Tagged with canon - Personal View Talks http://www.personal-view.com/talks/discussions/tagged/canon/feed.rss Mon, 24 Nov 14 06:41:19 -0700 Tagged with canon - Personal View Talks en-CA Canon 5D Mark III topic http://www.personal-view.com/talks/discussion/2266/canon-5d-mark-iii-topic Mon, 13 Feb 2012 13:18:20 -0700 Vitaliy_Kiselev 2266@/talks/discussions Camera was announced March 2, 2012.

Images of this modern prehistoric beast

image

image

image

Main video specs

  • [1920 x 1080]: 30 fps / 25 fps / 24 fps; ALL-I - 685 MB/min (91Mbit/s), IPB 235MB /min (32Mbit/s)
  • [1280 x 720]: 60 fps / 50 fps; ALL-I - 610 MB/min (81Mbit/s), IPB 205MB /min (27Mbit/s)
  • [640 x 480]: 30 fps / 25 fps; IPB - 78MB/min (10Mbit/s)

If the recording time reaches 29 min. 59 sec., the movie shooting stops automatically.
Movie shooting does not stop when the file size reaches 4GB. SMPTE timecode recording (Rec-Run and Free-Run) and a touch-sensitive rear dial
No clean HDMI output

There's a built-in headphone socket for audio monitoring, and the ability to adjust the recording volume by pressing the left or right side of the rear control dial.

Price - Body: $3499, €3299, £2999; Kit with 24-105mm: $4299

In stock

Body:

http://www.amazon.com/Canon-Mark-Frame-Digital-Camera/dp/B007FGYZFI/

http://www.adorama.com/ICA5DM3.html?sub=Canon5DMk3SSM

http://www.bhphotovideo.com/c/product/847545-REG/Canon_5260A002_EOS_5D_Mark_III.html

Links to specs, etc

http://www.dpreview.com/news/2012/03/02/Canon-5D-Mark-III
http://www.usa.canon.com/cusa/professional/products/professional_cameras/digital_slr_cameras/eos_5d_mark_iii#Specifications
http://www.canon-europe.com/Images/EOS_5D_Mark_III_Specification_Sheet-v2_0_tcm13-910228.pdf
http://www.canon-europe.com/Images/EOS_5D_Mark_III_Technologies_Explained-v1_0_tcm13-907890.pdf

Previews and reviews:

http://www.dpreview.com/previews/canoneos5dmarkiii/
http://www.imaging-resource.com/PRODS/canon-5d-mkiii/canon-5d-mkiiiA.HTM
http://www.cameralabs.com/reviews/Canon_EOS_5D_Mark_III/
http://www.bobatkins.com/photography/digital/canon_eos_5D_MkIII_preview.html
http://blog.jeffascough.com/photographers/2012/03/canon-eos-5d-mark-iii-review.html
http://blog.planet5d.com/2012/03/canon-eos-5d-mark-iii-hands-on-what-isnt-in-the-canon-press-release/
http://www.thephoblographer.com/2012/03/02/should-i-upgrade-to-the-5d-mk-iii-from-the-5d-mk-ii/
http://www.engadget.com/2012/03/02/canon-announces-eos-5d-mark-iii-22-3mp-full-frame-sensor-6-fps/
http://blog.vincentlaforet.com/2012/03/01/canon-5d-mkiii-my-thoughts/
http://www.dxomark.com/index.php/Publications/DxOMark-Reviews/Canon-5D-Mark-III-Review/Hands-on-Review
http://ninofilm.net/blog/2012/03/02/canon-eos-5d-mark-iii-revealed-first-videos-my-thoughts/
http://bertstephani.com/2012/03/02/canon-eos-5d-mark-3-first-review/
http://www.ephotozine.com/article/canon-eos-5d-mk-ii-vs-mk-iii-18643

Video reviews, video samples, stills samples:

Samples:

http://www.dpreview.com/news/2012/03/02/canoneos5dmarkiii-isoseries http://web.canon.jp/imaging/eosd/samples/eos5dmk3/ http://www.flickr.com/photos/98609590@N00/sets/72157629133702510/with/6947467655/

Small trailer:

Manual:

http://gdlp01.c-wss.com/gds/8/0300007348/01/eos5dmkiii-im-c-en.pdf

]]>
Canon 7D Mark II topic http://www.personal-view.com/talks/discussion/11253/canon-7d-mark-ii-topic Thu, 11 Sep 2014 02:01:30 -0600 Vitaliy_Kiselev 11253@/talks/discussions image

Specs:

  • 20.2MP CMOS sensor
  • Magnesium alloy body
  • Dust and water resistant
  • Dual Pixel CMOS AF
  • 65-point all cross AF
  • 10 fps burst
  • 3.0″ 1.04md Clear View II LCD Monitor
  • Dual DIGIC6 processors
  • RGB + IR photometry sensor 150000 pixels
  • Only 1080p60 video
  • GPS
  • $1800

Available at:

]]>
Canon Cinema EOS C100 mk.II http://www.personal-view.com/talks/discussion/11611/canon-cinema-eos-c100-mk.ii- Tue, 21 Oct 2014 22:20:19 -0600 bozfx 11611@/talks/discussions Canon has announced their successor to the C100...

image

http://www.usa.canon.com/cusa/professional/products/professional_cameras/cinema_eos_cameras/eos_c100_mark_ii

image


PR

Canon U.S.A. Announces the Second-Generation EOS C100 Mark II Digital Video Camera Features MP4 and AVCHD 1080/60p Recording, Dual Pixel CMOS AF, Face-Detection Autofocus (AF), Redesigned Viewfinder and OLED Panel, Built-In Canon Log Look-Up Table, and Wireless File Transfer

MELVILLE, N.Y., October 21, 2014 - Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the Canon EOS C100 Mark II Digital Video Camera, the latest edition to the Canon Cinema EOS line of professional Super 35mm 8.3 megapixel CMOS cameras and the second-generation version of the popular Canon EOS C100 Digital Video Camera.

Designed for economical film and video productions such as documentary and remote broadcast crews, wedding and event coverage, indie film productions, as well as film schools and business and government users, the new EOS C100 Mark II Digital Video Camera, features advanced image processing, AVCHD and MP4 1920x1080/60p recording, uncompressed YCbCr output from HDMI, and many other new and enhanced capabilities for improved picture quality, operability, and convenient handling. Delivering a cinematic look with shallow depth of field and high sensitivity in low-light environments, the new EOS C100 Mark II camera weighs just 2.5 lbs. and is compatible with over 103 Canon EF Series lenses, including STM models which can deliver smooth and silent autofocus during filmmaking.

"Canon's commitment to the advancement of tools for visual expression takes another major step forward with the introduction of the EOS C100 Mark II Digital Video Camera," said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. "Drawing on input from Canon's global community of Cinema EOS camera users and from digital filmmakers using Canon EF lenses - 100 million of which have now been produced worldwidei - the Company has added new capabilities to the EOS C100 Mark II from its predecessor that powerfully leverage our considerable expertise in optics, imaging, and digital signal processing. The result is an improved, affordable Super 35mm CMOS digital camera that is designed to provide outstanding HD image quality, operational performance, ergonomics, and workflow convenience." Design Enhancements

Optimized for one-person operation, the new EOS C100 Mark II camera has a mobile core design enabling users to choose their preferred style of shooting. The existing design has been enhanced to include a large-size detachable eyecup for the camera's large 68-degree tilting 0.45-inch 1.23 megapixel color EVF (electronic viewfinder). Clearly marked red trigger buttons on the camera body, top handle, grip, and a built-in mono microphone on the camera body — for times when the top handle is not attached — can be used to capture basic sound for audio notation or as an aid to audio syncing during post.

Another major redesign of the new EOS C100 Mark II over its predecessor is an innovatively hinged 3.5-inch 1.23 megapixel OLED display panel, delivering 100 percent field-of-view coverage, wide color range support, and improved viewing even in bright sunshine. The new hinge design — which folds the panel shut when stowed, protecting the OLED surface — opens 180 degrees to reveal function keys and a joystick. The panel can open even further to 270 degrees to deploy against the side of the camera to provide monitoring for directors and other production personnel. Additional design improvements on the camera body include 17 assignable recessed function buttons, dual SD card slots with a transparent cover, and a simplified battery insertion and removal release. Visual Expression

Previously available only as an optional upgrade for earlier Cinema EOS models, Dual Pixel CMOS AF is a standard feature on the new EOS C100 Mark II, providing enhanced autofocusing capability. The Dual Pixel CMOS AF technology helps provide smooth and consistent autofocus, so that focus transitions are natural looking and subjects can remain in focus even as they move off center. In addition, the compatibility of Dual Pixel CMOS AF with Canon EF autofocus lenses combines outstanding optical tools with a wide range of creative options. It's ideal for shooting sports, weddings and many more productions where focus pulling by a single operator is not feasible, such as when the video camera is attached to steadicams or drones. The EOS C100 Mark II Digital Video Camera also includes Face-Detection AFii, a first in the Cinema EOS camera line, which utilizes contrast detection AF to maintain focus across most of the image plane, an advantage in one-person electronic news gathering (ENG) situations. Imaging and Recording

Central to many of the new features of the new EOS C100 Mark II Digital Video Camera is its advanced Canon DIGIC DV4 image processor. The Canon DIGIC DV4 image processor separates the RGB output from the camera's 8.3 Megapixel CMOS imager into three individual 8 megapixel signals (as opposed to 2MB in the EOS C100) for noticeably improved image quality. The Canon DIGIC DV4 processor also includes a new debayering algorithm to help minimize moir‚ and reduce video noise even at high ISO speeds. (high-sensitivity recording on the camera ranges from ISO 320 to 80,000).

Another important benefit of the Canon DIGIC DV4 processor is Full HD recording in both the high-quality professional format AVCHD or the popular web-friendly MP4 format at a variety of bit rates (up to 28 Mbps and 35 Mbps, respectively), resolutions, and frame rates (up to the smooth look of 59.94p) to suit practically any production need.iii For special-effect requirements, slow and fast motion MP4 recording at up to 1920x1080/60p can also be performed.

Users can choose from multiple formats that support MP4 or AVCHD to suit a wide variety of production, post, and output needs. The EOS C100 Mark II camera's dual SD card slots can record in one or both formats simultaneouslyiv for back-up, or convert AVCHD and MP4 files into smaller MP4 files for web upload.v Extended clip times can be achieved by recording continuously from one card to the other without a break. In addition, a Data Import Utility application is included that can seamlessly join divided files to help reduce work during editing and to import video file data from an SD card inside the camera or a card reader.

As with the other cameras in Canon's Cinema EOS line, the new EOS C100 Mark II Digital Video Camera includes Canon Log as a recording choice, providing maximum dynamic range for post-production color grading. New, however, is the addition of a built-in LUT (look-up table), enabling users to view the camera's live video signal in Wide DR (dynamic range) or the BT.709 (TV standard) color space on the OLED or any external monitor connected to the camera's locking HDMI® output (this feature can be turned off in the menu). Uncompressed video output (with time code data and 2:3 pull-down markers superimposed) can be output via HDMI to an external recorder. Connectivity Innovations

The addition of wireless file-transfer capabilities further expands the versatility of the new EOS C100 Mark II camera for multiple production applications, including transferring time-critical news video or backing-up files. Utilizing dual 5 GHz and 2.4 GHz frequencies, the camera can transfer video files via FTP server for instant relay, or send MP4 video to the web browsers of laptops or tablets for viewing and storage (even on PC's lacking playback software). Remote control of the camera is also enabled via a compatible smartphone, tablet, or laptop. The new EOS C100 Mark II Digital Video Camera also includes compatibility with the optional multi-functional Canon RC-V100 Remote Controller, which can be used to adjust image quality and other important operations from a distance, a handy feature for shooting from a jib arm, drone, or other inaccessible location.

In addition, the optional Canon GP-E2 EOS GPS Receiver can be connected to the EOS C100 Mark II Digital Video Camera using a USB cable to record location and time information during shooting, a helpful feature for editing and archiving. Pricing and Availability

The Canon EOS C100 Mark II Digital Video Camera is scheduled to be available at the end of December 2014 for an estimated retail price of $5,499.00.

]]>
The Other http://www.personal-view.com/talks/discussion/11704/the-other Wed, 05 Nov 2014 09:42:49 -0700 andyharris 11704@/talks/discussions Here's a short that Anthony Bert shot with some friends in a single long day (8AM to 8PM)

I did most of the ambient sounds on this, it was as very different workflow to the corporate and tech stuff I usually do:

]]>
100-400mm f/4.5-5.6 L Canon EF IS II USM Lens http://www.personal-view.com/talks/discussion/11746/100-400mm-f4.5-5.6-l-canon-ef-is-ii-usm-lens Tue, 11 Nov 2014 01:55:00 -0700 Vitaliy_Kiselev 11746@/talks/discussions image

Available at:

PR

Canon U.S.A., a leader in digital imaging solutions, today announced the highly anticipated Canon EF 100-400mm f/4.5-5.6L II USM lens, a second generation compact super-telephoto zoom lens featuring significant advancements in optical quality, image stabilization performance up-to-four steps, and rotating-zoom-ring design. This new L-series super- telephoto zoom lens features Canon L-series weather resistance and rugged magnesium housing to meet the needs of wildlife and sports photographers or photojournalists working out in the elements. Fully compatible with all EOS cameras, the EF 100-400mm f/4.5-5.6L II USM features a completely redesigned optical formula containing one Fluorite and one Super UD lens element ─ a combination unique to lenses in this focal range ─ to help deliver sharp images with high resolution and contrast. This combination of elements helps thoroughly suppress chromatic aberration throughout the entire zoom range.

"The Canon EF 100-400mm f/4.5-5.6L II USM is the logical evolution of the very popular EF 100-400mm f/4.5-5.6L IS USM introduced 16 years ago," said Yuichi Ishizuka, President and COO of Canon U.S.A., Inc., "This long awaited, next generation lens was developed to be a highly portable and adaptable telephoto zoom lens for today's modern professional and advanced amateur photographers."

For photographers who want to work as closely as possible to their subjects, the minimum focusing distance of the lens has been reduced to just 3.2 ft. (0.98m), resulting in maximum magnification of 0.31x. The original EF 100-400mm f/4.5-5.6L IS USM was well known for its push-pull zoom adjustment, but the EF 100-400mm f/4.5-5.6L II USM uses a rotation-type zoom ring similar to the one found on the EF 70-300mm f/4-5.6L IS USM lens that allows for more precise adjustments, easier handling, and consistently excellent weight balance during handheld photography. In addition, the lens features an improved zoom torque adjustment ring that allows for the easy setting of zoom tension based on personal shooting preferences. The Canon EF 100-400mm f/4.5-5.6L II USM also features an inner focusing system, a powerful yet quiet Ring USM, a high-speed CPU and optimized auto focus (AF) algorithms for fast and accurate autofocusing in various shooting situations.

The Canon EF 100-400mm f/4.5-5.6L II USM features three Image Stabilization (IS) modes ─ standard, panning, and during exposure only. Each IS mode is individually engineered to help provide outstanding results in a wide variety of shooting situations, and all serve to satisfy the personal preferences of photographers based on the type of IS they desire. The optical IS provides up to four shutter speed steps of correction, increased from 1.5 steps in the previous model*. In addition, the EF 100-400mm f/4.5-5.6L II USM features Canon's newly developed Air Sphere Coating (ASC) which helps to reduce backlit flaring and ghosting significantly, as well as a 9-bladed circular aperture Electro-Magnetic Diaphragm that helps to enhance beautiful, softly blurred backgrounds.

As with all L-series lenses, the Canon EF 100-400mm f/4.5-5.6L II USM is highly resistant to dust and water, with excellent durability in even harsh conditions, ideal for wildlife photographers even in rainforest environments, or sports photographers on the sideline grabbing action shots of the big game. Fluorine coating on the front and rear surfaces of the lens can repel dust particles and water droplets. It also makes smears and fingerprints easy to remove without the use of lens cleaning fluid. Included with the lens is the new ET-83D lens hood, that features a cleverly placed and convenient side window allowing the user to easily adjust specialty filters while the lens hood remains in place. In addition, the EF 100-400mm f/4.5-5.6L II USM is equipped with a newly designed detachable tripod mount which can be removed to reduce weight during handheld operation.

]]>
Canon Cinema 1D, rocking 4K camera http://www.personal-view.com/talks/discussion/2843/canon-cinema-1d-rocking-4k-camera Thu, 12 Apr 2012 09:26:20 -0600 PixCanFly 2843@/talks/discussions image

  • Internal 4K recording, 4:2:2
  • MJPEG compression (8 bit, of course)
  • ISO up to 25,600
  • HDMI connector (Full HD, 4:2:2)
  • Canon Log Gamma
  • 4K only for 24p
  • 24p, 25p, 30p, 50p and 60p in 1080p
  • Fullframe and two crop options - APS-H, Super 35mm

The battle of 4k and RAW begins.

Info from - http://www.cinemaeos.usa.canon.com/products.php?type=Cameras


Available at:


]]>
Canon Cinema EOS C300 topic http://www.personal-view.com/talks/discussion/1350/canon-cinema-eos-c300-topic Thu, 03 Nov 2011 17:56:40 -0600 Vitaliy_Kiselev 1350@/talks/discussions
image

•Single 8.3 megapixel 2160×3840 Super-35 CMOS sensor (4K resolution) with Digic DV III processor
•Canon XF codec (50Mbps 4:2:2 1080p30 MPEG2 MXF) records to two Compact Flash card slots
•Canon Log gamma, SDI, compact body, Custom Presets and menus similar to Canon XF series
•Exposure and focus control are completely manual — there is no AE or AF on either camera
•Sold as a system, incl. LCD monitor / XLR audio unit, side grip, top handle, batt. & charger
•Availability: Jan. 2012; Price: appx. $16,000 USD (for C300)

Canon claims the camera resolves 1,000 TV lines

Links:

http://learn.usa.canon.com/resources/articles/2011/c300_for_cinematographers.shtml?categoryId=22
http://learn.usa.canon.com/resources/articles/2011/understand_log_gamma.shtml?categoryId=22
http://www.thec47.com/gearbox/c300-day.html

Available at:

* http://www.bhphotovideo.com/c/product/839220-REG/Canon_5779B002_C300_Cinema_EOS_Camcorder.html
* http://www.bhphotovideo.com/c/product/839221-REG/Canon_5819B002_EOS_C300_PL_Cinema.html


image

image

image

image

image

Wi-Fi remote control from tablet:

image

Lenses:

image

image





]]>
C-Mount Speed Booster? http://www.personal-view.com/talks/discussion/11668/c-mount-speed-booster Wed, 29 Oct 2014 07:06:52 -0600 Brian202020 11668@/talks/discussions Does anyone know of a way to get a Speed Boosted image from a C-Mount camera? I'd rather use one official Metabones Speed Booster with a second adapter than having it all in one generic Speed Booster adapter, but I'll take all idea's. Metabones currently makes MFT, NEX/E-Mount, and Fuji X Speed Boosters, so ideally I'm looking for one of those mounts to C-Mount. I'm having trouble finding such an adapter. Thanks.

]]>
Canon C500 topic http://www.personal-view.com/talks/discussion/2839/canon-c500-topic Wed, 11 Apr 2012 18:35:29 -0600 leonbeas 2839@/talks/discussions image

image

Links

http://www.cinemaeos.usa.canon.com/products.php?type=Camera-c500
http://cweb.canon.jp/cinema-eos/lineup/digitalcamera/c500/index.html

]]>
Canon Cinema EOS C100 camera topic http://www.personal-view.com/talks/discussion/4402/canon-cinema-eos-c100-camera-topic Wed, 29 Aug 2012 07:10:50 -0600 Vitaliy_Kiselev 4402@/talks/discussions image

  • EF mount
  • S35mm sensor
  • magnesium body
  • 2 XLR audio inputs
  • 24/25/30p and 50/60i (yep, no 50/60p)
  • ND filters
  • ISO 320 – 20.000
  • Canon Cinema Log Gamma
  • AVCHD only small bitrate codec
  • 2 slots for SD-/SDHC-/SDXC- cards
  • AF function is completely absent, could be added via FW in 2013
  • Price $7,999

Available at:


PR

Canon U.S.A., Inc., a leader in digital imaging solutions, continues its commitment to the advancement of tools for visual expression and expand its contribution to cinematic culture with the introduction of the new EOS C500 4K Digital Cinema Camera* and the EOS C100 Digital Video Camera*. The C500 will take its place as the flagship camera model in Canon's Cinema EOS System while the C100 provides another option for beginning filmmakers working on a budget. The C500 is Canon's high-end professional 4K (4096 x 2160-pixel) cinema camera capable of originating uncompressed RAW output for external recording to meet the demands of premium cinematic productions and other top-quality production markets. The C100 digital video camera is a compact, affordable entry-level model delivering full 1920x1080 HD video and integrating the popular AVCHD codec for universal compatibility with laptop and desktop editing systems. The C500 will be available in both EF- and PL-mount versions; while the C100 will be offered in EF mount only and will be compatible with the more than 70 zoom and prime lenses in Canon's EF, EF-S and EF Cinema lens lineups. All products in the Canon Cinema EOS line are engineered to provide exceptional image creation capabilities for professionals in the motion picture, television, and other diverse high-resolution digital production industries.

"We developed the Cinema EOS C500 digital cinema camera to deliver the benefits of full 4K motion capture to Hollywood's premier filmmakers, while the C100 is designed for economical productions that need sophisticated HD capabilities and optical lens diversity. As we said in November of 2011, the C300 was just the beginning to our Cinema EOS system and we now offer a more complete system of imaging solutions with a range of cameras for every level of production," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A., Inc.

The EOS C500 4K digital cinema camera and EOS C100 digital video camera join Canon's Cinema EOS System which includes two other camera models, the EOS C300 digital cinema camera for mainstream HD production and the EOS-1D C 4K Digital SLR cinema camera for 4K and HD filmmakers favoring the SLR form factor. The Cinema EOS System also offers filmmakers optical diversity with seven EF Cinema lens models: the compact and lightweight CN-E15.5-47mm T2.8 L wide-angle cinema zoom and the CN-E30-105mm T2.8 L telephoto cinema zoom (available in EF and PL versions); the CN-E14.5-60mm T2.6 L wide-angle zoom and CN-E30-300mm T2.95-3.7 L telephoto zoom (also available in EF and PL versions); and the CN-E24mm T1.5 L, CN-E50mm T1.3 L, and CN-E85mm T1.3 L prime lenses for EF-mount cameras, in addition to the more than 60 lenses in Canon's EF and EF-S lens lines (which include macro, fisheye, telephoto, and tilt-shift models).

4K, 2K, and Full HD Image Quality

The Canon EOS C500 and C500 PL digital cinema cameras are designed to provide a versatile high-quality 4K imaging solution to high-end productions. High-quality 4K resolution imaging has become the new standard for advanced effects and is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The C500 and C500 PL cameras output 4K resolution to external recorders as a 10-bit uncompressed RAW data stream, as well as offering the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All of these digital image source formats fully conform to established SMPTE production standards. All 4K formats can be selected to operate from one to 60 frames per second. When shooting in 2K, the C500 and C500 PL cameras employ a 12-bit RGB 4:4:4 signal format from one to 60 frames-per-second (fps) as well. For high-speed shooting and slow motion capture the cameras can be set to a 10-bit YCrCb 4:2:2 mode, and can output 4K or 2K video up to 120 fps.

While outputting 4K or 2K video to an external recorder, the Canon EOS C500 and C500 PL digital cinema cameras simultaneously record a 50 Mbps Full HD video file in-camera to the user's choice of one or two CF cards. The 8-bit 4:2:2 in-camera recordings can be used as a proxy for offline editing of 4K projects, and they are also suitable for various projects that do not require 4K resolution. Equipped with Canon's exceptional Super 35mm 8.85-megapixel CMOS sensor, both C500 camera models are compatible with a wide range of interchangeable Canon lenses – the C500 is compatible with EF, EF-S and EF Cinema lenses for Canon SLR cameras, while the C500 PL is compatible with PL-mount EF Cinema lenses and other PL-mount lenses. Highly mobile and compact, the C500 digital cinema camera provides the same ergonomic features as the C300 model, with the exception of a fixed hand grip that incorporates a pair of 3G-SDI ports for 4K video output and another pair of video ports for monitoring purposes. Canon is working with several independent manufacturers of external video recorders to support smooth workflow options, and these recorders are expected to be available by the time the EOS C500 and C500 PL 4K digital cinema cameras ship to authorized dealers later this year.

One-Person Full HD With Automatic Functions

A cost-effective camera solution for a wide range of everyday users, the EOS C100 digital video camera is ideal for many full HD applications such as:

Low-budget television production and independent moviemaking Museums, galleries, and film schools that utilize Full HD video Wedding, corporate and event videography

The EOS C100 digital video camera is approximately 85% of the size of the EOS C300 model, for maximum mobility. Designed for professional operability, the C100 includes a push auto iris function, one-shot auto focus (or full manual focus and exposure control), a multi-angle 3.5-inch LCD control panel, a high-resolution electronic viewfinder (EVF), built-in ND filters, dual XLR inputs, and a locking HDMI output. These features combine with such advanced technologies as reduced rolling shutter artifacts in 60i mode, enhanced gamma modes (including Wide Dynamic Range (DR) Gamma and Canon Log Gamma), cinematic depth of field characteristics, and excellent low-light performance. The C100 records to dual SD cards contributing to the camera's reduced size and convenience.

Like its C300 sibling, the EOS C100 employs Canon's uniquely designed Super 35mm 16:9 CMOS sensor that captures individual R, G, and B channels for each full HD 1920 x 1080 frame. This high-sensitivity CMOS sensor provides creative depth of field capabilities for an excellent "bokeh" effect, and provides an ISO range of from 320 to 20,000, enabling the capture of images in low light with minimal picture noise. The Canon DIGIC DV III image processor in the C100 helps ensure high color fidelity and smooth color gradations. The camera's AVCHD codec utilizes MPEG-4 AVC/H.264 compression similar to the codec used in Canon's XA10 professional HD camcorder. AVCHD features a maximum recording bit rate of 24Mbps in full HD 1920 x 1080 and 4:2:0 color space for sharp, vivid images. Multiple recording modes, resolutions, and frame rates (including 24p) make the C100 creatively flexible for many production environments. The C100 also offers enhanced gamma modes (including Wide DR Gamma and Canon Log Gamma) for a peak dynamic range of 800% and the wide exposure latitude needed for creative post-production image processing, color correction, and contrast manipulation.

Designed for extensive operational versatility, the Canon EOS C100 digital video camera features a mobile core configuration that allows users to flexibly add accessory parts to the main camera body according to their production needs. A removable side-mounted rotating grip with start/stop button and miniature "joystick" menu control provides traditional SLR camera-style operation. A detachable handle unit connects to the top of the C100 and includes dual XLR connectors, a built-in stereo microphone, a bracket for an external microphone, audio-input level adjustments, and a tally light. The C100 records linear PCM two-channel audio or Dolby digital two-channel audio.

In addition to its ability to record to both SD cards simultaneously, or relay-record from one card to the other, the Canon C100 Cinema EOS camera can also output uncompressed digital HD to an external recording device via its locking HDMI connector. This HDMI output includes superimposed time code and 2:3 pull-down marker information. Additional outputs include a USB connector and stereo headphone jack.

Pricing and Availability

The Canon EOS C500 and C500 PL 4K Digital Cinema Cameras are scheduled to be available in October for an estimated list price of $30,000.

The Canon EOS C100 Digital Video Camera is scheduled to be available in November 2012 for an estimated list price of $7,999

]]>
Raw video on Canon 5d Mark 3 and other cameras using liveview framebuffer http://www.personal-view.com/talks/discussion/6823/raw-video-on-canon-5d-mark-3-and-other-cameras-using-liveview-framebuffer- Sat, 27 Apr 2013 02:39:34 -0600 bannedindv 6823@/talks/discussions Some of the Devs at Magic Lantern are discussing the ability to write DNG directly from the LiveView Framebuffer, and it seems its in an alpha stage right now...not up to 24 fps, and not for a long duration...

Could be interesting if nothing else, just the fact that they can make it write DNGs is a pretty crazy start.

http://www.magiclantern.fm/forum/index.php?topic=5240.0


Recommended 1000x cards

Other cards

]]>
50-1000mm T5.0-8.9 CINE-SERVO Canon zoom, small lens below $100000 http://www.personal-view.com/talks/discussion/11575/50-1000mm-t5.0-8.9-cine-servo-canon-zoom-small-lens-below-100000 Fri, 17 Oct 2014 01:52:36 -0600 Vitaliy_Kiselev 11575@/talks/discussions image

With the increasing use of large-format single-sensor 4K cameras for field productions like sports and nature documentaries, Canon U.S.A., Inc., a leader in digital imaging solutions, has introduced the new ultra-telephoto CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens. With the world's longest focal length (75-1500mm with its built-in 1.5x extender) and highest (20x) magnification among Super 35mm zoom lensesi, the new CINE-SERVO zoom lens offers cinematographers new possibilities for shooting scenes in HD, 2K and 4K on single-sensor cameras. The new Canon CINE-SERVO 50-1000mm zoom lens is an ultra-telephoto lens with superb 4K optical performance and a removable Digital Drive unit to accommodate either broadcast or cinema-style production.

"The use of large-sensor 4K cameras is rapidly spreading beyond motion pictures and episodic television, into many new types of productions such as broadcast sports and nature documentaries," said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. "We are proud to deliver a lens with the advanced 4K optical performance, impressive focal range and operational versatility required to serve the creative needs of today's growing community of 4K and UHD image makers."

Available in either EF- or PL-mount, the new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens leverages Canon's decades of expertise in optical design, computer simulation, and advanced glass materials to achieve a balance of ultra-telephoto 4K optical performance and image brightness with a compact form factor of only 15.9 inches in length (PL version) and a weight of just 14.6 pounds. This combination of advantages provides outstanding aberration correction and high image quality extending from the center of the image to all edges. For professional users, this lens enables close-up 4K imaging of wildlife subjects or athletes while maintaining the physical distances necessary in such shooting situations.

Ruggedly built, the durable new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens features a removable Digital Drive unit for traditional EFP-style (electronic field production) operation with a convenient zoom/rocker switch, programmable zoom and focus settings, and data connections for use with broadcast-type field/studio servo-demand controls for zoom and focus. Removal of the drive unit enables Cinema-style operation of the CINE-SERVO 50-1000mm lens, including clearly engraved barrel markings, an 11-blade iris to help achieve smooth "bokeh," and compatibility with lens-support rods, matte boxes, and other cinema accessories.

Lens-Camera Communication

The new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens is compliant with industry-standard camera-to-lens communication protocols to help ensure compatibility and maximum performance with multiple brands and models of 4K, UHD and HD cameras. These standards include 12-pin serial communication (common to major broadcast camera brands), Cooke's /i Technology and Canon EOS-LENS data communication technology (employed by the EOS C500, EOS-1D C, EOS C300 and EOS C100 Cinema cameras). In the case of the Canon Cinema EOS system, precise lens data - including aperture setting - is displayed in the EOS camera's viewfinder, as well as recorded in the video file as metadata along with the model name of the lens and the given focal-length setting.

Broadcast-Style Operation

The new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens integrates advanced broadcast-style operability features that Canon developed as a leading maker of HDTV lenses for major sports coverage, wildlife photography, and ENG (Electronic News Gathering). These features include servo control of focus, zoom, and iris settings via the lens' removable Digital Drive unit. Ergonomically designed for operator comfort, the unit integrates a high-precision, high-resolution 16-bit microprocessor encoder linked to a convenient zoom/rocker switch that provides immediate start-up. This encoder enables camera operators to smoothly zoom at a variety of speeds, from a very fast 1.5 seconds to a very slow 180 seconds from full-wide to full-telephoto. Additionally, the encoder is capable of transmitting accurate analog and serial data for zoom, focus and iris settings through the Drive unit's 20-pin connector, allowing for this lens to be incorporated into most existing virtual imaging systems.

Operators can also manually control focus and iris settings from the drive unit or use it to program focus, zoom position/speed, and iris settings if desired, allowing for precise, repeatable lens operation. A small LCD display on the drive unit displays current settings for operators. Focus can also be adjusted manually by rotating a knurled rubber collar on the lens. Combining both broadcast operability and the accuracy required by cinematographers, the lens features a 180-degree focus rotation angle. With environmental-performance capabilities that stand up to typically unforgiving broadcast sports and wildlife shooting environments, the lens employs a tough, optimal chassis structure, and is weather and shock resistant. In addition to its three 20-pin connectors, the drive unit also has a broadcast-standard 12-pin power connection for remote-control operation. The lens also utilizes 700mA of power.

Cinema-Style Operation

With its Digital Drive unit/hand grip removed, the new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-telephoto Zoom lens provides digital filmmakers with the advantages of its industry-leading 1500mm focal length (with 1.5x extender) and 4K optical performance. Facilitating cinema-style use, lens-barrel markings are clearly engraved in both feet and meters on both sides of the barrel, and focus indicators on the front side of the lens are marked on an inclined surface to make them easy to see from the back of the camera. Additionally, luminous paint is used for the scale display on one side of the barrel to help make the markings visually identifiable in the dark. Both 0.8 type and 0.5 type gear module focus accessories can be used, and gear positions support the use of a follow focus and all other standard electronic accessories. With a 31.4mm image circle, this lens will cover industry standard Super-35mm format sensors.

A red alumite identity color is used for the lens' mount area to indicate conformance with Canon Cinema EOS optical technology's many outstanding features such as support for EOS-LENS data communication. A structure enabling the lens' EF mount to be replaced with a PL mount, or vice versa (electrical system included), is also incorporated. This conversion upgrade can be provided at authorized Canon service centers. The EF and PL versions of the lens are designated CN20x50 IAS H/E1 and CN20x50 IAS H/P1, respectively.

The new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens joins Canon's CINE-SERVO 17-120mm T2.95 lens, CN-E15.5-47mm T2.8 L and CN-E30-105mm T2.8 L Compact Cinema Zoom lenses, CN-E30-300mm T2.95-3.7 L and CN-E14.5-60mm T2.6 L full-size Cinema zooms, and six Cinema prime lenses as a comprehensive Canon family of professional lenses designed to meet a wide variety of 4K single-sensor Super35mm digital production needs. Canon is a leading global lens brand serving photographers, sports producers, broadcasters, and theatrical filmmakers. Earlier this year, the Company celebrated a milestone having produced its 100 millionth EF lens*.

Pricing and Availability

The new Canon CINE-SERVO 50-1000mm T5.0-8.9 Ultra-telephoto Zoom lens is expected to be available in the first quarter of 2015 for a suggested list price of $78,000. For more information about this new lens, please visit the Canon U.S.A. website at:

http://usa.canon.com/cusa/professional/products/lenses/cinema_lenses/.

]]>
Canon 100D, SL1 topic http://www.personal-view.com/talks/discussion/6425/canon-100d-sl1-topic Mon, 18 Mar 2013 03:10:21 -0600 Vitaliy_Kiselev 6425@/talks/discussions Small DSLR will be called EOS-b, accompanied by an 18-55m lens kit and will have $800 price tag.

Camera specs are identical to the T4i and EOS M. Digic 5 image processor, nine-point autofocus system, 3-inch 1.04K dot TFT-LCD touchscreen, four frames-per-second burst shooting, an ISO range from 100 to 12,800 and outdated HD video capture

image

image

Preliminary specifications:

  • 18 million pixel sensor DIGIC5
  • 1.04 million dot 3-inch LCD monitor
  • 4 seconds of continuous shooting frames
  • Full HD video
  • Shutter speed - 30-1/4000
  • Flash synchro - 1/200
  • ISO range - 100-25600
  • AF sensor 9-point, only central is cross
  • Use SD / SDHC / SDXC
  • Battery - LP-E12
  • Weight (body only) - 370g, 407g with battery, memory card.
  • EF -S 18-55mm IS STM kit
  • $650 for body

Available at:

]]>
Aputure m43 Canon EF adapter with aperture adjust http://www.personal-view.com/talks/discussion/11345/aputure-m43-canon-ef-adapter-with-aperture-adjust Sun, 21 Sep 2014 02:14:43 -0600 Vitaliy_Kiselev 11345@/talks/discussions image

image

image

Thanks Igor for photos from Photokina.

]]>
'Moments in Sport' Car Racing film shot on Panasonic GH3 with Canon EF L Primes, Edited FCPX... http://www.personal-view.com/talks/discussion/11300/moments-in-sport-car-racing-film-shot-on-panasonic-gh3-with-canon-ef-l-primes-edited-fcpx... Tue, 16 Sep 2014 05:57:06 -0600 kirk 11300@/talks/discussions

This is my latest short film. Shot on a GH3 with Canon EF L Primes (from my 60D days) and a manual aperture adapter (wish the new speedbooster was out earlier, and wish the GH3 had the focus peaking feature like the GH4 does).

I like the Vivid setting in the GH3, the blacks look good after grading. This wasn't aimed as a cinema production, instead TV with a slight filmic quality!

Few things I would of changed, would have lost the massive DOF to one of my interviews. Broke my lens hood on the Canon 100mm f2.8 IS lens and found I had some casting/refraction on certain shots without it.

Shot by: Kirk Gaydon Panasonic GH3 Canon EF L 24mm Canon EF L 50mm Canon EF L 100mm (IS not usable)

Panasonic GH3 Settings: MOV 72Mbps Vivid -5, -5, -3, -3 1080p50 PAL Shutter 1/100 (on track) 1080p25 PAL Shutter 1/50 (interviews)

Audio: Rode VideoMic Pro

Any thoughs or questions, just ask.

]]>
GH2 pairing with LA7200 - anamorphic test http://www.personal-view.com/talks/discussion/11230/gh2-pairing-with-la7200-anamorphic-test Tue, 09 Sep 2014 07:21:36 -0600 chinyew 11230@/talks/discussions hi, i just made a vimeo channel dedicated to my anamorphic test with LA7200 pairing GH2, with CANON FD lens and speedbooster. Feel free to comment. https://vimeo.com/channels/anamorphictest

]]>
Canon 70D topic, camera with unusual LV AF and sensor http://www.personal-view.com/talks/discussion/7412/canon-70d-topic-camera-with-unusual-lv-af-and-sensor Tue, 02 Jul 2013 02:25:13 -0600 Vitaliy_Kiselev 7412@/talks/discussions image

Specs

  • 20.2Mp APS-C sensor
  • DIGIC 5+ LSI
  • ISO 100-12800
  • 7fps
  • Silent shutter mode
  • Video - 1080p ALL-I or IPB 30p/25p/24p
  • and 720p ALL-Ior IPB 60p/50p,
  • External mic socket
  • 19-point AF system, all points cross-type, sensitive to -0.5 EV
  • 63-zone iFCL metering system
  • 98% viewfinder coverage, 0.95x magnification, switchable gridlines and electronic level display
  • Articulated 1040k 3" LCD
  • SDHC card slot
  • Wi-Fi
  • Single-axis electronic level (sic!)
  • AF microadjustment (ouch :-) )
  • In-camera HDR
  • Sealed body
  • Weight - 755g
  • Dimensions - 139x104 x79mm
  • Price - $1200 for body, $1350 for kit.

Hand ons and previews

Available at

Videos

]]>
Canon EOS T5 1200D topic http://www.personal-view.com/talks/discussion/9595/canon-eos-t5-1200d-topic Tue, 11 Feb 2014 22:15:06 -0700 Vitaliy_Kiselev 9595@/talks/discussions image

Specs:

  • Old 18Mp sensor
  • Old DIGIC 4 LSI
  • Old 460k screen
  • 3fps max speed
  • only 9 AF points
  • $550

Previews:


Available at:

]]>
Canon Vixia / Legria Mini http://www.personal-view.com/talks/discussion/7639/canon-vixia-legria-mini Wed, 31 Jul 2013 05:35:16 -0600 Vitaliy_Kiselev 7639@/talks/discussions image

  • Full HD video
  • 12.8Mp CMOS image sensor
  • 2.7" screen
  • Wi-Fi with build in DNLA support

More info at http://www.usa.canon.com/vixiamini

]]>
Canon EOS 700D, T5i topic http://www.personal-view.com/talks/discussion/6455/canon-eos-700d-t5i-topic Thu, 21 Mar 2013 01:29:36 -0600 Vitaliy_Kiselev 6455@/talks/discussions image

image

Specifications:

  • 18.00 Megapixels CMOS sensor
  • Phase-detection AF for Live View and Video
  • Continuous autofocus in movie mode with subject tracking
  • 3" LCD touch capacitive screen
  • new 18-55mm f/3.5-5.6 IS STM kit lens
  • 1920 x 1080 (30, 25, 24 fps), 1280 x 720 (60, 50 fps), 640 x 480 (30, 25 fps) video, nothing new
  • 132 x 99 x 79 mm
  • 580g
  • $750 for body

Previews:


Available at:

]]>
58mm f/1.2 Nikon "Noct-Nikkor", re-birth of the legend to come http://www.personal-view.com/talks/discussion/5891/58mm-f1.2-nikon-noct-nikkor-re-birth-of-the-legend-to-come Thu, 24 Jan 2013 08:09:06 -0700 tetakpatak 5891@/talks/discussions Good news for low-light videographers and photographers:
Nikon's optical wizzards have lately obviously been quite busy with creation of the successor for legendary "Noct-Nikkor" lens. After endless rumors and over 15 years of waiting, it seems to finally enter its final stage these days.

Late in 2012 two different patents by Nikon have been filed in Japan (numbers 2012-230133 and 2012-230340) for a new 58mm f/1.2 lens:
* Patent release date: November 22, 2012
* Patent filing date: April 4, 2011
* Focal length: 58.0220mm
* Aperture: 1.210
* Half angle of view: 20.81°
* Image height: 21.6mm
* Lens length: 108.8935mm
* Back focus: 38.0120mm

]]>
40mm F2.8 Canon STM Pancake http://www.personal-view.com/talks/discussion/3500/40mm-f2.8-canon-stm-pancake Thu, 07 Jun 2012 17:20:52 -0600 Vitaliy_Kiselev 3500@/talks/discussions

image

  • Lens Construction: 4 group 6 pieces
  • Closest focusing distance: 0.3m
  • The maximum magnification ratio: 0.18-fold
  • Filter diameter: 52mm
  • The maximum diameter: 68.2mm
  • Length: 22.8mm
  • Weight: About 130g
  • Price: $199

image

MTF:

image


Available at:


Previews and reviews:

]]>
Indie Wedding Video | Canon 5D Mark III http://www.personal-view.com/talks/discussion/11042/indie-wedding-video-canon-5d-mark-iii Thu, 14 Aug 2014 07:33:28 -0600 Blancblue 11042@/talks/discussions

LOCATION: Kulturgut Wrechen DATE: 10.8.2013 EQUIPMENT: Canon 5D Mark III | Canon 35 2.0 IS | Canon 50 1.4 | Canon 70-200 2.8 IS II | Canon 100 2.8 Makro | Canon 85 1.8 | Tamron 24-70 2.8 | Tokina 11-16 2.8 | Panasonic GH2 | Olympus 12 2.0 | Voigtländer Nokton 25 0.95 mft, | Manfrotto Stativ | Manfrotto Einbein | Eightline Slilder | China LED Kopflicht | Edelkrone Followfocus | Edelkrone Pocketrig | Genius Eclipse Varia ND EDITING + GRADING: Final Cut Pro 10.1 MUSIC: Youth Lagoon - Afternoon (itunes.apple.com/de/artist/youth-lagoon/id457870121)

Any Feedback welcome!

]]>
Canon Powershot N, camera your girls need http://www.personal-view.com/talks/discussion/5711/canon-powershot-n-camera-your-girls-need Tue, 08 Jan 2013 05:31:07 -0700 Vitaliy_Kiselev 5711@/talks/discussions image

image

Specifications:

  • Good enough for your girl
  • Also designed like fingers trainer for your girl (no pressing - just gently turn, like in life).

Available at:

Links:


]]>
Canon G1X Mark II, a 1.5" sensor RX10 competitor http://www.personal-view.com/talks/discussion/9594/canon-g1x-mark-ii-a-1.5-sensor-rx10-competitor Tue, 11 Feb 2014 21:49:23 -0700 imdjay 9594@/talks/discussions image

Specs:

  • Large 1.5-type Canon CMOS sensor
  • 12.8 Megapixel images (3:2) and multi-aspect shooting
  • Fast f/2 aperture and a max ISO 12,800
  • Ultra-wide 24mm, 5x zoom lens
  • DIGIC 6 processing and Intelligent IS
  • 31-point AiAF and MF Peaking
  • Dual Control Rings and touch-screen operation
  • Wi-Fi with remote shooting and Image Sync
  • Optional electronic viewfinder
  • 14-bit RAW
  • $799 price

The Canon PowerShot G1 X Mark II raises performance and quality to new heights in a compact, brilliant design. Featuring a huge, 1.5-inch 12.8 Megapixel High-Sensitivity CMOS sensor, a powerful DIGIC 6 Image Processor and an all-new 5x wide-angle optical zoom lens with Optical Image Stabilizer and a circular, 9-blade aperture for stunning blurred backgrounds, the PowerShot G1 X Mark II delivers the outstanding image quality you would expect with a digital SLR camera but in a portable, Wi-Fi and NFC enabled package.

Canon 1.5-inch, 12.8 Megapixel High-Sensitivity CMOS Sensor
Almost as large as the APS-C CMOS sensor found in many EOS digital SLRs, and bigger than those found in 4/3 system cameras, the PowerShot G1 X Mark II's sensor sets the standard for sensitivity and resolving power in compact cameras. Each cell area is 4.5x the size of those found in 1/1.7 type sensors and is thus able to capture more light at the pixel level. This means better detail, even at higher ISOs, with minimal noise and distortion and, thanks to the sensor's wide cell pitch, breathtaking dynamic range. The PowerShot G1 X Mark II camera natively captures images in the 3:2 aspect ratio, which is the same as Canon EOS SLR cameras. The PowerShot G1 X Mark II also features a new Aspect Ratio function, enabling RAW image capturein both 3:2 and 4:3 aspect ratios while maintaining the same angle of view.

Previews:


Available at:

]]>
Does the camera really make a difference? http://www.personal-view.com/talks/discussion/10953/does-the-camera-really-make-a-difference Sat, 02 Aug 2014 09:28:20 -0600 mpgxsvcd 10953@/talks/discussions So we all like to talk about what camera is better and what features are must haves to make are content stand out from all of the rest. However, do we really know what matters and what doesn't? Do we really know how much dynamic range we need? Do we really know if 4K will make a difference?

I recently had a chance to shoot video at the US Youth Sport Climbing Nationals along with several other people. Myself and one of the competitors were just shooting handheld home movie style for our own highlights videos. However, there was a crew there who was hired to shoot the official Highlights video. Since there are so many climbers not much was overlapped between all of our videos.

I used my GH4 mostly but I always had the GH3 running as a backup with a wide angle lens in case I missed something. The other person was using a Canon T5i and the camera crew had full frame Canon cameras with rigs and stabilizers.

It is pretty obvious that the extra time the camera crew put in for editing paid off. The overall editing of their video is what they really get paid for. However, I was really surprised at how different the Canon video looks to the Panasonic video. Even on youtube you can see that the extra bit rate that the original file has shines through. You can also see that the Canon cameras consistently clip the highlights in almost every scene. The GH4 only clips it in the scenes with direct sunlight shining through the windows.

The video in my file was completely ungraded. It is straight out of the camera and just pieced together with the music. I started out shooting 4K @ 30 FPS because I wanted to see if the extra resolution would allow me to do image stabilization in post processing. I quickly realized that while the extra resolution is a plus the slower Auto Focus was a HUGE minus. With these shots the kids are moving constantly and changing direction during falls.

You can see in the T5i video how often the focus goes out and comes back in. You really need good AFF for this type of video. Therefore, I switched to 1080p @ 60 FPS with a 1/120 shutter duration and 1080p @ 96 FPS for slow motion.

I liked the fact that I could do super slow motion with the 96 FPS footage. However, there is a severe resolution drop when using that 1080p mode. In the end I found out that the 1080p @ 60 FPS mode really is the most versatile. It simply never loses focus and it still has significantly more resolution than any of the Canon cameras. It also retains all of the highlights in creative movie mode with the Cinema D setting.

So what do you guys think? Everyone complains about the Panasonic cameras having 13 stops vs. 14 stops, or the lack of All-I for 4K, or the rolling shutter not being fast enough. Does that really matter? Isn't the significant resolution difference and compression artifacts of the Canon cameras a much bigger issue? Yet the professionals still shoot with the Canon cameras and get paid for it.

So what do you like about the videos below and what do you dislike? I for one love the shallow depth of field of the larger sensor cameras. Even the mighty 35-100mm F2.8 doesn't give me the depth of field I would want on the GH4. However, I wouldn't trade that for the lack of resolution.

Videos:

Amateur T5i video. Remember to select 1080p in the youtube player for highest quality.

Amateur GH4 and GH3 video. Mostly 1080p @ 60 FPS, with some 1080p @ 96 FPS, and 4K @ 30 FPS. Remember to select 1440p for highest quality.

Amateur GH4 video. Almost all 1080p @ 60 FPS. Remember to select 1440p in the youtube player for highest quality.

Professional Canon full frame video(I think. Could be APSC as well). Remember to select 1080p in the youtube player for highest quality.

]]>
FS : Canon FD 50mm f/1.4 | FD 135mm f/2.8 | Hoya FD 35-105mm f/3.5 http://www.personal-view.com/talks/discussion/10712/fs-canon-fd-50mm-f1.4-fd-135mm-f2.8-hoya-fd-35-105mm-f3.5 Wed, 02 Jul 2014 12:01:42 -0600 Sph1nxster 10712@/talks/discussions All items based in UK. Lenses sold seperately will be individually priced for postage. If all three are bought together then Free P&P applies.

All in excellent condition and fully functional focus and aperture rings. I have all the front lens caps but do not have all the back caps, I have two but i would fit an MFT adaptor and cap to the last one sold. Blades operate smoothly and IQ on the primes is excellent. The Hoya is not a sharp lens but has an unusual look to it.

Can be sold with FD to MFT mounts (2 x)

Canon FD 50mm f/1.4 = £40 Canon FD 135mm f/2.8 = £50 Hoya FD 35-105mm f/3.5 = £25

All three for £105 with free P&P

PM for more details

]]>
Birger Engineering still exist? http://www.personal-view.com/talks/discussion/10888/birger-engineering-still-exist- Sat, 26 Jul 2014 05:12:08 -0600 elementalracer 10888@/talks/discussions Does anyone here know if Birger Engineering still exists? Their website looks like it hasn't been updated in over a year. I have a Birger Canon EF mount for a RED ONE that needs to be serviced and I'm not sure where to send it off to? I sent them an email just to try but I have yet hear back from them.

Anyone out there happen to have any dealings with them recently? Or possibly know of another place one could send a lens mount like this to get repaired?

Thanks guys!

]]>
Our first documentary filmed with Nikon D5300, D5200 and Canon 5D Mark II http://www.personal-view.com/talks/discussion/10814/-our-first-documentary-filmed-with-nikon-d5300-d5200-and-canon-5d-mark-ii Wed, 16 Jul 2014 13:27:47 -0600 Zilvinas 10814@/talks/discussions Here is our first documentary, presented at the Sundance Institute Short Film Challenge. Filmed with Nikon D5300, D5200 and Canon 5D Mark II.

]]>
GH3 short with slowmotion: In My Backyard http://www.personal-view.com/talks/discussion/10790/gh3-short-with-slowmotion-in-my-backyard Mon, 14 Jul 2014 07:16:17 -0600 JulienMisc 10790@/talks/discussions

First try shooting FMX, not very easy ... Happy by the way, a nice afternoon in my big friend Julien's backyard. Goog vibes and atomic riding from a passionate guy. Go on dude, you're on the right way ;-)

Shot & Edit: Julien Miscischia Camera: Panasonic GH3 Codec: MOV 50mbps IPB 1080@50 PAL Lenses: Olympus 45mm 1.8, Panasonic 14-42mm OIS kit lens, Canon FD 35-105mm 3.5, Helios 135mm 2.8 with Fader ND Profile: Natrual -5,-5, 0, -5 Edit and grade: Premiere Pro CS6, After Effect CS6, FilmConvert

Music: Sleepless (Fakear remix) soundcloud.com/fakear/sleepless-fakear-remix soundcloud.com/fakear

Comments are welcome

]]>