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With the C100 Mk III expected not soon after (according to schedule of previous model releases), I do not expect the 5D IV to have anything other than the addition of 4K at 24/25/30fps and PDAF for video shooters. I expect the next C100 to only add 4K and a slightly higher bitrate, as to not ruin the C300 II (which according to my rental house is not in demand at all because of the FS7). This sounds negative against Canon, but the fact of the matter is that their models work better than other brands at standard frame rates and overall usability. You can absolutely rely on C-series cameras for that reason. A good comparison is the RX10II vs the XC10. The specs on the Sony are monstrous but in reality, it's a terrible camera for video. Very overpromised. It's unreliable and is awful to use due to nasty focusing. The XC10 specs don't look great, but as a video camera it works much better. It's a decent B cam for the bigger models. Anyway, while we all waste time debating what Canon isn't doing and all that fuzz, let's look to the models that work today, which are perfectly fine for many of our needs.

Yes, this is due to chroma subsampling. in 420 footage the 0 is the red channel. It is encoded with (Im rusty here) one quarter the resolution of the luma channel and half that of the blue channel. Red is not prioritised. my exact number details could be rusty, but this is what's going on. The edges of red out of focus lights will show you just how fuzzy things can get. the more red your balance, the lower the resolution of your image. when I used to use Canon 600D I used Visioncolor, which is a profile that enhanced blue, and used to balance cool. I also used a hack that upped the bitrate a lot. If you shoot very warm with and 8bit 420 codec then yes things are more likely to fall apart if pushed around. so if in doubt cool/green it a bit would be general advice. HOWEVER I've got rid of all my Sonys because I hated the colour, and the endless grading just to fix problems, so perhaps trying to go cool and green will just ruin your footage: you can but try!

I think a s35 version of the d16 sensor in a higher end body would be pretty desirable to narrative/studio/hobbyist shooters.

At first it was good, they were prompt to answer questions (considering a the 11-14hr time zone delay for me) But over the last 6 weeks I have had an ongoing case- KineMini in for mount swap, and purchased a KineMax which came with a non-functioning HDMI port. To be fair, this is the very first hardware issue that I have had with my cameras which have been rock solid. I do not find 48+ hour response times acceptable, especially when the camera is over there for service or I have a pressing need on an issue. This also includes a response time of 8 whole days during this inquiry- despite repeated requests for updates as we had a shoot approaching. I understand that there will be additional time to respond with the time difference (and this is part of what I'm not paying for), but to qualify for amazing support, response times should be no longer than 24 hours.

It's here (this link contains all the versions and commit data) https://github.com/ottokiksmaler/nx500_nx1_modding/commits/master/NX-KS.zip

I talked to Elle about that at NAB. She said that would be the dream. But for now with the BMPCC speed booster you do get super 35 already and it looks great.

Still not even had time to install the new firmware... and the little time I have for cameras outside of work is being stolen by the M8. But here is some footage. A quick edit of material gathered for a BTS to a friends photo exhibit. As some may know I shoot a lot of analog film, so when he needed a BTS for his Large Format project I was game. He is doing two things, recreating old pictures of his home town. And also takes portraits in the same old stiff ways they did back in the 50s, but in todays environments. In this "draft version" I left in some shakes, zooms and sound for the sake of reviewing the LS300. The final version will be silent, probably B&W and much much longer. (its going to loop on a monitor in the museum) Its shot in HD 4:2:2 using only a Canon 35mm f2.0 IS lens. All closeups etc are done with the marvelous Prime Zoom. It was a good test of something I already knew, the LS300 is a killer Run-n-Gun camera. There was no directing, blocking, or retakes. Everything outside was was done in an hour and I have loads of footage. Like I said, these are just some random shots from the material, I didn't spend more than 10 minutes on grading since its going to be B&W. I might do a short version of the final video and put it on Vimeo later on.

From now on all EOSHD videos and camera tests will be on YouTube, not only Vimeo. Subscribe to the EOSHD Youtube Channel here. Recently EOSHD forum user "Werner" had the chance to meet Canon at the European HQ in Germany. Read the full blog post

what a stunning lens! 20mm/1.4 full frame ! madness. beautiful test images too. on my want list!!!

Haha i feel like it's intentionally meant to be a funny. Fincher directed Alien 3 and said he hated it so much that it nearly ended his career.

I have managed to get almost 30 seconds on my 64gb Komputerbay x1000

For music videos you could need it, especially if you shoot a story besides the playback. I had the Pocket and now have the Micro: the quality is similar, you could intercut them and none could tell which is which. The Pocket has the monitor, so it is more easy to use without rig, the Micro has not, but the battery life is definitely better. With Pocket you need a lot of batteries to shoot for a day, because they last just 30-40 minutes. For 500 dollars anyway the Pocket is a great buy.

Yup, we had an ice cream outside that very day. Now its may and pretty much summer.

From what I've read following it in the FB group for Kinefinity it sounds like their support is AMAZING!

Speaking of which.... What the hell is this??? http://www.reduser.net/forum/showthread.php?144806-Fincher-Probst-Xenomorph-Mindhunter-Camera-Dept Looks like some Aliens (1979/1986) face fucked one of the weapons.

A7sII is CADF only, the faster AF achieved by Metabones and others is because of the PADF in the A7rII and a6300. The Fotodiox AF adapter is functional on the A7s, but it's awful compared to the A7rII. As far as AF during video, the Sigma MC11 has been shown to work with some lenses on the A7rII. Beyond that you will need a Sony lens if you want AF with video. AF-c doesn't work with my A7rII and MBIV while shooting video.

I think the 4K 60p on the 1DXii gives alot of hope for 4K 30p on the 5Div... It is a nice, clear product separator Without c-log though, i'll likely buy neither, unless ML can get something going.

If you don't need the 60p, for $500 the BMPCC is amazing.

we need some info about what you shot to tell you that sir.

Let me know what you think of my reel. Thank you! Cameras used are the Canon T3i, and Samsung NX1. Everything shot in Oregon.

White balance on the A7 camera line doesn't work. No maters what you do, it's never right. Something in the image always has a compromise. That said, I setup a custom white balance for every scene with the A7SII as the presets don't work at all, and very scene is very different. Normally there is a shift down to magenta to take out the ghastly green cast on skin tones. In post, I find myself having to dial out a blueish purple out of the shadows. Just the way it is.

CCD technology is definitely quite interesting, but I wish the camera was able to do raw as well. Raw would have let me use more than slog1, to take advantage of its beautiful sensor. This is the beauty of the digital bolex and ikonscope cameras - that combination I find perfect. I think, when history shines back on our industry, (not that it really will) - it will kind of show how the weird looking red one, once it shifted to the MX, did actually change the high-end camera market and made Sony eat humble pie on their 250,000 dollar F35.

for now.......

Not kool-aid, more like finely aged CCD wine.

just in case anyone missed it and wants to help: vasile started a gofundme for a sacrificial hack camera. all details here: https://www.gofundme.com/22d7kj8