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For those curious about Fuji's abilities for more filmic work.. here are 2 shorts shot on XT2 with speedboosters & cine glass:

Got my C200 and it really is awesome. Since I didn't found any case for it yet, I've designed my own custom foam insert in AutoCad. I precisely measured every part to fit nice and smoothly into the insert. The foam was sandwiched together and I also let them add a white sheet in between to make it look more sexy! The case type is a Pelican 1610. Video Blog

The question of the ages, right... If a C200 autofocuses in the woods but there is nobody there to FaceTrack in Raw, did it ever really autofocus at all?

I'm wildly guessing this is linked to the new RED smartphone. Probably using the same sensor?

That's where they are most useful of course. In the home, it's inevitable they are coming by 2020. As for 8K on the camera side it could be useful for making VR content. VR needs the resolution. I see an 8K camera as more than just the numbers though... 8K makes for superb 4K. Anything from RED / Foxconn aimed at affordable prosumer market is welcome with me!!

I hope they are Sharp.

c200 IQ recognition, to me, reveals a causation vs. correlation issue. Are the c200 videos better because they use a c200, or are the people and organizations that use (and can afford to buy) the c200 simply more accomplished?

Decide yourself? Shot with a Sony CineAlta HDW-F900, which has 3x CCD chips of 1920x1080 (one for each of RGB). https://www.bhphotovideo.com/c/product/633399-REG/Sony_HDWF900RPAC1D_HDW_F900R_CineAlta_24P_HDCAM.html Very weirdly enough, you can still buy it??? (well, the "R" version, which is very similar) For a sweet $80K Or you could just buy it secondhand, right now for around $1K or $2K for the body: https://www.ebay.com/sch/i.html?_from=R40&_sacat=0&_nkw=sony f900r&rt=nc&LH_ItemCondition=4&_trksid=p2045573.m1684 The non-R original version you might even find for sub $1K Lots and lots of films have been shot on it (for instance "Quantum of Solace" had part of it shot on a Sony HDW-F900R, and that film came out in 2008. Or "Four Lions" which came out in 2010): https://shotonwhat.com/cameras/sony-hdw-f900-camera Some other discussions on it: http://www.dvxuser.com/V6/showthread.php?330231-Sony-hdw-f900-Today http://www.reduser.net/forum/showthread.php?7478-How-does-RED-One-compare-with-Sony-HDW-F900 https://www.redsharknews.com/technology/item/2990-how-george-lucas-pioneered-the-use-of-digital-video-in-feature-films-with-the-sony-hdw-f900

@Andrew Benton This is exactly the argument @Mattias Burling did with the T3i, but on the other way! If one can make a professional videography career out of a T3i (is this the 600?) in 2018, then surely one can make a photography one with the GH5! That noone of these cameras are the appropriate tool for the jobs you have suggested, T3i for video, and GH5 for photography hasn't passed through your minds? In the end, I thought we all here agree that anyone can use whatever for his own pleasure and work. I do not understand what is so bad about a GH5, while a T3i is so special.

My general feeling is we long ago got to the "good enough point" for stills but still have work to do to get film quality in DSLRs/mirrorless to that similar point.

Agree about the a6500 - a strange body. And in any case the lens selection just isnt there with Sony apsc (nothing like the Fuji 56 1.2 for instance). My feeling is that Sony is trying to move its customers over to FF and is losing interest in apsc. I think all these arguments over 8 bit v 10 bit are rather moot when you are talking about DSLR/ILCs. It is fine for Panasonic to be able to introduce 10 bit because they have a sensor a quarter the size of FF in a massive body (relatively). We know that Sony have had overheating problems with 4k 8 bit in the past (both apsc and FF). We can probably see that Fuji is struggling heatwise with 4k - by the 20 minute time limit and the bigger, thicker heat sink body size. The same argument goes for 4k 60p.

Had a go with the 3.5K: You basically have to shoot blind, and hitting focus is up to the camera gods... The only thing about using Resolve over ACR is there's no "remove chromatic aberration" button and you can see it would have been useful for this.

I use the Video Assist 4K to record F-Log from the X-T2, and I really hope Fuji upgraded the implementation in the X-H1. The red channel is a mess, even the slightest grade can create pinkish blotches. And this is something you can't remove with noise reduction. I've worked with 8bit C-Log and 8bit S-Log2, and to my eyes they are cleaner. So yeah, 8bit can be enough, but it's certainly not enough for F-Log, not with the current implementation. It also has a very obvious green tint, so you have to deal with that too.

Thanks! Between this and the MLVApp, it’s almost impossible for even me to mess up this footage... lol. I recently processed this through the MLVApp as LogC. Even though it’s in B&W, I used a LogC to Rec709 LUT and an S-Curve before desaturating it.... I love my Nikkor 35mm 1.4...

I believe the fact Jim and Jarred are very silent on this one means your bet on high-end to fall down face to face with GH series 10-bit and other goodies to come and already here seems much more pretty accurate for sooner than we tend to think, hey Don @webrunner5 ? ;-)

This is a conspiracy by storage makers to sell us more hard drives or other storage solutions I think Red needs to do this. You can see the writing on the wall. Sony 4k or Nikon 4k or Canon 4k small bodies, with IBIS and AF will take over the market. How long before we're talking about Sony 4k 120P? remember a 120P 4K camera can theoretically combine two images at different exposures giving you a 60P but with a Arri level of highlight rolloff. So the reason you see Red is doing mobile or doing a consumer-style 8K video, is because THEY HAVE TO, or they will be out of business. They can do a 8K consumer video camera and at the same time still do a pro-level camera with all the XLR, etc. connection. But have much higher margins on the pro camera and distribute their R&D cost with their consumer stuff.

There is a compelling argument that 8K is the way to go from an image standpoint. It doesn't have to be sharp. Sharpness and resolution are separate things. That said, I'll remain skeptical of this. I'm not sure what RED has to gain here. Keep in mind the market for cinema cameras is not the same as the market for smart phones. Most people aren't shooting video for a living, let alone cinematic movies. Saying you're going to make up for dwindling smart phones sales by making cinema cameras just seems like a strange step to take. But hey if they can give me something like a Weapon for a few grand, I'm all for it.

Looks like Foxconn is going to have to invest in more suicide nets...

@Andrew Reid so you expect this on GH8? I think we will just seeing GH6 by 2020. Also at 1/3 the price is still going to be $25k-30k, so not exactly cheap if we are talking 8k Red cameras.

Trick question everyone knows professionals don't use autofocus in the woods.

I hope they are pricing whatever they do like the early Blackmagic cinema cameras, but with much better sensors and much smaller design concepts with low energy consumption. Mini Epic without a fan, with DSLR size battery. This could be the Blackmagic revolution all over again. Mega exciting!!

Kidzrevil: what Voigtlander 28 is that? the Color Skopar, Ultron, or?

After an extensive test in Alaska...I found that the Canon 6D Mkii SUCKS BALLS! Casey Neistat and Peter McKinnon are SO wrong. This camera is total garbage. I can't believe Canon would even release a camera like this with the price being what it is. Totally unacceptable. No ALL-I, worse ISO performance than 80D, No headphone jack. Its a total POS. Let me know your thoughts.

Completely agree. But, please, leave apodictic tone behind - "Internet is a comedy at times!!" - I think it's quite enough to have one uber-patriarch here in EOSHD in the incarnation of Mr webrunner and his majestic knowledge/intonation... I had indoor and outdoor shots needed to be put in sequence... because of hard difference between lights and wb they are too noticable and distractively different... with 10bit HLG footage of GH5 I had more room to get them closer in look... 8bit slow motion futage didn't afford it, colors are quickly destroyed. Yes, we can shot in 8bit whole movie... but have to be extremely accurate... or to relay to argument that people don't notice imperfections. And to add heresy thought - although highly pleasent and brilliantly mesmerizing, Fuji's color science for me looks as hyper realistic approach to pictures: excellent for photos, but calling too much attention to itself for the longer time, as in case of movies. Of course, just mine opinion and taste, which probably differ from the most other...

Ask me anything

I agree there, I often tell people who are interested in a "good camera" or who want a DSLR to just get a used one from several years ago, digital stills quality for me has been good enough since around 2009, and most improvements only matter to professionals or people really wanting to get the cutting edge. There are older videos I worked on that I sometimes look at after a while and be surprised at the kind of shots I got using older cameras that to today's standards "suck", while of course there are also just as many shots that I used to think looked great but now don't hold up at all.... But yes, beyond image quality and features it's usability and reliability, and turns out for me the GH5 isn't the right tool either, it is just not a capable stills camera. I shot a wedding a couple weeks ago with it because I needed to get video as well. I love the ergonomics, touch screen, joystick and custom buttons, the menus and viewfinder and options, but the number of missed shots, or how often under artificial lighting colors skin tones were ruined and unrecoverable, where as I could get more pleasing tones out of my 5DIII and my assistant's A7II. And the GH5's AF just couldn't keep up, the thing missed completely at the most inexplicable moments even with native lenses, in broad daylight on contrasty subjects it would hunt, eye focus "locks on" to the subject but turns out it went somewhere else completely when I review the shots. I ended up using my 5DIII more and so I ended up switching back and forth between the two cameras, something I wanted to avoid doing...

Of course. A person could say lots of things. We are all just going by subjective personal feelings here. There is no objectively "better" camera compared to another. For me the GH5 isn't even an option for stills. I mean I could use it and get great shots. But why would I when there are options more suited for my personal way of working. Others should buy what suites them

Yeah for sure... It was leagues ahead of its time. At least, in my point of view. Don't get me wrong..... There was the high end cinema market and the low end consumer market. You can clearly see the difference in the IQ too.... You had a choice between a shit image and greatness and in my opinion there was no in between either.... That's the dividing line for me.... All movies before 2008 and after, and you have to think the camera might have been released in 2008, but you need to shoot, edit and may be reshoot... So you can say anything before and after 2008/2009. You will automatically see some quality boosts.... Even the high end cinema cameras needed to step it up, cause you don't want a $3K DSLR to outshine a $50K+ camera, right? Remember when editing systems, flags and Arri lights were expensive and out of reach? Now look at where we are.... A decade later....

Well, "while..." I wrote ;-)

nice review! short and to the point. keep em coming.

I look forward to seeing your work! For a little update, I faced the most absurd technical challenge last week. Thursday, after a week of struggle, it was solved; today was the very first test with the Arri

i hope i am not too harsh, but there is no 4k ML raw. closest you can get is 3.5k wide, but that's considerably more squeezed than 21:9. Also, you'll get a few seconds at that resolution at best. Also, consider that ML RAW has no highlight rolloff. it clips quite harshly. because it's raw the highlight rolloff you saw in the videos was probably handed quite handsomly by a gifted colorist who recorded ML RAW with enough leeway to let it roll off nicely in post. Flexibility in grading? oh yes. ML RAW is awesome for that. but you need to learn to shoot with grading in mind. For your bonus question: the 5Dmk3 is meh for DR. chroma noise creeps up quickly. you don't need any white balance, as this is RAW. i personally would not go above ISO 3200 with the 5dmk3.

I think there is a bit of confusion here. I am arguing for the xh-1 over other consumer cameras like the gh5 and the a6500 on the basis that people who are purchasing these products will experience no discernible difference between the 8 bit and 10 bit codec, which is something you appear to be confirming. I didn't say 8 bit is not enough, but if you are going to produce a movie and if you have a decent amount of financial backing, then there is no discernible reason to choose an 8 bit camera, short of aesthetics, and certainly none for high-paying client work, which is more exacting. For the purposes these cameras will be used, which does not mean they are not good enough for cinema, the 8 bit or 10 bit is really irrelevant. In fact, if I have great Fuji color SOC then why would I need 10 bit to get it to the same end point, except for some unique situations where I have missed exposure. More important is autofocus and good color. That's partly why canon outsells anyone. 8 bit cameras can be used in cinema but in practicality they won't be. Tangerine was shot on an iphone. But the director has just followed it up with Florida Project, which had a bigger production value and was shot on an Arri. Last year, the winner of the Golden Lion at Venice, the woman who left, was shot on a as7ii and in 2012 the winner pieta was shot on a 5d mark ii. It is possible in indie narrative work, but given the choice people will pick the raw cinema camera, because there are distinct advantages and it does look better. There is no question about it, and it isn't just that one is raw and the other is 8 bit - there are many more factors as you know. So I am saying at this level the xh-1 is the most appealing, and will be more appealing to a wider audience than the gh5 or a6500 if the color and the autofocus are as good as the rumours are saying. Face detect autofocus coupled with ibis - it's the only camera on market that would do that. Think about the possibilities with that combo and with the fuji colors. 10 bit on a small m4/3 camera pales in comparison. If I am using my cinema camera I don't need this, but for these types of cameras and for their intended use, the fuji wins hands down, and I think this will be reflected in the sales numbers if they can market it properly.

Just to be clear here guys.... And Im sure everyone agrees...that 10 bit 4:2:2 is definitely better than 8 bit 4:2:2, which in turn is better than 8 bit 4:2:0. That is without a question. I think what most is arguing is that you can still work with 8 bit 4:2:0.... As we have before the GH5 came along.

Thanks, Jon. Just got my GH5s last week and wanted to know more about the audio features. Good review. Looks like I may need the DMW-XLR1 as well.

More stuff Looks good to me I believe this is the person that started this thread

Over the course of several years that I've been following Kinefinity and owning the KineMini I've found that there is a certain group that has a negative bias towards the company and try to pick apart every little detail that they don't do right. It's like Trump supporters still moaning about Hillary's emails. Yes, I've been critical of many of their choices and many times I considered moving to a different brand. Now I have a Terra 4K being delivered any day. Why? Because it is perfect for ME and MY line of work. But whatever. If you don't want it, don't buy it.

unfortunately it does not seem to work with bmpcc at this point. it does not show f-stop (cant control). Seems like It cannot recognize lens at all. Lens i tested ・Canon EF-S 24mm f/2.8 STM Lens ・Tamron SP 17-50mm f/2.8 XR Di-II VC ・Tamron SP 70-200mm f/2.8 DI VC 3lens above work well with my gh4 (except stabilization)

Yes, of course! Good explanation. If it's the last clip (appended at end), you could also hold p and slightly move it to the right (produces a slug). That'd be the fade-in. Then comes Matthias: This will fade out.

But you can also fade to an empty timeline and it will turn black.

Could this be the X-H1 with an X-H1s to follow later ;-). The latter to answer all the 10bit 422 and Cinema 4K 60fps dreams! It never ends right... Shame HDMI out is not 422 10bit perhaps with also the possibility for 4K 60FPS. Or then again, depending on who is talking, 8bit vs. 10bit F-Log is or isn't an issue!

Your original comment was "I always have a hard time saying a stills camera sucks just because its not the best video camera in the world. If video is that important I use a video dedicated camera." The essence of this, the whole forum here, and posts by @Andrew Reid are exactly about those cameras. I am truly surprised that you haven't noticed that. Mostly we care about video in smaller, relatively cheaper, or not, hybrid cameras - cameras that a big, or even the biggest proportion of its life will shoot video, etc There are unlimited photo-centric forums around, I do post on a couple, because photography is my hobby, but here, I mainly come for the video aspect of things. My comment was sarcastic, because the famous people on the original post of the OP, are using this said camera for video, so it is only fair that we can review the video performance. No one judged anything, but you, the ability of us to use "photo" cameras for video, and review them for the ability, or not, to shoot adequate video for our needs. I do like cameras to be 50/50, that is why I staying NX. I do use dedicated video cameras with bigger projects and I love them, my next buy I want to be one (hopefully a C100mkIII or FS5mklI). Your opinion is well respected and heard all the time, no need for passive-aggressive statements. Peace.

So I must start using still cameras as video cameras and not voice my opinion or go around calling people I don't know "frauds" for not agreeing with me? I have a third option I want to run by you. What if I use what ever I feel like and dont judge others for having other preferences? That way I can focus on what I actually know, my needs and preferences. And not waste energy arguing about others needs and preferences which I just like you know absolutely nothing about

https://www.eoshd.com/2018/02/fuji-x-h1-cinema-4k-200mbit-hybrid-camera-ibis-rival-gh5/ A Fuji "A6500" basically, but in a bigger body. However it does have Fuji's colour science and ergonomics. And the A6500 was already pretty cool. Then there are the lenses - they're better as well. I think it's not to be sniffed at... But it falls short of the GH5 and GH5S in terms of overall feature-set and codec. Should have had 10bit.

IMO, FCPX is the best NLE out there for what I do. Ive been working professionally with Premiere and Avid for many years now and Im seriously starting to hate them. So fiddely and flat out dumb. And of course slow. Switching to FCPX is still the biggest leap forward in editing for me. But I remember the initial frustration. It all went away when I decided to learn IT instead of teaching it my way of working. And I have always been able to use LUTs in Final Cut. A funny note. This is the reason why I was the first guy to really try the XC-10 and LS300. True story. Ever since my epiphany in FXPX I started applying it to other stuff. When I see a product get super bashed by people based on specs or quick reviews my new way of thinking is: "That cant be. No way did a big company do all this research and spend money but some how didn't know it would be like this. Its more likely the users that are trying to force their ways and preferences onto the product instead of learning it and how it was intended to be used." So I tried the XC10, LS300, Leica T, Sigma cameras, etc. Had alot of fun with all of them. And now Canons new compact and the Leica CL looks very promising. A general rule for me is hate = interest (And anything the camera store says is the worst probably rocks. Their negative to positive ratio is unmatched.) BTW I also did a speed test once.

Ahh come on Andrew! I made the switch to FCPX the day it came out and haven't looked back since. Its light years faster on slower Macs compared to Premiere and once you learn the workflow, I find it so much more intuitive. Im a huge fan of this program and it's put food on my table for over eight years now and Apple hasn't charged me a penny more than that initial $299 EIGHT FREAKING YEARS AGO! You hit that price in 6 months on Adobe. I have been Adobe"less" for a while now and love using Affinity Designer and Affinity Photo. I also use Apple Motion for my graphics work. I made this VFX 3d heavy music video all on my base model $900 MacBook Air using Apple Motion 5 and FCPX. Would have been impossible using Adobe with their flawed CUDA crap. Adobe basically just wants everyone on PC's. I understand your frustrations, but it took me a solid 3-4 months to re learn how to edit. Im grateful I did. Apple FCPX is seriously lightning fast compared to Premiere. I couldn't live with that.

I'll believe it when I see it.

Yes, prototypes to test tech and demonstrate capabilities to Nikon, Fuji and the m43 world - companies that are all reliant on Sony. Sony's sensor division does huge business, cutting into that pie and eating a competitors lunch makes sense for another giant electronics conglomerate. A NX-whatever simply doesn't in any way.

For sure that NX2 will come out in the same day of Breccia's Canon GX9 MKIII. No way that this camera is real. Even not considering the unreal specs, creating a camera to promote the Galaxy S9 would be insane - most of the smartphone users don't give a damn for traditional cameras. If Samsung wished that, making a ultimate vlogger camera would make much more sense - a 1" sensor with Dual Pixel, small form factor, foldable LCD, mic input, 4k120p, good fixed lens. Throw a new and easy way to connect the camera with with S9 (or even use the Exynos modem in the camera) to share fotos, and you have a winner with a much lesser cost and much more target to the intended audience.

Hmmm... rereading the rumor - it does appear to be in two parts. Part one, is that Samsung has designed/made a very high end (mirrorless) apsc image sensor. A lot of impressive detail in this part of the rumor. Part 2 of the rumor is speculation that this image sensor is going to be utilised in a resurrected NX2 (which sounds pretty unlikely.) But just because NX2 resurrection is a non-starter doesnt mean that they are not developing the sensor. Why should Samsung leave the high end image sensor market up to Sony especially as they know that Nikon and Canon dont particularly like sourcing from one of their competitors (Canon uses Sony's 1 inch sensor.) Canon and Nikon would be bonkers not to put this tech and this sort of sensor into their mirrorless offerings. And quite frankly from Samsung's perspective, these sensors in Canikon bodies will show off their smartphone 'image sensor' tech far more than any fleeting interest in an NX2.