Wulf

very well done, gorgeuos starting point

regarding the lowlight test: look at the shutterspeeds... :-)

Canon and ISO-Calibration.... :rolleyes:

there was an article with screenshots from the time lines of big productions on slashcam. not so long ago and yes, it was quite boring: 95 % AIVID, AVID and AVID.

If I read stuff like this 'wonderful experience', 'great team' and so on I normally stop, as there is in generally no further valuable information provided, only an advert.

Wow, too.

And nothing ironical this time, keep up the great work.

never read it.

too long.

too boring.

back to the topic: of course Nikon is the be(a)st cam now. The stores had begged/asked Nikon for doing so:  the best customer is the one who switches his system and need everything new - a wet dream comes true.

Canon just waiting a year or two until the people have sold everything.

Not only my phantasy, we've seen this before with the D3.

that's very true, araucaria, but nevertheless colours are the big weakness of both the Pany and the Sony

Because the A7S takes my Canon lenses, has 4K output, has a better form factor for video, better codec and better image with S-LOG.

that's true, but unfortunately the colours could not compare with Nikon's, especially the skin tones.

Having seldom seen so much crap as with illgraded S-Log-footage...

So, I would prefere a Canikon for sunny, low ISOs anyday.

I'm aiming for both, btw, A7s and D750.

a lot of issues, that's right, but in my eyes neither Sony's nor Pany's colours look as great and natural as Nikon's (or Canon's, I might add)

first serious review at Camerastore

 Just look at it from a photographer's point of view: it is very likely the best APS-C camera on the market. (...)

... Sure, it is just an incremental upgrade, but for a sports & wildlife photographer it is the top camera by far.

 

(...) I believe that Canon, in spite of their lack of innovation, know very well the product they are selling and whom they are selling it to. It's simply not us!

Exactly. It's a simply a (semi)pro photo cam, and as far as I know, at least some Nikonshooters would die for this.

Fortunately, these are other people's problems... :-)
 

stunning landscape shots in the dunes!

looks really like a BIG production :-)

 

Sony probably makes more profit selling sensors to Nikon than selling sensors in their own cameras.

a Nikon body has always been the best place for a Sony sensor w/o any doubt, really :-)

I completely agree with the video. Nikon is being really stupid. They have no video market to protect and they could destroy everyone.

hm, maybe it's not that easy - N is 100% depending on sony's sensors

D3, D3x, D800 and not to forget the smaller crop cams, nearly all of them have Sony inside.

... the silhouette looks more like a cropcam, no room for a pentaprism, so maybe...?

the 28/2 AI(S) is regarded as a top glass, which I would confirm by personal xp during the last ten years...

yeah, don't let us die stupid

hm, not even with raw in my eyes.

I once had a still cam which was a bit too saturate for my taste - I had to add a desaturated layer in PS.

o/c it could be just me, but colour rendition is always the very first I look at every cam, maybe a relict of being a stills shooter for a looong time

You can get what ever colours you want.

I'm not sure about that.

look at nikonhacker.com

the ugly macroblocking/banding is almost gone, it depends on your shooting/lightning/scenes if there's a big difference or not, mostly it's more supple but nevertheless an improvement

 

Some consider the FE 55 and Sigma Art 50 among the greatest bargains in lenses.

That might be true for still photography with an 36 mp sensor..  Others considered any ol' AIS 50 as good enough, in their vision content is king...

ebay prices for GH1s started to climb again...

Educating yourself is free.  First, learn how to use a mic rather than buying an expensive one, or even a cheap one.  

 

Additionally, for what it's worth, I make films all the time and never use a "rig," so I don't consider that a worthwhile investment either.  A good (wise) eye for the shot and a tripod is more important than rigging gear.

 

The form factor of my GX7, for example doesn't slow me down.  And my Canons works great just basic handheld with a loupe.  Shot entire documentaries that way.

 

I never gone for a shot and then thought, man if only I had that RedRock rigging gear... so I'm not fond of the rigging stuff; my personal preference.  I kinda wonder sometimes if that equipment is more of an ego thing for the owner of it to look "pro" than actually a pragmatic solution.

that

sry for the fullquote, but it's impossible to shorten this w/o throwing very valuable information away.

voigtländer 21 1.8 ?

and that's the problem - why should they change anything?

oh, I forget about this retro df thing... olle sensor, olle body, olle customers. A bit like Kodak, you see? Or more Leica? Hasselblad. Mamiya. Contax. Minolta. Voigtländer. Zeiss. Rollei. at least they left some glas for andy's thread, lol

At one time they were all gigants, state of the art... w/o the D3 sensor, Nikon would have been a thing of the past, too. Nowadays this could happen very quickly. I only shoot Nikon because used glasses/bodies were so f*** cheap when I was a poor teen, 'cause all profs were running to Canon early in the 90's.

Canon/Nikon are looking at each other, Canons got the sealings and more frames, Nikons got the higher resolution. Nikon's managers are a bit obsessed in term of maximal still quality, looking at medium format etc.

Fine, but historically  progress in photography was NOT driven by quality, but by availability. Large format -> medium format -> small format --> mobiles? The mass market.

it's the customers, who still associated Quality = DSLR. no wonder, if you looked at N's own mirrorless line... 

but the very day when DSLRs are as 'kewl' as LP-players or VHS-video, Nikon must have found a solution.

look at FlickR, what's the most used body? :-)

A wide shot can have shallow dof, but you will most likely have something out of focus in the foreground, and that's a problem with a wide shot.

my next lense is a tilf/shift

good examples, hmcindie

but as I understand the TO was referring to the ultra THIN DOF so called 'DSLR-Look', like shooting with f= 1.4 or 2.0 on FF with >60 mm, which absolutely isolates the protagonist in a headshot.

As we knew, some people abused this idea and started to shoot everything really wide open, even landscapes... :-)

all your examples would perfectly work as a still alone, as there is still a relation between the figure and the background. After you have shown the complete scene, you could concentrate on the story, on the acting with a softer 4.0 or 5.6.