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      Welcome to the EOSHD forum. The knowledge-base for all mirrorless, DSLR and pro video cameras.

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
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    • I have to say that anybody who is both a hockey fan AND a fan of Wong Kar-Wai is ok in my book. Are you located in the Bay Area by chance??? I remember watching Days of Being Wild at the World Theater on Broadway in The City back in 1990 or '91 when it was first released. That was probably the closest to film nirvana I have experienced.
    • Yes, it is. Something to think about. But then the 16-35 is about US $1,100 used, and then I would probably need a 24MP body such as the a7 II as well.  If sony full frame lenses were more affordable - or if I were halfway decent at manual focus with adapted lenses - then it could work.
    • I don't really know when the a6500 will get replaced, and I think that trying to predict what sony is going to do is kind of a fool's errand, IMHO. People were kind of right in predicting the a9, but it wasn't exactly what people had said it would be (the lower MP sensor). Not sure many people were expecting the release of the a7R III. Most people I saw were predicting an a7 III. But then again it kind of made sense that some of the tech that was in the a9 would go into another flagship camera. I'm not really sure what would go into an a6500 successor... and no telling if it would be at the a6500 price point or whether it would be closer to that of D500
    • @HockeyFan12 I think there’s a huge misunderstanding here, no doubt the fault is my own. Number one, I never meant to imply that video is superior to film. Let me be perfectly clear - I don’t believe Raging Bull could ever be improved upon! Number two, I realize that these great filmmakers chose the cameras and processing techniques they did, not because they were impoverished, but for aesthetic or philisophical reasons. When I said that some of the films  shot on 16mm might have looked ‘better’ if shot on say a GH5, I did not mean to imply that ‘if only they had had a modern digital camera, their films would be watchable today.’ My point was merely that filmmakers should not be judged based on the camera they shoot with, something even the Cannes film festival can agree on. Come to think of it, I don’t know why I included Wong Kar-Wai’s masterpiece in my list - I think I just got carried away rattling off the names of some of the filmmakers I admire the most! His film obviously does not belong there, glad you pointed it out. My bad! I don’t believe I’ve ever had the opportunity to watch a pristine restored print of Chungking Express at the cinema, but would love to be able to one day.
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