Revision as of 10:36, 29 August 2014

INTRODUCTION

The Canon EOS 6D is the world's smallest and lightest full-frame DSLR. It features a 20.2 Megapixel Full-Frame CMOS sensor, a wide ISO range of 100-25600 for incredible image quality even in low light, and a DIGIC 5+ Image Processor delivers enhanced noise reduction and exceptional processing speed. A new 11-point AF including a high-precision center cross-type AF point with EV -3 sensitivity allows focusing in extreme low-light conditions, and with continuous shooting up to 4.5 fps, you are ready to capture fast action. Full HD video with manual exposure control, multiple frame rates, and the benefits of a Full-Frame sensor provides stunning performance and creative flexibility.

APS has two complete Canon 6D kits that are setup for utilizing the advanced video functions of the camera. The kits include a shoulder mount rig with follow focus and viewfinder. The kits also include f/1.5 24mm, 35mm, and 85mm cine lenses with geared aperture and focus rings. There are 2 variable Neutral Density Filters to allow for using slow shutter speeds and wider apertures in brightly lit areas. Each kit contains 2 batteries and a plug in power supply for the camera.
Canon has some great tutorial videos on the Canon website.

CARING FOR THE CANON 6D

APS has a very limited number of Canon 6D cameras. We appreciate your help in caring for this item to insure its long-term use at Evergreen.

DO NOT:
Drop this camera
Point camera toward Sun.
Submerge this camera in water
Leave this camera near a strong magnetic field!
Leave this camera in excessive heat, such as a car
Store this camera in excessive heat or cold
Use a blow dryer to blow dust from the camera
Store this camera in a location where there may be corrosive chemicals
Use excessive physical force
Please be gentle with this camera; it looks hardy, but it's delicate!

VIDEO SETTINGS

There are two VIDEO menus: MOVIE • and MOVIE ••
You get to these by turning the Live View lever down to the MOVIE icon, press MENU and click to the two movie camera icons to the right of the first four CAMERA icons.
These settings apply only to VIDEO shooting, and only appear when the 6D is in MOVIE mode. To get to the Live View menu, you do the same thing, but instead move the Live View lever up to the Live View icon, which then replaces these Movie menus with Live View menus.
These settings apply only to VIDEO shooting.

MOVIE •

Live View Shoot

This is set to ENABLE by default. Set it to DISABLE if you don't want Live View popping up if you hit the LIVE VIEW button by accident.

AF Method

This set how autofocus works, only while in Movies.

Silent LV Shoot

These are different ways to attempt to make the 6D work more quietly as you shoot. Try the different modes if you're curious.

Metering Timer

This sets how long the light meter stays on.

MOVIE ••

Grid display

This allows you to place a rectangular grid over the image on the rear LCD as a help in keeping the camera level.

Movie Rec. Size

This is where you set resolution, frame rate and compression scheme. The higher the resolution or frame rate, or if you choose ALL-I, the bigger your files.

Resolution

1920 Choose 1920 (1,920 x 1,080) for subjects of nature, landscapes, cityscapes ,wildlife. theatrical release, and theatrical productions.
1280 Choose 1,280 (1,280 x 720) for sports video. It has smoother motion and is better if you want to convert it to slow motion later. Contrary to what Japanese makers pitch for selling TVs, 1,280/60 has the same resolution, and uses the same amount of data as 1,920/30. This is because 1,280/60 has higher temporal (time or motion resolution), while 1,920/30 has higher spatial (left-right/up-down) resolution instead. 1,280 is better for sports, and 1,920 is better for drama — each has the same total resolution.

Frame Rates

24 Choose the [24] options for theatrical release. They are really 23.976 fps. Also choose them for movies that look like movies instead of just video. Another advantage of 23.976 is that it's easy to down-convert it later to NTSC and to PAL, from the same file.
30 and 60 Choose [30] or [60] for NTSC-based (American, Japan, Korea, etc.) TV release. It's really 29.97 progressive or 59.94 interlaced fps.
50 Choose 50 for PAL-based (Europe, China, Australia, Russia etc.) TV release.

Compression Scheme

IPB Choose IPB for normal use. The video looks the same as ALL-I below, and take up much less space. IPB video files take much less space because the video is stored taking advantage of the fact that most frames have a lot of repetition from one frame to the next. IPB is far more efficient than ALL-I because it takes advantage of often storing only the changes from one frame to the next, not needing to save all the data of every frame if parts of it were the same as the frame before. Since movies have frames that are pretty much the same from one instant to the next, IPB is a very efficient way of storing video that looks great.
ALL-I Choose ALL-I only when you have huge data storage resources and need excruciating precision in frame-by frame editing for theatrical release. ALL-I is intended for the editing needs of professional tele-production and motion picture production, not for consumer use. ALL-I stores each and every frame individually and in its entirety, even if most of it was the same as the frame before. ALL-I takes no advantage of the fact that most frames are very similar to the frames that came before them. Stored as ALL-I, your file has to save all of every frame, even when the background and 90% of each frame is exactly the same as the frame before it. The only real technical reason for ALL-I is that each frame is separate, so if you need to cut out and use just three frames, that all three frames are available to cut-out and use separately, while in IPB recording, most recorded frames depend to some extent on the frames before and after them to define themselves. Even shot IPB, there are still a few I (individual) frames recorded every second, and editing software recreates the entire video stream from the I, P and B frames before you start to edit.

Sound Recording

This is the recording level control. Leave it at AUTO, or you may set it manually. Here you also may select a low-cut (wind) filter, and an attenuator. The low-cut (wind) filter only applies with the built-in microphone.

Time Code

This lets you professionals set-up time code to your preferences. You even can set drop frame or NDF.

Video Snapshot

This is a corny feature to create a series of video clips of a few seconds each. Ignore it.