Andrew - EOSHD

You know what I can't stand Mr Shield3, is someone who feels he can throw rocks from his armchair at a resource gatherer in the field, while he's trying to give you information about a range of cameras and lenses on his own blog. Have YOU used the Sony 35mm F1.4 G? If so, why haven't YOU written a blog about it? Or did you just look at DXOMark, and write it off without seeing a single image or the cinematic way it renders? And to write off the Minolta line entirely because of screw-drive AF, you should write off the entire Nikon AF-D line whilst you're at it, yeah? Here is the 35mm F1.4 G sitting on my desk... So yes I have used it personally. The reason I didn't respond, is because you were acting like such a negative muppet I gave up on reading the thread for almost a week. As for A99 II being just a phase, I've put forward my argument why it is useful for my shooting style... I don't need to justify it beyond that, not least to you. There's some stunning A-mount Minolta glass. This 28-70mm F2.8 is cinematic as hell and half the price of a used Canon 24-70 L Mk I. And the 28-105mm F3.5-F4.5 is good enough to resolve an 8K image wide open, and cost me £60. The full 42MP frame is uploaded to this post so you can see what I mean. Shut up with the armchair criticism, buy some gear, and tell us about your opinion on it. Good deal! I have the Sigma ART 18-35 in Canon mount and oddly enough Sigma mount for infrared timelapse on the Sigma Quattro SD mirrorless camera, but not in Sony A-mount. I think the Sony 16-50mm F2.8 SSM is likely to have better AF, but need to try the Sigma to be sure. I could see the Sigma zoom being very handy for low light in the 4K crop mode, as low light in full frame 4K tails off after 1600. The reason I haven't jumped onboard the Sigma zoom yet on this camera is I over indulged in Sony / Zeiss primes and mainly focussed on shooting in full frame mode. You could get the Sigma 20mm F1.4 and Sigma 35mm F1.4 for instance - these would cover a lot of shots in Super 35mm crop 4K, but also give you two full frame options that would be stunning to look at. A lot heavier and more hassle though.

With no replacement in sight.

Ah yes this brings me bang up to date. I haven't shot with it yet so forgot all about it. Is lossless compressed RAW in development for any of the other cameras, or is it only the 5D Mark III which has the processor for it?

Good to know. The 35mm F2 IS by the way is a gem.

100D is missing from the experimental builds too, sometimes you have to look on the forum amongst the 1000's of posts for someone who has compiled his own build with 10bit in it. See if you can find one for the 5D Mark II and 7D In the mean time I've updated the article to say the DIGIC IV cameras don't do 10bit. These are all compact flash so 10bit missing is no big deal... they can do 14bit just fine up to near the maximum of the sensor.

Are you absolutely 100% sure on the 10bit? Still have my 50D but I'll have to correct the post if that's true. http://www.eoshd.com/2017/06/magic-lantern-raw-video-current-camera-capabilities-updated-2017/ The other Digic IV cameras are 7D and 5D Mark II.

One day Canon's rep can explain to me why there is 300MBit 4:2:2 on the £1400 XC10 but just 100Mbit 4:2:0 on the £7500 C200

Seems like overkill for buying it just for a jib. The G70 is really light with the 15mm F1.7... And you'd save a lot of money. Image quality will be far better than the Sony camcorder. The A7S II and 35mm F2.8 will be double the weight over G70. And the camcorders I have no experience of so cannot recommend them. GH5 is 4K/50p. Body is similar weight to A7S II so not nearly as light or as cheap as the 4K shooting G70. But the lenses are much lighter especially the 15mm.

Speed Booster does not go on the 5D. I am talking about if the lens was used on the GH5 with Speed Booster. Meanwhile, I might be looking at a similar lens situation myself as I get back to shooting some Magic Lantern raw.

Canon 17-55mm F2.8 at least has stabiliser, so maybe for video that is more useful than F1.8... Would be a nice lens on Speed Booster too if we ever persuade Christina out of her Canon love affair

Just put your thumb behind the cap and pull, it clicks off... And you can put it back on again. Can't confirm if this works with all EF-S lenses but it does with this one and it's easy.

Will test. Check this guy out - found a secret port under the rubber grip of the 100D. WTF!? https://www.magiclantern.fm/forum/index.php?topic=16040.msg186201#msg186201

Official Magic Lantern forum for Raw Video - http://www.magiclantern.fm/forum/index.php?board=49.0 Updated for 2017 Magic Lantern camera capabilities at EOSHD - http://www.eoshd.com/2017/06/magic-lantern-raw-video-current-camera-capabilities-updated-2017/ Creating a sticky thread for this as it's one of my favourite topics. This thread is just to compliment and contribute to the main magic lantern site. I am testing: 5D3 5D2 100D (beta / experimental build) 70D (beta / experimental build) 50D Bitrate calculator: http://rawcalculator.bitballoon.com/calculator_desktop Following 70D progress is a priority for me as it's the only one with both Dual Pixel AF and articulated screen... 5D3 doesn't have that! https://www.magiclantern.fm/forum/index.php?topic=14309.2850 Main builds and ports in progress at Magic Lantern: https://builds.magiclantern.fm Experiments including 10bit/12bit raw and 4K raw crop mode: https://builds.magiclantern.fm/experiments.html My regards to all the Magic Lantern devs!!

Zeiss Jena 20mm F2.8 is superb... M42 mount, manual focus only though. What about Sigma 8-16mm... If you want to go WIIIIDE.

Shooting approx. 16:9 with global draw off. Distraction free colour live view at 24fps and proper framing. Frame from the DNG 10bit raw, upscaled in Adobe Camera Raw. Doesn't look bad does it?

It's dimmer. Backlight goes down. Besides, the picture profile applies to stills (JPEGs) as well as video.

That's what I'm talking about. In stills mode, hit record, dims. In movie mode, it's always dim whether recording or not, which makes outdoor screen visibility a major problem.

It does dim. A7R II, A7S II, A99 II... Try it. You need to be in 4K not 1080/24p for it to dim. It's not shit at all. Lenses are not ALL about sharpness at F1.4. Sometimes it's about rendering, contrast, character, distortion, ergonomics, size, weight, performance at F2.0, bokeh and functionality. HELLO?

Sigma 18-35mm F1.8 would be my favourite. The Samyang 14 and 11-16 not too great. Nikon 14mm F2.8 AF-D is much nicer. Sigma 20mm F1.4 would also be superb, although not as wide as your 14's and 17's obviously. You can also pop the cap off the Canon EF-S lenses like 17-50mm F2.8 and 18-135mm, and they will fit like a charm

SSM ones aren't focus by wire, they have mechanical coupling for manual focus. Not many with hard stops though. Full frame 1080p and APS-C very close in quality, full frame is slightly better. This was just an experiment. Just can't recommend it, if you de-couple the lever you have no aperture control at all in any way. When disconnected the lever goes loose so won't stay wide open when you handle the lens.

These are some good points. For me it 80% furthers the case of the small cameras over the big ones for creative purposes. GoPro, Osmo, A7S, GH5, all small. Only one of these examples involves one of the larger pro cameras, the C200 and I am not even convinced of what it gives to a music video shoot exactly...

180fps is 180fps. To title it 360fps is nonsense

Panasonic GH5 competition? Bring it on... Read the full article

If you drop the horizontal resolution (it increases the crop though) you can shoot 16:9 Yeah there is a version for x86, I tried installing it once on the Samsung Tab S Pro (Windows 10 tablet) and it can be installed on the Microsoft Surface Pro 4. The problems is the drivers aren't always reliable so you have missing WiFi, etc. and it needs patching up to work properly... depending on the hardware. Check out ReMix OS. They sell Android x86 pre-installed on tablets that they have programmed it to works on. Issue is still performance and app selection vs MacOS and Windows, it's just not as good for raw video. It's a novelty.

I think only VR stands to benefit from 8K. Cinema doesn't need it. However, in 10 years we might all be strapped into our VR headsets for watching movies... Even at the cinema! I'm very impressed with how immersive VR is when done right. It is here to stay, unlike 3D. But watching 8K on a flat screen from a distance is pointless... Human eye just isn't up to it.