Drew Allegre

Old-timey mechanical doorbell all the way. 1) Can't be hacked 2) Authentic tones 3) Pleases your guests 4) Breaks the ice at parties

I've had this thought for awhile now, and I've kind of held off, because...well, it's your site and you can do and say as you please. With this and all of the BM stuff, you come across as independent, but not necessarily objective. It kind of begs the question, what is the value of independence without objectivity? You and others may disagree with that assessment, but that is pretty much how I read you these days. I'm probably not alone. As with any media being consumed, at least part of the onus is on the consumer to filter and analyze the information. Reveling in the praise of a guy who is a known copyright violator is not a great look either.

I guess the immediate question in my mind is what is the max card writing speed on the EOS R? ML could definitely make this a much more interesting camera.

It doesn't sound so terrible on paper (on par with many other FFs) until you remember it's a 1.7x crop.

Think in terms of risk analysis: -How severe is the risk? Would it stop your shoot or worse? -How likely is the risk? and then you may add: -How much cost/weight/convenience am I willing to sacrifice to mitigate the risk? And of course it really depends on your system and how you work. Third party chargers are cheap, card readers are cheap, but you could possibly also mitigate the risk by carrying a camera charging/data cable. If you're traveling with 2 or more cameras, you may already have a backup charger. On that note, another risk may be lack of power for an extended period of time, so a power bank or two may be worth carrying. For me it really depends on the shoot, whether it's a wedding or corporate shoot or month long sightseeing trip, the answers will generally be different.

It may be overkill for a small camera, but a great tool for this job is a gyro type stabilizer, like a Kenyon Gyro. I've not used one personally, but we used one for a project that I was on. https://www.ken-lab.com/kenyon-gyro-rentals.html

These questions are causing me existential grief. I used to feel safe and happy in EF land, but now that I switched to Sony, the world is a big unknown place. 1) I really like the 24L II on Canon...hoping I'm going to love the 24 GM on Sony. But a 24 as an only lens? I don't think I could get by with just one, tbh. 2) As far as lenses that I've used extensively, I would say the 135L. It's just effortless to get a good shot, renders nicely, AF is great, MF ring is nice. 3) I would really like to try the Batis 135. Looks like a great lens. I'm hoping to eventually have the 24 GM (pre-ordered), Sony 55 1.8 (own it), and Batis 135 (eventually) 4) I'm really happy with Sony and where they seem to be going with lenses for the E mount (even with the Sony "limitations"). I stayed with Canon for a long time, and I don't see myself switching again any time soon. Also, there are so many things that can be adapted to E mount, it's a nice place to be.

Nature photography is kind of down the list on priorities for me. I'm mostly a wide/normal prime user on FF (hence, I but FF lenses), and I tend to shoot performing arts, events, people, etc. It makes a lot more sense to me to adapt a lens that I already have to a camera that serves multiple purposes for a pursuit that I occasionally enjoy. I keep the 80D around specifically to use with the 300/f4L. It would make a lot of sense to me to move over to a Sony APS-C and find a lens that's workable. 1) I'd gain an APS-C backup to my A7III 2) I'd gain APS-C equivalents for my primes at what will likely be 20+ mp 3) I gain some reach on my longer lenses when I want it 4) I gain a usable second camera for video work that I can (theoretically) seamlessly cut with the A7III The current A6xxx line isn't super attractive to me, because it's not a great form factor to put a long lens on and on top of that I'm left handed and that viewfinder on the corner just does not appeal to me.

Probably an adapted lens like a Sigma 150-600 or Canon 400/5.6L. I currently have the 300/4L, but it doesn't play well at all with Sony (I've heard the 400 is decent) The goal would be to pick up a Sony100-400 at some point. But yes, I would love to see Sony release some quality longer/affordable primes like Canon has. Part of my reasoning is that I moved over to a A73 from a 5D3, and I liked having both APS-C and FF with Canon. It would be nice to have that again with Sony. Fuji doesn't really interest me, because I don't want to get into a dedicated APS-C system.

This could be the end of my 80D (used mostly for birding at this point).

Honestly sounds like the a73 comes pretty close to checking those boxes (colors always debatable and subjective of course).

This should pair nicely with the Philip Bloom woodgrain Pocket Dolly from a few years back. Really helps you get those organic tones as they say.

Do I need a FF sensor in a dedicated video camera? No Do I want a FF sensor in a hybrid camera that will also be used for stills? Yes, absolutely.

I wasn't suggesting good or bad...just wow! I think we've all seen these changes as being on the horizon for awhile now, it's just surprising to me that it's all hitting so close to the same time, esp considering all of these moves would have had to have some significant development lead time.

I wonder when the last time (if ever) 3 or more new mounts were announced this close together. What a time to be alive!

That made my hard drives cringe a little bit.

The 28/2 is definitely in the compact/affordable category. The line up of shorter primes is kind of a mess though, just not a lot of consistency and overlapping lines all over the place.

That lens is an immediate buy for me. Was thinking about trading my 28/2 for a 25 Batis, but this thing looks like my jam.

That looks like a nice bag. Similar concept to the PRVKE, but it looks like the volume distribution is tilted about 2/3 for gear. The PRVKE is around 50% gear and 50% "stuff" in the top compartment. Really dig this style of bag. My only complaint with the PRVKE is gear access is a little fussy. Side access works well enough, but accessing multiple lenses is a little big of a chore. Could be a little more accommodating for a prime shooter like myself.

I have several different bags that I use for different purposes, and would classify myself as a hobbyist DLSR/mirrorless shooter. I'm more of a photographer, but I've worked a few docs/projects as a camera operator. Domke F6 (little big smaller) shoulder bag: I've had this bag for over a decade and use it primarily for light photo shooting. It's my go-to concert photography bag. Easy to work out of, small and unobtrusive. Lowepro Video Fastpack 250: I've had this bag forever, and I love it for small shoots. I can stick my camera and a couple of lenses in the bottom, and I can carry a lav setup, headphones, etc in the top. Great little run and gun bag...super functional for what I'm often doing. Langly Multi Pack: This is my "kitchen sink" aka "bucket of gear bag" Reasonably functional, can haul a lot of gear, looks pretty nice. Weighs around 30 lbs fully loaded. Wandrd PRVKE 31: Bought this when I switched to the A7III and those little tiny Sony 1.8 primes. It's sort of a fancier and way more expensive Lowepro Video fastpack. This is a great bag when you want to combine a minimalist kit with a daypack/laptop hauler. Great daypack, great travel bag. If I need more gear than these can handle, then it's hard rolling cases. Love the Pelican 1510 (and similar), but I'm just using hand me down hard cases from work.

This has been Canon's modus operandi since the DSLR started to become a mature product category...and Nikon has a pedigree of this too (once refusing to jump into the FF market at all, their marketing from that era is hilarious). But Nikon kind of got off of their asses. Just go back to 2008 and look at the 5DII vs the D700. The D700 was a far more advanced stills camera. 5DII used essentially the same AF system as the original 5D and added a 21mp sensor that tended to show pattern noise in the blacks. The D700 had a whopping 51 AF points, better weather sealing, a great auto ISO implementation (would take Canon years to replicate that), an arguably better performing sensor. Oh, the 5DII could shoot video...and the rest is history. But the point is, Canon has been performing like this for at least a decade. They just happen to make good enough cameras and have an outstanding EF lens ecosystem. I don't know why people want a prosumer all-around camera vs multiple purpose specific cameras that cost thousands of dollars. I can't figure it out.

Just 12 hours to go. I love these hyped camera announcements, so much anticipation even though I'm probably not even in the market for one.

Pro Color doesn't really improve bad lighting, it just gives a relatively (subjectively) pleasing look out of the camera. Imho, it works reasonably well in low light with tungsten or high CRI LED lighting, but it is definitely recommended that you use manual white balance. There is a certain point where you just need more or higher quality lighting. Also, if you're talking about sodium lighting, well, there's very little that can be done about that other than embrace the look or bring your own light. Afaik, there is a version of Pro Log in the works for A7III and A7RIII, but the current one was developed for older A series cameras.

It's sort of confusing. I've read a couple things that seem to suggest it's a video card issue (I'm on a 2015 Macbook Pro), but then Resolve handles the footage just fine. It was stated above that the data is all there in FCPX, so you can just correct or LUT it back to where it should be, but personally I'm just running HLG stuff through Resolve.

I'm with you. A "mirrorless D850" that combines Nikon IQ, ergonomics, and build quality with top of the line mirrorless AF and IBIS would be pretty incredible. Canon would need to make some fundamental improvements to a "mirrorless 5DIV" to win me back.