I still think our Mark II's are still holding up against the "new kids on the block"

JoeJITSU

JoeJITSU

Veteran
I still think our Mark II's are still holding up against the "new kids on the block"

And I was going to sell it already!
Well there have been comparisons left and right and I think we should be proud that we are still at the near top. 1 more year for my Mark II.
I know there are other cameras like the FS100 and Sony FX3's but when it comes to DSLR Videocameras in the same price range there is not much out there to knock the king down. lol
 
When the newer cameras [DSLR's] come out it may change at that time but I don't think we'll know for at least a year or so.
It took some time for the 5D to become what it became.

Plus I think the 800's and Mark III's seem to be better based on the few videos I've seem however time will tell.
 
Most definitely, I will plan next year to scout around for an up to date camera, for the meantime ..our mark II's will do just fine is most events or gigs.
 
LOL...when I first viewed the title of this thread I thought it was about Marky Mark & The Funky Bunch (Mark Wahlberg) and his big brother Donnie (From New Kids on the Block).
 
Will Turner said:
I don't think I could ever get used to the aliasing and moire on a 5dII.. does it not drive you nuts?
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I virtually never notice any aliasing. Occasionally on an exterior with power lines or something of that nature. Moire is an issue for sure, though focus adjustment sometimes solves it. It is what it is. An imperfect tool. On a side note I saw a film with brutal moire in several scenes win best film at a fairly prestigious film festival I attended. We obsess WAY too much over minor visual flaws.
 
The kind of moire I experience with my 5Dmkii is not minor and has almost cost me a job.

With real video cameras that all but eliminate it like the AF-100/F3/C300, I have relegated it back to taking great stills where it belongs.
 
gonzo_entertainment said:
I virtually never notice any aliasing. Occasionally on an exterior with power lines or something of that nature. Moire is an issue for sure, though focus adjustment sometimes solves it. It is what it is. An imperfect tool. On a side note I saw a film with brutal moire in several scenes win best film at a fairly prestigious film festival I attended. We obsess WAY too much over minor visual flaws.
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Fair enough, it depends what you shoot I suppose. I don't obsess on purpose, I just cant stand to look at it. I'm somewhat a perfectionist and am never happy.

I only raise the point as your claiming MKII's still hold up and while they do in some respects, they are really slaughtered in others. Resolution, aliasing, moire, codec issues, etc. Not to say that it isn't a great camera.

That doesn't surprise me. Film festivals are interested more in content and execution than what the film was shot on. They tend to be low budget productions and beggers can't be choosers. It keeps film festivals competitive and open to all rather than simply giving the award to whoever can afford a RED.
 
"That doesn't surprise me. Film festivals are interested more in content and execution than what the film was shot on"

As are film audiences.

Why we diverge on this is I do care about the quality of the image. I wish I typically had the budget for a Red, or even better an Alexa, or even BETTER to shoot on 35mm film. I don't, at least not yet. The MK2 and eventually the MK3, most probably because they are FF sensors and because of the way the way Canon renders colors, give me an image I aesthetically like for some reasons I can describe and some I can't even put into words. It has issues, I work around them because overall I like the look a lot.

In a somewhat shameless plug, we shot this in one day for a couple hundred bucks. Look at those dark interiors. A little soft, maybe, but I just love the overall feel of them. The exteriors, not as much, not the camera's strength.
http://vimeo.com/38001604

Edit: I'll add, not happy with the color correction on this. I had to get it out in a rush and didn't have time to make the editor re-do it. Using a color specialist on the actual series.
 
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imo skintones/colors of 5dmk2 is still unique. The soft downscaling (or "issues" of you like) is all a part of the aesthetics that people like. It's easy to get lost in the hacks and bitrates. In the end it's about what the client wants. imo it's still king at narrative work aswell.

"new kids on the block" is bit funny... nothing new to see here, we've had proper video DSLR's since GH1. It's all getting kind of "meh" to be honest. No clients in the real world sees any difference between a soft 720p and high-bitrate 1080p anyway. And if they actually do, they'll pay you good enough to not be using DSLR's in the first place.
 
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gonzo_entertainment said:
"That doesn't surprise me. Film festivals are interested more in content and execution than what the film was shot on"

As are film audiences.

Why we diverge on this is I do care about the quality of the image. I wish I typically had the budget for a Red, or even better an Alexa, or even BETTER to shoot on 35mm film. I don't, at least not yet. The MK2 and eventually the MK3, most probably because they are FF sensors and because of the way the way Canon renders colors, give me an image I aesthetically like for some reasons I can describe and some I can't even put into words. It has issues, I work around them because overall I like the look a lot.

In a somewhat shameless plug, we shot this in one day for a couple hundred bucks. Look at those dark interiors. A little soft, maybe, but I just love the overall feel of them. The exteriors, not as much, not the camera's strength.
http://vimeo.com/38001604

Edit: I'll add, not happy with the color correction on this. I had to get it out in a rush and didn't have time to make the editor re-do it. Using a color specialist on the actual series.
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I agree. Content is king. But unfortunately, the same as guitar players want the quality of a Gibson even though it sounds and looks the same as an Epiphone (to the general public), I want full raster 1080. The general public might not notice or care, but I sure will.
 
Well, as the old saying goes "You can want in one hand and **** in the other and see which one gets full first". I "want" a lot of things. They aren't in the budget.
 
gonzo_entertainment said:
Well, as the old saying goes "You can want in one hand and **** in the other and see which one gets full first". I "want" a lot of things. They aren't in the budget.
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If you can afford 5DII's you can afford GH2's. I know they aren't totally comparable, but if panasonic have managed to get proper video for £600 I fail to see why canon can't do the same for a lot more money. Even on the MkIII it's still nowhere near real 1080 and the sensor would be relatively easy to downscale well due to the pixel count.

I'm struggling to see what you wanting a RED and an ALEXA and having a limited budget has to do with how the 5DII holds up to the current competition.

If your not interested in pixel peeping and the like, then this thread is sort of pointless? Any modern HDSLR can be used to shoot nice looking cinematic video and content is king. Sleep easy at night knowing your 5dII's are still good enough to do the job they have been doing for the last few years. Is that what you want me to say?

Anyway, yeah, what's the password? :grin:
 
And....
I don't like the GH2's image. I know that is hard for you guys to swallow, but I don't, I really, really don't. Not for what I'm doing. I don't want to fight against the sharpness and be limited in my choice of wide lenses and be stuck with what I don't view as very appealing colors.

Password should be off it.
 
Ian-T said:
LOL...when I first viewed the title of this thread I thought it was about Marky Mark & The Funky Bunch (Mark Wahlberg) and his big brother Donnie (From New Kids on the Block).
Click to expand...

lol, OH OH OH OH OHHHH, HANGING TOUGH, HANGING TOUGH,:) couldn't resist.
 
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