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2) Canon is aware that high iso, high motion doesn’t mix well with 4K aggressively compressed to MJPEG. So my little experience of doing 4K framegrab is mixed. Quality is amazing in natural daylight portrait, but is less interesting in action high iso scene. They are aware of that and the “limit is the card writting speed” at 100Mb/s.
Interestingly the buffer looks to be well over 380 Mb/s and almost 3Gb large. So basically, the camera could run small sequence with lower compression in 4K or even in 8K for 3 to 6 second on the buffer, and then move that to the card when done a little bit ala phantom.
However, I do particularly enjoy all the people who swear the won't buy a 70D unless it has the same sensor as a 7DII. I'm sure Canon would be quaking in their boots for fear that all those people who want to buy a 70D would have to buy a 7DII instead.
QuoteThis makes a lot of sense as I think the APS-C segment needs a jolt and not more of the same.
APS-C segment needs a jolt yet happy with the 70D being more of the same?
Is anyone thinking about what they write on the front page of CR?
I believe they are talking about the 7DII as the jolt in the APS-C market, not the 70D.
The image sensor may remain at 18mp as Canon separates the 7D Mark II with a new, higher performing APS-C sensor.
This makes a lot of sense as I think the APS-C segment needs a jolt and not more of the same.
. . . And my Sigma needed 0 AFMA
Who has had to use AFMA on Canon 85mm f/1.8, Sigma 85 f/1.4, or 100mm f/2?
Overall, though, it's difficult to shake the feeling that the EOS 6D somewhat lacks the 'wow' factor of its main rival. That's not to say it's bad - far from it - but it does feel a little unambitious and feature-light, even in comparison to Canon's 3-year old APS-C flagship, the EOS 7D. The overall result is the kind of conservative, slightly unimaginative design that's become the company's hallmark. Make no mistake, it's still a very good camera; just perhaps not quite as good as it could be.
The interesting thing about white vs black is that if a white and black lens are both at the same temperature after being in the sun for some period of time then the black lens will return to a room temperature quicker than the light coloured one if they are both then taken into an air conditioned building.
has this been tested? I assumed the black vs. white thing only helps regarding heat absorption from radiation, but once you bring it into a room it should be cooling via conduction in the air, which shouldn't have anything to do with its color.
Some of Sony, a.k.a. Minolta's telephotos are white for a similar reason I think, they had white finishes since the early 90s as I recall, but could have started soon after Canon brought out their whites.
(He also sells field lenses like the one you posted a partial picture of, and sells the cameras they must be used with...ok, I'm all done beating that horse now .