jonpais

http://cameraergonomics.blogspot.com/2016/10/fads-fashions-and-affectations-in.html?q=x-t2 http://cameraergonomics.blogspot.com/2017/09/ergonomic-logic-of-panasonic-lumix-gh5.html?q=gh4

@IronFilm True enough. Then again, I think the OP is looking for a compact system, which is why I recommended the mini primes if cine lenses are what he wants.

@IronFilm Maybe so. They are also almost compact, almost affordable, almost T2.2 and almost all metal too. Seriously though, I’ve got nothing against the MKs, they’re excellent optically from what I’ve seen, but a bit pricey.

Thank you for your thoughtful advice.

@Inazuma Not sure, but I promise you I didn’t make that up. I thought you’d like that. ?

This quote from Ratatouille somehow comes to mind after listening to all the accolades poured out by the Fuji spokespeople: Mustafa: [taking Ego's order] Do you know what you'd like this evening, sir? Anton Ego: Yes, I think I do. After reading a lot of overheated puffery about your new cook, you know what I'm craving? A little perspective. That's it. I'd like some fresh, clear, well seasoned perspective. Can you suggest a good wine to go with that? Mustafa: With what, sir? Anton Ego: Perspective. Fresh out, I take it? Mustafa: I am, uh... Anton Ego: Very well. Since you're all out of perspective and no one else seems to have it in this BLOODY TOWN, I'll make you a deal. You provide the food, I'll provide the perspective, which would go nicely with a bottle of Cheval Blanc 1947. Mustafa: I'm afraid... your dinner selection? Anton Ego: [stands up angrily] Tell your chef Linguini that I want whatever he dares to serve me. Tell him to hit me with his best SHOT.

That’s what the new tally light is for. ? So you can watch your camera interrupt recording.

I’d be inclined to go along with @Fritz Pierre and opt for the XL.

@jagnje PAL and NTSC were developed for television.

So my bold claim still holds true, no? Anyhow, these micro 4/3 lenses can't give the highly desirable s35-full frame look that can be achieved with adapted glass on the GH5s. I can't see why you'd want to buy mechanical lenses unless you're planning to do rack focus, in which case the Veydras can't be beat for optical quality, build quality or price. Another huge factor is flexibility - the Sigma 18-35mm is a lifetime investment and can be used with any camera system; the Veydras may also be mounted on Sony E-mount, Fuji X-mount, C-mount and micro 4/3 bodies (including Blackmagic and the LS300) - whereas the Voigtlanders and the Mitakon are one-trick ponies. @IronFilm Would you purchase a microphone that could only be used with one camera system?

The Panasonic video info display on the LCD is incomparably better thought out and more useful - I don't need to take my eye away from the LCD to use it. I can touch anywhere on the screen and adjust settings instantly, from white balance to aperture, shutter angle, recording quality, adjust microphone levels, change the ISO, photo style. It is much more functional and allows me to see much more important information about the camera's settings at a glance. And Panasonic isn't addicted to tiny font.

Right again, Mattias. I was wrong. No need for an articulating screen or functioning remote app. An external monitor is better. No more fiddling with phones. I'm so glad they didn't incorporate either in the X-H1. What was I thinking?

Right - and I fully understand - which is why a functioning remote app is badly needed for those of us who shoot for the Web.

Mattias is probably correct. Anyhow, it's kind of putting the cart before the horse at this point. Better to shoot with the camera for a while first before deciding whether to sink your entire life savings into lenses.

But there are already lots of great options for filmmakers, no need to wait for NAB.

@DaveAltizer First, the best lenses to pair with Fuji are without question their own lineup of lenses. There is hardly a dog among them, and their build quality is exceptional. I can't think of a single camera manufacturer in Asia that builds higher quality AF lenses. I wouldn't bother with the relatively slow, huge, plastic, expensive MK cine lenses though, unless you're planning to do rack focus. A far less expensive alternative is to go with the faster, optically sound, compact and reasonably priced Veydras if you need gears. You can buy four T2.2 Mini Primes for the price of one MK. I know some here will disagree, arguing that if you've got ten scenes to shoot in five hours, a zoom is indispensable, but if you're shooting with cine lenses, you should probably be factoring in longer setup times in your schedule anyhow. And how many of us are shooting ten scenes in different locations in two hours? In fact, cinema lenses are designed for speed of operation - the gears are all in the same spot, the length and diameter are identical, making switching lenses painless - no need to re-adjust the matte box or move the follow focus up or down the rails. Shooting an interview, documentary or narrative film isn't always like competing in the Indie 500! The f/2 lenses are optically excellent and perfect for flying on a gimbal, for street photography or just about any other situation where size matters. I own both the 35mm f/2 and the 50mm f/2. The 16-55 is a monstrous lens. Most filmmakers would probably be better off getting the slower, less expensive stabilized 18-55mm. The 90mm f/2 is a virtually flawless instrument and the 50-140mm is no slouch either.

That shoulder LCD I think is about as useful as the touch bar on a Macbook Pro. One reviewer says he can't count the number of times he's forgotten to put an SD card in his camera and the LCD reminded him. WTF? The implementation by Panasonic is incomparably smarter; just by touching the LCD screen, you can access a dozen parameters and change them on the fly. And for a company not known for their aesthetics, the video info display on the GH5 is a work of art. And speaking of SD cards, would it have killed Fuji to allow recording to both cards simultaneously? Can user settings all be stored on a card? AFAIK, the touch screen on the X-H1 doesn't have tap to focus either. Is there a reason why a headphone jack couldn't have been included in the body? And if not zebras, why blinking highlights? They have no known value and are not programmable, so virtually useless for judging proper exposure, whether a stills shooter or a filmmaker. No teleconverter mode, which can be invaluable when you need that extra reach: both Sony and Panasonic have systems that essentially turn each lens into two. No hybrid log gamma for those interested in quickly uploading HDR videos to the Web. A flippy screen isn't absolutely essential if you've got a functioning remote app, but Fuji has neither. Being able to record with an external mic and the internal at the same time is a clever idea, but where are the videos showing the UI? Does Fuji still incorporate the all but useless tiny level meters found on the X-T2, or is it possible to see the audio level meter on its own dedicated page on the LCD? And apparently the audio coming out of the expensive VPB is distorted, rendering monitoring impossible until a firmware update is issued. The power booster is an essential piece of kit, but it makes flying on a gimbal or putting the camera in a cage all but impossible and makes carrying the camera cumbersome. It is also just another source of possible malfunctions. No 60p for times when you want beautiful 4K slow motion shots. A micro HDMI port, reviled by all filmmakers. Not only are proper exposure tools missing, but the information that is included in the display is inscrutably tiny. I really have to squint to even just read the exposure meter on the X-T2. The shutter speed and aperture dials are right at your fingertips on the Panasonic - no need to remove your eye from the EVF - with the Fuji, it's a two handed operation that may or may not require taking attention away from your shooting. And again, no shutter angle, which comes in so handy when you're shooting at different frame rates and avoids inadvertently shooting at the wrong shutter speed.

@IronFilm My bad! I should have said that neither the Panasonic 12-35mm f/2.8 nor the Panasonic f/1.7 primes can hold a candle to the Sigma 18-35mm for its combination of s35-FF look, speed and rendering. Bold claim, right? ?

Yeah, 30p slowed down to 24p can look nice.

25p and 30p are frame rates for television so I don’t see Panasonic including them in a cinema format.

@Frank5 I don’t have experience with these Panasonic ‘pancakes’, but from my experience with the Sigma, pretty sure the 18-35 will slaughter any of them. On the GH5s, the FOV will also be somewhere between s35 and full frame, the color the lenses produce is different... FOV dramatically different... If you’re shooting on a tripod in a static setting, I don’t see why something like the Olympus 25mm f/1.2 or the PL 25mm f/1.4 wouldn’t suffice. Then again, I don’t see weight being an issue with the Sigma if you’re not hiking or mountain climbing. After all, you’ve got to bring along lighting, stands, diffusers along anyway.

@buggz It’s currently one of pthe least expensive ways to get a clean HDMI signal out of a PC to a Shogun. If you’re on a Mac, you’ll need a Thunderbolt enclosure which will double the cost and the chassis is huge.

@Clovis I see... I’m assuming you’re in a 50Hz country. How about shooting at 24p 1/50?

You can deliver your project in 25p and I can almost guarantee nobody would notice.

@Trek of Joy Yeah, I seem to remember that coming in a firmware update. Am I right?