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To reflect reality the site name would have to change every month!

It is very normal on this forum! Is it normal in "real life"... no. I dunno man, I feel a cocaine addiction would've been cheaper in the long run.

Spoken like a true addict.

Need to change the site name to FUJIHD to reflect the new reality.

You do know what forum you are on right? 😂

A good deal on an open box one came up so I snaffled it. Before I am officially bankrupt and have to sell EOSHD to Cinema5D, at least I get to shoot some medium format 4K Here is the plan... I got a bit frustrated waiting for the X-H2, with the will-it-won't-it exist situation. I have the X-T3, X-Pro 3, X-H1, X-Pro 2, all really are too similar. Why do I have 4? I don't know. I am an addict and need help. I'll sell all those and GFX 50S, which depreciated in price like a bastard. Going to sell it for about £2800, which at least goes toward funding the GFX 100. It's a terrible time to buy a new camera. So much on the horizon. But it's all full frame or APS-C. Yes the EOS R5, 1D X III, X-H2 if we ever see one, A7S III will be on my radar and will definitely shoot with them and review them on EOSHD... But they're not medium format! Do I need another similar camera to the ones I already have? Or sell em all and get something truly special... The look is different on the GFX 100 and it is a unique in the world one of a kind camera in 2020. Ok, the amazing 4K image may trickle down to a lower priced 50R II or something like that... But before that happens I will make sure I get out quick because I do not want to end up with a GFX 100 that is worth £3k on eBay. Until then, I'll enjoy the wonder that is the GFX 100 and wait to see if the EOS R5 is all its cracked up to be. Will the 8K be any good? Will it shoot 10bit? Will it have RAW? Or are we in for a disappointment? The GFX 100 is certainty of high-end video features and 10bit with superb Fuji colours, and it's here right now. Fast apertures and full frame lenses on medium format are a real pleasure too... I love the look and it's never been seen before a mirrorless medium format camera arrived. Those swirly edges remained a mystery. And yes... I need help!

The Mandalorian has reinvented how we can make films. No need to build physical sets or travel to remote locations. This is like green screen 2.0. Filming in a controlled studio, but the cameras and actors can all interact with the digital environment. Realtime keying without having to use tracking markers or anything. I'd be surprised if every studio in the world isn't already building this. We'll be seeing it in every movie and TV show within the next few years, for sure. Here's a full article https://techcrunch.com/2020/02/20/how-the-mandalorian-and-ilm-invisibly-reinvented-film-and-tv-production/

Nice to finally see an AF-ON button & still/movie sub dials ! 🤗

Thats not a mere regular hat made of tinfoil you've got there, its an entire sombrero

Yeah you're correct, but I already had a library of those charts from various sensors and stocks, so it made sense to keep adding to it. Plus it's also actually quite helpful to have so many samples within the colour space, rather than just a few samples right at the edges. Thanks mate! Much appreciated. Another interesting thing I found in testing is how much dynamic range the P6K actually has. According to the charts published by BMD and ARRI, when both cameras are exposed at ISO800, the Alexa has 1 stop extra range in the highlights, but approximately the same amount of stops in the shadows. In testing I found this to be pretty much spot on. I found I could expose one of the charts exactly one stop higher on the Alexa before it touched the clip point. The interesting thing is how that actually translates in real world scenarios, and what that difference looks like. Here are some crops of a scene shot on both cameras. In LogC, so the differences are visible. I matched exposure on the day using false colour, they're as close as I could get them. Probably less than 1/20th of a stop of difference in exposure. The left image is the P6K. When comparing it to the Alexa image in the middle, thats exactly what 1 stop difference in the highlights looks like in a real world situation. It's interesting to see what happens to that 1 stop difference when highlight recovery is enabled – the P6K actually retains more highlight detail. Obviously you would never actually place important image information in that range (not that you would ever do that with the Alexa either). But if you need it create a smoother roll-off in anything neutral in colour like specular highlights, clouds etc, it is possible to outperform the Alexa in highlight dynamic range... sometimes.

At first I thought that this topic was some sort impolite commentary on Andrew's news on getting another camera, but then I checked the timestamps.. ( :

Would rather have no 6K on the X-T4 than no X-H2. I'm not so disappointed as long as the X-H2 is coming this year. Fuji would be stupid not to. X-T4 is still a very good camera and a good upgrade to the X-T3 which didn't come out so long ago. One of the best cameras under $2k.

Short shot with Pocket 4k and Dzofilm 20-70mm Parfocal Cine Zoom T2.9

X-H2 anyone? With the X-T4 confirmed to be staying at 4K, a big 8K door swings opens for a higher spec hybrid camera from Fujifilm. https://www.eoshd.com/news/is-this-the-fuji-x-h2-sensor-with-12bit-8k/

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work. Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa. After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts The PowerGrade At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do. Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT. The LUTs Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form. One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped. With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0. Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on. Comparisons Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

I hope it's the same source that told you about 6K 60p and anamorphic modes on X-T4! 😛

Well neither of my XT3's overheated last year here in SW France filming 4k where in the shade, it passed 40 degrees celcius several times, so I'm not expecting the XT4 to be any different...

The Cinema 5D guys measured at ISO400. Rating and exposing at ISO800 shifts the mid point, allocating one stop extra to the highlights. It also lifts the shadows, revealing one more stop down the bottom. That last stop will be slightly noisy. And thats what can make measuring DR tricky, as each tester will have a different tolerance to what is an acceptable level noise and whether the bottom stops actually count towards usable dynamic range. And if you're Red, just count everything and say it's 17+ stops. Here is another image to show you the bottom stops of both cameras The previous example didn't have deep enough shadows to crop into. The exposure is matched on the day with false colour, this time I reckon they're identical. No noise reduction. Shot BRAW 5:1 / Prores 444 on the Alexa, which would be compressing out a bit of noise. Remember that the P6K has actually been cropped in to match the FOV of the Alexa, as I shot a 25mm on P6K and a 35mm on the Alexa. The crop is 1.32, so I'm actually only using a 4.6K portion of sensor. It would be less noise if I used the full sensor and scaled down.

Beautifully shot. Looks like the 6k wins out by a small but noticeable margin. Both cameras are really impressive though, the highlight recovery tool in resolve is incredible.

Interesting, it puzzles me that 8k is already on the table when it seems like everyone is still struggling to pull of 4k without overheating.

I thought the same thing about the X-H1. I loved the punch in anytime feature, and, imo, the best peaking in the business. Images and colors--just lovely. Give me that camera and the IBIS of the GH5 and waveforms and I'm a happy camper.

I've recently taken to only watching YouTube on my TV. Its absolutely transformational just watching the content without it being a small window embedded in all the "CLICK ME, CLICK ME!!" shit. I very rarely scrub through stuff now and tend to watch the whole thing as I'm far more engaged. It also completely and utterly removes from view all of the inane and borderline insane trolling comments from dullard wankers. So I heartily recommend viewing YouTube in a format where if there is a way to turn all that shit back on, I sure as hell can't find it ! A very happy accident.

4k 60p can now be shot in DCI 4K at 400mbps vs previously only ultra HD at 200mbps

As opposed to a photocopier company?!

So having shot with the bmpcc4k now for most of 2019 figured I'd share a finished video if anyone is thinking about doing wedding work with one.

12032 x 9024 pixels and 6K (6016 x 3384 pixels) up to 30fps in the $250-350 price range this time? Seems we'll have news this October 24... https://www.gsmarena.com/xiaomi_mi_cc9_pro_rumored_to_bring_108mp_camera_and_snapdragon_730g_chipset_-news-39444.php https://www.technobezz.com/xiaomi-may-release-the-mi-cc9-pro-with-108-mp-camera-on-october-24-985365/ source Add Camera 2 API and you'll have manual controls, reach up to 200Mbps and yet extend your DR going with Log modes... Just holding less than 200 grams! E : -)

If its a cheap 8k camera with fuji color, ibis, and amazing auto focus I don't care how big it is. Sure Canon is releasing smaller mirrorless 8k cameras but I am sure they will cost a mint. Plus fuji lenses are tiny making the whole package lighter regardless.

Agree, but sometimes peak current draw is too much for one battery, I believe... Especially if you have powerful spec like 8K going on

With ND filter: Grades then very smoothly:

I used the XT3 and A7III side by side for 2 weeks, the Sony had much better AF, and the A7III is not that good. The new AF in the A7RIV is way better. So to answer your question, no, XT3 doesn’t have a great AF, people happy with it have never tried Canon DPAF or latest Sony AF.

Canon FD 24mm F1.4L It's practically a Canon K35 cine lens.

That's beautiful, this thread has peaked my interest in tinkering with a 5d 2/3 and ML raw to shoot my beach sunset stuff. I just don't want to pull the trigger on a cinema camera yet (mostly because I'll need more than just cards to make one work) and I have access to EF lenses. Searching for a cheap 5d now... Chris

It love the Z6 and the output but I’ve always had a soft spot for Fujifilm and sort of waited for them to release a camera like this (IBIS, internal 10-bit, 4k60). There’s also something about the lcd and viewfinder lag when in video mode with the Z6 that annoys me and that I never really could get over. For stills though the Z6 is great and I might have to rebuy it when they finally release their compact primes

I am selling my GH5+PL12-60, it is actually a little large/heavy and probably too much camera for my needs. I bought an Em5iii when it came out, (it is much better value after the price just dropped to $999). I just shot some outdoor activities in the pouring UK rain and mud with the Em5iii an Rode videomicro. The interviews were done with two little waterproof Instamics. The IBIS with the Olympus 12-100/4 dual-IS is incredible. You can do much larger movements and walk with smoother results than with the GH5+PL12-60 dual-IS combo. With the x2 teleconverter I can get stabilised 4k from 24-400/f4 FF equivalent. I don't really need my Osmo Pocket anymore, except if I want to do boom-type shots with a selfie stick. The PDAF autofocus works great, especially with the face detect in interview situations. I'm getting a little lazy relying on it as it also works great for reveal "slider" shots and touch rack-focusing. The C-AF was the only reason I got the Em5iii over the Em10iii, but I could have got two for less than the price of the Em5iii! I like the Oly image, but still tweaking a bit to get the best out-of-camera colours (just using natural, -2 sharpening) and exposure without having to do much grading in post. No zebras, so relying on the histogram which is much nicer than on the Panasonics (stretches across the bottom). The EVF isn't as good as the GH5, and the mic input gets in the way of the flippy screen. The GH5 4k 10-bit picture looks better, but youtube and social media where I do my local/community event films have crappy quality, so it doesn't really matter. I do wish the Em5iii had the constant face-detection box during recording like with the newer Em1iii - just to give 100% confidence that the C-AF is doing it's thing. The only missing thing to make the Olympus the perfect camera for me would be built-in NDs. F4 and ISO 200 and no ND at 1/48 shutter is OK in the UK winter, but I use fixed NDs for the sunny weather (tired of fixing vari-ND colour messes in post). I carry the camera around much more than I did with the GH5 so have more opportunity to shoot stuff. I'm also really downsizing my overall kit as I only do small local events and documentary paid jobs on the side. My Voightlander 17mm and 42mm are going too to raise some cash. I'm keeping my GX80s for time-lapse cameras as they aren't worth much on the used market (working on a long-term time-lapse waterproof setup). When I see stuff like this, I know it's me lacking as a filmmaker, and not the camera that I'm using:

I picked up a GFX-100 last week ... returned it this week. The stills were unbelievably good ... better that I can describe. AF is a mixed bag in video ... AF-S unusable in that if you push AF on to move the point of focus in video the lens opens fully to focus then closes to the set aperture ... even in Manual mode. AF-C has a distinct shudder in the background at times when the camera hunts ... other times it looks good. My biggest concern for the camera ... I was shooting to an external recorder as ProRes HQ in 10Bit 4:2:2 in FLog .... the color balance had a magenta tint in spite of custom white balance and white bal correction with a Video Passport Checker in Davinci Resolve. The Fuji LUTS made it worse ... skin tones really pink ... not tanned .... I tried a bunch of other LUTS ... moved to ACES ... and rendered the same 20 minute video 5 times ... the last without a LUT and a bunch of RGB individual curve corrections. Skin tones correct but the background bordering on cyan ... pick one or the other as I was not willing to mask each of 4 persons in the video. Ten to twelve hours for something that normally takes me 2 hours. If I were not shooting interviews and just outside ... might have not been an issue ... as the landscapes I tested looked good. No crop in 4K DCI Full Sensor read ... UHD probably trims the sides. Very robust build ... so close.

I still don't shoot much video on a smartphone. I don't know why but it's almost 100% a stills cam for me, and a very good one too. I find it very clever though how we are now able to get clean video off a 100MP chip or a 40MP. The sampling has got a lot more intelligent since the days of line skipping. Pixel mix / binning is now not so much the sin it once was, and with Quad Bayer it is actually turning into a nicely oversampled positive with big chunky pixels. Stills Mi 10 is 25MP output from the 108MP sensor. Mate 30 Pro is 10MP from 40MP... You can have it output the full 40MP RAW DNG. Is that possible with the Xiaomi? Comparison shots from DXOMark below only show the Mate 30 Pro in 10MP mode. However it is a very good 10MP mode that looks more like a normal camera at around 16MP. The Mi 10 25MP looks a bit lower when you pixel peep it - maybe 18MP. So the difference is there but not as massive as 40MP vs 108MP suggests at 1:1. I scaled the Mate 30 Pro up to 25MP and did a 1:1 crop compared to same crop on the Mi 10... Mate 30 Pro Mi 10 Pro The plants behind them look a bit more natural on the Mi 10 Pro but the difference in clothing texture shows actually an advantage to the Mate 30 Pro, weirdly. So either it is a soft glowing lens on there, or too much noise reduction?! Or just a bit off on the focus? As for the RAW... I find the JPEGs are often cleaner and more detailed with better dynamic range on smartphones, due to the composite, multi-shot, multi-lens, neural network upscaling, etc. nature of the beasts. But the RAWs do give you some low-fi natural look back and more fine grained noise, less sharpening and less NR. Raw sensor data at 1:1 from 108MP with 0.8 pixel pitch is always going to be quite noisy and soft... Although big leaps have happened in last few years! Can you edit such a large file on the phone? I can with the P30 Pro and Mate 30 Pro at 40MP but 108MP would be majorly pushing it! The big key to all this is the multiple sensors and lenses, composite images and computational imaging. The cameras should be seen as a system of cameras rather than one.

Page 10 from the GFX100 brochure ....

If this is all true, I'll probably wait for it. Perhaps not buying X-T4

It really is a nice image if you find the light and yes global shutter works well, but I'd consider the BM Prod 4K if I were you, it is probably $600 used now. The original URSA is just massive. Yes DR and highlight roll off not the best so take that into account, but it can have a lovely film like silky smooth look too, with great colour science. By the way whilst we're on the subject of old but good cameras... Why aren't you all over the 1D C yet?! BMPC4K 3840 x 2160 frame grab:

Panasonic S1H already doing 6K so not a huge leap to 16:9 tv standard "8K" which is actually 7.6K resolution horizontal. 5.5K 60p is about the same datarate too and that is here in 1D X III Smartphones may soon have 8K in very small, thin fanless encasings, with tiny thin copper heatsinks So yes it is very doable in 2020, but will it be any use or any good, or just a marketing label? We'll soon find out

The original URSA is cool, definitely less dynamic range probably 1.5 stops difference. They are going for really cheap these days too. $1600 for one in good condition with accessories. Global shutter is definitely desirable for me. Well work wise I do a lot of stuff gaffing, assistant camera, videography, PA work, really whatever I can get. I used to be more into making my own films but I was just too busy to do it last year. If I can get one film done this year, one of my own, I'd be content. I really am avoiding working on anything I don't think I can execute perfectly. Right now my big project is DP'ing and co-producing a short film that we are shooting in the next couple months. I am also in the writing process for a film of my own that I am hoping to shoot in 3-4 months. XT3 will definitely be the wedding camera, though I am doing as few weddings as possible this year. Though the URSA mini could be fine for the less critical parts of weddings, B-roll stuff. XT3 fills the need when I need something small to hang off a C-stand lol, or to put on a gimbal or when I need Auto focus. Its really a very capable camera. Its small things that add up like punch into focus while recording, Panasonic cameras can't do that and it really annoy me haha.

Subtly brilliant. Seems to work with my Mate 30 Pro. The file that comes out of it is quite incredible really. Definitely cinematic.

Yeah. after you rig it up it's actually great for wedding.

Or Panasonic, who make some of the very best fancy multi function toilets. Panasonic - Great for IBIS, Great for IBS. Have that Saatchi & Saatchi !

I'd rate an IR cut filter as more important than a moire one.

Post and talk about what you find. Sometimes you can get a real deal, especially on the c-mount stuff under £500. The Cooke look for me beats everything else. Everything.

I believe I've had a chance to own one of many rebranded versions of this Tokina - Vivitar 19-35 mm f/3.5 - 4.5 Series 1. And I must admit it's one of the lenses I regret selling. Build quality was horrible, handling was cumbersome. But, man, the images coming out of it were gorgeous (at least to my eyes, hahaha). Here are some photos I took with it and a7 III: (FYI, the B&W photo depicts Gdańsk Town Hall, whereas the last two show Malbork Castle). As a matter of fact, right now I'm eyeing another copy of it and most likely I'll end up buying it.

I was looking for some 50mm stuff in my test library and found this. Looks like I did the promo shot for the testing but for the life of me I can't find the test images themselves so I'm presuming I never actually did it ! I could do though if anyone is interested.

For what I do, I'm thinking the em10iii from Olympus might be the best bet. Recording outboard audio makes things a little more difficult, but all the other good stuff kind of outweighs that. Small, affordable, IBIS, good color, 4K...not bad at all for micro budget documentary production. Can get two used bodies for under $600? Hard to resist. I really like shooting "light" when in the field, so I'm tempted. figute I can sell the gh5 and it'll pay for the switcheroo Would have considered the Em5iii, but without headphone jack might as well go with the cheaper camera. Sorry Olympus. You had a chance to take my money with the em5iii.

The thread is sleeping, so I thought about sharing updates after having used the S1 for a month (and the newly announced firmware updates are a good occasion for that !). So I used the S1 during a 1 month arctic journey across northern Swedish mountains and Norway in last September/October. I only took the S1, for photo and video, and brought with me the 24-105 f4 kit lens and the Sigma 14-24 2.8 dg dn (the new one, designed for mirrorless) which I brought 3 weeks before I left home. I wanted to film (not doing time lapse) the northern lights, but we were not very lucky with the intensity of lady aurora, despite one or two explosions in the sky, and the f2.8 aperture of the sigma was not enough. I will soon sell the Sigma and buy a 20 1.4 Sigma art, and maybe wait for the newly announced pana 16-35 f4... (or a used canon 16-35 f4). I was a bit frustrated with longer reach need, because, when I bought the S1, I thought the ex.tele converter worked the same as on Sony (clear zoom if I remember) and on the GH5 and G9. So I did not bring any tele for this trip (despite still having at home a Canon 200 f2.8 L ii prime at that time), hoping to film with the 24-105 at 105mm in apsc mode + exteleconv. Some days before leaving home, I discovered that it does not work in 4k… So on 1 or 2 occasions, to film wildlife or distant landscape, I used 1080, and pixel/pixel mode. I checked the results at home on my computer, and the results are really really awful eheh ! APSC mode is, on the other hand, really good ; so, in the end, I had a little reach on some occasions. I really love the range of the 24-105, and find it very useful. Fot this kind of trip, it is perfect ; maybe the newly announced (yeah, so much "newly announced" today !) Sigma art 24-70 f2.8 dg dn will be better, I'll keep a close eye on it. The Sigma 14-24 f28 dg dn is a wonderful lens for photos, sharp enough for me in the corner, light etc. But the inability to put a vari nd on it was useless for video. I bought it for nighttime auroras filming, but a 20 1.4 + a wide zoom that takes filters will serve me better. I encountered minor bugs : occasionally, when I pressed the review button to check my images, it said "no valid pictures on card". Had to turn off the camera and I could access again my images. I had 1 or 2 freezes (really less than my fujis that used to freeze very very often) too. Ah, and the camera is slooooooooow to operate. Drives me crazy when in a rush ! All in all, it worked very well, even during snow storms and -10°C temperatures, and was covered with ice and used under rain with no problems. The handling and controls are phenomenal, especially in shitty conditions. So far, I only reviewed my footage on my computer since I came back home, and I barely touched the camera again (little time) but I managed to play with some clips. The Vlog shots are gorgeous... really ! I tried to play with them with filmconvert nitrate and varicam profile (I need to try the """newly announced""" ? S1 profiles), and with the varicam luts supplied by panasonic, and I love everything about it : colors, look... I think i prefer the result I obtain by applying Resolve's color space transform to the vlog clip, and then tweaking it to taste. I am still learning and, thus, is a horrible color corrector, but with minor stuff applied, I obtain a really pleasing result. I also filmed a lot with Cine-d and HLG. The former seems to be very good, and the latter... I still did not figure out how to treat it in Resolve eheh. I wish I had more time to learn the camera prior to departure, because I played with the flat profile last week-end, and I really like it too. One thing I instantly noticed is the iso capabilities : amazing ! I sadly found some missed focus shots while reviewing my clips. More than I wanted... I mainly used MF, but with a lot of "AF first then switch to MF", and maybe the struggling AF in low contrast scene + not always easy to check the focus peaking in bad weather conditions + my poor fillmmaking skills are to blame. On the still side, not a lot of things to say : wonderful high iso performance, very flexible files... everything you want from a modern 24mp sensor. A great machine for my use : landscape, documentary, astro photo... Sorry for the very unprofessional review ahah, hope some of you will find something useful. I attach just for the fun an image I took inside the tent, after a short night (I still have to post process my photos). Don't pay attention to the "clean" appearance of the camera... I was always wiping it, as it was often covered with snow and rain ? I will sell my Sigma 14-24 2.8 and, in the future, I will slowly build a kit with a wide angle prime, lenses like the samyang 135 f2, takumar 50 1.4, and maybe the coming panasonic S lenses... But for now, I will add the smallrig cage for the S1 + a cheap 5.5" monitor, and I think about buying a Panasonic G9 + pana leica 200 f2.8 + tc (unbelievable sales + cashback right now) . It will allow me to "deport" the long reach video and photo use to this setup. @omega1978 sorry, I promised you to take sample images with the sigma 14-24, but I did not find time to do it before leaving. Did you put your hands on it ??