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Got the bang for buck 8K camera. Only had it for 5 minutes and noticed it has a stuck pixel on the LCD so better get it switched. Quite distracting. Seems on paper to be one of the most exciting cameras at or under $2k. (£1899 in UK) First before I get too far into praising this bargain cinematic beast, here's a few things that the usual suspects in the review / shill kingdom didn't tell you... Handling has some distinct steps back from my beloved X-H1. There is no more drive mode lever, but unforgivably no movies/stills switch either like X-T4! A very strange omission given the hybrid nature of this model. I can however assign custom stills mode to function button and tap in/out from movie mode without having to change mode dial through all the many steps from Movies to PASM. The finger gymnastics to reach the WB and custom buttons on top panel is ridiculous. Really bad placement. The overall styling isn't as nice as X-H1. It looks and feels cheaper as if some cost cutting has taken place. For sure it is an uglier camera. No more inward press action of the jog dials, quite poor dial feel, just in general a slow hacking away of what made Fuji bodies nice like the extra dials and nice styling. But when we get down to the nitty gritty I expect to be more impressed. S35 8K ProRes for $2K is pretty special. I have read that IBIS is better on X-H2 vs X-H2S as well. Any idea why that might be? I can't quite believe reviews have that right.

I am not sure which WB approach would generate the best match, or even if the WB differences I've seen in comparisons are due to the WB of the camera or just how the cameras were all treated in post. All the more reason to do your own tests I guess. Considering you own both cameras, I'd suggest you film both (match WB settings and also do a custom WB) and then play with the post workflow and see which overall approach is best. I'm curious to hear what you find 🙂

Good to hear you worked it out. Resolve has all the options but sometimes it guesses wrong and you need to roll your sleeves up and correct it. I guess that's what happens when you make something more powerful - it's got a steeper learning curve.

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It isn't even the top end tier, it is "anything with a proper budget". As the rental costs are such a small part of the overall budget, and the rental cost difference per day between the latest and greatest camera and the previous generation isn't that much at all. I'd say $4K for a Classic means they're essentially being "given away". It is a knock on effect. The ARRI 35 will make the Mini a lot more affordable, the Mini being more affordable will push down prices of the SXT & AMIRA, them being more affordable will push down even lower the prices of an XT. The XT being so cheap will force the Alexa Plus to go even cheaper. The Alexa Plus being super cheap will force the OG Classic go to yet even lower.

I assume you could get a zero distortion fast 24mm lens that would look about the same. Not many lenses that can do faster than 1.4 without compromising the image though. In my price bracket I just prefer 35mm vintage still lenses over cheaper S35 cine lens options.

No I don't think so. Medium format & Large Format have been existent in both photography and cinema for a number of decades, way before the digital revolution. They've been very popular within a niche but have remained just that, a niche. The trend in the mainstream camera industry is towards compactness and that's where APS-C/S35 still stands a fighting chance. MF & LF lenses are just too big and too expensive to ever take over FF/S35. And on the high-end cine front, with Alexa 35.. S35 looks like its got a bright future ahead.

I am not sure what you are trying to say. All the Alexa cameras before the 35 share the same sensor, the sensor just gets bigger and hence more resolution. Finer grain equals the appearance of less noise. Again the Alexa 35 changes this as it isn't the ALEV3 sensor. It's the cleanest and highest dynamic range Arri camera so far. This is what I find interesting. Will people choose the full frame LF which has worse high ISO performance, worse dynamic range, less color depth, and less accurate color reproduction just to get the FF FOV? My point was this is the first time where the best sensor on the market is a S35 sensor with no sign of ARRI putting out a new FF sensor. We'll see what the big boys go with, time will tell.

I want a Fuji XH2S for the sensor, resolution, open-gate, ProRes, film simulations etc. But as a working pro, already invested in Sony ecosystem plus an FS7.. the FX30 makes better sense. FX30 does have some nice features like Cine EI, LUT import & TC. Nice ergonomics, top handle with XLRs. Active cooling. And yes, rock-solid AF. But I'd also adapt glass and use a speed booster. It's just not very exciting, at all really. Completely utilitarian like most Sony cams. No real innovative features. A "new" old sensor. Sony aren't breaking barriers like Fuji, they are simply diluting their cine line. Making it more accessible. Most accessible ever, really. And that'll probably be enough for them to make bank. They also have bunch of A7III/A6xxx users that will upgrade to it, as FX3/A7S3 were above their budget. And FX3/A7S3/FX6/FS7 users that will add one as B-cam. Those are the main purchasing scenarios imo.

Ciao Andrew, this news really touched me a lot, believe me it really makes me angry to hear about cancer at a young age. I'm very sorry. I'm sure you won't like what I'm about to say, feel free to insult me or kick me out of this forum . What i am about to say doesn't fit your beliefs and many others here. Many people are dying during this time for cancer and heart diseases. Many of these die because of the Covid vaccine, all this obviously is hidden by the politics ,media and especially by doctors. I understand that this is unacceptable and that not everyone has the means to discern this type of information. Did your sister get the vaccines? If I were you I would dig it more on this topic.