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The camera creates a relatively small footprint compared to the typical video and film camera – even with added accessories – so it becomes a very interesting option in run-and-gun situations, like documentaries. The Canon 5D gives them the advantage of a wide range of glass that many may already own. Videographers have long used various film lens adapters to gain the lens selection and shallow depth-of-field advantages enjoyed by film DPs.
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Stills from the camera use the full resolution of this large sensor, so photographs from the Canon 5D are much better than any stills extracted from an HD camera, including the RED One. Alternatively, one could opt for camera raw stills, in which case the photos can still be adjusted with great latitude after the fact, since this data would not be “baked in” as it is with the video. When JPEG images are recorded, then the same colorimetry, exposure and balance will be applied to both. A photographer can shoot both still images and motion video with the same camera and at the same settings. The true beauty of the camera is its versatility. 16:9 is slightly wider than 5:3, so the file for the moving image is cropped on the top and bottom compared with a comparable still photo. This is a compressed file (H264 codec) at a data rate of about 40Mbps. The video view used for the live display is a downsampled image from the same sensor, which is recorded as a 1920×1080 high-def file. Raw or JPEG stills captured with the camera are 5616×3744 pixels in a 5:3 aspect ratio (close to HD’s 16:9). The 5Dmk2 uses a large “full frame 35mm” 21.1 MP sensor, which is bigger than the RED One’s sensor or a 35mm motion picture film frame.
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Canon was able to use this concept to record the “live view” signal as a file to its memory card. Nearly all DSLRs provide real-time video feedback to the LCD display on the back of the camera. Digital camera technology has advanced to the point that full-frame-rate video is possible using the miniaturized circuitry of a digital still photography camera. To meet the demand, companies like Red Rock Micro and Zacuto have been busy manufacturing a number of accessories designed specifically for the Canon 5D in order to make it a friendlier rig for the operator shooting moving video. Check out these projects by directors of photography Philip Bloom and Art Adams. The Scarlet has yet to be released, but nevertheless, people have been busy shooting various projects with the Canon EOS 5D Mark II like the one used by Laforet.
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The concept of shooting high definition video with a relatively simple digital still camera was enough for Red Digital Cinema Camera Company to announce the dawn of the DSMC (digital still and motion camera) and push it to retool the concepts for its much anticipated Scarlet.
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You could say that it started with Panasonic and Nikon, but it wasn’t until professional photographer Vincent Laforet posted his ground-breaking short film Reverie, that the idea of a shooting video with a DSLR (digital single lens reflex) camera caught everyone’s imagination. A case study on dealing with Canon 5D Mk2 footage on actual productions.