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  1. Hi Andrew, I have a few questions for you: 1) Does the Digital Stabilization exhibit any artifacts when moving the camera? I remember this was the case for the EM1 Mark II. 2) Did they fix the overly pink reds that was found in the EM1 Mark II? 3) Does the EM10iii have a flat picture profile? If so is it as hard to grade as the EM1 Mark II (the highlights fell apart very easily on the EM1 Mark II).
  2. The issue with using faster glass on a smaller sensor to match a FF is that lenses have more imperfections the wider the aperture (F1.4 and lower usually) like color shifting, chromatic aberation, less sharp, vignetting...etc. I am a GH5 owner and I love it, however I do believe using a larger sensor to achieve the shallow look is better than relying on faster glass. I've used the Voigtlander 25 F0.95 extensively (version 1) and there is color shifting and fringing at F0.95.
  3. And for that reason, Canon has become irrelevant to me. I no longer hold my breadth to see what Canon might be putting out into the World. For that I turn to the other players in the market like Sony and Panasonic. I recently sold my cameras to pivot to the GH5, thus I've been without a camera for the last two months or so. And to work on projects I've been renting. A few times I rented the 1DC and my experience with that camera reminded me how outdated Canon gear rally is including their L-Series lenses for video work.. Now I'm not saying that I've shut the door on Canon
  4. Andrew: I'm curious about the HDMI-out functionality. Could you elaborate more? 1) For instance, when a clean signal is outputting via hdmi, does the rear LCD screen shut off or does it stay on so we can see our settings and make changes to the settings? 2) If we want on-screen overlays on the hdmi-out signal is this possible? If so, is the output windowed (like the A7S) or is it full 16x9 (like the 7D Mark II) or is it like a hybrid arrangement (i.e. RED, Canon C300II)? 3) Does hdmi-out remain active as we are recording internally? For my uses I like using a
  5. Yes Andrew, some of us do see 30p as a viable creative option. If you are not considering 30p as a creative tool, then you are missing out. For all those who have tested the A6300, are there any overheating issues in 4K, HD and 120fps mode?
  6. For video (unlike photo), I don't need the shot to be absolutely still. I need it to have two modes: 1) Eases the handheld look but doesn't totally dampen it. It should still look more edgier than the steadicam look. 2) Give us the easing of the motorized gimbal look. Similar to the Follow Mode or Majestic Mode of every motorized gimbal on the market.
  7. Any sign of overheating when filming video? Is it as robust as the A7S? Or does it overheat easily like the original A7? I would assume because the sensor is decoupled from the heat sink due to the sensor stabilization that it would run hotter?
  8. Well Andrew, here is the interview you've been waiting for... http://www.dpreview.com/articles/7079726133/photokina-2014-canon-interview-mirrorless-in-the-very-near-future DPReview interviewed a super high up executive from JAPAN, right from the horses mouth. I think the people you interviewed were not in a position to speak against their own company. They were simply employees whose job is to simply toot the company's horn. Regarding the 7D Mark II, the executive said they interviewed 5000 people to see what people wanted in the new camera. In terms of the user profile they wer
  9. I haven't used the 7D Mark II yet, but on the 70D there are THREE ways to do this. Assuming you have [SERVO AF] activated, you can hold the [AF-ON] button to lock focus. Another way to do this is to deactivate [SERVO AF] by simply touching the part of the touch screen which has [SERVO AF] as a touch menu button. The [SERVO AF] touch screen button is ALWAYS overlaid on the screen so you have access to it 24/7. The second way is actually a hack of sorts, but it works really well especially on steady cam. It is quick, silent and doesn't add unwanted motion to your rig. Therefore by de
  10. For documentary work, AF can be useful to eliminate focus hunting. The dual pixel AF has actually opened up a new world of opportunity to tell a story so differently than what we are currently used to. Bringing in a larger crew just for focus pulling can alter a real life moment, but keep it minimalist to a one man band and you have a completely different way of telling a story. And they really shouldn't call it "Dual Pixel AF" with the "AF" in there, because it's not the "auto" part of the technology I am interested in but rather the Servo part of it. It's the fact that you can driv
  11. The trend in society is that demand ultimately determines the fate of the future. Not the supplier. If organization "A" refuses to acknowledge the demand, then some other organization will, thus resulting in the demise of the previous organization. So if Canon and Nikon don't want to recognize the indie-filmmaker, then the demand will simply go elsewhere and companies like Sony, Panasonic and Blackmagic and other companies will be glad to fill the void. Metabones is a GREAT example of this. Their active E to EF adapter is society's way of mitigating Canon's lackluster effort. An "a
  12. I don't think Andrew is talking about the business side of Canon and Nikon. He is not speaking from a shareholder's point of view. He is talking form a pure filmmaking point of view. As a filmmaker, I could care less what the manufacturer's bottom line is. I need gear that speaks to the creativity of storytellers not greedy shareholders. I've traditionally thought that companies like Canon and Nikon, being on a public stock exchange, would be crippled for innovation by their shareholders need to get a return on their investment. But Sony is also similarly structured as they too have a
  13. Hey Andrew, Do you plan on having your question/answer session with Canon and Nikon filmed? I think it is especially important to get this on camera as they may shrug off some of your questions. If this is the case, showing them side-stepping a question on camera can be very powerful. Innovative companies like Sony and Blackmagic are creating a tipping point in the market for indie-filmmakers and the answers you get from them could tip it further. I think many people such as I are waiting to decide which direction to take our gear, Canon, Nikon, Sony, Panasonic or Blackmagic b
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