squig

It's not the Sigma f/1.4 ART, it's the old one; very soft at f/1.8 but really sharp at f/2.8. The 18-35mm and the new 14mm are good options too. I haven't tried the 60p mode yet. I've been shooting almost everything 14bit lossless, it's awesome. The files are 14Bit raw MLV and convert to CDNG as usual. a1ex said he knew about the JPEG compression but didn't bother messing with it because he assumed it was just 8bit. 14bit lossless files are a lot smaller than 10/12bit. Some stuff I shot was around 50% compressed. The (around) 90MB/s limit hasn't changed. There hasn't been any faster CF cards released since the Lexar 1066x. Something a bit faster could theoretically give ML a bit of a write speed boost.

It's recording 3072x1286 continuously (2.39:1) with a 1.87x crop @ 80MB/s 14bit lossless. Only 2 issues ATM: the useless greyscale preview as @hyalinejim mentioned, and the menu is quite buggy. The other thing is lensing; the Tokina 11-16mm isn't great wide open, it's sharp but I don't like what it does to highlights. The Sigma 20mm f/1.8 is a lot nicer at f/2.8 but it's not very wide at around 37mm with the crop.

Na.

No sound. Getting 3k now with 14bit lossless No samples yet. I'll get some anamorphic traffic shots tonight if the rain stops.

So I've tried it. So far I can record continuous 14bit 1:1 2.3K 2.39:1 (2304x964) or 2.6K 14bit lossless, and 2.8K 1.5x anamorphic 2.39:1 (1920x1152) with a full color live view.

Counting our money.

@hyalinejim I haven't used the crop modes much to date, mostly just testing them. @Hans Punk I've got a Tokina 11-16mm too, ugly bokeh compared to my Leicas; the Sigma 20mm f/1.8 is better, but not exactly a wide in crop mode. The search for the ultimate affordable ultra-wide continues.

Truth is we've had the ability to shoot well above 2K for ages in crop mode. People whinge and whine about crops, apparently oblivious to that newfangled invention: the wide angle lens.

Eloi.

Replicants will be running amok first.

I never use AWB. I light with mixed color temps a lot, like a 4000k practical with a 5600k backlight for example, so I dial in WB to suit in camera. I tend to warm things up a bit in post. 2010 is no better. I mostly just denoise, sharpen, and adjust WB in ACR, and sometimes make curves adjustments. It's super important to ETTR and nail exposure with the Canons otherwise they get very noisy.

Yeah, a1ex said he's putting a few hours a week into digic 6 ML development.

The 5D MK3 is way better than the 50D. I'll probably get an 80D too for the DPAF when ML crack it. GH5, meh.

The feature's still in pre-production, but I've done a lot of testing and no, I haven't had a single bad frame or any crashes.

Since ML raw happened I haven't looked back. Raw's a dream to work with in post. Yeah Ed, not having to think about white balance is a big deal.

Mostly a kid in Cairo rocking a VPN.

It's not the size it's what you do with it.

Most Nikons have a lot less noise than Canons at base ISO. DP Review calls it "ISO invariance". In real world shooting you can get away with underexposing a Nikon (I'm talking about raw photos, not video), whereas you have to expose to the right with a Canon to achieve the best results (raw photo and raw video). The 5D MK4 isn't as clean as a D750 or D810 at base ISO, but it's a lot cleaner than a 5D MK3. Interestingly, although Nikon uses a lot of Sony sensors, Sony cameras don't like to be underexposed, especially if you're shooting sLog. From my experience shooting with a bunch of cameras, DXOmark raw dynamic range results appear to be accurate. Noise measurements aren't as accurate a guide for video shooters because they don't take into account problematic things like highly compressed codecs, fixed pattern noise, or blue splotches (A7s). Doing your own tests and finding a sensor's sweet spot is crucial to getting the highest dynamic range and least noise out of any camera. Proper post processing of raw files is equally important. Every camera has some quirks that lab tests don't pick up on.

THIS is woo woo

Indie cinema is alive and well. Fuck the system.

Not to mention all the crap Hollywood passed off as movies.

It's very good. Three.

Zer Germans get how easily men can be turned to the dark side. America has forgotten what it's like to destroy itself.