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Here's a bit of a review after using the X-H1 for about two weeks, both in a hobbyist/family setting and in my more professional workflow (video production is part of what I do for a living). As a caveat, I wouldn't consider myself a pro video guy, though. I'm a hobbyist who turned video into part of my full-time income. I started a company called 'Worship Tutorials', and a youtube channel is a big part of it - I do a lot of video work (probably 3-6 uploads a week to YouTube), so while I'm not doing work for clients, and I don't have a pro background, video quality is important to me. I also realize that the limitations I encounter are almost purely coming from me, not the gear. Background I've been using Sony bodies for about the past 2 years. Before that, I used Blackmagic stuff - Studio 4k bodies, and then an Ursa Mini 4.6k. That was overkill. My church used to use those, and I loved what they could do, but the workflow for me (working on my own pushing out that many videos) just wasn't good. So I sold all of it and jumped to Sony. First with an a7S ii, then the a7R ii (as a 2nd body), then I sold both of those and went with an a9 + a6500. The colors on the a9 are far, far better than the previous gen. a7 stuff. My frustration with Sony is color. And it's a huge deal to me - I believe color is one of the primary emotional pieces of video. And I hate the way Sony handles color. I do realize, though, that the IQ is there - plenty of people create beautiful work with Sony a7-series bodies, and I finally got good enough in post to make stuff that I thought looked great. But it's always a struggle for me - I feel like I'm always fighting for the colors I want. Then I started reading about the X-T2. So I rented (and then purchased) an X-T2, and honestly I loved it. I loved the handling, the physical controls, and especially the colors. Even still images in Lightroom were easier to get what I wanted (with the Sony raw images, I still felt like I was forever fiddling to get the colors I wanted). In video the image was just more pleasing to me. But it lacked things I really wanted - 120p slow motion, IBIS, smooth gradients from different light sources when ISO was set to auto, better auto-focus, etc. The Sony system was just better spec'd. Plus by this time I had invested in the 24-70 G-Master and the 70-200 G-Master lenses from Sony. These lenses are incredibly good. I returned the Fuji, but I've missed it. So another year of fighting with Sony footage, and then X-H1 is released. Again I rented one, and now I've purchased one (along with the 16-55 f/2.8). Several of the key features I wanted have been implemented - IBIS, high frame rate, etc. But to me, again, the killer feature is color, and with the introduction of Eterna, Fuji's color superiority is even better. Pros/Cons - Fuji vs Sony Over the past two weeks, I've shot a lot of video and stills side-by-side with my a9. Here are a list of thoughts... Auto-focus: The a9 (and presumably the a7 iii) is better with AF. Much better. But honestly the Fuji isn't bad, and it's good enough for what I do. This may be a make/break feature for some, though. High frame rate recording: Sony is better here again - the 120 and 60p footage is cleaner. But I've shot a lot of it with the X-H1, and it's certainly not bad. If you avoid things that you know are going to give you aliasing and moire problems, you'll be fine. For me, it will work. Dynamic range: Again, the nod goes to Sony, but it's very close. Especially if you use the 200 and 400% settings on the X-H1. Low Light: Sony wins here. Full frame, plus their magic with high ISO is hard to beat - honestly does anybody beat them? The X-H1 is acceptable, though. Honestly at 10,000 ISO it's a pretty useable image. We are spoiled with ISO performance. Five years ago (and especially 10 years ago), ISO 3200 was the top you could go, and many cameras looked like crap there. IBIS: Fuji is better in my opinion. Handling/ergonomics: I like the Fuji better - a lot. One thing I do like about the Sony cameras is the ability to set up custom presets for 4k 24p, 60p, and 120p (that's how I set mine up, anyway), and be able to instantly recall shutter speed, frame rate, and aperture in one move. On the X-H1, it's a 3 step process, although it's very fast after some practice. Lenses: Tie (but not if you consider how much they cost). The G-Master lenses I have are awesome. But they are very expensive, and big/heavy. Fuji lenses are very good and very affordable. And finally, the most important things - for me, personally... Image Quality: Fuji, by a lot. Now I agree with Tony Northrup's assessment of the 2x IQ thing, regarding stops. I get that technically, the Sony sensor is able to resolve more light, etc. I get that I can shoot at lower ISO's with the Sony, so from a noise-perspective it's cleaner. But when I look at footage shot side-by-side from both cameras, I pick the Fuji every single time. Especially when shooting with Eterna. It's not even close. Workflow: Fuji wins. Because the image is so much better out of the camera - for my tastes - the workflow is much faster. And at the rate that I make videos for my business (as well as candid home videos of family, etc), it makes an enormous difference for me. Even things like render times are way faster, because I'm doing much less manipulation to the image. Emotional impact: Fuji wins. I love using the Fuji system more. Because of my experience with the X-T2, I think I can say it's not a honeymoon thing, too. Although the a9 is a ridiculously awesome camera to use. I really do love it. The other emotional impact thing is the image quality - and I think the fuji wins here, too - because of color. Final thoughts The 'best camera' doesn't exist. Some are better technically than others, some produce a certain look that users may or may not want. Some lack features or have an abundance of features, but honestly the quality of work that is produced is going to lie with the person creating the work. These days cameras are so good that I don't think it matters what brand or model you use. The Sony stuff (especially the current gen stuff like the a9, a7R iii, a7 iii) is better on paper than the X-H1. There's no question. Is it better in actual use? Depends on who's using it. Personally, I think I could create the same quality work with either system, but I'm convinced the X-H1 will get me to the end goal faster. For you, it may be the other way around. Finally, I think the internet can be a toxic place for people who are looking to buy gear. People come into these discussion with biases, or they are far more concerned with spec's on paper than anything else. Personally, I'm actually kind of upset at myself for even considering switching from my Sony gear to Fuji - at some point I/we just need to ignore all the hype with new stuff and just make content - and get better at using the gear we have. Having said that, I'm probably going to sell all my Sony stuff and invest in Fuji. Sample Work Here's a video I just produced using the X-H1. I did about 6 takes of this song from different angles (which is why I need at least two cameras for what I do - three would be better). Edited/graded in Resolve. I shot it in Eterna, and honestly I did very little to the image. Just a tweak with white balance and contrast/saturation to taste. With my Sony cameras, this would have required 4-5 nodes using a LUT, color manipulation to lows/mids/highs, skin tone isolation/correction, etc. Here's a very similar project using the Sony a9 and the a6500 together: It's a bit different look, and I like it. But it took a lot to get there. Here's a video I shot with the X-H1 - again using Eterna, and graded in Resolve: And another with the a9, also graded in Resolve: Sorry for the massively long post. I know there are lots of people reading here probably trying to decide between the X-H1 and the a7iii. I'm one of them, so hopefully my experience can help you make that decision.

Yeah but you didn't see me 10 minutes later when I logged into eBay and found out I hadn't been outbid on all 17 NX-1s that I was hoping to turn a profit on next week.

Just to summarize this thread for any anyone in the future who comes across it before it gets locked. Arikham claimed to unlock "16bit" Raw video on the NX1. some people believed him while others were extremely skeptical. No proof was provided. After about one week the skeptics demanded proof. Still no proof was provided. The people who believed him defended him. The individual disappeared because he was scared of everyone who demanded he provides proof of his claims. Roll credits with cheesy music... .... Mathew Hartman went on to start an anti-bullying campaign and was eventually recognized by Melania Trump for his valiant efforts around the world on cyberbullying Kisaha lost faith in humanity and moved to the woods to live out the rest of his life as a recluse with no contact to the outside world.... He spends all his time trying to hack the NX1 to unlock RAW video. BTM_Pix opened up an online detective agency.... to this day he still takes on probono cases related to the camera hacks Arikham was never heard from again Lol, sorry I kinda got lost in my own sorry there.

Not sure what they do, I never visit that sinkhole. xD _ But on the topic of lenses... the new Huawei (Leica partnership) P20 Pro has 4 of 'em (rear 3 cam combines to a Vario-Summilux-H1 27-80mm f/1.6-2.4 ASPH.), sensor size = 1/1.78" which is quite huge for a smartphone (that's not a CM1 or something). https://consumer.huawei.com/en/phones/p20-pro/ Official launch was earlier this afternoon. Incredible piece of kit if you ask me. It leaps ahead of the first closest thing from Samsung with a whopping 10 extra DxOMark points: https://www.dxomark.com/huawei-p20-pro-camera-review-innovative-technologies-outstanding-results/ ... who conclude that it's a game changer. Curious to find out what it's like for video. It does do 960fps slowmo (720p) and AIS (they find EIS/OIS doesn't quite work, but when you use AI, you can get much better results) and AF seems impressive. Guess we'll find out!

Why not make it international and semi-virtual ? Get 10 films from your local area and 10 from other countries that are submitted electronically. Get a Skype connection to do a live Q&A with the international film maker. Then we could all reciprocate by hosting a similar event where we live. A whole international circuit of interconnected independent festivals at minimum expense.

Well I must admit it is the strangest thread on this Forum by far, Well not too far from the Fuji X-H1 thread either! Has been an interesting couple of weeks on here. Spring is in the Air I guess?

https://www.43rumors.com/ft4-will-the-z-e2-camera-get-a-4k-120fps/ Wowzers!

I am a canon guy and if you look above you will see that I have bashed both the fuji and the sony for various reasons. So I have no brand loyalty between these two manufacturers. But I have to say that the fuji footage looks 2x better IMO. I can see two things at play here: 1. Color science is much better in the fuji. The skin tones are a dead give away. Look at the very first scene with the sony and see how blotchy and unappealing his skin looks. Then compare that with the fuji. I feel like I can see every pore on his skin with the Sony. There are oil blotches everywhere. Funnily enough, this is related to color. Despite your grading, the color still looks off with the sony. Particularly look at his skin at 0:19 secs in to the sony material. That is very hard to fix. Another thing people often fail to mention is color separation. If the skin tone is pronounced the subject is isolated from the background. Go to 1:32 on the fuji and 2:24 on the sony material, pause it and look how much more he pops on the fuji material. The sony material looks flat as pancakes. 2. I can see the codec is more robust. The image looks a lot smoother and sturdy. There is less of that digital sharpness that you get with the sony, which makes it look very videoy. Having said that, if someone is working purely as a videographer I would recommend a second hand c100 (mk I or II) any day of the week haha. For hybrid, the fuji wins for image alone.

Internet Lynch mob, it is facinating you can read through this post and watch the mob just whip themselves up into a frenzy. Is this a joke or a con, possibly maybe even likely, but if I was this "kid" and I did have a hack my attitude now would be fuck these guys. He announced a date, it is fine and good to be skeptical but all you had to was just sit back and wait - all will be revealed on April first. It's like sitting by and watching a bunch of children waiting for Christmas to come impatiently obsessing over every possibilitity. At this piont I hope the hack is real and no one gets it.

the new A7III has a dual ISO pathway: https://***URL removed***/articles/3389926460/sony-a7-iii-dynamic-range-and-high-iso-improve-over-its-predecessor

I think there's some blending of terminology here. The Sony's have a base ISO in standard picture profiles and a different base ISO for log profiles, but this isn't dual native ISO. In the past, Red cameras have used a technique for HDR by alternating ISO values every other frame, but again this isn't dual native ISO. Or the American Gladiators

Yeah, but if are into Photography, 99.9% of the world is, DPR is still hands down the best site for overall info. There is not many people in the world like us thank God.

Maybe he gets his kicks seeing grown men act like Jackasses LoL. Plenty of us on here as of late! Funny Shit.

I agree, it would be harsh but I cannot for the life of me figure out why he would not want to divulge ANY info. Very peculiar behaviour even for a young person. I've had kids and I know they can act strange at times but quite often that strangeness is usually attributed to one of the popular 'disorders'. Again, no negative connotation intended. It just is what it is.

Canon rumor, Canon hype, Canon announcement, Canon's behind every one else, Canon disappointment, Canon release day, Canon's best selling camera to date. And that's the way the cookie crumbles.

You said it yourself, no one wants to compare a new camera to a discontinued one. I know Max in the sense we both are Washingtonians and have had several chats about the NX1. To my knowledge when we last spoke a few months ago he still owned 3 (I believe) NX1s and is still fond of them. But you have to realize he reviews cameras, and he makes some income doing it. He would not get much viewership if you continually covered the NX1, a 4 year old discontinued camera. That's it's reputation on paper, even though the camera obviously still holds up. Right now, in his mind the hot cams are the GH5/s, and the AR73. If you tune in next week, it will be something else, thats just how he and many online reviewers roll. Their overall charter is to help sell new gear. But I wouldn't be suprised if he still uses the NX1 behind the scenes, which he affectionaly calls his "workhorses". I've been trying to get him to sell one to me but he's not willing to let them go unless I pay a premium. That says a lot.

After many test, I decided to keep the GH4 along with the A7iii. I need something really reliable, maybe with less creativity possibilities, but which will never let me down in difficult situation. As much I like the A7iii, I can't be sure that if I have some shoots to do outside at 35°, it will be usable. Also, the 4k50p is very helping when you need slowmotion or agressive stab. Keeping both is expensive, but now I feel good about any work to come.

Is it interesting to ponder how different this thread might have been if posted in the Samsung subforum instead. A much smaller thread for one! MountneerMan discovered he had an untapped talent as a comedy writer, so he packs his bags and moves to Hollywood with skip in his step and stars in his eyes! ...... ...... 35yrs later MountneerMan dies in LA penniless without ever getting a single manuscript read by a producer.

(my underlining for emphasis) Yes, I agree, I feel like BTM_Pix raised this intriguing point very politely and respectfully.

Untrue. Both the F35 and F3 use SLOG1 and SGAMUT. The results with Resolve's transforms bear that out.

I film and edit a weekly 'docutainment' (I hate that word) show for TV broadcast that needs to finished every week on a Tuesday afternoon. It's then checked for any technical faults and sent on to broadcasters who - I assume - have an automated system to get it into their schedule and it hits the airwaves 2 days later for the end audience to enjoy. Since it's a very tight schedule with a hard deadline that simple can't be missed, I 'publish' every single Tuesday just before lunch. On top of that, I also live in a different country to my family and have 2 small kids, so I also make short videos of them learning and doing things to upload and share with family. I try to do at least two a month, but that's self imposed and don't put too much stress on it. Then I also have a few personal projects that are closer to work than the family videos, mini docs and animations about random subjects that take my interest at the time. Those take a lot longer to finish, and publish as they're more time consuming than the family videos, and it's hard to find the time to do them. I treat them more as teaching myself a new skill or testing equipment and don't put any pressure on myself to finish them by a certain time.

I heard a story (no idea if it's true) about someone in the industry - maybe they were a film critic(?) - that had a large shed in their backyard that was setup as a makeshift cinema and they ran a video night every Friday night. In summer they had it outside on their lawn. Anyone was welcome to attend, they showed short films on any format (I think he had a collection of players for different formats, like VHS, Beta, etc). It was famous for being a completely mixed bag - great films mixed with awful crap. I heard that often the best ones were shot on poor quality equipment as his night was known to accept all formats so it attracted those people that either didn't know how to get access to good equipment or didn't know it mattered to film-festivals until after they'd finished. Apparently he screened a film shot on one of those Barbie cameras (where the camera was mounted in the doll) and it was well received by the audience despite being very poor image quality.

Well this has certainly gone off the rails ? I only started this as separate thread to raise awareness of the possible advancement for other NX1 owners. As an owner, anything that potentially enhances the image or adds to the experience, I am all for. It is sad we will not know definitively if this was a real development or not. Perhaps it would be best for Andrew to kill this thread and let any further announcements come through a proper post on the site.

I do not disagree, and I know a lot of people care for raw, but it is 27th of March here, if only we could wait for just 4 days, and If only we were that civilized a few days ago! I am a "little" older than you, and I have learned that people react differently under pressure, and we do not know other people's limits, and what is eating them, especially here that we do not even know each other! Anyways, that was it. I do not think there is anything else left. Burn the thread! edit: Knicks loosing again, when Michael Beasley is your best player, then something is wrong with your team!

That is not the point @kidzrevil. I have posted numerous times about how I do NOT care for any kind of raw, I had a 5DmkII staying idle for years and didn't try it, I couldn't care less for raw in my workflow, and I would never shot a feature film or a short with this camera. Plenty of other and better options around. I, personally, didn't get what was all the fuzz about, why people had to "push" this individual to his limits, and why it was even a big deal? He said something, he gave a timeline - on his own, without even anyone asked about it - and that was it. I don't get, why he had to be proven right, or wrong. In 4 days, we would be able to know, and not even wasting a second of our lives for posting various things here. That what I was saying here multiple times, with different ways, and I am seriously more curious, why people had to prove him anything, instead of wait, and continue with their lives for 7 (back then) more days, until the "big" announcement. As I said, I do not even care for raw, especially if I have to open my cameras and do "stuff" to them, or includes any complicated workflow, so I am not even feeling like I lost an opportunity, I am just curious to know what drove all these people's response. Excitement? Financial benefit? Jealousy? lust (for data!)? lust (for e-blood)?!

I think that was the lesson Arikham was trying to teach us all along. Verily, he is wise beyond his years.

FWIW, I received a questionnaire from Sony, as an A7s ii owner, last week on the features I would like to see added to the A7s ii (along with questions on what I used the camera for etc.). This would suggest that they are at least considering a successor, but it would seem a long way off. I also received a similar questionnaire on the FS5 recently, another camera due for an upgrade.

Hmmmm.... Can I just clarify that I brought those two images up for comparison as I knew someone would search his posts and come across it and would, in all likelihood, have not couched it in, shall we say, quite the same terms. There are very plausible reasons why those images are as they are that wouldn't disprove a RAW breakthrough. Just as there are very plausible reasons why those images as they are would not support it. However, I wasn't just going to ignore the comparison between the images because it didn't suit my suspected - and hoped for outcome - that this is indeed for real.

Thank you. I think both the pics are JPEG quality (4k in 4-2-8 8-bit, and curiously their exposure seems Pretty Off, visible from how quickly the photo disintegrated when he tried to sell it as a DNG file). That's why his effort at trying to fool us fell flat on his face. The position of the cars and trucks at the traffic signal give it away. Also they are less then 5 seconds apart, as can be noticed from the position of various vehicles and ships/boats in the pic. People claiming he is some 12 year old, mentally unsound, undicovered geek, oppressed kid blah blah blah are the ones feeding all the tomfoolery. These members should be given a 1 week ban. He didn't ask money yet, most likely because, Fortunately a Lot of Members started shouting wolf ! Thank you all the people who remember Sadaawi. I am guessing, that otherwise he was planning to make a few quick bucks off a campaign for a RAW hack and some NX1 sales (the Sale for the 31st could have been a Pilot Project with a pushing back of dates, to accomodate a few more sales, sharing more random JPEGs as DNGs). I wish there was someone from Interpol on EOSHD. He would help bring in a lot of (in)famous people from across various countries. There are many ways of improving most pics in post. Also the difference in this case seems minor, at best.

There are none, it's whatever the organizer says it is. However, they're usually a bigger to attract more people which gives more exposure to the filmmakers, and helps to pay down the costs. The word festival just means an annual gathering, celebration or commencement centered around a thing, but does not denote scale. Technically, a screening is not much different, but usually plays in a smaller, more intimate setting and is more about critque/feedback. Often festivals will have other attractions outside of the films to attract more people to the venue, much like other types of festivals. Honestly, I don't see festivals as being all that different from say a convention or a fair. It's usually all about the merch with a heavy industry presence, coupled with the main attraction. They've gotten pretty commercialized imo. I understand that pays the bills but it would be nice to see more grassroots/one-off festivals pop up where the focus is 99% about the film's and discussion panels. I think if the setup cost is kept low, this can happen. BYO"" style. Obviously, the festival being talked about here would be local only. It could be done digitally via streaming, but then you miss out on the social engagement part which in my opinion is the real magic of a film festival. Gathering and conversing with like-minded peeps and learning about people's process. We have quite a bit of film festivals here in Seattle. But it would be cool to see more in places least expected, like Iowa. If the OP plays his cards right and strategically, he could probably get some decent investment. Hit his local chamber of commerce, grab the attention of someone who is passionate about film and has money just begging to be spent. City officials look at these things as cash cows. And don't forget crowd sourcing. Offer travel/admission packages at different tiers of investment. It would be a ton of logistics but it could turn out to be a lot of fun. I think the corn field idea would prove to be an unforgettable experience, especially if the festival has a horror theme. A physically small entry that opens up to something vast. Maybe the festival is sat in the middle of a faux crop circle. Get creative.

If you’re in it for the long haul I’d consider the Veydra Mini primes. They hold value better that Rokinon, although theyre more expensive. Optically they’re on par with the newer Zeiss super speeds. The focus throw on the Veydras are nice bc theyre so small. The big cine lenses are truly a huge pain to handheld focus when they’re 300 degrees.

It is impossible to start a new thread in the NX subforum on EOSHD without Kisaha noticing it! So no, of course this is not specific stalking of one person :-o Rather it is "stalking" of the entire NX forum ;-)

Bringing the topic up and summarizing my experiences after renting a shoulder rig for a while. My setup looked like this: (Reds were matched by a pure accident, though it looks really nice) The rig helped me to get rid of all micro shakes and a lot of rolling shutter, as well. Definitely smoothes pans / tilts, etc. I'd need some practice to keep my framing while walking, but it manages to make 'bumps' less apparent. All in all: I'm content with the results and think this thing matches my style of shooting. Can provide some footage to all interested. Thank you all for participating in this thread and sharing your experiences, observations and opinions. Really appreciate it!

I'm just an actual user here reporting a potentially serious issue that seems to be affecting a large amount of units. this isn't a $200 phone, it's a $2000 camera. and the 'date trick' seems indeed a fudge not a fix. why you feel the need to downplay the situation or call me a drama queen is beyond me but clearly there seems to be an aggressive pattern from you insulting anyone that disagrees with your opinion on a product or camera brand.

drama queen ?!!! not everyone buys these cameras to shoot ladies at the train station.. some of us actually count on these for commercial work. we've had at least 2 days of footage affected by this issue.. oh and yeah it appears it is a sensor issue!! anyways kudos to the youtuber for the "fix".. still blows my mind this wasn't flagged by Sony QC. ..even more so if this is an old bug. I mean they're on their third generation here.. SMH

excellent point

Inspired by @Justin Bacle and his post, I recently picked up the big brother of the GB-Kalee that had damaged internals - but luckily the front focusing section was in great condition. The optics are a beastly 100mm front and rear so I separated the front focusing assembly and have been pretty impressed by the optic quality and coating. I post this here as it is a bit more info on the bigger brother of the GB-Kalee Small as it may inspire others to remount or test further these lovely vintage optics as single focus solutions. Unfortunatly I have just started a long term job that does not allow me to spend time playing with re-mounting this beast, so I've decided to sell. From what I can tell, to get minimum focus on this big boy (of 1m) - the front and rear optics need spacing of approx 40mm...which unfortunately is further than the helicoid will allow without unscrewing and separating the two body halves. However if someone was to re-mount or rail-mount the optics in some kind of MacGyver fashion, you'd have a very tasty big boy focusing optic to play with. Like I said, I now have no time to experiment with this myself, but from some rough handheld tests - it appears to deliver the same high quality as it's smaller Kalee brother, but with bigger optics. In a shameless move (but target to those following this thread who might find interesting) , here is my focusing assembly listed on ebay: http://www.ebay.co.uk/itm/GB-KALEE-VARAMORPH-Focusing-front-Assembly/253440130338

B&W video can look beautiful for the right subject...especially portraits of interesting faces and documenting everyday life. Without the distraction of colour, often the viewers attention is drawn closer to the subject and can give a timeless feel. Without the luxury of a monochrome sensor, it’s always best to monitor in B&W - since the composition often benefits from contrast in lighting and tone that is not easily noticed when viewing in colour. @mercer MLVFS is now working with the most recent nightly builds, making post processing very painless...especially when combined with Resolve for export. Here is an early ML video that made me upgrade to FF Raw a few years ago...something magical about it. This music video also looks great in B&W: