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Well, first, the 105A is not the U.S. model (that's the AF100A, not 105), so if you reside in the U.S.A., then you don't have a warranty on it. Second, are you sure it is the 105A? Does it have that...

Yeah, that's true. You can almost duplicate the work of any plugin in the "vanilla" software, but then it becomes how much your time is worth to you to not have to fool with it, which is a good point...

Which is why I ended my original comment with, "Unless you don't care about getting distribution later." If you don't care about that, then, yes, that combination is acceptable.

It's pretty damn close I'd say. Except for the people dying part...unless of embarassment because they hate the way they look on-camera!

Here's the problem...even when you have everything set up properly, the audio in the T4i will still sound crappy. It's just the nature of the beast. I use the Sescom cable all the time...there's...

You have eyes, you see content. You don't have the taste to discern the difference between a GoPro and a T2i with an L series lens, so I'm not sure what you mean by "enlightening" you. From the rest...

Here's the problem I have with it...it doesn't seem to anything that a solid pass in a color correction plugin (Colorista II for instance) or software (Resolve for instance) could do...and adding...

You say, "Yes!" because that's one less person to compete with! :evil:

Weren't you people all geeking out about removing the OLPF from the 5D Mark III last year? This is why it's there in the first place.

Of course not, which is why there'll be scenes with audio that sounds marginally better than what you get from the internal mic, which will, in turn, cause any potential distributor to pass, thus the...

Yes, hopefully he/she still lives at home paying the bills, because otherwise they'll be working a lot of days out of a month for no money using expensive gear.

Hire someone who knows audio and has good gear...whatever the cost. Unless you don't care about getting distribution later.

ML is still in alpha on that body. It was only recently cracked.

Granted...but it's geared towards video, while the newer DiGiCs in the DSLRs are geared towards photo (hence the DV in the designation).

This is not an example of a DSLR doing "way" more than a traditional video camera. This is an example of a design being easier for you to deal with on one camera body vs another.



This is stil...

Yes, please continue shooting backyard nature videography and leave those BMCC users to their paid projects.

Perhaps if it turns out that the 10-bit out eliminated banding, that and the expanded focus function might be worth the extra to someone looking to get one.

If you truly believe this, then you have no taste.

Do you have examples? And what's the specific difference with the 4:2:2 color space?

In what way specifically?

I'd be really curious to hear about this too...like, how different is it on a recorder? Does it simply help alleviate banding?

What NLE are you using? If you're using Premiere, then I don't think you're going to see any difference at all besides the size difference. Premiere up-converts footage to 32-bit and 4:4:4 sampling.

I agree, but it's the only "post process" one can do to fix this is render it out into a different file format or tell the client to watch it in something else.

I had some severe banding in a clip...

It should be fine. Make it RAID 1, and use either eSATA (ideal) or FW800 (not great, but doable).

This wouldn't happen to be an exercise video, would it? Because if it is, I wouldn't use a lav.