5DII DOES 1080P footage!!!!!!

I noticed the weird frame too. At about 3.5 seconds in video1. This weird pleasantville b&w background with the biker in blue and purple. What the hell is that?
 
murcott said:
Did anyone else notice some weird dropouts in the clips? Like a small blue dark flash on the choppy motion? OR is it that my computer sucks?
Click to expand...

Yeah, there is a corrupt frame in each of those two clips.

For the one frame the saturation drops and the chroma is reversed (colours pushed 180°).
 
I don't think this has been posted, but here it is from the horses mouth

http://www.usa.canon.com/dlc/contro...&articleID=2186&productID=249&articleTypeID=5



Depth of Field Issues

The EOS 5D Mark II uses its full-frame 24x36mm CMOS sensor for all the images it produces, whether they are still photos or movies. This sensor is approximately 10 to 20 times the size of the image sensors used in most HD camcorders regardless of cost. This sensor size difference means that for any given combination of aperture value, subject distance and angle of view, images from the EOS 5D Mark II are going to have much shallower depth of field than images from a conventional HD device. The situation is somewhat similar to the comparison of an 8 x 10 format view camera to a 35mm SLR. This difference in the look of movies created by the EOS 5D Mark II is part of the reason why we believe it will be embraced by creative professionals. Together with the wide selection of interchangeable EF lenses, the relatively large imaging format of the EOS 5D Mark II creates a look that cannot be duplicated by any other movie capture device on the market today.


In addition to the basic settings, photographers can also select and adjust the following camera settings that are supported in Movie mode:
  • Picture Style
  • White Balance
  • AE Lock
  • Exposure Compensation
  • Peripheral Illumination Correction
  • Auto Lighting Optimizer
  • Highlight Tone Priority
These settings go a long way towards customizing the “look and feel” of EOS 5D Mark II movies as well as still images.



In addition to the adjustable settings listed above, 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)
Finally, the following settings do not function during Movie mode with the EOS 5D Mark II:
  • High ISO Noise Reduction
  • Long Exposure Noise Reduction
With either the built-in microphone or an external mic, the sampling rate is 44.1 KHz and the bit count is 16 bits for both L and R channels. Audio levels and wind filter settings are controlled automatically.


It's still not clear how the camera seeks the correct exposure. Regardless, the camera will be wide open in most low lit ambient conditions and will obviously achieve a very clean image.
 
dual said:
I remember somebody said it will have shutter priority and aperture priority mode....
Click to expand...

Canon seems to state otherwise. I'm not sure Vincent Laforet was aware of exactly how the camera was working during the "Reverie" Shoot. He wanted it to shoot a f2 - 2.8, and set the camera accordingly, but in those lighting conditions, the camera would have sought that for the aperture anyway in auto mode.

Either way, I think this camera will work for me. This will be an outstanding pro still camera and handle the video I need as well. I can't help but think the 1Ds MK IV should be along shortly and will provide even more manual control in movie mode.

24x36 mm CMOS sensor is going to be outstanding with the full EOS line up of lenses.
 
After watching this:

http://www.reel-show.tv/index.html?vidId=00074

I have a much better understanding of the Red system. This was very educational about Red One.

One of the things that stood out to me was that Rodney Charters is saying he has noise creeping in at around 250 ISO with the Red One. This is a stop less than the 500 ISO they're shooting with film.

Just exactly what is Scarlet going to be? Just how much progress has Red made with their sensor technology in relationship to the 6400 ISO of the Canon sensor in the 5DII? We're talking night and day here as far as capability of capturing a moving image without a extensive lighting set up and crew. It seems highly implausable that Red Scarlet is going to be as good as Canon sensor wise in regards to light sensitivity. Red really just seems to be getting off the ground in regards to their sensor. Scarlet will surely have more manual controls, but will be a royal pain in the butt in many other respects. They can trumpet 3-4K all they want but "Novemeber" was done with a DVX 100, and the quality of the 5DII will be better than that.

Actually, for what Rodney Charter was shooting in North Korea, I think he may have flipped over the D5II.
 
Last edited:
In terms of 'noise' - I think it's highly subjective. Rodney Charters doesn't like shooting at anything above 250 ISO because noise creeps in - that's his opinion. I normally shoot 320 or 500 on Red with no noise that could be considered more distracting than normal film grain. 640 is where the noise starts to creep in... to me.

Scarlet (as well as Epic) were slated to have 'next generation' Red sensors that would beat the latitude and noise performance of the current Red One. Red One owners would be able to upgrade their sensor for the new one. I'm sure that the newly designed Scarlet and Epic will have the new and improved sensor technology in it regardless of the camera design itself.
 
Not sure if this has been posted, but I don't think so. It looks like a good hands on article about the video on the 5DII. Does anyone read Norwegian?

http://nrkbeta.no/canon-5dmkii-iso-monster-med-hd-video/


Also good samples of ISO image comparison. 6400 ISO looks very clean. Hope that translates to the video.

http://flickr.com/photos/nrkbeta/sets/72157607660862630/


More footage of a bird sitting on a branch. Quite exciting at the end when he flys away in slow mo. http://www.vimeo.com/1930146


This may be the most instructional called depth of field fun with the 5dII in that it is shot in a room with only light from the windows which seems pretty incredible to me.
http://www.vimeo.com/1941248

This is shot with a 100 2.8 macro. This is interesting as the camera seems to seek the widest aperture possible given all the other alternatives it could have picked. Good news to me. ....or maybe the user does indeed have control of the aperture (aperture priority) contrary to Chuck Westfall's statements.
http://www.vimeo.com/1999433

http://www.vimeo.com/1999433
 
Last edited:
f64manray said:
Not sure if this has been posted, but I don't think so. It looks like a good hands on article about the video on the 5DII. Does anyone read Norwegian?
Click to expand...

Norway being a PAL country won't be too happy with 30p !

Google translator: 2. Frame rate of the video 30 frames per second is currently only option, which the blend in very poor with the PAL standard we use for TV in Norway. (Rumors here say, however, that there is a firmware upgrade for time already that allows you choose between 24P, 25p and 30p).
 
Working with 5D footage in FCP/Color?

Working with 5D footage in FCP/Color?

I'm trying to predict what I can expect when working with the footage from the new 5D in Final Cut and Color. Specifically, how it will compare to working with DVCPRO HD footage from my HVX200?

I've found that this HVX200 workflow...

-Shoot DVCPRO HD
-Transfer without transcoding
-Edit natively as DVCPRO HD in FCP
-But render any changes (Color, FCP dissolves) to ProRes HQ

...is not only the most efficient but also produces the best final results. The footage is easy to work with, and the rendering is done at pretty much the highest possible quality (certainly better than re-compressing as DVCPRO HD).

But Canon 5D footage will apparently be MPEG4 H.264, 40 Mbps. While likely to be better quality than HDV (MPEG2, 25 Mbps), it will still probably be best to transcode it before doing even cuts-only editing, as the format will be very processor-intensive (unlike DVCPRO HD). And of course rendering to something like ProRes HQ is, I believe, a given. Fortunately, Apple's ProRes white paper (PDF) indicates that once the first transcode to ProRes is done, there is virtually no quality loss on subsequent renders.

Would the right workflow be something like this?

-Shoot MPEG4 H.264
-Transcode to ProRes HQ
-Edit and render in ProRes HQ

Any prediction of the color-correction rendering quality as compared to the DVCPRO HD/ProRes HQ combo? I have found my HVX footage to be pretty robust even with some serious grading (provided that the footage was not too noisy to begin with). I'm wondering if I can expect the Canon footage to be similarly robust.

I must confess ignorance here, as I've never worked with HDV or any other GOP format. I also don't know what difference the color space makes after acquisition, if one is rendering to ProRes anyway. I know that DVCPRO HD is 4:2:2 and HDV is 4:2:0. Will the Canon 5D footage also be 4:2:0? Once transcoded to ProRes HQ, will that even matter? Will I be starting with inferior data -- solely judged in terms of color space -- shooting with the 5D versus the HVX?
 
It's GOP vs I-frame which is usually an important loss in quality, especially in motion. 4:2:0 on 1920x1080 4:2:0 is 960x540 chroma. DVCPROHD is either 480x720 or 640x1080 chroma depending on format. If you consider the 960x540 ccd sensors on the HVX, the chroma resolution is actually limited to 480x540 for 720p and 640x540 for 1080p. So, the 4:2:0 on 1920x1080 is actually better in numbers. 100% more horizontal chroma compared to 720p and 50% more horizontal chroma compared to 1080p dvcprohd from the hvx.
 
what rolling shutter issues? saw no jello or skew.
damn, if they'd only get that 24fps in there i'd get it (or the 40d) over the nikon d90.
 
sure, 30p is unusuable in all PAL countries, 30p to 24p or 25p cannot be done smoothly.


if canon don't release a 24p or 25p firmware the 5D is less than useless, cause even the video at 30P cannot be used for something serious, the cam probably will be banned from sports or music events due to video recording.


If canon don't give a 24p/25p video , I'll wait for the next nikon early 2009, lets see if nikon get away the d90 rolling shutter problems and destructive compression.
 
DrBlaz said:
sure, 30p is unusuable in all PAL countries, 30p to 24p or 25p cannot be done smoothly.


if canon don't release a 24p or 25p firmware the 5D is less than useless, cause even the video at 30P cannot be used for something serious, the cam probably will be banned from sports or music events due to video recording.


If canon don't give a 24p/25p video , I'll wait for the next nikon early 2009, lets see if nikon get away the d90 rolling shutter problems and destructive compression.
Click to expand...



I have pretty much come to the same conclusion (I am in the UK) - I won't be getting the 5D unless it comes with a PAL frame rate when it is released in PAL countries - and shall wait for the next Nikon with the hope that it addresses some of the D90's quality problems.

Although if Canon manage a 25p or 24p firmware update for the 5D before Nikon get their next DSLR out I will probably go for the 5D.
 
You must log in or register to reply here.
Back
Top