Hopefully, these ‘fast film’ options will not be seen as a great way to shoot all the time and users will light scenes properly, so they can work in the ISO 100-400 range. You can, of course, leave the ISO setting in Auto and let the camera decide what it thinks the scene needs but, of course, we know best, eh?
With these firmware enhancements, the 5D MkII definitely feels like a tool for filmmakers. That said, the frame rate is 30p and is no good for anyone, especially in Europe. Even in America they would prefer 29.97f/s or 24f/s and we would love 25f/s. This is something you can adjust in post-production, or simply live with, especially if your masterpiece will only appear on the web.
To help you frame a 16:9 shot correctly using the 3:2 screen, the video is letterboxed by transparent bands. The footage is beautiful with the shots looking like they are from a proper movie. It conjures up that moment when someone first shows you what good glass, and little depth of field can do for a moving image. The story telling aspect of low depth of field is a powerful tool, and this camera shows it at a fast enough frame rate at 1920x1080 progressively.
Integrated sensor cleaning takes care of dust during lens changes
Trying it with the supplied 24-105mm F4L lens – which is an amazing range, as these are true focal lengths – you can go between a wide angle view, not available on many camcorders, to beyond a short telephoto, which is perfect for nice head shots. Admittedly, not as fast as the 70-200mm F2.8L, we tried, where it just gets narrower and the focus falloff more pronounced.
We also tried it with the 16-35mm F2.8L Mk2, where you enter a world of the very wide, and boy does it make you want to go film. Focal lengths like that, previously belonged to film directors with big budgets, and even then fisheye lenses were extremely expensive to make, as they’re not exactly everyone's cup of tea.
Live view & lenses
>>Live View seems to be for camera phone numpties with a little too much cash.
It's difficult to frame a shot when holding the camera at arms length above the head - being able compose the shot using the display is very useful when photographing in a large crowd.
I'd second what several people have pointed out - quality optics (ie an L series lens) are essential to get the most out of a camera like this. Factor in upto £5k for a set of "fast" lenses. My ideal bag would include wide (16-35mm f2.8L), portrait (24-70mm f2.8L or 50mm f1.2L) and telephoto (70-200mm f2.8L IS USM).
Then you will need filters (UV, polarising), lots of memory cards, batteries, a sound tripod, remote shutter switch, flash unit and bag. You will probably also want a spare body too just in case....
Being a photo enthusiast can be very costly!
The pickpocket because carrying a bag containing several thousand pounds worth of kit around makes you a target for those who would part you from it...
I'll get my coat - check my wallet - Bah!
I'm saving up for one of these.
There is a great demo video you can have a look at called "Reverie", which you should be able to find by Googling the words below.
EOS 5D Mark II Video Reverie
Pedants, the lot of you
Yea, it was not the first (and only arguably the best), poor comment from the author either badly researched or a typo, but unlike the view of many posters this is not a history of digital article (which would be interesting, anyone remember Studiokit from the mid 90s? or the leica S series, again larger than full frame in the mid 90s?).
Stu hits the nail on the head when he brings it back to lenses, although it's not quite as simple as saying over 12 needs better lenses;
. Lots of pixels (to give the definition)
. Physically large sensor (to ensure enough photons hit the pixels)
. Big glass (to allow lots of light in)
This is why the 10Mp £49 ASDA compact is a world away from the 10Mp EOS 400D, there's lots of detailed reasons why (bokeh, circles of confusion) but it all comes down to the three factors above, get lots of light and chop it up into small bits (but not too small or reciprocity and wavelength becomes a factor).
I remain unconvinced by the article, there's a lot of space that says loads of things (some of the example images used were useless) but makes no relevant comparisons or real reasons why the 5DMk2 is so good, I have some great pictures that directly compare images on my 400D and 5DMk2 using both the 70-200 F2.8L IS and 400 F2.8L IS (the 100-400 pictured is a good lens but poor compared to these two) - A Mk1/Mk2 comparison woudl have made far more sense.
It has really undersold the 5DMk2
I didn't use enough exclamation marks the first time!!!!!
Oh god not again
"With a sensor this size, finally, here was a way of getting the original focal length of your old 28mm lens back from the scaling beyond 40mm that occurs when used with smaller sensor cameras."
Repeat after me: The focal length doesn't change! It never changes! It is a physical property of the lens!