Posts posted by ectobuilder
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.
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 A few times I rented the 1DC and my experience with that camera reminded me how outdated Canon gear rally is including their L-Series lenses for video work..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, surely if they were to wake up and smell the roses and actually bring us something more in line with what Sony and Panasonic are bringing out in terms of mirrorless tech then I would take a look at Canon again.
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 larger external monitor so being able to record internally and still get an hdmi-out feed with overlays in full 16x9 is important to me.
Sony a6300 4k
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?
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.
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?
Well Andrew, here is the interview you've been waiting for...
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 were targeting:
"The user profile of 7D owners is â€˜high amateurâ€™ and enthusiasts who want high framerates and professional photographers who want a lightweight, fast camera. And also anyone who doesnâ€™t want to carry something big and heavy."
So to confirm your suspicion, they didn't care about the filmmaking crowd.
As a consumer I guess it is too easy think about ourselves first instead of considering how hard it is to make one product to satisfy everyone.
On the one hand I am pissed that the 7D Mark II isn't as revolutionary as the A7S for filmmaking but on the other hand I can sympathize with the challenge of having to narrow down the target audience.
Can you do that with the Canon? I thought you still need to engage the AF to drive the lens that way.
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 deactivating [SERVO AF] you have effectively locked focus!
This is why I was hoping for a touch screen on the 7D Mark II because it acts as a quick silent button.
The THIRD WAY is to leave [SERVO AF] off and simply press the [AF-ON] button to drive focus. It will drive focus to where the focus box is located.
First, I don't care about the promotional video or what stills people are saying on a spanish forum, because it isn't relevant to this discussion AT ALL!
Second, this is a filmmaking gear site and a filmmaking / video forum, AF in video mode is not at the level where it is useful yet.
Third, manual focus is more under the control of the filmmaker. You can't trust AF to do what you want it to do. Read up on Philip Bloom's review of the C100's AF.
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 drive focus precisely to where you need it to go without physically touching the lens then LOCK the focus.
From a storytelling perspective this offers a more polished way to tell a story while staying minimalist - an extra tool for me to use. Of course if I want the footage to feel a bit more organic then yes I would do 100% manual focus to get the focus hunting look in there.
I can't wait to test out this feature on the 7D Mark II to see how it performs.
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 "adapter" by definition is our way of saying we like some aspects of what you do (i.e. Canon glass) but unfortunately we need to source the remaining solution elsewhere (i.e. the camera body).
In 2009, at the height of the 5D Mark II craze, I never thought that we needed to create a single company (metabones) to side-step having to use Canon DSLR bodies.
Some of the questions wouldn't even have been asked in any form by a professional journalist because professional journalists do research before having a hardball Q&A session with corporate representatives.
Here are some FACTS a professional journalist would keep in mind when speaking to Canon and Nikon. The first is historically DSLR sales have been volatile. You need a lot of data points before you can claim there is a trend... not just a few months worth of data during economically turbulent times.
Another FACT that should be kept in mind is the number one selling DSLR on the United States' number one online reseller last week was the Nikon D750. It was bumped from number one to number two when I checked today. The new number one selling DSLR is the Canon T3i... hardly a 4K aliasing/moire free video machine.
FACT number four, I'm losing track now, there are no mirrorless cameras of any sort in the top 10 DSLR cameras sold on Amazon.
FACT number five there are no Sony cameras of any type in the top 50. Let me make this absolutely clear. The 7D outsells EVERY Sony DSLR/mirrorless camera.
Against this backdrop I would think it is ill advised to tell Canon and Nikon either explicitly or implicitly that they are somehow a sales failure. And I would think, given the data, that suggesting, again explicitly or implicitly, that 4k and ditching the mirror is going to somehow work wonders is a bit foolhardy.
Anyone can choose to ignore these data points but let me assure you Canon and Nikon have those data points and many more. It's interesting. You remove Japan from those mirrorless numbers and you really wonder where they settle out. Japan is a unique market. It is not necessarily a trend setter or ahead of the curve as people like to often imply. Let me put it to you this way in Japan Fuji still sells plenty of FILM I can no longer get in the US. Does that mean the world is moving from digital to film or does that just mean the Japanese have peculiar tastes... particularly in regards to photography? Don't get me wrong in many ways I wish the US photography market was like Japan, but wishing doesn't make it so.
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 an army of public shareholders, but yet manage to innovate and surprise us every 4 months for the last year or so.
So what is holding Canon and Nikon back? So far it is clear that they don't care about the indie filmmaker and the craft of filmmaking.
When I need to select the creative tool for the job, I am less and less looking at Canon and Nikon and more looking at Sony, Panasonic and Blackmagic. That is the trend that counts.
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 because we simply don't know where Canon and Nikon stands. I think Sony, Panasonic and Blackmagic have made their position VERY CLEAR. But for "C" and "N" not so much.
So for myself it would be great to hear what their future intentions are and if I am wasting my time waiting on them to do something that can be relevant and impactful to my filmmaking.
On that note, would you have time to ask smaller scale questions such as why they window the hdmi output when menu overlays are active on their DSLR line of products instead of keeping the image full screen and having the menu overlay on top of the image such as on the FS100?
The absolutely mega Olympus E-M10 III - Oversampled 4.6K no crop 5 axis IBIS for $500!
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).