Threads

cinema-dslr · Dec 5, 2017

Wrote this review on dvxuser which i like to share here too:

AV professionals are rather conservative about changing memory card brands and rather stick with the known and trusted brands like sandisk , lexar,sony,panasonic.
This reputation does mean that you'll have to pay for the privilege and the price/GB remains rather high compared to mainstream ssd prices.
There are plenty of lower to low cost brands with similar performance but historically sometimes sacrificed reliability/customer-support to get to this lower price.

When you're getting paid for your work it can get you in a place of being penny wise but pound foolish if your card fails and you loose future work because you opted for a “ cheap ” card.
This does mean that the big company's can keep the prices high and innovation as low as possible.
Evidence of this profit/innovation can be found today in that “lowercost” company's are able to bring out higher and faster spec cards to the market at lower prices.
For the bigname brands the memory card division is just a small part of their total business and don't really have a close connection with their client base .

Bring on the dedicated market brands!
On this forum a US based company like Egodisk gets some good press and seems dedicated to cfast & sdxc cards.
It is great to have company's that are close to their intended markets .

Now I like to talk about a European company called Angelbird located in Austria
They have been making dedicated storage related products for the Pro AV market since 2010.
First PCIe based raid solutions and ssd's , later portable ssd's and for some time now cfast & sdxc cards.

I came upon this company in search of a high capacity cfast card for my C200.
512Gb for 1hour of footage seemed like a card to get and only a few company's sell these with Lexar milking the market for its worth.
Egodisk has a 512GB card for a more friendly price but not readily available in Europe.
And then there was the anouncement from angelbird during IBC in Amsterdam.
At a similar pricepoint and with a good reputation it peaked my interest.

As soon as I inquired about availability and pricing a message was posted in this forum that their 512GB card didn't work with the C200.
Folowing-up on my inquiry I linked to the posted message and waited for a response which came quick .
They had contacted the poster and were resolving his issue ,on my offer to help with my C200 to resolve any issues with their cards ,they responded that they were more than willing to send their entire collection of memory cards to me for testing (try to get that response from Lexar/Sandisk etc..)

So here we go:

I received a C200 match pack containing 2 sdxc128GB cards and a Cfast 256GB card.
And further a Cfast 128GB and 512GB card.
Build quality of the cfastcards is really good they feel solid with lots of metal.

For bench marking my pc is windows 10 pro 64x,i7 2600K at 4,7Ghz internal sandisk extreme 470GB
and USB 3,1 connection for cardreader.

But first: in camera testing.
Method: format in camera ,fill-up card in one take,check material,format in camera, fill-up card with multiple takes,check material, rinse and repeat .

All the cards worked without fail with one small exception, the 512GB card would sometimes not get recognized by the camera??
power-cycling the camera would fix this and then the card functions normally even when removed and reinserted again.
Others have reported this same issue with the Egodisk 512GB card which leads Angelbird to conclude that it's more a camera/ex-fat problem than card problem since this card doesn't exhibit this issue in other camera's which often utilize a different format method be it ntfs or hfs+
Hopefully its a bug that can be rectified with a firmware update from Canon.

Their sdxc uhII cards also performed first-class and are fast enough to record Canon rawlite if that would have been possible.
They are way beyond what is necessary for the C200 mp4 but you do get really fast transfer times.

After testing them for there intended use I put them thru Hdtune pro to test large file read/write speed.

AVpro 128GB Read 496MB/s Write 299MB/s.......AVpro 256GB Read 494MB/s Write 377MB/s

AVpro 512GB Read 493MB/s Write 420MB/s...... SDXC 128GB Read 253MB/s Write 220MB/s

First with a Sandisk cfast reader which I got bundled with one of my xc10's.
It's plastic and usb3.0 and works but doesn't get the most out of the cards.
So the nice people of Angelbird were kind enough to send me their soon to be released double cfast reader, which is USB 3,1 and full metal design “very mac like” and just like their portable ssd has a sunken USB c connector to prevent easy disconnection from the reader.

With their reader I could get the max out of the card resulting in faster transfer times.

The reader comes with software for several utilities (recover disks ,secure erase etc..) now only for mac, later-on for windows.

Another simple addition on their card reader is the ability to put the card reader in read only mode via a switch located next to the USB connection.
This makes handing over your material to a DIT on set kind of idiot proof and accidental wiping the card less likely .

I am still contemplating about whether to go old school betacam time and change 256GB cards every 30min or going for the larger 512GB cards and the ability to shoot 68min on 1 card.
I probably go for a couple of the 256GB cards first.
Communication with Angelbird was a pleasure, really helpful contact and totally committed to give the best support with detailed to the point answers to your questions.
I'm more than happy to trust my footage to their storage solutions.

Kit Lens Jockey · Dec 4, 2017

I just snagged a very cheap Elan IIe film camera on craigslist. I know it only has three autofocus points, but damn if that eye-controlled autofocus isn't the bee's knees.

What happened? Why was it abandoned? I mean, I can appreciate the fact that with dozens of autofocus points it probably struggled to get the right one. And I understand that you're not ALWAYS looking right at what you want to focus on. But as someone who does 95% of their shooting with a single point selected, and can never seem to move the point to the one I want fast enough, I would really love something like this on the 5D4. Wouldn't it have gotten better over time if they would have just stuck it out and kept developing it? This seems like such an ahead of its time feature that seemed to get canned quickly.

Canon Rumors · Dec 4, 2017

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<p>From Canon USA:</p>
<p>Canon U.S.A., Inc., is excited to announce the launch of a CarePAK PLUS promotion just in time for the holidays. Now through January 6, 2018, 13 months free Canon CarePAK PLUS is included at no additional cost to customers who purchase select Canon cameras and lenses and register their product within 30 days. The list of eligible Canon products has been expanded to include the EOS 6D Mark II, EOS 80D, EOS 77D and the EF 85mm f/1.4L IS USM, giving even more Canon customers the opportunity to enjoy free accident protection.</p>
<p><!--more-->

<strong>All eligible Canon cameras and lenses include:</strong> (New gear added in bold)</p>

<ul>
<li>EOS-1D X Mark II Body</li>
<li>EOS 5D Mark IV Body</li>
<li>EOS 5D Mark III Body</li>
<li>EOS 5Ds Body</li>
<li>EOS 5DsR Body</li>
<li>EOS 6D Body</li>
<li>EOS 7D Mark II Body</li>
<li><strong>EOS 6D Mark II Body</strong></li>
<li>EOS 80D Body</li>
<li><strong>EOS 77D Body</strong></li>
<li>EF 16-35mm f/2.8L II USM</li>
<li>EF 16-35mm f/2.8L III USM</li>
<li>EF 17-40mm f/4L USM</li>
<li>EF 24-70mm f/2.8L II USM</li>
<li>EF 70-200mm f/2.8L IS II USM</li>
<li>EF 100-400mm f/4.5-5.6L IS II USM</li>
<li>EF 50mm f/1.2L USM</li>
<li>EF 85mm f/1.2L II USM</li>
<li><strong>EF 85mm f/1.4L IS USM</strong></li>
<li>EF 100mm f/2.8L Macro IS USM</li>
</ul>
<p>CarePAK PLUS offers protection from accidental damage such as drops, spills, power surges, and more including normal wear and tear, beyond the standard warranty period. With a CarePAK PLUS, a damaged product will be repaired to good working condition or replaced with an equivalent product. Canon customers also enjoy service performed by Canon factory technicians using only genuine Canon parts, which no other service plan can offer.</p>
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Canon Rumors · Dec 4, 2017

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CIPA has released its camera sales statistics for October 2017, and the numbers may be a disappointment to some companies.</p>
<p>Year-over-year total shipments for cameras in October are down 13%, but between the months of January 2017, through October 2017, we have an increase of 6% for ILC cameras, so we should likely wait to see how November’s Black Friday/Cyber Monday sales affect the year-over-year numbers.</p>
<p>Mirrorless has seen a good increase year-over-year, but most of the increase is happening in Asia as they continue to erode sales of DSLRs, North America remains a harder marketplace for mirrorless cameras.</p>


<p>Globally, mirrorless now makes up 36% of all ILC camera sales, and Canon is taking a big chunk of that with their revamped EOS M lineup.</p>
<p>The two giants Canon & Nikon need to obviously release professional mirrorless cameras in 2018. However, only Nikon has confirmed that they are doing so.</p>
<p><strong><a href="http://cipa.jp/stats/documents/e/d-201710_e.pdf">Read the full CIPA report</a></strong> (PDF)</p>
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Canon Rumors · Dec 4, 2017

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<a href="http://image-sensors-world.blogspot.co.uk/2017/12/33-mpixel-240-fps-stacked-sensor.html">ISW</a> has uncovered a paper from NHK, Brookman, TSMC, and University of Tokyo for a “<a href="http://ieeexplore.ieee.org/document/8098612/">A 1.1- μm 33-Mpixel 240-fps 3-D-Stacked CMOS Image Sensor With Three-Stage Cyclic-Cyclic-SAR Analog-to-Digital Converters</a>”</p>
<p>Once you get through all the crazy technical stuff, it basically describes a 1″ 8K stacked video sensor with a slow motion function.</p>
<p>Is 4K already over? :)</p>



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Canon Rumors · Dec 4, 2017

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<iframe width="728" height="409" src="https://www.youtube.com/embed/303uAe4YvBg" frameborder="0" allowfullscreen></iframe>
<strong>GUANGDONG , China – November 30, 2017</strong> – CamFi, maker of wireless controllers for digital cameras, today announced the launch of a crowdfunding campaign on Indiegogo for the fastest wireless camera controller, CamFi Pro. CamFi Pro uses the 802.11ac protocol to transfer the photo from the camera. It can offer Wi-Fi transfer speeds up to 866Mbps. Tests show it can reach speeds of 10M bytes per second in reality, two to three times faster than most built-in Wi-Fi cameras and 2.4G Hz wireless camera controllers.</p>
<p>CamFi Pro supports most of Canon, Nikon and Sony cameras. And it will be the only 5.8G wireless tether solution for Sony cameras in current market.</p>
<p><!--more--></p>
<p>“Speed is a big problem for current Wi-Fi products. It limits the productivity of the professional photographers.” Said Mark Ma, CEO of CamFi. “CamFi Pro is going to use new technology to solve this challenge.”</p>
<p>CamFi Pro takes two to three seconds to transfer a raw photo with a size of 20 megabytes. It supports auto view mode, which enables the client device to receive the photos in real time when the photographer is taking the photo. Selective transfer is also supported. The photographer can send only JPEGs to the client device and keep the raw photos on SD card.</p>

<p>By using 5.8G band, the device effectively avoids Wi-Fi interference. This is suitable for professional photographers covering events and meetings. The live view works smoothly for high transfer speed, making it effective for recording the video as well.</p>
<p>CamFi Pro also supports timelapse, HDR, focus stacking and multiple camera control. The photographer can use one computer to control multiple cameras to shoot and transfer the photos back. It can be applied for bullet – time effect and 3D modelling.</p>
<p>It can be controlled from Android and iOS mobile devices as well as PCs and Apple computers. Backers of CamFi Pro will be the first to receive the product. Delivery is expected for February, 2018. More information, including a full list of compatible cameras, can be found on the Indiegogo crowdfunding site: <a href="https://www.indiegogo.com/projects/camfi-pro-the-fastest-wireless-camera-controller#/" target="_blank" rel="noopener">https://www.indiegogo.com/projects/camfi-pro-the-fastest-wireless-camera-controller#/</a></p>
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bereninga · Dec 4, 2017

I'm looking for a lens that has these qualities:

Prime Lens
Wide aperture
Full-frame
Image stabilization
STM (for silent focusing while using Canon's DPAF during video)

Is there any Canon lens that has all of these qualities? It seems that the only other way to avoid the audible lens focusing is to use an external mic, which seems clunky when doing video on-the-fly. TIA!

Canon Rumors · Dec 4, 2017

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We have been told a couple of times that a Canon XC15 style camera with an EF mount will be coming some time in 2018, one would think NAB in April would be the perfect time to announce such a camera.</p>
<p>We have <a href="https://www.canonnews.com/first-hint-at-a-hybrid-video-stills-ilc-camera">seen a patent related</a> to such a product, so that raises the possibility of it actually happening. We were first told about this camera before the publishing of the patent.</p>


<p>One of the sources did say that contrary to some popular opinion on the web, Canon considers the XC10 and XC15 to be a success with better than expected sales numbers.</p>
<p>No other specifications or information were given to us.</p>
<p><em>More to come…</em></p>
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Canon Rumors · Dec 4, 2017

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The Leica Camera Group achieved revenue of almost 400 million euros in the past financial year 2016/2017 (31 March 2017) and can therefore look back very positively on the previous twelve-month period. With strong revenue growth of more than six per cent, Leica bucked the overall downward trend in the global camera market, which declined by around 10 per cent in the same period.</p>
<p>In the first few months of the current financial year 2017/2018, cumulative growth stands at 15 per cent, thus underscoring the positive global performance of Leica Camera AG. Despite a market environment that remains challenging, the CEO of Leica Camera AG, Matthias Harsch, once again expects a record-breaking result for the 2017/2018 financial year. As a result, the revenue of Leica Camera AG has increased more than fourfold since anchor investor and majority shareholder Dr Andreas Kaufmann came on board in 2004.</p>

<p>The main driver of growth is the systematic realignment of the company that has taken place in recent years. In particular, the setting up of an in-house Retail Distribution division has made a major contribution to revenue growth. Leica now has 90 monobrand stores around the world, which are vital in terms of promoting brand experience in the context of photography. ‘China is our number-one growth market,’ says Matthias Harsch, who is planning 20 to 30 new stores in the country alone. The Group is now strengthening its presence in the service sector with the Leica Akademie brand in order to boost the appeal of photography amongst younger target groups.</p>
<p>The extremely successful technology and brand partnership with Chinese company Huawei in the field of mobile phone photography makes Leica one of the world’s leading providers of smartphone lens applications, a burgeoning technology segment that serves as a global basis for new product ideas and applications in photography.</p>
<p>The entry of Leica into the eyewear segment (glasses) – a move that was completed in 2017 – offers further potential for strong revenue growth in the years ahead. Operating under the name of Leica Eyecare, the company will systematically tap into this global market in conjunction with its technology partner Novacel.</p>
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Canon Rumors · Dec 4, 2017

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B&H Photo has stock of the brand new Canon TS-E 135mm f/4L IS Macro lens.</p>
<p class="fs16 OpenSans-600-normal upper product-highlights-header">PRODUCT HIGHLIGHTS</p>

<ul class="top-section-list" data-selenium="highlightList">
<li class="top-section-list-item">EF-Mount Lens/Full-Frame Format</li>
<li class="top-section-list-item">Aperture Range: f/4 to f/45</li>
<li class="top-section-list-item">Two Ultra-Low Dispersion Elements</li>
<li class="top-section-list-item">Subwavelength Coating</li>
<li class="top-section-list-item">Maximum Tilt: +/- 10°</li>
<li class="top-section-list-item">Maximum Shift: +/- 12mm</li>
<li class="top-section-list-item">Minimum Focusing Distance: 1.6′</li>
<li class="top-section-list-item">Maximum Magnification: 0.5x</li>
</ul>
<p><strong><a href="https://www.bhphotovideo.com/c/product/1354806-REG/canon_ts_e_135mm_f_4l_tilt_shift.html/BI/2466/KBID/3296/DFF/d10-v21-t1-x842480/SID/EZ"> Canon TS-E 135mm f/4L IS Macro $2199</a></strong></p>
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TWI by Dustin Abbott · Dec 4, 2017

Hi everyone. I've released my final bit of coverage of the new Tamron 100-400 VC lens. I benchmarked the Canon 100-400L II (which I own and love) for this review.

The Tamron 100-400 VC is a very impressive lens at this price point, giving about 90-95% of the Canon 100-400L II all-round performance at about 40% of the price. That’s amazing. Unlike the Sigma 100-400 Contemporary, which was optically excellent but couldn't keep up with fast action, the Tamron actually tracks quite well on my 5D Mark IV (just slightly poorer than my 100-400L II).

Here’s my linkage:
Text Review: http://bit.ly/100400VCda
Video Playlist: http://bit.ly/100400VCpl (I did a number of video segments, covering image quality, build quality, autofocus and tracking, etc…)
Image Gallery: http://bit.ly/100400vcIG

Frodo · Dec 4, 2017

There have recently been some strongly held opinions on image quality of the 5DsR presented in this forum. Some of these opinions have stated that:
- There is little difference in image quality between the 5DsR and other 5D cameras
- The 5DsR has lots of noise at high ISOs.

As a relatively recent owner of a 5DsR in addition to my 6D (and I had owned a 5DII before then), this did not match my perceptions.

So in order to do a fair comparison of detail at ISO 100 (which is where I shoot landscapes) and noise at ISO 3200 (commonly used at events), I:
- Downloaded Raw files of the 5DIII, 5DIV, 5DsR and 6D of DPreview's "studio test scene"
- I processed these in LR 6 with no adjustments
- I cropped the ISO 100 files at 1800 pixels on the 5DsR files and copied the crops onto the other ISO 100 files and exported at 1800 pixels along the long edge. This would have upscaled all the files except 5DsR
- I cropped the ISO 3200 files at 1800 pixels on the 5DIII files and copied the crops onto the other ISO 3200 files and exported at 1800 pixels along the long edge. This would have downscaled the 5DsR file, the 5DIV somewhat, and slightly upscaled the 6D file.

These are attached. In case the file names don't show they are 4 x ISO 100 files: 5DIII, 5DIV, 5DsR, and 6D, then the ISO files in the same order.

IMHO:
- The ISO 100 5DsR files are noticeably sharper - look at the bristles of the right hand brush and the fine text on the paint tubes.
- The 5DsR is slightly pinker, the 5DIV is slightly yellower, but I note that the lighting (as shown by reflections) differs between the images)
- In the ISO 3200 images, the 5DIII has the most noise, the 5DIV the least. The 5DsR has more noise than the 5DIV, but the grain is very fine and it did not bother me. There was some false colour in the 5DIII image. The pink colour cast in the 5DsR image bothered me more than the noise.

Anyway, this comparison focused on the two extremes of my work. I did not compare images at extremely high ISOs and did not compare dynamic range. If they wish, someone else can do that.

This confirmed my view, that the 5DsR produces excellent image quality in terms of detail and noise.

Drainpipe · Dec 3, 2017

Overview

This will be a relatively short review, as I only have had the lens a couple days. I took some photos, and to start this mini-review I think the lens is a great product. This is without a doubt a great successor to the TS-E 90mm f/2.8. I am extremely inexperienced with tilt-shift lenses, so my terminology and other things may be WAY off. I guess I'm trying to say take this with a grain of salt because I may not know what I'm talking about ;D

While the lens is a fantastic product, I was hoping for a lens that could solve all of the depth of field issues that are inherent with shooting macro, and I was unfortunately sorely disappointed. This is no dig on the lens, moreso that I dreamed up an unrealistic standard that I was hoping the lens could achieve. I think I can explain what I mean through a few photos.

To start, here's the copy I received:

Everything looks good. The lens is hefty, and you know it is an L lens. The knobs are supple in a way that makes them a joy to turn, especially the large tilt knob. There is a locking switch for tilt, but not for shift. Knobs to adjust tension on the two mechanisms are present, and are pretty small. Turning them all the way will essentially lock that adjustment. The focusing ring is grippy and almost too good to be true in terms of how well it is damped and the fine control you have. The front of the lens extends as you near the 1:2 limit for macro, but does not extend in a way that makes it annoying or obtrusive.

The lens' construction is part metal, part plastic. The only part on the lens that I thought felt cheap per se was the extending portion that houses the front element. I can't imagine what the lens would weigh if it were all metal, but that's one part I would change if I was in charge (ha).

Photos

What I will do is put one photo, then another of a 100% crop. Photos were processed with no changes from camera other than cropping and conversion to .jpg. Photos were uploaded to Imgur, which is notorious for poor image quality. For the pixel peepers I will say that the lens produced sharp images as long as I did my part. If you look at one of these photos and think it is sub-par, it's more than likely a result of the hosting source, cropping, and conversion. I was extremely satisfied with the image quality and rendition that the lens provided.

First, these are of some spiders I found outside. Both were with the lens at max magnification with 36mm of extension. The spiders were taken with a 270 EXII at 1/8 power. The tilt was set to the max, with the barrel pointing down toward the subject.

Spider - ISO 400, 1/200, f/13, 36mm of extension

100%

Another:

100%

Crab Spider - ISO 400, 1/200, f/13, 36mm of extension

100%

Here are some photos I took of a matchbook. These are taken with the same setup as above, minus the flash. The camera was set up on a tripod and focus was on the match heads. The first photos are with no tilt, the second group is with 1/2 of the range, and the third set is with the tilt set to the maximum. No extension was with the first set, and then 36mm of extension was with the second set.

ISO 100, 1/100, f/8

No tilt:

100%

1/2 range of tilt:

100%

Full tilt:

100%

This next set was taken at the max magnification of the lens, also with 36mm of extension.

No tilt:

100%

NOTE: These next two look like there was a bit of shake present.

Full tilt:

100%

To end, the lens can also do the selective focus that some people seem to love. These were taken at f/2.8, and the sharpness here at 100% is impressive to me.

Trees

100%

The only dandelion I could find

100%

Conclusion/End

When this lens was first announced, I thought for sure that I would be able to use the lens to selectively focus on the entirety of something like a spider, tilting the image plane so that the entire spider was in focus without the need to focus stack. Unfortunately Canon was not able to produce such a magical piece of equipment, but again that is moreso do to my inexperience with tilt-shift lenses and the workings behind them.

The TS-E 90mm Macro is a truly awesome lens. On the one hand I am torn because it is a lens I have practically no use for, but it is so well put together and made that I just want to own it because of how sharp and fantastic it is to use and operate. This is a seriously awesome piece of kit, and to someone who actually knows how to use it, it will be indispensable I think.

If you have any questions, I will do my best to answer them. I no longer have the lens in hand, so I won't be able to take any detail shots. The ones that are available via Canon are much better than I could ever do anyways

Diko · Dec 3, 2017

SONY makes another few MF CMOS sensors. Now they even have developed 150 megapixel for use NOW. Not some distant "maybe" future application.

Canon had 250 megapixel that it turned it into Dual Pixel tech and industry related usage.
SONY on the other hand have a few Medium Format CMOS sensors that it sells to everyone... Canon seems to think that MF is too expensive in order for them to make CANON-huge profits and they don't bother manufacturing.

And all they need is to create 5 lenses for it. Nothing more. But why? No real profit, nothing. Canon, do your in-house thing. Do not sale outside, do not produce on margins. And take all of our money - we will eventually stop paying you.

With Canon everything seems a year or two (at least) older and at least a one third time and more expensive.

Oh and did I mentioned the SONY 360 sensor?

Canon Rumors · Dec 3, 2017

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<iframe width="728" height="409" src="https://www.youtube.com/embed/et3T6PQ2YLk" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen></iframe>
Professional Armando Ferreira has done a video explaining why he switched from the Sony A7S II to the Canon EOS 5D Mark IV for video.</p>
<p>Canon seems to get hammered on the forums for a perceived “lack of innovation”, but here we have another professional that shoots mainly on Canon gear.</p>
<p><strong>A few of the reasons Armando moved to Canon.</strong></p>


<ul>
<li>Canon color</li>
<li>Dual Pixel AF</li>
<li>Menu system</li>
<li>The codec (Gah?!)</li>
<li>Native EF mount</li>
</ul>
<p>Thanks Armando for sending this in and it’s nice to see some positive thoughts on Canon gear for video.</p>
<p><em>Full disclosure: I’m obviously a Canon fanboy, and I’m ok with that.</em></p>
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atkinsonphoto · Dec 3, 2017

I recently added a refurb 2x III extender and a used 1st gen Canon 25mm tube to my kit and have been stacking them with a 200 2.8L, 85 1.8 and 35 2 IS on a 5d III. The 85 and 35 need to be 2x>25mm>lens to clear the 2x's protruding element. The 200 can be stacked either way.

The 25mm>2x>200 gives a 400mmF5.6 and a focus range of about 2 feet and no infinity. The 2x>25mm>200 gives a 400mmF2.8 and a focus range of about 6" and no infinity.

The 85 combo yields 170mmF1.8 with a similar focus range as the 200. The 35 stack gives an error01, no communication with lens/clean contacts. The 35 works with the 25mm alone, with a tiny focus range right next to the lens.

I understand that some combos just don't work, like the 2x>25mm>35, but what's going on with the 85 and 200 max aperture with the 2x>25mm stack? The 2x should double them, right? The resulting images really seem to be at 1.8 and 2.8.

Zeidora · Dec 2, 2017

Just started playing around with the new Macro flash from Canon the MT 26EX RT. I have used the MT24 extensively for the past few years.

Packaging: same Canon box, comes with pouch with small tab of velcro closure instead of the run around zipper. Access is quick with the velcro tab, but the pouch is less secure when closed. Pouch will go on the closet anyway, so does not matter.

Mounting ring: no changes, except for the labeling as 26EX RT, instead of 24EX.

Main unit: about 20% smaller, which is welcome, making rigs less top heavy. Completely re-designed interface, but main functions are still the same. ETTL vs. manual, ratio control, power control. New also HSS, and RT function. Easy to find my way around without reading manual. Buttons are raised, so easier to press than on 24. This is important in macro, because exerting force on a cantilever (flash unit is high above tripod socket) will cause rig to move and framing/focusing changes. And yes, I use heavy RRS 34L tripod and BH55, all locked down.

Flash heads: re-designed, a tad smaller. The new Canon diffuser have small hooks that secure them onto the heads, so they are unlikely to accidentally slip off. The old Stofen diffusers still fit as well. The canon diffusors are possibly 1-2 mm less tall, so give a bit more freedom in positioning the heads. The Canon diffusers seem to be a bit more opaque, which is good for diffusion, but you lose some light.

Focusing light is brighter and a bit more blue, no surprise LED vs incandescent. The focusing light button is easier to press than on the old unit, as the button protrudes from the black plastic box, and is not sunken in.

In practice, the 1/512 power setting is a great addition, particularly for the z-stackers at f/2.8 on the MPE 65. I went right down to the lowest setting for the first couple of stacks. I can aim the heads right at the specimen, and do not have to use ND gel filters to reduce light output. I hope this will also help with reducing wear on the unit. I completely fried a MT24 after some 20K flashes. Will still keep the 24 around for outdoor, where I generally stop down, but for studio z-stacking the 26 rules.

Bottom line: if macro is your thing, the MT 26EX RT is a worthy upgrade. If not, the 24 will do just fine a while longer.

JRPhotos · Dec 2, 2017

I recorded some video clips of the family decorating the Christmas tree today in 4k on my 5DMK IV Canon 54 1.4II and iPhone 8 Plus.

The video quality is leaps and bounds better on the Canon (obviously). I want to do more with my Canon without the lens motor noise. I'm looking at the Canon EF 40mm f/2.8 STM Lens; does anyone know of any 4k video recorded with this lens on the 5D MKIV? I haven't had any success finding any.

Canon Rumors · Dec 1, 2017

HTML:

<p>Canon has updated the firmware for the EOS-1D X.</p>
<p><strong>Changes in the Firmware</strong>

Firmware Version 2.1.0 incorporates the following improvement and fixes:</p>

<ol>
<li>Fixes a phenomenon in which standard exposure may not be obtained, or an irregular exposure may result, when Silent LV (Live View) shooting with the following TS-E lenses: TS-E 50mm f/2.8L MACRO, TS-E 90mm f/2.8L MACRO, or TS-E 135mm f/4L MACRO.</li>
<li>Changes the maximum number of “Release cycles” displayed from 1,000,000 cycles to 9,999,000 cycles. This value can be checked under the “Camera system information” menu.</li>
<li>Fixes a phenomenon in which a synchronization failure may occur during multiple flash shooting.</li>
<li>Fixes a phenomenon in which Error 80 occurs depending on the shutter release timing.</li>
</ol>
<p><strong><a href="https://www.usa.canon.com/internet/portal/us/home/support/details/cameras/dslr/eos-1d-x?subtab=downloads-firmware#Z7_MQH8HIC0L88RB0AMD0F1Q42K25">Download firmware 2.1.0 for the EOS-1D X</a></strong></p>
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Patlezinc · Dec 1, 2017

Hi everyone.

I just bought a 5d IV and I have an issue with my 35mm.

I have calibrated the focus lens with the usb dock. That is ok.

But I have a problem in live view.
When I do the focus in live view, if i focus with a non-centered zone, for far objects (More than 1 meter), focus is blur.

I have disabled all corrections.

I thought it was impossible to miss a focus with live view...

Two more infos :

- my Canon 24-70 F4 at 35mm is working perfectly with the 5D
- the 35mm is working perfectly with the live view on the Canon 6D.

So the lens is ok i think, but not with the 5D.

The question is : can someone try to focus a far object with the live view on his 5D4, on the right or on the left with a 35mm ART?

Thanks.

Here an exemple :

Auto focus (impossible to do the focus) :

AA12D5BE-0938-4489-A5E2-942F96C0920C.20171128155018.jpeg

Manual focus:

0CB688CF-3926-4467-922D-BE1DC73700D6.20171128155330.jpeg

ahsanford · Dec 1, 2017

Now that this blasted forum I love has told me what mirror box bokeh clipping is, I can't *not* see it in portraits.

https://petapixel.com/2017/12/01/shooting-portraits-christmas-lights-ordinary-bedroom/

IT'S EVERYWHERE! (85 f/1.2L II I believe for these shots)

- A

abbebus · Dec 1, 2017

Looks like Canon has hit some trouble with the 5D mark IV firmware update:

==========================
Future Firmware Plan for the EOS 5D Mark IV

We would like to inform you that release of firmware to enhance functions of the EOS 5D Mark IV, which was originally scheduled for November 29 at the same timing as the firmware updates for six other models (EOS-1D X Mark II: Ver.1.1.4; EOS-1D X: Ver.2.1.0; EOS 5D Mark III: Ver.1.3.5; EOS 5DS: Ver.1.1.2; EOS 5DS R: Ver.1.1.2; EOS 6D Ver. 1.1.8), has been postponed until late February 2018 for reasons related to firmware preparation. We would like to offer our sincere apologies to users of this product who have been inconvenienced.
In the firmware to enhance functions of the EOS 5D Mark IV, we are planning to incorporate the following enhancements:
Support will be added for chromatic aberration correction, peripheral illumination correction, distortion correction, and Digital Lens Optimizer when using Digital Photo Professional to process RAW images captured with the following TS-E lenses: TS-E 17mm f/4L, TS-E 24mm f/3.5L II, TS-E 50mm f/2.8L MACRO, TS-E 90mm f/2.8L MACRO, or TS-E 135mm f/4L MACRO.
Support will be added to fix a phenomenon* in which standard exposure may not be obtained, or an irregular exposure may result, when Silent LV (Live View) shooting with the following TS-E lenses: TS-E 50mm f/2.8L MACRO, TS-E 90mm f/2.8L MACRO, or TS-E 135mm f/4L MACRO.
Support for Exif 2.31 will be added.
*This phenomenon occurs when tilt or shift is applied on a TS-E lens (TS-E 50mm f/2.8L MACRO, TS-E 90mm f/2.8L MACRO, or TS-E 135mm f/4L MACRO) during LV shooting when Silent LV shooting is set (set to Mode 1 or Mode 2 on the menu). For this reason, until the firmware update, when performing viewfinder shooting or LV shooting, please shoot with the Silent LV shooting set to [Disable].

From here:
https://www.usa.canon.com/internet/portal/us/home/support/product-advisories/detail/future%20firmware%20plan%20for%20the%20eos%205d%20mark%20iv/!ut/p/z1/tVJNU8IwFPwr9eAxk9DQUo4F6oBaFZSP5sKENpEoTWoaqPx7U4eDTqWOB3N6yex7b3ezkMAVJJIexDM1Qkm6s_eE-Ot4Og7GkyG6vX-6GaAwGtw_Yn-E0RDD5ScAnTkhguRb_5UboTB-WtzGeILRzD_1twBI-_4FJJCk0hRmC5OUSiXXklUV26wLrbJ9aspLdKoAzQ6iVFow-8b3Zq-Zw4XOK2qLYkelw5V2zJY5TJWOlzk51a-OONQbilRkMKGcp6kbcJB2Ogh0eZCBoJdh4Hk9z9tsOKZeU1GDMmk37Po3y-yfuDoexs-WFjVbICRXcJXSnGlawlVW7jRcWQnAy0AtAVgJy1rE17Fo1u-h0B_54_7dAE2mXgOwGHQtoD8aYveqpnYCtDBPrPLeWeWuDctBsArOpdK5zdbjH40dN71pePuzN3_5bDtBvLy9kdDGSknD3k3t7b_kqsjn8zzAR0CShyLicYS7ZHOsLj4AqoFEzQ!!/dz/d5/L2dBISEvZ0FBIS9nQSEh/?urile=wcm%3Apath%3A%2FCanon_NewWeb_Products%2Fproduct-advisories%2FFuture%2BFirmware%2BPlan%2Bfor%2Bthe%2BEOS%2B5D%2BMark%2BIV

chrysoberyl · Dec 1, 2017

Any real-world experience with this lens? I'm looking for more than 1X magnification in a reasonably light lens.

chrysoberyl · Dec 1, 2017

LensTip editor's choice! What are your real-world experiences with this lens?

HarryFilm · Nov 30, 2017

I have about HAD IT with Canon's slowness when it comes to their camera software so I have decided to take the bull by the horns and since I have corporate access to EVERY Canon EOS Cinema and DSLR camera in their sales inventory, I have decided to code and test a Magic Lantern-like CODEC addition to the Cinema and DSLR cameras....AND...since Canon uses DIGIC processors which have RISC Chip ARM-based cores and I am an ABSOLUTE EXPERT in programming those chips and in coding 2D/3D Wavelet codecs at the lowest machine-code levels, I will give you Canon followers the following ABSOLUTELY FREE AND OPEN SOURCE VIDEO CODEC which hook into the Canon Camera BIOS'es and allow you to do the following:

I've got an i-frames-only version of the MP4 codec ALREADY up and running on an ARM chip board (ARM is what Canon DIGIC's are based upon). I am using the Pascal Lazarus development environment on Linux so that my code can cross-compile to almost ANY chip.

I had to convert the ENTIRE MP4-spec codec to the Pascal programming language so I could make it READABLE for me and others AND THEN PROPERLY COMMENT IT ALL so as to illustrate HOW the algorithms work! --- That was a complete NIGHTMARE to do! Now I need to finish the 3D search pixel-search algorithms so that the in-between frames (B and P frames) can be encoded which is what REALLY compresses a video stream down a whole lot.

My custom MP4 codec is now FULLY user-selectable 4:4:4, 4:2:2, 4:2:0 and 4:1:1 colour space encoding in USER-SELECTABLE 16-bits, 14-bits, 12-bits, 10-bits and 8-bits per colour channel (with an extra specialized 8-bits greyscale and 6-bits colour codec for long duration security video) AND I have put in a custom-built Flat Log-C, Log-C2 and Log-C3 LUT along with allowing OTHER user-installable LOG LUTS that can be USER-UPLOADED AND SELECTED for SEPARATE on-screen display and assign the same or different LOG/LUT for save/output to the memory cards, HDMI/DisplayPort or USB2 and USB3 ports when they are available on your camera's DIGIC chips. This means you can save to the internal cards using a flat Log-C2 LUT but output a normal REC 2020 HDR or BT.709 video frame LUT for HDMI/Displayport/USB2/USB3 output at ANY resolution and frame rate. Since this codec HOOKS into the Canon Camera BIOS'es it won't affect your OTHER settings but is a mere menu addition to the main screen.

This codec is WORLD-CAPABLE with USER SELECTABLE per minute and per hour frame rates for time lapse and astrophotographers and pre-defined 1/2/3/4/5 fps, 10 fps, 15 fps, 20 fps, 23.976, 24 fps, 25 fps, 29.97 fps, 30 fps, 50 fps, 59.94 fps, 60 fps, 100 fps, 119.88 fps, 120 fps, 200 fps, 240 fps, 300fps, 500 fps, 1000 fps frame rates which my codec actually TESTS to see if your camera hardware can actually support the higher frame rates at the selected resolution.

I ALSO HAVE a built-in Peaking/Zebra Stripes, RGB Vectorcope and Luminance Waveform and RGB Parade monitor overlay (which you can turn on/off) for live video monitoring! Output through the HDMI/Displayports/USB2/3 will be user-selectable clean or with overlays. I have embedded predefined recording and output resolutions at 180x120, 320x240, 360x240, 480x270, 640x360, 640x480, 852x480, 1024x768, 1280x720, 960x540, 1920x1080, 1024x540, 2048x1080, 3840x2160, 4096x2160 pixels and various 5k/6k/8k resolutions. These frame sizes can be assigned to the frame rate your camera hardware can PHYSICALLY support. This means at lower frame sizes you can get higher frame rates. I will LET YOU the user decide which frame rate to use with WHICH frame size! You will be given the CHOICE to downsample from the FULL native Sensor size or do a middle-of-chip sensor crop. The camera hardware test will tell you if it can support the selected frame size and frame rate! Downsampling will be Lanczos-3 for BEST image resampling quality
with a user-selectable ON or OFF for an added "UnSharp Mask" edge-sharpening
for saved-to-cards and port-output video streams. This makes your images APPEAR sharper at lower resolutions.

I also have an ALL i-frame wavelet-based INTRAFRAME compression mode with user-selectable bit rates and a FULL-RAW and RAW 4:1/6:1 compression modes for those of you who want the BEST IMAGE QUALITY! (if your flash cards can PHYSICALLY support the higher data rates -- my codec is able to test the cards!) The pre-defined bit rates for INTERFRAME 4:2:2 16/14/12/10/8-bit MP4 will be 8 mbps, 12, 17, 35, 50, 75, 100, 125, 150, 200, 300, 400 and 500 megabits per second AT EVERY resolution. You are ALSO ALLOWED to SPECIFY a custom data rate which IS STRICTLY ADHERED TO by the codec!

For you Windows users, I will put out at the SAME TIME a signed DirectShow codec plugin which will allows Win7/Win8/Win10 machines and software to READ and WRITE the files made by my codec which allows the files create by the NEW Canon camera codec addition to be read on Adobe Premiere/After Effects, BMP Resolve/Fusion, AVID, Corel Video Studio, TMPEG, AVIdub, and ANY OTHER Directshow/Direct-X/Windows Media Foundation compatible piece of Windows software. For you MAC enthusiasts, I will TRY and make a Premiere CC and FCP compatible codec and Quicktime plugin after I finish the Windows versions!

I expect at the very least, a BASIC B and P frame ALPHA TEST version of the CODEC to be ready sometime between January 15 to 30, 2018 and a beta-testable version two weeks later.

The first cameras tested will be for 7Dmk2, 6Dmk2, 5DMk3/5Dmk4, 1DxMk2, C100, C200 and C300...in that order! I may even be able to port to the Canon XC10 and XC-15 cameras and the Sony a7s, Panasonic G5 and Olympus/Pentax/Fuji cameras a few weeks later but we shall see which ones have ARM-based CPU chip cores! I will be testing on the Canon 6D and 7D first because they are our cheapest cameras to test in case I accidentally brick them with my code!

Please be PATIENT !!! Software development is HALF an ART and HALF AN ENGINEERING SCIENCE !!!! Nothing is guaranteed until I see my new interface and CODEC actually RUNNING on the cameras!

AND TO RE-ITERATE, this will be ALL FREE and OPEN SOURCE for your technical pleasures and use on your cameras! Leave comments below as to what features YOU WANT and I will see what I can do...I've got 30+ years of systems level coding experience in C/C++ Delphi/Lazarus, ARM, x86, superSPARC assembler, and other multi-core and multi-chip coding experience so I think I can QUITE outperform Canon's coding techs since much of my experience is with MISSION CRITICAL REAL-TIME AEROSPACE SYSTEMS....!!!!!

I hope this will HELP you Canon Camera Enthusiasts EVERYWHERE!

AGAIN! This will be an ABSOLUTELY FREE AND OPEN SOURCE CODEC
to use FOREVER and ever!

Thank You!

Make ALL Feature Requests Down Below in your REPLY COMMENTS:

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