I'm a filmmaker and video guy so will buy this lens in a heartbeat and sell my 16-35L F4 IS if it's good enough. The wide angle and 2.8 will be indispensable for crop frame (Super 35mm) movie shooting.
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
The rumors need to start materialising as lenses. The newer cameras (before we even get to 45 or 85MP as been rumored here) such as the 6d show up the problems of the EF-17-40mm f4L, EF24-105mm f4L both of which have pronouced chromatic abberations at 17mm and 24mm respectively. As sensors improve the faults of lenses masked at 8, 10, 12 or 18MP now show up and this undermines the system ability to produce great results. Sigma have shown improvement are possible (so has Zeiss at a price) and still remain competitive to Canon pricing.
A 24-105 II L really would be nice, especially mated with a 100-400 II L combo. Very versatile!
They really need:
4k that is real 4k and not like 1080P
forget all the stupid DNR where they turn even ISO 100 to wax unless it's extreme contrast edges, we want natural 'grain' and detail and we don't want fine surface detail to be turned to mush from plasticky fake looking DNR!
we need 10bits not bits recorded internally, 10bits 4:4:4, compressed, detailed, 4k recorded internally would be great (4:2:2 at worst). (and it should allow 1080p RAW like ML)
and how about just building the zebras and focus 100% box and focus peaking in? basic stuff!
This price reduction makes me now think (even more) that there'll be a 1DC2 unveiled at the NAB show.
mkabi, to my knowledge, those RED sensors have never been released. I remember seeing them talked about years ago, but I never heard anymore than that.
Back to the lens, it's probably going to be over $20k. Likely in the $30k's, at least, but we'll see in a week or less. Spec wise, I haven't heard exact numbers(more correctly, I've heard two or three different, but similar zoom ranges) and I don't want to say the exact numbers that I have heard, but it's supposed to be wider than 20mm and longer than 105mm. Aperture, I haven't heard either, but hopefully a constant T2.9. And regarding the picture, I was told this morning by someone that officially they have to say it might be fake, but it's not- unofficially...
But, until Canon releases an announcement it's all rumor. By this time next week, we should know for sure. NAB really gets cranking Monday.
Is the *optical* quality of a Canon CN-E50mm T1.3 L F better than the IQ of a 50mm 1.2L? If yes, it would be interesting to get compared to the Zeiss Otus 55 f1.4...
Should be the same or virtually identical, different coatings maybe so maybe better contrast, more aperture blades I think, better mechanics.Smart, if this is true. But it doesn't address the pressing need for a 7DC or 5DC 4K DSLR or Cinema EOS equivalent for under $10K, does it Canon?
You personally not having a need for it does not mean there is not a need for it. The fact that there is so much interest in ML and Black Magic cameras clearly proves the point that there very much IS a need for it.
There's interest, but relative to the CX00 line.... there aren't sales. The BMCC and ML products are "alternative" products that cater to niche audiences (primarily high end hobbyists) that Canon does not need to cater to because this market is much smaller (with significant competition) than the market (low end tv/indie cinema/high end event and wedding) they are doing exceptionally well in. C300s rent very well and are ubiquitous on reality shows as A cams and dramatic tv as B cams.
Besides, since the Black Magic cameras and 5D hack already cater to this market... there are already products here to choose if you are not interested in what the CX00 line has to offer. Hence what need is there for the same product but Canon-branded (and inevitably much more expensive)? Were Canon to add raw and 4k to its dSLRs it would cannibalize 1DC and C500 sales, which are already workflow nightmares, and force immature workflows onto consumers who are likely not as ready for them as those willing to drop huge price premiums are, compromising the company's reputation for easy-to-use production-ready hardware. Black Magic caters to an enthusiast crowd (similar to Red) that is willing to put up with workflow issues and immature hardware for what they perceive to be significant image quality gains... Canon is interested in the "good enough for your client and really easy to use" market.
When 4k tvs, monitors, and post-production workflows are mainstream Canon dSLRs will shoot 4k. (Maybe a few years after even, Canon dawdles a bit with such tech it seems.)