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Hello guys, I'm creating this post to share something I did for myself to help me understand the difference between the original aspect ratio and end aspect ratio after de-squeeze with the different anamorphic lenses. Maybe it will be helpful for someone else. You can download it for mac of pc here http://www.sandrobrt.com/ratio-comparison-tool

I actually find the colour from my C100 to be missing just a little something. So today I shot some colour charts with my Fuji XT10 and matched them to those shot with my c100 and created a LUT, which I am happy to share with you guys. There are plenty of LUTs out there, as well as plugins like FilmConvert but they often change the feeling of the image a bit too much. I just wanted something that would improve the colour a little. I shot the colour charts with all the different colour profiles but the results didn't really change much. I have attached two files. I'd recommend using the Provia one most of the time. The Chrome one is just slightly different. It would be interesting to hear how this LUT affects footage from other cameras too. Provia.cube Chrome.cube Raw (Cinema profile): FilmConvert Provia: My LUT: Raw (Cinema profile): Quick grade (curves + saturation): My LUT: Raw (Wide Dynamic Range profile): Impulz Fuji Pro LOG: My LUT:

I don't know maybe we'd be better communicating through fridge magnets?

Grain - free DL: http://www.vision-color.com/free-stuff/

So a filter is like a funnel.

I'll shoot something for you tomorrow.

I am really pleased to say the video quality of the X Pro 2 is seriously impressive. It's not 4K but it's enormously satisfying, sharp and detailed. What's great is that now we can finally shoot moving images with Fuji's superb film-like colour science, without having to worry about image quality. Read the full article

Someone on this forum mentioned a podcast I hadn't heard of called "The Wandering DP" and it happened to recently feature Katelin Arizmendi, who's work I've come to admire in the last few months. On it, she says that she's not a fan of the black pro-mist filters, which I can agree with after having used them not long ago. Instead she uses Ultra Contrast filters. Sometimes strengths 1 and 2 stacked together.

I say no, not really. Even Michael Bay is making his jingoistic movie. If one is not creating something with perspective and passion, then it's just craft. Which is fine for some things, not so much for others. And if you want to do something artistic, you need that. Even unsophisticated passion interesting. Isn't the opposite rather boring? It's like looking at a Norman Rockwell painting or a Thomas Kinkade. I think the reason that so many movies have a progressive political slant is simply because storytelling artist tend to be a more empathetic lot. One has to be to willing and able to create characters with "truth" to them. It's easier to get there if you project your feelings and emotions, rightly or wrongly. But whatever. I don't mind navigating the ideological minefield. It's part of what makes life interesting. If you want political parroting, there's plenty on on-line cacoons to wrap oneself in.

Can there be a movie without political messages? The 'global warming' and hate 'white men', as well as 'do not use resources' etc memes are destroying my enjoyment of extremely well crafted pieces of art.

I don't think you quite understand what I was talking about. Just having a new sensor won't make the video better. There are tons of cameras that shared the same sensor, nonetheless, their video quality were completely different. It's not even about using the same codec, since there were also several cameras using the same codec and their video quality were very different as well. So it's about how you use and how you encode the data you have, so if Fuji learned how to do it, that's a huge step forward. Olympus might have the IBIS and even shot with their own camera - which I always thought to be a silly parameter - but the video still look bad. 4K will be just resolution if Olympus can't make it look good, but of course it would be great if Olympus can finally manage to deliver it. The mic input wouldn't be expected on the X-PRO2 but the important thing, as I mentioned, is Fuji's MO, their Kaizen. They listen to their customers, if they brought video quality you can be sure that mic input is on the way, even if it doesn't come right away, I'm sure that as people will ask about it, they will bring it. Moreover I wrote that if people start buying Fuji for its video as well, a flat profile will be on its way. Sometimes I feel like people are overrating a bit what having a flat profile means. First because not everybody really needs flat profile, if the main point is to output nice images, so unless you really need some serious color tweaking, if the camera already outputs a nice image, you won't really need a flat profile to work with and that saves you a lot of time, colour science is that important and Fuji has it, their images look great right out off the bat and that's something very few have, so it can do wonders. When the camera screw up detais on the shadow, skin colour, doesn't allow you to picture what you want, clip the highlights, etc. that's when you need the most DR possible so you can tweak it during post to make it like you want. Plus, unless you have 10-bit files you don't really have that much room to work with in a log profile, it might help you but it can also bring an unnecessary complexity to it as well and there are times that the gain might not worth it, even more if the other picture profiles re able to do it for you. So my comment was barely about what Fuji is offering with the X-PRO2 but rather about the potential they have based on their continuous improvement via their Kaizen motto. And what I wrote is based on this first impression, so there is a need for a better more in-depth review to reach conclusions about the video quality but from this initial report, it does look like Fuji is on it's way to deliver nice video. But yeah, if you get stuck strictly with what the X-PRO2 has and fails to look at the potential behind it, it might not look like much indeed and you might downplay it like that.

This can be tricky, what i've done in the past is to focus on an object in the distance (use the zoom function on the pocket) & open up the taking lens aperture (you'll need an ND filter or just fiddle with ASA/shutter speed & then change it back). You either set the taking lens or anamorphic and fiddle with both like crazy until the object in your sights is in focus - this is why people say that dual focus is a PITA. IMHO, for landscape shots, just set the anamorphic to infinity & then focus with the taking lens (remember to open up the aperture whilst doing this & then when you have infinity focus, stop down your lens to f8 or whatever you want). Dual focus anamorphics take a while to get used to, but its all about practice! Just remember that you're not going to get critical focus with your taking lens stopped down & forget about focus peaking - your eyes will do a better job.

If you notice the handle on the top left, with some knobs in front, I think it's just the side profile of the Varicam style body.

Gorilla Grain

Can the X-PRO2 output clean HDMI for external recording??? How would you compare the new X-PRO2 to the Nikon D750 for video? I have been hanging on to my D750 mainly for video, but have built up an 11 lens kit bag for Fuji for still photography. Would the X-PRO2, allow me to say good bye to Nikon and shoot Fuji? I usually record externally to an Atomos Ninja Blade, and would like to know if I can do that also with the X-PRO2? Thanks in advance,

Can't wait to see some proper samples, everything I've seen so far has the typical crushed blacks look, but looking very sharp, this means the a6100 (same sensor probably, different filters on top) will be very sharp too.

Oh do I, now? Interesting observation, dare I say. Interesting indeed. I've got all sorts of influences going on having consumed tons of different English spoken media (yay! for not consuming media with foreign language dubbed audio, ef that shih #amirite (included a hashtag specially for you)) and talking to people from all ends of the world. The Dutch guy in Austria talking like a southerner. What is this mad world we live in, eh!?

Maybe a gimbal version that is less clunky and more self contained?? All Panasonic needs to do is release a DVX200 without the lens on it (a plain MFT mount instead) and 422 10bit 4K/UHD internal. Heaps and heaps of GH2/GH3/GH4 and AF100 owners would be very very excited over this! Surely Panasonic could do it at the same price too (a little over US$4k) as the current DVX200 because they won't need to make a lens for it. (but would be very nice if they developed a 14-90mm f/4 to go with it (like how Sony has a 18-105mm f/4 as the kit lens for the FS5, or Canon & Sigma has their 24-105mm f/4 lens, and Nikon has their 24-120mm f/4 lens) This would make it a very serious challenger then in the entry mid market!! (vs Sony FS5 or Canon C100 mk1/mk2 or anything from BMD) They wouldn't have to even do anything else than remove the lens and give 10bit 4K! However these extras would be nice... cream on top of an already delicious dish: a) allow up to 60fps for 4K and not just 60fps for UHD (seems strange that it can do 60fps UHD but only 24p for 4K!!) b) an extra SDI out or two, as only having one SDI out is cutting it a bit thin. c) full sensor for 4K/UHD (no crop, like FHD). d) the complete set of tools: focus peaking / histograms / zebras / waveforms / vectorscope e) can load custom LUTs (for internal recording or the VF or to apply over the HDMI/SDI out) If it does all of a/b/c/d/e then Panasonic could even be nipping at the heals of FS7 and C300 mk2. (wouldn't be able to beat them, but would be able to provide a large chunk of their functionality at a significantly lower cost)

You got the hang of it!

Skin tones are similar, I've used my NX1 as a B-cam on a feature I'm working on to a C100. https://vimeo.com/143948850 is an example. @3:13 till 3:31 in the video is cross cutting between an NX1 and a C100 during a wedding ceremony. Bride is C100 (Canon 70-200 L) , Groom is NX1 (50-150 S) EDIT: You will have to grade to match, but they are close enough that it should not distract. Just make sure that you have color matched lenses (I.E. if you use Canon glass on one, use canon glass on another) and you should be fine.

Very strange. Got to only hope the software version up solves this Jones.... Anyone else with issues too do make yourself heard!

Have not tried 60fps, but I found that particularly in the shadows, reduced macroblocking is perhaps the most significant benefit to actually using an external recorder.

I'm pretty sure Premiere will use all the cores, especially for encoding (h264 is multi threaded).

Subjectivity in the context of life, wisdom, etc. As you get older you just look at thing different. Pop culture aims at younger people, so most gray hair folks develop a disconnect. You might no be there yet, but it does happen gradually.

Got in the brand new Video Devices PIX-E7 yesterday. Quick observations, build quality is first rate. Tap to zoom is very handy and works well. When plugged into the A7Rii it defaulted to 422HQ 10bit. The resulting recordings looked very good and the unit was not loud when operating. The PIX-E7 does get warm, but not hot. The display is very nice, pulling focus was quite easy and noise was easy to detect when present. Colors looked good. The monitor allows you to add non-baked in LUTS which is very handy. Peaking and zebras are also nice to have.

It's strange these days where the more simple a camera looks, the more expensive it is.

jhnkng, that did it! Thank you very much!! Thanks Andrew. I appreciate your feedback. jhnkng suggestion worked. Fortunately was able to fix the problem.

I really like the D750, did a little review as well.

Dont know about the D5 or D500 but the D750 has 13 usable stops. Neck and neck with the bmcc raw in my side by side test.

Lens will be out this summer and there will be a front attachment too making it a single focus anamorphic. I shot this short with the SLR Magic anamorphot 2X. Different taking lenses. Voitlander 17.5mm, SLR Magic 35mm, Canon FD 50mm 1.2, Helios 58mm. Diopters used.