American Cinematographer - May 2012 - 86

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Canon 5D Gets Mark III Upgrade Just in time for the 25th anniversary of the company’s EOS System, Canon U.S.A., Inc. has introduced the EOS 5D Mark III digital SLR camera. Positioned between the EOS 5D Mark II and Canon’s top-ofthe-line EOS-1D X, the 5D Mark II delivers superb image quality thanks to a new 22.3-megapixel full-frame Canon CMOS sensor, a high-performance Digic 5+ imaging processor, a 61-point High Density Reticular Autofocus System and 6 fps continuous-shooting speed. The 5D Mark III also incorporates enhanced video features, including better noise reduction, longer recording times and a builtin headphone jack for audio monitoring. The camera is capable of capturing 1080p Full HD video at 24p (23.976), 25p and 30p (29.97); 720p HD at 60 (59.94) and 50 fps; and SD at 30 (29.97) and 25 fps, giving users more flexibility and options for video capture. The 5D Mark III includes new H.264 video-compression formats to simplify and speed up postproduction work while giving users options to help achieve their ideal workflow; intraframe (ALLI) compression offers an editing-friendly format and interframe (IPB) compression provides superior data-storage efficiency. The camera also includes two methods of SMPTE-compliant time-code embedding, Rec Run and Free Run, allowing video footage from multiple cameras and separate audio recordings to be easily synced together in post. The new full-frame CMOS sensor and Digic 5+ processor have enhanced the camera’s image-processing performance over the 5D Mark II, significantly reducing moiré and color artifacts in scenes with horizontal lines and improving HD video quality. The 5D Mark III is also capable of recording video continuously for up to 29 minutes and 59 seconds across multiple 4GB files. Additionally, the camera boasts automatic file splitting and the extended memory
86 May 2012

capacity offered by dual card slots. The 5D Mark III includes manual audio-level control with 64 levels, adjustable both before and during movie recording. There is also an automatic audio-level setting, and sound recording can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input. The 5D Mark III is the first EOS DSLR to feature a built-in headphone jack for real-time audio monitoring during video capture. The 5D Mark III features a rugged camera body with magnesium-alloy body covers and a stainless-steel lens mount. The camera boasts a dust- and moisture-resistant design with improved gaskets and seals. Additionally, the 5D Mark III’s newly developed shutter unit has a durability rating of 150,000 exposures, and shutterrelease lag time has been reduced to 59 milliseconds. The camera’s 3.2" Clear View II LCD screen, the same as is featured on the EOS-1D X, boasts 1,040,000-dot resolution. The camera’s optical viewfinder has been upgraded to approximately 100-percent coverage, and it features an Intelligent Viewfinder display with an optional grid on demand. For better file management, especially when working with multiple cameras, the 5D Mark III supports custom file names. The camera accepts both Compact Flash Type 1 and SD/SDHC/SDXC memory cards in a dual-card-slot configuration. Three recording methods are supported: record the same data to both cards, record different file sizes or types to each card, or automatically switch to the second card when the first card is full. The 5D Mark III uses the same LP-E6 lithium-ion battery pack as other popular EOS cameras. Battery life is estimated at 950 exposures at normal temperatures, an improvement of 100 exposures compared to the 5D Mark II. The Mark III camera body weighs approximately 33.5 ounces with a battery installed, and the dimensions are approximately 6.0"x4.6"x3.0". Canon has also introduced a number of optional accessories for the 5D Mark III, including the Wireless File Transmitter WFT-E7A, which connects to the camera through its USB port and includes a built-in gigabit Ethernet connection, time syncing for multiple cameras on the same network, FTP mode, EOS Utility mode, WFT Server mode and Media Server mode; the GPS Receiver GP-E2, which connects via the accessory shoe or a USB cable and logs latitude, longitude, elevation and Universal Time Code; and Battery Grip BG-E11, which accepts one or two LP-E6 lithium-ion battery packs or a set of six AA batteries. The EOS 5D Mark III DSLR is available in a body-only configuration for an estimated retail price of $3,499; the camera is also available with Canon’s EF24-105mm f/4L IS USM zoom lens in a kit for an estimated retail price of $4,299. The Wireless File Transmitter

American Cinematographer



American Cinematographer - May 2012

Table of Contents for the Digital Edition of American Cinematographer - May 2012

American Cinematographer - May 2012
Contents
Editor’s Note
President’s Desk
Short Takes: M.I.A.’s “Bad Girls”
Production Slate: Person of Interest • The Raven
Harsh Realms
Wild Passion
Tales of Ordinary Madness
Top of Their Class
Center Stage for Cinematographers
Post Focus: Technicolor Restores Wings
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
Clubhouse News
ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - American Cinematographer - May 2012
American Cinematographer - May 2012 - Cover2
American Cinematographer - May 2012 - 1
American Cinematographer - May 2012 - 2
American Cinematographer - May 2012 - 3
American Cinematographer - May 2012 - Contents
American Cinematographer - May 2012 - 5
American Cinematographer - May 2012 - 6
American Cinematographer - May 2012 - 7
American Cinematographer - May 2012 - Editor’s Note
American Cinematographer - May 2012 - 9
American Cinematographer - May 2012 - President’s Desk
American Cinematographer - May 2012 - 11
American Cinematographer - May 2012 - Short Takes: M.I.A.’s “Bad Girls”
American Cinematographer - May 2012 - 13
American Cinematographer - May 2012 - 14
American Cinematographer - May 2012 - 15
American Cinematographer - May 2012 - 16
American Cinematographer - May 2012 - 17
American Cinematographer - May 2012 - Production Slate: Person of Interest • The Raven
American Cinematographer - May 2012 - 19
American Cinematographer - May 2012 - 20
American Cinematographer - May 2012 - 21
American Cinematographer - May 2012 - 22
American Cinematographer - May 2012 - 23
American Cinematographer - May 2012 - 24
American Cinematographer - May 2012 - 25
American Cinematographer - May 2012 - 26
American Cinematographer - May 2012 - 27
American Cinematographer - May 2012 - 28
American Cinematographer - May 2012 - 29
American Cinematographer - May 2012 - 30
American Cinematographer - May 2012 - 31
American Cinematographer - May 2012 - Harsh Realms
American Cinematographer - May 2012 - 33
American Cinematographer - May 2012 - 34
American Cinematographer - May 2012 - 35
American Cinematographer - May 2012 - 36
American Cinematographer - May 2012 - 37
American Cinematographer - May 2012 - 38
American Cinematographer - May 2012 - 39
American Cinematographer - May 2012 - 40
American Cinematographer - May 2012 - 41
American Cinematographer - May 2012 - Wild Passion
American Cinematographer - May 2012 - 43
American Cinematographer - May 2012 - 44
American Cinematographer - May 2012 - 45
American Cinematographer - May 2012 - 46
American Cinematographer - May 2012 - 47
American Cinematographer - May 2012 - 48
American Cinematographer - May 2012 - 49
American Cinematographer - May 2012 - 50
American Cinematographer - May 2012 - 51
American Cinematographer - May 2012 - Tales of Ordinary Madness
American Cinematographer - May 2012 - 53
American Cinematographer - May 2012 - 54
American Cinematographer - May 2012 - 55
American Cinematographer - May 2012 - 56
American Cinematographer - May 2012 - 57
American Cinematographer - May 2012 - 58
American Cinematographer - May 2012 - 59
American Cinematographer - May 2012 - 60
American Cinematographer - May 2012 - 61
American Cinematographer - May 2012 - Top of Their Class
American Cinematographer - May 2012 - 63
American Cinematographer - May 2012 - 64
American Cinematographer - May 2012 - 65
American Cinematographer - May 2012 - 66
American Cinematographer - May 2012 - 67
American Cinematographer - May 2012 - 68
American Cinematographer - May 2012 - Center Stage for Cinematographers
American Cinematographer - May 2012 - 70
American Cinematographer - May 2012 - 71
American Cinematographer - May 2012 - 72
American Cinematographer - May 2012 - 73
American Cinematographer - May 2012 - 74
American Cinematographer - May 2012 - 75
American Cinematographer - May 2012 - 76
American Cinematographer - May 2012 - 77
American Cinematographer - May 2012 - 78
American Cinematographer - May 2012 - 79
American Cinematographer - May 2012 - 80
American Cinematographer - May 2012 - 81
American Cinematographer - May 2012 - Post Focus: Technicolor Restores Wings
American Cinematographer - May 2012 - 83
American Cinematographer - May 2012 - 84
American Cinematographer - May 2012 - 85
American Cinematographer - May 2012 - 86
American Cinematographer - May 2012 - 87
American Cinematographer - May 2012 - New Products & Services
American Cinematographer - May 2012 - 89
American Cinematographer - May 2012 - 90
American Cinematographer - May 2012 - 91
American Cinematographer - May 2012 - International Marketplace
American Cinematographer - May 2012 - Classified Ads
American Cinematographer - May 2012 - Ad Index
American Cinematographer - May 2012 - In Memoria: Ric Waite, ASC; Herbert S. Alpert, ASC, CSC
American Cinematographer - May 2012 - 96
American Cinematographer - May 2012 - 97
American Cinematographer - May 2012 - Clubhouse News
American Cinematographer - May 2012 - 99
American Cinematographer - May 2012 - ASC Close-Up: Darius Khondji
American Cinematographer - May 2012 - Cover3
American Cinematographer - May 2012 - Cover4
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