House Season Finale shot on a 5D Mk2 w/ Canon Lenses.

Has anyone not seen the footage the Mark II is capable of? this episode should be incredible if they did it right...this cameras video looks amazing.

People need to divorce the form factor from the actual signal output.

1080p is 1080p regardless of where it's generated.

The major difference between hi-end professional production and most average users comes (as it does in still photography) from the lighting and the supporting hardware.

You may have a monopod or even a Zacuto Rig to help "steady" your shots while they're using dollies or jibs (on rails shimmed dead-nuts level) costing tens of thousands of dollars and weighing hundreds of pounds.

You're still a little wobbly .. They, are not! (unless the production wants that "newsie", 1st-person pov look...)

FlyingPhotog wrote in post #9998424
People need to divorce the form factor from the actual signal output.

1080p is 1080p regardless of where it's generated.

The major difference between hi-end professional production and most average users comes (as it does in still photography) from the lighting and the supporting hardware.

You may have a monopod or even a Zacuto Rig to help "steady" your shots while they're using dollies or jibs (on rails shimmed dead-nuts level) costing tens of thousands of dollars and weighing hundreds of pounds.

You're still a little wobbly .. They, are not! (unless the production wants that "newsie", 1st-person pov look...)

That's a good point.

Sony CineAlta cams like the ones used during the filming of movies such as Sin City, District 9 and Avatar cost orders of magnitude more than a kit of several 5D2's and a TON of lenses, however, that's really only the tip of the iceberg when it comes to expenses in other areas.

Camera support, post processing (beefy workstations starting at $15k each), audio recording and mastering, HMI lighting (at least $10k per light), salaries for all the actors and film crew... the list goes on.

The savings on using a 5D2 and Canon lenses is a drop in the ocean in the grand scheme of things.

c2thew wrote in post #9997020
me too! all the camera people will be admiring the 5d IIs ability. I'm sure there are still naysayers that their dslr doesn't "do" professional video, but lets see how this works out.

I've seen three different threads on two forums with people that say that video is a worthless feature that just drives up the cost of the camera and that it's not something a real photographer would ever use.

Morans...

Well, I'm not surprised at all. It was my suspicion that the 5DM2 would be more suited to professional production than to amateur use, because the pros are used to shooting in short segments, then putting it all together in the editing process, whereas Dad is liable to shoot the kids so long that he fries the camera.

We Canon freaks are on a great ride--just go, "Wheee!"

There was actually an episode prior that they used the 5DMkii on, but only for the first scene, which was 20 seconds or so. I think it was episode 16.

JS

FlyingPhotog wrote in post #9998424
People need to divorce the form factor from the actual signal output.

1080p is 1080p regardless of where it's generated.

The major difference between hi-end professional production and most average users comes (as it does in still photography) from the lighting and the supporting hardware.

You may have a monopod or even a Zacuto Rig to help "steady" your shots while they're using dollies or jibs (on rails shimmed dead-nuts level) costing tens of thousands of dollars and weighing hundreds of pounds.

You're still a little wobbly .. They, are not! (unless the production wants that "newsie", 1st-person pov look...)

Cheaper products and DIY stuff is coming out all the time. Plus look at the Nocturn video that Vincent Laforet did; it was done on the street with ambient lighting with a 1D MKIV. Don't need no stinking lights.

Cool, I really must make more effort to start shooting HD video on my 7D.

Ian.

Anybody know when the season finale will air?

May 17