« Last post by steven kessel on October 09, 2015, 08:30:09 PM »
Parasitic Jaeger. Photographed in Svalbard in the high Arctic.
This is my first post, I follow canon rumors every day. Switched to Lightroom from Aperture about a year ago. I am using the stand alone Lightroom 6 now and downloaded the update right away. Oh my, what a mess. The app kept crashing and the import function, which needed no improvement, in my opinion, was a mess. I closed Lightroom and used Time Machine to restore to my previous version, which works fine. If the stand alone version update had the dehazing tool, I might have kept it but I could see no reason to keep it and put up with the crashes.
I think that's a very accurate translation. The previous import-screen was just fine.
That is a myth and very narrow thinking. You cannot rewrite everything. Especially data you don't have, or data in excess, which other cam doesn't have.Trust me your wrong we changed colours on Sony F35 cameras and on F23 cameras years ago and they were tested by eminent cinematographers side by side.
Do you have ANY idea what will change with different CFA? How would you process extreme situation, where one cam doesn't have red color to process? Will it add red where it thinks it should be nice? Do you have an idea what does spectral response to the final color?
SONY colors are real, and partially hardware "issue".
I've been in the movie camera rental business for 35 years in the film days people shot open gate and re-framed in post regularly whether movies, commercials or TV. The closest to open gate is the full-frame Arri Alexa and guess what productions, editors etc. Reframe from open gate. You've less Lee way with 16x9 but it's still done particularly the more resolution you have so I'm afraid Dilbert even in Hollywood your totally wrong.I guess we have to ignore those who have absolutely no imagination and no inclination to improve their game ... again ... with the 4K revolution.
Feel free, but I have the strong feeling that Canon does not ignore the ignorant but significant portion of potential buyers that do not crop a 4k image to 180p, achieving zoom or pan effects in post...
People don't crop 4K to 1080p, they down-sample and get increased IQ as a result.
I think he meant that a 4K original video can be reframed to a 2K video, thus achieving HD quality. I would say this is one of the reasons to shoot 4K now. If you are doing documentary work, where it is a one shot opportunity, then the 4K original framing can be off a bit and then adjusted to a better frame in 2K.
That doesn't happen nearly as often as it does with photography.
If a movie is shot in 4K, do they 'reframe" it down to 2K? No.
When a movie is shot, the framing is done once and done right the first time. The master is in 4K and a 2K (HD) video is made from that. In the future maybe masters will be done with 8K. When movies like Star Wars are shot, there's no "cropping" of the frame - that would be wasting film and people's time.
Smart people are already shooting in 4K and using it to master HD video - and not for the purpose of cropping.
If you are doing documentary work then you take a professional approach to it and get it right the first time so that minimal time needs to be spent later "correcting" in post. Doing multiple takes is perfectly acceptable and indeed preferred to "reframing."
In regard to the EF 35/1.4L II, however, the evidence is clear enough to me at this point to say that the level of chromatic aberration correction of this lens is good enough to justify an upgrade from the previous model. It's just a question of following through with selling the old lens and looking for a deal on the new one at some point.