot?). — Victor
Florian is not talking about the two hot pixels, but the little dots in every out of focus light on the bridge, that follow exactly the shape of the bridge… (so, it’s not hot pixels or Canon have done a “bridge sensor”!)
I wish Canon would allow us to map the hot pixels manually like Olympus does (did?).
Right now, the manual sensor cleaning routine takes care of some of them automatically but it’s always a bit of a kludge (you can only hope they’ll get cured and sometimes it reveals another one you had managed to mask before).
I usually run several long exposures before doing the hot pixel “prayer”, so the sensor is already quite “hot” and pixels are more visible and likely to be picked up.
Hello, Canon ? somebody listening ? I’m tired of being without my tool for weeks when I have to send it in for hot pixel mapping…
You’ve given us the AF adjustment in camera, why not continue in the good direction ?
Oh, and don’t forget 24p…
In response to Drury, I have to whole-heartedly agree. To further drive that point home – I’ve now pre-ordered a 5D Mark II in good part as a result of seeing what Vincent has been able to do with the camera.
Also, speaking as someone who works with HD broadcast video on a daily basis (I work for a very large cable network) I can speak with authority when I say what I’ve seen from the Mark II exceeds what nearly all of our broadcast cameras are capable of.
Vincent – you also mentioned that you pre-ordered the 24MM II lens. Any thoughts on how that would function for astrophotography? I’d love to get your thougths on that (or if you thought Canon has a better suited lens)
Im curious, how was the actor tie up there on the helicopter, that looked scary as hell! Was he worried at all when he was told he was gonna sit outside a copter? I kept imaginging…if he drops those glasses watch down below!
“Please make it clear that the ONLY video controls currently available are exp +/- and exp lock. The rest is chosed by fuzzy logic, and you need a high ISO before a very wide aperture will be selected.”
Vincent already addressed this in one of the other comment threads – you apparently can put it in aperture priority mode, select an aperture and then the camera will choose a shutter speed and ISO. I presume this means the exp +/- is primarily shifting the ISO since the aperture is locked. Then you press the exposure lock (*) button to lock in the ISO & shutter settings.
In regards to the first comment about the dead pixel (within MVI_0492) – actually it seems like a speck of dust on the lens, likely on the back. 🙂 I’ve seen these types of problems many times – in fact, it’s one way to check if your lens is clean – by shooting a small light heavily out of focus and seeing how even the circle is. Though it’s not a bullet proof test since refraction can conceal the dust depending on various factors.
It’s not a dead pixel, since a dead pixel would be a single stationary pixel within the captured frame, unaffected by the lens or the image shot (unless the image over/under exposure conceals it).
So this is not a fault of the camera in any way. 🙂
Hi Even,
THE ABOVE IS COMPLETELY WRONG.
At the moment thousands of people are going to buy this camera and then potentially curse Vincent when they discover THERE IS ZERO CONTROL OVER APERTURE in video mode.
All you can do is add ND filters, but the ISO will be pumped up (via fuzzy logic) before max aperture (on a fast lens) is auto selected.
Still picture settings and video settings ARE NOT LINKED within the camera IN ANY WAY. The only link is coincidence (ie when shooting in ultra low light both require high ISO & wide apertures).
Had Vincent tried more daytime shooting, he would have discovered he couldn’t force the camera (in video mode) to shoot at f2.0 until he’d added enough ND to also warrent high ISO.
Who do you belive, the amazing Vincent Laforet, who had the camera without a manual for 48h’s and almost exclusively used it in ultra low light, or Canon USA’s Technical Marketing Director who has these cameras floating around his office, and probably wishes he could confirm (rather than having to deny) these video-mode aperture control claims???
That’s why we need to tell Canon:
29.97 fps, 25.00 fps, 23.976 fps
Manual Shutter, ISO and Aperture.
I grabbed one of the 5Dmk2 video sample files; the helicopter shot “MVI_0795.MOV” (82 MB)
My PC isn’t fast enough to play 1080p H.264 files smoothly. However, I know my PS3 can do it, because I’ve made some 1920x1080p MP4 files that play fine on the PS3. However they have to be AVI or MP4 container, not MOV. I generated a MP4 file from the sample H.264 Quicktime (.mov) with Quicktime Player 7.4.1 using “export to MP4” and setting “pass through” video format. The original had 44.1/16 uncompressed audio, but the QT player crashed trying to export that, so I didn’t include the audio.
Unfortunately, the PS3 doesn’t recognize it, although several PC players can play it fine, if slowly (eg. QT player, VLC) and the quality looks good to me (much nicer than my Sony FX1 HDV camera). I wonder if 30.000 fps instead of 29.97 fps is a problem? Has anyone else managed to convert this file to something the PS3 can play?
By the way, here’s a more extreme test showing whip pans:
vimeo.com/1815853?pg=embed&sec=1815853
The rolling shutter effect is definitely visible if the movement is fast enough, but it is not as severe as the Nikon D90.
Another note: if you look at the water droplets frame-by-frame on the actor splashing his face at the sink (Clip 3, 1080p 77.42 MB) you see that the shutter angle is nearly 360 degrees. Eg. almost 1/30 sec exposure at 30 fps. That gives you the best light sensitivity, but more blurry motion, than a standard 180 degree shutter.
Shoebox – there is TOTAL control of Aperture – period. It’s called Aperture priority mode – you set it – the camera does the rest. Program mode, and shutter speed mode are different modes. Just wanted to lay this to rest. I set my cameras to either 2.0 or 2.8 for the almost the entire shoot – and the aperture never changed. We shot it in bright daylight – and that time I set it to 4.0 – and it stayed there.
So Shoebox – relax. It’s ok. You CAN lock everything down. I don’t disagree that setting the camera to “M” and allowing full manual control wouldn’t be more “ideal.” That’s a no brainer – and another request that has been sent to Canon.
Nicholas Heilweil Reply:
October 14th, 2008 at 7:58 pm
Vincent – amazing film but your photography has always been brilliant, so this came as no surprise — well done!
I just read Canon’s Digital Learning (http://usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2186&displayMode=print) and it seems to have confusing info re: aperture control in movie mode.
“…the following settings are made automatically by the camera and cannot be adjusted by the user:
ISO speed
Shutter speed (from 1/30 to 1/125)
Aperture (varies according to lens; no arbitrary restrictions)
Color space (sRGB)
Exposure metering pattern (Evaluative)”
Some folks who have used the movie mode report that in bright daylight, the camera has selected a small aperture for movie mode (large DoF) despite having selected a large aperture (small DoF) on the camera. However, when they took a still shot, the camera did obey the f-stop they had selected.
Anyways, whatever the case, your film was inspiring and put me on the pre-order list…can’t wait!
Andrew Reply:
December 4th, 2008 at 12:45 am
I am sitting here with my 5D MKII right now and you most definitely can NOT manually set the aperture in movie mode (regardless of mode AV/TV/M or P). You can set it, but if your in lower light than the setting, it will override your selection. So if you have a F2.8 lens on there and want F5.6 DOF (and corresponding slower shutter) vs. F2.8 (and corresponding faster shutter) you are out of luck. Place it at F5.6, and then press your exposure lock.. it will typically change your F stop to F2.8 and faster shutter. When in any mode, the aperture wheel does nothing while shooting.
I sure wish I could figure out how you accomplished this. I know I could trick the camera by pointing at a brighter light source and lock at a smaller F Stop, but that would not translate to proper exposure when back on the main subject, because the shutter speed would be locked as well.
I am scouring the internet to find out how “aperture mode” as stated works while in Movie mode. I certainly cannot get it to.
Hey Vincent/photographers… I know HD recording is a cool new feature for you. For us cinematographers this is not quite something we’ll be trading in our current cameras for just yet. From the stand point of a cinematographer/videographer the question I (we) have to ask is… Is Canon really offering much of anything new for filmmaking? Affordable High Definition cameras have been available for quite sometime now. I know, I know. This is a full frame, DSLR camera that takes stills at 23 mega pixels AND… records 1080p video. WOW this is a great DSLR! But will it change how we make and create our film and video projects? I don’t think it will be embraced by the film and video industry quite as fast as the photography industry will. We just know what real tools are necessary to do this for a living. Vincent you did a great job on your project. I’m very impressed with the final work. The first and second time I watched Reverie I didn’t care what camera was used. It kept my attention and I was locked into it start to finish.
Please don’t get me wrong. I’m just as excited about this camera as the next guy.
Any camera that can do both photography and record High Def video at a price point in the mid 2k range is definitely worthy.
However, that’s really about all that’s arguably deferent about this 5D Mark II.
The ability to use just about any Canon lens to record HD is sweet! (Don’t forget about the XLH1) However, I have to really look at this from the standpoint of practicality. Here is what I mean.
In the world of videography/cinematography there are just some basic tools that we all have to have. For instance…my Panasonic HVX200 can record just about any resolution and frame rate. Yes the cost is 7k (ouch) but it gives me the basic, practical tools that a cinematographer has to have! Here is a quick, short list of silly little things that make film making real.
1.A Rocker for Zoom control. 2.Professional XLR connections. 3. Onboard camera controls. 4. A MUCH better CODEC then H.264. 5. Better options for a total HD workflow. 5. A viewfinder that makes sense. 6. A flip out LCD screen. 7. Headphone jack for audio monitoring. 8.The ability to record SD or HD. 9. Records in 1080i, 1080p, 720p, 480i, 24, 30 or 60 fps 10. Rear camera controls. The list can go on and on.
I know Canon hasn’t claimed that is the end all video camera but it sounds like many photographers are. Anyway…I certainly hope that the attention that this camera is getting will make our big players (SONY, Panasonic, JVC) re think their next camera designs.
See you soon. I’ve got a video shoot to get to…
John,
I found a site that has instructions that might help you play the clip on your computer and/or get to play on a PS3. If I get the clips to play on a PS3, I’ll post again.
http://forum.doom9.org/showthread.php?s=022f24261989d12cefc3822a8e8e1263&t=112045&page=2
Are the RAW HD files from the 5D in Quicktime format? How come?
Don’t know if I missed this, but did you take any stills? This is still a photographic camera right? Thanks 🙂
You’re killing me with these ellipses! 14, I counted in this post. When you’re through with a thought, put a period at the end and begin another sentence!
Pedantically,
Your constant nitpicker. (From Vince: You’re kidding me right? This is a blog – not your grandmother’s newspaper…get a life 😉
Hey folks…
I don’t think the term RAW HD files apply for this camera. Why? Because the term RAW refers to uncompressed. The HD files that the 5D Mark II records are very compressed. Not a big deal but I just thought I inform u. Just so there’s no confusion with how this camera handles video. Maybe say Native Video Files???
Re: Frank Rohmer
Hi Frank. I think this camera is just what it is – something that photographers are excited about because most of them haven’t considered or had much experience with video before, so it plays out as a nice perk. There is nothing wrong that type of excitement – this is why we do what we do, no? 🙂
As for using the 5D MKII for video – it’s also just what it is. It doesn’t have XLR connectors, it doesn’t have an LCD display you can flip around (though you do have full HD monitoring via HDMI of course). It doesn’t support any other broadcast standards other than 1080p. If you work in the TV world, then you would not choose this product because of those obvious limitations. No one would try to refute that. The camera’s 12 minute per video limitation also makes it impractical for long wedding shots, speeches, etc.
The appeal of this camera’s video capability is in my opinion mostly geared towards amateur cinematographers looking for an inexpensive way to get top notch video. All the limitations you’ve described can be worked around given sufficient resources, and you won’t even need that many. Amateur cinematographers may lack a big budget, but they compensate with creativity and technical knowledge, which allows them to make the best use of the product they are using, even if it cannot be compared to pro-level equipment. Saving this much money on video acquisition allows these people to channel the rest of the money into other aspects of their production – creating a far better finished product. Even many of the L lenses rent for around $50-80 per weekend in my city, giving you access to much more than you would have with 2/3″ HD or 35mm cinema lenses for the price. Zoom lenses are especially brutal in the video world price-wise… Angenieux 24-290mm anyone? 🙂
I am not a fan of HVX200/HVX200A cameras. I’ve been on the post-production side of those many many times, and they’ve made my life very difficult in regards to low-light noise, resolution, dynamic range etc. The DVCPRO HD codec embedded into MXF files also requires some getting used to. And I don’t think it’s reasonable to deem the 38Mbps h264 codec that Canon chose for the 5D MKII as “inferior” to the DVCPRO HD. DVCPRO HD compression is fairly low, but just like Sony’s HDCAM – it downsizes 1920x1080p into 1440x1080p. The 5D MKII does not do that, and has a natural superiority in regards to horizontal resolution – akin to the HDCAM SR codec (though obviously the compression for the latter would be vastly superior). The videos lack artifacts that HDV and AVCHD codecs possess, and can be drag and dropped into editing platforms like Final Cut Pro as per Vincent’s experience. If that doesn’t sound great for the price, I don’t know what does.
It’s important to understand what this camera is – an extremely advanced DSLR Photo Camera with an added benefit of excellent video recording. It won’t make all the products in the video industry “pointless”, but it will make an excellent solution for many many situations that don’t require strict regulations, broadcast standards and workflows. Indie films, music videos, low-budget commercials, corporate videos, stock footage — are just a few of the examples where this camera would make sense given the right surrounding circumstances.
Having 24p would indeed make life substantially easier for the people requiring it.. and it’s a very frequent demand these days, even from clients who have grown to like its “look”.
Thank you for taking your time to write your opinion. These discussions will surely help clear the fog for many people!
Nick
Hey Vincent,
I asked this in the BTS post and didn’t get a response then. Thought I try again here since you’re discussing lenses.
I like to know more the FD lens that was converted. What shots did you use that lens for? Did you have to send the lens somewhere to get it converted or was this an off the shelve converted, which I heard bad things about? Any problems you encountered using the converted lens?
I know you can’t possibly answer every question on here but I’d really like to know this so I can give my FD 55mm f1.2 a second life. Thanks!
(FROM VINCE: I had it converted by a friend – a friend who asked me not to share his info at all w/ anyone… sorry – not my decision. The point is – it can be done… but you’ll get much better optical performance if you buy a new 50mm 1.2 – and it ain’t cheap to get done…)
Regarding 5D2 low light performance : I found that my 50D is simply amazing at low light.
I’ve done some tests with a 50mm f/1.8 and it coped to well I had to redo them with my 30D. The 30D failed miserably. Totally unable to focus.
I like my 50D a lot. Yet to test it as an action camera (bird in flight).
greetings,
WOW! Thanks for doing the grunt work. I’ve never been so impressed with DSLR or even SLR for that matter. But you’ve opened up a whole new world to me.
thanks!!!
I agree that the 5DII is a blessing for those who know how to work around the limitations. I would like to know, if we can use this camera to shoot video using remote.
Yes, you can trigger remote capture via the WFT-E4 wifi connector.
i worked at panavision for a long time and those raw clips are amazing. i have some mounts that take the panavision lenses and fix em to my canon still cameras. everything ive shot up to this has been mostly on the genesis …which is an epic camera, but this low light stuff looks crazy… and with my panavision mounts combined with a camera like this…. the funny thing is i worked on superman for fx shots over new york and have used those heli pads off to the side of the city… we shot genesis and i was constantly batteling the grain at night to get the cleanest image… this camera is just wow..
(FROM VINCE: Will – you’re right! I think a LOT of people are missing the point – this is indeed NOT meant to replace motion picture cameras. BUT it must be said – that the low light performance is groundbreaking… period – end of story. Anyone who has complained about the noise etc – doesn’t know what they’re talking about… sorry. Yes – there might be some “weird” H.264 on some small spots – but compared to most other solutions out there – it’s still heads above what is available out there (there are 1-2 very very high end HD cameras that might be able to match this. Most CANNOT.)
whoops sorry for the wacked link ><
Hi Vincent,
my name’s Guy, and I’m a young surf, wildlife and landscape photo/video enthusiast from Australia. I just wanted to say how much your images and film work capturing your local cityscape have inspired me to finally move beyond the frustrations and limitations of my point and shoot and DV camera combination.
It’s a big move for a young man like myself to invest in lenses and waterproof housings for a pursuit that can best be described as a hobby, yet I now feel ready to explore the unknown and reach my full potential as a landscape and surf photographer/videographer. I’ve been waiting for the right moment to invest in top quality equipment, and the 5D Mark II looks like the way to go, as it’s so versatile for both stills and video.
Your night footage in Reverie is superb! I’m really looking forward to filming some amazing footage in the ocean in the hours around sunrise and sunset, as the capabilities of this camera in low light suggest the potential for unique clarity during these most special moments in nature.
Obviously, being Aussie and thus having the PAL system, I’d be keen to see 25p frame rates for video, but one post above suggests this is possible during post production anyway.
I’m wondering Vincent, if you or anyone out there can share where they think the film industry is going into the future, with the introduction of new technology such as Blue Ray discs and HD TV units into people’s homes? Will people’s boxes at home eventually play video recorded at any frame rate?
I guess my real question is…
If I were to release a cinematic HD surf film in about 5 years time, for viewing by people in their homes in Australia, Europe, the U.S. and around the world, would I need to format the Blue Ray DVD or whatever to playback in different frame rates for the different regions? Or could I keep it simple and just use one frame rate? And if I could use just one, would it be best for me to capture 24fps? Remember surf footage is pretty high action!
It may seem like a stupid question, I don’t know… but is there anyone with light to shed on the matter?
I’ll keep my eye on this thread, and would appreciate if anyone wishes to share their views. Cameras like the 5D Mark II, and whatever Canon and Nikon bring out next are going to define the future of low budget independent film making for years to come, so it’s really exciting to imagine the possibilities, and inspiring to see what Vincent has put together in a couple of days! I’m also really looking forward to seeing your next film project Vincent.
Peace… Guy.
Don’t know if anyone saw this yet, but the Beta sample images are up at Canon:
http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2128
very impressive.
Check out the mysterious hunched over man in the car photo. Vincent, you gotta get lower man!
peace,
Bry
Roby Davis Reply:
October 1st, 2008 at 10:59 pm
Wow that’s funny. I didn’t see that the first time. Looks like you have to “accidentally” put yourself in all your future films also. You know like a trade mark.
I’m working usually with Sony F900 and believe me I have never get akin images in the same light condition like this DSLR . STUNNING
Andrea IT
Amazing still pics!!! Wow. The picture of the lady standing there. Just WOW. Amazing.
Szabi
Hi Nick,
I appreciate your feedback. I agree about the low light on the HVX200/HVX200A. It needs work. Truthfully I add light whenever needed to improve the picture. I’ll be exploring the Canon 5D Mark II capabilities once I get my hands on one.
Also I’m just not totally sold on H.264 compression for acquisition. Even if it’s 38Mbps. BTW do you mean 38 Mbit/s? I’m not hear to defend the HVX200 but that camera records at 40-100 Mbit/s. depending on the settings you dial in.
Don’t forget, Unlike photography we can’t just decide to print at a higher resolution when we deliver our final product. Videographers really only have one standard choice for delivery of video…DVD. And it’s in Standard Definition. We still can’t deliver a consistent and dependable BluRay DVD disc yet. Apple has not officially embraced BluRay. Although with the internet we may not need BluRay disc’s anymore 🙂
One other caveat about shooting HD is that you’ll need a very serious edit system to cut and deliver with.
Just put up the still images on a new post. V
@ Frank Rohmer- “One other caveat about shooting HD is that you’ll need a very serious edit system to cut and deliver with.”
Not necessarily . Even Apple’s consumer iMovie works.
No, I’m not kidding! Sloppy language is indicative of sloppy thinking. Take a moment and construct English language sentences and paragraphs, and we’ll all be better off. The level of discourse in online message boards is low enough already; don’t drive it further into the muck by rambling.
Nitpicker
Hello Phototristan, Good point although
I wasn’t referring to just software. iMovie will work. I just tested it with one of the scenes. What I meant was having the right hardware like efficient drives, monitors, RAM, CPU strength and even an external device like a Black Magic or AJA solution for accelerated performance and realtime external monitoring.
iMovie will allow you to create beautiful projects in a snap! With the type of projects that I’m involved with though Final Cut Pro gives me the tools that I need.
Happy editing!
Hello everyone.
Does anyone know what the sample rate is of the H.264 CODEC thats used in this Canon 5D Mark II camera? Is it 4:1:1, 4:2:2, 4:4:4?
Thanks !
@ Frank Rohmer
The chroma-subsampling used in the H.264 codec of the 5D Mark II is 4:2:0, because it uses the Main Profile @ Level 5 (MP@L5], and the Main Profile only accept 4:2:0 subsampling.
Hi,
> Nick C
> The appeal of this camera’s video capability is
> in my opinion mostly geared towards amateur
> cinematographers looking for an inexpensive way
> to get top notch video.
> Frank Rohmer
> Anyway…I certainly hope that the attention that
> this camera is getting will make our big
> players (SONY, Panasonic, JVC) re think their
> next camera designs.
That’s exactly what i’m thinking about and hoping for.
I love this camera
Thank’ s Vincent
Léonard
http://www.photographemariage.fr
Vincent: your statement of being able to control the aperture while in the movie mode contradicts what Westfall says. He indicated that only full auto exposure with ability to lock down and compensate is available in movie mode. Please clarify which is correct.
There is obviously some confusion that needs to be cleared up by Canon. Chuck W. stated in a private forum that RG and VL are mistaken with how the aperture is controlled in video mode. I hope that Chuck is wrong and VL is correct. Time will tell.
I appreciate the work done on this.
Vincent,
Thanks for making the cool film, (can we call it a film since it was shot on a digital camera?) It has inspired me as much of your work does. I was looking at the making of movie again and I was wondering if you used a gyro to stabilize the camera. In the shots by the flower stand, it looks like you have either a gyro or a battery pack in your hand under the camera. I’ve seen small gyros that size before and that would certainly explain the super smooth chopper stuff. If it was a gyro did you rent and if so how much was it to rent.
Thanks
Keep up the great work.
Jeff
Has anyone tried converting 5D Mark II footage to 24p? I know it’s possible with various software, but how does it look? I would think that dropping every fifth frame could make the motion look strange.
Given what’s been said about this camera’s video abilities – excellent for certain types of shots, but a bit impractical for most professional situations – it seems to me that the key to getting it adopted by video professionals would be to make it compatible with their preferred format, which is 24p. For example, someone shooting for DVD or Blu-ray on a semipro videocam might want to use the 5d Mii for a few low light scenes. But if the motion looks strange after converting to 24p, that’s not an option.
Tynan Wilson Reply:
October 12th, 2008 at 11:38 pm
Agreed ! 🙁
+ 30p means pretty much everyone in the world except for a handful of NTSC countries are screwed !
I’m curious about two things…
Is there timecode on the video?
Is there a solution for monitoring the audio? (Other than hiring a sound guy and syncing the audio in post?) Is there any suggestions for getting two channel stereo audio?
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