canon 5d mark ii

Check out Christian Cavazos' moody short noir "Nuevo Mexico" shot entirely on the Canon 5D Mark II. The whole film was shot for about $700 using only natural light. Says Cavazos, "The sun positioning was the most important element in our scouting process. We always want the sun to be on the side as kind of a back light. Never in front! This is a personal preference, I just hate the way it looks! Obviously we used some reflectors as fill lights. We found it pretty hard to shoot outside, the sun is always moving and doesn’t care that you need to reshoot a scene, anyway I guess it’s part of the job."

Watch "Nuevo Mexico" below and read more about the shoot here on Lights Film School.

Cinematographer Michael Svitak sings the praises of Canon's DSLRs and goes into details of how he used them to shoot two music videos this summer. He writes, "The next generation camera system comes to the forefront virtually every two years. Nevertheless, we should be able to hang on to the Canon DSLR cameras for some time yet. They remain a reliable workhorse for many cinematic options, particularly micro-budget, multi-camera shoots."

Read his full post here on Shane Hurlbut's blog. One of Svitak's music videos can be found below.

It took Kevin Margo nearly two years to make his stunning, sci-fi short "Grounded," shot on a Canon 5D Mark II and Canon 7D.

Animation studio LAIKA, headquartered near Portland, Ore., streamlined the photography and workflow of its latest stop-motion 3D feature film, ParaNorman, using 60 Canon EOS 5D Mark II cameras and other advanced digital technologies.

The makers of A&E's two-part medical thriller Coma were charged with creating fast-paced action and a theatrical film-style look, but of course it all had to happen on a TV shooting schedule. Coma stars Lauren Ambrose (Six Feet Under) and features such notables as Ellen Burstyn, James Woods and Richard Dreyfuss, but its schedule and budget were definitely in the made-for-cable realm.

Five camera teams and crews of animators, puppeteers, and staff from Laika animation studios, along with a garrison of sixty EOS 5D Mark II SLR cameras from Canon U.S.A., Inc. have come together to help bring the new 3D feature film, ParaNorman to screens this summer.

Photographer Mayeul Akpovi makes the City of Lights look even more appealing than usual in his time-lapse film "Paris in Motion (Part 1)." Akpovi used a Canon 5D Mark II and 5D Mark III to shoot it. Watch below. (We're already pretty excited for Part 2.)

For director Cindy Bear’s independent feature Odd Brodsky, cinematographer Matthew Irving wanted a smooth and lyrical feel but, he concedes, “I knew we would be in run-and-gun mode most of the time, shooting in practical and many times cramped locations.”

One pocket projector, an iPod Touch, a Canon 5D Mark II and a lot of ingenuity were used to create the "World's Smallest Car Chase." The Theory, the creators of "Address is Approximate," use an ordinary environment to projection map a high-adrenaline scene in "Speed of Light." Watch below.

An epic confrontation between nightmarish supervillains attacking the Earth and the super-heroic team of Iron Man, Captain America, The Incredible Hulk, Thor, Hawkeye, and Black Widow explodes onscreen in Marvel's The Avengers.

It took photographer Shawn Reeder two years to gather together the spectacular images of Yosemite National Park found in the video below.

Check out this three-way low-light, high ISO test between the Canon 5D Mark II, Canon 5D Mark III and Nikon D800.

Stunning is the only word we can think of to describe this time-lapse video from Ole C. Salomonsen, who created it from 150,000 photos taken of the skies above Norway, Finland and Sweden over the past 6 months.

It took multimedia collective The Voder seven months of hanging around an abandoned insane asylum to create the beautiful and creepy short video found below. Shot on two Canon 5D Mark IIs, the video consists of only still photographs -- 35,000 of them to be exact.

To tout its upcoming F-Cell technology, which produces water vapor instead of gas emissions, Mercedes-Benz found a way to make an invisible car drive through Germany. The concept, developed by agency Jung von Matt, mirrors the tagline that the car is "invisible to the environment."

AbelCine has put together 7 custom scene files to help match the look of the Canon C300 to that of the Sony F3, the Panasonic VariCam, the Canon 5D Mark II and more.

Longtime DSLR-shooter Josh Negrin writes about his experiences switching to the RED Scarlet-X including some of his biggest learning curves. He says, "Coming from shooting for three years with a 5D Mark II, which I still own and love, the RED Scarlet, and it’s RAW shooting capabilities, is a breath of fresh air.

Vincent Laforet goes over how he sets up his Canon 5D Mark II for shooting video. He says, "These settings are meant to work well for web, broadcast televisions and motion pictures – but will require grading (color correction) to add saturation and contrast back in. The idea is to capture the flattest image possible with the most amount of detail and range of exposure possible.

Director Gavin Heffernan took some time off from the hustle and bustle of life in L.A. to hang out in the desert shooting the below time-lapse, his follow-up to his original "Joshua Tree Journey."

After three and a half years, Canon has announced the imminent release of its follow-up to the massively popular Canon 5D Mark II, the Canon 5D Mark III. Below, you can find some test footage from the new camera, including cutesy short film "Mario and Nette" and the fast-paced "Radball".

Planet 5D get their hands on the new Canon 5D Mark III with a walkthrough by Canon's Chuck Westfall. Watch as Westfall talks about the new 6 fps capability, the 2 extra ISO and noise reduction stops vs. the 5D Mark II, and more.

Check out this video from Japanese website mono-logue which compares the same 30-second night scene as shot by the Canon 5D Mark II and the upcoming Canon 5D Mark III.