26
Sep
08

blog bomb – canon EOS 5D Mark II

The game has changed.

Stop everything you are doing and go watch REVERIE by the Explorer of Light himself, Vincent Laforet.

From Vincent’s blog:

I’m proud to finally share this short film with everyone – no time for words – let’s let the moving images do the talking… Here is the raw footage (downsized to 1/4 resolution) from the prototype EOS 5D MKII that Canon allowed me to borrow over a 72 hour period. Many thanks to David Sparer and everyone at Canon…. The Behind the scenes video will be up shortly.

Additionally, Vincent is working with Canon to post the raw files from the camera for download:

Due to pretty incredible demand and a fair amount of (healthy) skepticism as to whether or not the footage in the “Reverie” piece is “truly” raw out of the camera, we will be releasing a series of raw clips – the exact same clips that were used in the “Reverie” short film – this coming Friday.

Good lord, he is claiming no color correction for this whole video, just the raw footage was used. And it’s shooting 1080p resolution to disk?! Combine this with the awesome glass of prime lenses and this may well spell the end for companies like Red Rock Micro, Letus35, Cinevate, and the rest of the 35mm adapter suppliers.

Holy crap, the world is standing on it’s head yet again.

proactively • up is down and left is right • peter

*** UPDATE ***

You can now download three clips from the video HERE!

Quicktime movie properties:

And if you want them (as if!), here’s the official Canon specs on the EOS 5D Mark II (which are a bit long winded and confusing), so be sure to check out Engadget’s post for the bread and butter video stuff.  Now can we adopt some slang to refer to this bad boy already?!

Now get grading!!!

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10 Responses to “blog bomb – canon EOS 5D Mark II”


  1. September 27, 2008 at 1:33 pm

    That’s just f*cking ridiculous.

  2. October 8, 2008 at 12:29 am

    I’m not sure if this is a good place to ask this or not, but; What is the best field storage device to use with the 5d Mk II? Will the existing devices work okay?

  3. 3 psalvia
    October 8, 2008 at 12:41 am

    Hey Greg, thanks for stopping by!

    Essentially, looks like it records to Compact Flash cards which you could then dump to a laptop in the field. Or, just carry a bunch of cards and treat them as field tapes. I would imagine legacy Compact Flash cards would be compatible with the 5dmarkii but not 100% certain.

    And it looks like the Canon WFT-E4A could serve as backup storage if you’re not carrying a laptop. Here’s a video with the WFT-E4A attached to the 5dmkii:

    proactively • peter

  4. 4 Steve
    October 9, 2008 at 2:53 pm

    Hey Peter,

    Saw your toot on the Reverie clips to Prores, and just wanted to thank you for doing that, it was very helpful.
    Do you have a personal review of this camera? I’ve read allot of posts where people are not crazy about the fact that this camera will not shoot 24fps. I really like what I see, but I think it would be nice to be able to vary the frame rate. Do you think one could manipulate the 30fps footage in FCP to achieve over and under cranked looking footage? I’m not sure if you’ve heard the podcast that Mr. Laforet did with the DV show, but at the end of that podcast, Mr. Laforet speaks about to lens he would buy with this camera and be done. Not being a still photog, I don’t know what he is referring to, has anyone else heard that podcast?

  5. 5 psalvia
    October 9, 2008 at 5:45 pm

    Hey Steve, thanks for stopping by!

    I have not been lucky enough to get up close and personal with this camera – yet. However, I know that Stu Maschwitz has a link to petition Canon to include 24fps mode in the manufactured version of the 5dmkii. Here’s the link to the letter he wrote:

    http://prolost.blogspot.com/2008/09/my-letter-to-canon.html

    As far as over-cranking, ideally a camera will record 48 fps or higher so that you can slow down the footage 50% and maintain full speed frame rate (48/2 = 24). IMHO, if we’re taking the time to ask for 24fps, why not shoot for the moon and ask for 48?

    Otherwise, you could still slow down the 30fps source footage but you would want to use software that interpolates frames. Optical flow analysis is an old Shake feature that has now been integrated into Motion 3. You can read more about it here:

    http://www.apple.com/finalcutstudio/whatsnew.html

    And what’s the link for the podcast you’re referring to?

    proactively • peter

  6. 6 Steve
    October 10, 2008 at 12:57 pm

    Peter,

    Thanks for the reply. I also had a question on that ProRes conversion. I haven’t worked with ProRes at all so if my questions seem silly, I apologize. The original file size of the Reverie clips are much smaller than the ProRes clip…Original H.264 = 57.2mb ProRes = 321.8mb Also, the H.264 file is 4.7MB/s and the ProRes is 26.5MB/s obviously the ProRes files are much bigger, so my question is how is that more user friendly as far as editing is concerned? Wouldn’t the original smaller file sizes be less taxing on one’s editing system?

    Sorry, I should have included that the first time. http://72.41.38.10/shows/vincent.mp3
    Please let me know if you can tell me what Mr. Laforet is referring to, lens wise, towards the end of that podcast. I appreciate that very much.

    Enjoy!

  7. 7 psalvia
    October 10, 2008 at 1:10 pm

    Hey Steve, perfect question.

    While the ProRes quicktime file is much larger, it is an i-frame codec which is less cpu intensive than the source h.264 files captured by the 5dmkii. Additionaly, the ProRes files will interact much more smoothly in a mixed format timeline that may include video formats such as HDV, DVCPRO 100, XDCAM, 10bit Uncompressed, etc. So while producing a larger file, the ProRes version is less taxing on your editing system. And if you’d like to read more about the Apple ProRes 422 codec, here’s the link to the white paper:

    http://images.apple.com/finalcutstudio/resources/white_papers/L342568A_ProRes_WP.pdf

    Essentially, I’m anticipating that converting the source h264 files to ProRes early in the editing process will save you lots of headaches in the long run, especially if you are working in a broadcast environment. However, if you are tight on drive space, performing a simple edit in FCP, and then outputting for the web, by all means stick with the h264 source footage.

    All of this goes with the caveat that this is the bleeding edge of developing a workflow for efficiently and effectively posting footage from the 5dmkii. Who knows what tomorrow holds.

    I’ll be sure to listen to the podcast and post my thoughts, thanks for posting the link.

    proactively • peter

  8. 8 Steve
    October 14, 2008 at 10:07 am

    Hey Peter,

    Just checking to see if you’ve had a chance to listen to the podcast with Vincent Laforet?
    In my prior post, I was very curious as to what lenses Mr. Laforet is referring to at the end of that podcast. He states if he were buying the Canon 5D MKII he’d buy two lenses a fifty one two, and a twenty four one four and be done. Totally foreign language to me.

    Steve

  9. 9 psalvia
    October 14, 2008 at 12:35 pm

    Hey Steve, he’s talking about lens specs. Here’s a Canon 50mm f/1.2:

    http://www.adorama.com/CA5012AFU.html

    And here’s a 50mm f/1.4:

    http://www.adorama.com/CA5014AFU.html

    proactively • peter

  10. 10 Steve
    October 14, 2008 at 3:20 pm

    Peter,

    Oh wow, I never would have guessed. I really appreciate that very much.
    Just goes to show if ones going to buy this, you should have some knowledge of still
    photographer lenses to take full advantage.


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