I have tried CineStyle on the 5D3: it looks just like on the old cameras, and has exactly the same DR

actually...

I've been working on Flaat v2 for the 5D3, here's what I've found so far:

* the good news: picture styles for the old cameras work just as well on the 5D3; that includes CineStyle, and of course Flaat; cutting 5D3 and 5D2 footage shot with the same picture style should be similar to cutting 5D2 and 60D footage (at least in terms of light response and color: sharpness and false detail are obviously very different)

* the bad news: this means that, compared with my old APS-C canon, with the same picture style, dynamic range is basically the same; if the 5D3 has any extra DR to offer in video mode, it will require new picture styles

* the even worse news: it's not easy to get more dynamic range with picture styles; the information is there, I can see it playing with the RAW stills in DPP, but no matter how hard I fight with the picture style editor, so far 11.5 stops seems to be the limit; unless Canon gives us a new way to control how the RAW information from the sensor is converted to video footage, in video mode the 5D3 has exactly the same DR as the 60D or the old rebel

* the still unknown: even if DR is not any wider, useable DR may be better, given the 5D3's lower noise levels and hopefully improved codec; so if you have a 5D3, try Flaat_12p and let us know how it looks!

version 2.0 of my suite of Flaat picture styles is here:
http://www.similaar.com/foto/flaat-picture-styles/index.html

you'll see there's a name change, now they are called by the number of stops of DR that they get:
Flaat_1 is now Flaat_09 (slightly modified)
Flaat_2 is now Flaat_10 (very slightly modified)
Flaat_3 is now Flaat_11 (very slightly modified)
Flaat_4 is now Flaat_12 (very slightly modified) (it doesn't get to 12 stops, but it's more than 11)

also, there are two sets of picture styles:
* one based on Portrait, for nice skin tones, but with some color shifts (e.g. blue goes a bit towards cyan)
* one based on Neutral, without those color shifts
I always use the ones based on Portrait, the others I only made them because some people wanted to avoid any color shifts. I'd rather have nice skin tones than correct blue, but it's your choice.

It's the outer ring:

It's $200 to get a lens micro-adjusted? herfe i was thinking it would cost around $50

I called up DWI and found out all the products they're selling are grey imports - no wonder it's so cheap, cheaper than amazon and b&h. i can't justify the almost $800 price tage on this lens at ted's right now. maybe in the future. i seems like a good lens though

I have been given a budget to buy a new camera and at the moment I am leaning towards the D800. Only reason is the lack of autofocus on the 5D III. While some will argue that it is not needed there are times when it is, and I discussed this at length this past weekend with some pro photogs who work for top newspapers and magazines.

I do not want to switch to Nikon and prefer Canon but I need AF at times.

I am also still considering whether to buy the XA 10 or even XA 100 (now I have seen the bloom review) and continue to travel with two cameras, something I was hoping to avoid.

Of course nothing will be purchased until the April announcement for Canon.

FAKE CANON MIRRORLESS - 18MEGAPIXELS WITH 50MM F1 L KIT LENS EVF ETC.

i got my mark 5d iii from b&h on thursday the march 22, i had a 5d ii for almost 3 years and just sold it last month i took my kids to bayonne nj park where my son learned to ride his new bike while my daughter rode her razer i took about 300 shots i used 24-105l, 16-35 f2.8 ii and the 70-200 f2.8l ii. the focus system is worlds better than the mark ii every shot was in perfect focus with all 3 lenses, i only shoot jpegs and thay are absolutly stunning, as much as i loved my 5d ii, i love my 5d iii even more and to me is worth the money, the
pics are razer sharp, i was using center area auto focus, i have shot about 500 pics in all lighting conditions and the camera is everything i was hoping for

yeah the 24 and 70-200 should work fine on your body, my 70-200 works great on my 7d. not sure what exactly you mean by "advantages" of the lenses besides the crop factor. i always figured that the "advantages" were for FF bodies

Mine arrived this morning from Camera Canada. I pre-ordered it within 10 minutes of the announcement, so presumably the order was one of the first 10 or 20.

To all those waiting: the camera feels great in your hands, the shutter sounds sexy, and the images do appear a little better (at least jpeg - haven't had time to try raw). As long as you have realistic expectations, the wait should be worth it. Hope you fellow canucks don't have to wait much longer!

Obviously for moving planes, AF servo mode, and a fast shutter speed. Bump your IO up as needed to get to a shutter speed that is getting you sharp photos.


IMG_0090 by TexPhoto, on Flickr

But don't miss the people.


IMG_1660 by TexPhoto, on Flickr

Just that. Short, but very instructive. Enjoy:

http://www.extremetech.com/extreme/117627-new-36mp-nikon-d800e-is-it-too-sharp-for-you

8)

Jamesy said:

The Benro Carbon, four section with ball-head comes in at ~3Lbs - very light. The Gitzo 1542T is 2.2Lbs but then you need to factor in a ball-head, say a Markins Q3T at .83 Lbs, then you would be up around ~3Lbs too.

Click to expand...

Ah, good point, I didn't know there were some Benro's a) that light (the link I clicked on said 4.6 lbs, I think? and b) some came with a ball-head, so those are definitely factors. I might have been able to save a bit!

Never mind. I found a press release.

http://usa.canon.com/cusa/about_canon/newsroom?pageKeyCode=pressreldetail&docId=0901e024804686e2

Canon has two factories churning them out. If you order it should just be a week or two even if they are temporarily out of stock. They plan to have good supplies to meet initial demands. I wouldn't worry. The D800 orders seem to have outstripped supplies, so they might require a few weeks or even months wait.

I think it's clear that Canon is putting out their 4k camera in an SLR body so that they can get away with 4k footage that is only truly resolving 1080p levels of detail. It will ship bundled with Cineform to convert the 4 2 0 footage to 4 2 2 and a QuickStart guide on how to add sharpening in post. Also we'll get 120fps at VGA quality! The new All-F codec will give you footage that is literally all fizz. super simple to use too with only 2 buttons: Record and the new Direct Project button that instant sends the footage to your Canon projector.

For the record, I love Canon and my 5d3, 1080p or not. Though I'd take a firmware update that added a tiny "Not shot on the C300" watermark to the corner if they did up the resolving detail.

awinphoto said:

I could be wrong but I think they are in a first come first serve basis. In some trips, they turned around my CPS repair on the same day and others I had to wait 3 days while standard turnaround is 6-7 days or so. Feel free to give them a call but you may have to wait in line based on prior orders received.

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Thanks, If I decide to do it I'll give them and call and check out what they have to say on their time frames before I drive down there. Given the 5d3 is newly released I'm guessing they are going to be busy.

Which location did you go to? Or did you ship your gear to them?

I've just seen a link to a simpler looking procedure for trying the Micro Adjustment process on the post below... I'll probably give that a try before I go and spend somebody at Canons time on it...

If you'd like to enter the contest without giving a someone else an additional entry, just go to pictureline's website and click on the Facebook link at the bottom of the page or simply use:

http://www.facebook.com/pictureline

Can you take it to a local canon dealer or service center to have this done with your own setup? instead of mailing it in, I would leave it for a day or so but hate to mail it in for service.

I was surprised to see that the automatic lens aberration correction works in video mode. Usually these features seem to be left omitted when it comes to movie mode.

Here are 2 screen grabs from videos I shot with the 50mm f1.4.

The video on the left has it disabled (hence the vignetting). The video on the right has it enabled.

So DPP rendering has proven to be faulty, easily corrected by changing High Quality -> High Speed. ACR6.7 is beta and used with DNG converter to edit/view files in LR4. Does anyone else find the pictures in DPP once this setting has been changed to be markedly sharper/vibrant? I know the ACR is beta, but the good news is, that the camera sensor itself is producing great images, although some might have some MA issues with lens, i'm beginning to think all of this hysteria is due to poor rendering with currently available software. Here is a little side-by-side I did with the two current options, the JPG is a poor representation obviously as its just a screen shot but I think you will get an idea. The DPP version appeared much sharper. Albeit the 'test' anything but scientific

LR4 on the left via ACR6.7 w/DNG Converter, DPP w/High Speed on the right:
http://smu.gs/IoUgKt

How about doing something to camouflage Big White Lenses? Worthwhile from the perspective of trying to be more subtle and not get noticed as much?

Love the trailer and Zombie movies in general. Hope I get to see the full movie sometime soon. Good to see independent work of any kind!

Its true, lenses have coatings which can't help but influence the color of light hitting the sensor. However, the camera body tries to correct this based on guessing which are the grays and color correcting to make them gray. This may result in different tones and hues. howeer, they are subtle and easily fixed in post.

Lens contrast is a different matter, you can't fix poor contrast in PP, you can improve it, but making a poor lens into a great one cannot yet be done.

Here are som images of lenses I own and the color reflected by the lens coating.

briansquibb said:

The images from the 7D have never looked as good to me as any of the ff (or 1D4), just seemed cruder and coarser - even though they went through the same pp

Click to expand...

I've also seen a "certain something" in differences from different bodies and the 7D is not my favorite. To me it has a "gritty" feel even at lower iso and that could be anything. I also have 60D and images from it are similar to the 7D, but ever so slightly different again, even discounting the 7D's more prominent banding in some shots. I like the 60D output nearly as much as my old 40D but the 40D still gives me subtleties in highlight areas I find less "digital" looking.

5D2 also doesn't give me output that looks the way I prefer either, almost always have to tweak tone curves in post. OTOH, I've often been more satisfied with images from my older Digic 3 bodies for that same nebulous reason.

Even the old 5DC, which I didn't have either, was said to produce a very pleasant looking image for whatever reason.

And I guess that's why I'm one of the few (?) who likes to use DPP for post, it tends to maintain that Canon look and feel to the images better than other converters as long as I don't try to make too big of a change. When I need to really push something, it seems DxO and LR do a more credible job but the result no longer has the same feel as a Canon DPP image that was nailed right to start with..

1D and 1Ds stuff has always looked a little better to me too. Unfortunately I don't have any of them to work with or even test. I just don't shoot enough to justify getting one. The 1Dx is something I will consider for the next year or so, IF it can deliver what I want and be worthwhile to me

I think part of the reason is the price you're paying on the 1 series. You are getting the very best they can put into a body. Sensor, support electronics and other hardware and even internal design layout all contribute a little bit to the end result. Sometimes the results are so subtle they're hard to quantify, but the difference in the end result is still tangible. (reminds me of high-end audio gear)
From the horizontal banding and other issues I've seen when looking at the big-picture noise levels I can speculate much of it has to do with minor shortcomings in support electronics, as well as sensor issues. In a 1D body there's a little more physical room to do things better too, from design and engineering perspectives.

I hope the 1Dx performs as well as we hope and builds on the IQ rep of the 1Ds series with some seriously butt-kickin' good AF.

When will there be a SX50 HS with better Vari-Angle LCD - April 15th I hope!