SteveOakley

this and their new products announcement tomorrow ? guess many companies are trimming low margin, low sales or EOL products living on borrowed time. Guess they have enough parts for warranty and repairs on those products. Also note : BMD trimmed their product line silently at least a few weeks ago, along with pricing changes a few months back.

Thinning out crowded product lines isn't the worst thing. When you have similar models with incremental features and incremental pricing, taking out middle models isn't so bad. Another case in point : Tenticle has to redesign their Track E because the ADC's from AKM aren't available due to factory fire. so MK2 product with different ADC but otherwise same specs plus new bluetooth features. In the modulat synth world a company has closed shop because they can't get parts at volumes that are right for the needs, either you buy huge quantities or try to buy piecemeal quantities if or when you can which is no way to reliably produce small run products. I wouldn't panic. maybe it wll slow down product release cycles so your 2 years old camera / whatever hasn't lost 1/2 its value - looking at you canon for the C300mk2 price reduction that killed the used market. Keeping mine now I think as its working as B cam.

Well the other part of the equation is that digital cameras last a long time for most consumers and semi-pro's. Unless you do timelapse with mechanical shutter beating your shutter to death, how many shots a year do you put on your camera ? 5K ? 10k ? with a shutter good for 150-200K releases you've got 15-25 years worth of life with that camera. Longer if you use it less. Couple that with minor improvements in resolution for mid to lower priced cameras, minor improvements in DR, those two big selling points just aren't . Most cameras are in the 20seomthing megapixel range and even the higher 36MP sensors aren't that much of a jump up for _most_ users when their current camera is perfectly good for their needs. Only 4K displays has pushed the res limitation a bit. Until we have mass market 6K (computer) or 8K screens will anyone feel any real need to push the pixel count up on the sensor. Current cameras produce really respectable DR and color for the most part. More than good enough for most people's needs now and for a while. Maybe the only real thing that might push someone to get a new camera body is better AF. We have most of that with phase detect and face recognition thats pretty good, again for most people's needs most of the time. with feature needs covered, the want to upgrade is low, esepecially when looking at the price of new cameras. Fuji has done well with good retro design in the bodies, great color that is their own, and kept pricing for the S35 cameras affordable enough what while its a decsion of thought to get a new one like a Xpro3, its not such a giant investment you really have to plan and think it out hard for a lot of people. indeed keeping it under $2k + APSC has proven a good combination.

Well I hate to tell you guys not beleiving product crippling is a thing with a LONG tradition in the video biz. Back in the days of tape, if you wanted TC you were into a top of the line machine. THis was especially true with 3/4" where there were 3 tiers of product - consumer, "industrial", and broadcast. $5K, $10K, $20k. When you bought one of those amazing 1" BVH2000's TC was an _optional_ board. A timebase correcter was an option. A board storing all of 8 lines of NTSC video was an OPTION in the TBC X 3 board slots. Not even a full frame of storage and it was $20k !. The video industry is filled with a history of up selling and given all the old guys running canon who would love to return to these glory days, guess how they are running the company. Its clear blatent up sell by leaving out critical features in lower and mid tier machines... like the lack of TC I/O on the C100 or C200. Know your history or repeat it ! its really simple, send your money somewhere else with a company that gets it, values you as a person and not as a cash cow to be milked. Fuji delivers and works to maintain their customers. Sony, maybe the worst offender of feature up selling as mostly moved on from this practice. I bought a XT3 as my B and gimbal cam and very happy with it. Canon had the chance but was really late with the 90D and should of taken my money but didn't because their product ailed to deliver what I wanted. Oh well...

Waiting for canon to drop grossly overpriced new C series Cameras soon , then I'll get one a year later when they cut the prices by 30%. they are just so stubborn and stupid despite everyone telling them the same things. No wonder the people at their NAB booth the last year or two have had dont give a F attitudes unles you want to buy a couple $100k box lenses. They are theur own worst enemy and are going to pull a Kodak if they don't cut prices and give people what they want.... said by owner of canon still cameras of 30 years,3 C series cameras, but i quit buying their lenses 10 years agi for being overpriced, mediocre performance for the price

Canon should of taken the money from my hand with the EOS R, but they didn't because of all its problems. Instead went with a fuji XT3 as a B cam / gimbal cam. Its an amazing camera for the price. You guys need to get over the full frame fetish because it just doesn't matter, in fact its just plain harder to shoot when it comes to video. reality is APSC / S35 is a rather ideal compromise between sensor size, DoF, DR and everything else you care about. In practical production, you're going to shoot FF a stop more closed down to get some margin of focus in DoF which means you are matching the look of S35, but with more light or turning the ISO up a stop. So same difference, just harder. C300-2 is a S35 size sensor btw... canon's lack of a C300-3 or C400 at NAB was no doubt due to lack of a R mount. I'm sure they had it ready with a EF mount, but went back to redesign the body with a R mount to sell R glass, or LPL. Getting an internal ND wheel into a body like that is gonna be a challenge. They want to move away from EF as fast as they can now to sell us new glass. bad move, no wonder their booth was pretty empty even on mon. while still camera bodies are nice for small size when thats important, lack of solid audio in some cameras, lack of XLR, SDI, TC I/O, not shoulder mount friendly, lack of good internal / on board batteries, enough buttons and knobs for important functions, not so easy to work with large lenses w/o lots of rigging, and adding on all the other gack means cinema camera bodies still have a lot of value for most folks.

Tony is a poser. total lack of real technical knowledge but a big pile of BS. I watched maybe 2 of his vids and never again, especially so when he did a review on the sigma 120-300 and they had no clue what they were talking about or doing. it was painful. so just ignore the guy...

16-235 is NTSC video levels. with analog video transmission now gone, black levels of 0 are acceptable in _digital_ video.. aka DV and other digital video formats. The problem is the 1D is labeling its levels as 601 instead of 709…. or worse yet may be actually putting its image into 601 color space. this could easily cause color mismanagment with some apps if there is no other metadata in the clips to tell them the clip came from a 1D so you have to apply special case color management to correct for the 1D doing things wrong.

first, let me say that Prem Pro does NOT use QT for h.264. It has its own h264 encoder / decoder as part of MediaCore. QT player 7 and X often handle the gamma of files very differently... just how it is. In QT player 7 there is a pref setting for handling gamma like FCP 7 FWIW which may or may not do things right. screen calibration can also cause all sorts of problems too... but back to the original concern. any number of things could be going on. one could be that AVC files are simply being tagged with the wrong color space, or none at all leaving the NLE to guess / assume one. another is that maybe PP is for some reason not liking that particular flavor of AVCHD files. there is a pref file to tell PP how to handle given media types which is a text file you can edit, just like AE. if you know where AE's interpretation file is, then you can find PP's as well. I'm not saying where the file is because I don't want people going in there and hacking it up making for worse problems....