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I see a lot of mixed feelings on this thread, and that may be because this community is very demanding, in a good way I would think that's because many of us owned THE NX1, which was so much ahead of it's time. Now that being said, I just got my XT4 a couple of days ago with a 16-55 2.8., and it's my first XT4 camera so keep that in mind while reading my first review so far. Also I'm a 70% video oriented 30% stills. Also I have zero brand loyalty. I don't care about brands at all. If tomorrow Sony has the camera and lenses that suits my needs better I'll sell everything and jump ships. Just to give you a bit of context I should also add that I own a Z6 and I find that it's an amazing camera with amazing (too few) lenses. So far this is how I feel about the XT4 : Ergonomics : It's a beautiful camera ! However I don't like the ergonomics to be honest. I think the camera feels bulky, it's like handling a brick. I'm still working to get the most practical set up and it feels like a lot can be customized in terms of buttons. So I'm pretty sure that I could get used to after a couple of weeks toying around. Now that being said, it doesn't compare in any way with the pleasure of holding the Z6. There are so many buttons in the back, and to me it feels like those big buttons on top of the Fuji that give the "vintage look" could also turn out to be useless and maybe in the way of better ergonomics. I don't know how much this participates in the Fuji identity, but to me it's more of a waste. Again, I'm not a "Fuji" shooter, just a filmmaker with a Fuji camera in his hands I love how they have 2 different modes for stills / movies. I would think that this is now a norm in 2020 but kudos to Fuji to bring that to their camera, feels like they really listen to their user base. Autofocus : I need more to get around all the AF settings but so far in terms of Face/eye tracking to me the AF lacks a lot behind Sony, AND Nikon (Nikon made a great job at improving the AF in the past months. I used it a lot during interviews and it was flawless in eye Af). Now that being said, the AF in stills, is incredibly snap and fast. But I don't think I could trust it for a documentary yet where I would have to run around a subject. I would trust Nikon AF, it's not as good as Sony or Canon, but I feel confident enough. Probably because it never "hunts" even when it loses its subject, it doesn't. So far I felt that the XT4 could hunt in eye tracking and actually even lose focus when the box for the eye was correctly placed ! So I need to dig more into this, but it feels strange. Again the box would lock the eye, but still focus on something else... I give the camera the benefit of the doubt because I haven't played around enough with all the settings yet, and also I feel like Fuji could bring an update on the AF firmware wise. Video modes : what is there to say ? Internal 4k 10bit with F-log AND assist (Rec 709 lut) with no crop, 60p with a very small crop, 240fps in Full HD. However I haven't been able to find the 120fps mode, so I don't know if you have to make a special setting or what not... Dynamic Range : That was one of my primary concern, and I feel like it's actually great. However the different picture profiles for video are IMHO way too contrasty and make everything looks like it was shot on a cheap smartphone (highlights are completely burnt etc). I'm going to film everything in Flog probably, and just apply a standard lut after wise. Skin tones : Now that is something so important for filmmaker. I love how the Z6 has this very smooth skin tones. A bit too magenta, I keep dialing in some more green tones (especially when using Filmconvert). But skin tones feel very silky-smooth with the Z6 while still retaining some details. I'm not sure how much I love the skin tones from the XT4 in F-log, I would need a bit more time, but just the fact that its 10bit gives you more leeway for grading. For now I'd say that it lacks a bit of saturation. I have this feeling that many videos I have seen with the XT3/XT4 have very pale skin tones and lack a bit of contrast and texture. Now again that is more of an intuition so far. I have a strong feeling that if correctly graded this camera can deliver. I can't wait to experiment with my clients to see how this goes (hopefully well !). Stills : I haven't play much with still but the AF seemed very responsive, very fast, trustworthy. And you can tweak the Burt modes a lot. Battery life : seems really good ! I heard the XT3 had a weakness in this area, I can say that I wouldn't be afraid of using just one battery for a short interview job. But of course you always need at least two. They should have included a charger for the battery. That feels cheap. My Z6 had one. IBIS : It's REALLY, REALLY GOOD. 90% of the time. And then sometimes it does something a bit weird. I would say, don't take IBIS for granted, rather lear how it works and use it to your advantage. It was never designed to replace a gimbal. However I could definitely see myself going around filming in the city without a tripod And that is really COOL ! Flip screen : don't like it. I'd rather have the classic tilt camera. I couldn't see why Vloggers would need such a powerhouse camera to film themselves, not judging it's really just a thought. Fuji : you guys should dedicate the camera to "power users". Don't try to go in all the different directions. I'm only speaking for myself but I'm not a big fan of filming while looking outside of the axis of my camera. I don't want to look on the side it bring my balance off. I don't know if the floppy screen is something people have been asking ? But to me it's a downside. I don't know how you guys feel about it. Overall : So far it's a great first impression. It's really funny to see a vintage looking camera actually performing like a monster. 10 bit 4K 60p F-log + assist almost no crop... That is insane. I'm not a big fan of the handling of this brick, but I can't see why I couldn't find a sleeve, handle to make it more to my taste. I also read that this is already improved since XT3, so keep up the improvements Fuji Also I love how this camera eats my 128GB Sandisk 95Mb/s with 4K @ 400mbps. That is really cool. If Nikon comes up with a Z6 Mark 2 10bit 4K internal, will I keep my Fuji ? I honestly don't know, probably not. But the camera market is not about "what if", but "what is". So for now I'm very, very happy that I can be a hybrid shooter with IBIS, and 4K 10bit 1,5x crop factor. That's it for me sorry for making this way too long ^^

So very true Still sets a high bar nearly 6 years later. Especially with the high bitrate hack. That is a very good lens by the way, incredibly sharp for a zoom. Fuji's lenses are fantastic, however the Samsung version of that zoom was a stop faster at the wide end and had OIS. I notice the X-T4 IBIS has a mode which combines OIS and sensor stabilisation BTW. You should try the Fringer EF mount adapter for the Z6. The AF is like dual pixel AF. Works much more reliably than the Techart e-mount adapter did. The Z6 remains a very underrated tool. I think the problem is that almost all the competition is more interesting in one way or another and the body design make it look like a cheap Nikon 1 series thing. Yeah, I'm not warming to the feel of it either. X-Pro 3 and X-H1 far nicer and pro-feeling. The whole thing is covered in soulless, thin, faux leather. The way that fake leather covers the entire back of the LCD when it's closed - UGH. What were the thinking. X-T4, for want of a better word just feels a bit cheap? A bit clinical? Not as fun? Yet it has all the right features in the right place... Just played at a slightly tinny tone. I feel it will improve with a nice cage and wooden grip like SmalRig offers for certain cameras, such as the Sigma Fp. The shallow grip is woeful on the X-T4. The buttons feel no better than an X-T200. It's a bit of a shame, because the flip out screen, EVF, and new movie / stills switch are all good handling features. The X-H1 dialled down (no pun intended) the retro stuff and got it right. Why the X-T4 simply didn't just adopt the X-H1 body I have no idea. There doesn't need to be two lines at the moment. The one thing I DO like about the shutter dial is it's quick to go from 180 degree shutter to auto. I have 1/50 on T, Bulb uses minimum shutter speed in low light for video, and A is effectively an aperture priority mode for me. The ISO dial doesn't do it for me. Would rather have it on a jog wheel like normal. I find it depends a lot on the lens. Some of Fuji's best lenses like the 23mm F1.4 have old fashioned grinding motors and moving barrels during AF. They are extremely loud for video shooting and slower than the internal focussing lenses like the zooms. Fuji needs to update their primes and it was a stupid decision in the first place to put such old AF tech in the lenses. On the camera body side I feel the AF is fundamentally good but still not as reliable as it should be for video. I also like the Micro Four Thirds 1.95x crop mode at ALL resolutions and frame rates F-LOG is great for maximum dynamic range, at least 12-stops by eye, and the view assist works well too although could use a contrast adjustment slider. It does take longer to open out than a tilt screen, but it's horses for corses...pros and cons. The GH2 had one. I loved it, never had a problem with it. The finger hole to undock it and the mechanism is a bit too stiff and fiddly on the X-T4 though. The Nikon Z6 I think is a bit of a Canon EOS R6 type camera, if that is how we expect it to turn out - not quite a 1D X III with RAW and 5.5K but 4K at normal frame rates, a good all rounder, with good colour and decent AF with EF lenses (Fringer adapter). I feel the X-T4 neither has the nimbleness or fun of an NX1, but it doesn't lack for features that's for sure. It feels like Fuji has one set of designers on X-H1 / GFX 100 and another set on X-T series. One side is designing pro cameras, the other side is a bunch of hipsters with their retro ISO dials and should be fired.

I was very excited for the Leica SL2 and bought mine in December 2019. I have been using it ever since and it is every bit as beautifully designed as the previous model, but this time with high-spec 4K video features, IBIS and an anamorphic 5.5K mode. As usual, I paid the full retail price out of my own pocket and didn't take a camera on loan. This is something I am now regretting because the SL2 has a major show-stopping problem which effects ALL models out there and isn't isolated to mine. NEW BLOG POST: https://www.eoshd.com/leica/leica-sl2-has-power-flaw-and-should-be-recalled-until-then-i-recommend-not-using-for-professional-4k-shooting/

I've found my favourite lens ever guys. Totally has surpassed the PEN-F 38mm f1.8. Can anybody guess which one it is? Hint: it's a Carl Zeiss made in Japan

Hiya! Another extensive post coming from me - brace yourselves! Long story short: I tried to minimize my 35mm eqv. setup and see what potential drawbacks would this bring. Left side: newly acquired Newyi 25/1.8 CCTV C-mount lens bought for astonishing 23$. Right side: Zhongyi Lens Turbo II + Nikkor 35/1.8 G (officialy it's a DX lens [meant for Nikon APS-C cameras], but it happens to cover FF quite nicely). Goliath vs David: Operation-wise, it's difficult to pick a clear winner. Newyi, being a CCTV lens, is so tiny that it's rather tricky to wield, even with my small fingers. Aperture ring is stepless and smooth, whereas focus ring is a bit stiff near infinity. Can't say a bad word about focus throw or focus zones overlaying one another - those are all good and allow to precisely nail the focus. Nikkor, on the other hand, isn't the most intuitive lens and is rather quirky to operate manually. There are no focus marks and the focus ring has little steps that can be felt while fine tuning. There is no aperture ring and the only way I can affect the aperture is via an AI - EOS adapter with built-in aperture lever. Having said that, Nikkor simply feels better in my hands. It may be bigger, heavier and not meant for manual use, but it is what it is. Newyi is advertised as a f/1.8 lens, yet it doesn't gather as much light as it really should. The same scene, shot in the same conditions, required a shutter speed of 1/60 when I used Newyi wide open, compared to a shutter speed of 1/105 when I used Nikkor (via dumb adapter, not a speedbooster). Speedboosted Nikkor gave me a reading of 1/160. That's a 2/3 EV of difference, which makes Newyi rather a T/2.2 (if not less) lens, not a T/1.8 one. Speedboosted Nikkor is almost a T/1.4 beast. Field of view between those two is almost identical. Nikkor has some serious barrel distortion, but it's due to it being a DX lens. Sharpness and contrast: Wide open Newyi is not only tack sharp in the center, beating the Nikkor easily, but also free of any noticeable aberrations/fringing. Unfortunately, it's less contrasty and introduces some ugly beige/red tint to the shadows. Some 100% crops. Those are my thoughts after owning the Newyi for 3 hours. I really wanted it to replace its bigger competitor, but to me contrast, color rendering and ability to gather more light is more important than sharpness and portability. Nonetheless, the fairy tale has a happy ending and Newyi managed to find a new host - Sony NEX-5. I hope my sister enjoys it, lol. Here is a photo taken with it on a NEX-5: And a 100% crop:

Absolutely underrated. IBIS is on par with S1H. And I fell in love with it's autofocus using Z lenses (have 50mm and 24-70 f4). Never thought I would, but they did it right definitely giving video shooters some thought - lenses practically don't breath, focus absolutely silently, and there's no hunting, transitions are smooth. There was so much hate and misinformation about Z6 from the beginning. And Nikon are so incapable of marketing the strengths of their products, it almost makes you cry...

I have to agree with @Kisaha, that looks terrible. It doesn't even look like high dynamic range at all--it's an overcast day, a decent Rec 709 camera would capture that range.

I am not sure what ayou are talking about, but this is unusable for pro work, I wouldn't be able (or willing, anyway) to cut it with any of my cameras, or to any of my videos. I am not sure what it will be in the future, but it won't be that, exactly.

Does anyone know if they use a particular type of lens or filter for this?

Leica haven't responded to anybody about it. Tons of users with the same issue https://www.l-camera-forum.com/topic/306288-4k-recording-with-low-battery/ It's disgraceful. I want a refund! Or a working camera. Whichever comes first.

Man, don't put me trying to read those funny Greek characters or you'll drive me, and I bet everyone here other than you, more nuts than your hate towards things you won't buy... LOL : -)

The person in question detailed it himself on Instagram to be fair.

Would be nice to see in 24p with sharpening turned down and a maybe a less aggressive color grade.That is log not HDR it seems.

Judging by how few examples I've seen of people using it, I'm guessing they might not need a van to carry it. Or even a car. They could probably just send someone they know and trust over on a bike to get it.

I think you still need to send them in and pay the fee If only they could figure out what Apple is doing with their apps. Must be a trick to it somehow. I just can't quite put my finger on it... Something to do with a world wide web type store thing? and encrypted payments??!

You are also hereby licensed to use the phrase "the forgotten art of using a few lights now and again" as well !

Tried this lens on the Fp today with the Sigma MC-21 adapter for EF. Does anybody else find that it greys out the Digital stabilisation option with this adapter? It only seems to work with my Sigma 45mm F2.8 L mount lens. Is the gyro in the lens? Doesn't seem to work with adapted MF lenses either. Hopefully Sigma can put IBIS and a tilt-screen in the Fp2. Would really make it my go-to small full frame camera if they did. So far with the Fp though, there is a lot to be said for the "forgotten art of sticking it on a tripod" like a GH2. A phrase coined by @BTM_Pix which I am stealing and adopting for many many future uses.

Just watched this grading video and found it really useful. There's a few things in here that I hadn't seen before, and I think the look (nice bright and colourful) has more practical application than emulating some particular movie or other..

Maybe? I think members here just aren't that interested in the E2. Though it's an extraordinarily awesome Facebook group, especially a few years ago when it was very small. It's recently grown to the point of having a lot of repeat questions.

Bits ain't stops buddy. Why is everyone interchanging bits with stops like they are the same thing, they clearly are not the same thing! Bits allow more graditions between a minimum and maximum luminance. The delta between minimum and maximum luminance is the amount of stops of dynamic range.

ML RAW is still not stable for "continuous" raw. I don't know how you get it to be stable, but here, it's not. Hence the "cool toy". We can go back and forth on this, but you won't convince me, because I've been trying ML on and off for years now. And yes, its UI is absolutely dreadful. As I already mentioned, the EOS M is a great starter camera, which is why I suggest newbies to get one, and also why I own 3 of them. But using ML RAW for serious work, with its aliasing problems and having to overcrank the SD controller to manage to write fast enough (which eventually leads to overheating and drop in frames, and often in crashes), is not acceptable in a professional setup. It's great for small videos like the one I posted above, where only a few seconds are shot every time, but not much more than that. Even Zeek on Youtube (which I follow) hasn't posted anything more than video vignettes with his EOS M. Show me ONE *serious* narrative short film that was shot with ML RAW simply because it's a cheap way to get RAW. I wouldn't shoot a short film with ML RAW myself. I would shoot though a short film with the built-in h.264 encoder, simply because I know that I can trust it to be stable. Plus, I like the look I get from it anyway. I don't always need raw. I just make sure my scenes are not so contrasty to have to change ISOs or to recover highlights in post. In such a non-random setup, the bare Canon cameras do manage fine. I shot a number of official music videos with the 5D MkII in 8 bit, and it worked fine, for example. These days, I could get an even better image and bitrate with an M6 MkII at 4k with 120 mbps. If I can also get 10bit in the future, even better (just for even more advanced color grading purposes). Which is why I'm eyeing the upcoming Canon R6. But raw, I don't necessarily need it. If anything, I *degrade* the image I get out of most of my cameras, to make them softer, in order to get the vintage film look. I own a BMPCC 4k that shoots RAW, and I haven't used it for more than a few hours since last year. I don't like the Sony sensor look (that all non-Canon cameras use), and I quickly found out that I don't need its RAW capabilities. Which is why I mostly use my Canon M50 these days. On paper, the M50 is a toy compared to a BMPCC 4k. But it produces the image I like and it's ultra stable (more so than the BMPCC 4k). To give you an idea where I'm coming from: I used to be the editor in chief of a big tech news web site in the early 2000s. During my time there, I took up on to myself to try and configure Linux in new ways for multimedia purposes (it was weak back then in video, wifi or bluetooth performance). So I was hacking code and config files, finding ways to make things work, and then write tutorial articles. Well, come 2005 I was already sick and tired of trying to make other people's messes work. These days, if something is not perfectly polished (from my OS, to computer, camera, laptop to my refrigerator and washing machine) I simply don't bother with it. My tweaking days are long gone, and I don't want them back.

Yeah, stopping down is done both because the ring area is so bright compared to the rest of the venue and because for shots like that especially you want as much in focus as possible, since it shows how large the crowd is. That's the end result. Happens to me when doing wrestling events though it doesn't look nearly as cool because most events don't have that much lighting nor as many spectators, at least not the ones I film and produce!

Its produced naturally (intentionally or otherwise) by refraction when using narrower apertures. You can buy filters such as this cheap and cheerful set which will create the effect without having to stop down. https://www.amazon.co.uk/Fotover-Filter-Pieces-Olympus-Cameras/dp/B07LF8KY4F

Don't think I've ever recently seen a product for the sound department get leaked so much before the manufacturer even says anything officially about it, there has been lots of chatter already about the Wisycom MCR54 on social media! As this a major new announcement, the first time ever that four channels of wireless has been squeezed into a SuperSlot receiver. (true diversity too, that's eight receiver boards crammed into there!! And all that only uses at max 2.5W) The pricing is cheaper than expected: https://www.raycom.co.uk/product/wisycom-mcr54-four-channel-slot-in-receiver/ £2,880.00 inc VAT (£2,400.00 exc VAT) Maaaybe this means it will come in just slightly under US$3K in the USA? https://www.raycom.co.uk/product/wisycom-mcr54-quad-4-channel-rx-with-4-x-tx-and-base/ £6,360.00 inc VAT (£5,300.00 exc VAT) for a kit.

I would wait to see for the real-world performance of the EOS R5, especially the 8K RAW and 4K/120fps. Plus most of what we liked about the 1D X III could end up on a much cheaper EOS R6. $6500 is a lot for a DSLR these days, even if it is indeed the best one ever made. Mirrorless cameras are a much nicer shooting experience for video.

Most editors that I know don't edit camera files -- they use lower-quality, uncompressed proxies and/or transcode the entire project to an NLE-compatible, high quality format. Not only can using compressed camera files slow down the NLE and cause problems with effects, but grading compressed files can also cause discrepancies with the rendered look. My editor (and color-grading) friends usually grade with a high quality format after they have edited with proxies. Another trick when working on narrative projects -- use multiple drives to speed things up. For instance, in a two person dialog scene, put all of Character A's shots on one drive, and then put all of character B's shots on another drive. This will allow cutting between different drives instead of cutting within a single drive. Likewise, one could put close-ups on one drive, the medium shots on another drive and all of the wide shots on yet another drive.

Quelqu'un a une idée de se qui se cache sous le capuchon face avant gauche du EOS R5 ? Pour moi il s'agit du connecteur qui permet de mettre le boitier xlr canon MA 400. Cordialement jmarc

A few things: ADC in this camera is linear, so no funny business with Log encoding or anything like that. 96db of dynamic range is an audio standard. The video/photo equivalent would be 48db (a stop is either 3db or 6db, power or amplitude). IIRC N-bit ADCs have DR = 6.021N + 1.763dB (audio), or 3.021N + 1.007dB, so a 12-bit ADC = 74dB/37dB or 12.333 stops of dynamic range. The sensor is 12-bit readout of ~6K photosites in a Bayer array.. When this is tested at 4K we have significantly more than 12 bits of readout per measured pixel. 8-bit 4k IS 10-bit 1080p, etc.

Except for the static wide shot at the beginning, this was shot handheld with the 18-55 kit lens on the x-t2 (pretend that it's a Marvel movie and watch through the credits).

Ive wanted the 35 1.4 ais forever. I love the way it renders out of focus areas.

It's a blazing lens. Glorious. Still totally undervalued. I got my Canon EF version for £200. The AF even works well on the Fringer Nikon Z adapter (pictured below) for stills. Not so much video as the AF motors are clunky and old, very noisy... Optically though, it's glorious.

I think it's the old problem that the people who really know what they're doing are off doing it, rather than hanging around talking about it (or making videos, which takes way more time than even posting on forums).