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more than 60 pages before, this thread started wit "I WILL be getting a Fuji X-T3!" and I have him! I sold my Samsung NX1 and bought a X-T3. Great camera for photos and filming. Now building my ideal setup that will be finished end of december I hope. I ordered the cage and some other things at Smallrig. Lens setup; Voigtländer Ultron 40mm f2.0, Bolex anamorphot 16/32/1.5x, Rectilux HCDNA.

I think they do it as a private joke for themselves or they are genuinely never reliable. I actually suspect that they would have tested the Alexa at UNDER 14 stops, but are too afraid to publish it. The Alexa standard being indisputable, they would probably invite a plethora of brickbats. Almost as ludicrous as that 14.6/ 14.7 stops of Dynamic range on the Panasonic GH5s done by that freak which was published by NewsShooter.com. Cinema5d measured the same camera's dynamic range at 10.7 stops, 4 WHOLE STOPS less. If their measurements differed by 4 stops on the Alexa, one of those sites would have shut down. It is indeed an amusing world.

C5D has to keep up their past strong track record when it comes to unreliable/conflicting/confusing dynamic range test reports! ? It just wouldn't be normal them if they didn't have something like that.....

Here is a quick test with some heavy grading on the internal 8 bit footage. Lens cap test at about half way through. I didn’t have time to hook up the Ninja V, will do that test tomorrow. Enjoy!

inspired by bolds thread on the b&h projector lenses i'm making a thread on the russian 35 nap series of lenses. these are big beasties indeed and quite heavy. my two cents worth of opinion is from my ebay searches these seem to be the cheapest anamorphic 2x stretch projector lens option at the moment the caveat being size, weight, make them unpopular choices i think and that front element size would make for a expensive not to mention massive single focus solution probably. however my curiosity knows no bounds except when it come to mains line voltages lol. so with out any further mucking around lets pull this beastie apart. the lens comes apart quite easily. the front cover i guess you would call has one small flat head screw in it then it just unscrews. i guess they didn't have locktite back then as none of the screws seem overly difficult to undo. the ring with the measurements on it has three small flat head screw which hold it on. once there undone the ring falls off and you can either unscrew the focus ring backwards till it comes off or screw it forward and it will drag the front element with it. i did it backwards first then struggled to get the front element out put the focus ring back on and screwed it forwards till they both fell off the front. im kinda stuck at this point as i cant find my lens wrench and i think i need it too undo the back element. there is 6 small flat screws positioned around the back element on the housing however undoing them doesn't free the back element. i was hoping that the back element might fall out if i tipped it upside down but no it doesn't. if you saw my desk you'd understand how a lens wrench could go missing ? thats it for the first installment hopefully i will have more to share soon.

I tested the c300 mark ii with noise reduction and odyssey 7q raw recording vs the alexa. The results may shock you! Testing the Alexa Alexa Mini vs Canon C300 Mark II in terms of sharpness via the Odyssey RAW to Pro Res, with desharpen in post as well as in camera codec with noise reduction set to minus 1. This is a new feature in a firmware update. You have to go into other settings and turn on and to minus 1 - you can't just leave off. Graded with my chart2 lut - link to that and stills here: https://www.dropbox.com/sh/u3qmjg7iysvxlsf/AABk1BLbSY1Yy9JoDSYjo1Qva?dl=0 also stills are there to see better please email me any questions or if you want the source files - I can get them to you on a sd card if you want.

I feel your pain. Between Premiere unstability and Flash vulnerabilities, I have a strong distrust of Adobe myself. I use Resolve for editing these days. My biggest project is ~5,000 files / 500 GB and Resolve is handling it just fine. Each of the files actually is imported both in full res and a proxy, so there's closer to 10,000 imported files. Not sure how that scales against your needs...

Ok

All the ones I've tested do, yes.

In video, the AFC focus is great. And that’s from testing and not only reading in forums. In stills, AFC is not great. Yes, they have different performance. Z7/6 has wonderful face detection and object tracking in video AFC.

Yeah the Sandisk V30 work for me as well in 400mbps. They don't work on the GH5 but they do on the XT3

It’s official... Everyday Dad ditches Sony A7III. ?? Not that it’s important, but I find his reviews entertaining. Can’t wait until Nikon releases firmware updates to fix stills AFC and add 10 bit internal recording... which they said would happen once CF-Express is available.

That messed up test was done by the EBU. Almost nothing they did over there made any sense.

So you are saying the E2 has a sensor in it no other camera in the world has?

https://www.bhphotovideo.com/c/product/857393-REG/Hoya_A77UVIR_77_mm_UV_and.html/xpcur/XAUD/IWB/AU?gclid=CjwKCAjw39reBRBJEiwAO1m0OQifF4G8vwIAHuABsVJa-KgTD_bZtuNkrM6nfiVIqKCDZgfQB-HWEhoCblsQAvD_BwE

I have a 128Gb and a 64Gb and they both seem to work. I tried to find a difference between 400mbps and 200mbps and couldn't find it yet!

Also noticed they didn't do a black shade...It defo makes a difference!

If you are talking about these, they work fine. Even though V30 is not enough for 400 mbps, they seem to be faster. I never tried the 16GB though, it's way too small for 400mbps, that just gives you 5 Minutes of recording

Yes, and I expect they'll stick with S35 for another generation or longer. The craziest wildest thought? Maybe Fujifilm are planning on making a high end cinema camera themselves? They've got popular cinema lenses after all, and the Fuji film stock was used for decades on features.

Smartest person on here. Congrats LoL. Just don't fall using it Snowboarding. At least not a faceplant. ?

the UMP, while much improved with BRAW, still has magenta color shifts in the highlights that make the dynamic range not as strong. Also UMP doesn't seem to have a OLPF in it - I haven't tried this out: http://rawlite.com/olpf-for-blackmagic-ursa-mini-pro-4-6k/ but I think that would make the camera more similar to the alexa. Still at this point (and I am redoing the test) - the c300 mark ii RAW to pro res is the best way to get the sharpness an alexa has. even with the new Noise reduction set to minus 1, the image is still too soft for me to be able to be cut without anyone noticing. I love the UMP, but I sold it for the c300 just cause it was too sharp. showed every pore, even with diffusion

You don't think Fuji will make royalties from this jointly developed technology? Sony makes more money selling their sensor tech than they do from their actual cameras. The same logic applies.

I can't say this test is at all conclusive. Neither camera clips, so you can't really see what the DR limit is on either camera. It looks like the Arri keeps the highlights a little lower on the waveform, but the Z cam's waveform shadows are also at a higher level so it could just be an exposure difference. The different field of view and angle make it hard to tell. I'm still going with "everyone exaggerates by 2 stops except Arri" so 15 for Z Cam is really more like 13 (as measured by Arri). I do think that the color on the Z Cam is phenomenal. The real conclusion is that the Z Cam's footage is really good enough for any cinematic purposes. @webrunner5 they are both UHD I can't say I agree. The Z Cam actually looks like it has less noise. Arri definitely has more chroma noise. However, the Z Cam's depth of field looks shallower, so they might have a faster lens and a lower ISO.

No, there's no way to clear the screen of all the info. It will only show a screen with less info, but often I want nothing but the image on my screen. Especially as I have that top display for vital info. Also during image review I find no way of displaying histogram and/or blown highlight warnings. All this is possible on Nikon's DSLR so I don't understand why it's not on the Z yet. Firmware must be in the works.

Or something even greater. Fuji is making a comeback to motion pictures by producing cameras that compete in the professional filmmaking space. With a sensor that does justice to such an ambitious plan.

We don't know what the deal is, like you said - we have little information about the sensor. The camcorder listed has to use an external box to process the footage? Do you really expect a small mirrorless camera to deal with such high power draw? It would also cost a hell of a lot more to produce/manufacture than their current x-trans sensors...

1. Change the export Codec (what are you using right now?) 2. Restart your computer 3. Clear the cache 4. Check the if you are using CPU or GPU to render (most likely GPU will be faster as it also uses the CPU, instead of CPU only) 5. Make sure you didn't check "use maximum rendering quality" or this type of box in media encoder Beside that, did you apply any grading or effect in your editing? What is the resolution and frame rate?

In my experience, one can throw math at a forum until the cows come home, but until you actually set up a particular focuser/scope/prime/speedbooster/sensor combination, there’s no real way to know. If the sensor size is that important to you, start there. Get the camera that you want. then get the scope you want, and a focus solution. finally, start auditioning prime lenses until you find something you like. the factors/equivalencies/etc. are ultimately crude ways of approximating the complex physics of the optics. They’re great for making a strong educated guess, but won’t really give you a definitive answer as to the “ultimate” setup. If you want a real scope for s35, just save up and snag a LOMO. Or sell your car and get a Hawk. There really is no quick path to assembling something that will perform exactly like a real cine anamorphic. same goes for s35 cameras. Get a Red, Pretty sure they save stills. The math... 1. look up the sensor dimensions 2. multiply by the focal reducer’s factor 3. Profit

The point being that he has gone out there and made a 'good enough' looking film with an older generation hybrid whilst you're wishing and waiting for a camera that has to all intents and purposes (as far as 99.9% of the audience is concerned) been available for quite some time. Whether that film is worth watching will come down to the script, acting, sound etc - it won't be the camera that is holding it back

Prores 4k is 500 mb/s, more than double the 200 on the xt3 which looks just as good to me. I may do some tests to see what the actual difference in accuracy is. The xt3 400 mbps is all i, which is significantly less efficient.

I don't want or need 8k.

Can this please get back to Panasonic FF. I don't give a shit about these average memes on Youtube.

The whole licence agreement of Panasonic from Leica for the L-series Cameras sounds curiously suspect. Because: 1. Not getting Olympus on-board has a Lot more to do with Olympus not being interested in Full Frame. It wouldn't take Olympus to figure that out after spending half a decade patenting all sorts of Full Frame lenses (I will read the literature again to see if it mentioned mount size or name). 2. Like Sigma (and others before it showed us), it is mostly quite simple to re-mount between various Full Frame lens mounts (unless obviously the mount size are enormously different). So it obviously didn't have to do with merely different mounts. Unless the Olympus mount had some seriously Path Breaking advantages over the Leica one (which seems unlikely, atleast until we hear more of that or until the 1st quarter of 2019 when Olympus' new enormous sized camera is revealed). 3. The Varicam and the Eva aren't using Full Frame Sensors or proprietary Panasonic mounts, which makes Panasonic cinema line-up the last to the full frame party (Blackmagic's prices are too low to count). Therefore Panasonic's high end cinema division also would be looking for a (non-Propreitory) new mount usable for Full Frame lenses for the Full Frame Varicam sensor (which should hopefully make it well before 2020). This may be a reason why Leica wants to edclusively make the Cinema lenses for Panasonic and Panasonic probably didn't wanna share the mount with Olympus. The whole M43 collaboration wasn't really a collaboration to begin with with various splattering of lenses and technologies between Panaspnic and Olympus. Also no proper roadmap. In the end Panasonic beat Olympus because Olympus' top end cameras didn't have enough video features to justify their price and Panasonic got the IBIS tech from Olympus, arguably the biggest advantage in Olympus cameras.