Leaderboard

I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.

Hopefully Sigma will read all of this before putting a firmware update out. I'll send them an email with all the annoyances and bugs in it.

Bingo! A Fuji Cinema Camera would have none of the downside risks that a FF camera would have, while playing to Fuji's strengths and existing product range / customer base. Take the X-T3 internals, boost it up to make it be 4K 60fps 422 10bit internal, with built in NDs, and a couple of XLR inputs, and a TC & SDI I/O, plus just in general a smartly designed body like a FS5 or EVA1, then Fuji has a winner on their hands so long as they keep its final price below the competition!

You can't freeze time or be satisfied for very long, where's the fun in that... Always chasing knowledge, perfection, performance is what this forum is about. I find it fascinating that the image in ProRes RAW on the Z6 has the weird attributes it does compared to the internal H.264. I guess that makes me a camera nerd. So be it.

I also like the idea of Fuji cinema camera. But S35 one with X-mount.

If versatility or image quality is any kind of priority @kye then I say go with LX100 or GX85, they are a total bargain at today's prices. I've even see GH4 as low as £300 in UK! If you fancy spending even less, get hacked GH2? Or G6? If you wanna spend more I think the G85 is a good option but not thaaaat different to GX85, just the form factor is really. Somebody should take apart a BM Pocket original and put the innards in a GX85 with IBIS and tilt screen. Hell... Put it in the LX100 with that lens! Imagine if LX100 shot ProRes and RAW to SD card

Two of the most unique cameras on the market today are both L-mount with 10bit capabilities in 4K. The Sigma Fp of course shoots Cinema DNG 4K RAW at up to 12bit to SSD via USB C and 8bit RAW internally. The Leica SL2 shoots very high quality 10bit 4K LOG internally with more of a passing resemblance to Arri Alexa colour science and LOG profile. I thought I'd get to know the two, if that's the case! Read the full article

If Fuji and Olympus full frame cameras were on the market and Samsung back in the game, imagine how much fun that would be. X-T4 is going to be great, I'm sure - like an X-H2 for video, but Fuji are missing a trick. What if they designed an X-mount Full frame cam keeping same mount (like E-mount & Sony), then we could use our APS-C Fuji lenses in crop mode and GFX lenses in full frame mode, along with adapters for everything else. Fuji could give us a few full frame X mount lenses to start with and grow it over time. Sony didn't really take off until A7 came out. I feel if Sony had focussed on APS-C and medium format, they'd be a big hole in their sales. At first GFX looked like a great niche, a really smart move to avoid the overcrowded full frame market everyone was jumping into at once. It remains a great niche. I just can't see it becoming mainstream. 35mm is where it's at. It's really interesting to try full frame lenses on a GFX 100, a lot do cover but the corners and vignetting are quite pushed to limits.

make the screen flippable and cut the 30 minute limit too please

Canon is now trying to innovate hard, since the shrinking market could now change severely. However, don't read too much into the technology in a huge brick that is the 1DXIII. Fitting all that into a mirorless body is more than an exercise in willpower. If you look close enough, it becomes obvious no brand has the perfect tech that they are crippling intentionally - Panasonic lacks PDAF, Olympus lack continuous PDAF, Canon lacks good downsampling and a middle tier codec, Nikon basically has everything, but needs a more reliable continuous PDAF, Sony desperately needs more efficient encoding (looks like their new sensors are still balancing readout speed/mp count ratio as none can do everything perfectly). Fuji is now the closest to perfection and the next generation will seal the deal, if you don't need FF. Sensors tech seems to have plateaued and these brands are very slow to upgrade the overall feature package.

With 44 x 33 mm sensor size, Fuji's GFX "medium format" is, in reality, more a plus-size full frame 35mm (36x24mm) format than what is known as medium format in film photography (60x90mm, 60x70mm, 60x45mm - i.e. twice to four times the sensor size of GFX). So arguably, they already have full frame, but only smartly market it as medium format.

I saw this on dpr. Do not know if it is any significant but I would love to see my NX lenses on a Z50! https://***URL removed***/forums/post/63526091

That doesn't make any sense to me. FujiFilm and Nikon are just as much a competitor with Sony Alpha as Panasonic. What is Panasonic offering us (and competing with Sony with) that Fujifilm doesn't? Fuji and Panny both have 4K 60p cameras. They both offer 10-bit recording modes. They both have competent color science. They both compete with Sony's A7 series of cameras. Why sell PDAF to Nikon, a proven household name in quality cameras, with it's FF Z6 & Z7 which is a direct competitor to the A73 and the A7R3 when it was released! Why let any other competitor have PDAF? They could refuse to sell/license it to anybody and force them all to contrast AF and compete only with Canon. No. There is something much more to the story that probably stems from weird contorted patent deals or technology partnerships that Panasonic just happened not to be a partner too. Either that or Panasonic slept with Sony Alphas mom or something. Hopefully someday there will be a documentary about this market for us camera nerds. Kinda weird and mysterious and cloak and dagger. @Andrew Reid when can we expect this? 😁

Yeah, Fujifilm lacks a great vlogging camera. Just give us both a screen that you can see *and* a mic input at the same time. (bonus of course if it has IBIS and great AF! Dumb things like only 8bit and 15 minute limits won't even matter if it has everything else I just mentioned) As much as we might look down on vloggers, they do have a huge huge influence on future sales. (and those baby vloggers do later on grow up and buy a "real camera" for "real work", and who will they choose? The company they learned on, let's hope that is Fuji!) Exactly what I've been saying! S35 X Mount cinema camera.

It does seem to be the Preview Exposure in M Mode where the bug is. On the card, and in playback mode, a still does match the video recording at same manual settings and ISO. The preview in M mode function is too bright in live-view, giving misleading exposure as you set your settings. I too tried the manual aperture and focal length input in the optics correction menu but no luck with a fix yet. I am positively certain this is not going to be a long term bug and in a couple of weeks will be 100% fixed. Very annoying in the here and now though. Might be related to another bug... With manual lens and mystery aperture, Exposure bracketing doesn't work. UPDATE: It does work, camera has to be in continuous shooting mode not single shot. Funnily enough the exposure in live-view now matches the +1 ev shot perfectly, so there's a work-around of sorts.

I took the liberty of copying this from the A74S thread as I suspect you meant to put it here ? I do wonder whether, for all those reasons, they might never actually release a follow up to it. The AG-CX350 likely offers more than enough image quality for that market and the direct streaming outputs (to NDI as well) make it more appropriate to today's news gathering usage for them too as does the lower cost.

No, I was just desperately trying to remember who "they" were that I was talking about !

Yes, agreed that Fuji should fully embrace their APS-C/Super35 sensor size and go all in on the things that are harder for full-frame to do: make affordable cinema and video cameras that are compact and travel well that are packed full of features 2-3 years before they make it into full-frame cameras. The GH5 did this 2-3 years before the S1H came out. Still nobody has topped it for 10-bit 422 internal 4K outside of Panasonic itself and the $6500 1DX III. I LOVE the Super35 sensor size as long as there are lenses that are made specifically for it. Fuji has tons of those. The Canon EF mount is frustrating because if you want a stabilized 24-70mm f2.8 for doc work, the only lens that is close is their 17-55mm and it vignettes in DCI 4k and 2k. Sony has some, but underwhelming in general. Definitely think Fuji needs to get into the video game big time in some way. Why not a Canon XC-15-esque model with 2 mini-xlrs and inernal NDs and an X-Mount? Or a Fuji X-H2 that has all the features of the S1H but with great AF and internal NDs? And then an FS5-like video camera for doc-oriented projects with IBIS and 12-bit codecs. They definitely have an opportunity to continue to do what they are doing and offer something different, rather than just go full-frame like everyone else.

I registered on this forum in 2014. At the time, there was very limited option for indie filmmaker beside the new GH4. But in the past 5 years here is what we got: Generalization of quality video on DSLR/Mirrorless : 4K is becoming mainstream on entry-level camera. 4k60 is common while 10bits is the new 8bits. Raw is a the corner or already here (Pocket 4k/6K, Sigma FP). All brands implement good video specs on camera nowadays. Consumer drone revolution: cheap, effective and portable drones. Gimbal for all: just as the drone, what used to be an expensive and complex high end equipment is now available for a few hundreds dollars on amazon. And the system works out the box with minimal effort. New editing tools: Adobe brought Lumetri, Da Vinci is a serious option (for free), there are plenty of useful plugin available. Editing tools are so good now. My videographer life in 2014: Camera: I had a Canon camera (shitty for video) and just bought a GH4. There was not good gimbal at the time and IBIS was a niche feature. Drone: DJI was a small unknown company, only making camera-less drones. I used to film aerial video a with a custom built FPV drone and the whole thing was a mess. Soldering, calibrating a lot of parts (ESCs, FC, radio), messing with flight controller and gimbal PIDs, frame and props resonance with gopro scan that created jello on the footage. Dealing with a mix of analog and digital parts. Radio link required external ground station with special high gain antennas. Finally, the whole system took and entire bag (drone, ground station, LiPo charger, FPV system). People don't realize how amazing drones are today. The fact that we can now purchase perfectly working drone, with stable camera, no rolling shutter issue, incredible radio range and portability is a blessing. My videographer life in 2019: Camera: plenty of choice from all the manufacturers, 4K everywhere, in 60p and 10bits. Sigma FP, Fuji XT3, GH5, Pocket 4k and 6K. Panasonic launching FF camera. Most mirrorless have IBIS. Sonny revolutionized low light video with the A7S line. Gimbal: I can't even keep up with the release. A good gimbal costs $400 now. DJI proposes all-in-one tiny gimbal camera for $300. Drones: Mavic Air, Mavic 2 Pro with 4k10bits, etc. Autel just announced an 8K drones (EVO II) I'm amazed by the profusion of good gears available today. I fit all my stuff in a large carry on backpack: 4k10 bits drone (Mavic 2), cropless 4k60 cam (GH5), cheap gimbal (Crane), excellent still camera (Canon 6D), and a slider with accessories. So I must admit that I don't really understand all the gear whining on this forum. The Nikon Z6 is "pixel binned" and external recording is late. Canon cripples its next camera? The a7s3 might be a revolution? Who cares? There are like 10 good alternatives on the market. Just get the next XT-3 or use existing cam already (S1H, S1, A73, GH5, Pocket 4k, etc.). I'm not targeting anyone in particular but I found EOSHD to be a valuable resource in 2014 when we got to deal with limited equipment. Now, I just don't see the point. Most of the posts are just an endless suite of gear whining and fight on pointless details. We acclaim every progress by hyperbolic statement ("10bits or 4k is a revolution") just to forget it the next day and dictate new requirements to manufacturers. Then, we get outraged because raw upgrade is not already available on a consumer grade camera. That's endless and not productive. Unlike 2014, gears are not a problem anymore, this is not a limiting factor. If you can't deliver a good video with the actual stuff today, that's on you. I wish that we could focus on actual film-making. All the best.

Not anymore. Latest firmware added PDAF to the aging EM1.2 Who are you quoting here? Sony has momentum. Anything they put out besides a complete turd will be sold and hyped like no tomorrow. I wouldn’t be surprised that every single YouTuber that has touched a Sony will be hyping the A7S4 and reading those taking points. I know a couple of people that bought the A73 and it was their first camera...ever. Why? They saw all those YouTube videos “saying this the the camera to get Full Frame 4K $2000!!!!” , when it came out. I bought one too. I didn’t keep it in the end. I hope all of these companies are successful. I really hope Canon wakes up and releases an R camera everybody wanted to begin with. Im a Panasonic fanboy but I’m getting tired of their very stubborn approach to their AF. Either get it to work or just move on and pay to have PDAF. Everybody, I mean everybody that has touched a Panny, wants it. They could have starting eating everybody’s lunch if it wasn’t for their shitty AF performance.

It's good to have the options, just the P4K is a more sensible choice for more people. I had the money and the will to buy the 6K, just couldn't justify the workflow and the inconvenience however hard I was pushing it in my mind! @BTM_Pix I didn't want it to sound like an "I told you so" comment, sorry if it sounded like this, that wasn't even the case back then, I was typing with the one hand doing sound with the other and I didn't really processed my replies! I was trying to find another comment, that it was spot on about the popularity of two cameras but I just found the above, and that's that. I still believe that the next step will be 8K and that will be our next purchase, until then we will see a few more 6K cameras, when the market will be more mature.

There's no noise reduction on/off switch in the menus so LCD is showing a JPEG or proxy still image with NR added. And it's a very clean sensor anyway, even at ISO 12,800 you have to zoom very very far into the image to see the slightest hint of noise. I have tried every combination of setting to try and get the exposure to match between stills M live-view and final image when taken, and it's no go... Very strange as it's fine in Cine mode or with a lens that communicates aperture to the body. So I assume it is a bug where the lens aperture is unknown, and that will need a firmware update. For now, I do advise Auto ISO and Exposure Comp in M mode, or use A mode, as a workaround. Update: Actually since Exposure Comp (effectively ISO) does not work in M mode on any of the dials and can't be assigned (have to dive into menus for it), here is a better workaround when using lens with manual aperture and you want full manual control with matching LV / stills. - Use S priority mode instead of M - Set ISO to Auto and control it with Expo Comp. - Set aperture manually on your adapted lens (aperture ring) - Set shutter speed manually That is pretty much it. Now the problem is gone.

390 employees and not one to attach a hinge to a screen, I know, it's tragic.

I had to search to check who "those people" were, where they had gone and when they were coming back to get the full context ! The full reply was ---------- "I'm curious about this to be honest. Its still quite rare to see one out in the wild isn't it? There were obviously a gazillion pre-orders when it was announced but I wonder what percentage of those turned into actual delivered sales after all the delays? How many people cancelled because they got fed up and moved on to another camera (after all people couldn't just put their projects on indefinite hold) or their circumstances changed or they didn't like CDNG being removed? If those people now come back I'm guessing it might well be to the 6K and that the 6K will have a longer life so might well outsell the 4K in the end." ------ So the pondering was about people who had originally ordered the P4K, had got bored or distracted or poorer etc and didn't end up getting one and then decided to re-visit getting the camera. With the paucity of availability of the 4K and the immediate availability of the 6K, along with the absolute glut of YouTube reviews from the "hey guys whats happening" bros, it seemed likely that anyone coming back would be more drawn to the 6K. In the very first post in that thread, I also wrote this with regard to the presentation video of the 6K and what Grant Petty said about P4K delays -------------- Instant availability as well, which is another surprise, so whatever those components Grant Petty referenced that had 72 week lead times in the 4K version that have been crippling deliveries are obviously not in play here. ------------- To be honest, I had the suspicion that whatever component(s) it was that had those lead times for the 4K would not only restrict past and current supply but also likely artificially shorten the overall product life itself. Which is why I pondered that the 6K would have a longer life with more ready supply and hence sell more units in the end. Having said all that..... The 6K seems to have about as much buzz as a sex toy with flat batteries so I was completely wide of the mark !!

Yes, you're right of course i think on a practical level in those cases it's easier to take the hit for not being 100% physically accurate as a scale is usually pre processing before doing linear comp work (or after). It's nice to run energy conserving convolution filters of lens aberrations over CG footage, works really well, better than blurs. Yes, these are the kinds of thought experiments i'm trying to wrap my head around. In the case of the edge case (ha pun intended!) even with the full RGGB bayer info would that situation be much different - if the missing pixel between the R and the R is a green - the missing red would still be interpolated. You can of course argue that the luma of the G in that position would be the basis for that interpolation and therefore more accurate. If you scaled the channels down first then output that RGR edge - it would be softened - in your example that applies if you scale up, you are adding data. But scaling down you are removing and averaging. So the thought experiment is what is the best scale to do here - is it nearest neighbour or some kind of non sharpening scale as i can see edge issues with sharpening. I must assume sigma has tested this if it is in fact what they're doing. I must also go back to the basic question i wonder if there's anyway just to get 6K out of this thing. Do we know which specific USB version it's running and what the data rate would be? Also isn't the Red patent to do with lossy compression? If you just do run length encoding on the stream does that not work? I think sigma should open source the OS So i've seen a case with the stills doing odd things with exposure, when switching between cine and stills and i am trying to match for testing. But after a reset it stopped. So i reported a bug but wasn't able to give steps to reproduce. I got caught by having the camera in S mode with a manual lens yesterday - what's annoying is the screen is compensating. So i assume that the camera thinks there is a lens where it can adjust aperture thinks it's stopped the lens down for example and compensates on the LCD but the actual shot is exposed totally wrong. So the M mode is essential. But it makes me wonder *why* the screen isn't showing an accurate preview of the exposure (and i had the setting on) So there are some bugs. I've not been massively affected by a shutter lag though. Does it help if you turn off screen black out and also turn on the low previews mode? cheers Paul

Oh many companies keep their prices quite similar (or only modest reductions) over the lifespan of a product. If you really want to get a big shock, look at the price of a Sound Devices 552! Still available to buy brand new today from many stores, and listed by Sound Devices as a "current product": https://www.bhphotovideo.com/c/product/650181-REG/Sound_Devices_552_552_Portable_5_Channel_Production.html It's over three thousand dollars, and it was an amazing machine for its time. (I've got one that I started out with) But "that time" was OVER A DECADE AGO! Since then you've had Sound Devices 633 / 664 / Zaxcom Maxx / Nomad / etc all come out at similar prices! Which are all much much MUCH better recorders to choose instead. (not to mention the competitive pressures from the Sound Devices 688 / 788T / Sonosax SX-R4 / etc coming down on price on the secondhand market, you can get a secondhand 688 for only slightly more than a new 552!! And a 788T for nearing on half the price of a new 552. Plus of course the huge destructive wave of cheaper machines attacking from below with the Zoom F Series and Sound Devices MixPre series) Yet the 552 remains for sale, but not discounted at all, not a penny. You'd have to be bonkers to buy a brand new 552 today in 2020.

I would love a G85 with the BMMCC internals + the G85's IBIS of course. It sounds like a job for @BTM_Pix

Who here would buy a Fujifilm GFX 50R if it was half the price and had 4K 10bit in it? Instead of a Sony/Canon/etc FF Mirrorless for the same mid two thousands price. That hasn't happened yet, but it will happen this decade for certain. As sensor costs continue to fall.

Haven't used the G5 personally (but I own both the G3, that came just before it, and the G6), but my gut guess is that the image quality is going to be worse than GH3 or at least no better than a GH3. As the G5 was released before the GH3 btw, I just noticed this when reading a review of the G6 vs the G5: "...and now offers 1080p at 24p in addition to 50p or 60p depending on region." Hmmm.... that might be a big negative for you with the G5 if you want 24p. Oh, and the G5 lacks a mic input. (not to mention all the other things the G5 misses vs the G6 that we've already mentioned: no WiFi, no NFC, no focus peaking, etc) If you care about using the EVF, that was also a big upgrade from the G5 to the G6. (better LCD too) Better autofucs too: Another benefit of the G6 over the G5 (and even the GH3): You mention you plan on using this camera a lot for time lapses, this alone might be a key reason you'll go for the G6. In conclusion he says: So in short I'd say there are a lot of reasons to choose a G6 over a G5, now not all of those reasons would be applicable for you, but I'm sure there must be at least a couple there which will make you justify the G6 being the right camera for you over the older G5.

With a 30 minute recording limit...

Here is a new skit I have made:

Someone should just make an EF and Nikon speedbooster with good AF.

I still think a lot of people might end up back there given the right option just to get back to the simplicity and actually make something. I keep expecting Panasonic to do a refresh of the DVX200 with the GH5 internals as that might kickstart the move back but they're all about 1" sensors at that end now, although their AG-CX350 certainly doesn't skimp on the spec front.

The problem is that the premium end of the filmmaking market is going full frame. Sony will want their XDCAM and CineAlta in pole position to capitalise on the trend. Let's put it another way... They did not cripple the recent releases (A7R IV, A6400) to protect the A7S line. They are doing a Canon... But the ironic thing is, Canon have changed strategy... FF 60p 5.5 RAW and DCI 4K 10bit on a DSLR. Oops. Is it too late to get the "other" A7S III out of the cooker or are testers already being served the lukewarm version?? It's a mistake to think Blackmagic is any different. The Pocket cameras are just loss-leaders for URSA and there to increase adoption of Resolve and brand awareness. Blackmagic would put more effort into the Pocket 4K and 6K if they were serious about enthusiasts... They'd be made a proper factory without sawdust on the sensor.

They would just be stretching themselves thin at that point. Also I think if they can keep driving the price of their MF bodies down I think they could dominate.

Thank you for your settings, I still enjoy my NX1 more than my A7III for videos.

I would like the same with my A7III !

The GH3 seems to be selling for similar or more than a G6, which makes the GH3 overpriced in my opinion unless you really want that live HDMI out / headphone out / weather proofed body. (which to be fair enough, are all legit reasons for some people)

I think the G6 was the first Panasonic to have focus peaking. Weirdly enough I forgot the GH3 existed until you mentioned it... LOL. Even weirder, I always liked the image from the GH3. That 90Mbps All-I looked great and it had a great build quality... I wonder how much they are selling for?

Actually Fuji already has 2 ILC mounts, and they creating a 3rd one, or even if it uses one of the existing ones, for a new sensor size, doesn't make much sense. Plus the XT3 does over 75% of what many full frames do, and many things that many full frames probably don't. With IBIS and slight tweaking of the sensor and/or processing, the XT4 could be a good replacement for a full frame, with a smaller size and better pricing.

The G6 has a little better sensor, has wifi, has 1080 60fps slow motion, and has focus peaking. Might be a few other things the G6 has over the GH2. Basically the G6 is an easy choice over the GH2! The core benefits of the GH2 over the G6: live HDMI out, a hack available, and a MAR sensor. Not enough to sway me to recommend a GH2 over a G6 How about the Panasonic GX7? Is dirt cheap, you lose 4K, but you've still got IBIS (the first ever Panasonic with IBIS!) and is a nice solid semi pro rangefinder body. Also worth considering GM1 (ultra compact!), GX850, and GX1 (is dirt dirt cheap now! Been a long time since I owned one, but I remember liking it a lot back then). G4 doesn't exist. I find the quality gap between a G3 and a G6 to be too big to recommend the G3 at all. (not unless you're basically being given the G3) Good point. When did Panasonic first bring out focus peaking? I know the G6/GM1/GX7 have focus peaking. And the GH2, GH3, GX1, G5, and G3 don't have it.

17.7mm vs 26.7 mm , an adapter should be doable! Would be a tighter fit though for the electronics. However people who buy GFX lenses (they're very expensive) is an extremely small niche of buyers, an adapter wouldn't sell many at all. And I doubt a Fujifilm FF camera should be made, as Fuji would just run into the same problems Sony did. (if not even worse, for Fuji) As Sony never started out with planning to make a FF mirrorless camera, thus when they decided to later on they had to face the decision of: 1) ditching E Mount and creating a new mount, like Canon has done with EOS-M (then making RF Mount instead) 2) squeezing in a shoehorned FF sensor into a mount intended for APS-C, with all those compromises that mean (such as Sony's IBIS never being as good as the competition) I personally think Fuji has been very smart here. They realize they're too small to compete head to head against the big guns of Canon/Nikon/Sony FF. Instead they've got the double headed strategy of: 1) embrace the essence of the purpose of mirrorless, high quality but very compact camera packages. A Sony FF kit will never be quite as compact as a Fuji APS-C kit (Olympus is taking a similar strategy here, but leaning the quality/compact balance further towards the compact side). This allows Fuji to sidestep competing directly against Canon/Nikon/Sony, and Fuji can instead play to their own strengths. 2) bring out mirrorless medium format cameras positioned above FF cameras. As Fuji is gaining the first mover advantage in the medium format mirrorless market, and in the long run sensors will become cheaper and cheaper. Eventually medium format will become "affordable" for even the average joe, just like has happened with FF cameras. Today an entry level FF camera is one anybody could buy, FF is no longer super expensive like it was back at launch. (imagine a world where a Medium Format camera only costs a few hundred bucks more than a Full Frame camera??) It's a nifty business strategy, sidestep the white hot intense competition in FF bodies, and instead bring out the very best there is one stop above and one stop below FF. (which also handily positions Fuji's own products two stops apart, which is a good distance to space them apart. Prevents their own products being so directly in competition with each other as they're spaced far apart. Interestly, Panasonic has a similar strategy wih a gap apart of two stops as well with their cameras: but MFT vs FF, instead of APS-C vs Medium Format) Is a bold strategy which is a bet on the future that Fuji (and Panasonic) are making: They're betting that with time the performance of their smaller sensors will become so good, many people will happily compromise in exchange for having a small compact kit. They're also betting (this was a much eaiser bet for Panasonic to make, than for Fuji. Except that Panasonic is fighting in a tougher market niche... against Sony/Canon/Nikon) that the prices on their large sensors will come down in price far enough that they can become relatively mass market products and not just a small small niche.

I swapped XH1 for XT3 for video in order to get: 60p 4K 10bit eternal. The sacrifice was the superior build and handling of the XH1 and of course IBIS. Just give me the spec of the XT3 with IBIS in the XT4 and my spec quest ends for at least the next 3 years.

GX85 Apart the Japanese menus and to invariably miss the much professional interface design because simplicity is to excel the filmmaking norm matching a superior IQ quality of my P4K, I love my GX85 and my three GH1 units as well, great cams, will never sell not even one of them ; ) Yet on 1080 fence, my two GF5 units instead look like even smaller toys made of dreamlike and reliable standards anyway. Wonderful tiny capture device format factor BTW. MFT is the best format ever, let alone the incredible unique light glass itself when not for peanuts price : P If you'd just want a 4K bargain to add to your arsenal, buy the G7 (I only have four of them! LOL : ) you'll be able to get in the range of 300-400 bucks. On those words, I just try to resume the framework which grounds my MFT option route. I confess : D cams are an addition, so we need to buy good for affordable... : X E : -)

Apparently Laowa is developing a new f/0.95 MFT lens. Rumored to be in the 20-35mm zoom range (40-70). Would be awesome if they got closer to andrews 28-50. Doesn't need to be pin sharp if it’s going to be manual and a video lens. Venus Optics and 7artisans are doing interesting stuff.

X-H1 has IBIS (the only Fuji to have this) but lacks 10bit internal, thus is both "the best" and is "not the best", depending on your perspective! And what matters to you. But popular opinion is usually choosing the X-T3 over the X-H1 if they're buying a new camera today from Fuji

At least with Sony You could buy something like a Sigma 16mm 1.4 and use clear image zoom and you have a 16-32 1.4 zoom in effect with little loss of image quality for video and jpeg stills. I have it set with the down button on my Sony A7s and then use the left/right buttons to zoom in and out (on the little NEX-3N it works from the zoom switch like a P&S camera) Works great with all lenses but with things like the 55 1.8 and FD 24 1.4 it is fun. On really fast lenses like an 85 1.2 at 1.2 it is too shallow to use while filming (for me anyway) and even 1.8 FF would be something i would zoom first then use rather than zoom while shooting. I wish all manufacturers would allow something like this.

Probably they are all waiting for the backups to finish...

Never!