Hi,
I heard back from Haehnel again. This was the answer:

Q:
The 5D MKIII has a movie start/stop button, but also has a feature where the shutter release button
can be mapped to the "Movie Shoot Button" as well. But I couldn't get this to work with the Giga,
therefore I had been wondering if other setting were required aswell?

A:
Yes, the 5D MK III has this function and it will allow start/stop video via any of the remote controls.

So the problem seems to be at my end somewhere. Anyway thanks very much to Haehnel for answering,
very good customer service IMHO.

Cheers Brian

dilbert said:

I wonder if the code it uses has been selected such that the camera will turn on all of the 2.8 dual cross type auto focus sensors?

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This was just discussed in another thread: http://www.canonrumors.com/forum/index.php?topic=7246

In short: Yes, the 137 lens code should activate all double-cross af sensors (with the possible loss of af speed), but the question is if there was a reason besides marketing for Canon to only enable the central one for the 24-70mk1 like loss of sharpness in mid-frame which shouldn't occur on the expensive 24-70mk2.

Dylan777 said:

LikeBreathing said:

neuroanatomist said:

For sports, the 7D is the way to go...

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Agree with this, especially if you're after FPS.

However, for better low light (high ISO) performance a 5D2 would be better, but you don't get the FPS. Depends on your priorities. Decisions, decisions!

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with 5D III you can do both sports(6fps) + night photography. Yes - little pricy ;D

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True. I guess the reason I miss the 7D is for the 1.6x crop factor. Imagine being at a track meet with poor seating and no press pass with a 300mm f/4L lens on a 1D4. Pretty good, yes. But 480mm vs. 390mm does give that extra reach, in those cases.

Mt Spokane Photography said:

The tape fix is permanent. No reason to do anything different, its a commonly used process throught the photography world. Sometimes they use a fancy name like light baffle, but its always just a piece of plastic or paper.

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Or Premier ABS Light Blocker

It seems the Hybrid AF is a nice try by Canon but no cigar. I will stick with manual focus for now. Although, the T4i is an excellent still image DSLR with all the upgrades almost like a Canon 60D in a smaller package.

I talk more about it in my recent photoblog post here...

http://www.chadsorianophotoblog.com/2012/06/canon-eos-rebel-t4i-verdict-and-video.html

Thanks.

I guess it's the waiting game to see if it does come down in price... All I'm looking for it the 5D Mark II Body.

don't bother expecting much. it is the same old video processor with all the old problems.

http://www.eoshd.com/content/8211/cinema5d-review-of-canon-650d-confirms-no-fix-for-moire-and-aliasing

EvilTed said:

I'm actually starting to appreciate his honesty

http://www.kenrockwell.com/tech/comparisons/d800-vs-5d-mark-iii.htm

ET

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lol so now he is "honest" because he is trying to get you to buy the more expensive camera so that he gets more comission from his link? Ken has and is pro nikon, and not even the nikon guys take him seriously. It is like listening to the ramblings of old men who have gone crazy. This is the guy that was rambling about the death of digital and raise of film just recently.

why do you even pay attention to that clown.

if you want to read opinions about these two cameras, head over to much cooler heads
http://diglloyd.com/

This is KR, people. Yesterday, the clear winner was the D800, and tomorrow it might be again.

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exactly. He does this EVERY release cycle to give fools what they want to read so they buy it using his links. Look it up. He was in love with the D3 and D700. pushed them as much as he could. then when everybody fell for them, he started pushing the canons. Then some new crop format camera comes out and suddently blows every FF out of the water, now that IS the best and he rambles about nonsense like

"only pixel peepers use full frame, real photographers know crop is where it is at".

between cycles he pushes film as the next big thing.

you see, rockwell doesn't really care about what is actually the better purchase. Rockwell cares that you are told what you want to hear so you buy using his links. 8)

you are going to need more flash depending of the light of course

for what you are suggesting i would usually set up a wall of 3 or 4 580exii on stands through shoot through umbrellas. you NEED enough flash power to have enough control over balancing the ambient
if you want to overpower fairly strong sun

another way to do it would be to use a setting sun as a key light and the flash as fill flash then you dont need as much flash power but I would still be using 2 flashes to try and get an even spread over the group

When I began looking for a circular polarizer I spent some time doing some research and happened upon this lengthy article: http://www.lenstip.com/115.1-article-Polarizing_filters_test.html

I ended up selecting what I believe represented the best bang for the buck - the Marumi DHG Super Circular P.L.D. 72mm from http://www.2filter.com

Anyone else use the same product?

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I also bought the Marumi DHG Super Circular PLD and I love this filter. I have a B+W as well, but don't like it that much because I can't put my lens cap on with it attached. The Marumi filter can except the lens cap, which is very convenient for me.

Also the Marumi is a lot cheaper than the B+W!!!

My father shoots a Canon 10-22 and my younger brother a Tamron 10-24 and there is no comparison: the Canon 10-22 is much better by most every measure.

Mt Spokane Photography said:

Code 137 is the Code for a 85mm f/1.2L, so it should use the double cross. Apparently, all the Sigma and Tamrons also use this code.

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Thanks for the Link. This means that the Tamron 24-70 (and all other Sigma/Tamrons) could perform better af-wise on the 5d3 than the original Canon 24-70 (and many other Canon lenses)?!

The question now is if the disabled double-cross sensors in "group b" are (just) a marketing ploy, or if there is a real technical reason too like much distortion and/or sharpness falloff. Seeing the Tamron's reviews, it could very well be that the top and bottom two double-cross sensors are enabled, but won't be precise so it's a draw to the Canon mk1 or even worse.

It is hilarious that most 5d3 reviewers don't even seem to bother to read the manual and tend to say that only the max. open aperture is the decisive data that enables/disables the 1dx/5d3's af points. So with this even more complicated issue, it might be next to impossible to tell how 3rd party lenses (f2.8 or other) really perform with the new af system.

I was wondering about that also, but i'm already reading the AF tracking isn't so good(photozone). I need that, even in poorly lit surrounding. If they could just take the 50L and make it's performance from around f2.8 or f4 and narrower the equal of the lowly 1.8, and squash all AF demons. I'd buy one in a second. I'd love to have access to dreamy ville at 1.2 + the across the frame sharpness of the much, much cheaper models. I refuse to carry or buy two 50's.

cool let me know how they go i might snag a couple too

I got this for the 70-200
http://www.ebay.com.au/itm/251071814339?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1439.l2649

it only just fits the 70-200 f2.8 II with hood on and reversed, it fits the lens without the hood much more easily

TC1006 said:

ONe more question: Do you use any of the different cases defined in the AutoFocus menu?

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I don't have my 5D3 here with me, but if you're referring to the menu letting you tune the AF tracking settings, no I haven't played with that at all, since I use servo mode in only rare instances. I think those settings are intended for cases where you can anticipate the exact type of movement you'll have to deal with. Soccer games, gymnastics, track meets, etc.

arcanej said:

The Lee system looks really interesting. How do they compare brands like B+W in terms of quality?

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There are a few guys here that have the B+W's and I would have to guess that the quality would be top notch. Lee does have glass filters also (I think their Pro line), but the main thing for me is flexibility. With Lee I can buy one system and just have different adapters for each lens.

chauncey said:

It sounds as if that, unless I want to delve into the higher ISO environment, there is really no reason to upgrage...agreed?

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There's probably things like improved AF w/new RGB linked metering, dual CF UDMA7 cards, slightly higher fps (I think), updated menu system, things like that. Probably several others as well. So if your work really depends on some or all of those, might be a good reason to upgraded (of course the high ISO performance as well). If it doesn't or the current camera doesn't really limit you at all, then much more of a nebulous reason to upgrade.

Not being a working photographer I don't necessarily have to make those kinds of comparisons as much, although if I were for me the vastly improved AF system of the 5d3 over 5d2, plus the nicer high ISO performance probably would have pushed me towards upgrading to the 5d3 anyway (I like to shoot in darker venues, music, etc).

They sometimes remove cameras, only to add them again once there is stock. The 1D MK IV has come and gone many times.

bdunbar79 said:

briansquibb said:

bdunbar79 said:

Set Safety Shift - Enable, ISO
Av = 6.3
ISO = Auto
Enable Shutter speed range,
Min 500
Max 8000

Worked fantastic. Wish the 5D III had this feature. Thanks for the great tip.

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The 1D4 is a great camera that has many advanced features that are not obvious from the spec sheet. Until you start shooting with one the gap between a 1 series and the rest is not obvious that difference is very significant.

Other features worth exploring is the constant AF and setting the low speed continuous to 6fps (or whatever suits you). I find I get more keepers this way - but I am shooting slower, more predictable animals.

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I have a ton of games I can practice this with, so yes, I plan on getting creative It's amazing how much detail and color saturation this camera has, even despite the bad press about the APS-H sensor it received (16mp too). I don't see a difference. I cropped quite a ways and with a bit of NR, looked just as smooth as the 5D Mk III.

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Strange that the APS-H shooter love it and the others just seem to dislike it

Still I have 2 1.6 crop, 2 ff and 1 APS-H bodies - but the 1D4 is the best general purpose of them all

Plus of course the 35mm film and a APS film cameras

Re: Announcement Day July 24, 2012? [CR2]

It just doesn't seem to make sense to use a larger sensor and compete with their DSLRs. Plus it would be large.

I also don't think Canon wants to "conceed" to 4/3s. The G1X sensor size seems more logical to me. Physics means the camera would be a little larger than 4/3s and the lenses would be also, but if Canon could keep everything close to 4/3s size ... they would hit a home run.

dilbert said:

Razor2012 said:

dilbert said:

KitsVancouver said:

awinphoto said:

I wouldn't say the 17-40 is woeful by any means, I also wouldn't be upset if they refreshed it provided A) they keep it 77mm, and B) keep it under the 1K mark...

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It depends on your definition of "woeful", but I would say it is. I believe the other poster was referencing FF performance and in that respect, the 17-40 is very weak in the corners with respect to sharpness. The 16-35 Mk II may cost way more but it's definitely better. The sad thing is that the 16-35 Mk II isn't that great either.

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Precisely.

Whilst an ultra-wide angle lens such as a 14-24 (http://www.canonrumors.com/2012/06/canon-ef-14-24-f2-8l-cr2/) may solve some problems, below about 17 or 19 is just too wide. And then there are the issues with filters because of the curvature of the front lens element (i.e. I wouldn't buy the Nikon 14-24 either.)

I agree with all the posters that 50mm nees a good solid entry from Canon. In the film days, it was what I shot with more than anything. Now I own 7 L lenses but not one 50mm.

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Interesting!

At least the Sigma 50/1.4 offers some salvation in terms of IQ.

For Canon wide angle (less than 24mm), there is nothing.

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17mm f4L TS, 14mm 2.8L II and the 8-15 f4L.

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And which of those can you easily mount filters on the front of?

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None.

heptagon said:

And here's a quick user review of 650D vs. 550D: http://forums.dpreview.com/forums/readflat.asp?forum=1031&thread=41872106

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Thanks for the link, some interesting comments here:

"For me, as I process RAW, the image quality remains the same across the 550D, 600D, 60D, 650D, (I feel that these four are better image quality wise than the 7D)"

"Out of the 550D, 600D, 60D and 650D - the new hybrid AF makes the 650D my choice. I prefer it over the 60D which apart from a slightly higher frame rate/burst has little else going for it"

One thing I think we can all agree on:

The 5D Mark III is capable of amazing performance by creating usable files at ISOs which we often finding ourselves needing to use: 1600-6400. Of course I would clean up a file shot at 6400 before I printed it.

I can shoot a band in a night club and shoot night city street photos at 6400, and that's what I needed the 5D3 to be able to do. I don't "think" I'll "need" higher ISOs than that but time will tell. If higher ones clean up well then I may use them, but I don't "need" them.

The thread isn't really about this, but what would people say is the highest ISO the 5D3 can use to produce a usable print? Any examples?

Thanks for everyone that pushed about the cat image - I really appreciate all that I've learned because of it.

Kev