Leaderboard

I'm sorry, but it's only natural that sales drop over time. Three major reasons why : - normal people don't buy a new camera every single year, most people who buy a DSLR will use it for 3-5 years minimum before buying a new model. Not all of us use them professionally or need to have the newest equipment the moment it comes out. - the moment people replace their camera, their DSLR is being sold second hand. The second hand camera market follows the new product market with a delay of 3-5 years. Which means that the new DSLR's from 5 years ago are now changing hands. To new owners who are NOT buying a new DSLR. But will probably use their second hand camera for minimum 2 years. - there's an economical crisis that affects the camera market too. This is not exclusive to DSLR's. New car sales in the Netherlands for example have dropped to the lowest level in 45 years. And then to specifically blame Canon and Nikon for this doesn't make any sense. Percentages don't tell a story here. Considering that Olympus isn't shipping the numbers that Canon and Nikon are doing, absolute numbers would tell a more accurate story. Also, people switch brands, so a decline in sales for Canon will automatically benefit other brands. The point is, you need much more accurate data before jumping to these wild conclusions.

Hello there (Sorry for my bad English) I'm the director of the film embedded above. To clarify many question talked about in this forum. I would have to explain how we shoot this. For the equipment, we had 3 5D Mark III with 1.2.3 Magic Lantern firmware installed with 3 Canon Cine Prime Lenses (28, 50 and 85mm.) few L lenses (50 F1.2, 24-70mm F2.8, 28-300 F3.5-5.6 and 70-200 F2.8) and Samyang (Rokinon) Cine 35mm. In term of optical quality most lenses have pretty good sharpness (to the point that most of the audience will not notice the different unless you are working in this field) as long as you keep the F/T above 4 (and less than 11). If you want to work on 2.8 or 3.5 (less than that are totally not recommended by any chance even you sharpen it up in post. If you want the soft look, it's better to use Black Pro-Mist filter or Fog instead of using lower F/T Stop) then you'll probably see a some different between each lenses. At 1.2-2.0, it'll probably be used only in certain situation and I never recommend anyone using this T/F range as it always hard to focus and the overall sharpness is bad.) for color rendition, Samyang and Canon Cine are on par with the color representation. We found that 70-200 and 28-300 have less saturation and luminance than the rest. But it's still manageable in Post-Production to get the color to match the rest. I prefer trying best to use the primes one rather than the zoom unless it's for the sake of fast background movement or really soft background. The good thing about Canon Cine comes to the 300 Degree focus ring which helps a lot in such a complicated shots (like 10-15 focus shift in one shot while dolly back and forth and do a 360 camera turn) Even that (with F3.5), My Focus puller cursed a lot (in Thai) !! For those who look for a cheaper alternative to Canon, I would suggest you to get Samyang (Rokinon) as it has a full range of lens (with 50mm coming up soon). For my point of view, Canon Cine Prime are mostly for rental companies to own and rent it out (in cheaper price than Ultra Prime/ Cooke i5 or Master Prime) and still give a good optical quality for lower budget type of film. this should help answering all the question about lenses. For 5D Mark III with magic lantern. How we lit the scene is that we trying best to lit it in the camera's histogram range. Most of the people I knew of normally didn't do a proper testing to see how far the camera can go in terms of dynamic range and color the sensor can recorded. Everything you see in the frame is designed to take the full advantage of the camera CMOS sensor (blood color, skin mock up, on set smoke to tame the contrast down and bring the dark part up and at the same time lower the highlight down, cloth and set color etc etc.) Most of the DPs wouldn't go that far to workout with the rest of the crew to bring the best out of camera and therefore don't get what they deserved to after long hard working day shooting it. and last the Post-Production Workflow. We work on CinemaDNG all the way from the onset DIT to the lab. Using MLRawviewer to check each and every footage after we change the CF card (Sandisk Extreme Pro 128GB, we have 2 of them). Then break the MLV down into CinemaDNG and send it to Davinci at the lab (which required a fast set hardware to work on it at 2K DCI) We did tried blow it up to 4K and the result is stunning as it still contain all the sharpness. I asked some dude from Canon Thailand to come and see this footage (in 4K) at the lab on the big screen and they were stun of how there little old camera are capable of. I'm pretty happy with the result though (as long as you put a lot of hard work in it to make sure you squeezed every bit of their capabilities out of the camera) Oh .... we shot our film in Thailand .... it's pretty humid and it's 37-42 degree Celsius most of the time. The camera got heated up to the point that we were worry that we might cooked it for our next meal break, but it didn't get any damage though. Hope all this information help : ) Hopefully I can post more of the stuff soon. Still 2 more days to go til I finish the film. After the lab work, I'll probably come up with the trailer that I can post once more to see the end result.

The official EOSHD discussion thread for all things lens related!

View the Sony F5 'out of the box' specs at B&H here (and add 4K for free) Paul Ream (Twitter) has spoken about his simple unlocking technique for the F5 to unlock 4K XAVC recording. It doesn't even require a firmware update. Via Philip Bloom on Facebook and Paul Ream on the ExtraShot Podcast Read the full article here

The official EOSHD sticky topic for GH4 users.

Andrew, I love your site, but I have to disagree. You *are* speculating with the facts, we all are. No one is arguing that sales are down, we're arguing about why sales are down. On Oct 26, 2013, you wrote: "Consumer digital camera sales are down 36% this year. Why? I think there are four reasons. Smartphones Satisfaction with current DSLRs Lack of innovate products Global economic downturn" Today you wrote: "Now in an era of falling shipments both companies have blamed smartphones and the world economy. This is completely unacceptable." Just a year ago, you agreed in large portion with Nikon and Canon, but now you find those conclusions unacceptable. Yet I contend that the points you now reject *are* the core reasons why the market has collapsed. Nikon and Canon spent the last 10 years feeding the market with successively-lower cost product that improved substantially annually. Unfortunately for them, technology and economics has caught up with them and now everyone has a smartphone that does probably 90% of everything the average buyer will ever do with a camera, and they likely aren't willing to pay $600 to get that extra 10%. Do you disagree with last statement (of opinion)? It's not too different from the computer market. After years and years of increasingly powerful and more capable desktop computers with increasingly productive features, most people now have more computing power than they'll ever use, and they've stopped buying computers. Instead, they're buying smaller and smaller devices, because even those devices are powerful enough to meet most of their computing needs. The smartphone has done that to the digital camera business (and the computer business!). What possible innovations could be performed on the desktop computer that would bring sales back to the good old days when most people are already happy with their tablet? The same question could be asked of the digital camera market: What innovations do you have in mind that *would* cause the average camera buyer to plunk down $1000 (or $700) on a new camera? Do you really think that if Canon and Nikon both released killer mirrorless full-frame 4:2:2 4K 240fps@1080p 14-stop DR with ND for $999 that sales would suddenly go back up to the good old days of 2012? Do you know how many people actually care about those specs? Pretty much everyone who routinely goes to this awesome website of yours, and almost no one else. Yes, there was a compliment buried in there, we all love your site and your opinions, even if we disagree.

Sensors larger than Super 35mm are a perfectly reasonable proposition in the cinema world, look at the Red Dragon or 65mm.   Putting a full frame sensor in the new Sony would work fine with PL lenses, etc. because it would have a crop mode for Super 35mm.   The issue would be resolution and readout speed. To crop from full frame to S35 and still have 4K2K resolution would make the entire full frame sensor an 8K one, and there ain't no 180fps coming off that for $10k I can tell you now :)

Considering the accomplishments of GH4 and A7S, not including 4K ( internal or external ) in 7D2 would be suicidal at this point. Given that we can now easily migrate Canon lenses to other systems like Sony/Panasonic, cutting edge body specs are more important than ever. Canon is on thin ice here.

Hi everyone, I've just received today the upcoming SLR Magic 10mm T2.1(eq. f1.8), and their upcoming variable ND filter ! My very firsts impressions : solid, heavy, compact, sharp at full aperture T2.1, only 2cm minimum focus distance. The ND filter : good first impressions, and two great options on it : lever and hard stop ! Here are some pictures of the lens and of the variable ND filter, photo stills and video stills from GH4 C4K footages (most of them @ T2.1). THE COMPLETE SET OF PICTURES IS HERE : https://www.flickr.com/photos/43243778@N04/sets/72157646791136410/ Movie is coming soon :) TECHNICAL INFOS PRESS RELEASE at the end of this post Thanks for your interest THE LENS : SLR Magic 10mm T2.1 by sebfarges, on Flickr SLR Magic 10mm T2.1 by sebfarges, on Flickr SLR Magic ND variable filter by sebfarges, on Flickr SLR Magic 10mm T2.1 + SLR Magic ND variable filter by sebfarges, on Flickr PHOTO STILLS with GH4 SLR Magic 10mm T2.1 photo still by sebfarges, on Flickr SLR Magic 10mm T2.1 photo still by sebfarges, on Flickr 4K VIDEO STILLS from GH4 SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr TECHNICAL INFOS PRESS RELEASE : NEW: THE SLR Magic HyperPrime CINE 10mm T2.1 and SLR Magic 77 ND 0.4-ND 1.8 filter SLR Magic expands its micro four thirds lineup with new wide angle lens Hong Kong, China (September 3, 2014) - SLR Magic expands the micro four thirds lens lineup with the new SLR Magic HyperPrime CINE 10mm T2.1 wide angle lens. With this latest addition, the portfolio of lenses for the micro four thirds system is now comprised of thirteen focal lengths. The product will be officially introduced during upcoming Photokina 2014 fair in Cologne. The field of view of this new HyperPrime Lens corresponds to a 20mm lens in 35mm format and this fast wide angle of view opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. Additionally, a fast max aperture of T2.1 makes the SLR Magic HyperPrime CINE 10mm T2.1 ideal for available-light photography. We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic HyperPrime CINE 10mm T2.1 is solid and reliable. The SLR Magic 77 ND 0.4-ND 1.8 filter is a solid variable neutral density filter providing a reduction of about 1.3 to 6 stops. The 0.4 to 1.8 density creates a darkening of the entire image, allowing you to photograph with a wider aperture or slower shutter speed than normally required. The degree of density is easily controlled by rotating the front filter ring via the non-removable lever. By slowing your exposure time you are able to control depth of field and convey movement more easily. Both filter substrates are combined into one filter ring, this filter is low profile and helps to eliminate vignetting on most lenses. The front filter ring diameter is 86mm in diameter, further helping to reduce vignetting, on wide angles lenses such as the SLR Magic HyperPrime CINE 10mm T2.1 lens. The SLR Magic HyperPrime CINE 10mm T2.1 (MSRP: $799 US) and SLR Magic 77 ND 0.4-ND 1.8 filter (MSRP: $179 US) will be available from authorized SLR Magic dealers starting end of October 2014. The SLR Magic HyperPrime CINE 10mm T2.1 will be first presented at Photokina 2014 fair. The SLR Magic stand would be in (No. L-011, Hall 5.1) during the fairs which are to be held in Cologne from 16th to 21st of September 2014. For all those who want to visit Photokina 2014 fairs. SLR Magic is currently looking for volunteers to test this lens at a special price. If interested: Send an email to support@slrmagic.com with the subject "SLR Magic 10mm T2.1 volunteer". Include sample videos/photos or link to photo/video reviews you have done in the past. Technical Data SLR Magic HyperPrime CINE 10mm T2.1 Lens Type: Fast wide-angle lens Compatible Cameras: All micro four thirds mount cameras Optical Design: 13 elements in 11 groups Distance Settings: Distance range: 0.20m to ∞, combined scale meter/feet Aperture: Manually controlled diaphragm, 11 aperture blades , Lowest value 16 Bayonet: micro four thirds Filter Mount: Internal thread for 77mm filter; filter mount does not rotate. Surface Finish: Black anodized Dimensions: Length to bayonet mount: approx. 79.45mm (approx. 3.12in) Largest diameter: approx. 80.00mm (approx. 3.14in) Weight: approx. 420g (approx. 14.8oz) SLR Magic 77 ND 0.4-ND 1.8 Type: Variable density Size: 77 mm Filter Factor: 0.4 - 1.8 (1.3 - 6 stops) Front Filter Thread Size: 86mm

Really nice shots sir.   Looks to perform pretty well. Mine has arrived, will check it out soon.

amateur - from French amateur "lover of," from Latin amatorem (nominative amator) "lover," agent noun from amatus, past participle of amare "to love" Give me an hour talking to an amateur any day over a professional who uses the word as an insult. Couldn't agree more with your point!

Spamming unrelated threads is really frustrating for other users. Please stop. You were heard the first time.

No dirty lies here sir! I think you misunderstand what I mean. I am well aware that the rear optic of the iscorama 36 or iscorama (non 36) is not large enough to deliver the 'light transmission' required to deliver exposures as you would expect from the 85mm f1.4 on it's own, in order for that the rear optic of the iscorama would need to match that of the 85mm f1.4. However, I am sure you're aware that the coupling of the optics will still yield the 'look' of a f1.4. exposure will take a hit granted, but we're here for the 'look'. even if there were 2 stops of light loss due to the limited transmission, we're still talking a f2.8 exposure which is still adequate. At most I'd estimate maybe a noticeable loss of 1/2 - 2/3rd of a stop due to the limitations of the iscorama rear optic. Put an iscorama on the front of a 85mm f1.4 zeiss and it doesnt degrade the image very much at all (even wide open) thus in resolving power terms the Iscorama will support use at f1.4 as well as the fastest cinema anamorphics can!, but do it on a full frame sensor. If you are charging similar amounts of money for your product, put it against the competition your price point dictates otherwise no one will buy them. if you want to remove the loss of transmission effects and the cost of aquiring an 85mm f1.4 for testing purposes just stick a 50mm f1.4 lens on the back instead, on full frame and show us the comparison. The iscorama rear optic is big enough to transmit enough light for a 50mm f1.4. re. weight. A 100g increase in weight, as well as what looks like a 1/3rd length increase (before the diopter is at full extention) is a noticable difference once hanging off a prime. Those rectimascopes are pretty long as standard from that I recall. Have you used an Iscorama before? On a helios 44 it's pretty damn compact and doesnt need any rails. I don't mean to piss on puddings here, but as an Iscorama user, and enthusiast I felt compelled to come in and query constructively the product since there is suggestion that it will be a possible replacement for the iscorama. If this is the case then that's awesome.

5D3 raw image quality is awesome.