Andrew Reid

I am really pleased at this! Premiere now cuts through H.265 like butter. I get full res 4K playback smoothly just like with H.264 Only occasional lag when scrubbing crazily through a timeline Not tried adding effects yet though... might slow down with that, but so far seems to work just like GH4 footage. Zero quality difference to my converted ProRes. NX1 just got a whole lot more attractive.

No that's a "hippy", 1970's style. A lot of people misunderstand that term these days, it seems to have mutated. Some even use it as a compliment. Let's be clear on this...hipsters should be held in distain all across the world. The definition:

VW also cheat at tests.

Well get a 7D then. Even cheaper. And crop will help telephoto reach for sports. Problem solved.

Instead of spending so much more on Sony's lenses, it might be an idea to keep a little pet 5D Mark II body for AF with Canon glass, and let your A7R II do all the video and manual focus stuff (+ low light). They are cheap used now... under 800 quid!

Have you not heard of the Metabones adapter for you Canon lenses? Yes AF and lenses are one area for Sony to work further on. And yes the FE lenses are too costly. Agree with you there! I am using mostly Canon glass and manual focus rather than AF. With Canon lenses on A7 bodies, AF can sometimes be very fast especially on the A7R II but the hit rate is poor compared to the FE lenses. The Zeiss ZA lenses via EA-LA4 adapter solve this but then another big expensive investment. For stills compare the handling of the Olympus E-M5 II or Fujifilm X-T1 to the Sony bodies and you will see where they have got it badly wrong

Yes still available. Had a lot of people asking about it, but no firm payment yet. First to pay me gets it.

Maybe I didn't see the email. What item are you interested in Phil? Sold about 3 or 4 cameras and a lens. The rest is still available. Had a lot of emails so far, so the kit isn't going to stick around for too long.

Yeah the AF is amazing on it. I was quite taken aback by how much better it is than on the Sony bodies. A must have!!

One thing the E-M5 II is great for is AF with Canon lenses. Veeeery fast through the latest Speed Booster XL T. And you get an image circle for stills approaching 1.3x APS-H with that. So I am enjoying it as a stills camera but I think it might have to go back due to that lack of proper flat picture profile, it isn't as advertised and the non-improvement in video quality / moire.

I am having a huge sale of nearly all my gear ahead of a possible relocation of EOSHD! Check out the kit - http://www.eoshd.com/2015/11/gear-sale/

If only someone married the ergonomics and design of the E-M5 II with the sensor and video capabilities of the A7R II.

Apart from V-LOG the GH4-R has no recording time limit of 29min like the normal one. That's the only difference.

Cinema quality. Hahahahahahahahaha

Got a E-M5 II in the house to try it out. Indeed the flat picture profile is the world's least flat picture profile. More like a highlight tone priority mode. It does give you a tiny tiny bit more dynamic range to play with. Tiny. Otherwise image seems the same as before, it still has the moire. I've also installed V4 on the E-M1.... Why that cannot have a flat picture profile is a mystery but at least it has 24p and 25p now, only 2 years too late They are nice stills cameras though and the stabilisation is magnificent.

I sold mine so can't test. How does the codec hold up when you grade it?

So what if they are capable. What is the advantage of doing editing on one? You're just not seeing this the way I am. So what if the hardware is or is not powerful enough to put video editing into a tablet? That is not the question. The question is about the ergonomic benefit of doing so. And so far I don't see a Surface Pro improving my workflow. That is a very strange link you've made with raw data by the way. Raw requires less processing power than compression. It is just a dump of data to the card. So all you need is a fast card interface. Easy. LOG curves are not all problematic. Canon LOG is good in 8bit. Canon LOG 2 is good in 10bit. S-LOG 2 works pretty well in both. S-LOG 3 works very well in 10bit. V-LOG is very nice. They all save us the large file sizes of raw and I'd rather work with 10bit LOG ProRes than raw at the moment, because the image quality is just so good in both formats. The article isn't about the computer companies not innovating, it's about the DSLR manufacturer's product designs. Canon CMOS and semi-conductors quite innovative actually. But the product design department is not, in my opinion. My advice to you sir is argue on the topic rather than keeping diverting into unrelated areas. Except that is bullshit. NEXT's hardware was THE most powerful desktop workstation stuff available at the time in the early 90's, the platform for Pixar and Tim Berners-Lee inventing the internet no less. Fast forward to the G5 10 years later - the Power PC hardware Apple used with RISC processors... that architecture was way ahead of it's time in the desktop computing market. They went 64bit way before Windows. Apple's software under the hood is better engineered than the rest as well. Ask the developers. With the iPhone, again - extremely cutting edge custom ARM processor, some of the best hardware performance in that market with only Samsung really challenging them. Eh?!

Very different projection technologies. One is a pristine digital film scan through a modern digital projector and lens, likely with smaller aperture, less dynamic range, lower resolution and adjustments to colour. The other is a 70mm film print as if it just came off the camera, projected through an anamorphic lens at insanely high resolution and the scanned aperture of the negative, being 70mm, is enormous compared to the digital copy. I think motion would be different as well, with a slight flicker to the 24p of the film projection, compared to having zero gap between frames on the digital version. I want to see both then make up my mind. Would love to see if this is possible. Perhaps Brian can chime in if he's reading the forum. Maybe the physical size of the Sony E-mount is the limitation as the Speed Booster glass in front of the full frame sensor to squeeze the medium format lens image circle into that area would have to be pretty big.

Has timecode disappeared from the menus altogether or has it just broken over HDMI? In the HDMI menu there should be an option to display the camera's info over HDMI for the monitor. Maybe the firmware reset the default settings?

Brian is probably busy with his own Panavisions

For his upcoming snowy western Tarantino unearthed special cameras and 1.25x anamorphic lenses at Panavision which hadn't seen the light of day since 1965. The film was shot on 65mm film and will get a 'Roadshow' release on Christmas day in amazing 70mm. Read the full article

The D5500 is the best 1080/60p for the price.

Nobody said it wouldn't be possible in the future. Staying on the point... Surface Pro is not a desktop or laptop replacement for most people.

You seem to be talking about illustration, clothing design and Photoshop. I thought I was talking about video editing and all-round desktop app usage. I could be wrong on that, maybe I have just read my own thread wrongly.

Nice try. By tablets you know what I mean. General purpose consumer touch screen tablets not the professional pen displays you seem to have plucked out of your arse. And those are mainly for illustrators. Have a nice time using Premiere on your pen tablet.