Andrew Reid

100% unrelated. Vivitar 28mm F2.0 for PK mount is also unrelated.

Arri recently said on the record that they had no interest in a 4K model.

The Contax Zeiss Distagon 'Hollywood' 28mm F2.0 is a classic fast wide for full frame and is incredible on Super 35mm as well. Wide open it's one of the sharpest F2.0 wide angle lenses available and it has very little distortion. The Contax Zeiss version fetches $800 on eBay but there's a $60 wolf in sheep's clothing called the Pentax PK 28mm F2.0 which has a fascinating story behind it. [url=http://www.eoshd.com/content/10730/60-pentax-thats-actually-a-800-zeiss-with-optics-by-designer-of-stanley-kubricks-nasa-glass]Read the full article here[/url]

Yes, end of this month.

I advise to wait for my GH3 guide.

Looks similar to Isco's 16. 2x stretch and same glass as was supplied to another Japanese lens, the Proskar.   You can get some nice results but focus is nothing like an Iscorama.

Another famous voice to add to the argument that TV now has the upper hand.   http://mobile.reuters.com/article/idUSBRE94R0HF20130528?irpc=932

  It depends on the light you have available. Both would be good but the 5D Mark III would still have the upper hand if you needed ISO 3200 at F1.4 and ISO 1600 at F0.95 on the BMCC.

I think I misinterpreted NBC's figures for Lone Ranger. Now they make even less sense.   Audience for Lone Ranger - Over 35s - 58% Families - 22% Under 18s - 16%   That is 96% of the total audience. Are they suggesting only 4% of the Lone Ranger audience are in the 18-35 group!?   In the end it comes down to sheer greed.   Instead of a movie made for us, we get a movie made for nobody.   Even a movie aimed at a specific age group, say over 35s would be more welcome. The solution is to lower the obscene budgets and segment your studio output more. I don't see why there's not more choice at the cinema. At the moment we practically only have PG action adventures.

So you hit a button and out comes another Superman.   How long do you think it will take for audiences to get bored? Think ahead. Just because there are still successful franchises doesn't mean to say there will always be.   It will be probably be an implosion measured in years rather than months, but if you starve any creative industry of creativity, it is the same as starving a power station of coal, or an Apple factory of silicon.

Spielberg recently said he felt the multiplex cinema filmmaking industry was heading for implosion, where someone making a $250m popcorn movie forgets to add a compelling reason for an audience to see it. A string of massively costly flops follow, bringing the system to its knees. The soft opening of Lone Ranger (a western with Johnny Depp by the makers of Pirates of the Caribbean) points to Spielberg being right on the money... [url=http://www.eoshd.com/content/10747/signs-of-spielbergs-predicted-crash-and-burn-as-lone-ranger-bombs]Read the full article here[/url]

Unless Karate Kid counts as a pro shoot, you won't have too many problems.

That article has a paragraph that is a total joke, and yet reflects how the movie moguls today think.   "Lone Ranger" suffered in appealing mostly to older moviegoers, with 58 percent of the audience over the age of 35, including 24 percent over the age of 50 percent [sic]. Moviegoers under the age of 18 only made up 16 percent of the audience. More problematic, families only made up 22 percent of the audience."   It suffered by appealing to - 58% of the audience!?   They say moviegoers under the age of 18 made up 16% and families 22%. That's the rest save for a mysterious 4% group not cited (people with brains?). So a kids and family film like Despicable Me 2 can take $150m by appealing to 38% of the audience, yet Lone Ranger has a problem appealing to 58% of the audience. Maybe the reason it has a problem appealing to the audience, is because the audience think it's shit.

I'd like to see what happens to this ridiculous $250,000 film business model, when there's 10 of them out at the same time. What mainstream audience has time (or the will) to see 10 blockbusters in 1 month?   Relying so much on opening weekends and holidays is asking for trouble.

"Crash and burn" as Spielberg put it.   He's right isn't he? Implosion pending..

The EVF may be expensive, but there is no competition.   I really like it.   I'm surprised Sony didn't bring out two different EVFs for the RX1 and RX100. That would have been a worse rip off. If you own both cameras the EVF works out at 200 euros per camera which is more reasonable.   RX1 is crazy expensive but again there's no competition. Nothing that small has that image. Nothing.   I will get the RX100 Mk II as really like the idea of articulated screen and EVF with that lens and stabilisation for run & gun video. Can at least sell the RX100 Mk 1 to recoup some cost!

Here is the SLR Magic 11mm F1.4. Covers!  

[media]http://vimeo.com/69803484[/media] Red shooter Ryan Lightbourn has been combining the Red Scarlet-X and raw shooting 5D Mark III on the same production. His aerial shots reveal very little difference between the cameras but also some striking observations regarding the 5D Mark III's raw prowess. [url=http://www.eoshd.com/content/10741/raw-5d-mark-iii-vs-red-scarlet-for-1080p-delivery]Read the full article here[/url]

No continuous shooting rate has absolutely nothing to do with card slot write speed. What you fail to mention is the 70D doesn't do 7fps raw stills continuously. In reality, they do a burst of raw stills (approx. 30MB each) to the internal buffer memory (usually around 512MB) and when it fills up you get a true reflection of the card write speeds, since it is now emptying the buffer to the card whilst making space in the buffer for more photos. So the photos can only then be written to the buffer at the rate it is emptied to the card. You will get about 17 raw frames at the full 7fps until the buffer fills and the card becomes the bottleneck, then it will be approx 1.5fps to the card (30MB per frame with a maximum SD card slot speed of 40MB/s). 5D Mark III is now writing 103MB/s continuously to the card, even with all the overheads on the CPU. If you need raw video, there's only one candidate leading the pack. 50D however - now that's a bargain.

  90Mbits/s = 11.25MB/s. Max on the 6D's card slot was 40MB/s for raw video. 1080p raw requires 80MB/s. That is 640Mbits per second. To avoid confusion I usually write Mbits rather than Mb/s.

SORRY meant 90Mb/s (bits not bytes).

Finally after 4 years a genuinely new sensor on a Canon APS-C camera! The 60D was one of the best value cameras in the Canon range and the 70D is a nice step forward albeit at a higher launch price this time ($1199). It has a brand new sensor promising improved video quality and reliable AF tracking but the lack of compact flash card slot will hold it back when it comes to any raw video potential. [url=http://www.eoshd.com/content/10734/my-take-on-the-canon-70d]Read the full article here[/url]

If you guys are having personal issues I suggest first to sort those out behind closed doors. Then I recommend getting the right info out there (maybe a FAQ, and credits would be good place to start?) so I can draw attention to on your work accurately. It is impossible to cover the hack otherwise.

  Agreed. Raw isn't a look. The biggest mistake people make with freedom is to abuse it by sliding the highlight recovery to maximum and lifting the blacks 3 stops.   If someone wants to crush the blacks, that's their choice and there are aesthetic reasons for it.

Not sure about zero shadow detail. Different displays have different black levels so what you're seeing is unlikely to be the same as what the creator sees. I think there should be stricter worldwide standards on display calibration and less ability for the user to change it around.