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Canon announces Canon EF 24-70 F/2.8L II USM, plus EF 24mm F/2.8 and the EF 28mm F/2.8
Yesterday morning I posted a link to a rumor about the new Canon EF 24-70, and then Canon goes and actually announces it that day, along with a 24mm F/2.8 IS USM and a 28mm F/2.8 IS USM. The latter two include IS which, according to Canon, "combats motion blur by four stops."

In addition to a redesigned optical system - and it does have an 82mm filter thread - the mechanical structure of the 24-70 lens has been improved to offer enhanced zoom durability and greater shake and shock resistance. This is an interesting change, as according to an article I read about lens reliability, the current 24-70 was susceptible to early wear and tear compared to other Canon lenses.

B & H is already taking preorders at $2,299, which makes the current model $1,000 cheaper. I really wonder if the EF 24-70 F/2.8L II is worth that $1,000.

Pop Photo: New Gear: Canon EF 24-70 F/2.8L II USM and Two Wide-Angle Primes With IS
CanonRumors: Canon EF 24-70 f/2.8L II Announced



Sony FS100 & Zeiss Lenses a Perfect Match | Den Lennie | Blog
Den explains why he's getting rid of most of his Canon glass and replacing it with Zeiss to use with his Sony NEX-FS100. It's not just because of the lack of an aperture ring, though that is a big reason:
Then I did a shoot with Robin Schmidt and he has a set of Zeiss Contax and I really enjoyed using them. It's like having a set of cinema lenses and working to a fixed focal length discipline is very enjoyable because you work within set parameters of field of view.


Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switch
| Scott Simmons | ProVideoCoalition
Interesting follow-up on Bunim/Murray’s switch away from Final Cut Pro:
Pro Video Coalition: One question that many might be wondering is why not move Bunim/Murray to Final Cut Pro X?
Mark Raudonis: [...] Everything is SAN based, and a collaborative workflow is a central part of our creative process. After much testing, we concluded that FCP-X was not going to allow us to maintain the efficient workflows that we had developed over the years with FCP legacy.


FCPX and Making the Right NLE Decision for YOUR Business | Ron Dawson
| Dare Dreamer
And if you're thinking of switching yourself, here's some things to think about first:
Come Up with 3 or More Options. Consider at least three options seriously. Don’t just jump to any one program because that’s what most people may be doing. Remember, you’re making the choice that’s right for you. Based on your business plans, you may find another program is a much better fit for your business. But you won’t know that unless you look into them.


Want To Know UK’s TV Programme Delivery by Digital File Requirements
| Cinescopophilia
The specs for delivering video:
The Digital Production Partnership DPP is a partnership between British television networks ITV, Channel 4, Sky, Channel Five, S4C, UKTV and the BBC and has unveiled its new Technical and Metadata Standards for File-based programme delivery for the UK and International broadcast television markets.


Shoot Notes | Sam Morgan Moore | DSLR 4 Real
Sam breaks down a scene, cut by cut:
Experienced video shooters can probably skip this post but if you come from stills you might be interested..
'Physical Chess' is a little piece I made for fun, I hope it stands alone as a film or report or something
Thats kind of a first for me - pulling all the strings together, begining midde end, audio, picture..


Episode 41: Owning, Renting, and Selling Gear | DSLR VIdeo Shooter
Should you buy or should you rent? This video presents some thoughts:
  • Opportunity Cost – Understand that everything has an alternative cost.
  • Buying – Figure out what you use for every shoot.
  • Renting – Rent for those special gigs that require kit you don’t usually need.
  • Selling – Get rid of the gear you haven’t used in the last 6 months.





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