Nick Hughes

The reduser thread linked in the first post says they are a new optical design, not just rehoused.

And it'll take a year for them to fix it. By the time they do, everyone will have built elaborate rigs for upside-down shooting.

Nope. If you're stuck in that loop, another camera is not going to get you out of it.

Exactly. Color exists because of specific wavelengths of light being reflected off surfaces. Color doesn't exist without light, so if there is less light, there's going to be less color. If you're shooting a scene at 52,000 ISO, of course the colors will look weird because they literally aren't there! (physics people please correct me if I'm wrong about this)

The first time I ever recognized aliasing was after reviewing footage from a shoot in the woods. It was fall/winter so the trees were bare and the branches were aliasing heavily. To be fair, we were shooting 720p60 on footage on the 6D, so there probably would have been aliasing on a white wall, but it can happen out in nature. Still, it's a lot less likely than when you're surrounded by power lines and brick walls.

When you're shooting in light low enough to need over a million ISO, is dynamic range even going to be that big of an issue issue? Honest question. A moonlit scene seems like it would need way less DR than, say, a bright, daytime scene with lots of shadows.

Please keep us updated on the Scorpion lights. There are very few (underwhelming) demos on the web.

Would love to check out this footage.

Heads up to everyone - create a new database for this release and backup your old ones in case you need to revert to 11.

Can't really tell anyone that their preference is wrong. That guy shoots amazing photographs and if the 5D is the camera for him, then I'm certainly not going to argue. However, I personally really value features that make shooting easier. If I have to choose between a camera with a ton of features but a slightly inferior image to a camera that gets in my way, then I would likely go with the feature-packed camera. That's for video though. For stills only, I'd happily go with a DSLR, but I'd likely choose Nikon. Shadow detail retention looks pretty amazing on the 810.

You can rotate it and flip it down so it's right in front of your eyes in a shoulder configuration. You can also tilt it back if you're doing low shots. Not sure how easy it is to change the whole configuration, though.

Joker Bug + attachment kit so you can use it in a chimera lantern, as a leko, fresnel, etc. Dana dolly would probably get a lot of use if you don't have something similar. And/or some kind of motorized cineslider with 3-way head for some pretty intricate timelapses.

Look into the work of Dogme 95, some of the early pioneers of digital filmmaking. Lars Von Trier's The Idiots was one of the first films to be shot entirely on digital. It doesn't look like film, and it's certainly not clean like digital today, but it has a distinct flavor of rawness that works really well for these films. Lars Von Trier now shoots on Alexa and other high-end systems, but I still see filmmakers using old-school digital and tape cameras to get this look.

Speedbooster S took the update well. Works fine on the Sigma 18-35 and Canon 24-105 on the GH4 and the GX7. Not lightning fast and sometimes it misses the mark completely, but it's one step closer to being able to comfortably ditch my Canon body for stills.

No, this design wouldn't solve that problem.

Looks perfect for rim and accent lighting in tight spaces. Or in big spaces where you need to draw attention to lots of details but don't want to break out a ton of huge lights.

​I wouldn't be surprised if different scenes were shot at varying shutter angles

Newshooter testing the C300 II. This video is shot 100% handheld, 100% AF, with only the Canon 35 f/2. An ungraded version (in the older Canon log) is also available to watch. I'm impressed. I can see myself renting this camera a ton.

Were they both new? ​If a hard drive is going to fail, it is most likely going to happen within the first 30 days. If it lasts beyond that, you can be fairly certain you don't have a dud. Sounds like you had some really bad luck with those two. Although, you're right not to trust- when it comes to backups, you have to assume the worst case scenario to be truly safe.

Just found this clip, Tokina 11-16 speed boosted on the GH4. Doesn't look too bad for a $500 lens that becomes an f/2.

​It is indeed nice lighting, but it also looks like the highlight clipping level has been brought down a bit, which further emphasizes the soft highlight look.

​Currently, it looks like only electronic stabilization is available during 1080 video. Not much more useful than adding it in post, with the downside of having stabilizer artifacts baked into your footage.

From Digicame-info

Well you'll get more light from the Tokina with the speedbooster, which would be a big advantage to me. If you get one, make sure to do a lot of tests to verify it's in good condition- cheaper WA lenses seem to have QC problems in my experience.

For anyone wondering, this is fake. The video is posted by "BranitFX and LucaMax Pictures".