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Other cast members includes Ken Gibbel as an abusive orderly,[17] Robert Winley, Ron Young, Charles Robert Brown, and Pete Schrum as men who confront the T-800 in a biker bar, Abdul Salaam El Razzac as Gibbons, a Cyberdyne guard, and Dean Norris as the SWAT team leader.[13][14] Michael Edwards portrays the John Connor of 2029 and Hamilton's infant son Dalton Abbott portrays John in a dream sequence.[5][13][18] Co-writer William Wisher cameos as a man photographing the T-800 in the mall,[19] and Michael Biehn reprises his role as resistance soldier Kyle Reese in scenes that were removed from the theatrical release.[20]

Schwarzenegger, aware Hemdale was experiencing financial difficulties, convinced Carolco Pictures to purchase the film rights to The Terminator, having worked with the independent film studio on the big-budget science fiction film Total Recall (1990).[4][25][26] Owner Mario Kassar described the rights acquisition as the most difficult deal Carolco ever conducted. He accepted a $10 million offer for Hemdale's share, considering it a sum fabricated to ward him off, and paid Hurd $5 million for her share. Prior to development, the total cost of the acquisition rose to $17 million after factoring in incidental costs.[4][26][27]

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Kassar told Cameron that in order to recoup his investment, the film would proceed with or without him, and offered Cameron $6 million to be involved and write the script.[4] The film would become a collaboration between several production studios: Carolco, Le Studio Canal+, Cameron's Lightstorm Entertainment, and Hurd's Pacific Western Productions.[d] The studio also had an existing U.S. distribution deal with TriStar Pictures,[26][32] which stipulated that the film be ready for release by May 27, 1991, Memorial Day.[33]

Wisher developed the first half of the treatment at Cameron's home over the course of four weeks, while Cameron worked on the latter half.[33][34][37] Many pages were removed, including a "convoluted" subplot about Dyson, and a massacre of a camp of survivalists helping Sarah. Cameron, who did not consider the budget while writing, had to cut some elaborate scenes, including a nine-minute opening that showed a time travel machine being used in 2029.[e] Wisher and Cameron also frequently conferred with special-effects studio Industrial Light & Magic (ILM) to determine which ideas were achievable.[33]

The production ran until about two days before the film's theatrical release. Delays were mainly caused by the rendering of shots at Consolidated Film Industries, the most difficult of which was the T-1000's death. Co-producer Stephanie Austin said the production crew worked twenty-four-hour shifts and slept on site. The 137 minute long release print was delivered to theaters the night before its release.[33][84] There were two private pre-release screenings: one for family, friends, and crew at Skywalker Ranch and another in Los Angeles for studio executives. Austin said, "People were stamping their feet and clapping for ten or fifteen minutes", at which point the crew knew they had succeeded.[33] During test screenings the ending was well received, and was described as a "touching" favorite scene.[4]

The summer theatrical season, spanning from mid-May to early September, was anticipated to witness strong competition among studios. Fifty-five films were slated for release compared to thirty-seven in 1990. Release dates underwent frequent changes as studios aimed to evade direct competition and optimize their films' chances of success to compensate for the 20% increase in film production costs since 1990. This increase was partly attributed to hefty salaries demanded by stars who also claimed a portion of the film's profits. Moreover, revenues from box-office receipts, video sales, and television-network deals were on the decline.[104][105] Films scheduled for release included City Slickers, The Naked Gun 2: The Smell of Fear, Only the Lonely, Hudson Hawk, The Rocketeer, What About Bob?, and Point Break. Terminator 2 was among the films expected to do well, along with Backdraft, Dying Young, and the year's predicted top film Robin Hood: Prince of Thieves. It was also seen as having strong international appeal.[105][106][107] An unnamed studio executive said audiences were seeking escapist entertainment such as comedy or action, and avoiding films about less-positive subject matter.[108]

Furlong became a highly sought after actor and Patrick found dealing with his new-found recognition difficult as people asked him to impersonate the T-1000.[4] Despite the film's success, Carolco reported 1991 losses of $265.1 million, which was caused by the financial problems of its other films and subsidiaries. Support from investors failed to prevent the studio filing for bankruptcy in 1995 and its assets, including Terminator 2, were sold to Canal Plus for $58 million.[ad]

The Canon EOS R6 II is a 24MP full-frame camera aimed at enthusiast photographers and video shooters. It may look identical to its predecessor on the outside, but it gains useful new features for stills and video while providing a refined shooting experience.

When photographing people, the camera can now be set to focus on either the left or right eye or to select the closest eye automatically. For more control, it's possible to set a custom button to toggle back and forth between either eye manually.

However, the addition that may prove most useful is a new 'auto' mode for subject recognition and tracking. Instead of pre-selecting your subject mode, auto combines all the subject-specific modes and attempts to apply the best algorithm based on the detected subject. This can significantly simplify the shooting workflow when photographing mixed subjects.

When shooting a burst of Raw images, the camera groups the entire set of photos together and presents itself in playback mode under a single thumbnail image with a special icon. You can then browse the series of images from a single burst, similar to how you browse a group of burst images on many smartphones, and select the best shot(s) from each sequence to save.

The R6 II also shares one feature with the R6 that's historically reserved for Canon's more pro-oriented bodies: the 'Rate' button on the top left shoulder. It can apply star ratings in the field while reviewing images in playback mode, which are readable by most photo editing software.

Many of the improvements to this camera come from improved workflows for stills or video. For example, the Raw burst mode has the potential to be a real time saver. The ability to step through each burst, smartphone-style, and pick one or two keepers from each sequence while planted in an airplane seat is appealing. Similarly, the ability to pre-buffer photos before pressing the shutter button, as other camera systems can do, can be a huge help when things are about to move quickly.

The JPEG color response$(document).ready(function() { $("#icl-5638--1559725586").click(function() { ImageComparisonWidgetLink(5638); }); }) is the usual attractive Canon output, with fairly saturated blues and greens, rich caucasian skintones and yellows that lean slightly towards the orange, rather than green. This translates to very likeable photos in most situations.

We checked both the rolling shutter rate and the impact on dynamic range of engaging the camera's high speed e-shutter modes. In terms of rolling shutter, we measured it as 18ms (1/56 sec). This isn't especially fast when compared to the likes of the Sony a9 (1/150 sec), but it's quick enough that even fairly fast-moving subjects shouldn't be too heavily distorted if they move across the frame as you take a photo. We wouldn't recommend using the EOS R6 II's 40fps mode for close-up motorsports or golf-swing analysis, though.

The canon r6 and the mk II variant are wonderful cameras, and whilst they might be considered enthusiasts cameras they are totally fine professionally as well, making great back up bodies to the R5 etc, excellent for social photography, weddings Etc.

And although we tend to perhaps look down on 20 megapixels, not so long ago everyone seemed happy enough with the Nikon D3 with only 12mp.

Do all these AF tracking modes really help? Canon seems to be the first to accept that it just might be possible that a photo shoot could include multiple subject types on the fly. Does it require a menu setting to change or a dial with lcd indication? Does the EVF hold its resolution at time of focus or do the Sony trick of dropping resolution?

Bitter to the very end eh Mike.

I'm sure there are some anti Canon sites that will welcome you with open arms. Meanwhile I'll be happily snapping photos.

Kandid will be happy as long as any new site embraces emoji's :)

Who the evil corporation is changes depending on who you talk to & when. Ask biomedical engineers in the early 2000's about the borg (GE), or DPR readers today about Amazon.

Also for context, although I don't know much about CIGS I did find this article on the front page of their website when I searched a few minutes ago. It's a good read. _6720.html

Have you actually read any of the articles on the site, or are you just parroting what others have said.

Also the petapixel article cites a photo comp that their article says had "more than 180 entries". That's not a lot, where are all of the other anti-canon photogs, striving for a better world?

BTW, I'm in Japan at the moment. Lovely place, will be popping by Akihabara to look for some good deals on Canon products sometime next week.

Just arrived in Tokyo. Staying in Akihabara, so looking forward to checking out the camera stores around here, sometime in the next few days & seeing if the R8 is in stock (not available yet in Indonesia) and / or if there are any good deals on an R6 now that the R6ii is out.

In the mean time my trusty RP has gotten me some really nice photos in Osaka & Kyoto. be457b7860