Tim Sewell

Fair enough - I'm no expert. He framed it as a defect and that's what I was reporting back to the board.

As far as I recall he found that, in the lens he was testing, the amount of anamorphic compression varied according to the focus distance.

Interesting discussion along very similar lines going on now at Lift Gamma Gain: https://liftgammagain.com/forum/index.php?threads/what-is-the-best-example-of-film-emulation.15452/

The benefits of digital are, of course, undeniable - in fact this forum wouldn't exist were it not for the advent of large-sensor video and many of its enthusiast members, myself included, would never have been able to even get into a position where these discussions are possible without it. We have 2 competing sets of desires when it comes to large sensor video. On the one hand we want more resolution, greater bit depth and higher frame rates (all of which improve the ROI for professional users); while on the other, we want sensors that will satisfy our aesthetic desires which for most of us align much more with the organic nature of celluloid than they do with pristine Rec709 video. Perhaps those two desire sets will never be compatible, but unfortunately there will never be sufficient sales to enthusiast users to justify pro-sumer/consumer level equipment that abandons the megapixel/frame rate race in favour of a lower resolution with film-like DR etc. I was having this discussion (sort of) with a couple of occasional photo shooters just on Friday. they were saying that there was now no discernible difference between film and digital. I disagreed. I can certainly easily differentiate the stills I shoot on film, to those I've shot on digital - even though I generally process the latter to look as much like the former as I can. The organic, random, chemical nature of silver halide photography gives a highlight roll-off - and just as important, a roll-off to underexposure - plus a transition from in to out-of focus that simply can't be achieved in a grid matrix of photosensitive receptors. That look is at once closer to and further away from what we see with our own eyes and that is where its magic lies.

Apart from Engrenages.

Well of course - but history is littered with dead industries whose players failed to foresee the full effects of technological change. But in terms of actual hardware, there was and is literally nothing that could save mass-market camera sales. You have to remember that the vast majority of the millions of point'n'shoots that used to be sold every year weren't in daily use - they sat in drawers, brought out for the annual holiday, birthdays and Christmas. People who worked in mass-market photo labs used to laugh about rolls of 24 frames that were bookended with snaps from 2 consecutive festive seasons. So when you arrive, accidentally (don't forget, cameras in phones started out as a minor value-add) at a scenario where everybody has a far higher (for them) quality camera in their pockets all the time that they don't even have to think about putting in there - well; tell me what camera makers could have done to their products to make them attractive enough for Joe Schmoe to put his hand in his pocket for a separate device that he has to remember to get out of the drawer. It's by no means a happy situation, but it is what it is and it's where we are. With the benefit of hindsight we can debate whether or not it was inevitable. We can posit ways in which CaNikon etc could have safeguarded their businesses - but the ways in which they could have done that, including the strategies Andrew suggests, might have saved their businesses, but wouldn't have done anything to preserve any kind of market for consumer cameras sufficient to continue supporting higher end gear for enthusiasts.

It's hard to say it's gone wrong. It's so-called creative destruction. There's simply no need for a mass consumer camera market any more. Every home used to have a camera, be it a compact, a SLR, a Polaroid or whatever. No-one needs those any more because everybody (even the children) has a phone that will take better snaps with fewer skills, in a format that allows instant sharing.

Pity the enthusiast! 'pro-sumer' models have always been supported by healthy sales of point'n'shoots. Take those away and, as @Marcio Kabke Pinheiro says, we'll be left with pro cameras at pro prices and Leica-level enthusiast models. people will be able to snap 500MP pictures of us weeping, on their wristwatch cams.

Well Potato jet found a bit of a bug with the Siruis:

I'm thinking that once the dust settles on my PayPal account I might get one native (or Sigma) prime. I'm leaning towards a 35mm, that being just about my favourite focal length on FF (for stills, that is).

I can see the potential, but I wouldn't want to risk it for the various money shots through the day.

Having said that, I spent last night clicking through 100s of AS7Rii images on Flickr and the detail on some of them was mind-blowing, compared to what I get from my EM-1 mkii. Looking forward to getting my hands on the camera, even though there's not exactly much to point it at right now.

Heh - I shot 20-odd weddings on a pair of 10MP 40Ds with a 350D as backup. People were happy to pay £1500-£2000 (and we didn't even give them prints - that was extra!) in the early noughties. Happy days.

Thanks for the advice guys. I found a nice condition A7R2 with 4 batteries for a good price on eBay this afternoon so I've bought it. It will be nice to look through some lenses with the FOV they used to give back in the day! Apparently the S35 4K is pretty good, so my go-to EF-S 17-55 will possibly get some use if I ever use it for video not on a gimbal or a jib.

Now *that* has piqued my interest!

Thanks for the tip on batteries - I was wondering about that. I've got 2 E-EF adapters - a Commlite and the locking Metabones one, so I'm hoping I'll get AF when I want it. For the Super Taks I've obviously also got a E-M42 dumb adapter. Sadly I sold my M lenses quite a while ago after a brief dalliance with an M4-P.

Thanks for the thoughts Mark. I understand what you're saying and the thought of staying APS-C had struck me. I decided not to for two reasons - one is that for anything more considered than a family video I tend to use my Super Takumar set, so I've no shortage of FF lenses that I'd love to use for stills (they just don't do it for me for stills on the Olympus's M43, even boosted). I've also got a lovely Tokina 24-70 2.6 (the Angenieux one) that I don't use as much as I'd like on the FS5 as it's not wide enough at one end and unstabilised at the other! I think the lens would be lovely on a FF sensor. The other reason is that I just don't like the form factor on those 6### series cameras. So I'm putting you down as vote number 2 for the A7RII!

Out of budget. I am leaning towards A7Rii, but my knowledge of these cameras is limited, hence the question. Thanks!

Since getting my FS5 mk1 I've decided to go Sony for my stills/occasional video use (currently using an Olympus EM-1 mkii, which I'm selling to finance this). I don't want to buy anything new and as my requirements for this are more on the stills side than video I'm happy to go for an earlier model. Within my budget are the following: A7 A7ii A7R A7Rii A7S Which one would the EOSHD hive mind recommend for the use cases above?

I'm looking to buy shares in a new camera company that makes cameras specially designed to take flattering pictures of people with foot injuries. Oh-limpers.

I'm going to start a company making chocolate-bodied cameras and I'm going to call it Fudgefilm. Over(h)eating may be an issue.

It's already showing on the US Sony site: https://www.sony.com/electronics/interchangeable-lens-cameras/ilce-1

That's a fantastic tutorial and the difference the technique makes, even to well-exposed footage, is very noticeable.

I can only speak from my own experience, but the experience of grading the 10 bit HD output from my FS5 is very different (in a good way) to that of grading the 8 bit HD I used to get from my C100 (I've had both the Mk2 and the Mk1). Loved that Canon colour, but given that the artistic vision I'm pursuing involves quite extensive grading as I chase the elusive 'film' look (my ideal would have my footage looking like a moving 35mm still print) the lure of 10 bit on the FS5 was too much to resist. Simply, it holds up to the grade in a way that the Canon's recordings just couldn't - in terms of artefacts, banding and grain.

Australia is a continent, with huge natural resources, thousands of miles from anywhere else. Canada is half a continent, next door to the biggest market in the world, and if you think that neighbour exerts no influence on Canadian policy-making, you haven't been taking notice. New Zealand is the most remote developed country in the world and the USA is the world's richest economy. The UK is a small-middling tiny island, riven by some of the worst (entirely home-grown) inequality in the developed world, on the shores of the world's second richest economy, which also happens to be an existentially-important market for our exports. 80% of those exports are services, the continuation of which will rely on us satisfying EU standards across almost the entirety of our own economy. Up until January 1st 2020 we had one of the most important says in the formulation of EU policy and regulation. We now have none. No say at all. When the EU brings in new regulations or laws that impact the sectors in which we rely on our exports to them - most sectors, that is, we will have to adhere to them or face sectoral disasters, complete with job losses and bankruptcies. Took back control there, dincha? I'm dipping out of this thread now, as we're only re-prosecuting the same old arguments. You Brexiters don't have and never have had a single cogent argument in favour of leaving the EU, save for nonsense about sovereignty and patriotism. Your victory was built on lies and ignorance, fuelled by racism and will benefit nobody except the already-wealthy. Your arguments are glib, ill-thought-out, facile and mostly easy to debunk or disprove. Your yearning for simplicity, in a complex world, is bringing us close to ruin and you'll be remembered, every one of you, as fools led by charlatans and rightly damned across decades to come.