Using Canon 5D Mark II as a video camera on professional productions with Steadicam and other rigs

Gear

ZephyrCan I fly my Alexa or RED on a Zephyr?389

Master SeriesIs a used Master Series rig worth buying as a first big rig?191

BFDHow do I power my BFD receiver from my camera or sled?186

VoltCan I retrofit a Volt onto my existing sled or gimbal?168

ArtemisHow do I power my camera and accessories from an Artemis sled?166

MDRWhere can I mount my Preston MDR on my rig?143

ModulusIs there a Modulus option for HD wireless video?141

G-70Will my G-70 fit my vest, gimbal or sled?126

FI+ZCan I control iris and zoom wirelessly, not just focus?60

HU3Where can I get my HU3 repaired, refurbished or repainted?60

CineLiveHow do I pack and case my CineLive rig for transport?54

G-70XHow does the G-70X compare to Pro Titan, Xarm and other arms?46

Trinity 2Is Trinity 2 SUP 3.0 firmware safe to install or buggy?46

Ultra VestWhich vest should I choose for my body size, comfort and operator type?39

2009Cameras (Film/Video/HD) forum

17 years old. Gear and prices may have changed since.

The Canon 5D Mark II can produce video quality comparable to professional Sony HDCAM cameras, with superior shallow depth of field compared to ENG cameras.
In video mode, ISO, shutter speed, and aperture default to automatic on this camera, limiting manual control during recording.
A variable neutral density filter such as the Singh-Ray Vari-ND (2-8 stops) addresses the lack of built-in ND filtration and allows workaround techniques for controlling exposure when the aperture is set to auto.
The camera outputs both HDMI and composite video, but not simultaneously, requiring separate signal paths for HD monitoring and SD return feeds.
Converting HDMI to SDI for on-set monitoring can be achieved using external converter boxes, with power supply voltage requirements being a consideration for Steadicam operations.
Canon released firmware enabling manual control of video exposure functions in response to operator feedback.
Shallow depth of field capability of this camera can create both advantages and challenges for video work depending on the specific production requirements.

The codec used for video compression can limit picture quality in certain situations.
The camera was originally designed as a still camera, not a video camera, affecting its operational ergonomics and feature set.
Not all external converter boxes are compatible with high-voltage Steadicam power systems.
The composite output limitation of not supporting simultaneous HD and SD output requires workarounds for complex video village setups.