Canon Latest Professional Digital Cameras

There is no better screen protector available anywhere for professional digital cameras. I installed this on my new Canon 5D IV and the touchscreen continues to function flawlessly. It goes on with ease and you will be the only one to know it's there. Absolutely perfect!

There are always those times, particularly in professional audio after we switch everything over to the latest and greatest, when we wish we could still make use of that old gear that seems no longer compatible, and that seems to have no replacement! And then of course we don't want to go through a lot of audio converters after we already have exactly what we want in the digital domain... So, welcome to the world of format converters! I found this little box to be extremely handy interfacing COAX/SPDIF outboard gear back to the DAW, either through sample rate converters or directly to an AES/EBU digital interface. In our particular case we use an RME ADI-192 DD to downsample digital output from Pro Tools HD for use by, let's say an old PCM-80 or a couple of Kurzweil Rumours. This drives the cables in both directions with perfect synchronization, no digital clicks or pops, and everything stays squeaky-clean without the need to worry about the length of the cable runs, etc. It's a unit you can trust, but buying a few copies WILL run you some change...

Can't say enough about all the benefits of this camera body. Came from film cameras (D5 latest) to digital (D200, D700, D750, D850). TZhe D850 is supreme!!!!

A must have for all the latest Sony cameras

I have been using Canon DSLR cameras since the 10D, and I have continually upgraded to the latest. I always use a battery grip and for years exclusively the Canon grip. Up to several years ago I purchased the Vello grip for a 7D, Mark III and a 6D. I was hesitant at first but having the Vello for a good 3 plus years now, there is no difference. The build is the same and feels solid and secure like Canon but half the price. With this brand I see no reason to spend double for the essentially the same thing. I never buy third party equipment but this is one is an exception.

As a professional cameraman, I have been using these Sony Digital Master HDV tapes for about 10 years for commercials and web videos. I have about 600 in my tape vault, all shot on my Sony Z1U and FX1 cameras. The tapes are extremely dependable. Amazingly, in all these years I've only seen a few momentary drop-outs, and I have never lost a scene to tape damage. These days I use my HDV cameras for second or third cameras on many shoots, or when I need a special look such as low shutter speed. I am very glad that Sony continues to make this tape, and that B&H continues to sell them.

While digital technologies continue to be perfected with professional camera use and their widespread applications, the latest Sony RX1RII fixed Zeiss lens camera (other cameras allow long-lens variants) exceeds expectations, especially when printing work on a large scale (with the Epson Stylus Pro 9900). While some relatively minor imperfections exist as with all cameras that professionals adjust to, the expansive quality of color, remarkable low-light resolution, extraordinary image quality and virtual unlimited visual potentials provide challenges that move into unchartered territory for artists (see attached site-specific photographic installation of 112x152cm prints). The most problematic issue is not Sony's: Adobe Photoshop has abandoned the long supporting professional community by not making a plug-in for this camera's RAW files (ARW in Sony terms). Two alternatives: 1) join the CC monthly feed of Adobe Photoshop (APS), abandoning the experienced professional use of all former Photoshop versions, or 2) for 99$ purchase the most basic APS Elements software that notes the Sony RX1RII RAW files are supported, at least noted in Elements literature. What a way to treat loyal professionals and Sony over the years, claiming that CC is better without meaningful details justifying the obvious money first, customer second policy for purchasing the CC version. Not mentioning inevitable future rises in CC prices, non-copyright protections in-Cloud, and not allowing printing in your studio with your own APS, even when CC RAW is tiff converted. Sony's RX1RII with Zeiss lens and its internal digital processor chip is remarkable for what the eye can see (numerous professional digital cameras now exceed what can be seen without mention), even with the rare if not unprecedented 600$ additional cost recently by Sony.

I've had 10 different digital cameras. I've done professional video and stills throughout my working life. My G9II (and Gh6) is the best camera I've ever used. The AF on the G9II for BIF and sports is extremely good. The video is a professional grade documentary or B roll cinema camera. Pair it with Panasonic PL grade lenses and it becomes a tool with which you can do your best work. The handheld hires is amazing.

I have 1 for each of my 4 digital cameras because they are the do everything lens.

IS EXCELLENT, PROFESSIONAL CATEGORY FOR LIGHTWEIGHT CAMERAS. FOR CANON 5D EXCELLENT