Fans and users of the Canon 5dMKII will probably remember Tramm Hudson’s incredible firmware update that he created LONG before Canon did to allow for various additional features  like audio meters, zebra stripes and a feature to disable the auto audio gain.  Well ever since Canon’s own 24p firmware update that also included manual audio control, all has been quiet from Tramm and his Magic Lantern firmware.   Until today!

Tramm has just released a new version of his firmware and this time it follows in a similar direction to the popular Panasonic GH1 bit rate hack.  Essentially it allows you to select from many different bit rates during video recording, greatly increasing the quality of the video.  In 24p mode, 66mb/s seems to be the highest it will go for sustained recording but higher is possible if you just want a quick shot.

As with the previous versions of Magic Lantern , the firmware is loaded into the cameras RAM so you have to install it each time you turn the camera on by keeping the firmware on the memory card you are using.  This is a safety feature which SHOULD stop you from bricking your 5dMKII… Not my fault if it does happen though! Proceed with some caution.

I suspect that you will find much better results with faster CF cards.  Obviously you need something that writes faster than the bit rate in order to sustain it so a 90mb/s Sandisk card would be a good start.  Thanks to Tramm for such amazing work!

Q-scale FPS Mbps Notes
+8 30p 7 Mbps Very low quality
-9 24p 32 Mbps
-10 24p 41 Mbps
-11 24p 51 Mbps
-12 24p 59 Mbps
-13 24p 62 Mbps
-14 24p 66 Mbps Best, sustainable in 24p mode?
-15 24p 68 Mbps 2 buffer bars
-16 24p 76 Mbps Only a few seconds

Canon 5d Mark II 76 MBps Test with Magic Lantern High Bit Rate Firmware from RockStar Media on Vimeo.

When I first got the 5dMKII last winter, the camera world was buzzing about the incredible HD video that it can shoot as well as the beautiful 21MP images.  This will be great I thought, I can shoot some videos in between shooting photos.  When it actually came down to it though, nice idea as it is, I didn’t have the time mid-winter to learn about shooting video and editing HD video or learn about all the weird idiosyncrasies that the 5d’s video has.  I made a couple of short videos that never turned out how I expected and then pretty much gave up on it until I had some time to sit down and figure it all out.

Every year in the Autumn downtime before winter I sit down and try and teach myself a new skill.  Up this year was naturally DSLR video shooting and editing with Final Cut Pro.  There’s a few things you need to be aware of, and a couple of problems to solve when shooting with the 5d so i’d better write it all down so you guys can give it s shot too.

The 5dMKII generates 1080p video files at 30fps in h.264 codec.  Only one out of these three things is actually a good thing.  Video people will look at 30fps and assume that I mean the NTSC standard of 29.97fps because it’s often shortened to 30fps when talked about. Wrong.  For some reason Canon decided to use an actual 30fps so that is something you need to bear in mind if you are shooting with any other cameras that shoot at 29.97 and intend to mix footage and audio together.  For me though, right now that wasn’t a huge problem and 30fps is just fine for web content which was my initial goal.

What was a problem though was the h.264 format of the files.  H.264 is typically used as a finishing format, it’s a codec used to compress movie files when you export them from an editing program like Final Cut or Avid (if you are on a PC).  The codec is NOT designed to be edited with and Final Cut will not handle it very well if you try.  Importing native h.264 files into FCP will have it breathing like its having a heart attack in no time.  Nothing renders in real time and a few seconds of footage requires a 5 minute render every time you make the smallest of changes.  This is what put me off the most when i first experimented with the video back in the winter.

First what you need to do is become familiar with some sort of transcoding program that will convert all of your h.264 video into a format that will Final Cut can handle at speed.  If you have Final Cut then you should also have Apple Compressor and this is certainly one program that can handle the task.  Another option though is a fantastic piece of freeware called MPEG Streamclip.  You can download it from their website HERE.

For batch processing a large number of files, I actually preferred using MPEG Streamclip for the job and it’s not at all as daunting as it may sound.  Which format you convert to will depend on your intended output for your project.  Are you aiming to make production quality TV shows, DVDs or just simply some web content at a scaled down size?  If you want to make the highest quality available to you, it is generally considered that converting to Apple ProRes 422 is the best option.  You will need Final Cut 6 or later though to have access to this codec.  Converting all the h.264 files is more or less a case of just dragging and dropping the files into Compressor or Streamclip and selecting the relevant setting from the menus.  I wont go into detail about that as its fairly self explanatory once you have the program in front of you.  Converting to ProRes format will roughly quadruple the size of your video files though, so if you go down that route, make sure you have some serious disc space available and a powerhouse of a computer to edit with…

If you are looking for a smaller file size then converting to AIC (Apple intermediate codec) is a great option.  File size is roughly half that of ProRes, it is very very hard to tell the difference between the two and AIC files are handled very quickly in Final Cut.  This is the option that I chose to work with for my project.

At this point i’m going to leave it here for now as this is getting quite long.  I have just finished editing a quick 5 minute short that I shot while I was going through this learning process and I will upload that to the web shortly, along with some more information on things I discovered whilst learning to shoot video with the 5d.

When I sold my 70-200 2.8L IS to get one of the newer, sharper f4 versions I also picked up a Canon 85mm f1.8 to use for shooting portraits and lifestyle stuff.  This week I have been shooting with Kaya Turski , fresh off her win at the European Open and with an x-games medal in her pocket she is finally putting injuries behind her and skiing really well.  As well as some skiing stuff, I also wanted to get a few headshots and portraits of her as i’m sure magazines are going to be needing this stuff next winter.  This was the first time I got to use my new 85mm lens.  I’m not going to post pixel peeping samples, theres no need as these are available at many other places on the net.  It is a very impressive lens though and certainly sharper than my old 70-200 2.8.  Build quality is decent , though not L quality and focus is surprisingly fast and accurate.  The only thing i noticed (and this is a well documented issue with this lens) is a bit of purple fringing at wide apertures on specular highlights.  I only found this though because I was looking for them , it hasnt occured so far in real-life shooting.  I don’t often shoot with prime lenses, most of my lenses are zooms simply because it is a good way to save weight if I am skiing.  I can take a couple of lenses with me that cover a very wide range.  Getting back to shooting with a prime was great though.  I think it makes you think a bit harder about the composition, and the resulting prime lens quality is noticeable straight away.  For me 85mm on a full frame camera is just the perfect focal length for this kind of shot.  This shot (click to see larger) was shot with the 85mm at f5.6, 1/200 and iso 250 on my 5dMKII.  It was lit with an Elinchrom Ranger with a 52 inch Photek Softligher on the head.  This is another piece of kit that I am loving at the moment too.  It’s easy to see why Annie Liebovitz uses the softligher as the key light in most of her locations shoots.  It is simple and quick to setup, sturdy in a breeze (unlike a lot of softboxes) and the light quality is fantastic.  This was the only light in this shot, no reflectors either.  Positioned slightly above kaya and a bit to camera right.  Remember that the closer you can get the light source to the subject, the softer the light will be……

A couple of months ago I was invited to take part in the Deep Winter photo challenge here in Whistler, BC.  The idea behind the competition is that 5 invited photographers assemble a team of riders to shoot with for 3 days and the resulting photos are combined into a slideshow of approximately 3 minutes.  The shows are judged by a panel of photo editors from various magazines and all the shows are played to a crowd of hundreds of people at one of the hotels in Whistler.  We shot the photos between the 6th and 8th of January and predictably for whistler, the conditions were incredibly challenging.

The first day was blowing a blizzard, quickly resulting in a lot of very very wet camera equipment.  On the second day the freezing level went up to the alpine leaving all the fresh snow feeling like you were skiing through custard  on top of that it was raining at some levels. The third day was somewhat nicer, a few rays of sunshine poked through but snow conditions were less than stellar and the alpine areas of the mountain remained closed due to avalanche danger.

Before the competition began i was somewhat apprehensive.  Normally its a good days shooting if you get one or two great shots but to get enough shots to fill a 3 minute slide show in only 3 days was going to be a challenge.  Add to that the unknown weather conditions and well…. you get the idea. It’s TOUGH!  By the end of the third day we were exhausted and I only had a few hours to put together the show.  In the end I was driving to the hotel to deliver the DVD while it was still burning in my laptop on the seat next to me!

I picked a couple of local skiers for my team , Leigh Powis and Pierrot Bernier.  A bit of local knowledge was going to be a much needed asset for this comp.  When it was all finished up I was pleased with what we achieved.  The winners crown on the night went to Jordan Manley, with some incredible lifestyle work in his show and some great skiing by Chad Sayers.  As part of my show I tried out a new rig to provide a different perspective on things.  Mounting my Canon 5dMKII on a Manfrotto Magic arm and firing it remotely with a pocketwizard gives an interesting close up view of things.  See below for the setup and example photo.  This was certainly the toughest few days photography of my career, the atmosphere at the show in the evening was incredible. Its a great feeling to see a huge room full of people get so excited about photography!

I have been pretty busy the last few weeks so appologies on the lack of updates but expect a few more this coming week as I catch up on things!

Last week a new camera arrived the day before a big shoot for a large pharmaceutical company.  I’m not one for going out and shooting test cards and greyscales and all that kind of stuff.  I simply like to test my gear in the situations that I normally find myself. Draw from this what you will then, it is not intended as any sort of review on this camera, there are plenty of those popping up daily on the web.  This is simply a few example shots from my shoot last week, and a few initial thoughts on the camera.

The shoot was to take place in Whistler, BC.  It was of a snowboarder and there was a very specific shot list given to me by the client.  Easy right?  No……  Unfortunately Whistler, normally one of the premiere ski and snowboad destinations in the world, has been hit with some fairly warm weather lately.  Instead of fresh snow and endless terrain, we were left with sheet ice and only a couple of runs open in the whole resort.  Time to apply some creative thinking and some interesting lighting to detract from the far from perfect snow conditions……

This shot was lit with an Elinchrom Ranger at full power coming from the left held up high by my assistant who was wearing a backpack containing the ranger kit.  The Ranger’s 1200 W/S let me shoot right into the sun and turn what was an icy, bleak looking day into something dramatic.  We did a couple of takes on this but this was the first one, and probably my favorite one.  Then we moved onto some portrait stuff and a bit more action at the end of the day when the clouds started to look cool.

If you click here you can see a 100% crop from one of the portrait shots to give you an idea of just how big the photos are from a 21 megapixel shot!

At the end of the first day a video production crew was also interviewing the snowboarder from the shoot.  The interview took place under tungsten lights in a dimly lit room.  Perfect for viewing the high iso ability of the 5DMKII.  This shot was taken at iso 2500, there is also a 100% crop from the sleeve of his shirt.  I think the quality at that iso is stunning!  As I said my aim wasn’t to test the iso, so I only shot at what I needed and that was 2500.  I think the result is pretty stunning, even the grain that is produced has a nice look to it and I don’t mind it at all.  Especially with such large files, at 21 megapixels the grain is unnoticeable when printing at smaller sizes.

Another thing that struck me was the battery life, it has been significantly improved from the original 5D.  Cold weather usually sucks the life from batteries but after a whole days shooting I wasnt even down to 50% and my spare battery never left my bag in 2 days shooting.  The screen on the back is also incredibly bright, comparing it to my 1D MKIIN it’s like night and day, I could actually see images on the back of it even in fairly bright sunlight.  Zooming in on images on the new VGA screen it is now also possible to tell if you actually nailed the focus or not.  The body of the camera also seems to be a little sturdier that the original.

Next up i’m looking forward to experimenting with the video capabilities of the camera.  Next week i’m off to Revelstoke with the Poorboyz crew for some snowmobile access backcountry skiing so I will play with that while i’m away.  Stay tuned!

Following on from Part 1 where I took a look at some useful sound accessories for the 5DMKII, this week I’m going to be taking a look at video heads for your tripod.  For photographers out there wishing to take advantage of the video capabilities of this camera , there is no getting around the fact that you won’t be able to use your current photographic tripod head.  Normally I use a Really Right Stuff BH-40, whilst this does have a separate panning base which might be usable for panning horizontally , it would not allow any vertical panning and i think the horizontal pan would be tough without a handle.

So how does a video head differ from a photographic one and which ones are people most likely to  find useful for the 5DMKII?

A photographic ballhead is designed to be easy and quick to position in one place and then lock solid while you take your shot.  A video tripod on the other hand has 2 jobs.  It needs to lock solid should you wish to to shoot something statically but also move smoothly should you wish to shoot a panning shot horizontally or vertically.  As with photographic ballheads you can spend as much or as little money on one of these as you want.  I asked around several film guys that I know and it turned out that all of the use the exact same head, the Manfrotto 501HDV.  Further investigation showed this head to be extremely popular and surprisingly good value for around $200.  It weights 1.6kg and will hold a load of 6kg.  But 6kg is a lot more than I am going to need to hold, the 5DMKII only weighs 810 grams and I dont have any lenses that weigh 5kg!

Manfrotto offers a solution to this though….. the 701HDV.  Introduced in May 2008 as a replacement to the 701RC2, this is the most affordable true-fluid head on the market today and looks just like a shrunken 501HDV.  It has a capacity of 4kg but weighs half the weight of the 501 which is also useful if i need to carry it around as well as all of my usual photographic gear.  I ordered a 701HDV along with my 5DMKII which arrived a few days ago and  so far I have been very impressed with it.  The panning base locking knob is somewhat crude but it does the job and pans very smoothly with an easily adjustable resistance.  The vertical panning relelase is via a large knob on the side (see photo) and it locks solidly when you dont want things to move around.  Construction is also impressively solid, and feels like it will stand up admirably to the harsh environments that I use my equipment in.  A spirit level is included on the base and the panning handle is switchable to whichever side of the head is most comfortable.  All this for $170!  I’m a big fan of this head, for the price I don’t think you can beat it.  Considering the relatively light weight of the 5DMKII compared to most other video systems, I think this is the perfect solution.

For those people that are looking for a little bit more weight capacity you might want to take a look at my review for the Manfrotto 503 HDV.

701 HDV next to a 503 HDV

701 HDV next to a 503 HDV

701 HDV next to a 503 HDV

701 HDV next to a 503 HDV


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