Leaderboard

Nope, I work as a producer. I don't even own anything digital from Fuji, I do however have about 100rolls of Fujicolor and 1000 feet of 16mm Fuji at all times. But I have shot with Fuji's in the past and really enjoy them. Here on this forum I'm just having a conversation. That does not mean that I work for the company I'm currently discussing. Specially since I said I was likely NOT to get it at this point. People are always free to ignore my posts or suck an egg if they don't like them Kinda like Canon. My theory is that they are holding back a little because releasing overheating cameras and dodgy Log is bad business. Either do it right or not at all.

Hello, I`m new to this forum, but a long term reader, because it is the best forum for information about NX1 (which I own). The Fuji got my interest for its pleasing colours. I downloaded two original files from http://www.dkamera.de/news/preview-beispielaufnahmen-der-fujifilm-x-t2/ and discovered, that the codec implemantation may not be very good. It uses a "High L5.1" variation of mp4 at 102 Mbps with no CABAC and no B-frames unlike for example Sony RX100IV etc. One I-frame followed by 30 P-frames according to mediainfo and avidemux. Just like smartphones, but at a higher bitrate.

Kudos to @Inazuma for suggesting the wb adjustment with A3G3 and to @John Matthews for using cloudy and tungsten preset - really works nice for run&gun since it is easy and good! all still ooc since i am not home yet.

Fuji's stills is the main reason for why I've become interested in this camera and what makes me more interested is the fact that Fuji does not abondon its cameras in two months after their release. I am sure that we will see important enhancements for videographers via firmware and perhaps a new "x-videographer/filmaker" scheme.

thats why I got hired for the movie!! I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue. Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

Think he's just a realist.

If you also shoot a lot of stills its a no brainer and super cheap. If you shoot 50/50 its a good deal. Only if you are 100% video is it questionable imo. But then, why buy a stills camera at all. What's currently holding me back is that I'm back to exclusively shooting film for stills. So not sure if I would use the Fuji for stills. And then there is no point in not getting a real videocamera.

Yeah now that I think about it, reliability is priceless when you're using it for big jobs. I don't know if I'd take the risk knowing that is was drenched in water.

I threw the .apk file for this app on my nexus 7 a day or two after that dude first posted about it on github and it worked pretty good! I paired it with my NX500 and had full video control, photo control, etc. For an alpha version, I thought the UI was really pretty slick too, I tried it with both manual and native glass, and I had an image coming onto my tablet from the camera just fine. It was quite laggy though, and definitely had some pretty bizarre colors, but I hope he keeps it up, it could be very useful if he gets it working just a little bit better. The more tech-talented enthousiasts that jump on the NX hacking train the better it will be for all of us!

When the A6300 overheats at 10min it's total crap. When Fuji does it it's brilliant because it can be increased to 30min with a grip, nevermind the fact that one can be used on the A6300 for the same effect

Shot on A6000 with Sigma 19mm 2.8. All handheld. Thanks for watching!

I don't have a side-by-side comparison for you. The videos I saw, I didn't see much difference either. But since the hack was free I installed it. I notice much less noise in shadow areas and less or zero compression artifacts in things like movement over asphalt, leaves on trees on a windy day. etc. in other words fine details. The other thing with the NX1 is, like all cameras, it gives you much better results when you light your subjects properly (even when going for the "natural" light look). The NX1, to my eye, has a huge difference in quality between lit and unlit compared to other cameras where I could compare (C100, AF100). ON your subject under the tree, if you had used a reflector or a light, you'd see big jump in quality. Try either of the hacks first though, they're free. Try the bitrate around 160 or 180. I, along with others, haven't noticed a jump in quality above 180. You just get bigger files for your computer to choke on. The hack is reliable too, I've filmed 50 or so hours since installing without problems. If you have problem though, you might need faster SD card.

Ouch, my bad.. Still liking cloudy though, gives a tad more warmth

I am a huge fan of multi-cam setups. While personally I haven't use multi-cams (yet), unfortunately, I have been part of a film where we they used like 6-7 cameras, and though I did not like the camerawork, or the setup, I thought the idea was really neat. For dialogues, and for many other setups, a multi-cam setup can seriously reduce the time required for the shoot. I am actually thinking about picking up (Atleast) 2 cameras, for a film I wanna shoot. I guess that should help speed up things substantially. Superb Idea, Lee.

It'sIt's not like I am sat waiting camera less though.... I have cameras to shoot on... just miss my 5d3

Lighting for 3 cameras something I did alot on this movie, you just have to think ahead so one angle doesn't take a 'bath' with the lighting, I would often use a Arri 150 as a shadow killer on the C camera angle , so as long as camera A and B are good with camera C I will shoe horn in to get a usable angle, 'coverage' is the word thrown around alot by Directors these days , lots of DOPs say you can only light for 1 camera and thats the traditional way , well its not true you can light for multi cam If you think it through carefully it does work , 6 cameras is possible I did that quite a bit stacking them in pairs a close together like 40mm and 75mm with the 75 slightly higher for a close up head shot , if you have enough light and big enough set you can do , I designed the set with the director so I could put the windows and the practical lights exactly were I wanted them , this helped alot . see pics below of some typical multi cam set ups on the movie

My bet is on this as well.

Have you installed either of the bitrate hacks for the NX1? You can do a lot with the footage in post because of the high bitrate. Check out: https://vimeo.com/kidzrevil He's got a ton of higher bitrate NX1 footage posted. He uses filmconvert which gets rid of that digital look you're talking about. He posts a lot on this forum. I just got film convert myself and it really helps make the NX1 image look more pleasing. (nothing I can share yet though).

When I went through the file frame by frame in avidemux, I counted 29 P-frames in a row, but mediainfo reported a GOP of 15 as you said. I don´t know if avidemux shows it right. Go to Wikipedia: https://en.wikipedia.org/wiki/Context-adaptive_binary_arithmetic_coding

Ah I see, you used "just" 3 cameras for most shots. That makes much more sense. As I'd struggle to see how it makes sense to use six for most shots!

I would just get a grip, problem solved. Its not like it doesn't give other advantages as well, like I don't know, power Besides, the xt2 might be a tad larger than an xt1. But that's still a very small camera. So a grip won't make it huge.

I regret selling my 5D3 every day i'm shooting, ML raw is beautiful.... Only thing holding me back buying another is I want to see what the 5d4 brings (and whether ML might hack it)

I think this thread has reminded me why I should ditch the a6300 and go back to a 5D.

me too wtf this thread has really devolved smh btw the shit im doing is 100% earth shatteirng

I'm in Birmingham, AL Dave. PM me sometime if you're in the area or need another 1dc!

I know that's not true.

I wish Canon would offer a major firmware update for 1DC sometime in the future, just like what they did to original 7D.

Sadly no... Otherwise I'd buy one! The big upgrade via firmware that the A6000 got is XAVC-S

Yeah, but I think maybe the fact that the gx85 doesn't moire as much as the EM5II makes it appear a bit "sharper" in whole. Anyway, 4K in the gx85 vs. no 4K in the em5II is a pretty big deal for me at the moment. As I've mentioned before, I truly love the ergos and features of the EM5II, and I'm not dismissing it as a great tool, but if 4K is needed, (or desired) well...

Based on current prices, this looks like the situation for 4k shooters in this form-factor... £509 - GX80 - nice 4k, IBIS, no overheating, BUT bad rolling shutter, no mic input, crop £930 - A6300 - nice 4k, AF in video, mic input BUT overheats (lottery), horrible rolling shutter £1399 - X-T2 - nice 4k, mic input, no overheating(?), who knows? BUT Rolling shutter (how bad?), aliasing (know for this?), bad moiré (known for this?), who knows?

Got it!

Fuji's X-Trans sensors have a different color pixel array/ configuration than the Bayer Pattern. Fuji has designed them so as to reduce moiré patterns, without the need for an optical low pass filter (OLPF). I am guessing, that the end results of both of them are very similar. Maybe bayer pattern cameras without the OLPFs are mildly sharper than the X-Trans Sensors. Also, while the read out speed is governed by the sensors (which are made by Sony, btw), if anything, the X-trans would slow the read out speed, if read out speeds are governed by the pixel array. Though they would be by a few micro seconds only, at best. I am not sure you have understood what helps put 4k and recording limits in place.

Time ! thats why , shooting multi cam saves time and money and lets you get alot more setups done per day , I had 6 x G7's rigged up on Gini Rigs that I custom made , I had 2 rigs with Nikon 80-200mm lenses, 2 with Nikon 28-70mm lenses and one with a Nikon 20-35mm lens the sixth G7 was used on steady rigs and dolly tracks and sliders with various different lenses , all cameras had Metabones XL speedboosters on them to give me a Super 35mm field of view on the lenses , most set ups I would run 3 cameras , a close up, a mid and a wide , the actors loved it as we could do long takes 3 min passes at times and pick off head shots, mids and wides all in one performance . Some set ups I did run 6 cameras at once as we had some complex special FX shots with prosthetic heads and blood and gore etc . Multi cam is the way to go , we shot the movie in 44 days , and if we had done it traditionally with just 1 camera it would have taken maybe 60 days plus . So multi cam saved us alot of time and money , the Panasonic G7s all performened amazing no issues at all and we shot 12 hr days every day , the rigs and camera and lenses got Battle Tested to the limit and all worked beyond my expectations , The G7 is an amazing camera its very very good in low light much better than the GH4 as it has a newer better sensor , I could not have shot this movie without the G7 it let me shoot 3 or 4 stops under for most of the movie , I like that low light Gordon Willis - "Prince of Darkness" look so the G7 let me push that to the limit with no noise and fizz at all in the blacks , its very very good!!

We have to remember that every single camera to date always look very "video" on promos. Thats because we are a little minority and the camera companies would never make "filmic" demos. They would loose customers. Regarding the film simulatuons I like them. Just like a LUT they are a great starting point. But more accurate to the cameras colors and saves you time in post. After the lift, gamma, gain is set you are already 80% there. LUTs always needs lots of tweaking.

Funny.. I just bought a 5DIII (there are crazy good deals on it right now) although mainly for stills and as B-cam to my recently acquired C100 DPAF. I just love the L glass.. and Canon skin tones. Ergonomics, doesn't get much better then EOS Cxx. A7S2 is seriously good but for it's price i've got a problem with the consumer-y body, horrible menu/ergonomics and battery life. and yeah S-log3 at 8-bit doesn't really cut it in post.. I'd wait a month or two until 5D4 gets announced if you wanna remain DSLR.. especially if you're invested in Canon glass..

Better is relative to the user! I think the film simulations are cool, well, I know they're cool because I have the Xpro2, and yes, cool! Personally, I think for video, the Panasonic GH5 would be the better camera, however, I don't think the GH5 can beat Fuji's color science, and, I don't think any camera manufacturer beats Panasonic's reliablility, they seem to never have issues with their cameras!!

no you cant do both at once , its either or !! I have brought this up at meetings with Panasonic as we all would like this feature , the G7 will not do this, I just shot a feature film with 6 x Panasonic G7 cameras , its a great camera !

Add into it the tendency to evangelize and thus rationalize one's camera purchase... which is a pretty big inclination among enthusiast (and even pros) and you get opinions that are clouded with so much subjective attitude they're sort of worthless. Bottom line, if it works for you, have at it.

The Camera will cost (in Japan) 160,000 Yen (Body), then if you want to shoot 30" you will need to add 43,000 Yen for the Battery grip and 1 Batteries at 9,000 Yen??? (I presume that you can use the one given with the camera and only need to by a spare one) It quickly start to be expensive. The price was attractive, after all it is price in Japan at the same price that was the GH4 when launched... But adding the cost of the Battery grip and another battery... Not sure now.

100mbit in 1080p 60fps is a very welcome feature to 60p lovers like me.

If the refresh rate for the viewfinder is 100 fps, that to me suggests that the readout speed is 10ms. My reasoning for this is that presumably the refresh rate is maintained in video recording and I cant think of any simple way that two readouts could occur at the same time, beyond interlaced (comb filtering? I dont think so). Much simpler to increase the readout speed. So I think rolling shutter will be fairly reasonable for 4k. I too have seen a video which was an interview with a fuji employee that said that F-Log would only be via HDMI out . Hopefully this was a confusion, as this would be disapointing for me. Unless its 10 bit out then it would seem like a massive ball ache to rig up an external recoder just for a flat picture style. Though I can sort of understand why they might to this. So non video pro's will never be able to complain about the "dull colour" for example. If this is the case then I would be more interested in what the inbuilt picture styles can do. Maybe they can be tweaked a little to get more highlight latitude.

Thanks for posting the video shot with XT2. I'm absolutely intrigued by it and if GH5 won't be something exceptional I'm seriously consider the switch to Fuji. As I see it now, XT2 is what I always wanted: an APSC sensor camera with beautiful 4K video from resizing (no crop, no line skipping etc), great colors, low noise, no overheating (with optional grip) a nice design without ergonomic problems, very good photo quality, good AF and a very good lens collection!

Slow west was shot on ALEXA Classic camera with Panavision Primo vintage and Ultra Speed Z lenses according the DOP (they probably used it for some insert/action shots where the Alexa is too big for.)

Imo the NX1 wasn't to bad. My a6300 on the other hand... Uuugly.

If I had that cash, def I'd pick the Fs5, its an absolut beast from what I hear, and very very versatile.

100% this. Many people tend to equate documentary with running around and grabbing what you can as it happens, but in reality there are plenty of documentaries that consist of lit, staged interviews, staged shots or re-enactments, establishing shots, slow-mo and B-roll that you can get a few shots at. A music video could be a few shots of the band performing, or it could be a high-production value narrative-style video that's fully lit and with a large amount of support gear. As always.... it depends

The C300 is 6lbs with everything- side grip, top handle, screen, cards, battery. The UM4.6K is 5lbs before adding a viewfinder, top handle, big ol' V-lock battery (and mounting plate!), or cards. The C300 takes regular CF cards- much cheaper than CFast- and at 50mbps, versus even whatever the lightest ProRes the Mini will do (~200mbps?), they'll go a lot farther. This isn't even getting into low-light, battery run-time, or reliability issues, where the Canons will easily trump the BlackMagic. "Just turning an ND filter" sounds great until you need no ND at all, and can't stop your shot because you're filming something that won't wait for you.

Shot with Panasonic GH4 in cinematic DCI 4K 4096x2160 in ultra wide 3.31:1 anamorphic ratio.. Lens used were the Baby Hypergonar 1.75x anamorphic with MeVis 35mm f1.6 and the Zeiss Ultron 50mm f1.8. Rectilux 3FF-S, Marumi + 3 achromatic diopter and Fujinon ENG 72mm close up lens. Edited in Adobe Premiere and colored in Colorista III and Adobe Lightroom.

I leave nr and sharpening at 0 because I like the look this profile gives when saturation and contrast are -5 , Panasonic have done an amazing job on the codec for this camera in 4k UHF its the best they have ever done in a small micro m4/3 camera yet, I personally don't believe in adding sharpening in post ever , I just don't do it never have never will , just get it right in camera first , all my tests against the red and Alexa where done on these settings and I like how the final image looks once graded , it works so I'm not going to start sharpening every cut I do in post when it looks great straight out the camera . I like pin sharp images I use the best aspheric lenses I can , the Nikon zooms ate insanely sharp and produce a great usable image

when you are working on a Movie you sign a contract and NDA ! and that contrat says there is an embargo on anything going out without premission from the film company - they own everything they paid for it including all my tests - now we live in a world of Facebook and twitter film companies dont want any leaks beore their marketing department decides what people can see and when . So yes I can tell you the results of all my tests right now - just take my word the G7 kicks ass , with a Metabones XL - Nikon Glass and Atomos Ninja Assassin all rigged up on my Gini Rigs cages it s a serious film making tool Now Colour grading is all in my eye - I shoot flat and add the colour in post - alot of my colour is on set I light always with coloured gels and get the look I want in camera - just on a flat profile so I get cleaner blacks with more detail - not crushed out