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Fuji have a huge history of making film. Nikon do not. They make cameras. Clever people at Fuji have taken that knowledge of making positive and negative film and crafted digital versions of that history. Perhaps not identical digital replicas, but at least emulations that evoke something along the same lines. The most recent ones such as ‘Classic Negative’ are not based on any particular film stock, but instead an era. Or a collective representation of an era. The bottom line is sensor aside which ‘may’ have an impact on the result, it is more a case of their ‘intent’ and effort to produce these things that sets them apart. With most other brands, the result tends to be more a case of that is what that sensor produces with a few digital tweaks. The ‘same’ profiles in Photoshop applied to the Fuji raw files are not the same as those that come SOOC with Fuji Jpegs. The results SOOC from the ‘medium format’ Fuji digital cameras are just bonkers beautiful and probably the closest thing to ‘digital film-like’ files. If I did not shoot 50:50 stills and video on every job, I would without question be shooting a pair of GFX100S’s with a pair of primes. Or the Hassie X2D which is also crazy good for stills. Which is fortunate as it can’t shoot video. My rule of thumb would be: Ultimate SOOC or raw/edited stills, either of the two above cameras. ’Film like’ stills SOOC either on their own or combined with shooting video, AKA hybrid, then any Fuji camera. Possibly the most ‘film like’ of all, OG X100. Properly vintage user experience compared with any more recent Fuji camera is an added ‘bonus’ 😂

Let’s share our work guys! I’ll start. Here is an interview I shot and lit the other day, featuring a congresswoman from Indians! One camera was a Nikon z6 recording into an Atomos ninja v. With a Tamron 45mm 1.8. The other was actually the ancient, cheap Canon 7D fitted with a Canon 85mm 1.2 shot at f/2.5!

Thank you! 🙂 Indeed SIGMA fp. 12bit ProRes RAW with my own LUT (shared in the other thread). In this case I have used the iSeries 65mm f2 DG DN. Moving images will follow tomorrow. Have the official release to the restaurant owners scheduled for tomorrow lunch time.

Tasty:) Sigma FP? What recording mode? @OleB Would love to see the moving images. Beautiful colours. What lenses did you use? My apologies for my stakkato style of writing and asking. cheers 🙂

Though 8bit the JVC provides 150 Mbit for its 8bit 420 4K mode. In HD it puts out 50Mbit 422. DVX 100, I used to have a little obsession with the Andromeda hack a few years ago. 🙂 @Matt Kieley Love the video and colours! @hyalinejim Too bad about the temporal noise reduction. I read the XC15 has it too unfortunately. Otherwise great concept and camera.

My first production for a restaurant. Was very exciting. Had to go minimal, maximum one light, as the kitchen was quite busy. 🍚

An XE4+XS10 would still run you more than an XT5 which Fuji has shrunk the size to a fairly compact form factor, and offers better specs. You could just get that and pancake lens for travel, and use bigger lenses for other situations like video work. An XT4 could also work if you wanna save some bucks and you're ok with a slightly bigger body. My dream Fuji combo would be XH2S+X100V. But I probably won't be going that route being tied to other systems.

I'll try again with the video as I can't edit the previous post:

XE4 is the smart persons choice over the uber-hipster X100V. Pair it with an XS10 for light video work. Share an 18-50mm f2.8/4 with maybe one fast prime between the two et voila, a very compact and capable compact kit. I do not choose to, but could and would comfortably shoot a full wedding, Hybrid, with that set up without a second thought. Longer form video I’d want something with a fan in order to avoid overheating and shutdown, but my point is the above kit is EASILY capable of high end pro results, in a small package and at a bargain price. I shot an entire wedding season (stills only) on a single OG X100. I wouldn’t do it today, with that camera, but an X100V? Sure, easy. I just choose not to.

XH2s would be superb for both video AND stills. Save the money on that second body and instead, upgrade that 18-50mm f2.8/4 (best lens for non-IBIS bodies) and go for the Tamron 17-70mm f2.8 for a FF equivalent 27-105mm lens. Or on a budget, original XH1 which is a FABULOUS camera for stills and good for video. But as before, if size is a thing, then the XS10.

Agreed. Also let's not confuse "cinematic" which has become a general buzzword today and actual film simulation which is what Fuji gives you inside its X series. Fuji film simulations are based on actual 35mm film stocks from their own film legacy. This isn't just a LUT as you can tweak it in-cam and even set grain size etc (albeit only in photos). These are known as Fuji recipes. For video the most usable one is Eterna based on the Eterna cinema film stock. This is a unique in-cam approach compared to other manufacturer picture profiles which are often pretty basic if not cliché. Fuji have a clear advantage since they have actual Film heritage. Being able to preview these looks and tweak them while shooting is ace creatively speaking not to mention fun. SOOC baked profiles is often overlooked by most manufacturers. I'll mostly shoot log for video and RAW for stills because of this but with fuji cams SOOC film simulations is a great alternative. Definitely a major incentive of going Fuji!

A collection of some clips captured in and around some local parks in the past few weeks. Shot in Blackmagic RAW (BRAW) using: Blackmagic Pocket Cinema Camera - BMPCC 6K G2. Blackmagic Video Assist 12G 5 inch connected to the Panasonic S1 & S5. Lenses: Panasonic 24-105, Sigma 150-600mm (L Mount), Tamron Adaptall 2 90mm Macro (72B). Thanks for looking, hope you enjoy.

Yes indeed. Though from my experience, profiles of other brands (like Nikon) don't improve the images as dramatically as the fuji ones. Maybe the emulations of fuji profiles are better made? Adobe put in more effort? Like Django has said, the XT5 uses a different sensor than XT4. IMO the autofocus of fuji in stills is great and usuable in video mode. Just don't expect it has Sony or Canon's level of AF. The newer models like XT5 should have better AF, if only slightly. ISO performance is again behind Sony technically. However, the fuji usually handles noise in a more pleasing manner. Some recipes even work better in high ISO. Unless you shoot in really really high ISO, I believe its ISO performance will be good enough, especially for photos.

One of my favorite projects from 2022 (I just wish they used a better thumbnail):

I've been running some tests over the past 6 months or so with different cameras and lenses trying to simplify my entire workflow and gear. Over the years, in search of the perfect camera/lens(es) combo(s) I've become a slave to the gear that collects dust in my closet. Anyway, I feel like I know which direction best suits me, but I figured I'd share some of my results. Here are a couple frames from the Sigma FP and Nikkor 24mm f/2 ai-s lens. I've never really been a huge fan of wide angle lenses but there is a good reason to have one in my kit. On other cameras, I have found the Nikon lens to be lacking and it's flaws show, but I could always recognize that there is something funky and great about the lens, especially wide open. It wasn't until I shot it with the FP that I saw its true potential... My color work probably needs some tweaks, as they look a little too contrasty for my normal tastes.

The JVC LS-300 has a classic camcorder body with an MFT mount and S35 sensor although I think it's only 8bit internal. I was looking at camcorders recently and also came across a JVC camera with a small chip and built-in zoom lens that can record 10bit prores internally, but I can't remember which model it was. The sample footage I saw had some pretty ghastly CA. The beloved Sony F3 has the old school camcorder style body. It's kind of a shame that the camcorder form factor went out of fashion for cinema cameras. I still think the DVX100 is the most pleasurable camera I've ever used. It had the perfect size, weight, and shape.

Ghosting! I had one and posted at length here about my frustration with its temporal ghosting, particularly noticeable in C-Log. Other than that it was pretty cool. I loved the flippy handle and tilt screen. I took it on hols to Bali:

Whenever I'm doing interviews I check to see what direction the light is going in and therefor what directions the camera might point. Then I find a background I like and frame that up with the camera at the height of the interviewee's head and at around 70-135mm full frame equivalent. Then I place the person within the frame, moving them forward or back, left and right until I get the composition I want. If it's an off-centre framing then I'll get them to angle their hips and shoulders towards the other side of the frame slightly. And I always try to shoot people standing as I think it looks better - they're less likely to slump or slouch than when sitting. This works well until I get someone who hops and jumps about and gradually crawls closer to the camera. One thing I've learned is that there's no perfect interview location. But good enough is good enough! Available light, S5II, EF 70-200 f4.

Nikon Z6, Tamron 45mm 1.8, Internal 8-bit Neutral PP with i-Dynamic set to High, 1080p internal (not 4k or oversampled FHD)

Shot on a Nikon Z6, Tamron 45m 1.8, NLOG 10 bit oversampled 1080P. BROLL primarily shot in Nikon FLAT.

The trailer for my new YT channel about diving deep in the Mediterranean Sea. All shot with a GH5 and a GH5S with several wide angle and macro lenses plus wet lenses and CRI 95 Keldan lights.

Well, here is something I got tagged in yesterday that I worked on (as the Sound Mixer of course): https://www.instagram.com/p/CquYJX2vwrm/ Can't seem to see any trailer for 女儿来了 (My Daughter Is Coming) anywhere online though? Here is a little review of it: https://hongi.co.nz/news_article/asian-new-zealand-film-makers-represented-in-nationwide-festival/ (and the whole thing can be viewed online, but costs $$: https://ondemand.showmeshorts.co.nz/film/nu-er-lai-liao-my-daughter-is-coming/ ) Was shot by Darryl Wong on an ARRI AMIRA: https://www.instagram.com/p/CRxtDvMs61C/

24-70gm ii my poor credit card 😭

some stills from a new short i dp’d. Still ungraded, some still need to be cropped a bit.