From the folks at Gizmodo comes this:
I'm amazed by the cinematic qualities of this high definition footage from Frontline's documentary Obama's War. The color, the depth, the texture, it all screams film to me. Except it's just a Canon 5D Mark II rigged by Danfung Dennis.
5d Mark ii, canon in Production 
Abel Cine Tech offers up a great look at audio gear to go with your DSLR:
One thing is for sure, if you're shooting with the new crop of HDSLR cameras—Canon 5D Mark II,Canon 7D or the Panasonic Lumix GH1—you’ll need to put some serious thought into your audio workflow. While each of these cameras is capable of producing remarkable images with their large sensors and interchangeable lens systems, they are all pretty awful in the audio department.
Why?
Well, each camera does have built in audio capabilities, including a built in mic and a jack to plug in external microphones, but none of them give the user any real manual control over what’s being recorded. There are no meters, no trim knobs and no XLR inputs to use professional shotgun and lavalier microphones. Most importantly, all of the cameras use Automatic Gain Control (AGC) when recording, and it can’t be disabled. This is the real monkey in the wrench.
AGC works on the equality system. If Joe is talking to camera and suddenly an itty-bitty cricket makes a loud sound in the background, the AGC will kick in. It will increase the mic’s gain and try to make the cricket as loud as Joe. As you can imagine, the results can be disastrous. The audio levels will be all over the place, and unwanted noise can be introduced into the recording. It’s the equivalent of an audio roller coaster ride. Not good.
So, in order to combat these inherent HDSLR audio issues there are a number of current solutions that can be used to ensure that you’re getting the best audio on your HDSLR projects.
For the rest of this post, visit Abel Cine here.
5d Mark ii, GH1, Panasonic, audio, canon, recording in Audio, Production Philip Bloom hears from Alex Buono, the Saturday Night Live DP who recently shot the new title sequence on the 7D and 5d as well as loads of other bits and pieces. They normally use film, Cinealta, Varicam or the HVX but they shot on the 7d and 5d for the first time recently. They wanted to shoot the new title sequence with the 7d after seeing how good it looked after seeing Phil's little Dublin’s People short apparently which is very flattering.
They also have used it for studio sketches like the one above for “Bladivan”. If you live in US or can hide your IP you can view it here.
Alex said he was impressed, he gave some feedback to Canon to what he would like to see improved which is great. He does an awesome job above and we can’t wait to see the other stuff he has done with it including the new title sequence. We are going to see more and more stuff shot on these cameras for broadcast as their abilities are discovered. Yes they have shortcomings but the image quality out of them as we know is terrific. Phil has yet to shoot any broadcast with the 7d but have shot 3 broadcast TV commercials on the 5d and the results have been awesome. As reported first on:
http://philipbloom.co.uk/2009/09/29/saturday-night-live-use-canon-7d-and-5d/
5d Mark ii, 7D, Comedy, Saturday Night Live, canon in Production 
Philip Bloom, whose DSLR cinematography already graces this blog takes on the eternal question:
5d or 7d? That is the question… HOW many emails have I had asking me this? Oh and I will be referring to the 5dmkII as the 5d throughout this article as you all know what I am talking about! I have had the 5d since late April/ Early May and I have had the pre-production model of the 7d for about 3 weeks now. Which one do I prefer? That is one tough question.
For Phil's findings and some serious soul-searching follow the link below:
http://philipbloom.co.uk/2009/09/23/5dmkii-or-the-7d/
5d Mark ii, 7D, canon, megapixels, sensors in Analysis