mkabi

Its real - I got a newsletter from Vistek with pre-order details for S5II & S5IIX... Feb 24 delivery date.
I don't know anything about AF though... nor do I know of the real differences between the first gen and second gen.
Wait for the reviews I guess.

Editted to add: Vistek is a camera store here in Canada, its on par to Henrys (but there are way more Henrys than Vistek). Imagine - Bestbuy only for camera equipment (photo & video).

For a split second, I thought this thread was about how the sperm met the egg…

Or Motion JPEG was under appreciated????
 

Yeah seems to pretty much do everything you want, minus internal ND, internal RAW video, and full-frame 4k60. 
 
Also to be honest I’m not a fan of the 20,000 pinned posts. You have to either hunt through these or scroll down a lot to see who has most recently posted. 

I'm telling you... people that don't know are completely oblivious... people look at 8 seconds and think thats nothing. But if you are at a wedding or any other event... where candid moments are happening on the micro-second level... those 8 seconds feel like an eternity. 
Those that don't know - I challenge you... you don't need to be a photographer/videographer at the event... but the next time you attend one... just pay attention... find those candid moments and just count... 1 mississippi... 2 mississippi.... all the way to 8 mississippi... then tell us that 8 seconds is nothing.

I get your arguments and are valid but if you really fear to miss the moment then video with a higher ss may be a better strategy now that camera have high res video that can take a lot of post processing.
I don’t do weddings so I can’t comment but on sports it works well as I get both video and photos and I have many more expressions as I film all the time. The ss is probably less of an issue in sports.

I'm telling you... people that don't know are completely oblivious... people look at 8 seconds and think thats nothing. But if you are at a wedding or any other event... where candid moments are happening on the micro-second level... those 8 seconds feel like an eternity. 
Those that don't know - I challenge you... you don't need to be a photographer/videographer at the event... but the next time you attend one... just pay attention... find those candid moments and just count... 1 mississippi... 2 mississippi.... all the way to 8 mississippi... then tell us that 8 seconds is nothing.

Maybe so, but even 8 seconds is too long for my needs!
But not a concern as I have no current plans to switch to any other system, - great tracking AF (or lack thereof) is the current (and only real cross) I have to bear…but even that is also a case of over-hyping YouTube drama queens 😜

Ron Howard does that - I know he shoots a 50mm (on Super35 though - and he does it to get that tight, portrait type shot) and 24 to 35mm for most other shots.

Yeah… everyone has different requirements… 
As an example there are a ton of examples where the whole movie was shot on a 35mm lens… the one lens gangs…

My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...

4x4 floppies and 6x6/8x8 solids are useful for negative fill. Anything dark you can put up--a duvetyne, black visqueen, black rip stop nylon, etc--will help block the light bouncing off those bright walls and restore contrast to the setup.

Sounds like  you need to use cutters in the smaller/reflective rooms, so as to avoid the bounce. 

Absolutely, colourists often talk about colouring scenes differently to match the emotional tone of the scene.
Increasingly colourists and post-production in general is getting brought in earlier in the process to advise and help craft the final look, so they may have some small input into lens choices from that perspective, although it's relatively easy to bump the WB or contrast levels for a scene in post.

My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...

My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...

Exactly my point... I'm not trying to insult you or the community... but all the "hype" is around these experimental builds. Everyone is excited to share the positives without sharing the negatives.
All I'm doing is pointing towards the negatives.... if you can look past them, you're golden.

Sure if the OP is basing his purchase of a 5D on the experimental builds, then it's probably not a good idea to purchase one. There's a crop and the last I checked there isn't any real, or accurate, Live View.
With that said, Andrew has a gorgeous sample of the 3.5K mode, and I've seen dozens of samples online. Even the eos-m has some nice features and IQ if you like to tinker. But based on what he said, it doesn't sound like that's his goal here.
I was merely correcting a false narrative that ML Raw is entirely useless on the 5D3. I mean, a filmmaker recently had his 5D3 ML Raw, narrative film debut at SXSW and received write ups in all the Hollywood trade magazines. Of course, he shot it in 1080p, but if it wasn't dependable, I doubt he would shoot a feature film on it.

Exactly my point... I'm not trying to insult you or the community... but all the "hype" is around these experimental builds. Everyone is excited to share the positives without sharing the negatives.
All I'm doing is pointing towards the negatives.... if you can look past them, you're golden.

In the early days when they kept it simple (focusing on monitoring tools, etc.) and had stable releases - it was dependable. When they started focusing on Dual ISO output and RAW.... pushing the limits.... thats when it all started falling apart.
There is no stable release anymore... not for a long time now... even the gateway into getting ML isn't as simple as it was back then.
Also... I find it funny... that everyone based Canon's inability to max out their own tech off of Magic Lantern's efforts.... yeah well... it was all over inflated... ask a real user.... how long is the record limit with Magic Lantern on the 5D Mark 3... and the real truth starts coming out. Thats when you start to realize that R5's 8K over heating and record limit issues wasn't so bad.
 

In the early days when they kept it simple (focusing on monitoring tools, etc.) and had stable releases - it was dependable. When they started focusing on Dual ISO output and RAW.... pushing the limits.... thats when it all started falling apart.
There is no stable release anymore... not for a long time now... even the gateway into getting ML isn't as simple as it was back then.
Also... I find it funny... that everyone based Canon's inability to max out their own tech off of Magic Lantern's efforts.... yeah well... it was all over inflated... ask a real user.... how long is the record limit with Magic Lantern on the 5D Mark 3... and the real truth starts coming out. Thats when you start to realize that R5's 8K over heating and record limit issues wasn't so bad.
 

Magic Lantern has to be the most Unreliable thing ever invented. You would have better luck guessing the Lotto numbers than using Magic Lantern often. If you don't cuss you will.

Remember the Nikon D1X (over two decades old!!!) is "only" 6 megapixels and a hell of a lot of billboards got shot with the D1X back in the day!
https://www.dpreview.com/reviews/nikond1x 

I have a strong feeling that most people have been tricked to think that way by the pixel peepers who need to zoom in 400 to 800%
1080p was good enough on my old 60 incher… and you have to remember 1080p is only 2MP.
Even if you’re talking billboard size… nobody is walking up to a billboard on the regular. Most of the billboards I see are off of highways… I see one moving at the speed of 60 to 80 miles per hour 1 mile away and that’s if I’m not concentrating on the road/traffic ahead of me. Where is the logic here??? “Oh… I see jagged edges on that Billboard… did he take picture on the first iPhone or something???” All that while driving too???

I have a strong feeling that most people have been tricked to think that way by the pixel peepers who need to zoom in 400 to 800%
1080p was good enough on my old 60 incher… and you have to remember 1080p is only 2MP.
Even if you’re talking billboard size… nobody is walking up to a billboard on the regular. Most of the billboards I see are off of highways… I see one moving at the speed of 60 to 80 miles per hour 1 mile away and that’s if I’m not concentrating on the road/traffic ahead of me. Where is the logic here??? “Oh… I see jagged edges on that Billboard… did he take picture on the first iPhone or something???” All that while driving too???