Geoff CB

The DSLR is dead. Long live the DSLR.

I have the lens and it is great when you want that soft cinema look, but it is terrible with light sources in the frame. Good for commercial work it is not.

Wanted to show everyone this. Recorded a interview entirely with a Voigtlander 40mm and SLR Magic Anamorphot. Think at least visually it turned out well, used stabilization a bit to excessively.
 
 

This was a really intriguing camera until I saw the AF limitation, now the a99II is a no go for me. Some will throw out the "pro's don't use AF" crap, but AF sure makes it easy to set focus with the short focus throw of photo lenses. And after using the tracking on the a6300 and A7rII - its incredibly convenient for a one-man-band to shoot handheld footage or shoot on a gimbal. I don't use AF all the time, but its something I do use. With an AF system this sophisticated, tracking could be next level compared to everything else.
Early adopters are reporting the full AF system doesn't work with older Minolta and 3rd party lenses, so that Sigma 18-35 won't AF either. As much as people on this board want to bash Canon, DPAF works with all Canon lenses and most 3rd party lenses in any mode, not just P and at f/3.5. SMH.
So close Sony, so close.

Doesn't really help if the light source is in frame.

This is a pretty cool update, I'll wait for the version that doesn't require me to walk around with a big goofy drone for handheld shots. They'd sell a LOT of the camera/osmo combos if you didn't need a drone for the recorder. I'd buy the 1" version with the gimbal in a heartbeat.
DJI, are you listening?

^ totally agree

Also this was rather funny:
 

The reason why Trump won is because Hillary Clinton and the democratic party tried to force their will on the American public. They stacked the deck against Bernie Sanders and basically cheated him out of the nomination. They then continued to use all of their connections to try and stack the deck against Trump- getting debate questions beforehand, getting sent articles and news reports for editing from the media, etc... If it had not been for wikileaks exposing all of this we probably never would have none what they were trying to do. The DNC, Clinton, and their connections int the media tried to supplant Clinton as president.It wasn't about what the people wanted it was about what they wanted. In doing so they had a canidate who is one of the most corrupt and hated polititans out there. Looking for someone to protest, someone to blame, look no further than the Democratic party. They tried to force Hillary on us, they failed and this is the result. 

Super impressed by the lack of RS. Olympus claimed the new dual processor setup eliminated it, sounded like marketing speak, but it looks legit.
 

People tend to forget the reason a lot of FCP7 users switched to Premiere around that time (including me).

It wasn't that people were scared of the new type of editing. It was the fact that on the day FCPX came out, Apple completely dropped support for FCP7, including not allowing new copies of the software to be sold, dropped multicam editing (If you do broadcast work, this was like saying the program didn't support editing) , and didn't allow existing Final Cut projects to be imported into it.

At the same time this happened, Adobe took advantage of a great opportunity. They halved the cost of Premiere for anyone switching ("Just use code "Switch" at checkout"), and allowed FCP7 projects to be imported in Premiere.

In one move, the industry changed.

The reason why it is not included could just be as simple as a) it is an old OS & b) BMD is a very small company and doing testing for every possible software/hardware combo takes time and is expensive

The problem is that we are getting lots of superficial reviews from pretty untalented image makers working far too fast with equipment they don't master in non-professional situations, all, apparently, desperately trying to get views. 

Why do you still use Windows 7 anyway? That OS came out in 2009 it's 2016 already. Upgrade.

I've recently made the switch to Resolve.
Just to many small problems with premiere over time that I got sick of dealing with. The crashes, the rendering errors (certain codecs render only with CPU, H265 renders in the wrong range, etc. ) and just the disorganization of basic tasks just have driven me away. I agree that they need a full re-write of the software.
I'm doing my audio edits outside resolve now though, hope that's the next part of the software they upgrade, as it's the one thing I think that Resolve lacks in comparison to Premiere.

Shots recorded simultaneously (in camera) at 100 Mbps X AVC S and externally via HDMI by the Shogun Inferno using ProRes HQ 4K. Then the Slog2/SGamut clips were color graded with exactly the same settings and combined sequentially. Rendered in XAVC Intra, which is a 4:2:2 codec.
Atomos claims that even at 8-bit, shooting in 4:2:2 rather than 4:2:0 makes a difference, and arguably the extremely high bitrate of ProRes HQ avoids the macroblocking that some claim to see from XAVC S at even 100 Mbps. This video has plenty of colors and details, including moving leaves that are hard on long GOP codecs. See any differences? Would 10-bits make any difference to these grades (see any banding)?
 

the real question is, what happened to 2.7k? it would be amazing to see all these 4k capable cameras that can to 1080p120fps to add an 2.7k 60fps mode. 

Sure, but hey, you can't get everything right ? :D I would be insanely happy with 2000x1080 12bit Raw continuous recording on the mighty 250€ Canon 50D !

Stretch a stocking/pantyhose around the rear element and you will get a softening effect without the flares.

Razor sharp 2.5K > Bad compressed 4K

I looked at the video's thumbnail and saw the Karma fully extended sitting next to the Mavic completely folded so I can already guess which one the author is biased towards.

blah blah blah blah blah.  If you're truly worrying about this kind of stuff, chances are you're not really MAKING anything worthwhile with any of it.

This is going to run for thousands of posts. All I know is that the first time I took a picture with the a7sii and 55 f1.8 it blew the fz200 I'd been using for the previous two years clean out of the water.
That's all that mattered.

Holy.... I never thought I would be considering a M4/3 camera. But this literally ticks ALL the boxes for me except the sensor size.
Edit: If this comes in under $1500 I'm buying it.

The difference between a 3 to 7 minute short film and an 80 minute feature is **HUGE** in terms of the amount of work it takes to get finished.

However I do agree about those 20 to 40 minute "shorts" some people make, I find it strange they didn't just go all out and make a feature film instead. 

Any connection you make will be valuable.

I just filmed a short for a great director.  I had no idea he used to make movies as a director in L.A. and had taken a break to raise his sons by owning a restaurant, where my wife happened to work. We met, chatted, he saw one of my shorts and loved my camera work. I fell into a great working relationship, hopefully shooting a feature with him next year.

Don't scoff at what you see on display there. If you see someone's else's work that you enjoy chat with them, you never know what might come from it.

Any connection you make will be valuable.

I just filmed a short for a great director.  I had no idea he used to make movies as a director in L.A. and had taken a break to raise his sons by owning a restaurant, where my wife happened to work. We met, chatted, he saw one of my shorts and loved my camera work. I fell into a great working relationship, hopefully shooting a feature with him next year.

Don't scoff at what you see on display there. If you see someone's else's work that you enjoy chat with them, you never know what might come from it.