docsmith said:

My understanding is that you are looking at ~$300 for a new shutter. So, I am not sure I would be all that concerned. Just bare in mind, you may have to pay a few hundred down the road.

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So if it is $300 for a new shutter, I would at least take this number in addition to the normal street price for a used 5D3.
In Germany one would get a used 5D3 for 1000 - 1300 €, partly from retailers (incl. VAT), so with some reduced warranty.
So the mentioned $1000 with this number of clicks seems too high for me.

melgross said:

While this is great, I’d really like to see more than polarizer and ND filters.

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Can't use grads in rear slot. So what else do you want? useless UV filters?

Hy all
Regarding this aspect i see only one video made by Tony & Chelsea about Canon R
Here is the video.
He use Sigma 18-35 f1.8 art for 4k video.
Watch the video...he explain that the camera enter in auto mod crop attaching the ef-s lens.
The quality of the video is very very good with the sigma art.
I think 4k on canon R is more or less a super35...not bad at all.
Beeing able to use fast lenses such as sigma art 14mm f1. 8 or canon 20mm f2.8 or 28mm f1.8 it is very good.
Hope it helps

Mt Spokane Photography said:

Here are some typical lens ID codes. If there is no matching code in the camera, it will not know which lens is mounted. For example, tag 183 is for a Canon 100-400mm L. Several 3rd party lenses also send tag 183 to the camera. I don't know if they add the suffix (183.1, 183.2, etc)

EXIF Lens Tags for Canon

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Ok, interesting reading - the suffix isn't sent between the camera and the lens, only the code as an integer value. Also it's interesting to see variation between the metadata saved by different camera models. Some (eg the 500D) save the lens name within the metadata, others (eg the 80D) don't only saving the lens code.

It must be quite a difficult task for Lightroom etc to accurately identify which lens was being used (Canon or Sigma) if both share the same code ID. This is a big deal when it comes to ensuring the right automatic lens corrections are applied.

AJ said:

We don't know this yet, but, probably so.
It'll be an "S" lens, and therefore quite expensive. As such I can't see it being appealing to beginners who want to cover the focal length range. I can't see this appealing to pros shooting sports. Who, then, will buy this lens? Videographers maybe?

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I can see that it will appeal to wildlife scientists. I have zoologist friends who bought Canon 28-300 L, and you also have BBC order this from Canon:https://www.bhphotovideo.com/c/prod...8c001_cine_servo_50_1000mm_t5_0_8_9_with.html

There maybe a new lower spec coming in Q1 along the lines of the 6DMII in mirrorless.
There is a YouTube video named as follows Canon Next Fullframe Mirrorless Camera Canon 26 Megapixel DPAF sensor, Coming in 2019.
What does everyone think?

I'm also very happy to see that my favorite autofocus fine tuning adjustment made it into this camera, "lens drive when AF impossible." Otherwise known as "only leave this on if you want your lens to hunt around aimlessly when focusing in low light." Gonna be turning this off as soon as I get the camera.

Jack Douglas said:

Oh how I recall all the negative comments in reviews but then I starting seeing footage and wondered if it could really be that bad!

Jack

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Those that own and use it love it, spec sheet jockeys and eternal "I'd buy it but..." blowhards will never understand.

CR for the humour.

Jack

I will be interested in what improvements the 60-600 has over the current sports and contemporary lenses. After reading reviews that consistently indicated there was minimal difference in image quality between the sport and contemporary, I bought the contemporary for price and weight savings. Generally, I prefer the 100-400 with a 1.4 extender, but have certainly found the Sigma worth owning and under certain conditions preferable.

For me, the weight is a critical factor. I use both the 100-400 Canon and 150-600 Sigma with a monopod because at my age, hand holding gets difficult after awhile. Lugging heavier lenses around is not something I enjoy, especially at sporting events like track, where I have to race from one event to another. Point being, I would rate sharpness and focusing speed as most important, but weight can make a lens a non-starter for me if alternatives are available.

Thank you. I have to admit that I am somewhat interested in the 100mm macro; much more so than the Irix 150mm macro.

Six years later, and Canon offers what I was missing in the EOS R. They call it Fv (Flexible Mode).

KevinP said:

It's been half a year since you wrote this, but I came to see it your way. I got a used 80D and 18-135 USM around the end of June. Weather seals, battery, and AFMA won me over. I'm pretty happy with that pair for most of my uses. The 18-135 is surprisingly nice for semi-macro shots. A Tokina 11-20 f/2.8 and Canon 55-250 STM cover my wide and narrow specialty uses. A cheap Yongnuo 35 f/2 and the Canon 50 f/1.8 II cover when I want narrower depth of field or indoor shots.

I periodically daydream about getting a fancier macro, or portrait, or a 100-400 lens, but it's a hard sell for a budget rig. These are all "better" options, and they add up to about $1200+. Being patient with the limits of a $1700 kit is winning so far. Figuring out how to change lenses easier/faster will probably do me more good.

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Cool, and congratulations!

I really like the combination of the 80D and 18-135 USM. Happy shooting!

goldenhusky said:

Good to see 1080p @ 120fps. Any idea 4k video and 1080p 120 has any crop. I cannot find anything in their spec sheet.

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They claim that 4K video is cropped from the centre of the sensor. Presumably, the 1080 video will be cropped from the same area as the 4K, but with 2X2 pixel binning.... The HD video, if they use 4X4 binning, will take up 75% of the full width of the sensor (3840 out of 5184 pixels)

Did I just kill this thread?

...brazilian accent - ok, still officially Portuguese

LDS said:

I believe that if a leaf shutter could move at an "instantaneous" speed. where you put may not matter much. But because there would be speed constraints, the larger the shutter has to be, the more difficult is to avoid vignetting and so on at higher speeds. Otherwise, why not put a leaf shutter on the focal plane, and get the best of both types? Also, I believe there would more difficulties to put a larger shutter inside the lens barrel.

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I know of the limitations of the speed of the various types of shutter, I also know that as nothing travels instantaneously, leaf shutters, as I already said, are poorly understood and at high speeds they work badly, they can affect the dof, cause vignetting and badly impact bokeh as well as having the effect of dramatically lowering your flash power.

What I'd like is a link to a knowledgable source that says they have to be in a single place inside the lens, I don't believe that. I also believe that one could be put in an EF to RF adapter though it might well be bulky.

BeenThere said:

Not much information here. Just that a new lens is coming.

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The teaser does show a macro lens(1:1 mag ratio clearly marked on focus ring) with a tripod collar. Its only 4 days for the countdown so we will have all details then. And with min focus distance being around 35cms its certainly longer than 100mm.

Also, don't forget that the R has the manual focussing aid with the three triangles in the viewfinder or on the rear screen.
Perfect for manually focussed lenses like old glass as well as TS lenses.

Any touchscreen or hotshoe?

Nice sharp shot. I reckon if you can get a 1000 px length of bird then you get enough detail for a decent shot. You could have posted it in the Bird Portraits thread. Interestingly, by uploading as a thumbnail you have retained the EXIF data, which you lose with a full size.

Well some people don't agree with you...

"As I followed through the review on my, it seemed that the Sony displayed an overall superior brightness and level of detail. I own an Optoma UHD65 and I am contemplating an upgrade. I was leaning towards the Sony VW285ES, primarily because it also presumably offers remote firmware upgrades and offers 3D support and I feel your review confirmed that decision. I tried very hard to pay very close attention when you pointed out differences in detail, but each time you noted the difference in favor of the Optoma, it looked like the Sony was actually better."

https://www.projectorcentral.com/sony-vpl-vw285es-4k-projector-review.htm

"But the other outstanding performance factor on the VW285ES is the precision color balance in the D65 color presets. You don't need to bother calibrating this projector to get a perfectly beautiful, natural, and extremely satisfying video picture. Just select Cinema Film 1 or 2, or Reference, and you're all set."

I for one don't buy the "Sony green" argument (the exception being their 1+2. generation A7 camera series - the 3. generation fixed that).

I've seen countless YT videos comparing, testing etc and found issues with all of them (using laptop monitor TN panels for comparing colors, different lenses used, bad PP...).

The most common problem seems to be confirmation bias. It doesn't matter whether people are using Canon, Nikon or Sony gear. I seen a YT video where people where comparing two images preferring image A over image B because B was "too green" - where almost everybody in the comment section thought A was "too green" - yes confirmation bias is so much fun (not really)

Personally I've used both 5D3, A7R2 and A7R3 - and the images I get from the A7R3 seem to invoke the most positive response of my 'audience'. Why I don't know. But my theory is that your choice of raw converter and it's profiles is much more important than the difference between say the 5D3 and A7R3.

In the end.... if you think X (projector/camera/TV) makes for a better picture than Y - then go for gear X and be happy with it!

AlanF said:

Buy Marumi = they are great, cheaper and don't get faked.

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Apparently there are counterfeits as well.

https://www.dpreview.com/forums/thread/3976081

If Canon RF has advantage, can Canon develop 1.4/20 or 1.4/24, to beat Sony 24mm F1.4 GM in such ways:

(1). Similar size and weight, but better image quality; Or,

(2). Similar image quality, but smaller or lighter?

Can Zeiss take advantage of Canon RF and develop better image quality, smaller, lighter Zeiss RF 1.4/20 or 1.4/24 than Milvus 1.4/25?

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