PUBLIC MARKS from sbrothier with tags photography & canon

For the Michael Jackson Memorial piece I worked on, we decided before I left for L.A. that we would use the Canon 5D Mark II to try and push the look of the piece, and to try something new. The first thing I did, is call up a freelancer, Patrick Burke, to run sound. Patrick used to be an AC (Assistant Camera) in L.A. so he came with all the right tools, including a film slate that we used to sync audio from a Marantz PMD660 to the video footage of the 5D.

DSLR Camera Remote is the next-generation cable release for your Canon EOS DSLR camera. Just connect your camera to a WiFi enabled computer and the DSLR Camera Remote software enables you to use your Apple iPhone or iPod touch to wirelessly adjust cameras settings, fire the shutter, review images, even get a live viewfinder preview.

Originally designed for the Canon 5D Mark II, Beachtek's DXA-5D two-channel XLR adapter lets you input professional-quality audio into your digital SLR when shooting video. Mounted beneath your camera or on a tripod, the DXA-5D plugs into the 3.5" mic jack on such cameras as the 5D Nikon D300s and Panasonic DMC-GH1.

Voici un droplet que j’ai fait dans Compressor 3.5. Il permet de prendre des clips tournés avec la Canon 5D mkII et de le convertir en ProRes 422 (HQ) pour travailler dans FInal Cut Pro. Aussi, si vous avez faites votre prise de son avec l’adaptateur DXA-5D de Beachtek, ce droplet vous permettra d’enlever la fréquence (20KHz) qui désactive le contrôle automatique du gain.

Our unique iDC Viewfinder package is a a sturdy all-aluminm bracket complete with a brand new Hoodman loupe. No flimsy glue and Velcro attachments here! The iDC Viewfinder is currently available for the Canon EOS 5D Mark II, the Canon EOS 7D, and the Nikon D300s.

Magic Lantern is an open platform for developing enhancements to the amazing Canon 5D Mark II full frame digital SLR. This camera is a "game changer" for independent film makers: * It allows the use of a wide range of lenses (anything that can be adapted to the EF mount). * The 35mm full-frame sensor is larger than the RED ONE's sensor, Super 35 film. It is approximately the size of VistaVision. This means shallower native depth-of-field than anything on the market, except for the Phantom 65. * The dynamic range and latitude are close to the capabilities of high-end HD cameras. * The low-light performance is currently unrivaled, even by the RED ONE.