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Maybe she is using one of those fiendish pocket size remote controls for it that give her full control of all the camera's functions? I understand that they begin shipping next Friday.

A medium format video camera from Fuji would shut the game down. Even though, it would be a pretty impractical format with limited lens choice compared to Super 35 or full frame, cinematographers think with their hearts as well as their brains, and getting the opportunity to shoot on a nearly IMAX-sized sensor would override a lot of other considerations. Do it, Fuji. DO IT.

I used my P4K and OG Pocket together over the weekend. I used the Super Scale feature in Resolve to bring the OG's footage up to 4K. It's not quite as detailed, but can easily intercut with true 4K stuff in the eyes of the client. Very happy with the results.

Let the rumours begin https://www.eoshd.com/2020/01/fuji-x-t4-rumoured-to-shoot-6k-60p-with-anamorphic-mode-ibis-the-x-h2-we-dreamed-of/ - Potentially 6K/60p 10bit - Anamorphic mode - Fully articulated screen like S1H - IBIS - Represents merging of X-H1 and X-T3 line - Basically an X-H2 - LCD top panel - Bigger grip and more rugged body like X-H1 - All new battery type The “X-H2” we always dreamed of?

Id pick both

Sounds like a job for Cleese to explain the options.

That's the plan - I'm almost finished setting everything up for cameras going forward. I will really be able to accelerate now; a good indication will be how fast the GH5S is supported after the release of V4 for GH5. If a matter of weeks, then that is a very good sign for other cameras. Things will accelerate from there.

Sounds really good. I am eagerly waiting for X-T4 announcement. Viltrox 1.4 primes are coming on time as well. Will get a 350$ Fringer adapter for my Sigma 18-35 as a main lens probably. AFC works very good on XT-3 with it already.

I am not always chasing the next great latest thing, but when my wedding season finished last October, I sold pretty much all my kit in anticipation of Fuji bringing out something like this for the 2020 season. I shot XT3 for video last year and XH1 for video the year prior and kept a single XT3 body which should now move to backup and personal/travel camera with the 16-80 zoom. The plan is also to move over fully to the f2 primes for their compact size, weight and af speed. Happy days, please don’t cock it up Fuji. All I want for Easter is 4K 60P and IBIS, Eterna & Classic Neg. I am not so bothered about battery life though would welcome it and do not care about 6k at all, but 100/120P 4K with audio capture would be appreciated! Otherwise pre-ordering a pair. Nikon Z6 and Panny S1 came closest to my XT3’s but neither could replace.

im stoked on this. i wanna give fuji a try and i think this is The One 😎

It really does sound too good to be true. But again, Fuji gave us the XT3 and that camera is a dream (the only reason I didn't buy it after trying was lack of IBIS and flip screen). When I was using the XT3 I tried out the 23mm f/2 and 16-55 f/2.8 both were super reliable and a joy to use.

Now the hype has died down over the 1D X Mark III, we get a chance to see in the specs and manual where the cripple hammer has come out. Read the full article https://www.eoshd.com/2020/01/confusion-surrounds-1d-x-mark-iii-dual-pixel-af-in-5-5k-raw-mode-does-it-work-or-not/

I know the reverse is tricky because Fuji flange to sensor is 17.7mm, MFT is 20mm, only a slim adapter would fit. That X-T4 seems sweet and my next Fuji cam to come to me too, I guess time to think about Fuji lenses compatible with other camera mount models ; ) So, what about X-Fujinon lenses on MTF camera bodies? Any thoughts and feedback of this conversion adapter? Shortcomings? http://www.jjc.cc/index.php/Product/product_info/id/950

Personal View covered it. Been a long wait for it. They'd be better off keeping it under-wraps then surprising everyone, and then releasing it.

I’m actually thrilled to be a backer for this game changing lens! I’ll be using it with the GYLS300 and maybe try it on the E1. So far the best footage I’ve seen rendered with this lens comes from the users with GH5s and BMPCC4Ks. Like this one in particular:

1Dx III as I mostly shoot action so the fps for still and 60fps and 120fps for video are very important. Plus medium format has more limited lens selection and no real long lenses. MF lens are even more bulky than FF ones. Last but not least I have a good selection of Canon lenses. I did not check footage of the GFX 100 so not sure on the impact but is 10bit 4:2:0 and not 4:2:2 and max 30fps... 5 fps still is very slow for any action. Imo GFX 100 is a landscape camera if that is your primary goal then is probably a great camera and 1Dx is the wrong one. But anything fast paced or need long reach then GFX is not a great choice. If primary goal is video a C500 II or FX9 is a much better choice. Not really sure why your question because are so opposite these two cameras.

I'd go GFX 100 Larger sensor IBIS Phase-detect AF Excellent 10bit codec, not too huge file sizes Very good EVF Much higher resolution stills Better ergonomics for video (i.e. tilt screen) and more features

Canon (probably most makers) often makes lenses in batches (especially the ones that do not sell in huge numbers) so might not have made some FD lenses for some time before they stopped altogether but others would have been made for years after introduction. Remember, they introduced a NEW model FD camera in 1992 so they would not have stopped FD lens production at the time they did that.

ffmpeg is multiplatform and only uses its own, included codec library (here is a complete list of all encoders). Performance is practically the same on Windows, Linux and MacOS, although the program is chiefly developed under Linux. Hardware acceleration indeed degrades the export quality to h.264 or h.265 if you use the (very fast) on-chip encoders of Nvidia and AMD GPUs. The CPU-only x264 and x265 codecs of ffmpeg yield much better image quality, especially if you use the "slow" or "very slow" encoding preset and the "film" tuning parameter. (They are also available in the Handbrake GUI.) You pay with much longer encoding time. Optionally/alternatively, ffmpeg can also use the Nvidia on-chip encoder (nvenc, which you can select in Handbrake as well). For me, as a commandline person, it's easier to just type "ffmpeg -i myvideo.mxf -vcodec libx264 -b:v 18000k -tune film -preset veryslow -b:a 192k myvideo.mp4" than clicking through Handbrake's menus, but your mileage may vary...

Ffmpeg is the library, so that shouldnt be an issue. I dont know if performance is different. Resolve's encoders suck in general. I recently discovered that their AAC encoder produces all kinds of artifacts, so i am using trusty ffmpeg to encode audio from PCM and losslessly mux with the video. I have not tested hardware encoding quality in ffmpeg, i use it for creating proxies so i want it to be fast rather than high quality. It would be interesting to test.

While Sony had been aggressive in their marketing, I don't really think it is accurate to say "upgrading and selling every 6-12 months." If so, we would be on the a7S V by now. Yes, there was a case when the a6500 was released about 8 months after the a6300, but that was - as far as I understand - due to the release of the a6300 release being pushed back because of flooding at the factories in Thailand. Also in that instance, the a6500 was not an update or a replacement, but viewed by Sony as a higher end model than the a6300. So unlike how the a7 II was and update of the a7, and the a7 III was an update of the a7 II, the a6500 was meant to sell at a higher price point than the a6300 and for both lines to sell continuously at different price tiers. I think a lot of the confusion comes from Sony keeping their older cameras around for a long time. For instance, a6000, a6300, and a6500 are all still for sale, despite the release of the a6100, a6400 and a6600. But yes, it was the plan of Sony to be a "disruptor" because Canon and Nikon were so entrenched as the market leaders - and because Sony A Mount sales were so bad - that they had to be innovative and productive in their camera releases. BTW: In case ANYONE is wondering, no, I am not advocating Sony cameras (or ANY brand of camera) to anyone. I have a hard enough time trying to figure out which camera is right for ME, let alone someone else

@Anaconda_ didn't you recently buy a Canon zoom? If so, the Canon 85mm 1.8 may match better. I briefly had the lens and it is really nice, especially for the money. I ended up selling it because I don't use the focal length that often. Here's a shot from my film with it to give you an idea... With that said, I've heard great things about the EX Sigma as well. Their 50mm from that line is supposed to be excellent as well, so you could build an inexpensive f/1.4 set eventually. I believe they also have a 20mm, 24mm and 28mm at f/1.8.

Top used cameras is an interesting chart, as it both illustrates owners getting rid of cameras, and users wanting cameras! Not sure how to read anything into that??

Micro Four Thirds to Fuji X-mount would be possible though. Some of them might even cover the sensor.

Get a Zoom F4 / F8n

"And take the 6K/60p with an 8K sized pinch of salt. It seems like an awful lot of data to record onto SD card to me!" The fastest current SD cards can write more than 250MB/sec or 2000 Mb/sec of data, that's plenty enough even for 8K 60p in a compressed codec.

X-T3 is already great for "normal" shoots but for better green screen work I'll take the 10bit HEVC long-GOP 6k24p 420 and 4k60p10bit 422 internally and a launch price of around $1500. I think the data rate should play well with a v90 UHS-II. In terms of a good key, the 4k RAW of BMPCC4K should tie with a 10bit 420 6k image. Oh and the faster processing should also help make autofocus on adapted lenses better. The EF-FX2 already does a decent job on current gen cameras.

Not in any practical way, no.

For one that they have a good video for promo instead on the usual bad ones..... Not sure I could say is better the 120fps quality because it is a different stage from where I use the 1Dx II.... ski, ice hockey, mtb or horse show jumping would have been better for me to compare. I highly doubt that they can do 120fps supersampling and seen that the C500 II has a huge crop at 120fps I tend to think that it will be about the same as the 1Dx II pixel binning 120fps quality but at least we gain log and better bitrate so maybe a tad better due to this it will be.

Can anyone help me decided between two lenses? I'm looking for a portrait lens and use Fuji X and MFT mount cameras. I also have speed boosters to Canon EF for both systems. So I can't decided whether to go with the Viltrox 85mm for the Fuji and limit it's use to one system, or get Canon 85mm f1.8 USM and have more flexibility. I assume the AF on the Viltrox will be much better than an adapted lens - but the adapted Canon will become f1.2 and it'll be basically full frame on the Fuji, which is of course very tempting. Any help is greatly appreciated.

I was expecting the X-Hx range would get dropped, and likely the X-H1 would have been the only one ever. And the top two features I wanted brought over is: IBIS and the top LCD screen. Glad to see the X-T4 will have both! A flip out screen is fantastic too, this will be the best ever vlogging camera??

This, so much! As soon as I read the topic header, I thought, "naw, we don't need a full frame hybrid, we need a Fuji cinema camera." Personally, as a newer Fuji shooter, I'd go bananas for a X-mount cinema camera with internal ND, XLR jacks and TC & SDI. They wouldn't even need to make their own monitor, and I wouldn't even care if they gave us a 10 Bit 422 internal, as long as they still played nice with Atomos and BM monitors. Honestly, being able to record straight to a 1-4 terra sd that I can plug directly into my computer is the bomb, and I can use the internal cards to capture proxy-style backup files. To get a cinema camera that matched well with my X-T3, I'd definitely go for that. A GFX version is a nice pipe-dream.

In the end, all the free/Open Source conversion programs - including Handbrake and Staxrip - are just graphical user interfaces for ffmpeg, and will thus yield the same results and performance. So one can simply stick with the tool whose user interface one prefers - or use ffmpeg directly on the command line. (Which provides more advanced functions such as ProRes and DNxHR encoding...)

5.5K RAW *** OMG **** B ROOOOOOLLLL *** CUM IN YOUR PANTS DROOOOOOOL ** CLICK HERE, Subscribe.

This one is next! Got the lens today. So doing tests in a bit~

Can't wait for the Leica SL in the Scottish Highlands! We visited Scotland in January couple of years ago and got lucky with the weather for at least half of our stay having both sunny and snowy days.

There's a lot of secrecy in Japanese culture but also no such thing as the perfect camera. I believe they play fair. They are multinationals and any wrongdoing would have been discovered by now like Woodford at Olympus and the overstated profits scandal. It's just a little frustrating we have all the features we want spread around different cameras and never in just the one. There's always a cripple hammer somewhere, or a "tech challenge", or a compromise, or just something missing or something taking a wrong path. Maybe patents are the issue, or certainly a big part of it. What is the perfect cam anyway? Well - here is the camera you get if you combine the existing "best" technology from everyone... And let's see who provides it... FF 5.5K RAW (Canon 1DXIII) or Netflix approved 10bit V-LOG (Panasonic S1H)... No crop! Dual Pixel AF (Canon 1DXIII) or Sony A9 standard 4D PDAF (equally good in my view) 5 axis IBIS (Panasonic S1H has the best performing) Cinematic colour science (Alexa... oh they are German, erm... Canon or Leica with Fuji a close second!) Huge 5.5m dot EVF (Panasonic S1H... Who wants an optical one?!) 4K/60p with no crop (Canon 1DXIII)...Second best is 8bit FF 4K60 on Panasonic and 10bit Super 35mm 4K60 on Fuji X-T3) Slow-mo to high quality (Sony, Fuji, Panasonic all good here at 120fps 1080p+ with crisp detail) ProRes RAW... Nikon had a go, but only externally Sexy ergonomics and good menus (Leica SL2) Anamorphic mode (Panasonic and Leica) Mirrorless mount (Sony E-mount is my pick for most adaptable with most lenses) Bonus point for medium format 4K (Fuji GFX 100) Bonus point for value for money (Fuji X-T3) Low light performance (Panasonic S1H) Contribution tally: Panasonic: 7x Fuji: 4x Canon: 3x Sony: 3x Leica: 3x Nikon: 1x Olympus, Pentax on zero, no stand out leading cinematic features. So we must conclude Panasonic gets closest to perfect camera all in one body with the S1H but it drops the ball for AF and not having an E-mount on it but it's a very even spread between top 5. You can argue Leica is only there thanks to SL2, which is damn near a perfect camera in 2020 just lacks Dual Pixel AF and perhaps some form of hinge on the damned screen. Nikon Z6 gets a lot of things right BTW but doesn't stand out on much apart from ProRes RAW with Atomos does it? Still, you can claim it does everything right... no crop, full frame 4K, IBIS, PDAF, good low light, value for money (a ridiculous bargain used), ProRes RAW external, good EVF, good colour science, nice Canon EF adapter from Fringer with great AF in video mode, very adaptable lens mount, even takes an E-mount adapter, good 120fps 1080p and good ergonomics... So it is not always about leading in one or two aspects... It's about not falling down in important ways. Then again, nobody told you lot as interest in Nikon Z6 is about as low as it gets First time I've seen this table. So that settles it then. It is only at 60P DPAF packs up and goes home. They should reword the sentence to :"Dual Pixel AF operates in all modes except for 4K 60/50p and RAW 60/50p" Otherwise you can take it to read it doesn't work in any non-crop 4K mode at all.

Wish it sorted Sony RAW output

Well shortly after posting that I re upped my preorder. Because this still looks far better than the Atomos options. Thankfully it looks like there are some signs that it will shortly be released: 1) On blackmagic's website they just posted "Blackmagic Video Assist 3.0.1 Update" Firmware, which I don't think they would release unless it was coming soon. 2) On the B&H preorder page you can now download the Installation and Operation manual, and the first page is labeled as being created "January 2020"

Would definitely be nice to have more assignable buttons. The 4-way d-pad and AEL button, perhaps also Tone and Colour are not programmable at the moment... Well, the AEL button is but only AE related stuff and focus magnification, that's it. I'd like also to be able to assign shutter button to take stills in Cine mode, and in stills mode assign video mode button to something else entirely. The SL2 also has a lack of func. buttons but gets around it with a very clever menu system and User profiles. I can flick through my user profiles for different video modes and LOG at a single touch of a button and wheel of a dial. ---- I am thinking of making a Review template on EOSHD so I can give an at-a-glance summary of a camera, and a review sections drop down box like DPReview reviews. Open to suggestions. The colour-coded summary table could cover as an example: Max resolution, max frame rate, sensor size (i.e. 4K/60p, FF) Max bitrate, codec options (ALL-I, Long GOP, 400Mbit) Max bit-depth (10bit) RAW video (Yes, external) Media type (SD) Low light cam? ISO 6400 maximum usable Rolling shutter: Lower than average, average, higher than average Autofocus: Phase-detect in video mode AF reliable?: Yes IBIS: Yes Menus: Bad / average / good Battery: Bad / average / good Build: Bad / average / good Character and "feel": Generic / OK / Special Colour science / skintones: Bad, modifiable to good / average / good / Alexa style good LOG: Yes/no View Assist: Yes/no LUT preview: Yes/no Rec. limit: 29 min EVF: Yes / no And so on... Would be good to have a database of cameras too, in future.

If Fuji made a dedicated cinema camera with a large format sensor and the GFX mount totally by passing mid tier S35 and FF cine cameras would be insane.

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.

Sorry if double replied twice I was mistaken for a bot for a little while. Thanks for reply Ronin returned - still can't figure out the jittery/wobble on panning I think I'll just have to practice a bit more.

Hi @Sage any chance you working on S1H Vlog? Id love to have some Alexa colour 😁

Smartphones finally doing the extreme wide angle to long telephoto that a single sensor fixed zoom lens camera could never do: If only Google Play services were reinstated to Huawei phones ... it is going to be an interesting flagship year, considering this and S20 Ulitra: https://www.gsmarena.com/new_leak_shows_huawei_p40_pro_premium_edition_will_join_p40_and_p40_pro_have_10x_zoom_camera-news-41083.php

I sold my BMPCC4K. I kept my 2 OG BMPCCs.

Saw the Lighthouse the other day. Not really my cup of tea but it was incredibly well shot and acted.

Never!

FFS