The latest drivers and downloads
for the Canon 5D Mk II can be downloaded from the Canon USA site. A new firmware update enables shooting video in 24P and recording audio at 48kHz.
For general usage questions, consult the main 5D Mk II manual:
EOS 5D Mark II: Movie Mode Basics
For extended video editing controls see this addendum to the main manual:
For instructions on using the EOS Utility remote control software for the Canon 5D Mk II, see:
Overview: Canon EOS 5D Mark II
The EOS 5D Mark II will record movies up to 4GB per clip or a maximum continuous movie capture time of 29 minutes and 59 seconds, whichever comes first. Depending on the level of detail in the scene, a 4GB memory card can record approximately 12 minutes of movies at full HD resolution or approximately 24 minutes in standard definition. Video clips are recorded in .MOV format using an MPEG-4 movie compression and sound is recorded using linear PCM3 without compression. The new camera features an input terminal for external stereo microphones as well as a built-in monaural microphone for convenience.
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.
- 21.1 effective megapixel
- Shoot both still and moving images
- (Medium-large or large format of analogue camera)
- Full HD 1920 x 1080/30fps(24fps/25fps will be possible after the firmware
- Various lenses to create a depth of the filed or micro zoom…etc)
- Taking Still photos while taking movies
- Log and transfer the clips in FCP, plug-in needs to be installed in computer (only Intel processors)
Make sure all items are in the kit when it is checked out and when it is returned!!
- Camera body
- Standard zoom lens ef 24-105mm 1:4 (it covers24mm wide angle frame to 105mm portrait)
- 50mm lens more or less the arrange
- CF card reader
- 2x 16GB CF cards – each will shoot roughly 70 mins.
- 2x batteries – last for 1 hour 30 min long for continuous shooting (low temp)
- USB cable for direct transferring
- Firewire 800 cable for the card reader
- RCA cable
- No physical shock to the camera
- No underwater use
- No use near a strong magnetic filed, electronic motor, strong radio waves and large antenna
- DON’T leave the camera inside of the car when a temperature is very high – very sensitive on temp.
- ALWAYS put the lens cap back on
- Don’t try to wipe the lens with hands or uncertified cottons or liquid
- Also, LCD panel shows some dead pixels but it doesn’t affect to record actual image)
Color Temp./ Picture Setting
On digital cameras, electronic compensation for the color temperature associated with a given set of lighting conditions, ensuring that white light is registered as such on the imaging chip and therefore that the colors in the frame will appear natural. On mechanical, film-based cameras, this function is served by the operator's choice of film stock or with color correction filters. In addition to using white balance to register natural coloration of the image, photographers may employ white balance to aesthetic end, for example white balancing to a blue object in order to obtain a warm color temperature.
Traditionally used to "tell the camera" the film speed of the selected film on film cameras, ISO speeds are employed on modern digital cameras as an indication of the system's gain from light to numerical output and to control the automatic exposure system. The higher the ISO number the greater the film sensitivi
ty to light, whereas with a lower ISO number, the film is less sensitive to light. A correct combination of ISO speed, aperture, and shutter speed leads to an image that is neither too dark nor too light, hence it is 'correctly exposed,' indicated by a centered meter.
Aperture - the higher the f-number, the smaller the opening, the less light, the greater the depth of field, and the more the diffraction blur. The focal length divided by the f-number gives the effective aperture diameter.
EF 24-105mm f/4 (Standard)
standard zoom lens for full format APS-C DSLRs
image stablizer- not effective moving subjects and panned shots are not so effective
if camera is mounted on the tripod, off stabilizer to save a battery
standard zoom lens can cover a large zoom area ranging from 24mm wide-angle to 105mm portrait-length telephoto, and its Image Stabilizer Technology steadies camera shake up to three stops.
EF 100mm f/2.8 Macro USM
Autofocus lens for macro photography up to life-size (1x) magnification. Inner focusing affords a long working distance of 5.9in. (149mm) at 1x. A 3-group floating system results in excellent delineation at all focusing distances. Ring USM for silent and high-speed AF, and full-time manual focusing also provided.
Focus is slow in low light
EF 35mm f/2
Fast wide-angle lense
Min. focusing distance 25cm, you can approach the subject closely and still obtain a more natural wide-angle effect
EF 17-40mm f/4 USM
A new and affordable L-series ultra-wide-angle zoom lens that's ideal for both film and digital SLRs. Superior optics are assured by the use of three Aspherical lens elements, in addition to a Super UD (Ultra-low Dispersion) glass element. Optical coatings are optimized for use with digital cameras. This lens focuses as close as 11 inches (0.28m), and offers both Canon's full-time manual focus and a powerful ring-type USM for fast and silent AF. It has a constant f/4 maximum aperture, and offers the choice of screw-in 77mm filters or a holder in the rear of the lens for up to three gel filters. Finally, it offers weather-resistant construction similar to other high-end L-series lenses.
EF 17-40mm f/4 USM
a long focal length photographic lens in which the physical length of the lens is shorter than the focal length. Telephoto and other long-focal-length lenses are best known for making distant objects appear magnified.
Effect of different focal lengths on photographs taken from the same place:
EF 15mm f/2.8 Fisheye
Fisheye lens with a 180° angle of view for unique and intriguing effects. The wide depth of field makes it even more interesting. The short minimum focusing distance of 8 in. (20 cm) gives new meaning to close-up shots. The lens has a fixed petal-type hood and a gelatin filter holder at the rear.
List of DSLR lens in DXARTS
- 17-40mm f4 L Wide Angle Zoom Lens for Canon DSLR
- 70-200mm f4 L Long Zoom Lens for Canon DSLR
- 35mm f 2 Wide Prime Lens for Canon DSLR
- 24mm f 2.8 Wide Prime Lens for Canon DSLR
- 24mm TS-E f3.5 Wide Angle Tilt Shift Lens for Canon
- 85mm f1.8 Telephoto prime lens for Canon DSLR
- 135mm f2.8 Telephoto prime lens for Canon DSLR
- 15mm Fisheye 15mm Fisheye lens for Canon DSLR
- 100mm Macro 100mm Macro lens for Canon DSLR
Basic Shooting (Movies)
- Press the Live View/Print-Share button to start Live View
- Focus and compose the scene
- Adjust exposure compensation and/or apply AE lock as desired
- Press the INFO. button to the left of the LCD screen once or twice to display the desired amount of viewfinder info, such as exposure scale and elapsed time
- Press the SET button in the Quick Control Dial to start the movie clip
- Press the SET button again to stop the movie clip