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One of my favorite lens brands, metal, clean focusing! Feel free to post tons of images from multiple mounts! Voigtlander 40mm f2 SLII on Nikon Z6 Voightlander 20mm 3.5 SLII on A7rII Voigtlander 28mm 2.8 SLII on URSA Mini 4.6K Voigtlander 90mm 3.5 SL on URSA Mini 4.6K

Just opening this to start off the discussion of the Z-CAM E2 models. I shot with one for the first time at IBC in 2019 and will bring you some footage from the full frame 6K version of the Z-CAM 2

https://***URL removed***/articles/6428199442/it-should-cost-the-three-main-ways-you-re-wrong-about-camera-prices?utm_source=self-desktop&utm_medium=marquee&utm_campaign=traffic_source Interesting article from Richard here Give it a read.

Everyone knows more weight = more stability.

I don't get it what's not clear about this official chart? :

Have to add: Fuji should provide an FW upgrade that would record the gyro data in a separate file to be used for stabilization of any video recording mode in post processing, where you can fine-tune it clip by clip. Can any software accept such input data?

I get 1000+ shots out of a single battery stills only shooting raw + Jpeg every wedding. Easily. 1000-1500. And before anyone cries "balls", week in, week out. It mostly depends how you have the thing set up and how you use it... But the XT3 absolutely chews through batteries for 4k video no question and even with a battery grip, ie, 3 batteries in total, I need to swap out at least the 2 in the grip to get through a typical 9-12 hour day. However, I prefer the Anker power bank / USB option and have that attached to my monopod and with that system in place, can easily shoot (video) on a single internal battery (ie no grip) 9-12 hour day. Neither solution is ideal which is why I welcome the XT4 with IBIS and supposedly better battery. The only two things I am really interested in.

If it meant dropping the 6K resolution, I'd honestly prefer that the XT4 shoot 422 internally over 420. I love my XT3, but I really don't like the 420 color space, especially for grading. I have a Ninja V but I really dislike external recorders. Once you start throwing cages and external recorders onto cameras like these, I just don't see the point. If I'm going to do that, then I'd rather have a legitimate video camera then some awkward, Frankenstein rig with cables, adapters, clamps and mounts dangling off the body. So many failure points. So many things to jostle loose. It all just ends up being a huge pain in the ass. I think Fuji has absolutely beautiful color science and their lenses are amazing. I'm really looking forward to the XT4. I hope they include 422 on it! I'd take 4k 422 over 6k 420 any day. BETTER pixels over MORE pixels!

The battery life isn’t the best, but you can get 400 shots per a battery and with the battery grip or a portable is usb-c battery, i can film a 10 hour wedding without issue. I think this is the first time anyone has said the Fuji IQ is laughable, especially when it comes to color science. Maybe you need to tweak your settings or picture profile? i stopped using my 1DX II because of the XT3s photo and video quality.

Go for the Panasonic EVA1? That has 4K DCI 60fps 10bit internal. https://www.newsshooter.com/2019/01/31/panasonic-eva-1-3-0-firmware-update-adds-4k60p-h-265-recording/

Yeah Fuji will definitely release something this year and it will be something to get excited about. They have nothing holding them back. The XT3 sold really well.

You're doing this wrong. Having anything stuffed in a some sort of pita won't be nowhere near as stable as this: See that? Everything in its own place, organized. No jello effects.

Personally, I'd just look at the outer edges of the GFX100 system and take it from there. In no particular order these would be : The maximum of 5fps in stills, the maximum mechanical shutter speed of 1/4000th, maximum internal recording format of 4K30p 10 bit 4:2:0 and a native lens range in 35mm FOV equivalent of 18mm to 200mm. Those are all fixed limits and ones that without any changes from Fujifilm you will have to consider will always stay fixed so if you absolutely MUST have 10fps or 1/8000th or RAW or 6K or 4K60p or a native14mm or 300mm lens then walk away. Of those, though, the fps and mechanical shutter ones are the ones that are absolutely set in stone and Fuji doesn't yet feature any lenses on its roadmap that are outside of the 18-200mm range so that too should be considered an outer edge for the foreseeable future. The mitigation here with the lenses of course is that I'm only talking about native ones and it is a hghly adaptable mount including AF adapters for EF lenses so its not without options. Importantly, one of these options is a PL adapter which is something that EF bodies can't accomodate. Which leaves us with the video specs and whether the 10bit 4:2:0 internal or 10bit 4:2:2 external files it produces are good enough versus the internal or external RAW from another camera. From what I've seen of it, it has a very nice output but until you have an A/B against the other competitor then who knows really and with this sort of money on the line I'd be looking to rent them and determine that myself rather than rely on a YouTube one. At the end of the day, if I had the money and had to choose between these two particular cameras then I would buy the GFX because my particular needs for it these days wouldn't exceed the fixed hard edges of the spec and I'd favour the massive edge it gives in stills over the smaller loss in video as a worthwhile compromise.

A well fed camera operator has steadier hands, of course.

Interesting, the X-T3 with 10bit All-Intra beats the A7iii. Wasn’t someone just saying it was the other way around, and laughably at that?

Let's talk also about a great lens they've included with this camera! Yes it is "just a kit lens", which means it will be a little shit and is a slow f3.5, getting even slower as you zoom in. But.... look at the major pros for it: 1) Powerzoom, handy for smooth zooms in video 2) OIS, to make up for the lack of IBIS! 3) starts at a fantastic 15mm! There isn't a wider kit lens anywhere else. 15mm is especially good for vloggers, when you're holding out at arms lengths you're always wanting a wider lens or longer arms. (or both!) This is a great first lens to include with the camera, this could be a sleeper hit within the YouTube community. Think about it, would you rather buy a Canon M50 or a Fujifilm X-T200? Then once you've sucked them in with their first camera, it is much easier to get them to buy next a X-T30 instead of a Canon M6 mk2 (or a X-T3 instead of an EOS RP, etc.... or a Fujinon Cinema Camera instead of a Canon C200....). A little part of me is thinking I should upgrade my YouTube vlogging Panasonic G6 camera not to a Panasonic G85 but a Fujifilm X-T200 instead?? Hmmmm..... I wonder how low the price will be for the X-T200 kit. Jordan said it has a 3.5mm input! Nice. Has good quality 120fps FHD slow motion. Autofocus is good too he says.

No. That's the a7s III, of course. Just today I talked to a Sony shooter who was hanging on to his S II and dreaming of when the S III will show. I've been shooting on the T3 for less than a year and I bet you I'll have the T4 before he gets his fantasy camera. 🤣🤣🤣

"Netflix approved" means NOTHING to over 98% of us. As that only matters if you're making a commissioned project for Netflix, and if you are then you'll have plenty of budget to hire a Varicam LT / VENICE / Weapon / whatever! If you're doing a project to later on sell to Netflix? It doesn't matter what you use! Whatever you feel is right for the story. Could be your iPhone, could be an old DVX100, could be an Arri Mini, could be a Z Cam E2, whatever you like!

Not sure how you mess up dynamic range with an XT3, it’s amazing in RAW and even jpeg. Heck even the 10 bit log is pretty decent. Low light performance is definitely lacking. 3200 on the Fuji is about as clean as 12,800 on the Sony or S1 or Z6. That said you don’t get the overdone noise reduction. But yeah you need more batteries and stabilization. Simple as that.

Panasonic should just use IR or ultrasonic AF to satisfy the 0-10 meters vlogging scenario and use DfD for the rest if there is some conspiracy against them using PDAF.

Seems like the surveys vary depending on who you ask. One British newspaper is saying they all want to be evil YouTubers (Daily Mail and The Sun) And another is saying they all still want to be doctors, and teachers, same as 20 years ago (The Times) Here is another one I found which contradicts itself in the space of one page, which is quite impressive. https://www.fatherly.com/love-money/work-money/the-2017-imagination-report-what-kids-want-to-be-when-they-grow-up/ So they all watch YouTube and end up wanting to be vets? Damn cat videos everywhere.

It's IMAX approved instead! Here was my lens adapters strategy with the GFX 50S... It will be same when I get GFX 100, in 100 years when the price is down to under £4000. 1x Leica M -> GFX Adapter 1x EF -> GFX Adapter with Autofocus (Techart) Then multiple Leica M to whatever SLR lens I was using, be it Nikon, M42, Contax Yashica, etc. The Minolta MD lenses worked the best You get some light fall off in the corners but not hard vignetting on lenses that pair well with it. Most of the ones that cover are longer than 50mm and the wider ones don't tend to do as well. Some SLR lenses designed for full frame were over-engineered to cover a larger image area. Don't expect much in way of corner sharpness compared to Fuji's own GFX lenses though. You can also get adapters to Hasselblad HC lenses. Or cheaper, older manual focus ones. There's a lot of old medium format glass on eBay if you don't wish to experiment with full frame stuff. My favourites of the full frame stuff on GFX mount are: Canon FD 85mm F1.2 - covers full sensor and looks sooooooooo damn good Sigma 85mm F1.4 ART Minolta MD Rokkor 58mm F1.2 Minolta MD Rokkor 35mm F1.8 Here is the guy who inspired me to try the Minolta stuff https://jonasraskphotography.com/2017/08/16/minolta-x-fujifilm/ Sigma 105mm F1.4 ART worked well, but very heavy! And yes, medium format at F1.2 or F1.4 looks every bit as spectacular as you'd think it would Yes 10bit 422 external. I think it does 10bit 422 internal in fact, or was it 420 like X-T3? Ask Philip Bloom, he has one. I'm too poor.

If this doesn’t come to pass, will this be the biggest blue balls event in mirrorless history?

https://www.blackmagicdesign.com/products/blackmagicvideoassist Monitor/recorder, 5 and 7 inch models, HDR support, scopes, etc. A blazing 2500 nits for both options. $800 and $1000 respectively The most interesting part is you can record BRAW with it. I wonder how this will work with other cameras from diff manufactures. Also Blackmagic RAW is officially supported in Avid and Premiere Pro.

Hallo and happy new year to everybody!!! Made with a7iii + Tamron 28 75 + Dji ronin sc gimbal. Is the very first time that i use gimbal by the way. This is a small video with the Honda monkey z50 but with engine from Supra 125. Made from my brother in as a present to my nephews. Isnt ready yet but the final profile is ready and it looks like this

The choice of codec and the preset makes no difference for the resulting file size. You simply use a tool like this one: https://www.dr-lex.be/info-stuff/videocalc.html (Video Bitrate Calculator) ...which calculates the video and audio bitrate for you, then you use Handbrake/ffmpeg, specify the same two bitrates for the encoding, and choose 2-pass (possibly with "turbo first pass" option) encoding for the highest accuracy of your video matching the desired file size.

You should be able to set a maximum bit-rate and calculate the size based on the video length. Meaning a 500MB = 4000mb = 22mb/sec for a 3 minute video

I find the best use is with a simple metabones dumb adapter giving a relative 35-70mm on the P4K. That's a very practical range for a lens, with this IQ and speed especially.

https://www.mirrorlessrumors.com/full-leaked-fuji-x-t200-press-text-and-images/ Sadly still no IBIS! But then again it would have been a surprised to see IBIS in this cheapest of cheap camera models, maybe in the next generation, or the one after. A Fujifilm X-T400 anybody? But a gyro sensor is new! Hopefully makes that Electronic Stabilization better than normal. Very very pleased to see a vlogging screen! Who thinks that is a mic input on the side? Maaaaybe Gee, if only it had proper IBIS then this could have been a perfect camera to take the YouTube vloggers by storm!

Yes, separate recording of gyro data, would be huge. Imagine this in X-T4 with physical IBIS and beeing able to dial and fine tune those parameters in your editor in post.. mmm

Well... with the X-T4 release, maybe pick up another X-T3 body at a good price used and get a gimbal??? As you can probably tell, I have no idea of what your workflow is like on site, so I my suggestion is probably as useless as can be. That hasn't ever stopped me in the past

The A73 has more dynamic range then the XT3, though of course there are potential banding and color issues as well as noise reduction issues. The S1 has more dynamic range than both cameras and of course has the internal 10 bit recording the Sony lacks. The XT3 dynamic range is still really good. Seeing as I light most of my scenes its never really an issue.

This is one of the better run throughs of the GFX100 that I've seen on YouTube.

@Tito Ferradans made his version, too! Though, it's very nice to have a different POV. The more you see how it should be done, the less you improvise while having bare glass elements in your hands.

I too fall in that 98% and I’m also extremely aware that you can use a Fisher Price “My First Camera” to create something that can possibly be sold to Netflix. However when that opportunity arises, I would like to have that option already in my stable. I don’t rent equipment, but I do get loaners. I am also in the camp that having a “Netflix” budget doesn’t mean I am forced to go out and get an Arri or what have you just because. With that budget I’m more privy to allocate that towards more important aspects (to me) like the screenplay, gaffing, set design, talent etc. With the power of today’s sensor technology I can get an S1H and rival what is considered “big budget” if all the other elements that lends itself to production quality were on par with those big budget-ed productions, all the while being Netflix approved. Also, if I wasn’t concerned with working with Netflix, I can replace that S1H and use a Gyls300 and I’ll still be able to do what I want. Which leads to my preference and me wanting to use a GFX 100 or perhaps the 1Dmkiii and not a FX9 or RED, for that matter because I prefer the look the GFX can give my productions. Maybe I shouldn’t have mentioned Netflix approved because I know what that entails on forums such as this vital platform we are all on, but it’s still an important factor with my purchases. Regarding the stills aspect of it, yes I can use what are expertly suggested here for print use (even for the IMAX recommendation) and those submissions are wonderful, but it still comes down to my preference for how I want to finish my job!

I loved the original LX100. Other than the non-tilt screen, weak viewfinder, only so-so stabilisation, and some weird colours sometime (like lips and other reds), the LX-100 original was a fantastic pocketable video and photo camera. Still one of my favourites along with the original OMD E-M5. They fixed a lot of the LX100 problems above with the GX80, however the IBIS and viewfinder on the GX80 are still not the best. I travelled through Malaysia last spring with a GX80 and the Panasonic 15mm + 45-175 zoom, and after I wished I would have brought my GH5 with me. Especially for the zoom work, too much wobble. I have used the 100-400 on my GH5 to film sailing from shore and snowboarding at the olympics and it was magic-stable. I'm not a pro, so I would sell a lot of my M43 gear for GH5 features in an LX100iii. Sorry for the Panasonic diversion. I've always been a bit curious of Fuji cameras so looking forward to what comes with the X-T4. Probably a larger camera than I want to carry though. Can't wait until you guys get your hands on it.

Hard to design lenses with big focus throws for manual focus AND quick autofocus as those are kinda different goals? That's why cinema and stills lenses are different? Also you'd be certain to lose the ability to swap lens mounts, which is a pity, as that is one of the best features of the MK Zoom lenses. (and is what would allow you to use them for 10+ years of your career! Across many different camera bodies)

I'd snap up a pair of those lenses in an instant (sod the cost, - I'd keep them the rest of my career, - 10 years)...if they only had AF which I need for the way I work. I might just paint some metallic green rings on the lenses I do have 😀

Here is the Philip Bloom talking about the Fujinon MK Zoom Cinema Lenses: https://***URL not allowed***/philip-bloom-shooting-with-fujinon-mk-zoom-lenses-on-the-pocket-4k/ They're awesome. This is why Fuji needs to bring out their own cinema camera to use with it!

Everything that Andrew has said in reply to you, plus: 1. Metabones Hasselblad V to GFX Speedbooster. It brings real medium format to digital! Good choices (for stills as well as video) are (a) 50mm f/2.8 F (forget about the FE versions -- the electronics won't communicate, and they are more expensive) (b) 80mm f2.8 F (the CF or C versions are also good, and optically the same; but the F version focuses closer, and could be easily de-clicked) (c) 150mm f2.8 F All three above are excellent optically, could be easily de-clicked, and surprisingly affordable. I have omitted the legendary 110mm f2 not because it isn't good (it is), but second-hand price is very expensive. 2. For video use, the 16:9 4K crop of GFX 100 is 0.918x, i.e. only a little larger than the 0.934x crop of Red 8K VV at FF. Any FF lens, except perhaps the widest of superwides, should cover. The DCI 4K crop is just a bit bigger, but we still have room to experiment. Judging from screenshots I've seen (I've forgotten where....), Sigma 24mm f1.4 Art should most likely cover the 0.918x crop wide open at near- to mid-distance, or stopped down at infinity.

He does indeed say and show it, sort of, before interrupting us with a message from his sponsor which is when I stopped watching.

it is going back a while, i had just picked up a t90 not long after that canon announced that they were no longer going to make fd lenses, there may of very well been an overlap my mind tends to compress time as it goes backward 🙄

I have used during two weeks of shooting in a recent Asia trip the XT3 and Sony A7III. The XT3 was a massive disappointment. I had to use 4 batteries in a day where I used 1 for the Sony. The grip was awful. The AF was much worst than I anticipated. The lack of IBIS ruined some footages and the stills we took at the same time same place are laughable versus the Sony. I am much more interested to see what the A7SIII and Canon bring at this point

Id pick both

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

I like to think that Sony has trained its customers into always needing the newest and latest tech, so they are constantly upgrading and selling every 6-12 months. Whereas Canon and Fuji users seem to use their cameras more specifically for the joy in using them. But, I'm not a Sony fan at all, so my bias is really showing through here. --- As stated on another thread, all of these specs would be very welcome in a small FS5-ish style cinema camera from Fuji. But as long as this has 1. IBIS 2. A much better battery - at least double the record time as the previous model 3. AF improvements to bring it close to Canon and Sony I think it will be a big hit. I'd love to add in 10-bit 422 instead of 10-bit 420, 4k in 120fps, and ProRes Raw out via the HDMI. But those would all be icing.

@samuel.cabral You mean https://www.vid-atlantic.com/anamorphic ?

It seems that the SD633 is a very common addition for many who take their audio seriously. That said perhaps a lessor know but by most regards superior option is the Sonomax SX-R4+. The main goal here for me is to capture clean audio. I want to avoid excessive background noise, self noise and also eliminate the possiblity of clipping. While Zaxcom offers simular capabilities it would appear that they lock you into a complete ecosystem. And while I am sure that ecosystem is top notch, I prefer not to put all my eggs in one basket as it were. Some points: getting a Sonomax that is uncrippled by US patent restrictions (US versions are limited to 114db of dynamic range) presents some additional steps. Aside from this, how do the two units compare, price vs performance... reliability etc.

This is my thoughts on the various options for sound recorders we can choose from on the market: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/