Canon Mark White Specifications

WHITE PAPER
THE CANON
EOS 50D CAMERA:
UNPRECEDENTED
FLEXIBILITY OF DIGITAL
PHOTOGRAPHY
THE CANON
EOS 5D MARK II CAMERA:
HIGH PERFORMANCE FOR
HIGH EXPECTATIONS
I.
Overview
4
II.
Summary of New and Improved Features
EOS 50D vs. EOS 40D
EOS 5D Mark II vs. EOS 5D
EOS 5D Mark II vs. EOS-1Ds Mark III
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III.
Video Recording on EOS 5D Mark II
Features and Benefits
Positioning
Tech Info
Technology Highlight - New Video Shooting Capability
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IV.
Performance and Reliability
Advanced Sensor Designs
DIGIC 4 and 14-bit A/D Conversion
Image Recording and Processing
• RAW, sRAW, RAW+JPEG
• Intelligent Lithium-ion Battery on EOS 5D Mark II
Image Enhancement
• High ISO Noise Reduction
• Peripheral Illumination Correction
• Auto Lighting Optimizer
• Highlight Tone Priority
High Resolution, 3.0-inch Clear View LCD
Live View shooting with AF
Precise 9-point AF Systems
Improved Viewfinder Experience
Rugged Construction
EOS Integrated Cleaning System
Intuitive Button and Dial Arrangement
Increased Shutter Durability
Action-stopping Burst Modes
UDMA Compatibility
HDMI Connectivity
Technology Highlight - Live View Function
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V.
Controls and Convenience
Camera Settings and Displays
Creative Auto Mode
Image Quality Controls
Playback Controls and Displays
My Menu and User Settings
Custom Function Controls
AF Microadjustment
Quick Control Screen
Printing and Camera Direct Controls
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VI.
Intelligent Bundled Software
New Features in EOS Utility and DPP
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VII. New Accessories and Lenses
Battery Grips
Wireless File Transmitters
EF 24mm f/1.4L II USM lens
EF-S 18-200mm f/3.5-5.6 IS lens
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VIII. Specifications
EOS 50D
EOS 5D Mark II
EF 24mm f/1.4L II USM Wide Angle lens
EF-S 18-200mm f/3.5-5.6 IS Wide Angle-Telephoto Zoom lens
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IX.
Feature Comparison Charts
EOS 50D vs. EOS 40D
EOS 5D Mark II vs. EOS 5D
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X.
Conclusion
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Contents ©2009 by Canon U.S.A., Inc. All Rights Reserved. Excerpts from this material may be quoted in published product reviews and articles.
For further information, please contact Canon U.S.A., Inc. Public Relations Dept., (516) 328-5000.
EDITING CHANGES
Page 6: “low signal-to-noise ratio” was changed to “high signal-to-noise ratio.”
Page 11: (EOS 5D Mark II vs. EOS-1Ds Mark III) “EOS-1Ds Mark II” was changed to “EOS-1Ds Mark III.”
Page 15: “…the narrow depth of field of the EF85mm f/1.2L II USM lens…” was changed to “…the narrow depth of field that’s possible with the
EF85mm f/1.2L II USM lens…”
Page 18: “Video are recorded…” was changed to “Video clips are recorded…”
CLARIFICATION
This White Paper document includes the following statements in reference to depth of field control in movie mode with the EOS 5D Mark II:
Page 6: “With [movie mode] activated, photographers and videographers can capture high definition video with depth of field control found only
in professional models.”
Page 14: “[The EOS 5D Mark II] is lighter, smaller and lower priced than most professional HD camcorders, yet provides amazing depth of field
control…Until now, there were no affordable 1080p HD video camcorders…that had the depth of field control found in the EOS 5D Mark II.”
Page 22: “The full-frame, 35mm ‘film’ size of the EOS 5D Mark II’s sensor…improves depth of field control with normal lenses compared to
APS-C sensor cameras, with dramatic DOF control when shooting HD video.”
Page 77: “Alternatively, professional videographers will be drawn to the EOS 5D Mark II’s unique depth of field control [in movie mode]…”
This White Paper document also includes the following statements:
Page 18: “When shooting videos…[e]xposure is controlled using Program AE…”
Page 19: “Program AE is used for exposure control with all video recording.”
The White Paper’s references to “depth of field control” may have inadvertently confused some readers who equate that term with manual aperture
control. However, the EOS 5D Mark II does not provide manual aperture control in movie mode. As noted above, the White Paper states that
“Program AE is used for exposure control with all video recording.” Program AE is a fully automatic exposure mode that does not allow manual
aperture adjustment. Even without manual aperture control, depth of field in movie mode with the EOS 5D Mark II can be controlled, in the sense
that it can be made narrow or deep depending on the user’s choice of focal length and subject distance. These two factors apply just as well to the
EOS 5D Mark II as they do to any other camera or camcorder. Another way that EOS 5D Mark II users can control depth of field in movie mode is
through the camera’s AE lock function, which can prevent the aperture value from changing.
Perhaps more importantly, with the EOS 5D Mark II’s large image sensor and its ability to use very fast lenses, users can obtain shallow, selective
depth of field that is difficult or impossible to achieve with regular camcorders with smaller image sensors. This sensor size difference means that,
for any given combination of aperture value, subject distance and angle of view, images from the EOS 5D Mark II will have shallower depth of field
than images from a conventional HD device. EOS 5D Mark II users can take advantage of this feature to produce high quality HD movies.
Canon is gratified at the overwhelmingly positive market response to the EOS 5D Mark II camera. Based on this success, it’s only natural that
advanced users are looking for manual aperture control in movie mode, and Canon is listening to constructive comments and feature suggestions.
In the meantime, we hope that our comments here will help to clarify the White Paper’s statements on depth of field control in movie mode.
I. OVERVIEW
4
I. OVERVIEW
5
EOS 50D
EOS 5D Mark II
Great photographers know that one of the secrets to capturing exceptional photos is to
match the camera, lens, and accessories to the photo assignment at hand. But budget also
plays an important role in maintaining a competitive advantage, especially for advanced
and semi-professional photographers fighting for the recognition they deserve. That’s why
Canon’s newest DSLRs, the EOS 50D and EOS 5D Mark II are designed, built, and priced
to appeal to a wide range of serious photographers, with groundbreaking features inspired by
creative professionals.
Both cameras inherit the rugged bodies, exceptional performance, and enduring value that
made the EOS 40D and EOS 5D two of the top-selling DSLRs in their categories. In
keeping with Canon’s history of technology advancements and unrivaled control over the
manufacturing process from integrated circuits to optical coatings, the EOS 50D, at
around $1,400, and the EOS 5D Mark II, at around $2,700, are priced similarly or well
below the introductory prices of their predecessors. Yet both offer improved image quality,
higher precision AF systems, and a host of exciting new features.
The EOS 50D’s 15.1-megapixel, high sensitivity CMOS sensor, designed with an improved
EOS Integrated Cleaning System to resist dust, offers exceptional resolution, image quality, and
low-light performance for an APS-C sized imaging sensor. Its 14-bits per channel of RAW
data is masterfully converted into more natural colors, finer color gradations, razor-sharp detail,
and extraordinarily low noise images by Canon’s state-of-the-art DIGIC 4 Image Processor.
The processing prowess of the DIGIC 4 Image Processor also enables the EOS 50D’s 6.3 fps
burst rate at full resolution as well as a new suite of sophisticated — and automatic — image
enhancement features.
I. OVERVIEW
6
The EOS 5D Mark II camera breaks new ground for a full-frame DSLR. It shares 80% of its
features with the EOS 5D, and 10% with the flagship Canon EOS-1Ds Mark III (including a
Full-frame 21.1-megapixel sensor and bright, full coverage optical viewfinder). However, the
EOS 5D Mark II’s 21.1-megapixel sensor is unique and offers an exciting feature found on no
other DSLR to date—30 fps, 1080p Full HD video recording with sound! The 1080p HD video
recording mode represents a paradigm shift for still photographers and videographers alike, and
promises to open new creative doors and
commercial opportunities for advanced,
professional, and fine art photographers.
With it activated, photographers and videographers can capture high definition video
with depth-of-field control found only in
professional video models—using much more
affordable Canon EF lenses including fisheye,
ultra-wide, and image stabilized lenses.
1080p HD Video
To accommodate the larger 36mm x 24mm full-frame sensor, the EOS 5D Mark II sports an
improved optical viewfinder with an impressive 98% coverage. In concert with the new sensor and
integrated DIGIC 4 Image Processor, the EOS 5D Mark II gives photographers unparalleled
opportunity to capture images with superb tonal gradations, extended dynamic range, and a
high signal-to-noise ratio—allowing normal ISO settings up to 6400, and expanded ISO
settings up to 25,600. The DIGIC 4 Image Processor enables faster startup times and a 3.9 fps
burst rate with continuous capture of 21.1-megapixel JPEGs limited only by the capacity of the
memory card when using UDMA-compliant CF cards. Advanced in-camera functions similar to those found in the provided Digital Photo Professional RAW conversion software are
also a benefit of the DIGIC 4 Image Processor and include Peripheral Illumination
Correction, High ISO Noise Reduction and Auto Lighting Optimizer.
Both of the new EOS models now feature multi-coated 3.0-inch LCDs
with 920,000-dot resolution—displaying nearly four times the detail as
those found on previous Canon DSLRs. The LCDs also feature improved
dirt resistance, menu readability, reduced reflectivity for enhanced viewing
in bright light, and 100% scene coverage to assist manual focusing and
composition in Live View mode. For novices getting the feel of the
EOS 50D or EOS 5D Mark II, the new Quick Control screen lets you
make common exposure and image quality adjustments from just one
screen, or you can use the screen to modify settings in the Creative
Auto settings mode.
EOS 50D’s 3.0-inch LCD
I. OVERVIEW
7
Both EOS cameras offer Quick and Live AF modes that work in Live View mode,
including a Face Detection AF mode that optimizes exposure and focus for a selected face.
Faster AF speed and tracking is possible when using the viewfinder in either camera. The
EOS 5D Mark II’s 9 AF points are arranged in a diamond-shaped array within the
viewfinder for improved horizontal and vertical focus
coverage and tracking. Eight of the AF points are horizontalline sensitive with f/5.6 or brighter lenses, while the center
point is a cross type with vertical line sensitivity with f/2.8
or brighter lenses. These selectable, and visible 9 AF points
are assisted by six invisible supplemental AF Assist Points
that can combine with the center AF point to increase its
size when tracking fast moving subjects.
EOS 5D Mark II’s Viewfinder
The autofocus engine on the EOS 50D also includes 9
cross-type AF points in a diamond array, with eight providing
horizontal and vertical sensitivity with f/5.6 or brighter
lenses, and a unique diagonal, high precision center sensor
that works with f/2.8 or brighter lenses. In addition, both the EOS 50D and EOS 5D
Mark II AF systems, like Canon’s latest 1D-series professional models, can now correct
for focus point shifts caused by different light sources, and feature an AF Microadjustment
setting to help fine tune individual Canon EF lenses.
The EOS 50D will suit the needs of advanced photographers looking for an extremely
durable and affordable camera that also features incredible image quality, fast capture, a
precision AF system, and an integrated pop-up flash system. Serious photographers and
pros looking to capture images with incredible detail, wider fields of view and extreme low
light scenes will find the extra cost of the EOS 5D Mark II well worth it. Add in the
1080p HD video recording and the EOS 5D Mark II can’t be beat at any price.
II. SUMMARY OF NEW AND IMPROVED FEATURES
8
II. SUMMARY OF NEW AND IMPROVED FEATURES
EOS 50D vs. EOS 40D
9
• 15.1 Megapixel CMOS sensor (APS-C size) with improved microlens design for superior
image quality
• Advanced DIGIC 4 Image Processor for faster image processing and writing
• Approx. 6.3 fps continuous shooting even at maximum image size with bursts up to 90 shots
( JPEG, Large/Fine in high-speed continuous mode using UDMA CF card), up to 16
shots in RAW, and up to 10 shots in RAW+JPEG Large/Fine
• Normal ISO range from ISO 100 to 3200, with expanded ISO range from 6400 to 12,800
• Fortified moisture and dust seals around battery compartment and memory card
compartment
• Improved long exposure noise reduction, and high ISO noise reduction with Standard,
Low, Strong, or Disabled settings
• Support for high speed UDMA-compliant CF cards
• Peripheral Illumination Correction compensates for light falloff, using optical characteristics
of up to 40 Canon lenses stored in camera
• Improved EOS Integrated Cleaning System with Fluorine coated low-pass filter and
manual control of Self Cleaning Sensor Unit activation
• Optical viewfinder data now includes camera shake warning symbol, accepts 3 optional
interchangeable focusing screens
• AF Microadjustment setting now included in Custom Functions
• EOS 50D’s 3.0-in., Clear View LCD with 920,000-dot resolution, 100% coverage, and a
wider viewing angle (approx. 170° vertical and horizontal)
• LCD includes dirt and smudge resistant Fluorine coating and anti-reflective coatings
• Quick Control screen displays essential camera settings in one window, with single press
of rear 8-way multi-controller
• Live View Function with Silent shooting mode and 3 AF modes: Quick AF uses the
camera’s 9 AF points with a momentary interruption of live viewing. Live AF mode uses
contrast detection with an AF frame that can be moved around the image area.
Face Detection AF locks in on detected faces in scene and can be set to desired face
• Two different framing grids are provided for improved Live View composition
• Support for reduced-resolution sRAW1 (7.1 megapixel) and
sRAW2 (3.8 megapixel) files
• Improved Auto Lighting Optimizer (ALO) and Highlight Tone Priority settings
• Creative Auto exposure mode allows intuitive adjustment of settings
• Higher degree of customization with 25 Custom Functions and 72 possible settings
• HDMI connectivity allows you to view your still photos or slide shows on a High
Definition TV or projection system. Output resolution is set automatically to
HDTV model
• Compatible with EF and EF-S lenses, including new compact EF-S 18–200mm
f/3.5–5.6 IS lens with in-lens Optical Image Stabilizer
II. SUMMARY OF NEW AND IMPROVED FEATURES
10
• Accepts optional Battery Grip BG-E2N with capability to house 2 BP-511A lithium-ion
batteries or 6 AA/LR-6 batteries (same as EOS 40D)
• Compatible with compact Wireless File Transmitter WFT-E3A which connects
camera to wireless and wired LAN networks, or to USB drives and GPS units (same as
EOS 40D)
• Switch to registered AF point is possible (Home Position function)
EOS 5D Mark II vs. EOS 5D
• 21.1 Megapixel CMOS sensor (Full-frame, 36mm x 24mm). Canon-designed and
manufactured with improved microlens design and 6.4 micron pixels for superior image
quality 0.76x viewfinder magnification (approx. 35° angle of view), approx. 20mm eyepoint
• Advanced DIGIC 4 Image Processor provides faster image processing and card writing
speed, plus faster 0.1 sec. startup time
• 14 bits per color A/D conversion in DIGIC 4 Image Processor yields finer gradations,
more accurate colors, and improved highlight and shadow details
• Recording and playback of 1080p Full HD video (1920 x 1080 pixels per frame at 30 fps)
with sound is now possible in Live View mode, a first for any EOS Digital SLR camera
• Built-in microphone records in mono; 3.5mm diameter stereo mini jack can be used to
record from stereo audio sources
• Picture Style settings can be used in video recording mode
• Image Stabilized lenses can be used during HD video recording
• Basic ISO range 100~6400; ISO expansion setting extends ISO range from ISO 50 to 25,600
• Approx. 3.9 fps continuous shooting even at maximum image size with bursts limited only
by memory card capacity ( JPEG, Large/Fine images in high-speed continuous mode)
when using a UDMA CF card or up to 14 in RAW, up to 13 in RAW+JPEG Large/Fine
• Continuous HD movie recording time up to approximately 12 minutes using a 4GB CF card
• New, more durable shutter rated to 150,000 shots for professional level usage
• Fortified moisture and dust seals around battery compartment, memory card compartment
and multiple buttons
• Improved long exposure noise reduction, and high ISO noise reduction with Standard,
Low, Strong, or Disabled settings
• Support for high speed UDMA-compliant CF cards
• Peripheral Illumination Correction compensates for light falloff, using optical characteristics
of up to 40 Canon lenses stored in camera
• Improved EOS Integrated Cleaning System with Fluorine coated low-pass filter and
manual control of Self Cleaning Sensor Unit activation
• Improved optical wide-coverage viewfinder covers 98% of scene, data now includes ISO speed,
Highlight Tone Priority indicator (D+), monochrome: B/W, and Battery check indicators
• New Eg-series focusing screens include Precision Matte, Precision Matte with grid and
Super Precision Matte
II. SUMMARY OF NEW AND IMPROVED FEATURES
11
• Improved AF sensor with 9 visible and 6 invisible assist AF points now automatically corrects for shifts in focus due to different light sources
• AF Microadjustment setting for fine-tuning individual lenses is now included in
Custom Functions
• New AF Start button for rapid activation of autofocus system
• Control button layout has been rearranged for more intuitive access on camera back and top
• 3.0-in. Clear View LCD with 920,000-dot resolution, 100% coverage, and a wider viewing
angle (approx. 170° vertical and horizontal)
• LCD features dirt and smudge resistant Fluorine coating and anti-reflective coatings
• Quick Control screen displays essential camera settings in one window
• Live View Function with Silent shooting mode and 3 AF modes: Quick AF uses the
camera’s 9 plus 6 AF points with a momentary interruption of live viewing. Live AF mode
uses contrast detection AF with an AF box that can be moved around the image area.
Face Detection AF locks in on the closest face (up to 35 faces are detectable) and can be
set to follow desired face
• Newly developed 2 motor system drive powers shutter mechanism and mirror assemblies
independently
• Support for reduced-resolution small RAW files: sRAW1 (10 megapixels) and sRAW2
(5.2 megapixels)
• Improved Auto Lighting Optimizer (ALO) and Highlight Tone Priority settings
• Higher degree of customization with 25 Custom Functions with 71 possible settings
• HDMI connectivity allows you to view your still photos or slide shows on a High Definition
TV or projection system. Output resolution is set automatically to HDTV model
• Compatible with EF lenses, including new EF 24mm f/1.4L II USM lens
• New LP-E6 lithium-ion, 1800mAh smart battery provides data on remaining shot capacity,
shutter count, and recharge performance
• Accepts new optional Battery Grip BG-E6 with capability to house 2 smart LP-E6
lithium-ion batteries or 6 AA/LR-6 batteries
• Compatible with compact Wireless File Transmitter WFT-E4A which connects camera
to wireless and wired LAN networks, or to USB drives and GPS units
EOS 5D Mark II vs.
EOS-1Ds Mark III
• Both offer 21.1 Megapixel Full-frame CMOS sensors, but EOS 5D Mark II is priced
nearly $5,000 less than EOS-1Ds Mark III
• EOS 5D Mark II is lighter and more compact. The EOS-1Ds Mark III is built to tighter
pro standards and includes a vertical grip and shutter release
• EOS 5D Mark II features 1080p Full HD video and sound recording
• Has HDMI output for viewing video and still images
• Has three AF modes in Live View Function: Quick AF, Live AF and Face Detection AF
• Uses single DIGIC 4 Image Processor with fast processing and writing
II. SUMMARY OF NEW AND IMPROVED FEATURES
12
• Features normal ISO range from 100–6400, expanded ISO range from ISO 50 to 25,600
• EOS 5D Mark II’s 3.0-in. LCD has higher 920,000-dot resolution and added coatings for
smudge resistance and low reflectance
• Image processing features include Peripheral Illumination Correction and Auto Lighting
Optimizer
III. VIDEO RECORDING ON EOS 5D MARK II
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III. VIDEO RECORDING ON EOS 5D MARK II
Features and Benefits
14
The EOS 5D Mark II’s Full High Definition (HD) video recording and playback functionality
is creating a paradigm shift in the way still photographers and videographers approach their
craft. In the past, one camera or camcorder couldn’t do it all, so advanced and professional
photographers rarely thought outside of the still-picture box—and into the fluid motion world of
video with sound. But as the thirst for video on the Internet expands and as news organizations
tighten their budgets, it will be more cost effective to send one EOS 5D Mark II equipped
photographer to an event or wedding instead of a still photographer
and movie crew, or a single wedding photographer to capture
the important moments in both formats, thus giving owners
of the EOS 5D Mark II a distinct competitive advantage.
On the other hand, serious videographers rarely use their
camcorders to capture still images—even though most modern
camcorders have the ability. The reason? The average still
frame taken by a camcorder (even an expensive 3-chip,
HDTV model) is under 5.0-megapixels and may include
image quality problems that show up in print. Unlike these
camcorders, the 21.1-megapixel EOS 5D Mark II can capture
extraordinary quality still images for print clients and even expand the creative possibilities
when recording HD video clips. It’s lighter, smaller, and lower-priced than most professional
HD camcorders, yet provides amazing depth-of-field control, exposure compensation and white
balance controls, and full compatibility with Canon’s super-telephoto, macro, fisheye, tilt-shift,
soft focus, and image stabilized EF lenses.
Until now, there were no affordable 1080p HD video camcorders able to capture ultrawide or
fisheye perspectives without the addition of distortion-producing adapter lenses, and none
that had the depth-of-field control found in the EOS 5D Mark II. There are several reasons
for this: all current 3-chip HD camcorders, even those costing over $10,000, use 1/3-inch (or
smaller) format sensors with pixels that are approximately 1/10 the size of those found in the
EOS 5D Mark II. Pixel size primarily affects the light sensitivity and noise levels, with smaller
pixels being less sensitive and producing higher noise. Using 3 sensors to capture individual
RGB color channels helps to improve light sensitivity and reduce overall noise to some extent.
But the sensor size affects the focal length required to deliver a normal zoom range, and because
of the small sensor size, most camcorders feature lenses with focal lengths that start around
5mm and extend to 50mm (for a 10x zoom) or 100mm (for a 20x zoom that’s roughly
equivalent to 400mm focal length on a full-frame camera such as the EOS 5D Mark II)
Depth of field at any given aperture increases as focal length decreases, so for most focal
length positions on a typical HD camcorder, it's nearly impossible to blur background elements
when shooting a portrait or closeup. On the other hand, even an EF 50mm f/1.4 USM lens
mounted on an EOS 5D Mark II will provide narrower depth of field at all apertures compared
III. VIDEO RECORDING ON EOS 5D MARK II
15
to the fully zoomed-in focal length on most camcorders. And few video cameras in existence
can match the the narrow depth of field that’s possible with the EF85mm f/1.2L II USM
lens used by many top-end portrait shooters. Because of these unique video recording traits
and the versatility provided by Canon’s EF lens system, the EOS 5D Mark II should be as
attractive to serious videographers as it is to advanced and professional still photographers.
It may seem like a small technological advance to move from a full-frame DSLR model
offering a Live View Function (such as the more expensive EOS 1Ds Mark III) to a full-frame
DSLR offering both Live View and 1080p Full HD video recording functionality. But it was
an engineering feat that only Canon, with its long history as a manufacturer of consumer
and professional level camcorders, premium lenses for TV and broadcast cameras, and
advanced CMOS sensors could achieve. Canon’s knowledge of the real world challenges
faced by videographers was also behind several features that take the EOS 5D Mark II to
the next level. These include the 3.5mm diameter stereo mini jack for connecting a stereo
microphone or external audio mixer to the camera, a built-in speaker for audio playback, an
HDMI output jack for viewing both stills and video clips on an HDTV monitor, and the
ability to record either 16:9 ratio, 1080p HD videos with sound, or 4:3 ratio, SD (VGA
resolution, 640 x 480) videos with sound directly to UDMA or high speed CF cards.
The two video resolution choices are selected via menu on the camera’s LCD, as are the desired
Picture Style settings for creative control of the video image quality. Once the camera is set to
Live View mode, pressing the Set button on the camera back activates the video recording function.
Still Photo During Video Recording (Conceptual Diagram)
CF card
(2) (3)
(1)
Video file
(4)
Still photo file
Pressed Recording completed
completely live video reappears
Video
Still display
Approx. 1 sec.
Video
At any time during video recording, photographers can capture
high-resolution still images with the press of the shutter
button (or up to 3.9 fps burst rate). Still images taken during
recording are always shot in Program AE mode, regardless of
the Mode Dial settings in effect. ISO is also set automatically
for still images during video recording, from 100 thru 6400,
or up to ISO 12,800 when ISO expansion is activated in the
Custom Function menus. During the time it takes to record
the image as a separate file on the memory card, a freeze frame
of the photo is displayed during playback, and sound recording
is temporarily suspended.
If desired, the Live AF Function, with or without Face Detection, can also be activated during
video recording mode by pressing the AF-ON button on the EOS 5D Mark II’s back panel (there
are some potential limitations to live autofocusing during moving recording). Manual focusing and
zooming of the attached lens is also possible during video recording, and recommended when using
the camera’s internal microphone to reduce the chances of recording AF motor noises.
III. VIDEO RECORDING ON EOS 5D MARK II
16
In order to view 100% of the scene while recording in 16:9 ratio HD or 4:3 ratio SD, the
camera automatically adjusts the LCD display to the proper aspect ratio with unused portions
of the normal 3:2 aspect ratio still image area partially grayed out. The display can also be set
to include exposure and time remaining indicators, as well as the movable focus frame area. In
playback mode, a familiar tool bar allows you to jump from scene to scene, pause action, or
proceed in slow motion. When connected to an HDTV via an optional HDMI cable, the
camera automatically senses the resolution of the TV and provides the proper signal for the
highest quality video playback possible.
Video Display (16:9)
Video Display (4:3)
Since the camera records video using the popular “.mov” storage format, a wide variety of
movie editing programs can be used to edit the video clips or combine clips into short
videos. Canon includes its Movie Edit Task software, for Mac or Windows computers, to
allow basic video editing at the computer. These clips can then be resaved on a CF card and
played back on the camera monitor or fed out to an HDTV via an HDMI cable or provided
audio video cable. That’s a great way to show off your video highlight or even slideshow
portfolios of your favorite subjects.
Positioning
Thinking outside the box: Many still photographers have never even used a camcorder or had
video training. To them, the HD video recording mode on the EOS 5D Mark II might seem as
odd a feature as adding Live View Function once did on a DSLR. (But once you’ve used Live
View Function to shoot an otherwise impossible macro shot, or take photos remotely from a
computer, you’ll understand its benefits.) So here are some scenarios where the video recording
feature might help to increase a photographer's sales or capture unforgettable moments:
Wedding photographers: Some couples can’t afford to hire both a professional photographer
and a professional videographer, and when they can, both pros can’t always be in the same
place at the same time. The EOS 5D Mark II can be used to capture an HD video of the
bride throwing the bouquet (freezing the flowers in mid air in a still frame, of course!) and
then continue to record HD action as bridesmaids and guests battle for control of the
bouquet (or turn and run in the other direction!)
III. VIDEO RECORDING ON EOS 5D MARK II
17
Photojournalists: The market for high-resolution video news footage and for expanded web
video coverage of news events can increase the commercial possibilities for traditional still
photographers at news or sporting events. This is especially true in situations where a photojournalist is already holding the EOS 5D Mark II over his head in Live View mode in order
to get a view of the action. For some newspapers, the resolution provided by a single HD video
frame might be more than adequate for printing if that scene captures the defining moment at
an event, in which case the EOS 5D Mark II captures 30 frames per second!
Fashion and runway: The crush of photographers and videographers competing for every
available inch of space at the end of a fashion runway may be a scene (and nightmare) of the
past once the EOS 5D Mark II hits Fashion Week. That’s because one camera will be able to
do both jobs well and ease the camera crowd pressure. With a hand-held, image stabilized,
wide angle to moderate telephoto zoom lens, the only thing a dedicated still shooter will have
to remember is that videos don’t record well when the camera is held in a vertical orientation.
But with the incredible resolution captured by this camera in still mode, who will know you
didn’t shoot verticals?
Underwater photographers: First, digital photography expanded the number of shots possible
during a photo dive from 36 exposures (on film) to hundreds on a memory card. Then came
the relief of using the Live View Function instead of trying to squeeze a dive mask against the
small viewfinder. Now it’s set to revolutionize the underwater photography and video world
with a camera that’s small enough to fit in a moderately priced still camera housing, yet has
the potential to capture both wide angle HD video clips and superior quality still photos.
This is the kind of camera that works well under pressure!
Nature: You’ve hiked to the remotest corners of the Alaskan wilderness to capture Grizzly
bears during the salmon run, bald eagles gathering in unprecedented numbers, or polar bears
giving birth. You only had enough room in your backpack (and energy in your body) for one
camera system during these once in a lifetime moments—and you chose the EOS 5D Mark
II. Why limit yourself to selling the incredible still photos you captured to The National
Geographic magazine when in the same building you can try to sell HD video footage for
use on the National Geographic HDTV channel?
Law enforcement: Documenting a crime scene or capturing surveillance photos can be a
challenging task, and you don’t want to miss the evidence or any aspects of a crime in
progress. In HD video recording mode, you won’t miss a thing, and you can always capture a
high-resolution still image for extreme enlargement when something catches your eye.
Now, imagine placing the EOS 5D Mark II closer to the action and controlling it from an
optional remote control or even a remote computer—and you’re realize the benefits of its
video recording prowess plus its silent still shooting mode.
III. VIDEO RECORDING ON EOS 5D MARK II
Tech Info
18
Video resolution: Capture Full HD videos (1920 x 1080 pixels) at 30 fps with mono sound
(from camera) or stereo sound (from compatible external audio source). Captures standard
SD videos (640 x 480 pixels) at 30 fps.
Video recording format: MOV using MPEG-4 compression (H.264).
Audio format: Sound is recorded as linear PCM without compression in mono (when
recorded by monaural microphone located under camera nameplate) or in stereo (when
using optional external stereo microphone). Sound levels and wind filter settings are
adjusted automatically by the camera.
Recording time: The EOS 5D Mark II will record video up to 4GB per clip or a maximum
continuous video capture time of 29 minutes and 59 seconds, whichever comes first.
Depending on the level of detail in the scene, a 4GB memory card can record approximately
12 minutes of movies at Full HD resolution or approximately 24 minutes in standard definition.
Exposure: When shooting videos, the metering mode is set to a modified evaluative
metering which uses the image sensor. Exposure is controlled using Program AE and
allows exposure compensation and AE lock. ISO is automatically set by the camera (100
to 6400, expandable to 12,800), and video shutter speeds range from 1/30 to 1/125th
(always set automatically by the camera).
Picture Style: Video clips are recorded using the Picture Style set for Live View Function
still shooting (black & white video recording is possible). Picture Style sharpness, color
saturation, and other parameters will be reflected in the video footage.
Input jacks: 3.5mm external stereo microphone terminal
Output jacks: HDMI output terminal (cable sold separately) and Audio/single-pin Video
OUT terminal (cable included).
Playback controls: Includes play, pause, stop, single frame advance, slow motion playback
in forward and reverse, jump to beginning or end of clip, and audio output level. In
thumbnail review mode, videos show perforation graphic to left side to differentiate them
from still photos.
III. VIDEO RECORDING ON EOS 5D MARK II
New Video Shooting Capability
Still photographers who also need to capture motion picture
video will find the video recording capabilities of the EOS 5D
Mark II highly useful, often eliminating the need to carry a separate camcorder. The EOS 5D Mark II can shoot video at Full
HD (High Definition) at 1920 x 1080 pixels or SD (Standard
Definition) at 640 x 480 pixels. The frame rate is 30 fps.
To begin video shooting, the user simply presses the SET
button while the camera is in Live View mode. Pressing SET
again ends recording. The maximum file size of individual video
clips is 4GB. This works out to approximately 12 minutes of
footage when shooting in HD, and 24 minutes shooting SD.
There is no real delay before being able to start the next new
video clip, and the only limit to the number of clips you can shoot
is the size of your memory card. Videos are recorded as MOV
files (with MPEG-4 compression), and the sound is recorded
using uncompressed linear PCM (pulse code modulation).
The Picture Style selected for the Live View mode is
used for video recording. Thus, adjustments
to a Picture style — such as sharpness,
color saturation, etc. — will be reflected in
the captured video footage.
Focus is performed prior to the start of
video recording. As with still shooting, the user
Video Playback Screen
19
can focus manually or use one of three AF modes. Focus can be
reacquired in the midst of video shooting using the AF-ON
button. Program AE is used for exposure control with all video
recording. The image sensor is used for metering, and exposure
is calculated in real time using an evaluative algorithm.
A built-in microphone below the camera nameplate
records monaural sound. Stereo recording is possible with an
external stereo microphone connected to the camera’s mic
input connector (a standard 3.5mm stereo jack). Audio levels
are automatically adjusted whether recording with the built-in
or an external microphone.
Still photos can be captured at any time during video
recording simply by pressing the shutter release button. The
photo is captured at the currently active still image quality
settings. Video recording is momentarily interrupted while a
still photo is being captured; the Live View Function returns
and video recording automatically resumes as soon as the still
capture is completed.
Video can be played back on the EOS 5D
Mark II LCD monitor with sound reproduced
via a built-in speaker located to the right of the
viewfinder eyepiece. Playback options include
standard and slow motion replay (with variable
speed) and various still-frame capabilities.
IV. PERFORMANCE AND RELIABILITY
20
IV. PERFORMANCE AND RELIABILITY
21
Advanced Sensor Designs
24mm
EOS 5D Mark II’s new 21.1-megapixel full-frame CMOS sensor: The advanced single-plate
CMOS sensor in the EOS 5D Mark II achieves the highest performance of any sensor in the
Canon DSLR lineup. It shares many traits with the CMOS sensor found in the flagship
EOS-1Ds Mark III, including its 36mm x 24mm (35mm format) size,
EOS 5D Mark II Full-Frame CMOS Sensor
approximately 21.1 effective megapixels with 6.4µm pixel pitch, a 4-channel
(Actual Size)
data readout, and low-pass filter design. However, this second-generation
sensor offers increased sensitivity and improved noise reduction circuitry that
enables standard ISO’s ranging from 100 to 6400 and expanded ISO ranges
from 50 to 25,600.
Low-Pass Filter Construction
The EOS 5D Mark II’s sensor is
designed and manufactured entirely by
Canon using its state-of-the-art
36mm
* Package dimensions: 52.5 mm x 36.5 mm
CMOS semiconductor fabrication and
microlens-forming process. It includes a
protective, double low-pass filter design that separates
the subject image into horizontal and vertical directions,
a phase plate, and an infrared-absorption glass. (The
front side of the first low pass filter also includes a fluorine
coating to help reduce dust adhesion and a dichroic
mirror vapor deposition on the rear surface to reflect
infrared rays.)
Dichroic mirror (Reflects infrared rays)
Infrared-absorbing glass
CMOS
sensor
Low-pass filter -2
(Separates image in
vertical direction)
Phaser layer
(Converts linear polarized light
into circular polarized light)
Low-pass filter -1
(Separates image in horizontal direction)
Compared to the original EOS 5D, the gap between the on-chip microlenses on the EOS 5D
Mark II has been narrowed while the photodiode area ratio (photodiode area divided by the
pixel size) has been increased. The distance between the microlens and photodiode has been
further reduced to improve light gathering efficiency, and new color filter materials have been
added to increase light transmission while retaining accurate color reproduction. These optical
Microlens Comparison (Conceptual Diagram)
Gap between microlenses
Pixel size
EOS 5D Mark II (6.4 x 6.4 mm)
Photo diode area
Pixel pitch
Photo diode
EOS 5D (8.2 x 8.2 mm)
IV. PERFORMANCE AND RELIABILITY
22
advances and technology improvements to
the sensor, plus countermeasures that help
suppress noise from other camera circuits, are
responsible for the sensor’s high signal to
noise ratio, enabling higher ISO speeds and
improved dynamic range at low ISOs.
Those are impressive sensor improvements,
considering that the original EOS 5D had
larger 8.2µm pixels compared to 6.4µm pixels
on the EOS 5D Mark II, and that pixel
noise usually increases as size decreases.
Opening Ratio (Conceptual Diagram)
Photo diode area
Pixel size
EOS 5D Mark II
(6.4 x 6.4µm)
EOS 5D
(8.2 x 8.2µm)
Next, an optimized output amp with high-speed reading capability that is approximately 2.2
times faster than on the EOS 5D enables a faster burst mode of 3.9 fps (compared to 3.0 fps
on the EOS 5D’s lower resolution 12.8-megapixel full-frame sensor) and makes it possible to
readout a 30 fps HD video signal without overheating the sensor. The full-frame, 35mm
“film” size of the EOS 5D Mark II’s sensor also maximizes the field of view of Canon’s EF
lenses without adding the 1.6x lens crop factor found in APS-C sensor-based DSLRs. This is
especially important when shooting with fisheye, ultra-wide, and wide-angle lenses, as it
maintains the same field of view as those lenses have when mounted on conventional 35mm
SLRs. It also improves depth-of-field control with normal lenses compared to APS-C sensor
cameras, with dramatic DOF control when shooting HD video.
28.0mm
14.9mm
EOS 50D CMOS Sensor
EOS 50D’s newly developed, 15.1-megapixel APS-C sized CMOS sensor: Even though the
new EOS 50D doesn’t have the full-frame sensor of the EOS 5D Mark II, it benefits from
numerous advances in sensor technology. Offering the highest performance to date of any APS-C
sized imaging sensor, the new Canon-manufactured, 22.3mm x 14.9mm CMOS sensor found in
the EOS 50D helps maintain a heritage of innovation and superior image quality found in all of
its predecessors. It contains approximately 15.1 effective megapixels, gapless microlenses, improved
noise reduction, and a Live View silent shooting mode with electronic 1st curtain
shutter. As with the EOS 40D, the sensor size creates a lens crop factor of 1.6x
for all Canon EF and EF-S lenses.
Sensor Comparison Chart
Specification
Effective pixels
EOS 50D
Approx. 15.10 million
(4752 x 3168)
EOS 40D
Approx. 10.10 million
(3904 x 2598)
Total pixels
Approx. 15.50 million
(4848 x 3204)
Approx. 10.50 million
(3996 x 2620)
22.3mm
Effective sensor size [mm]
22.3 x 14.9
22.2 x 14.8
4.7
5.7
42.0mm
Pixel size [µm]
Color filter
Aspect ratio
RGB primary color filter
3:2
IV. PERFORMANCE AND RELIABILITY
23
EOS 50D Gapless Microlenses
Photodiode
EOS 50D
Several optical and electronic technology advancements
debut in the EOS 50D’s CMOS sensor. For starters, a
new micro manufacturing process was used in the
CMOS semiconductor production phase to increase the
light-sensitive photodiode area. Above the photodiode,
gapless microlenses improve the light-gathering efficiency
of the smaller 4.7µm pixels and help achieve high ISO
speeds (standard range from ISO 100 to 3200, with
expanded 6400 or 12,800 ISO settings possible) plus
lower noise images than on the EOS 40D.
Next, improved 4-channel data reading from each line on
the sensor paired with a new high-speed, low-voltage amp
increases the signal speed by about 1.5x over the EOS 40D’s
sensor, helping to maintain a fast 6.3 fps burst rate despite
the higher amounts of data coming from the sensor’s 15.1
megapixels. Power consumption is also reduced.
EOS 40D
Infrared, Low-Pass Filter
Construction
Dichroic mirror
(Reflects infrared rays)
3. Infrared-absorbing glass
CMOS
sensor
4. Low-pass filter -2
(Separates image
in vertical direction)
2. Phaser layer
(Converts linear polarized
light into circular polarized light)
1. Low-pass filter -1
(Separates image
in horizontal direction)
In front of the CMOS imaging surface and micro-mirror array is a protective infrared and
low-pass filter array that is similar in design to the one found on the EOS 40D. However,
as on the EOS 5D Mark II, Canon has added a dust-repelling fluorine coating to the front
surface of the first low pass filter and moved the infrared blocking, dichroic coating to the
back side of that filter.
DIGIC 4 and 14-Bit A/D
Conversion
Both new EOS DSLRs rely on the incredible speed, advanced image-processing capabilities,
and lower power consumption provided by Canon’s DIGIC 4 Image Processor. The major
advances and features it provides over the DIGIC III Image Processor in the EOS 40D or
older DIGIC II Image Processor found in the EOS 5D include:
1) Low noise image development, allowing for better noise reduction at all ISOs and 2
stops higher normal ISO speed in the EOS 5D Mark II.
IV. PERFORMANCE AND RELIABILITY
24
2) Higher speed image processing (1.3x faster than on the DIGIC III) that also provides
superb tonal gradations during the 14-bit A/D conversion of RAW data (16,384 per
channel of RGB data compared to 4,096 per channel in competitive 12-bit processors).
This results in improved highlight and shadow details, extended dynamic range, and
more accurate, saturated colors that maintain fine details.
3) Improved high ISO Noise Reduction, corresponding to higher image quality and
allowing the cameras to maintain their fast maximum shooting speeds and burst rates
with two out of three noise reduction settings.
4) Expands the functions and speed of the Auto Lighting Optimizer feature.
5) Incorporates processing algorithms for Peripheral Illumination Correction.
6) Enables Face Detection and optimized metering of up to 35 faces in Live Face
Detection AF shooting mode.
7) Controls the HDMI signal output and HDTV resolution matching function.
8) Adds high speed UDMA Mode 6 (CF card) read and writing speed compatibility.
9) Controls the VGA (920,000-dot) video signal to the LCD monitor display in all modes.
10) Allows cameras to capture images in sRAW1 and sRAW2 reduced-resolution sizes.
EOS 5D Mark II (only) DIGIC 4 Image Processor improvements:
1) Enables 1080p Full HD video recording mode with sound, standard definition (SD)
video recording with sound, and video playback with sound
2) In Highlight Tone Priority mode, the highlight the gradation is expanded by about 1
stop over the EOS 5D. (EOS 50D also benefits from Highlight Tone Priority feature.)
3) Processes the signals from the EOS 5D Mark II’s ambient light detector and uses it to
control LCD brightness as well as adjust white balance shifts during video recording.
As a result of the advanced sensor designs and inclusion of the DIGIC 4 Image Processor,
both new EOS DSLR models are faster, and capture images with noticeably improved image
quality—especially in resolution and low noise at high ISOs. The DIGIC 4 Image Processor
also provides several other enhancements and new features.
IV. PERFORMANCE AND RELIABILITY
Image Recording and
Processing
25
RAW, sRAW and RAW+JPEG
To control image resolution and file size or to preserve RAW data, both cameras offer six choices
for JPEG capture: Large (full) resolution in with fine quality or normal quality compression
settings; Medium resolution (8 megapixels on EOS 50D, 16 megapixels on EOS 5D Mark II)
with either fine or normal quality compression, and Small resolution (3.7 megapixels on
EOS 50D, 5.2 megapixels on EOS 5D Mark II) with fine and normal compression settings.
In addition to these, there are three RAW file types that can be combined with any of the six
JPEG settings in the RAW+JPEG mode for a total of 27 image quality-recording modes on
each camera. The sRAW1 format captures 7.1 megapixels on the EOS 50D, 10 megapixels
on the EOS 5D Mark II. Next, sRAW2 captures 3.8 megapixels on the EOS 50D and 5.2
megapixels on the EOS 5D Mark II.
EOS 50D Image Recording Specifications
Image-recording
Quality
EOS 5D Mark II Image Recording Specifications
Pixels
[Approx.MB]
File Size
[Approx. MB/Shot]
Possible Shots
[Approx.]
Maximum Burst
[Approx.]
Printing Size
[Inch]
L1
L2
21.00
(5616 x 3744)
6.1
3.0
310
610
78 (310*)
610* (610*)
16.5x23.4
or larger
M1
11.10
(4080 x 2720)
3.6
510
330 (510*)
1.9
2.1
990
910
990* (990*)
910* (910*)
Around
11.7x16.5
1.0
1680
1680* (1680*)
25.8
72
13 (14)
16.5x23.4
or larger
14.8
120
15 (15)
Around
11.7x16.5
5.20
(2784 x 1856)
10.8
170
20 (20)
Around
8.3x11.7
21.00
(5616 x 3744)
21.00
(5616 x 3744)
25.8 + 6.1
57
8 (8)
25.8 + 3.0
64
8 (8)
RAW: 16.5x23.4
or larger
JPEG: 16.5x23.4
or larger
21.00
(5616 x 3744)
11.10
(4080 x 2720)
25.8 + 3.6
62
8 (8)
25.8 + 1.9
67
8 (8)
10.00
(3861 x 2574)
21.00
(5616 x 3744)
25.8 + 2.1
66
8 (8)
25.8 + 1.0
69
8 (8)
10.00
(3861 x 2574)
21.00
(5616 x 3744)
14.8 + 6.1
89
8 (8)
14.8 + 3.0
100
8 (8)
10.00
(3861 x 2574)
11.10
(4080 x 2720)
14.8 + 3.6
100
8 (8)
14.8 + 1.9
110
8 (8)
10.00
(3861 x 2574)
5.20
(2784 x 1856)
14.8 + 2.1
110
8 (8)
14.8 + 1.0
110
8 (8)
5.20
(2784 x 1856)
21.00
(5616 x 3744)
10.8 + 6.1
110
8 (8)
10.8 + 3.0
130
8 (8)
5.20
(2784 x 1856)
11.10
(4080 x 2720)
10.8 + 3.6
130
8 (8)
10.8 + 1.9
140
8 (8)
5.20
(2784 x 1856)
5.20
(2784 x 1856)
10.8 + 2.1
140
8 (8)
10.8 + 1.0
150
8 (8)
Possible Shots
[Approx.]
L
L
M
5.0
2.5
3.0
370
740
620
High-speed
60 (90)
150 (740 F)
110 (620 F)
Low-speed
370 (370) F
740 (740) F
620 (620) F
M
1.6
1190
390 (1190 F)
1190 (1190) F
S
1.7
1090
330 (1090 F)
1090 (1090) F
RAW
21.00
(5616 x 3744)
S
2040
91
72
1050 (2040 F)
16 (16)
10 (10)
2040 (2040) F
20 (29)
15 (18)
S RAW 1
10.00
(3861 x 2574)
RAW
RAW+L
0.9
20.2
20.2+5.0
S RAW 2
16 (21)
RAW+L1
JPEG
RAW+L
20.2+2.5
80
RAW+M
20.2+3.0
79
RAW+M
20.2+1.6
84
RAW+S
20.2+1.7
83
RAW+S
20.2+0.9
87
S RAW 1
S RAW 1+L
12.6
12.6+5.0
140
100
S RAW 1+L
12.6+2.5
120
S RAW 1+M
12.6+3.0
110
S RAW 1+M
12.6+1.6
130
S RAW 1+S
S RAW 1+S
S RAW 2
S RAW 2+L
12.6+1.7
12.6+0.9
9.2
9.2+5.0
120
130
200
120
S RAW 2+L
9.2+2.5
150
Maximum Burst [Approx.]
Image-recording
Quality
Image File Size
[Approx. MB]
JPEG
M2
S1
S2
RAW+L2
17 (24)
RAW+M1
RAW+M2
18 (24)
16 (16)
10 (10)
RAW+S1
32 (82)
21 (27)
RAW+S2
23 (27)
S RAW 1+L1
S RAW 1+L2
25 (27)
S RAW 1+M1
S RAW 1+M2
19 (19)
11 (11)
27 (27)
51 (200 F)
25 (32)
S RAW 1+S1
S RAW 1+S2
S RAW 2+L1
30 (32)
S RAW 2+L2
S RAW 2+M
9.2+3.0
150
S RAW 2+M
9.2+1.6
170
S RAW 2+M1
32 (32)
S RAW 2+M2
S RAW 2+S
9.2+1.7
160
S RAW 2+S
9.2+0.9
180
The number of possible shots and maximum burst apply to a 2GB CF card based on Canon's
testing standards. The image file size, number of possible shots, and maximum burst will vary
depending on the shooting conditions (subject, memory card brand, ISO speed, Picture Style,
etc.). Figures in parentheses apply to an UDMA 2GB CF card based on Canon's testing standards.
For the figures that have “F”, shooting is possible until the card becomes full.
S RAW 2+S1
S RAW 2+S2
5.20
(2784 x 1856)
Around
8.3x11.7
RAW: 16.5x23.4
or larger
JPEG: Around
11.7x16.5
RAW: 16.5x23.4
or larger
JPEG: Around
8.3x11.7
sRAW1: Around
11.7x16.5
JPEG: 16.5x23.4
or larger
sRAW1: Around
11.7x16.5
JPEG: Around
11.7x16.5
sRAW1: Around
11.7x16.5
JPEG: Around
8.3x11.7
sRAW1: Around
8.3x11.7
JPEG: 16.5x23.4
or larger
sRAW1: Around
8.3x11.7
JPEG: Around
11.7x16.5
sRAW1: Around
8.3x11.7
JPEG: Around
8.3x11.7
The number of possible shots and maximum burst are based on Canon’s testing standards and
a 2GB CF card. Under Maximum burst, the number in parentheses is the maximum burst with a
UDMA-compatible 2GB CF card used in Canon’s testing standards. JPEG L1, ISO 100, Picture Style:
Standard, Custom Function: Default settings. The actual file size, number of possible shots, and
maximum burst will vary depending on the subject, memory card brand, image-recording quality,
ISO speed, Picture Style, Custom Function settings, etc.
Shooting is possible until the card becomes full.
IV. PERFORMANCE AND RELIABILITY
26
Additional sRAW formats with lower resolution allow you to shoot images for use on the
web, or increase the number of RAW photos you can fit on a memory card, without sacrificing
the post processing advantages found in Canon’s provided Digital Photo Professional software,
such as white balance adjustment, exposure compensation, Picture Style settings, and lens
distortion corrections.
For added convenience and organization, both cameras also allow you to create new folders
on CF cards and to freely select which folder upcoming images will be stored in. By selecting
the menu protect function, individual images can be protected from accidental erasure, or you
can checkmark multiple images for deletion and remove them all at once. When either the
EOS 50D or EOS 5D Mark II is used with the appropriate dedicated optional wireless file
transmitter, image recording can be set to simultaneously record images to
the CF card or external USB drives attached to the transmitter.
Battery Information
Intelligent lithium-ion battery on EOS 5D Mark II
While the EOS 50D continues to use the same 1390mAh BP-511A
Lithium-ion battery as its predecessor, the EOS 5D Mark II utilizes a higher
capacity 1800mAh lithium-ion Battery Pack LP-E6 with new capabilities.
The battery can now communicate the remaining capacity in one of six levels
via the battery-check icon and in 1% increments using the Battery Info menu.
The number of shutter releases since the battery was last recharged is also displayed, and stored in the battery in case it is removed. Recharging the battery
resets the shutter count. Battery recharge performance is also shown in up to
three levels, giving a better indication of when it might be time to replace the
battery altogether.
The unique serial number contained within each Battery Pack LP-E6 allows
you to register multiple batteries within the camera and display information
about those batteries, including the last time each was used and its most
recent level of charge at that time. More importantly, it can help you select a
replacement battery based on its charge capacity so that you don’t install a
nearly depleted battery at the wrong time.
Battery-use History
Image Enhancement
High ISO Noise Reduction
High ISO noise reduction can be set to improve image quality at high ISO settings on
both cameras. While some noise reduction is applied automatically even to images taken at
low ISOs, turning on this function can further reduce noise in low and moderately low
ISO images, especially those taken in very hot environments where heat tends to increase
camera noise.
IV. PERFORMANCE AND RELIABILITY
27
On both the EOS 50D and the EOS 5D Mark II, you access High ISO noise controls via
(C.Fn II-2). There are four settings: Standard, Low, Strong and Off (the default is Standard).
On either camera, the maximum burst rate should remain the same (3.9 fps on the EOS 5D
Mark II and 6.3 fps on the EOS 50D) when the High ISO setting is set to either Standard
or Low. However, burst speed will slow down slightly when the Strong setting is used, due to
the extensive level of in-camera processing required.
Peripheral Illumination Correction
The DIGIC 4 Image Processor found in both cameras powers an image processing tool formerly
found only in Canon’s Digital Photo Professional (DPP) software: Peripheral Illumination
Correction (PIC). When it is activated via the menu, JPEG images are automatically corrected
for light falloff towards the edge of the image. This problem isn’t always noticeable prior to
correction, and varies by type of lens and aperture used, as well as the distance a lens’ focus is
set to. Both cameras are capable of storing the required lens correction data for up to 40
Canon lenses. When shipped, the data for 26 lenses (including the kit lens) is loaded into the
camera. Up to 14 additional lenses can be registered in the camera, and if more are needed,
you can delete unused lens data via the EOS Utility software included with the camera. If a
lens is supported, a notice “Correction Data Available” will appear in the menu control.
Lens Peripheral Illumination Correction (EF 16-35mm f/2.8L USM at wide end)
Corrected
Not Corrected
EF16-35mm f/2.8L II USM
EF28-105mm f/3.5-4.5 II USM
EF28mm f/2.8
EF17-40mm f/4L USM
EF28-105mm f/4-5.6 USM
EF35mm f/1.4L USM
EF20-35mm f/3.5-4.5 USM
EF28-135mm f/3.5-5.6 IS USM
EF35mm f/2
EF24-70mm f/2.8L USM
EF28-200mm f/3.5-5.6 USM
EF50mm f/1.2L USM
EF24-85mm f/3.5-4.5 USM
EF28-300mm f/3.5-5.6L IS USM
EF50mm f/1.4 USM
EF24-105mm f/4L IS USM
EF14mm f/2.8L II USM
EF50mm f/1.8 II
EF28-90mm f/4-5.6
EF20mm f/2.8 USM
EF85mm f/1.2L II USM
EF28-90mm f/4-5.6 II
EF24mm f/1.4L USM
EF85mm f/1.8 USM
EF28-90mm f/4-5.6 II
EF24mm f/2.8
EF28-105mm f/3.5-4.5 USM
EF28mm f/1.8 USM
The EF28-90mm f/4-5.6/II/III and EF28-105mm f/3.5-4.5/II have the same optics so they are all represented (displayed) as "EF28-90mm f/4-5.6"
and "EF28-105mm f/3.5-4.5" respectively.
IV. PERFORMANCE AND RELIABILITY
28
When PIC is enabled and data is contained within the camera for the lens in use, the right
amount of correction is applied automatically to JPEG images at all apertures and focal
length settings. This correction is of the same nature as the correction available under the
Lens Aberration Correction control panel in the DPP software. However, camera-applied
vignetting correction isn’t as powerful (roughly 70% of the correction possible in DPP).
With RAW files, images are automatically tagged with the correction needed, if a compatible
lens is used and PIC is turned on. Processing these images in Canon’s DPP software will
allow automated vignetting correction, tailored specifically to that lens. If shooting in
RAW+JPEG mode, PIC will be applied to the JPEG files, allowing you to increase or
decrease the correction later on the RAW file using the DPP software.
Please note that if RAW files are processed using a third-party software application, in
most cases any such in-camera tags are ignored, and you’ll need to use the software’s own
tools (if available) manually for any such correction.
Auto Lighting Optimizer
Another powerful image correction feature found in both new DSLRs is the Auto Lighting
Optimizer (ALO). This feature can be used to greatly improve the impact and quality of
underexposed, muddy JPEG images, including backlit portraits that accidentally underexposed
the subject, and portraits where the subject was slightly out of range of the flash (the camera’s
ability to detect faces plays a part in this correction). Flat, low contrast scenes can also be given
extra snap when using this function. More sophisticated and more powerful than the Auto
Brightness and Contrast Correction found in the EOS 40D’s Basic Zone Mode, ALO can be
accessed via the custom menu (C.Fn II -4), and has three settings in addition to disabled:
Standard, Low, and Strong. In addition, ALO can now be activated in RAW and
RAW+JPEG instead of being limited to JPEG.
Highlight Tone Priority
Found previously in the EOS 40D, but completely new to the full-frame EOS 5D Mark II,
Highlight Tone Priority greatly improves the image quality of high contrast and high key
scenes. It effectively increases dynamic range and detail in highlight areas, minimizing
blown out details in a white fabric (such as a wedding dress) or high contrast scenes such
as snow-covered landscapes. Only brightness values between 18% middle gray and the
maximum-recorded brightness are affected, while shadow and midtone areas of a scene
remain untouched. In both the EOS 50D and the EOS 5D Mark II, a new Highlight
Tone Priority status indicator (D+) now appears on the 3.0-inch LCD and in the
viewfinder. ISO range is a bit more limited when Highlight Tone Priority is active: when
used in the EOS 50D, the selectable ISO range decreases to ISO 200–3200, and on the
EOS 5D Mark II (C.Fn II -3), the ISO range is limited to ISO 200-6400.
IV. PERFORMANCE AND RELIABILITY
High resolution, 3.0-in
Clear View LCD
29
The new 3.0-inch Clear View LCD found on both the EOS 50D and EOS 5D Mark II is
a significant improvement over the 3.0-inch on the EOS 40D and a vast improvement over
the EOS 5D’s 2.5-inch LCD. It now features 920,000-dot resolution, providing nearly four
times the detail and sharpness of the EOS 40D and EOS 5D screens, and matching the VGA
resolution of the SD movie-recording mode on the EOS 5D. It also features improved color
accuracy and a more linear color reproduction that reduces changes in hue typically found in
highlight areas. Both sides of the LCD’s protective cover feature an anti-reflective coating
that reduces reflections on the LCD cover-glass, making it easier to view menus and images
in bright sunlight. A third, water-repellent coating increases resistance to smudges and moisture.
Coating Layers on LCD Monitor
Dirt-resistant fluorine coat
Sunlight
Reflected
Light
Anti-reflection coat
Scratch-resistant hard coat
Resin cover
Anti-reflection coat
Anti-reflection coat
LCD panel
In playback mode, the high screen resolution makes it possible to see extensive detail even
when displaying nine thumbnail images, and allows you to check for closed eyes without
zooming in on the image.
The LCD covers 100% of the sensor capture area and is
viewable from a super-wide 170° angle in either vertical or
horizontal directions. This wide view angle expands the usefulness of the LCD in Live View mode, allowing you to
accurately compose images while holding the camera at
arms length or over your head. It also makes it possible to
show off captured still images (or movies on the EOS 5D
Mark II) to a group of viewers standing around the camera.
In addition, when using the movie recording function on
the EOS 5D Mark II, the LCD automatically displays an
image with the correct 16:9 or 4:3 aspect ratio, with unused
portions of the scene partially grayed out.
Video Display (16:9)
Video Display (4:3)
Another “first” for EOS Digital SLRs: a light sensor on the EOS 5D Mark II that monitors
ambient lighting controls the LCD brightness. This auto control can be set to Dark,
Standard, or Bright, or you can manually set the LCD to one of seven brightness levels.
You can also choose between two grid displays or set the camera to simulate exposure accuracy
while in Live View mode.
IV. PERFORMANCE AND RELIABILITY
Live View Shooting with AF
30
In the EOS 40D, only Quick Mode autofocus during Live View Function was available, and
Live View Function itself wasn’t even possible on the EOS 5D. Now, for both the EOS 50D
and EOS 5D Mark II, the Live View mode can be turned on in any normal exposure mode
(including program, aperture, shutter, manual, and even A-DEP) by pressing the Live View
mode activation button located to the left of the viewfinder. Image composition and viewing
in bright light has also been dramatically improved with the addition of the new 3.0-inch
920,000-dot Clear View LCD with anti-reflective coatings and super-wide 170° viewing
angle. This monitor also delivers a more accurate exposure simulation when that setting is
enabled via the custom function menu on either camera. In addition, there are now two
grid displays available to assist in scene composition and alignment.
As on the EOS 40D, the Silent Shutter mode, which utilizes the sensor’s 1st curtain electronic
shutter, helps to minimize noise during exposure, reduces shutter-cocking noise, and can be a
very useful feature when trying to get close-up wildlife shots without spooking the subject. In
combination with an optional remote trigger or when controlling the camera using supplied
software on a remote computer, the silent shutter mode can greatly enhance the value of either
camera for use in law enforcement or surveillance photography. Mode 1 in the Silent Shooting
menu quiets down the camera’s shutter noise when in Live View mode, and allows either
single-frame or continuous shooting up to the camera’s fastest advance speed. Mode 2 is
virtually silent, and delays re-cocking the 2nd shutter curtain until you remove your finger
from the shutter button.
There are now three types of autofocus for use in Live View mode compared to the EOS
40D’s single AF (and no Live View AF mode at all on the full-frame EOS-1Ds Mark III).
• Quick Mode AF is useful when you are holding the camera and you want to achieve
focus quickly. It’s activated by pressing the AF-ON button, and causes the Live View
Function to black out momentarily while the reflex mirror flips down and the camera’s
9-point phase detection autofocus engine locks onto the subject.
• Live AF mode uses Contrast Detection from the actual imaging sensor and is
slightly slower and less sensitive in low light but can be used without Live View
Function black-out. In this mode, the AF mode zone box can be moved around to
an area covering approximately 61% of the scene and centered on the subject of
interest, allowing precision focus for macro subjects and other off-center subjects.
Live AF mode is also possible during video recording with the EOS 5D Mark II;
however, focusing manually is an easier, quieter, and more precise technique.
• Face Detection Live AF utilizes the power of the DIGIC 4 Image Processor to detect
up to 35 faces in a scene. After analysis, a border box appears around the closest, or in
IV. PERFORMANCE AND RELIABILITY
31
some cases, the largest face found in the scene and the camera focuses on that face
(metering and color balance is also optimized to produce a more accurate facial tone
based on the face in the box). The multi-controller then allows you to move the box to
another face as desired, after which the AF and metering system will reset for that face.
E-TTL Flash photography is possible in normal Live View mode, but not when the Silent shutter
mode is activated. Otherwise, when the shutter is pressed to capture the image when using the
flash, the LCD blacks out as the mirror flips down and pre-flash exposure data is registered in
the camera prior to exposure. The time delay is similar in length to that caused by pressing the
AF Button in Live View mode. Flash photography is also supported when the EOS 5D Mark II
is set to Live View Function, but it is disabled in HD video recording mode.
Precise 9-point AF Systems
The AF systems on both the EOS 50D and EOS 5D Mark II are very similar to the systems
on the models they replace, with the same improvements appearing in both new cameras.
Among these are faster AF data processing made possible by the DIGIC 4 Image Processor,
improved AF precision, and AF Microadjustment for individual lenses.
The EOS 50D features 9 cross-type AF points arranged in a diamond pattern, with all
sensitive to both horizontal and vertical details when using f/5.6 or brighter EF and EF-S
lenses. This sensitivity achieves faster, more precise focusing with hard-to-focus subjects,
and enables high-speed (6.3fps) continuous shooting in the AI SERVO AF mode while
tracking a subject.
EOS 50D AF Systems
Sensor Configuration
AF Points
AF Sensor Arrangement
Cross-type sensor at f/2.8
Focusing sensor for
extreme defocus
Two-line sensors
in zigzag pattern
Sensor with f/2.8 Support
Sensor with f/5.6 Support
When using an f/2.8 or brighter maximum aperture lens, the central AF point offers enhanced
cross-type sensitivity and faster detection of subjects in extreme defocus. This is achieved by
adding diagonal sensors and a 2-line, zigzag configuration to the existing f/5.6 sensor already
positioned in the center of the diamond.
IV. PERFORMANCE AND RELIABILITY
EOS 5D Mark II AF Systems
f/5.6-sensitive
major defocus
detection sensors
f/2.8 / f/5.6-sensitive sensors
f/5.6 sensors
AF sensor configuration
AF Sensor
32
The AF system on the EOS 5D Mark II
includes 9 visible AF points and six
invisible assist points, for a total 15
points concentrated toward the center.
Intermediate
The outer points on the extreme left and
AF points
right are actually located at the same
positions as the corresponding points in
the EOS-1Ds Mark III, giving the
: Sensitive to f/2.8
: Sensitive to f/5.6
Assist AF points
Assist AF points
camera a wide field for detecting moving
subjects crossing the scene or improved
AF points and invisible AF points
ability to focus on off-center subjects.
While only 9 AF points are visible
through the viewfinder, all can be revealed
using ZoomBrowser or ImageBrowser software. Among the six Assist AF
points, the top and bottom points at the center are vertical-line sensitive
with lenses featuring f/2.8 or brighter maximum apertures, while all other
points are sensitive at f/5.6 or brighter. Focusing is started using the f/5.6,
horizontal line-sensitive central sensors with individual pixels arranged in
a zigzag pattern for improved extreme defocus detection. When focusing is
nearly achieved (and when using an f/2.8 or brighter lens) focusing is handed
off to the f/2.8 sensitive vertical line sensors.
The purpose of the supplemental points is to enhance the camera’s subject tracking
performance by filling in the gaps between the highly sensitive central AF point and the
8 adjacent linear sensors.
As on the EOS 50D, the EOS 5D Mark II’s AF system is sensitive to light levels as low as
EV -0.5, and capable of locking on to a moving subject and tracking it across the diamondshaped AF area. Improved precision over previous AF systems stems from each camera’s
ability to adjust for different light sources while calculating focusing distance. Here’s how it
works: during Phase Detection AF, the AF engine rapidly measures the density of horizontal
and vertical details in a scene and the camera processor uses this data to determine where
the sharpest edges and details are located. When found, the AF is locked on target. But
under fluorescent lighting and some other artificial lighting sources, a rapid, imperceptible
flickering of the light occurs along with sudden color temperature shifts. These tend to
throw off the density measurements and therefore the accuracy of the AF calculations. In both
the EOS 50D and EOS 5D Mark II, the type of lighting is taken into effect, and readings
are averaged and processed with the help of the super-fast DIGIC 4 Image Processor.
The result is improved AF accuracy and speed when shooting under lighting conditions that
could fool the AF systems found on earlier Canon and competitive models alike.
IV. PERFORMANCE AND RELIABILITY
33
Improved Viewfinder
Experience
The optical viewfinders on both cameras has been improved slightly, although the EOS 5D
Mark II boasts the majority of changes. Its newly-developed pentaprism viewfinder now
features 98% coverage compared to 96% on the EOS 5D, a clearer and crisper image, and a
more comfortable 21mm eye point relief (compared to 20mm on the 5D). In addition, the
Data Display in both viewfinders now includes a battery check indicator, an ISO speed
number, a “D+” indicator when Highlight Tone Priority is activated, and a “B/W” symbol
appears when the camera is set to black and white mode.
Rugged Construction
Both cameras share nearly all of the same internal and external body construction features
found in their predecessors. These include rugged magnesium alloy main covers on the
top, front, and rear (with the grip integrated into the front cover), for light weight and
high strength. The stainless steel chassis is solidly fixed to the mirror box, which is made
of engineering plastic to prevent any change in the flange focal distance when using heavy
lenses. Extra care has been taken in the selection of moving parts in order to reduce the
chance for microscopic particles that would cause dust spots on the sensor. The left side,
which includes connectors such as the HDMI and audio video out terminals, is also made
of engineering plastic with excellent electromagnetic shielding properties. Tight attached,
weather-resistant rubber flaps cover these connectors.
EOS 5D Mark II Magnesium Alloy Body
EOS 50D Magnesium Alloy Body
In both camera bodies, the weather and dust seals have been improved around the battery
compartments and memory card doors, and increased precision in the alignment of the
magnesium alloy external cover seams and in the optimal design of camera parts and
structures contribute to the cameras’ dust and water resistance. Internal gaskets and sealing
materials are used extensively at the cameras’ buttons, tripod sockets, and surrounding
the LCDs. As a result, the EOS 5D Mark II now has dust and water resistance that is
almost equal to that of the EOS-1N—Canon’s top-of-the-line professional 35mm SLR
for most of the 1990’s.
IV. PERFORMANCE AND RELIABILITY
34
Cosmetic changes on the EOS 50D include the addition of a silver coated Main Control dial with
knurled wheel pattern, a classier paint finish overall and a modified rubber pad next to the grip. To
increase the sensors’ resistance to microscopic and larger dust particles, several improvements
were made to the existing design of the Integrated Cleaning System found in the EOS 40D
and in the full-frame EOS-1Ds Mark III. These improvements are found in the EOS 50D
and in the newly designed, Integrated Cleaning System on the full-frame EOS 5D Mark II.
The first involves the careful choice of camera components with low particle wear characteristics.
Next, a fluorine coating is added to the front low-pass filter. This coating is more resistant to
dust adhesion, making the use of a bulb blower (compressed air is not recommended) more
effective at removing air-borne dust particles.
EOS Integrated Cleaning
System
A fundamental aspect of the Integrated Cleaning System is the Self Cleaning Sensor Unit,
which uses a piezoelectric element to ultrasonically shake dust off the sensor. This occurs
automatically at camera startup and shutdown, and can also be activated manually via menu
control. With both cameras, if sensor cleaning is manually activated, the shutter blades cycle
(you’ll hear a click as they do) to insure nothing on the rear of the blades could later fall onto
the face of the sensor. Particles of dust that fall off during this vibration stick to absorbent
materials lining the outer edges of the filter system. The third
component of the Integrated Cleaning System is a software
solution, allowing users to automatically “clone” any remaining
dust from their RAW or JPEG images with the included Canon
Digital Photo Professional (DPP) software. You can map the dust
on the sensor using the Dust Delete Data function. DPP software
can use that data to remove the trouble spots on all images. And
unlike typical image-editing software, this automatic removal
can be done to batches of images, automatically—even when
the subjects in each image are completely different.
Self Cleaning Sensor Unit Construction Diagram
Sealing material
Piezoelectric
element
Low-pass filter -2
CMOS sensor
Phaser layer
Infrared-absorption glass
Low-pass filter -1
Support material
IV. PERFORMANCE AND RELIABILITY
Intuitive Button and
Dial Arrangement
35
Nearly all of the external controls and buttons on the EOS 50D are the same as those found
on the EOS 40D, with two exceptions. The main control dial now includes only two camera
user settings—one was deleted to make room for the Creative Auto activation setting. Also,
the playback Jump button was removed below the LCD to make way for a Func. Button.
EOS 5D Mark II Exterior Layout
Live View shooting/Print/Share button
Speaker
Setting/Movie start button
Remote control sensor
AF start button
Microphone
Picture Style selection button
Light sensor
(For auto adjustment of LCD
monitor brightness)
The back of the EOS 5D Mark II has undergone a fairly extensive button overhaul from the
EOS 5D, and a remote control sensor and microphone were added to the camera front.
On the back of the EOS 5D Mark II, several buttons have been added or moved to facilitate
Live View Function and HD video recording modes. In addition, the right thumb can easily
reach the new AF-ON button, and the Live View mode activation/print button sits comfortably
to the left of the viewfinder. From the top, the button arrangement is nearly identical to the
preceding models; with the EOS 5D Mark II, the top buttons have been re-arranged so that
the most frequently-used functions are closer to the shutter button.
Increased Shutter
Durability
The shutter mechanism on the EOS 50D remains unchanged from the EOS 40D, providing a
rated life up to 100,000 shots and shutter speeds from 30 sec. to 1/8000 sec., with a maximum
X-sync for flash at 1/250 sec. The shutter mechanism on the EOS 5D Mark II is newly
designed, with an integrated shutter-cocking unit and an
extended rating up to 150,000 shots. It also features shutter speeds
from 30 sec. to 1/8000 sec., with a maximum X-sync for flash
at 1/200 sec. Two separate motors, one dedicated to driving
the mirror, and one to cocking the shutter, power the entire
drive system. This two-motor system enables Live View shooting
EOS 5D Mark II Shutter Unit
and video shooting as well. With the EOS 5D Mark II, wireless
IV. PERFORMANCE AND RELIABILITY
36
remote operation is now possible with Canon’s small, affordable Wireless Remote Controllers
RC-1 or RC-5. The optional Wireless Remote Controller RC-1 can be used to start and stop
recording videos in addition to its normal still picture function. But to start and stop recording
videos, it must be set to the 2-sec. timer delay mode while the camera is in Live View mode.
Action-stopping
Burst Mode
Despite the increased number of megapixels on the EOS 50D compared to the 40D, the
maximum burst speed remains almost the same, at 6.3 fps, with bursts up to 90 shots
( JPEG, Large/Fine in high-speed continuous mode using a current UDMA CF card), up to
17 shots in RAW, and up to 10 shots in RAW+JPEG Large/Fine mode. With its outstanding
frames-per-second speed and extensive burst rate, the EOS 50D is a superb, affordable choice
for sports, action, event and wildlife shooters looking for a lightweight, affordable digital SLR.
Equally impressive, the 21.1-megapixel EOS 5D Mark II features an improved shooting speed
of up to 3.9 fps compared to the older 12.8-megapixel EOS 5D—despite its significantly
higher megapixel count. The burst depth of the EOS 5D Mark II for Large/Fine JPEG
images is only limited by the capacity of the memory card when using UDMA CF cards,
or up to 14 consecutive frames in RAW, or up to 13 consecutive frames in RAW+JPEG
Large/Fine. This exceptional performance is made possible by improvements in the CMOS
sensor with 4-channel, high-speed signal reading; DIGIC 4's excellent high-speed image
processing; and the camera’s DDR2 SDRAM high-speed memory buffer.
UDMA Compatibility
The duration of a continuous burst, not its maximum speed, can be affected by the speed of
the memory card used. That’s why Canon included support, in both cameras, for ultra-high
speed Ultra Direct Memory Access (UDMA) cards up to a Mode 6 rating (max. transfer
speed of up to 133MB/sec.). While Mode 6 UDMA cards aren’t available yet, these two
cameras will support them when they arrive. Existing UDMA cards currently run as fast
as 45MB/sec. and are the fastest available. When used, UDMA cards maximize the data
transfer rate in both directions between the cameras, enabling nearly twice the speed of
data transfer on the EOS 50D compared to the EOS 40D.
HDMI Connectivity
More and more photographers are becoming aware of the benefits of displaying their photos
on large HDTV screens or with high-resolution video projectors on bigger screens. But
there’s never a good laptop available when you need one, so Canon equipped both the EOS
50D and the EOS 5D Mark II with HDMI connection jacks in addition to regular A/V
jacks. With the addition of an optional HDMI cable, not only can HD videos with sound be
displayed on HDTV systems using a single cable connection, but also slide shows of still
photos can be displayed at nearly 2.0-megapixel resolution (1920 x 1080 pixels) on HDTVs
or on larger screens via HD capable video projectors. That means you can store your portfolio
images on a special card (with retouching as necessary), load them back into the camera,
and use it to run your large-screen presentations.
IV. PERFORMANCE AND RELIABILITY
37
When connected, the camera communicates with the display and determines its maximum
resolution (many HDTVs actually support up to 720p resolution, while others deliver up to
1080p full resolution). Once the display resolution is identified, the camera feeds it the right
format signal so you get the maximum sharpness from the display.
Both the EOS 50D and EOS 5D Mark II include a standard, single-pin video-out cable
for viewing images on a conventional TV. A compatible HDMI cable with “mini HDMI”
connector to plug into the camera is required for hook-up to newer HDTVs; this is not
included with either camera and must be purchased separately. Canon’s optional accessory
mini-HDMI Cable HTC-100 or a similar third-party cable can be used.
IV. PERFORMANCE AND RELIABILITY
38
10x Magnified
View
Live View Function
Canon’s spectacular Live View shooting is now available
through most of the EOS Digital models. Live View Function,
where the photographer can compose and shoot directly
from the camera’s LCD is an indispensable feature for
creative photography in any number of situations. It enables
the photographer to zoom in and navigate the composition
5x or 10x normal size, while enabling critical focus and
allowing more attention to detail. Users can even choose a
grid overlay, perfect for architectural photography. In the
studio, Live View Function can be
used remotely (via a computer)
through the camera’s USB connection,
or wirelessly if the optional Wireless
File Transmitter is used.
with Grid Display
Live View Focusing
One of the elements distinguishing Canon's Live View
Function from other manufacturers is the sophisticated
focusing modes available, including Quick mode, Live mode,
and Face Detection Live mode. In Quick mode, One-Shot
AF is set automatically and the AF point is selectable even
while the Live View image is displayed. In Live mode, AF
can be started by pressing the AE button for either AF mode.
In Face Detection Live
mode, the largest face
near center is detected
initially, but the
Multi-controller can
be used to select any
face detected.
Face Detection Live Mode
Video Shooting with Live View Function
The new EOS 5D Mark II offers shooting in Full HD
video—a first for EOS Digital cameras. Recordable in 640
x 480 VGA mode and in 1920 x 1080 Full HD mode, and
saved as MOV files, shooting video with an EOS Digital
camera increases the photographer’s flexibility and allows
for full-use of the camera’s EF lenses including wide angle,
macro, tilt-shift lenses and more (zooming is not available
in shooting video). Shooting is at a frame rate of 30 fps.
Sound is recorded either through the camera’s built-in
microphone or through an external microphone connected
to the camera’s microphone
input terminal. Playback modes
are available in-camera, and all
Live View AF features can be
used in shooting video.
V. CONTROLS AND CONVENIENCE
39
V. CONTROLS AND CONVENIENCE
40
Camera Settings and
Displays
The 35-zone metering system, exposure controls, and white balance settings on the EOS 50D
and EOS 5D Mark II are similar to those found on their predecessors. Data displays and
menus vary depending on the model. On the EOS 5D Mark II, menu items are now accessed
via top-of-the-screen tabs instead of by scrolling down, which is a major improvement over
the EOS 5D, now possible because of the sharper LCD.
Creative Auto Mode
In each of the two camera, turning the Main Mode dial to the Creative Auto (CA) position
accesses a new CA mode. For the inexperienced digital SLR user, CA mode is a tool that still
provides full automatic operation, similar to the traditional “green zone”. But it lets users
change a variety of settings to get a desired look in their pictures—without requiring extensive
photographic knowledge to do so.
There are slight variations between the two models, but in each case the CA default setting is
the same as the camera’s Full Auto mode. When activated, the CA mode enables you to
adjust frequently used functions using a multi-position slider on the screen. Navigation from
one item to another is done with the camera’s rear 8-way multi-controller, and once you’re at
a certain setting, you adjust it by turning either of the camera’s input dials. All of these can be
accessed from one screen for a more direct, intuitive approach designed to appeal to novice
users or to advanced photographers in a hurry.
CA settings on the EOS 5D Mark II include Background (from blurred to sharp), Exposure
(from Darker to Brighter), Picture Style (Standard, Portrait, Landscape, and Monochrome),
Recording Quality (pressing the SET button also brings up this screen), and Drive Mode
(Single, Continuous, and 10-sec timer).
The CA mode settings on the EOS 50D include the Flash Mode (auto, on and off ),
Background (from blurred to sharp), Exposure compensation (Darker to Brighter), Picture
Style settings (Standard, Smooth Skin Tones, Vivid blues and greens and Monochrome),
Image-recording quality (all RAW, JPEG, and RAW+JPEG settings) and Drive mode
(Single, Low-speed continuous, and self timer).
Creative Auto Settings
Creative Auto setting
method: Turn the Mode Dial
to [CA] (Creative Auto). The
setting screen will then
appear on the LCD monitor.
Press the Multi-controller,
then use it to select the
function. Turn the Main Dial
or Quick Control Dial to
select the desired setting.
Setting screen
Shooting screen
V. CONTROLS AND CONVENIENCE
41
Exposure compensation and Auto Exposure Bracketing can now be set using the same screen,
enabling you to quickly check the overall exposure amount when combining both. The screen
now shows a “Darker” and “Brighter” indication above the exposure scale, easier to read than
the plus and minus signs when holding the camera at arms length in Live View mode. To set
exposure compensation only, it’s possible to bypass this combined control by using the Quick
Control Dial, just as on previous models.
Live View shooting control screens have also been combined and optimized (compared
to those found on the EOS 40D) in order to speed access to a variety of settings. On the
EOS 5D Mark II, the Live View Function screen also includes a choice for disabling still
shooting during video recording or disabling video recording altogether. Another screen
gives you access to Exposure Simulation and screen brightness settings, while
a third lets you change the AF mode to Quick, Live, or Face Detection Live
mode. Evaluative metering is automatically set for Live View mode, but while
Live View mode is activated you can still toggle back and forth to the main
menu screen by pressing the menu button in order to change drive modes,
ISO speed, Picture Style settings, and other settings. (Previous EOS models,
such as the EOS 40D, required lowering the mirror and shutting down
Live View Function to access the camera’s menu.)
Setting Exposure Compensation and AEB
Two different grid displays are now available to
aid composition in Live View mode, the newest
offering a tighter grid pattern. You can also
select two Silent Shooting modes: The first
activates the 1st curtain electronic shutter while
the mechanical shutter is open (a quiet step),
followed by a reduced-noise shutter cocking.
In Mode 2, the shutter cocking does not occur
at all until you lift your finger from the shutter
button, allowing you to decide when camera
sound of any kind would be appropriate.
Grid Display
On the EOS 5D Mark II, the top-mounted LCD panel is slightly larger, and settings are
easier to read than on the EOS 5D. Also, ISO speed, D+ (Highlight Tone Priority) and
remote control indicators have been added. The functions and positions on the three buttons
in front of the top LCD panel have been changed so that the most frequently used buttons
are near the Main Dial.
On the back of the EOS 5D Mark II, the new AF-ON button has been added to the left of
the AE lock button. The former Jump button has been changed to the Picture Style selection
V. CONTROLS AND CONVENIENCE
42
button, and the Direct print button changed to the Live View shooting/Print/Share button.
In addition, during video recording you can use the SET button to start or pause videos.
Finally, activating the Live View Function is now done using the Print/Share button located
next to the viewfinder instead of the SET button. This change allows the SET button to be
used as normal to select menu items when the Live View mode is activated, or to start and
stop video recording.
Image Quality Controls
The increased resolution and anti-reflective coatings on the 3.0-inch, 920,000-dot Clear View
LCD make it much easier to read the numerous image quality control screens, while the speed
of the DIGIC 4 Image Processor provides much faster access to the individual screens. Added
screen colors also give the menus, animations and settings a more refined look and feel, with
easier to read fonts. While the image quality screens contain similar choices to those found in
previous models (including the same white balance, color space, Picture Style, and WB
SHIFT/BKT controls), 25 languages are now supported, and the date and time can now be
set to the exact second.
Playback Controls and
Displays
Both cameras have dramatically improved playback image quality as a result of the new LCD.
In addition to higher resolution, improved viewing angle, and anti-reflective coatings, the color
saturation and reproduction accuracy are superior to previous LCDs, and approach the full
sRGB color space. The sharpness improves the 9-image thumbnail display, and details really
pop in the new 4-image thumbnail screen.
As for playback controls, the EOS 5D Mark II gets the majority of improvements and
changes to its playback controls and display screens, thanks in part to its HD video recording
function and the older LCD features on the EOS 5D. In addition to the Single-image display
screen, there is now a Single image+ Image-recording quality screen, and a separate shooting
information display. A new histogram with brightness and RGB graphs is also provided. With
the Jump function now moved to the main dial, it’s easier to move from image to image or
through videos. You can set the jump function to 1, 10, or 100 images or, more specifically, to
Screen, Date, Folder, Movies, or Stills options via a setting in the Playback menu. Checkmarked
images or all images in a specific folder can be deleted, while another choice lets you delete all
images on a card without reformatting it.
Creative controls in the Slideshow mode (formerly the Auto Play mode) on both cameras have
been expanded to take advantage of the high resolution HDMI out connection (and optional
HTC-100 cable). Once photographers realize its multimedia power and capability, fewer will be
trucking their laptops to presentations and instead will be loading their images and edited
videos (with the EOS 5D Mark II) onto memory cards. You can now set the playback time for
displaying images to between 1–5 secs., and additional playback filters include displaying all
images, by folder and by date. On the EOS 5D Mark II, video or still options are added.
V. CONTROLS AND CONVENIENCE
My Menu and
User Settings
43
Up to six frequently used menu items and Custom Functions can be registered in the My Menu
custom control. It provides nearly immediate access to settings a photographer finds he or she
frequently needs to access and change on-the-fly, and eliminates the need to move from one
menu screen to another when changing multiple settings. When the custom function “Display
from My Menu” is enabled, pressing the menu button will display the My Menu screen first,
regardless of which menu items were most recently viewed. Modifying or registering items
in the My Menu control can be done manually, or by using the supplied Canon EOS Utility
software, allowing you to save multiple “My Menu” registrations for a variety of users or
shooting situations.
Another short-cut for photographers are the two available Camera User settings, which are
the C1 and C2 positions on the Main Dial (the EOS 5D Mark II adds a third C3 setting).
With these settings, a photographer can set his or her camera up for almost any situation
they may frequently encounter, register (memorize) the active settings, and then through the
“Camera User Setting” menu option, apply them to one of the available settings on the Mode
Dial. A wedding photographer who frequently shoots flash-on-camera images, for example,
could register settings like Manual exposure mode at 1/250th and f/8, ISO 400, +1/3-stop
flash exposure compensation, Neutral Picture Style, Large/Normal JPEG image quality, and
any combination of Custom Functions they like to use for this shooting. Now, whenever that
photographer goes indoors and needs to take flash pictures, all that’s needed to get back to
those settings is to turn the Mode Dial to the appropriate “C” setting.
Custom Function
and Controls
Almost all functions, including image quality, Live View Function, video recording (on the EOS
5D Mark II) and Custom Function settings can be registered into the User Settings. And any of
these pre-registered settings can be changed as needed during shooting, when taking pictures in
the C1, C2 or C3 Camera User modes. Custom Functions: A longer list of new features on the
EOS 5D Mark II have led to the several new Custom Function controls. High ISO speed noise
reduction settings include Standard, Low, and Strong, and there are now Custom Functions for
Highlight Tone Priority, Auto Lighting Optimizer and the AF Microadjustment settings. In all,
there are 25 custom functions on the EOS 5D Mark II with a total of 71 settings.
The EOS 50D likewise has an expanded range of available Custom Functions for the creative
photographer. For example, flash sync speed in Av mode can be now be set to work similarly
to some competitive digital SLRs, automatically choosing a flash sync speed between 1/60 sec.
and the maximum of 1/250 sec. based on the lens focal length and ambient lighting conditions.
(Previous options for flash in Av mode, such as locking flash sync at the camera’s fastest sync
speed or the default slow-sync in low light, remain available as well.)
The Auto Lighting Optimizer Custom Functions are the same on the EOS 50D as on
the EOS 5D Mark II. However, a new FUNC. button has been added to the EOS 50D,
V. CONTROLS AND CONVENIENCE
44
positioned next to the left of the power switch on the camera back. Via the Custom
Function menu, you can assign a variety of controls to that button (as you could on the
EOS 40D’s Jump button) including LCD Brightness, Image Quality, Exposure
Compensation/AEB, Image Jump and Live View Function settings.
Previously, some Live View settings were made in the Set-up Menu, and some in the camera’s
Custom Function menu. For easier operation, both the EOS 50D and EOS 5D Mark II now
have all relevant Live View settings in one place in the Set-up Menu—there’s no need to
access Custom Functions.
AF Microadjustment
Both models now feature an improved version of the AF Microadjustment custom function
(C.Fn III-8 on the EOS 5D Mark II and C.Fn III-7 on EOS 50D) previously found in the
flagship EOS-1Ds Mark III and the EOS-1D Mark III cameras. This powerful tool allows you
to fine-tune the focus precision when individual lenses are used, or apply an overall correction
that’s used with all lenses. In the past, this required sending a specific lens and camera to a
Canon Service Center. Now, with this tool, you can make fine adjustments to your camera’s AF
system for slight focus variations that may occur as lens mechanisms wear, or to compensate for
variations in tolerances. Correction data for up to 20 lenses, including the kit lens, can be stored
in the camera. To make room for other lenses, these can be deleted individually as necessary.
Using AF Microadjustment requires taking a series of test shots with the camera focused on
a precise subject, with foreground and background clearly visible. Shooting test images with
different Microadjustment values, it’s possible to select which setting gives the best results
after viewing the images at 100% in your computer. You then set that value up to +/- 20,
using the AF Microadjustment Custom Function screen.
In the Microadjustment custom function window, you can choose to correct focus for all lenses
or individual lenses. For either, pressing the INFO button brings you to a second screen with
a +/- 20 analog scale. Here’s where the focus locking position of the lens can be adjusted forward or backward in up to 20 fine increments in either direction.
The amount of adjustment for one step varies based on the maximum aperture of the lens.
When saved, the camera’s autofocus system will continue to operate in normal fashion, but
the precise plane of sharpest focus will be moved forward or backward based on the AF
Microadjustment settings. The adjustment information for a lens (or camera) can be disabled
or easily readjusted, and does not apply to other cameras using the same lens.
V. CONTROLS AND CONVENIENCE
Quick Control Screen
45
Aperture
ISO speed
Shutter speed
Highlight Tone Priority
Exposure level indicator
Flash exposure compensation
Shooting mode
Metering mode
Drive mode
Image-recording quality
AF point
Picture Style
White balance
AF mode
Quick Control Screen
Faster access to a wide variety of controls is now possible using the Quick Control Screen on
both cameras, activated by pressing the Multi-controller. Once it’s visible, moving the 8-way
multi-controller up, down, left, right or diagonally lets you jump from one function area to
another. When you reach the right function area, turning either the Main Dial or the Quick
Control Dial changes the settings, while pressing the SET button brings up the full control
screen for that function. Another related feature: The LCD can be set to display a group
of Camera Settings or Shooting Functions by pressing the INFO button. With shooting
functions displayed, the settings on the top LCD panel are now duplicated on the large
3.0-inch LCD. If you press the ISO speed button or any other button while the shooting
functions are displayed, the respective full screen will appear.
Printing and Camera
Direct Controls
Minor additions to the Direct Printing (PictBridge) and Print Ordering (DPOF) controls are
included on both cameras. The latest PictBridge features such as reflecting printing effects in
the thumbnails, and image tilt correction have been included. Also, RAW images can now be
printed, but videos or individual video frames on the EOS 5D Mark II cannot be printed.
Since folders can now be added to the memory card, DPOF controls include the ability to specify
images in their respective folders. This ability has also been added to the Direct Image Transfer
function, which can now be used to transfer videos and still photos from the EOS 5D Mark II.
VI. INTELLIGENT BUNDLED SOFTWARE
46
VI. INTELLIGENT BUNDLED SOFTWARE
New Features in
EOS Utility and DPP
47
Unlike many competitive DSLR models that come with only basic download and view software
applications, both the EOS 5D Mark II and EOS 50D comes bundled with Canon’s Digital
Photo Professional (DPP) version 3.5, a powerful—and free—RAW conversion and optimization
utility. DPP features an intuitive user interface and an integrated browser that speeds the
selection, cropping, and export of both RAW and JPEG images, either as single images or
as multiple images in batch processing mode. Among its powerful RAW conversion utilities,
DPP contains sophisticated exposure and white balance controls, adjustable Picture Style
settings, noise reduction controls and lens aberration correction with more power than the
camera’s built-in Peripheral Illumination Correction (PIC) function. There’s also Chromatic
Aberration correction for RAW images which can be applied before they’re processed.
RAW images from the EOS 50D and EOS 5D Mark II require DPP version 3.5 or higher.
But DPP v.3.5 is also compatible with RAW files from previous EOS Digital SLRs, going
back as far as the 3.0-megapixel EOS D30. Version 3.5 can also process RAW images from
the compact PowerShot G10 camera (however, it cannot process RAW files from earlier
PowerShot models).
In addition to DPP, both cameras will include the following programs on the EOS Digital
Solution Disk Ver.19.1:
• EOS Utility 2.5.1 (Win/Mac)
• Picture Style Editor 1.4.1 (Win/Mac)
• ZoomBrowser EX 6.2.1 (Win)
• ImageBrowser 6.2.1 (Mac)
• PhotoStitch 3.1/3.2 (Win/Mac)
• Memory Card Utility 1.2 (Win/Mac)
• WFT Utility 3.2 (Win/Mac)
• Original Data Security Tools 1.5 (Win)
• Win 2000 driver (Vista and XP has a built-in driver)
Zoombrowser EX 6.2.1 and ImageBrowser 6.2.1 will also include updated controls that enable basic clip editing of movies shot with the EOS 5D Mark II.
VII.NEW ACCESSORIES AND LENSES
48
VII.NEW ACCESSORIES AND LENSES
Battery Grip
49
EOS 50D: Battery grip BG-E2N with Battery Magazine BGM-E2
This optional grip is the same as the EOS 40D’s, and was designed to extend shooting
capacity and enable vertical shooting. Constructed out of magnesium alloy with weather and
dust resistant seals around the battery compartment, the grip includes a vertical shutter
button, auxiliary main input dial, AF point selector button and DC coupler cord mount.
With batteries loaded, the grip adds heft and
overall balance that is closer to that of the
EOS-1Ds Mark III body. There are two
power choices: it can be loaded with either one
or two BP-511A lithium-ion Battery Packs or
with six AA-size batteries (using the included
battery magazine). When loaded with two
BP-511A Battery Packs, normal shooting
capacity doubles to approximately 1,200 shots
(at 50% with built-in flash, at 73 degrees F
operating temperature) or up to 340 shots in Live
View shooting mode.
EOS 5D Mark II: Battery Grip BG-E6 with battery magazine BGM-E6
Exclusively for the EOS 5D Mark II, the new BG-E6 features a magnesium alloy body and
sealed battery compartment that complements the ruggedness of the EOS 5D Mark II, as
well as extending the camera’s versatility and shooting capacity. It provides a comfortable
grip and array of controls for shooting in vertical
orientation, as well as two power options: either
one or two LP-E6 lithium-ion Battery Packs, or
six AA-size alkaline batteries. When loaded with
dual LP-E6 lithium-ion Battery Packs, detailed
battery information and recharge performance
is communicated to the camera, and shooting
capacity is doubled, to roughly 1,700 shots
(at 73 degrees F), or approximately 400 shots
when using Live View shooting mode.
VII.NEW ACCESSORIES AND LENSES
Wireless File Transmitters
50
EOS 50D: Wireless File Transmitter WFT-E3A* (firmware version 2.0.0 or later required)
This Wireless File Transmitter is the same model designed for the EOS 40D, and elegantly
mounts to the base of either camera It has full vertical shooting controls, enhancing its
usefulness for photographers working on location or in the studio. This device allows
seamless connection to a wireless access point or computer (located up to 492 feet from
the camera), and enables wireless control of the camera (with preview in Live View mode)
using included EOS Utility software. Three different wireless operation modes are possible:
FTP, PTP, and HTTP. Furthermore, a USB 2.0 Hi-Speed connection allows plugging-in
an external storage device such as a portable hard drive
or USB GPS unit. Finally, in areas where there’s
interference or lots of wireless transmission, an
Ethernet port for attaching the camera to a
wired network or personal computer at distances
up to 1,000 feet.
EOS 5D Mark II: WFT-E4A*
The new WFT-E4A is dedicated strictly to the new EOS 5D Mark II and features high
speed image transfer (802.11b/g Wi-Fi connectivity via FTP, PTP or HTTP. Wireless
transfer of images is possible to a wireless access point or computer up to 492 feet from the
camera. This unit enables wireless control of the camera from a computer (with preview in
Live View mode, as well as focus control) running the included EOS Utility Software. A
USB 2.0 Hi-Speed connection can be used for attaching external storage media (including
USB thumb drives) or a compatible USB GPS unit, allowing position information to be
included with recorded images. Another option
is wired Ethernet, using conventional Ethernet
cables up to 1,000 feet from the host computer.
The WFT-E4A also acts as a fully functional
vertical grip with shutter, exposure and AF
point selection controls.
* WFT-E3A and WFT-E4A are sold in the USA and other countries where laws require wireless devices with 11 channels of operation. WFT-E3 and
WFT-E4 are sold in countries where laws permit 13 wireless channel devices.
VII.NEW ACCESSORIES AND LENSES
Canon EF 24mm
f/1.4L II USM lens
51
This new wide-angle lens offers far more than a cosmetic makeover to the highly acclaimed
EF 24mm f/1.4L USM lens it replaces, and it retains the distinction of being the brightest
wide-angle L-series lens in its class. Added professional characteristics include dustproof
and weatherproof construction, with dramatic improvements to image quality provided by a
total optical re-design and the application of Canon’s exclusive Subwavelength Structure
Coating (SWC) to the inside surface of the large front lens element. This special coating is
designed to minimize ghosting and flare, especially from extreme off-angle light rays. It
combines with traditional Super Spectra multi-coating, to give the lens unprecedented
resistance to internal reflections and flare.
Ultra-low Dispersion (UD) glass lens elements were also added in order to reduce chromatic
aberrations, and a high speed CPU and improved algorithms make possible a faster and quieter
autofocusing system. Combined with two aspherical lens elements, the lens offers significant
improvements in image quality and contrast, especially at the outer edges of the image when used
on full-frame digital SLRs. A circular aperture means beautiful out-of-focus highlights in backgrounds. This new lens targets the critical professional photographer, and should be especially
prized by users of high-resolution full-frame digital cameras like the new EOS 5D Mark II.
External View, Cross Section and Optical System of of EF 24mm f/1.4L II USM
EMD
Hood Mount
(Bayonet)
Distance scale
window
Ring USM
Distance scale
Depth-on-field scale
Infrared index
Contact
Focusing lens group (2nd lens group)
Focusing lens group (3rd lens group)
Image plane
Focusing Ring
Diaphragm
Lens mount index
Distance Index
Focus mode switch
UD lens
GMo aspherical lens
SWC-treated surface
90.8mm
BF=38.5mm
VII.NEW ACCESSORIES AND LENSES
Canon EF-S 18-200mm
f/3.5-5.6 IS lens
52
This new high magnification, wide-to-telephoto EF-S zoom lens is the ideal kit lens for the
EOS 50D, offering a 35mm equivalent focal length of 29mm to 320mm (11x), and featuring
Canon’s advanced Optical Image Stabilizer technology. It is also available separately and is
compatible with all Canon DSLRs using APS-C sized sensors, including the EOS 40D,
30D, 20D, and all versions of the EOS Digital Rebel and Rebel series cameras.
The compact size and weight on this lens, plus its professional lens design and construction,
improved AF speed and advanced IS system make it an extraordinary value for the price.
The optical arrangement includes two UD glass elements and two high-precision GMo
(Glass Molded) aspherical lenses among the total of 16 lead-free glass elements in 12 groups.
These UD and aspherical lens elements help reduce distortion and chromatic aberrations.
Close-focus performance is excellent: the lens focuses down to about 1.5 feet (0.45m), where
it can fill the frame with a subject about the size of a book of matches. In addition, Super
Spectra Coatings on all elements help to minimize lens flare and ghosting.
Canon’s advanced Optical Image Stabilizer technology increases the lens stability by up to
4 shutter speeds, essentially extending the performance of the lens in low-light situations
to that of more expensive f/2–f/2.8 non-stabilized lenses. For example, at 200mm focal
length, the recommended lowest shutter speed for sharp photos is 1/200 sec. But with the
IS turned on, most photographers will be able to take sharp photos at speeds as slow as
1/30th sec. or even 1/15th sec., allowing creative control of the aperture to increase depth
of field, balance the ambient lighting to reduce underexposed backgrounds, or increase
motion blur as desired.
External and Cross Section of EF-S 18-200mm f/3.5–5.6 IS
Hood Mount (Bayonet)
Rubber ring
Focusing Ring
Zoom Ring
Closest focusing
distance mark
Zoom Index
EMD
Silver ring
Contact
Image stabilizer switch
Focus mode switch
at 200mm
Zoom ring lock lever
IS unit
VII.NEW ACCESSORIES AND LENSES
53
The advanced Image Stabilization system also senses camera motion and automatically
optimizes the Image Stabilization for either normal shooting or panning (where vertical
stabilization is applied, but horizontal isn’t to allow for side-to-side panning). The Image
Stabilization system also has a function that detects the use of a tripod and responds
accordingly. Other features that add to image quality are the 6-blade, circular aperture for
exquisite soft-toned images, and the high speed, optimized AF system. As a finishing
touch for convenience and safety, the lens includes a built-in zoom locking mechanism
that holds the lens to its shortest, un-extended length.
EF-S 18-200mm f/3.5-5.6 IS Lens Movement During Zooming
Lens group 1
Lens group 3
Lens group 2
(Focusing lens group)
UD lens
Lens group 5
Lens group 4
Image plane
Compensation optics
Diaphragm
UD lens
18mm
GMo aspherical
lens
at 18mm: 106m/at 200mm: 136mm
at 18mm: 38m/at 200mm: 68mm
50mm
200mm
VIII. SPECIFICATIONS
54
VIII. SPECIFICATIONS
55
EOS 50D
Imaging Sensor
Resolution:
Sensor Size:
Sensor Type:
Pixel Size:
Lens focal length factor:
Sensor Dust Removal:
Approx. 15.1 million effective pixels (4768 x 3174 pixels)
22.3 x 14.9 mm
Canon CMOS Sensor
4.7 microns square
1.6x
EOS Integrated Cleaning System
• Active removal of dust by vibrating front low-pass filter
• Front low-pass filter has new fluorine coating to further resist adhesion of dust
• Automatic removal of dust spots using Canon Digital Photo professional software
Performance
Maximum frames-per-second:
Maximum Number of
Frames / Burst:
Shutter Speeds:
Flash Sync Speed:
Anticipated Shutter Durability:
Computer Interface:
6.3 fps
• JPEG: 60 (90 w/ UDMA cards)
• RAW: 17
• RAW + JPEG: 11
30 seconds ~ 1/8000, plus Bulb
Up to 1/250, with Canon EX-series Speedlites
Approx. 100,000 frames
USB 2.0 (Hi-speed)
Image Recording
Storage Media:
Card Compatibility:
Image Format and
Resolution Options:
• CF Type I and II memory cards
• Recording to external media enabled with WFT-E3/E3A (with firmware update to WFT unit)
• OK for cards over 2GB
• High-speed writing with UDMA CF cards
• JPEG
Large – 4752 x 3168 (approx. 15.1 million pixels)
Medium – 3456 x 2304 (approx. 8.0 million pixels)
Small – 2352 x 1568 (approx. 3.7 million pixels)
• RAW – Canon .CR2 file format
• sRAW1 – 3267 x 2178 (approx. 7.1 million pixels)
• sRAW2 – 2376 x 1584 (approx. 3.8 million pixels)
• RAW + JPEG – JPEG files written as separate file on card
• sRAW1 + JPEG
• sRAW2 + JPEG
14 bits per channel
■
■
■
Analog to Digital Conversion:
VIII. SPECIFICATIONS
Image Processor:
File Numbering:
Folders:
Data Verification:
56
Canon DIGIC 4
DCIM standard
• sRGB color space: IMG_0001.jpg, or IMG_0001.cr2
• Adobe 1998 color space: first character is an underscore (_)
• Automatically created for image storage
• New folders can be user-created
• Folders can be freely selected on the memory card by the photographer
“Original Image Data” can be appended to each image via Custom Function
• Requires optional Canon Original data Security Kit OSK-E3 to check authenticity
Live View Function
Viewing options:
Manual Focus:
Auto Focus:
Shutter Response in Live View:
Silent Mode Live View Shooting:
Camera’s LCD monitor
Computer monitor, tethered via USB
Computer monitor, wirelessly via WFT-E3/E3A
Viewed on LCD monitor, with option to magnify 5x or 10x
Possible
• “Quick Mode” 9 point phase-difference AF (mirror drops momentarily, AF via AF sensor)
• “Live Mode” (uninterrupted Live View; Single point, contrast-based off of imaging sensor)
• “Face Detection Live Mode” (Face detection, contrast-based)
59 ms.
Yes (Mode 1, and Mode 2)
LCD Monitor
LCD Monitor:
LCD Monitor Brightness Levels:
New clear view LCD monitor
• 3.0 inch (diagonal) TFT color; approx. 100% coverage
• Approx. 920,000-dot resolution
• Approx. 160° viewing angle
• Adjustable in 7 levels
Autofocus System
Number of AF Points:
AF Point Selection:
AF Activation:
• 9 – cross-type usable with all lenses f/5.6 and brighter
• 1 – Diagonal “High-precision” cross-type sensor at center, lenses f/2.8 and brighter
• Manual point selection
C.Fn III-3-1/2 allows with the Multi-controller, or Quick Control Dial to be used
directly to control the AF point
• Automatic Selection
Pressing the shutter release halfway (SW-1), or pressing the “AF-ON” button
■
VIII. SPECIFICATIONS
AF Modes:
57
• One Shot AF
• AI Servo AF
• AI Focus AF
Camera automatically switches between One Shot AF and AI Servo AF
EV -0.5 ~ 18 (measured at 73°F and ISO 100)
C.Fn III-7
• Adjust all by same amount, or Adjust by Lens
■
AF Sensitivity Range:
AF Microadjustment:
Exposure Control
Shutter Speeds:
ISO Range:
Auto ISO:
Exposure Modes:
Full Auto Modes:
Metering:
Metering Range:
Exposure Compensation:
Auto Exposure Bracketing:
Automatic Image Correction Tools:
30 seconds ~ 1/8000, plus Bulb; x-sync at 1/250 sec.
ISO 100 ~ 3200
• H1: 6400, H2: 12,800
ISO 100 ~ 1600 in Basic Zone Modes
Manual, Aperture Priority (Av), Shutter Priority (Tv), Program AE, and camera user (C1,
C2 settings)
Green Zone, Portrait, Landscape, Close-up, Action, Night Portrait, Flash Off, Creative Auto
35-zone metering sensor
• Evaluative Metering (linked to active AF points)
• Center-weighted Metering
• Partial Metering (Center, approx. 9% of viewfinder)
• Spot Metering (Center, approx. 3.8% of viewfinder area)
EV 0 ~ 20 (all patterns at normal temperatures)
Possible in P, Tv, Av, and A-DEP Exposure Modes
± up to 2 stops, in 1/2 or 1/3-stop increments
Possible in P, Tv, Av, and A-DEP Exposure Modes
± up to 2 stops, in 1/2 or 1/3-stop increments
• Auto correction of Lens Periphery Illumination
Correction for specific lenses can be registered in camera using Canon EOS Utility software
• Auto Light Optimizer
• Highlight Tone Priority Mode
■
Flash
Compatible Flashes:
Camera Menu Sets flash:
E-TTL II Flash Metering:
Wireless:
Flash Exposure Compensation:
All Canon EX-series Speedlites
Yes (580EX II, and 430EX II only)
Flash metering NOT linked to active AF point
Distance from compatible EF lenses now used
E-TTL Fully compatible
Up to ±2 stops in 1/3 or 1/2 stop increments
VIII. SPECIFICATIONS
Built-in Flash:
Sync Contacts:
Guide number at ISO 100 = 43 feet
• Accessory shoe: X-sync contact (syncs at 1/250 sec. or slower)
• PC terminal
X-sync at 1/125 sec.
No polarity
■
■
Both the accessory shoe and PC terminal can be used simultaneously
Viewfinder
Viewfinder:
Viewfinder:
Fixed pentaprism
• Coverage: approx. 95%
• Magnification: approx. 0.95x
• Eye point: 22 mm (from eyepiece lens center)
Ef-A provided as standard
• Available options:
Ef-D: Precision Matte w/Grid Lines
Ef-S: Super Precision Matte
Adjustable from: -3.0 ~ +1.0
■
■
Dioptric Adjustment:
Image Control
Color Space:
White Balance:
White Balance Correction:
White Balance Bracketing:
Picture Style:
sRGB, and Adobe RGB 1998
2500°K ~ 10,000°K
±9 levels Blue/Amber shift
±9 levels Magenta/Green shift
Yes
6 – Standard, Portrait, Landscape, Neutral, Faithful, Monochrome
3 – User sets available
Interface
Computer Connection:
Wireless Transmitter:
Remote Control:
Video-out:
High-speed USB, mini-B port
WFT-E3/E3A (requires firmware update for compatibility)
• Serial USB
• 802.11b/g wireless networks
• Ethernet
Canon N3-type terminal
NTSC or PAL Video formats (selectable on menu)
• HDMI
• Single-pin mini-jack to Standard RCA video-out port
58
VIII. SPECIFICATIONS
59
Direct Printing
Compatibility:
Compatible Images:
Preview Controls on Camera’s LCD:
Connection to Printer:
DPOF Image Marking:
PictBridge
RAW, sRAW, and JPEG images
Paper size, Paper types, Printing effects, Layout, Trimming, Tilt-correction (±10° in 0.5°
increments), Date and Time imprinting
USB
Complies with DPOF version 1.1 specifications
Power Supply
Battery:
Charger Unit:
AC Adapter:
Battery Grip:
Date/Time Back-up Battery:
1 – Canon BP-511A
Included: CG-580
Optional: CB-5L, or CA-PS400
Optional: AC Adapter Kit ACK-E2
Optional: BG-E2N, or BG-E2
• 2 – Canon BP-511A Battery Packs can be used, or
• 6 – AA size batteries with supplied insert
Lithium-ion CR2016 button battery (approx. life: 5 years)
Body
Exterior Material:
Chassis Material:
Lens Mount:
Lens Compatibility:
Operating Temperature Range:
Operating Humidity:
Dimensions (W x H x D):
Weight (without battery or memory card):
Magnesium alloy
Stainless steel, and Polycarbonate with glass fiber
Canon EF Lens mount; Metal
All Canon EF and EF-S lenses
0° ~ 40° C
32° ~ 104° F
85% or less
145.5 x 107.8 x 73.5 mm
5.7 x 4.2 x 2.9 inches
730 g.
25.7 oz.
VIII. SPECIFICATIONS
60
EOS 5D Mark II
Imaging Sensor
Resolution:
Sensor Size:
Sensor Type:
Pixel Size:
Lens focal length factor:
Sensor Dust Removal:
Approx. 21.1 million effective pixels (5616 x 3744 pixels)
24 x 36 mm
Canon CMOS Sensor
6.4 microns square
1.0x – Full Frame 24 x 36 mm – no lens conversion factor
• EOS Integrated Cleaning System
Active removal of dust by vibrating front low-pass filter
Front low-pass filter has new fluorine coating to further resist adhesion of dust
Newly-designed Self Cleaning Sensor Unit optimized for the EOS 5D Mark II’s fullframe CMOS sensor
• Dust Delete Data Function
Automatic removal of dust spots using Canon Digital Photo professional software
The XY-coordinates of dust adhering to the low-pass filter is detected by shooting
a test shot. Information is appended to subsequent images.
Dust Delete Data information is then used by Canon DPP software (included)
to automatically remove dust spots
• Manual Cleaning
■
■
■
■
◆
◆
Performance
Maximum frames-per-second:
Maximum Number of
Frames / Burst:
Shutter speeds:
Flash Sync Speed:
Anticipated Shutter Durability:
Computer Interface:
Start-up Time:
3.9 fps (at 1/500 sec. or faster, at all image-quality settings)
• JPEG: Unlimited (with UDMA CF Card); 78 (with non-UDMA CF card)
• RAW: 14 (with UDMA CF card); 13 (non-UDMA CF card)
30 seconds ~ 1/8000, plus Bulb
Up to 1/200, with Canon EX-series Speedlites
Approx. 150,000 frames
USB 2.0 (Hi-speed)
• Improved, faster transmission speed from the EOS 5D model
0.1 sec.
Image Recording
Storage Media:
Card Compatibility:
• CF Type I and II memory cards
• Recording to external media enabled with WFT-E4/E4A
• OK for cards over 2GB
• High-speed writing with UDMA CF cards
VIII. SPECIFICATIONS
Image Format and
Resolution Options:
61
• JPEG
Large – 5616 x 3744 (approx. 21.0 million pixels)
Medium – 4080 x 2720 (approx. 11.1 million pixels)
Small – 2784 x 1856 (approx. 5.2 million pixels)
• RAW – Canon .CR2 file format
RAW – 5616 x 3744 (approx. 21.0 million pixels)
sRAW1 – 3861 x 2574 (approx. 10.0 million pixels)
sRAW2 – 2784 x 1586 (approx. 5.2 million pixels)
RAW + JPEG – JPEG files written as separate file on card
sRAW1 + JPEG
sRAW2 + JPEG
• MOV
Full HD – 1920 x 1080 (16:9 format)
SD/VGA – 640 x 480 (4:3 format)
14 bits per channel
Canon DIGIC 4
DCIM standard
• sRGB color space: IMG_0001.jpg, or IMG_0001.cr2
• Adobe 1998 color space: first character is an underscore (_)
• Automatically created for image storage
• New folders can be user-created
• Folders can be freely selected on the memory card by the photographer
“Original Image Data” can be appended to each image via Custom Function
• Requires optional Canon Original data Security Kit OSK-E3 to check authenticity
■
■
■
■
■
■
■
■
■
■
■
Analog to Digital Conversion:
Image Processor:
File Numbering:
Folders:
Data Verification:
Movie Shooting and Playback
Recording Format:
Movie Recording Size:
Frame Rate:
MOV (Video: H.264, Sound: Linear PCM)
• Full HD – 1920 x 1080 (16:9 format)
• SD/VGA – 640 x 480 (4:3 format)
30 fps
Still Capture during
Movie Shooting:
Still photos can be captured at any time by pressing the shutter release. The still will be
captured at the image quality settings currently set.
Note: When a still image is captured, the movie will be interrupted momentarily. Live View returns, and the movie
recording resumes automatically after the still is captured
Movie Retouching and Effects:
Based on set Picture Style
VIII. SPECIFICATIONS
Sound Recording:
62
• Monaural recording using the built-in microphone
• Stereo recording via optional external microphone using input port
Sound recording ON/Off selectable in menu
Sound volume adjusted automatically
Compatible with both condenser-type or dynamic external microphones
• Full-HD video – approx. 12 minutes
• SD-video – approx 24 minutes
• Autofocus
Quick Mode
Live Mode
Live View Face Detection Mode
• Manual
Magnified MF on LCD not possible
• Program AE for shooting movies
• Live View Movie – Center-weighted metering
• Face Detect Live View Movie – Evaluative metering
± 2 stops, in 1/3 or 1/2 stop increments
Not possible
Play; Slow Motion (playback speed adjustable); First Frame; Previous Frame; Next Frame;
Last Frame; Sound Volume (6 levels, including volume off )
■
■
■
Continuous Movie Recording Time:
Focusing:
■
■
■
■
Exposure:
Movie Exposure Compensation:
Movie AE Lock:
Movie Playback:
Live View Function
Viewing Options:
Image Display:
Manual Focus:
Auto Focus:
Shutter response in Live View:
Live View Frame Rate:
Silent mode Live View Shooting:
Grid Line Display:
• Camera’s LCD monitor
• Computer monitor, tethered via USB cable and Canon EOS Utility software
• Computer monitor, wirelessly via WFT-E3/E3A
• Stills
• Stills with Exposure Simulation
• Movies
Viewed on LCD monitor, with option to magnify 5x or 10x
Possible
• “Quick Mode” 9 point phase-difference AF (mirror drops momentarily, AF via AF sensor)
• “Live Mode” (uninterrupted Live View; Single point, contrast-based off of imaging sensor)
• “Face Detection Live Mode” (Face detection, contrast-based)
Approx. 73 milliseconds
30 fps
Yes (Mode 1, and Mode 2)
2 – Grid Displays available
VIII. SPECIFICATIONS
63
LCD Monitor
LCD Monitor:
LCD Monitor Brightness Levels:
New Clear View LCD monitor
• 3.0 inch (diagonal) TFT color; approx. 100% coverage
• Approx. 920,000-dot resolution
• Approx. 170° viewing angle
• Manually adjustable in 7 levels
• Auto LCD Brightness
Automatically adjusted by built-in light sensor (3 – brightness levels)
Anti-reflection and anti-smudge coating
■
Panel Coating:
Autofocus System
Number of AF Points:
• 9 – Visible AF Points
9 – AF points usable with all lenses f/5.6 and brighter
1 – “High-precision” cross-type sensor at center, lenses f/2.8 and brighter
• 6 – Assist-AF points
■
■
Not displayed in viewfinder. Assist-AF points function as needed when shooting in AI Servo AF.
■
■
4 – Horizontal-line sensitive points usable with f/5.6 lenses and faster
2 – High-precision, vertical-line sensitive points usable with lenses f/2.8 and faster
Light Source Detection Sensor provided to automatically compensate for the slight focus variations caused by
the spectral characteristics of different light sources. Especially effective when shooting in artificial light sources.
AF Point Selection:
• Manual point selection
Using C.Fn III-3, AF point selection can be controlled with the Multi-controller,
Main Dial, or Quick Control Dial
• Automatic Selection
Pressing the shutter release halfway (SW-1), or pressing the “AF-ON” button
• One Shot AF
• AI Servo AF
• AI Focus AF
■
AF Activation:
AF Modes:
Camera automatically switches between One Shot AF and AI Servo AF
EV -0.5 ~ 18 (measured at 73°F and ISO 100)
Adjust all by same amount, or Adjust by Lens
■
AF Sensitivity Range:
AF Microadjustment:
VIII. SPECIFICATIONS
64
Exposure Control
Shutter Speeds:
ISO Range:
Auto ISO:
Exposure Modes:
Full Auto Modes:
Metering:
Metering Range:
Exposure Compensation:
Auto Exposure Bracketing:
Automatic Image Correction Tools:
30 seconds ~ 1/8000, plus Bulb; x-sync at 1/250 sec.
ISO 100 ~ 6400; (Expandable – L:50; H1: 12,800; H2: 25,600)
ISO 100 ~ 3200
Manual, Aperture Priority (Av), Shutter Priority (Tv), Program AE, and camera user (C1,
C2 settings)
Green Zone, Portrait, Landscape, Close-up, Action, Night Portrait, Flash Off, Creative Auto
35-zone metering sensor
• Evaluative Metering (linked to active AF points)
• Center-weighted Metering
• Partial Metering (Center, approx. 8% of viewfinder)
• Spot Metering (Center, approx. 3.5% of viewfinder area)
EV 1 ~ 20 (all patterns at normal temperatures)
Possible in P, Tv, Av, and A-DEP Exposure Modes
± up to 2 stops, in 1/2 or 1/3-stop increments
Possible in P, Tv, Av, and A-DEP Exposure Modes
± up to 2 stops, in 1/2 or 1/3-stop increments
• Auto correction of Lens Periphery Illumination
Correction for specific lenses can be registered in camera using Canon EOS Utility software
• Auto Light Optimizer
• Highlight Tone Priority Mode
■
Flash
Compatible Flashes:
Camera Menu Sets Flash:
E-TTL II Flash Metering:
Wireless E-TTL:
Flash Exposure Compensation:
Built-in Flash:
Sync Contacts:
All Canon EX-series Speedlites
Yes (580EX II, and 430EX II only)
Flash metering NOT linked to active AF point, Distance from compatible EF lenses now used
Fully compatible
Up to ±2 stops in 1/3 or 1/2 stop increments
N/A
• Accessory shoe: X-sync contact (syncs at 1/200 sec. or slower)
• PC terminal
■
X-sync at 1/125 sec
Sync duration: Since large studio flash systems have different flash duration times, tests should be done beforehand to determine precise sync speed (1/125 ~ 1/30 sec.)
■
No polarity
Both the accessory shoe and PC terminal can be used simultaneously
VIII. SPECIFICATIONS
65
Viewfinder
Viewfinder:
Focus Screen(s):
Fixed pentaprism
Newly-designed viewfinder optics, now larger, easier to see, and clearer than EOS 5D model
• Coverage: approx. 98%
• Magnification: approx. 0.71x
• Eye point: 21 mm (from eyepiece lens center)
• Eg-A provided as standard
Available options:
Eg-D: Precision Matte w/Grid Lines
Eg-S: Super Precision Matte
• Eyecup Eb
• Rubber Frame Eb
• Eyepiece Extender EP-EX15
• E-series Dioptric Adjustment Lenses
Adjustable from: -3.0 ~ +1.0
Time Approx. 145 ms, at 1/60 sec. and faster speeds
ISO speed, Monochrome Shooting, Battery Check, D+ (expanded dynamic range using Highlight
Tone Priority Mode)
■
■
Eyepiece Accessories:
Dioptric Adjustment:
Viewfinder Blackout:
New Viewfinder Information:
Image Control
Color Space:
White Balance:
White Balance Correction:
White Balance Bracketing:
Picture Style:
sRGB, and Adobe RGB 1998
Manual control range 2500°K ~ 10,000°K
Custom WB range 2000°K ~ 10,000°K
Auto WB range 3000°K ~ 7000°K
±9 levels Blue/Amber shift
±9 levels Magenta/Green shift
Yes
6 – Standard, Portrait, Landscape, Neutral, Faithful, Monochrome
3 – User sets available
Interface
Computer Connection:
Wireless Transmitter:
High-speed USB, mini-B port
WFT-E4/E4A
• Serial USB
• 802.11b/g wireless networks
• Ethernet
VIII. SPECIFICATIONS
Remote Control:
66
• Canon N3-type terminal
• Remote Control Sensor below self-timer lamp receives signals from optional Canon RC-1/RC5
Remote Controllers
Sensor activated when drive mode is set to either 10 sec. or 2 sec. self-timer settings
• HDMI-mini Out
• Audio/Video Out
Uses STV-150N Stereo Video Cable – included NTSC/PAL
• External Microphone Input
3.5mm dia. Plug compatible with commercially available external microphones
■
Audio/Video Terminals:
■
■
Direct Printing
Compatibility:
PictBridge
BubbleJet Direct, and CP Direct not supported
RAW and JPEG images
Only RAW images captured by the EOS 5D Mark II can be printed.
Movies can not be printed
Paper size, Paper types, Printing effects, Layout, Trimming, Tilt-correction (±10° in 0.5°
increments), Date and Time imprinting
USB
Complies with DPOF version 1.1 specifications
■
Compatible Images:
■
■
Preview Controls on camera’s LCD:
Connection to Printer:
DPOF Image Marking:
Power Supply
Battery:
Shooting Capacity:
AC Charger Units:
Car Charger Unit:
AC Adapter:
Battery Grip:
Date/Time Back-up Battery:
1 – Canon LP-E6
Approx. 850 shots at 73F/23C (according to CIPA standard)
Either LC-E6, or LC-E6E
Optional: CBC-E6
Optional: AC Adapter Kit ACK-E6
Optional: BG-E6
• 2 – Canon LP-E6 Battery Packs can be used, or
• 6 – AA size batteries with supplied insert
Lithium-ion CR1616 button battery (approx. life: 5 years)
• Stored in compartment below the terminal area
VIII. SPECIFICATIONS
Body
Exterior Material:
Chassis Material:
Lens Mount:
Lens Compatibility:
Operating Temperature Range:
Operating Humidity:
Dimensions (W x H x D):
Weight (without battery or memory card):
Magnesium alloy
Stainless steel chassis, and Polycarbonate with glass fiber mirror box
Canon EF Lens mount; Metal
All Canon EF lenses
0° ~ 40° C
32° ~ 104° F
85% or less
152 x 113.5 x 75 mm
6.0 x 4.5x 3.0 inches
810 g. / 28.6 oz.
67
VIII. SPECIFICATIONS
68
EF 24mm f/1.4L II USM Wide Angle lens
Optics
Focal Length:
Optical construction:
Aspherical lens elements:
24mm
13 elements in 10 groups
2 (2nd and 13th elements)
Ultra-low Dispersion
glass elements:
Multi-coating:
Aperture:
Aperture ratio:
2 (4th and 9th elements)
Super Spectra coating (special new coating for 1st element)
8 blades with circular shape
1:1.4
Angle of view at infinity
Diagonal (43.2mm):
Vertical (24mm):
Horizontal (36mm):
84 degrees
53 degrees
74 degrees
Focusing
AF motor:
AF speed:
AF drive noise:
Focusing system:
Manual focus:
Minimum focus:
Field of view:
Maximum magnification:
Ring USM
0.49 sec
40 dB or lower (based on Canon’s measuring standards)
Rear focusing system, with focusing cam
Enabled with focus mode switch and focusing ring
0.25 m (0.82 ft)
139 x 208mm
0.17x
Diaphragm
Aperture range:
Number of diaphragm blades:
Aperture control:
f/1.4 to f/22 (for 1/3 stop increments also)
8 (circular aperture)
Pulse control with EMD (enabled simultaneously during autofocus)
Accessories
Filter size:
Lens hood:
Lens case:
Dust cap:
Extension tube:
77mm
EW-83K petal-type, equipped with a two-claw removable dedicated bayonet hood attachable in reverse
LP1319, accommodates the lens, lens cap, and dust cap
Lens dust cap E
EF12 II
Dimensions and Weight
Length/width:
Weight:
83.5 x 86.9mm (3.3 x 3.4in)
650g (1.4 lbs.)
VIII. SPECIFICATIONS
69
EF-S 18-200mm f/3.5-5.6 IS Wide Angle-Telephoto Zoom lens
Optics
Focal Length:
Optical construction:
Aspherical lens elements:
18-200mm (equivalent to 29-320mm in 35mm format) only compatible with EOS
Digital cameras that have an APS-C size sensor.
16 elements in 12 groups
2 (8th and 15th elements)
Ultra-low Dispersion
glass elements:
Multi-coating:
Aperture:
2 (2nd and 14th elements)
Super Spectra coating used on all elements
6 blades with circular shape
Image Stabilizer
Stabilizer unit:
Shake detection:
IS activation:
Mode Selection:
Tripod operation:
Parallel shifting of compensation optics
Via gyro sensors (1 sensor each for yaw and pitch)
Turned on with the IS switch and activated by pressing the shutter button halfway
Switches automatically between Normal and Panning modes
Has a function that prevents the IS from being operated incorrectly when mounted on a tripod
Autofocus
AF motor:
Manual focus:
Minimum focus:
Maximum magnification:
Gear driven by DC motor
Enabled with focus mode switch and focusing ring
1.5 feet (0.45m)
0.05x (18mm), 0.24x (200mm)
Diaphragm
Aperture range:
Number of diaphragm blades:
Aperture control:
f/3.5-5.6 (marked on lens barrel), to f/22-38 (f/22-38 for 1/2 stop increments)
6 (circular aperture)
Pulse control with EMD (enabled simultaneously during autofocus)
Accessories
Filter size:
Lens hood:
Lens case:
72mm
EW-78D petal-type, equipped with a two-claw bayonet-mount. The inside of the hood is
treated with a coating for a greater anti reflective effect.
LP1116 flap fastening soft case
Dimensions and Weight
Length:
Weight:
102mm
595g (1.3lbs)
IX. FEATURE COMPARISON CHARTS
70
IX. FEATURE COMPARISON CHARTS
71
EOS 50D Comparison Chart
EOS 50D
EOS 40D
Nikon D300
Pentax K20D
Sony A700
Olympus E-3
10.1 (3888 x 2592)
Imaging Sensor
Effective Pixels
15.1 (4752 x 3168)
12.3 (4288 x 2848)
14.6 (4672 x 3120)
12.2 (4288 x 2856)
10.1 (3648 x 2736)
Image Sensor
Canon CMOS
CMOS
CMOS
CMOS
CMOS
Sensor Size
1.6x
1.5x
1.5x
1.5x
N/A
(approx. 2x that of 35mm)
Aspect Ratio
3:2 ratio
3.2 ratio
3.2 ratio
3.2 ratio
4:3 ratio
Cleaning System
EOS Integrated Cleaning System
Yes
Yes
Yes
Yes
Nikon EXPEED
PRIME
BIONZ
—
12 bit
12 bit
—
12 bit
4288 x 2848
4672 x 3120
4288 x 2856
2648 x 2736
Image Processing
Processing Engine
Canon DIGIC 4
Canon DIGIC III
A/D Conversion
(bit depth)
14 bit
RAW File Resolution
Options
RAW — 4752 x 3168
RAW — 3888 x 2592
sRAW1 — 3267 x 2178 sRAW1 — 1936 x 1288
sRAW2 — 2376 x 1584
(14 bit available at reduced
speed performance)
Dynamic Range Expansion
Yes, Highlight Tone Priority
—
Yes
—
—
Brightness Auto Correction
Yes
No
Yes
—
Yes
Yes
Peripheral Illumination
Correction
Yes
No
No
No
No
Yes
Noise Reduction
Long Exposure
High ISO (4 levels)
Long Exposure
High ISO
Long Exposure
High ISO (3 levels)
Long Exposure
High ISO (4 levels)
Long Exposure
High ISO (3 levels)
Long Exposure
High ISO
CF
SD, SDHC
CF, Memory Stick
CF, xD
No
Yes
—
Yes
Yes
No
No
No
No
Yes
No
Yes
No
Recording Media
Media Type
CF
UDMA Compatibility
Yes
External Media
Connection
Folder creation/
selection by user
Yes
via Canon WFT-E3A unit
Yes
No
Image Quality Adjustment
White Balance range
2500 ~ 10,000K°
2500 ~ 10,000K°
—
2500 ~ 9900K°
2000 ~ 14,000K°
White Balance Shift
±9 levelsBlue/Amber Bias, ±9 levelsMagenta/Green bias
Yes
Yes
Yes
Yes
White Balance Bracketing
Yes
Yes
Yes
Yes
Yes
Image Quality Adjustment
Picture Styles, 6 + 3 user sets
Yes, 4 Picture Controls
No
Yes
Yes
Viewfinder
Coverage
95%
100%
95%
95%
100%
Magnification
0.95x
0.94x
0.95x
0.90x
1.15x
Eye-point
22
19.5
—
25
20
Dioptric Adjustment
-3 ~ +1
-2 ~ +1
-2.5 ~ +1.5
-3 ~ +1
-3 ~ +1
Interchangeable
focusing screens
Yes
No
Yes
Yes
Yes
Quick Live
Quick
No
Qucik
No
No
1
1
1
Tethered via USB
Wireless tethered via WFT-E3a unit
Tethered using
optional software
No
No
9 — cross-type points sensitive to f/5.6
1 — Diagonal high-precision cross-type center point
51
15 cross-type points
11
9 cross-types
Live View Shooting
AF Modes
Quick focus AF
Live contrast-based AF
Face-detect Live AF
Silent Shooting
Grid Display
Remote Live View
Quick Focus
Yes
2
1
No
Autofocus
AF Points
11
1 cross-type
11
All cross type
Brightness range
EV -0.5 ~ 18
EV -1 ~ 19
EV 0 ~ 21
EV 0 ~ 18
EV -2 ~ 19
AF Modes
One Shot AF, AI Servo AF, AI Focus AF
One Shot, Servo
One Shot, Servo
One Shot, Servo
One Shot, Servo
Yes
No
No
—
Fine Adjustment
AF Microadjustment
No
IX. FEATURE COMPARISON CHARTS
EOS 50D
EOS 40D
Nikon D300
72
Pentax K20D
Sony A700
Olympus E-3
Exposure Control
Metering Zones
35
1005
16
40
49
Metering Range
EV 1 ~ 20
EV 0 ~ 20
EV 0 ~ 21
EV 0 ~ 20
Ev 0 ~ 20
Metering Modes
Evaluative
Matrix
16 segment pattern
Multi-segment
Multi-patter
Center Weighted
Center-weighted Spot
Center-weighted Spot
Center-weighted Spot
Center-weighted Spot
Spot Highlight control
Spot Shadow control
Partial (center, approx. 9% of viewfinder)
Spot (center, approx 3.8% of viewfinder)
Creative Auto Mode
Yes
No
No
No
No
No
ISO Speed range
100 ~ 3200
H1: 6400
H2: 12,800
100 ~ 1600
Hi: 3200
200 ~ 3200
L:100, Hi: 6400
100 ~ 3200
Hi: 6400
100 ~ 3200
Hi: 6400
100 ~ 3200
1/4000 ~ 30 sec., BULB
Shutter
Speed range
1/8000 ~ 30 sec., BULB
1/4000 ~ 30 sec., BULB
1/8000 ~ 30 sec., BULB
1/8000 ~ 30 sec., BULB
X-sync
1/250 sec.
1/250 sec.
1/180 sec.
1/250 sec. w/o SteadyShot
1/200 w/ Steady Shot
1/250 sec.
Shutter response speed
(lag)
59 ms
—
—
—
—
0.13 sec.
—
—
—
3 fps
5 fps
5 fps
38 JPEG
14 RAW
— JPEG
8 RAW
17 cRAW (compressed
— JPEG
16 RAW
Start-up Time
1/8000 ~ 30 sec., BULB
0.10 sec.
0.15 sec.
Drive
Continuous Shooting (fps)
Maximum Burst
6.3 fps
6.4 fps
6 fps
(Based on new CIPA 2007
guidelines)
(Reduced at 14 bit mode
to 2.5 fps)
75 JPEG (large/fine)
17 RAW
14 RAW + JPEG
43 JPEG (large/fine)
21 RAW
60 JPEG (large/fine)
90 JPEG w/ UDMA cards
17 RAW
11 RAW + JPEG
RAWmode)
Built-in Flash
Guide Number (m)
13
12
13
12
13
Flash Coverage
17 mm
18 mm
28 mm
16 mm
14 mm
LCD Monitor
3.0 inches
2.7 inches
3.0 inches
2.5 inches
Resolution (Dots)
Screen size
920,000
3.0 inches
230,000
920,000
230,000
920,000
230,000
Angle of View
160°
140°
170°
160°
—
176°
Flip-out
Anti-reflection /
antismudge coating
—
Yes / Yes
—
—
—
—
—
—
—
—
Yes
—
HDMI Output
Yes
—
Yes
—
Yes
—
Yes w/ WT-4
—
—
—
Optical in Lens
Body Based
Body Based
Body Based
Ability for user text input,
but not specifically
copyright information
No
No
No
Accessories
Wireless LAN /
GPS compatibility
Yes
With Canon WFT-E3A
Other
Image Stabilization
Optical in Lens
Appending user
Copyright info
Yes
No
Quick Control Screen
Yes
No
No
No
Yes
Yes
Original image
verification data
Yes
With optional Canon OSK-E3 software kit
Yes
With optional software
No
No
No
Dimensions
(W x H x D mm)
145.5 x 107.8 x 73.5
147 x 114 x 74
141.5 x 1.1 x 70
141.5 x 104.8 x 79.7
142.5 x 116.5 x 74.5
825
715
690
810
Weight (g)
730
740
IX. FEATURE COMPARISON CHARTS
73
EOS 5D Mark II Comparison Chart
EOS 5D Mark II
EOS 5D
21.1
12.8
Nikon D700
Nikon D3
Nikon D90
Sony A900
Imaging Sensor
Effective Pixels
Image Sensor
Canon CMOSSensor
Sensor Size
1x
24 x 36mm Full Frame
12.1
12.3
CMOS
1x – in FX Mode
1.5x – in DX Mode
Aspect Ratio
3:2
Cleaning System
EOS Integrated Cleaning System
1.5x
1x
Self Clean Function
Selfclean via CCD Shiftunit
3:2
Self Clean Function
No
24.6
CMOS
3:2
Image Processing
Processing Engine
Canon DIGIC 4
Canon DIGIC II
A/D Conversion (bit depth)
14 bit
12 bit
12 bit, 14 bit
EXPEED
12 bit
Dual BIONZ
12 bit
RAW File Resolution
Options
RAW – 5616 x 3744
sRAW1 – 3861 x 2574
sRAW2 – 2784 x 1856
RAW – 4368 x 2912
RAW – 4256 x 2832
RAW – 4288 x 2848
RAW – 6048 x 4032
Dynamic Range Expansion
Yes
Highlight Tone Priority
No
Yes
Yes
Brightness Auto Correction
Yes
No
No
No
Peripheral Illumination
Correction
Yes
No
No
No
Noise Reduction
Long Exposure
High ISO (4 levels)
Long Exposure
Long Exposure
High ISO (4 levels)
Long Exposure
High ISO (3 levels)
Long Exposure
High ISO (6 levels)
Continuous Shooting (fps)
3.9 fps
3 fps
5 fps
8 fps w/optional
battery pack
9 fps
Maximum Burst
JPEG based on Large/
Fine setting
78 – JPEG (unlimited
60 – JPEG
17 – RAW
12 – RAW + JEPEG
Performance
with UDMA cards)
13 – RAW (14 UDMA)
8– RAW + JPEG (8 UDMA)
Shutter Speeds
30 seconds ~ 1/8000, plus bulb
Shutter Actuation Rating
150,000 frames
Flash Sync Speed
100,000 frames
30 seconds ~ 1/8000, plus bulb
150,000 frames
Up to 1/200 sec
300,000 frames
1/250 sec.
4.5 fps
5 fps
50 – JEG
7 – RAW
105 – JPEG (Fine)
12 – R AW
25 – Compressed
RAW
11 – RAW + JPEG
30 seconds ~ 1/4000,
plus bulb
30 seconds ~ 1/8000,
plus bulb
100,000 frames
100,000 frames
1/200 sec.
1/250 sec.
(1/200 in steady shot mode )
Start-up Time
0.1 sec.
0.2 sec.
Shutter Response Speed
(lag)
73 ms.
75 ms.
Recording Format
MOV MPEG 4*2
Video: H.264
Sound: Linear PCM
No
Movie Recording Size
Full HD – 1920 x 1080
0.12 sec.
0.15 sec.
0.183 sec.
AVI Motion JPEG
No
40 ms.
Movie Shooting and Playback
No
No
720p HD – 1280 x 720
(16:9)
(16:9)
SD/VGA – 640 x 480 (4:3)
SD VGA – 640 x 480 (4:3)
SD QVGA – 320 x216 (4:3)
Frame Rate
30 fps
24 fps
Still Capture Option
during Movie Shooting
Yes
Movie continues after still
frame capture
Approx. 1/2 sec. pause in
video while still frame is
captured
No
Movie mode is exited for
still frame capture, and
requiresmanualreactivation
of movie recording
Sound
Built-in mic – Monaural
External (optional) – Stereo
Built-in mic
Monaural only
No option for external
audio input
IX. FEATURE COMPARISON CHARTS
74
EOS 5D Mark II
EOS 5D
Nikon D700
Nikon D3
Nikon D90
Sony A900
Continuous Movie Record
Time
Movie clips limited to
4GB in length
Approx. Time
12 minutes – Full HD-video
1080p
24 minutes – SD-video
No
No
No
5 minutes in
720p HD mode
No
Focus Modes in Video
Autofocus
Quick Mode
Live Mode
Face Detect Live Mode
Manual Focus
Manual focus only
Live View
AF Modes
Autofocus
Quick Mode
Live Mode
Face Detect Live Mode
Manual
5x, 10xmagnification modes
Silent Shooting
Yes
Grid Display
2 Grid displays available
Remote Live View
Tethered via USB and
included software;
Wireless tethered via
WFT-E3a unit
No
Quick Mode
Contrast AF in Tripod Mode
Wide-area AF
Normal-area AF
Face Priority AF
No
No
No
1
Yes
Using optional software
LCD Monitor
Screen Size
Clear View LCD Monitor
3.0 inches
2.5 inches
3.0 inches
3.0 inches
Resolution (dots)
920,000
230,000
920,000
921,000
Angle of View
170°
170°
170°
Anti-smudge / Anti-reflection
Yes
No
No
No
HDMI mini Output
Yes
No
Yes
Yes
Autofocus
AF Points
9 – AF Points
9 – AF points usable with all lenses f/5.6 and brighter
1 – “High-precision” cross-type sensor at center,
lenses f/2.8 and brighter
6 – Assist-AF points
11 – AF Points
1 – cross -type sensor
9 – AF Points
10 – Assist points
Single Servo AF
Continuous Servo AF
Single Point AF
Dynamic area AF
Auto-area AF
3D Tracking AF (11 point)
Single Shot AF
Continuous AF
Automatic AF
Yes
No
AF Micro Adjustment
51 – AF Points
(15 cross-type sensors grouped in center of frame)
(Not displayed in viewfinder – used in AI Servo AF Tracking)
4 – Horizontal-line sensitive points usable with
f/5.6 lenses and faster
2 – High-precision, vertical-line sensitive points
usable with lenses f/2.8 and faster
Brightness Range
EV -0.5 ~ 18
AF Modes
One Shot AF
AI Servo AF
AI Focus AF
Fine Adjustment
AF Micro Adjustment
EV -1 ~ 19
No
EV 0 ~ 18
Exposure Control
Metering Zones
35 –zone metering sensor
Metering Range
EV 1 ~ 20
EV 0 ~ 20
EV 0 ~ 20
Metering Modes
Evaluative Metering, Center-weighted
Partial Meter (approx. 8% of finder)
Spot Meter (approx. 3.5% of finder)
3D Color Matrix
Variable Center-weighted Spot
Multi-segment
Center-weighted Spot
ISO Speed Range
ISO 100 ~ 6400
Expanded range: L: 50
H1: 12,800
H2: 25,600
ISO 100 ~ 1600
Expanded range:
L: 50; H : 3200
1005 RGB Sensor
40 segment honeycomb
200 ~ 6400
200 ~ 3200
200 ~ 3200
(Expanded range: 100, 12800, 25600)
(Expanded range: 100, 6400)
(Expanded: 100, 6400)
IX. FEATURE COMPARISON CHARTS
EOS 5D Mark II
EOS 5D
Nikon D700
CF Type I and II
CF Type I and II
CF
75
Nikon D3
Nikon D90
Sony A900
CF
SD/SDHC
CF, Memory Stick
Recording Media
Media Type
(2 – card slots)
UDMA Compatibility
Yes
No
Yes
N/A
Yes
External Media
Connection
Yes
Via WFT-E4/E4A unit
No
No
No
No
Folder creation/
selection by user
Yes
No
No
2000°K ~ 10,000°K
2800°K ~ 10,000°K
No
Image Quality Adjustment
White Balance Range
White Balance Shift
2500°K ~ 10,000°K
±9 levels Blue/Amber Shift
±9 levels Magenta/Green Shift
2500°K ~ 9900°K
Yes
Yes
White Balance Bracketing
Yes
Yes
Yes
Image Quality Adjustment
Picture Styles
6 + 3 user sets
4 Picture Control Options
Yes
Color Modes
Image Parameters
Viewfinder
Coverage (approx.)
98%
96%
95%
100%
0.74x
Magnification
0.71x
0.71x
0.72x
Eye-point
21mm
20mm
18mm
Dioptric Adjustment
Interchangeable
Focusing Screens
Adjustable
-3.0 ~ +1.0
-2.0 ~ +1
-3.0 ~ +1
No
Yes
96%
100%
19.5mm
20mm
0.74x
-3.0 ~ +1
Yes
With Eg-series screens
Yes
With Ee-series screens
No
Yes
WFT-E4/E4A Unit
FTP Mode
PTP Mode
HTTP Mode
GPS input
External Drive Output
Ethernet Com Port
WFT-E1A
FTP Mode
Ethernet Com Port
WT-4A
FTP
PTP
Thumbnail view
Ethernet Port
Aftermarket option
No
Appending User
Copyright Info
Yes
No
Text EXIF Input
No
Original Image
Verification Date
Yes
With optional Canon
OSK-E3 software kit
Yes
With optional software
No
Dimensions
(W x H x D mm)
152 x 113.5 x 75 mm
152 x 113 x 75 mm
147 x 123 x 77 mm
159.5 x 157 x 87.5 mm
132 x 103 x 77 mm
156 x 117 x 82mm
Weight (g)
810 g.
810 g.
995 g.
1240 g.
620 g.
850 g.
Accessories
Wireless Unit
Functionality
Other
X. CONCLUSION
76
X. CONCLUSION
77
Canon’s EOS 5D Mark II and EOS 50D are two of the most refined photographic
instruments available for serious photographers. Yet, while both of these cameras share
a multitude of high-performance features such as rugged, weather-resistant bodies,
super-sharp 3.0-inch LCD monitors, advanced image quality controls, and an extensive
software package, they have distinctive capabilities designed to appeal to a broad
cross-section of advanced amateur and professional photographers.
For the price, no other DSLR comes close to rivaling the image quality and full-frame
convenience offered by the EOS 5D Mark II. This 21.1-megapixel, full-frame camera can
reliably handle many professional assignments while delivering the superb image quality,
shadow and highlight detail, low light performance, and Live View functionality of
Canon’s flagship EOS-1Ds Mark III—all at less than half the price. In addition, the EOS
5D Mark II’s unique 1080p Full HD video recording capability sets this camera apart from
the competition and bridges the technological gap between advanced digital still cameras
and HD camcorders by offering both capabilities in one device. Now, traditional wedding,
event, sports, and nature photographers can increase their value to prospective clients by
offering them both still and video services without being forced to invest in a high-end
HD camcorder or an assistant to help carry all the extra video gear. Alternatively, professional
videographers will be drawn to the EOS 5D Mark II’s unique depth of field control and
its ability to capture true wide and ultra wide HD video (along with stereo sound) directly
onto convenient CF cards.
The EOS 50D offers exceptional image quality and performance for its price and could be
the ideal backup camera for pros shooting with either the EOS 5D Mark II or the EOS-1Ds
Mark III. But advanced amateur and part-time pros will also appreciate the EOS 50D for its
high speed burst mode, super-fast and sensitive AF system, advanced metering and image
processing capabilities, and sophisticated custom controls borrowed from the professional
EOS-1D series. Photographers moving up from older and lower-priced Canon DSLRs will
also appreciate the EOS 50D’s compatibility with their existing Canon EF-S lenses, and
they’ll be better able to appreciate the higher performance, precision, and durability built into
the EOS 50D, as well as its advanced battery-grip and wireless accessories.
Beyond the multiple benefits that both the EOS 5D Mark II and the EOS 50D bring to
DSLR users, these new cameras provide ample evidence of Canon’s unsurpassed ability to
continually improve its product quality and feature levels while maintaining the company’s
leadership role in the increasingly competitive digital imaging industry.