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@BTM_Pix fyi XT2 doesn't shoot DCI 4K, 200mbps codec, 120Fps or has got Eterna film simulation. Besides i can see couple gimbal shots which may have IBIS on.. @Kisaha i've switched from Canon (5D3/C100) and Sony (A7S2) to Fuji. Haven't really looked back..

I'm sure not many people shoot F-Log with the X-T2. I do, and in many cases the footage is unusable because of the noise in the red channel. Sometimes it's really bad, like the implementation is broken somehow. Now I downloaded some X-H1 F-Log footage from the photographyblog.com, and it seems that they solved this issue. This is big news for a few people, me included

Black turns purple with IR pollution. All I see is a grade. @DaveAltizer

I don't think I will comment on this new Fuji. I have no desire to buy it, so I am not going to investigate every detail of it, so my opinion would not be based on all the facts. It looks pretty nice, but I don't think from what I have seen they went far enough. But they did a least made an effort. So good for Fuji Fans.

Ah good to see you back BTM_Pix I do agree the grip is a bit of a must-have. The Fuji lenses with IBIS will be a joy. I am just not sure they cured the biggest ills of the X-T2 like I expected of them... Maybe the extra crop in video mode exists to reduce rolling shutter - if it's the same sensor as the A6500, that would be much needed. Don't like the Drive dial with movie mode shoehorned into it. Don't like the locks on the ISO and shutter dials. Samsung NX1 all the way for me ergonomically, any day. Some more thoughts: https://www.eoshd.com/2018/02/fuji-x-h1-got-wrong/ The interface seems like a mess according to Richard Butler.

Yes but then you loose the things that the Fuji brings to the table. Even the old X-T1 has things that Samsung couldn't implement in the NX1. I guess they where asleep. (Did you see what I did there, I illustrated the difference in needs and wants. For many there are features on for example the NX1 that immediately breaks the deal. Same thing with the GH5. Not all cameras are suposed to do exactly everything. There is room for variants.)

yes i know.. but people were complaining earlier about XH1 footage being shot by still shooters/video amateurs.. always good to see the other end of the spectrum.

..the full X-H1 short shot in eterna with the fuji mk cine lenses:

Mechanically great - focus throw was huge, it was hard to focus handheld but great for the 1st AC. Fully metal and quite hefty however short. Here are a few screen grabs with a 709 LUT applied. All shot on the 50 or 85

None of the Cameras that we usually look at have DCI 2K.... remember the Blackmagic 2.5K cinema camera... and the cinematic IQ that was putting out?

I'd say Fuji is reacting pretty quickly considering this is only going to be their second serious attempt towards videographers on a hybrid camera and that they don't even have high-end pro video departments like Canon, Sony, Panasonic etc.. I'm particularly looking forward to DCI 4K & 2K at 200mbps (which btw is something even Sony's current flagship mirrorless aren't offering).

This is actually really impressive. Top work! How does the GH5 footage feel to grade once converted? I presume it wouldn't handle quite as nice as actual Alexa footage?

lol... I was too lazy to actually count.... I didn't want to say most, all or few.... so for the time being the word "many" suited the situation. :D Editted to add: In retrospect, there is only 2 in DSLR form factor with all the above features, and only 1 in this price range.

Apparently one equals many.

Many others?

The X-H1 plus grip kit that is sold as 1 box includes 2 extra batteries for a total of 3 batteries.

I'm happy with mine (80D). Had a couple of 6D bodies and a couple of 7D Mark II bodies, sold those for a couple of Panasonic GH4's and M43 lenses. GH4's were decent, but we got tired of not being able to use the auto focus. So, ditched the GH4's about a month ago and went backwards to a couple of 80D bodies and reinvested in lenses. Sure, it's not 4K and you gotta watch for that aliasing, but we couldn't be happier. Shooting a Doc right now with them and for Gimbal work, it's priceless to have DPAF. These will hold us over until we can grab a C200 in a few months then the 80D's will be B and C cams or even just stills cams from time to time.

Except the fact that it could have been recorded on a host of other smartphones, many of them more capable.

Absolutely. Also, the chances of dust and other stuff landing on the sensor is enormous, anywhere outside of a very small closed studio. I saw this beautiful location for a film (we were on a reccee), and I usually change lenses all the time, and almost, inadvertently changed lenses here. Luckily I didn't, cause this is like a mini canyon, with sand and dust, and that would have been the end of the reccee.

Yes, this film fits in a unique little niche where this look works in its favor. The filmmakers are smart to make that pairing. But for most other films it would be greatly annoying indeed!

The Sigma 18-35mm f1.8 is a unique lens, if that is what you want, get it! But if you want lower weight / native lenses, then it means compromises. Here is one path I might take, a simple two lens kit: 1) a mid range zoom which is f4 (or f2.8), I use this when I need to R&G and don't need that super lowlight 2) Panasonic 25mm f1.7, for those times when I need that extra speed! (but lose the flexibility of a zoom) Between those two lenses you could do a lot (for instance the zoom for daytime, the prime for night shoots!).

Same here. I have several primes but in interview situations have always relied on dialing in the focal length with the zoom. It's just so much easier, especially when you have space constraints in the field.

I think the competition is the determining factor not on features, but release. Gotta hurry up and make some shit to stay in the game. Canon doesn’t seem to care when Sony, Panasonic, Fuji, Olympus, etc come out with something.. Let Nikon release a shoulder strap though... lol. I guess if we’re going to be 8-bit in 2018 (?). Fuji’s straight-off-the-card image is one of the best imo. Beautiful color science.

Pardon me, Chris and Jon, but it is too little to be disappointed. As Jon wisely pointed out earlier above: Cinematographers or DoPs use light meters! :-)

What I did with the XT2 was when I was doing stills, I'd just use Auto or one of the other presets on the dial. When I was doing video, I just whacked the dial to "T" which would stay on 1/50th. Or id change it to 100th on the rare occasion Id shoot 50p. The XH1 has the silent touch screen mode where you can set all the exposure settings on the screen. And also it seems you can set picture options separately between photo and video, and have different settings for each profile.

I think Olympus makes some seriously amazing lenses. I would love to see Panasonic make some super fast zooms (f2.0 or faster). I see no reason why they shouldn't be developing super fast zooms. I love primes, but it's a nuisance changing lenses on the field. How about an f2 set (12-40mm and 35-110mm equivalent) and an f2.8 12-80mm equivalent.

keep in mind they are using pre-production units (with the goal of exposing such bugs) XT2 had some broken things pre-release. hopefully Fuji are listening..

You can set the XT2 to just use the control dial and to use the full range of shutter speeds, I never turn the top dial. Also, unlike Sony and others, there's actually 1/48 instead of 1/50 if you're shooting 24p.

Seen "Inland Empire"? "28 Days Later"? "Pi"? The thing with ambitious film directors is that they go places for their stories without strictures. Automatically assuming that a film is "less" based on IQ is unfortunate understanding of the craft, imho. I'm going to go out in a limb and guess that the storytelling in Soderbergh's film might have a little more emotional heft than whatever y'all did back in the day.

@jagnje OMG that perfectly works with all the lens i mentioned ↑ IRIS function and even the IS thing on TAMRON lens works (which does not work with my gh4) the happiest thing happen in 2018 so far.. u made my day. thank u!

Here is a hotel I've shot with the Gh5 and the native 12-35 /2.8 ( first gen). It had a lot of ronin so if you shoot Run N Gun you might get a feel.

I'll take app and zebras for $200 Jon

Don’t get me wrong I love the Fuji system and have no gripe against the current lineup. I can even understand to some extent that the reasonably small X-T2 has a booster grip that adds headphone jack and extended record time. But when they release a larger body camera that is clearly targeted at video shooters they should have been able to include those features in the body.

Looks like Panasonic has created a new sensor technology that is earmarked for the GH6. This new sensor can adjust sensitivity of each pixel individually using the per pixel ND function. And all of this is done at 8k resolution. From the press release: “Panasonic Develops Industry’s-First*1 8K High-Resolution, High-Performance Global Shutter Technology using Organic-Photoconductive-Film CMOS Image Sensor The new technology enables 8K high resolution and high picture quality imaging without motion distortion, even in extremely bright scenes.“ You can read more here.

https://www.imaging-resource.com/lenses/olympus/12-100mm-f4-is-pro-m.zuiko-digital-ed/review/

Tech moves fast. Basically I kinda think we'll have Alexa level IQ in consumer grade stuff in -give or take- 5 years. Can old dudes like me make worthwhile videos at career rate$ when EVERYBODY is making worthwhile videos for free? Wondering if and how I can differentiate myself enough from the horde to expect someone to pay me for stuff. Do I have the creative mojo for success -- since having tech-mojo is going to be (is) a mundane commodity. ...Wondering if legitimate work-for-hire might be a dead-end within the decade.

This sounds like the beginnings of a movie script. Unless you're going into one of the less "sexy" areas, such as soundie or gaffer ;-) Yup, video is greater complexity, and also takes sustained effort vs getting lucky (on the low end) with a few snaps that turn out "right". So video is a little bit more immune to it than the stills world (plus it is happening later the tech development), but the general principle will still hold true.

You're absolutely right here. In the noughties my wife and I had a nice little side business doing wedding and events photography and we were soon able to charge £1200 - £2500 a pop, depending on the coverage - and make a profit from prints and albums until we stopped doing them. By 2010 that market had pretty much dried up in the very prosperous southern seaside city in which we live. The lower end were leaving the photography to an uncle with a DSLR while the higher end were booking nationally-known wedding photographers. Of course, part of this was no doubt due to the financial crash, but a lot was to do with the fact that an amateur uncle could produce images that were 'good enough' for people to whom wedding pictures were of lesser importance. I don't think it will go quite so far with video. Producing good video of something like a wedding takes a lot more concentration and effort, not to mention skill, both on the day and after it. Uncle might have a great hybrid mirrorless, but he does also want to get drunk, eat food and chase the bridesmaids - none of which activities mix at all well with shooting the wedding video.

We have this discussion every time. Camera companies with Panasony included WANTS the video looking early crappy promotional footage. They want to show what the camera does on its own without any thought or post process. There are of course exceptions like blackmagic and to some extent the GH5. But otherwise it always looks like crap in the promotionals. And every time we wait for actual users and are forced to change our minds. I just hope we could start sparring ourselves the same old discussion.

the dude from the first video said in his review, that he doesn‘t do video, he just put the camera in video mode and let it record. Probably with very short shutter times, that‘s the way photographers do video

If you want to predict how the video industry will go, just look at the trajectory of the stills industry. As there is a lot of similarities there, except they're a few years ahead of us. Because stills cameras got dirt cheap and "good enough" a lot earlier than they did for video cameras. (and I think in general stills is easier to get the hang of at the entry level, than video is, because there are less moving parts to take into consideration: audio for instance! And camera movement, etc) The high end photographers still survive and thrive, but almost all of the low end photographers have disappeared as a viable full time career (for instance who the hell sees mall photographers now?? They're as rare as hens teeth, and likely have minimum wage casual people. Yet twenty years ago a person could have made an almost ok income from that), and the middle ground is severely gutted out as well.

When I left the country to study (and work eventually) abroad, there were 46 drama series the next year and uncountable documentary ones (that was the peak, in 2005-2006 I believe). After 5-6 years that I returned, were something like 4 drama series (could have been less), then a year later the whole national TV group closed (it is traditionally the biggest documentary buyer here) and most of the advertising agencies closed without paying our salaries. Before that, I was only working in TV series and films (a few features and short ones), but suddenly the market collapsed completely, so I started slowly to do other things too (performances, the occasional event), smaller jobs, less paid, but manage to survive. Most of the people from the "Golden Age" of the 90's and early 00's have already change their line of work. Now the situation isn't any better, the collapse brought young people willing to work for almost 3-5 times less of what I ask, and depending the job, I have to say no more times than not. Exhausting work days (12-15 hours) and impossible requests are the norm, while the salaries are going down and down. I believe basic video knowledge will be mandatory from a young age, that doesn't mean professionals will vanish. I do not see a lot of people having their weddings shot only by their friends iPhones, and when the budget counts, you need pro people that can do the pro stuff. The market is changing though, and equipment plays a major role of what we do and are. Sound is something that amateurs can't control easily, it takes a lot of experience, and not much reading (after a certain level of knowledge), light too. Additional equipment is another thing. Unlimited ISO performance, IBIS and a Rode microphone on top is not what makes a pro.

Haha, lots of shit films are shot on the most expensive Hollywood/Altantawood/Londonwood/Bollywood level cameras. Good films are the exception.? But you're point is valid and I would add the relentless complaints about comparisions to Sony's high ISO parade. ? Then again, $10k body only is not a cheap investment for most ppl either. Yes, it's cheaper than what the 8k Epic costs right now, but the bar is set way higher than even small profesional productions can afford to purchase outright that need to recoupe short term. Besides, most production shops do not purchase just one unit. Unless they want 14 hour days. The article made no mention of any of the addons coming down in price as well. If so, expect serious compromises in build quality and performance. $10k puts the RED in the same bracket as the Sony F5, Canon Cxx, BMD Ursa Mini Pro 4.6k, Panasonic EVA-1, etc. This is not exactly a amateur's bracket. If RED was going to release a mirrorless prosumer/consumer level camera, then RED should worry. Then again, they're releasing a smartphone this year so are they really THAT concearned? They obviously see differentiation.

When I used the A7S ii I preferred Cine 2 (-15 Black Level)

Just finished shooting my film school grad film with a set of Zeiss CP2s on a C300 II. Will show images later.

I understand the fear, but luckily reliability, creativity, and being an easy-to-work-with person trump "free" in the long run. I've been slowly and steadily increasing my rate despite the barrier to entry getting lower and lower, and it's all because I focus on delivering more than just the video. Ever since the 5D2/7D/T2i got popular there have been clients unwilling to pay for videos, but those aren't the clients we want. Clients who are worth it will be looking for things like consistency and long track record, so as long as we keep working we'll always have that leg up on the new kids on the block. Having said that, we can't ever get complacent or sloppy or we'll get chewed up and spit out faster than you can say "vertical videos suck."

Firstly Thank you for your service... so it just becomes as dumb speed booster huh?.... they all sold out from amazon and all the ebay orders are like 3 weeks estimated shipping just to send back if it dosent work...(I dont have any other M43 cameras like a GH4 to use it on) Perhaps they will work it out with a firmware update but they probably think the BMPCC market is small potatoes so there is no urgency. Im experimenting with a different route Since.... I already have a nice selection of Canon FD lenses... 50mm 1.4, 80-200 F4 L, 24mm 2.8, 50mm Macro 3.5, The only thing im missing is a wide so I found a FD 15mm 2.8 fish-eye (made in 1976?) Got a Cheap $100 FD speed booster to MF3.... and this is by far the most money ive invested in a FD lens ($200) the classic wide angles are rare and not cheap. Cool thing is even with the speed booster there is very little distortion in the BMPCC image it kind of reminds you of anamorphic lenses that bow ever so slightly on the edges. Still got 3 weeks to decide if I want to return it all and go and go Metabones+ a used Sigma 18-35 1.8 ( Friggin $800+) Cool thing is If I can find a cheapo A7S someday I have a pretty complete set for FULL Frame camera lenses ready for action! We shall see. Thanks again for the news on the viltrox

@Trek of Joy, I started my post saying "if we want to fantasize and speculate on the post appeared on mirrorlessrumors" all we say is based on our hopes and beliefs, I bet you do not have the NX1 camera right? Some time ago I read a very smart comment that said this: "Today the photos are taken with smartphones and Samsung has the best-selling phone in the world, so Samsung is still the world leader in photography." This reasoning is logical, Samsung has incorporated the photo department with that of smartphones because the photography market had been assimilated by smartphones, they would have been crazy to do otherwise! All I want to say is that I repeat for the third and last time is this: Samsung produces the sensors, processors, the display and all the electronic components necessary to assemble a camera, the DR color profile allows you to get natural colors and shades of exceptional skin. The codec h265 has the same performance of the ProRes at less than half the space, the firmware has a friendly interface and an intuitive menu (nothing to do with Sony cameras). The NX1 was a UFO that has anticipated the times too much, as evidenced by the fact that even today is among the best cameras ever built. Today the time is ripe, the codec h265 no longer has problems with transcoding and is compatible with all video editing programs. The Samsung NX2, if it will be produced with the technical characteristics listed, will be sold before arriving on the shelves.