Lance James said:

Looking for some forums or sources for information for movie making etc.

Thanks,

L

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Man there are resources everywhere, just google "DSLR Cinema," or search the same on youtube, there a more tutorials than I can count out there. This forum is a pretty good resource as well. If you have specific questions feel free to ask.

he reckons 2 stops iso improvement maybe even more thoughts?

Hi folks,

here is the link to canonwatch.com who's sharing few video files of our "beauty in action."
This will help us to "kill" some time, while we wait for it's final release.
Video is from making the movie "SHATTERED" by Tyler Stableford. (sorry if someone shared this link here before, video files are from VIMEO, so I couldn't put direct links on "Canon Rumors" post).

http://www.canonwatch.com/tag/1dx/

"Uleash the HELLISH" ;D

Archangel72

I have read the manual and I am not understanding how the accel/decel tracking and the Autofocus point auto switching work differently. It seems like to improve the accel/decel tracking it could only be done by increasing the sensitivity of the autofocus points (which is a different parameter). I went to a track meet and tried to image some pole vaulting and had mixed success with different settings. Can someone explain how the accel/decel tracking actually works differerent from the autofocus switching

Forceflow said:

You might want to check this thread:
http://www.canonrumors.com/forum/index.php?topic=6507.0

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ah man...

thanks though.

Same here, but only when I look down from the top of the VF. In normal usage the reflection is out of my view.

imansf said:

Is their a reason why Canon has a rebate for the 50mm 1.2l? Does this mean a new lens is coming out?

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NO

ScottyP said:

Nikon's numbering actually reflects how much money (in MM yen) they intend to pay Ashton Kucher to play with each particular camera body on TV.

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And Canon pays the model number in yen to Jakie Chan

Re: Tamron SP 24-70mm f/2.8 DI VC USD Lens - Gallery/Sample

please move this to canon rumors FORUM » Image & Video Galleries » Lens Gallery

I was looking for that category but somehow i minimized it in error.

Thank you all for the excellent and articulate comments.

neuroanatomist said:

Razor2012 said:

I've never seen a 1.6x. I wonder how they compare with the new II or III series?

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Lol. They're bigger, blacker, and have a shutter button.

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I know you don't have a FF camera, but if you want to get one, I wouldn't recommend using the 35 f/2 on a FF camera. However, if you can use a crop sensor, better.

lipe said:

Hi

I own tse 24 II and i love the color so much.

thanks

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Me, too. And I've also considered 45 and 90 T-SE, but they are much older lenses, so I'm hoping Canon revamps them some time this millenium. If not, I'll probably pick up the 90, which is widely considered sharper than 45.

LOL, I find it amusing that you think I didn't read OP's post, yet clearly you did not read my own post. Yes, I do know his already owns 135L, and your post and my post are recommending basically the same thing, e.g. try the 35L.

Re: Anyone received D5M3 w/lens from Amazon?

Anyone got one the last few weeks?

Marsu42 said:

From what I understand, the capability of the 5d3's af are depend heavily on the max. open aperture, or more and more af points loose part of the pattern detection - so if using say a 70-300L/4-5.6 you've got part of your af system disabled @300mm. It's ok to design it this way, and many promotion shots show the 5d3 with the 24-70ii or the 70-200/2.8.

On lesser bodies like the 60d, there are "sensitive" af points meaning that they control the focus more precisely, but the pattern (cross, double cross, ...) is independent meaning the manufacturer expects this af system to be used mainly with slower lenses.

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Actually, all 41 of the 5D3's cross-type AF points are sensitive to f/4. With f/2.8 glass, you're still "only" getting 41 cross-type points. Only the five double-cross-type points requires f/2.8 glass.

A number of retailers actually have the 1Ds MkIII in stock at a very similar price to the 1D X (and pretty much unchanged from when its demise was announced. Conversely, hardly any of them have the 1D MkIV listed, let alone having a price.

Its difficult at best, with no autofocus. Use a small aperture to help with depth of field.

The other thing to watch out for is the exposure. A dark venue with bright lights or spotlights will fool the autoexposure system, particularly at wide angles where there is a lot of black in the scene, but will be OK when zoomed in. If you zoom out the results might be poor.

briansquibb said:

ecka said:

To me it's like saying - "synthetic food is better". From what I've learned, if you want to grow a FF system then you should start with a FF body, and using L glass on APS-C bodies is a waste

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.... does that apply to those with mixed ff amd crops? .....

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I guess it does not ...
... I do eat fast food sometimes

When I enable the mirror lockup setting while using my manual Nikkor 180mm 2.8 ED (old) I get the message "ERR 01 Communication between Camera & Lens is Faulty Clean the Lens Contacts".

The lens is entirely manual (focus and aperture) and I am using a 5D mark II.

When I press the live view button, and mirror lock up still enabled, I can shoot normally.When I turn mirror lock up off, and do not touch anything else, I can shoot normally too. When I change the lens for the Canon 50mm 1.8 and have mirror lock up enabled I can shoot normally too.

The problem seems only to happen with the Nikkor and mirror lock up enabled. I have already cleaned the contacts between both and nothing changed.

The Nikon to Canon adapter I am using have a confirm focus chip. The exact model can be found here: http://www.ebay.com/itm/ws/eBayISAPI.dll?ViewItem&_trksid=p4340.l2557&rt=nc&nma=true&item=120754967513&si=P8zYCyljnRvbVH5pHXOlt5Aaqms%253D&viewitem=&sspagename=ADME%3AL%3AOU%3AUS%3A1123&orig_cvip=true&rt=nc

Have anyone experienced the same problem?

Thanks Axilrod! Do you shoot RAW or jpeg?

Here is the Full Length Film! Very happy with the 5D purchase

Ray's Angels Real Estate Film for Georgetown Real Estate by the HeyRay Team and Virtual GTA

!

Drizzt321 said:

I read the subject and I couldn't help but thinking of the Canon EF-1200mm at 70-degrees dropping the 50mm f/1.8's down the front and having them fly out as mortar bombs.

Sorry, got nothing for you on the slider, never use them at all.

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NICE!!!

I don't speak to a lot of DP's, I choose what suits what I'm doing. If it works for them, then great. A 'normal' lens for aps-c (as opposed to s35) is equiv to approx 45mm, so 28mm lens, but even thats a bit wrong because the diagonal is assumed on 3:2, not 16:9 or the cinematic aspects - if one was being exceptionally pedantic.

24mm just isn't one I'd seek out. But then I'm not the OP and it's only an opinion.

rambarra said:

also the 5d2 in kit w/the old 24-70 are nowhere to be found bcs all vendors jumped on those in order to unbundle the lens. It is very odd how ppl never realize that items which are being discountinued usually raise in price, especially if it is the case of a very popular lens/camera. In the meanwhile also prices of the used items are driven up accordigly (as a general trend).

There is nearly always a very low price point which usually occurs months BEFORE of the actual EOL announcement and is due to manufacturer's dumping excess stocks to the market. When you see a good low price it is time to buy in volumes and then wait.

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Your last paragraph made me think about the current EF 70-200mm f/4L IS USM lens (the first 'L' lens with 4-stop image stabilization) because the price of this lens both new and used appear to become a lot cheaper this month. I've noticed because I was considering selling mine and getting the f/2.8, but a lot have appeared on online adverts during May, plus camera stores are also discounting them by 50-100 bucks. Perhaps an EOL announcement is in the offing later this summer? Or maybe a Mark II?

To PerfectSavage on the issue of color profiles... I did not shoot with the technicolor anyone else's custom cinestyle. I personally found these way too hard to bring color back into in post, especially skin tones.

I shot on Neutral with the contrast and sharpening all the way down. Because it was only one scene and the whole scene being reshot, I wasn't too concerned with the color matching previous footage, as I am doing extensive color grading anyway. I can say though that I've shot this exact scene with the same lighting 3 times now, twice on the 5d2 and once on the 3 and they all look very similar, though there seemed to be more color in the skin in the 5d3 version while still remaining very flat. Though this could have been a lighting placement thing because I did position the lights somewhat differently.

I'd say you'd see a bigger difference in color and contrast changing lenses than from the 5d2 to 3 on the same settings though. I switched from the Zeiss 21mm 2.8 to the Zeiss 35mm f2 for shooting additional footage and everyone noticed a big difference in color. The 35mm is beautiful and a perfect video lens. The Zeiss sharpness of the wide 21mm is lost on 5d video anyway... But I needed it to shoot in a cramped place.