On 17/9/2008 Canon produced the Canon 5D MK2, this camera has quickly proved to be radical for film makers everywhere across the planet - for the first time Canon created an HD full frame DSLR that was efficient at spectacular moving image capture.
This attribute was put in by Canon mainly because journalists have been demanding it for a long time, additionally the unity between stills photography and video inside the same system was rapidly becoming feasible.
No one was more surprised than Canon when film maker Vincent Laforet, who was among the first filmmakers let loose on the unique dslr camera. revealed his first effort - 'Nocturne' did not disappoint, in truth it's no overstatement to state that it set the world of film-making on fire. The reason for this really is that the very big full frame sensor inside of the camera makes it possible for the operator to generate a truly gorgeous depth of field that conventional small sensor camcorders can't replicate.
The conventional film cinema look is tough to define but one of the significant elements is the depth of field that a 35mm film aperture generates. The Sensor (or film gate) in the Canon 5D is a great deal larger than the sensor found in a 35mm movie camera, actually it's closer to filming on 65mm.
Despite this astounding depth of field property and it's very swift adoption by the film making network, the canon 5D MK2 camera does have it's complications when filming video.
One of the main issues is line skipping or moire. The canon has to remove information from the thousands of pixels that make up it's sensor so that it can make a 1920 X 1080 HD file. It does this by throwing away every third line of information - line skipping. This could certainly turn out to be disastrous if you're shooting a subject that has quite a few horizontal or vertical lines - as the image steps across the dumped lines of information it can look horrendous. I usually try to keep clear of check shirts!
Another difficulty is image 'skew', this is evident when panning left to right swiftly - vertical lines bend and twist noticeably - this is a dilemma on all CMOS video sensors but famously poor on the Canon because it's scan rate from the top to the bottom of the sensor is very sluggish and there is no internal compensation. A way around this is to simply stay clear of any quick pans!
One more drawback may be the 'form factor'. A DSLR is a very awkward design to film with, there is no professional eyepiece so just a couple of points of contact - both hands. If at all possible, three points of contact are needed to get a steady image while shooting handheld video. In the past two years numerous camera support devices have been designed by a vast array of manufacturers but they all essentially do the same task - give you one more point of contact through a shoulder or chest support solution.
The rear LCD monitor can certainly be troublesome to view in brilliant sunlight and there's a lot of 3rd party products and solutions to cope with this, from inexpensive hoods to really expensive lensed eyepieces and additional displays operating off the built in mini HDMI port. There are many worries with the HDMI feed, most significantly, it is rather small and breakable. Additionally there is a delay when serving the image from the dslr to a monitor after pressing record, which means patiently waiting eight or nine seconds before obtaining a monitor image. This can be troubling in a documentary scenario.
The camera records in 8 bit quicktime H264 and even though this produces amazing pictures it isn't really deemed to be a pro recording file format due to the H264 data compression. Having said that the camera has been employed for a great number of TV dramas, documentaries and features. It's image attractiveness obviously outranking it's technical restrictions.
In spite of the stated problems, many film makers (including myself) put up with these grievances because Canon have turned out a seriously superb, creative, film-making device. When they can improve the stumbling blocks with the MK3 then they're going to have crafted a truly awesome camera at a astounding selling price.
This attribute was put in by Canon mainly because journalists have been demanding it for a long time, additionally the unity between stills photography and video inside the same system was rapidly becoming feasible.
No one was more surprised than Canon when film maker Vincent Laforet, who was among the first filmmakers let loose on the unique dslr camera. revealed his first effort - 'Nocturne' did not disappoint, in truth it's no overstatement to state that it set the world of film-making on fire. The reason for this really is that the very big full frame sensor inside of the camera makes it possible for the operator to generate a truly gorgeous depth of field that conventional small sensor camcorders can't replicate.
The conventional film cinema look is tough to define but one of the significant elements is the depth of field that a 35mm film aperture generates. The Sensor (or film gate) in the Canon 5D is a great deal larger than the sensor found in a 35mm movie camera, actually it's closer to filming on 65mm.
Despite this astounding depth of field property and it's very swift adoption by the film making network, the canon 5D MK2 camera does have it's complications when filming video.
One of the main issues is line skipping or moire. The canon has to remove information from the thousands of pixels that make up it's sensor so that it can make a 1920 X 1080 HD file. It does this by throwing away every third line of information - line skipping. This could certainly turn out to be disastrous if you're shooting a subject that has quite a few horizontal or vertical lines - as the image steps across the dumped lines of information it can look horrendous. I usually try to keep clear of check shirts!
Another difficulty is image 'skew', this is evident when panning left to right swiftly - vertical lines bend and twist noticeably - this is a dilemma on all CMOS video sensors but famously poor on the Canon because it's scan rate from the top to the bottom of the sensor is very sluggish and there is no internal compensation. A way around this is to simply stay clear of any quick pans!
One more drawback may be the 'form factor'. A DSLR is a very awkward design to film with, there is no professional eyepiece so just a couple of points of contact - both hands. If at all possible, three points of contact are needed to get a steady image while shooting handheld video. In the past two years numerous camera support devices have been designed by a vast array of manufacturers but they all essentially do the same task - give you one more point of contact through a shoulder or chest support solution.
The rear LCD monitor can certainly be troublesome to view in brilliant sunlight and there's a lot of 3rd party products and solutions to cope with this, from inexpensive hoods to really expensive lensed eyepieces and additional displays operating off the built in mini HDMI port. There are many worries with the HDMI feed, most significantly, it is rather small and breakable. Additionally there is a delay when serving the image from the dslr to a monitor after pressing record, which means patiently waiting eight or nine seconds before obtaining a monitor image. This can be troubling in a documentary scenario.
The camera records in 8 bit quicktime H264 and even though this produces amazing pictures it isn't really deemed to be a pro recording file format due to the H264 data compression. Having said that the camera has been employed for a great number of TV dramas, documentaries and features. It's image attractiveness obviously outranking it's technical restrictions.
In spite of the stated problems, many film makers (including myself) put up with these grievances because Canon have turned out a seriously superb, creative, film-making device. When they can improve the stumbling blocks with the MK3 then they're going to have crafted a truly awesome camera at a astounding selling price.
About the Author:
The Article Author, Mitchell Blatwood is a film maker crafting winning program material designed for cinema, broadcast and corporate customers. He operates Tall Man Films and has more than a decade experience of corporate video cardiff. Take a look at the website for more free training.
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