Andrew Reid

It fits over anything provided you have the means to attach it. No idea what the thread is on those. You will probably have to clamp it like I did with the Kowa. It's no fuss.

Thank you sir! Berlin is a tricky place to live in at times but it's worth it. You think living here is exhausting, try living here and having two jobs, one running EOSHD and one being a filmmaker

This is disgraceful! Keep up the good work Ebrahim. It isn't easy doing anything worthwhile, people will always be jealous.

Yep not out long and £12,000 in April 2013.... £4500 in December 2015

1D C / 1D X body quite a bit bigger than a mirrorless camera so they got away with sticking a big heat sink in it. I think Canon need to wait for their new sensor manufacturing capabilities to come online before they will do it... as they are taking so long over doing that, chances are it might be pretty special and worth the wait. How much longer can one company - Sony - get away without being unchallenged? Yes good point... But then Canon likely believes that their average Rebel customer filming birthday parties and baseball games isn't ready for 4K yet anyway. Nikon certainly said as much on record.

$350? Wow. That is stunning for what you get. Don't forget that sensor is the best APS-C CMOS on the market at the moment, so very good stills camera as well even if the crop in 4K mode bothers you.

Vs the NX1, no mic socket, no headphone jack, crop in 4K, no 1080/120fps (only at 720p), time limit 15min in 4K, no gamma DR, no luma range setting or black level, but yes it is cheap though for such an amazing image and crop you can get used to. Stills quality also unbeatable for the price. I've shot a shootout between the two and it is coming soon in final part of my NX500 review which I decided to resurrect because I rather like the cam for the price. Decided to keep it even though I had the NX1 as it goes in a jacket pocket with a pancake 30mm F2.

I have been out shooting with the SLR Magic Rangefinder. Key features: It completely takes over focus from any prime lensSolves lens breathing (reduces to such low level it isn't noticeable)Adds cinema standard 240 degrees focus ring with FF gearing and hard stopsReduces minimum focus distance of all anamorphic lenses to 1m (even long-throw projector lenses)For those who shoot anamorphic especially this will be music to your ears. These shooters will also be familiar with diopters, which are used to correct aberrations and achieve very close focus. Effectively the SLR Magic Rangefinder is a variable diopter and thus a rather brilliant concept as it is capable of taking over focus from the taking lens entirely. Read the full article

Samsung decided it would be a good idea the camera became a doorstop when connected to HDMI. Why they thought this was a good idea is a mystery!

With LOG comes great power and it is down to the user how good ends up looking. There's a lot of terrible looking LOG footage out there due to the individual grade rather than any codec weakness and I don't think 10bit ProRes LOG from the Blackmagic Cameras looks significantly different or better to 8bit LOG. 10bit is overrated for everything aside from keying. I have graded 10bit from the GH4 to Shogun and didn't see an advantage in the grade even when pushing it to extremes to see what was lurking in the murky depths!! In my view, it doesn't suddenly benefit skin tones. That is more down to the sensor and image processor than 8bit vs 10bit. Take for example 14bit raw as one extreme in terms of colour / bit depth... only way you can go more extreme on the specs than that is 16bit on the Sony F65! To make use of 10bit let alone 14bit and 16bit the sensor has to deliver an extremely wide dynamic range AS WELL AS a massive colour gamut. Now, we already have experience of 14bit with Magic Lantern raw. Is it significantly better than 10bit raw from a Blackmagic in terms of codec or grading flexibility? No. The sensor makes more difference. The sensor in the 5D Mark III is very good, very clean, wide colour gamut. The one in the BMPC is noisy and has a harsh run off into the highlights. Great codec, yes, but 10bit vs 14bit with that same sensor performance would have made very little difference. Now we have a shining example of how good 8bit LOG can look for colour... he is called Mr Canon 1D C. You saw how it compared to the NX1 which I previously sung the praises of for being actually very very nice indeed at capturing vivid, rich, satisfying rec.709 colour. What LOG does for a camera, regardless of 8bit vs 10bit, is quite frankly magic and should be highly regarded. There's 'light LOG' like on the 1D C by the way, which doesn't go as flat as S-LOG and doesn't dramatically change colour, leaving it very saturated. I think S-LOG does go to extremes in terms of dynamic range... but it is not 8bit which causes the weirder colour vs the 1D C is it? Because they are both 8bit codecs! A7S owners, indeed RX10 II, RX100 IV owners can do an experiment. Shoot 4K 8bit LOG video. Shoot a raw still. Grade to match. Compare. Difference will be smaller than you think!

Great post. With all the interest in Canon clearly they do have something to the images, to the colour. And maybe it is true that Sony have sacrificed the overall look to chase dynamic range on a chart. But I think it is more down to colour science than sensor science... Canon's white balance also seems superior. Sony have work to do but they have not been in the photography business very long compared to Canon, who have a heck of a lot of experience to draw on, so it is not surprising really.

Canon reported their most recent quarterly profit today and said that DSLRs continued to face 'severe market conditions' noting yet another slide compared to the same period last year. The firm cut its outlook for the rest of the year. Read the full article

Pre-order the Sony A7R II now - B&H / Amazon Sony have communicated the confirmed ship date of the A7R II to me - the first batch will arrive at stores in Berlin on 5th August! UPDATE: this is now the official thread for A7R II updates, footage and user experiences..

Give me 15 stops and I'm pretty sure I can live with applying a rolling shutter fix in post to 1% of my shots

It is really sad that John has to resort to such bad business practices. It is also against the law. What he is saying is false, it is damaging and that is the very plain definition of libel. That is the last I'm going to say about it because I don't want to wade in and blow it all out into a discussion... especially if there might be a law suit to follow. SLR Magic are really angry about what he is putting out onto social media. it isn't worthy of a discussion. We will SHOOT and not do politics on this forum, thanks for understanding.

No 30p in the APS-H 4K mode and the 1D C is definitely not the camera to go shooting 60p with, so it won't provide you in those respects I'm afraid...

Ha. This was the number 1 trigger which made me think "sod this", get a 1D C. The A7S being such a TINY camera, to bolt on a massive recorder which an invisible screen in direct light was just horrible. The 1D C is small but it also self contained and 'just works' unlike 5D3 raw or recorders that exhaust huge bulky batteries in 30 mins. I like simplicity!!

Thanks for the footage as ever Seb!! Will put it on the review along with my own footage which is now shot, just waiting to get clearance on the song I used on it, from a friend. Curiously I found taping the focus at around 50ft on the prime & kowa gave me a sharper image than sticking it at infinity. Probably because of the adapter (was using it on Speed Booster and infinity isn't aways right) Decided to use a Helios 44M 58mm F2.0 and Zeiss Jena 80mm F1.8 (M42 mount) for the taking lenses. The Zeiss in particularly is a well suited one, it is really small for a fast 80mm, compared to the Zeiss 85mm F1.4 it is tiny.

Lovely stuff Rich and Volker. The Iscorama will always be a gem. It is 1.5x though so quite a different look to 2x anamorphic. Imagine a single focus 2x version of the Iscorama. That is what the Kowa 16H turns into with the Rangefinder attachment First test went well, was sharp at F4, sometimes at F2.8 but definitely usable at all apertures aside from F1.4, but then the Iscorama is quite mushy that fast as well! It focusses closer than the Iscorama, as essentially it has a variable diopter on the front. The flare was very pleasing, oval streaks and blue hexagons. yum yum yum. No breathing either. Only weakness so far is the chromatic aberration, it is quite strong at close focus when you have a backlit subject. The light creeps in and puts a veil over the edges of your subject sometimes. And yeah, Iscorama still smaller - but the Kowa, ironically, is now easier to focus... butter smooth and light, no stiffness. PS - chances of Iscorama going down in price due to the Rangefinder = zero. It's still too rare and too good to depreciate. In fact it is now getting extremely rare compared to 2 years ago. PPS - I sent my pre-36 away to Van Diemen to be rehoused for more practical focus with gears along with some others like Andrew Wonder and we are still waiting for them to finish it, cost me £1800. SLR Magic have given me the close focus, easy focus, cine focus all in one small adapter for $599... and done it quicker than Van Diemen could even get the CAD drawing to us... Says a lot.

The faded grey is just some kind of age related reaction, a coating over the plastic and on mine it even scraped off after a while, though stubbornly. You can clean it up. It actually looks in very good condition. Optics clean and all intact even with the original detachable prime. It screws off that and you can use it on a better lens of your choice.

Seriously the 'sharpness' of the NX1 is NOT an advantage. 4K should be soft. There I said it... Otherwise it just looks digital and WAY too harsh for any kind of human being in front of the lens.

Hollywood wanted a 4K DSLR so Canon saw an opportunity and enabled 1.3x 4K crop video mode on their 1D X. The 1D C was born and the £12,000 price tag made sure nobody bought it. With the Samsung NX1, the consumer didn't want 4K H.265 but is getting it anyway, because Samsung wants them to buy that lovely 4K TV to view the footage with. This is called technological progress, where more powerful machines are thrust upon an unexpected public and everyone gets excited. Now the two world collide in this shoutout. Expect fireworks! The Samsung NX1 is currently on special offer for $1299 at B&H Read the full article

For the first time I now have usable AF with Canon EF lenses on the Panasonic GH4 and other Micro Four Thirds cameras. I've been trying out the new Speed Booster Ultra, which as well as the AF improvement offers new and improved optics. Read the full article

I have a test unit with me and it will be interesting to see how good AF is for stills

1D C stills are full frame though. 18MP is enough. 14fps burst. I've seen the 1D C go for as low as £3500 used. It is a stills camera with 4K video like the others, the FS7 isn't. That is a completely different class of camera. The FS7 by comparison takes ages to boot up and the menus are a way slower. Depends on your needs as always but I prefer the tiny 1D C by comparison, ergonomically. It is also lighter. You get most of the FS7's advantages like peaking, loupe over screen, zebra, etc. simply by adding a SmallHD 501, which is also a tiny combo by comparison to a rigged up FS7. Also... 1.3x crop vs 1.5x makes a difference. 1D C looks closer to full frame. And the stills are another reason to consider it, these being the best you can get (1D X level).