I can't reveal details of what we were using this rig on, but I thought you guys might like to see the MII all dressed up for use on a large-scale production. That's a Panavision Primo 35mm on front, with Preston remote and Cinetape horns on top, all perched on my lightweight "Nimblecam" rig. I also had my full-size rig with Millenium XL built adjacent to this as we were also shooting 35mm. We got amazing shots with this setup!

So Charles, was there a 24p mod on board too????????

Front paged: 5D Mk. II hits the “bigtime” -- from DV Info Net (http://www.dvinfo.net/features/5d-mk-ii-hits-the-bigtime.html)

Thanks for sharing this with us, Chas!

It is unusual, isn't it, that they would be shooting two frame rates.

When I saw this pic, first thing I thought was "24p"

Whats that on the camera's LCD? Crop marks? :)

Yes, the feature is being released in 2:40. The 5D footage will be intercut with Super35 cropped to 2.40.

The 5D footage is being interpolated to 24 fps via Twixtor.

Charles:

Thanks for the specs.. I was hoping you were actually getting to shoot a prerelease version of a Canon mod to the firmware......

How does twixtor compare to the Apple Cinema tools and compressor method?

Charles,

I have one question... Why the 5D2? ;)

For me and my limited bank account it makes sense, but when you have a real budget, there are many options.

Can I assume that you've chosen the 5D2 for low light? Certainly it's not for fine detail (aliasing) or fast action (rolling shutter).

Anyway, it's an interesting choice for a bigtime production!

I'm not the DP on the show, just came in to do some operating.

The 5D allowed for a particular style of shooting on this project that would have been difficult or impossible with any other camera. It wasn't so much the low light capacity as the size of the system.

Two questions:

1. Which monitor are you using? That is my next purchase for my 5D and I'm having trouble deciding.
2. How many 5D's could you purchase for the cost of that lens :)

...It wasn't so much the low light capacity as the size of the system.

Small size is definitely an advantage!

Some claim that small size and weight are bad, since they hurt stability. But as many of us have demonstrated, you can always add more stuff to the camera as needed.

Adding smallness and lightness to a big camera, on the other hand, is tough!

Chad:

1. The monitor on my little rig is a modified Steadicam Flyer monitor. It's OK in daylight since it has decent anti-reflective coatings but it is just SD. Not a big deal with this camera since it only outputs SD when recording. I'm only concerned with framing so that's OK, but for those who need to pull focus off the monitor, there are higher res options out there.

2. Trick question! You can't purchase Panavision lenses so...! That is incidentally a 35mm Primo--gotta love its size relative to the camera.

OK, now that the information is out there regarding the helmet-cam setup some of you might have stumbled across on Engadget (http://blog.planet5d.com/2009/07/canon-eos-5d-mark-ii-helmet-cam-used-to-promote-terminator-salvation/), I can divulge that this Steadicam setup was also used on the feature that Shane references in that article. We were out at sea shooting with this rig when the Engadget story broke which caused a bit of a flap as the helmet-cam was nominally proprietary. My Steadicam setup was less-so (we weren't the first to use PV lenses on the 5D, nor a 5D on a Steadicam) but Shane is doing amazing and groundbreaking work with this camera and I was honored to be part of the production.

The camera riser and Cinetape mount (off the hotshoe) were custom built by Panavision Hollywood to Shane's specs, plus there are some other off-the-shelf bits and pieces in there including a Bogen quick-release and Zacuto lens support.

I find your Steadycam rig very cool...especially in light of completing my own modification of a Glidecam X-10 / HD2000 setup for the 5D. The sled was modified to allow an HDMI
cable to run down the sled tube, the sled has a Bogen quick release and the monitor is the smallHD DP1 which may soon take a HD feed off the 5D ( with the help of Magic
Lantern software by Tramm). The rig balances very easily with the new sled design and with lots of practice, even an editor/ excameraman (me) can get some very smooth moves from the system.
It will be nice to eventually use the Glue Tools / Canon software to take the clips and do a 29.97 conversion to Prores for editing in FCP. The modification process has had its challenges, but also has been lots of fun.

Sounds like a good project, Tom. The monitor I'm using is straight up composite, it's a bit blocky with the image from the 5D but more than acceptable for framing purposes and is reasonably viewable in sunlight (which should be more of a consideration than resolution--doesn't matter how sharp the picture is if it washes out outdoors).

The big issue with the 5D, as all who have used it are familiar, is focus. It's really a two-part concern; having the wireless system to pull focus, and someone to operate it. As can be seen in the picture I have my Preston system in play for the former, but much more importantly I had a crack focus puller on the other end of it keeping it sharp. The Cinetape (horns visible on top of the camera) communicates via the Preston and delivers the distance readout right on the hand unit so the AC has as much information as possible to get the job done, but he is still using all of his wiles to keep things sharp within that tiny depth of field. Some AC's use HD monitoring when possible as an additional help but with this camera of course that is not yet possible while recording, even if an HDMI transmitter were somehow pressed into service).

For those not planning on spending the 5 figures on a Preston setup, the View Factor or imminent Hocus Focus will likely be looming in your future, but you'll still need a skilled focus puller...

Good info to know about your focus system and operations. Luckily the projects I use the rig for (documentary, local/regional commercials) allow me a little less stringent demands.
I can optimize my DOF by shooting at 5.6 or higher to insure a wider range of focus.
Budgetary constraints these days demand creative alternatives ;-)

Charles:

Thanks for the "How its done" narative.... Very revealing to me about adaptation and change and the willingness of filmmakers to break new ground.

Hi Charles!

I was told it was authorized to show the video of the helmet mount - hope it didn't get anyone in trouble! I ended up swapping emails with Shane that same day and he didn't seem to be upset that it had been posted.

I was concerned that there might be some issues but didn't hear any of the 'flap' directly so I assumed everything was ok.

Shane had even mentioned it in his bio for this conference...
Confirmed Speakers - Image Mechanics Expo - Collision Conference - August 29th and 30th, 2009 (http://www.imagemechanicsexpo.com/speakers)

Very cool Charles!

Did Panavision have to modify the 5D body in order to install the PV mount, or is it a non-destructive adapter?

The latter. We were also shooting footage with ZF's and Nikons.

The drawback with the PV mount is that 35mm is the widest prime that will work; The rear elements in the wider ones are too deep.

I think I can live with 35mm. Just go ahead and send me one with a radio follow-focus just to make sure.

Thank you so so much, Jon. I've purchased a Juicedlink CX231 as a result of your tests, with the idea in mind I can eventually hook it up to a Sony PCM-D50 if I want to go untethered.

I think tests like this, along with Tramm Hudson's Magic Lantern firmware, are what drastically transition the 5d from its limited roots into a viable professional tool. Power to the people.

Shane is still shooting on "I am the Man"; I visited him today to pick up some gear of mine they have been renting and saw some footage and stills of what they've been up to. He's had a couple of 7D's on this past leg of the job along with their battery of 5D's and he reports that he uses these primarily with the wider angle Primos that won't work on the 5D. I saw pix of his custom mount with the Panavision 11-1 and 3-1 zooms (similar to the pix you may have seen at Phil Bloom's site, but much more sophisticated mounts and bracketry) and a number of different handheld rigs they have been using. I don't know if he will be releasing any of these images but they are pretty amazing!

The footage is looking unbelievable--this is not the biggest budget movie but it's big enough to get a "Hollywood" look and beyond, thanks to the sensors on the Canons. It's quite remarkable looking footage. I saw some images projected in their post suite (about a 12 foot screen) and they look beautiful.

Very cool stuff.

Yowza. Thanks for the update, Chas -- much appreciated!

that's very awesome

Press release issued by Canon today about this project:

Canon EOS 5D Mark II Digital SLR Cameras Shoot “Act of Valor” at DVInfo.net (http://www.dvinfo.net/news/canoncamerasshootactofvalor.html)

Thanks for that. I had been wanting to see what their helmet rig looked like. That's pretty cool!

I recently realized that this movie is actually my final Steadicam credit, due to the long period between shooting this movie and the release date, during which I closed shop on that particular pursuit. It was interesting to see the footage!

Hey Charles,

Did you guys have a BTS crew? I would love to see some footage of the different set ups you guys used with the 5D. The pictures are great, but I would love to see it in action!

Hope they add a good BTS to the DVD.

I think there are a few clips around like that--there's definitely tons of footage. After the screening we saw a solid 30 minutes of behind-the-scenes tomfoolery. I saw something on the web last week, can't remember where it was.

Charles, this is OT, but any insight on how they captured dialogue on the exterior shots - booms, lavs?

Thanks, Bill

I honestly can't remember any details on sound. Sorry!