Servo

I love it. What's the word on a release date and price?

Haha! This should be your article about the 7D Mark II.

From your article: And then later on: Do you see what's not clear? You don't include Canon EF-S lenses as not compatible here, but you mentioned them earlier. I don't really need you to be clearer for me as I get it, but for your own writing you should want to be consistent, because it does start to raise a question of why not mention EF-S lenses in a list of incompatible lenses. Like, maybe you misspoke about EF-S lenses earlier or something. It suggests an inconsistency that I need to be sure isn't intentional. So, to sum up, what lenses are compatible with this speed booster?

It makes no difference. Readers don't have to be right, and there's no reason to expect that. If Andrew wants users to only post when they're right, good luck trying to moderate that. If he trusts he's doing a good job and knows what he's talking about, then it shouldn't matter. Just keep moving forward (which he's not doing when he spars with readers like this) and expect that he will find the audience he deserves. Or does he think that magic will start working once he's even more popular, and all the naysayers and critics will go away? Of course not. It will only get worse as he gets more readers, so he may as well get on with it. That's just part of being on the internet or in any kind of public life. Big deal.

You should be glad to have readers who are vigilant about the integrity of your work.

I never trust a company enough to have that much control to where they can keep charging me, even if I don't use their product, and expect me to keep paying for whatever upgrades they do or don't deliver. There's too much in it for them to become inert to customer needs. If I don't have clients that need me to use After Effects for anything for a month, I'm stuck paying regardless, and every month until I get them. That's ridiculous, and Adobe is happy to coast on that as long as people let them. Here's a discussion I participated in that gets into more detail why the CC Adobe offers isn't worth it. http://forums.creativecow.net/readpost/24/975035

And if you stop paying one month or don't have clients to support CC subscription, you will not be able to continue work on any of those projects. Adobe has no reason to try and improve CC software as much as with previous generations of After Effects, because what's the point? People will keep paying for the smallest improvements and additions needed for $20/month.

Sony Vegas Pro 11, and I've been with Vegas since 8. I've used Avid, Premiere, and Final Cut, and Vegas is superior to them all, in my opinion. Powerful, much easier to use and more intuitive than the other programs, good plugins, can work with many codecs (including ingesting ProRes), and is so simplified over the use of something like FCP or Premiere, but not more primitive, necessarily. And more inexpensive. The main drawback on it is that companies don't make as many plugins for it as they do for Premiere or FCP because those are more widely used. Why companies insist on using software with higher learning curves and that are more expensive, I don't know (well, I can guess it's because of a saturation of editors using them, as well as inertia/lack of desire to try out alternatives).

With the caveat that any list of influences I make is highly incomplete, and that I try to draw from anything that may be a good reference for a shoot, here's some of my choices. 1. Fight Club 2. Bringing Out the Dead 3. M 4. The Wrestler 5. The Departed 6. Girl Shy (Harold Lloyd is known for his comedy, but the photography and storytelling in this are as close to perfect as I've ever seen) 7. Dodsworth 8. The Terminator 9. Paths of Glory 10. Dark City

It's quite worth it for me. I won't be outputting anything in 4k for the foreseeable future, but that increased latitude in color grading is something I've wanted for a long time, along with other characteristics that the camera offers. Plus, it's from footage that's shot to an internal SD card, so I won't have to buy an external recorder and deal with that set up.

I emailed someone at Cineform who talked about how to get the 4k, 8 bit, 4:2:0 video downsampled to 1080p, 10 bit, 4:4:4 for Sony Vegas, if anyone else uses that. You can do it without After Effects. First, import the 4k video into Sony Vegas Pro 12 (with 32 bit floating point (full video) in the project settings), and render it out to Cineform with these settings. '> Then render it back out from Cineform GoPro Studio Premium. http://forums.creativecow.net/readpost/24/976346

There are, but I've been researching buying and shooting anamorphic lenses for weeks (I haven't gotten the EOSHD guide, though), and although I'd really like them, they're going to limit what I can do on some short films I want to shoot. If I had the time and money, I'd like to do it. For now, it's a little impractical, and for work I do for clients as a videographer, 4K camera that I can always use as a run and gun camera is going to be much more helpful.

Slightly off topic, but anyone know the resolution of this image (I'm not a mathematician)? Rather than shooting anamorphic, I'm thinking of getting a 4K camera.

That helps, thanks. For me I'm not looking so much for the speed boost but for the wider field of view for a short film. I didn't realize that vignetting would come into effect in the opposite manner that I thought-I assumed it would be more of an issue the longer the lens. I guess I'll always be able to take off that speed booster if it becomes a problem.   That squirrel seems a little stuff.

I'm thinking of getting a Sony FS100, which shoots to a Super 35mm sensor and takes E mount lenses, though you can get an adapter for EF and EF S lenses.   Metabones has an EF to NEX speed boost/full frame adapter, which lets you use EF (full frame) lenses on it, and it gives an addition stop of light.   What I'm wondering about is if adding this between the lenses (EF and then anamorphic) could potentially create any issues for the image? Could it make focus difficult or create chromatic abberation? I realize vignetting is always a potential issue past a certain field of view, but I'm just wondering if the addition of however many millimeters the speed booster is can cause any problems. I wouldn't assume it would, but I haven't read anything specifically about using it on the FS100 and an anamorphic lens.   Thanks.