I've used the combination of 'hold down SET + top dial' to change ISO for so long, I literally forgot there was an ISO button on my cameras Much easier IMHO!
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I'm in the same boat, really suprised they didn't at least put a dedicated iso button on the camera... at least the control ring on the lens can be set to that function I suppose
On my 5D I never use that iso button, too small and cumbersome to use /find without looking. I use the front main dial for shutter speed....the back control wheel for aperture... And iso is changed with the front main dial while pressing the set button with my thumb. I can change any of it blindly with the camera to my eyeI was really wishing the R5 was coming with personal buttons for ISO, drive, flash....that is what I miss a lot coming from 5D series. It's a pain go into M-fn button on an event and find what you need.
Me too... So much faster. I can't remember the last time I ever pressed that tiny iso button other than by accidentI've used the combination of 'hold down SET + top dial' to change ISO for so long, I literally forgot there was an ISO button on my cameras Much easier IMHO!
ONLY time I ever use auto ISO is when I've shot dance recitals/competitions. Constant, radically changing lighting situations with LED spots sweeping across a wide stage etc... and I had to keep my shutter speed up and apertures at 2.8. Apart from those special situations where you're trying to stop fast action in changing light... Eh... I dunno why I'd ever need Auto ISO
On my 5D I never use that iso button, too small and cumbersome to use /find without looking. I use the front main dial for shutter speed....the back control wheel for aperture... And iso is changed with the front main dial while pressing the set button with my thumb. I can change any of it blindly with the camera to my eye
I shoot bands in dark venues. On my 5D 3 I am often dancing between 3 to 10 thousand iso. I try very hard to avoid going so super high as post processing is a bitch. With auto iso the camera would want to go to those super high iso's regularly. I can't give the camera that option.There's no excuse not to use Auto ISO on a camera like this.
That works great at Live concerts most of the time when you’re shooting relatively stationary subjects. What I’m talking about is a flock of dancers moving and leaping through all those moving lights. You really cant wait for things. If you do, you missed the apex of the jump, the turn, etc... like this one. (And yes, they also have a 30 foot wide 4K LED panel behind the dancers with constant motion graphics. The AF processor on my camera drinks heavily after these showsIn my experience, when stage lighting is changing rapidly it often changes between metering and exposure. I have better luck setting a specific exposure and "sitting" on it (by holding the AF-ON button) with the camera pre-focused until the light comes back to where I've set exposure, especially if the lighting has a cyclical pattern. Another strategy I use is to set exposure for the "best light" (think multi-colored LED lighting going through patterns of different colors - when all three primary colors are lit at the same time you have the most light and the fullest spectrum you're going to get) and then shoot for peak action and play the percentages that some will be underexposed but the ones that are properly exposed will also have the best light to work with. YMMV.
You’ll enjoy something that doesn’t exist...Hmmm, when did you have have your last annual checkup with your family doctor?Enjoy your EOS R. I’ll enjoy my EOS R6.
That works great at Live concerts most of the time when you’re shooting relatively stationary subjects. What I’m talking about is a flock of dancers moving and leaping through all those moving lights. You really cant wait for things. If you do, you missed the apex of the jump, the turn, etc... like this one. (And yes, they also have a 30 foot wide 4K LED panel behind the dancers with constant motion graphics. The AF processor on my camera drinks heavily after these shows
These are two different things:
While a *rear* element can be bigger (magnifying) that is not an argument against the fact that the *front* entrance lens element must have at least the diameter of the aperture (and no, the video is no evidence against).
You cannot magnify the front entrance light with a magnifying element in front of the aperture. It would mean that a lens, say with an f-stop of 1.2 would have a t-stop much worse (depending on magnifying) like 2.0 or so.
Got it?
Personally, my viewing distance is the same as when working or watching.Not when working! That’s the appropriate distance for watching an HD video.
I'm pretty sure that switching from using "Rate" button to pressing the shutter and switching from using "Delete" button to pressing the shutter takes about the same time on Canon ILCs.He also said in another comment, "Not necessarily. I will delete images during a lull while in the field whatever the fullness of the memory card. "
And how would you use that "Rate" button if the images you want to rate are on another card?Or writing them quickly to another card...
Yes PLEASETypically Canon has released new versions of the 1.4X and 2X extenders at the same time as at least one or two new versions of Big White lenses. We don't know what all of the "eight" new RF lenses this year will be. I wouldn't be surprised if an RF 300mm f/2.8 and an RF 500mm f/4 would be two of them.
That's how you magnify the exit pupil.Note how making the rear elements bigger and putting them closer to the
sensor allows for smaller overall diameters and better balanced systems.
Yes, that is physics.
What are we putting the 1.4 and 2x converters on then? Surely not the 100-500(which would make a 1000mm f/14)
I’m quite certain that you’re with the majority there. I treat an iMac playing a video as I would treat a 27-inch TV. At your working distance you may be able to distinguish between 1080p and 4K video. At normal viewing distances you probably cannot distinguish if you are not prejudiced to see the 4K as sharper by knowing in advance which resolution you are looking at.Personally, my viewing distance is the same as when working or watching.
I feel like motion jpeg is unlikely just because I wonder if 8k mjpeg would require more data throughput than a card could receive. That's why I also wonder if it will use SD UHS II cards - I don't know what the max write speed is to them right now, but I wonder if 8k is going to outrun it's capacity and need a cfexpress just to handle 8k at all.Very insightful about the flow on benifits of achieving 8k... promising!
I've heard this theory a few times now that the 8k could only be raw due to processor limitations... I'd love to believe that's the case but wouldn't that severly undercut the c500 mark ii ? I have a hunch they may return to MJPEG
Maybe not likely, but Canon seems to think it's possible at least!That would be wonderful to see.