Marcio Kabke Pinheiro

Good point, no mounting points. Remembered that Feiyu had a Rosetta attachment, but is for the Scorp C / Scorp. Will take some time to proper test mine (amateur here, and this time of the year is busy), and have no FF cameras.

Completely agree with you about the Fuji, specially in slow pans, is jumpy as hell. Never used the Canons, but the footages that I saw looks good. And Olympus was always the best for me, had the E-M5 MK II and was superb. Even the E-M10 MK III, which in theory had in inferior IBIS, was better than Fuji, and on par with my GX9 when I had both. Dunno if they changed something.

Just a little add - the Scorp models could use a very affordable focus motor from Feiyu (US$129) that is operated using the wheel on the gimbal.

Just got the Scorp Mini, arrived this week. Did not tested extensively it, though. I have the Feiyutech G6Max, and since the arms / adjusting mechanism looks the same, I guessed that it was just the same gimbal with a new form factor and a better screen. It is not. The rear screen is a game-changer, very fast to change settings, did not have to remember "x clicks in the trigger" to change modes. Footage looks much more stable than the G6Max. And the top handle design is better for normal use too, you could use both hands and reduce fatigue a lot. Bad points: plasticky design, helps with the weight but feels much flimsier than metal gimbals, and the G6Max was spalsh-proof and this is not. Does not comes with a carrying case, opposed to the past Feiyu gimbals. But yes, your setup would be near the maximum payload - for instance, I hated the new Zhyiun scheme of not anymore stating the payload of the Crane Ms, just supplying some camera / lens "supported" combinations. Highly doubt that the Crane M3 could handle more than the Scorp Mini - in fact, the Crane M2 have motors around the same size of my G6Max, but half of the payload. One possible solution could be the Feiyu Scorp C, which is very popular around here. It is heavier (1,2kg), but the dual handle design allow to use both hands, which helps; and it have a much higher payload (2,5 kg). Did not have the Scorp Mini's screen, though (Isuspect that a new version could come with it in the future). Usman from Sonders Creative made a very critical review of the Mini, but at the same time praising the performance. Balancing problem occurs just on the roll axis, keeps returning to center, but had the same issue with the G6Max, and did not affect the performance after auto-calibration. On-off button, bad position really, but need a 3 sec press to turn on and a very strong push, and the last firmware update puts the gimbal to sleep in 5 seconds when the roll axis is locked. Plate: the screw is in a separate bag inside the box, and have an integrated lens support (that comes in the box too). Is just kinda short.

Got a lot of small stuff from Aliexpress, good deals in 11/11 and Black Friday, when you got the right coupons. Best deal was Viltrox 13mm f/1.4 for Fuji for US$305 - normally US$429, locally is sold for 60% up that price.

I prefer IBIS, but it have to be good for video. Oly is best, Panasonic and Canon are almost on par, dunno about Nikon. Sony still have some work, and Fuji is worst. But even Fuji is miles better than the Sony's initial generations. I like a lot the idea of gyro data, and saw VERY good footage from it. But you have to shoot wider than expected, because gyro uses a crop, and the crop factor will be only known when you stabilize on computer.

Indeed - it you have an office, studio or someone's house with good internet connection, better put a connected NAS in two places and keep them in sync. And yes, you MUST have an offsite backup, be in cloud or remote NAS. People always think that backup is for a failing drive, but forget that you equipment on site could be robbed or cought by fire. Extreme situations, but these are the ones that you will lose your data forever.

Have the 85mm and just got the 13mm Viltrox. Did not test them too much for video, but for stills, the 85mm is lightning fast, on par or better than my Fujicrons (35mm and 50mm). The 13mm looks snappy too. And Viltrox updates constantly their firmwares - the 23mm was very bad for video, some firmwares later is great.

Yep, my two biggest gripes with Fuji (and I'm not a professional) are the AF and IBIS. As @SMGJohn said, for static and "tripod like" shoots (with Boost IS enabled) their IBIS is pretty darn good. But make a slight pan and it becomes jumpy, as if a single algorithm is used both for still and video. OM Digital still have the best, but my latest Panasonics are almost on par, Canon looks very good, Nikon too, even Sony got better. AF: no video tracking, only in recognized subjects. Not even a bad tracking: no tracking at all. And eye AF becomes nuts when there is more than one person on screen, jumping from one to another. I've got a old FZ1000, an 8-year camera, and its eye tracking is better than my X-S10. Not exactly for video (1st gen DFD), but the detection is much better - get the central face and keeps with it. And if you move the focus zone, prioritizes the closest face. Just like it should be.

I use iDrive. Ok upload speed, have the option to backup both to a external drive and the cloud.

My FZ1000 arrived. Good news - everything is working beside the problema that the previous owner said. The EVF looks a little hazy (or I forgot how are the EVFs from the past) but very workable, the lamination of the LCD is kinda bad - but only when the camera is off, with the LCD on it dissapears. Did not test the HDMI, conector looks ok, probably a bad solder. The rest of the camera is in excellent shape - and came with 2 batteries and a 64Gb Sandisk Extreme card. Not so good - the "dust in the lens" is not in the lens, is in the sensor. Since I will almost always use it wide open at concerts, probably will go unnoticed. Will try the "bottle with vaccum cleaner" technique that people use with the LX100, but I do not have very high hopes. If the dust bothers me, probably will use the iFixit guide to get to the sensor - as last resort, the procedure looks easier than most cameras, but the sensor assembly is mounted on springs and probably is very easy to lose the sensor calbration. But for $270 (the prices here of the FZ1000 used are around double than that), I'm happy.

Kind of a lottery. Went to a festival some days ago, they stated clearly "no professional or ILD cameras allowed", which blurries the boundaries even more, hehehe. Did not wanted to risk it, brought an old Sony HX9, some usable stills shots. In the entrance, saw a hipster trying to bring in a Leica M with a 50mm Summicron - not the best combo for a 20000+ people festival, I must say. 😄 The security just asked "it changes lenses" and the idiot said "yes". The guard was in a good mood and just said "ok...go in". In general, they just hate "DSLR style" cameras (hence my preference for "rangefinder" bodies - not for nostalgia, is just everybody thinks it is a film camera). With my m4/3 bodies, the only concert that my cameras were banned was when I brought a GH2 with kit lens (because it looks "DSLR") some years ago...all the GXs, even with tele lens, no problem at all. Probably my X-S10 with the 55-200 would be green lit, but since would be a time consuming trip to my home, did not wanted to risk. But the FZ1000 is getting on just in case, for big festivals could be indeed a good choice - usually the stage is well it and the smaller sensor would be less of an issue.

iFixit have a VERY good disassembly guide, probably will take a look. Same for the lens dust - if it is in the front elements, is very easy to solve; the seller told me that the dust is not visible, hence it could be in the sensor. But in the same guide they show how to get to the sensor, and it is much more easier than most current cameras.

Still hope that lower models keeps the 26mp current sensor with the new processor - which for me, would be ideal.

Unearthing an old topic, because I have a very cheap (US$ 280,00, with a defective HDMI port - looks like only a broken soldering - and a little lens dust) FZ1000 on the way. Music festival / venues are becoming more strict here and started to ban all ILC cameras, hence I needed a fixed lens one. @BTM_Pix, do you remember how your FZ1000 worked with your html commands?

You always note the difference - I tought than moving from the 20mp m4/3 to 26mp X-mount will not bring too much of a difference, but I was wrong. Both in quality and storage requirements... For some instances, 40mp would be very useful. For concert shooting, the ability to crop from 40mp to 20mp would be very welcome. But for "no crop" work, not so much. One thing that was never explained (or tested): if you drop the resolution from 40mp to 20mp in stills, it is oversampled or line-skipped? If you don't need the 40mp for some work, a oversampled 20mp image could both bring less storage requirements AND (maybe) more color accuracy. This would be a very interesting alternative to me - albeit, if oversampled, probably would not diminish rolling shutter (could even increase it). And for video, the 40mp sensor needing to crop to be oversampled in 4k was a HUGE bummer.

...or current days, if you don't use a X-T4 or X-H2. Filmed my daughter's birthday with my X-S10. Ok, I always use Boost Mode ON, but the 1st battery died with only 40 mins of non-continuous shooting... X-S10, with IBIS, just chews smaller batteires.

I thought that you were with Fuji again, I'm not entering here as often and is hard to keep tracking of tour camera changes. 😁 Now I saw that with the X-T5 only have 4k oversampled with a crop. Dunno how is the quality of the not-oversampled 4k, but it is a step back from X-T4. Ok, X-T5 is clearly a stills focused camera, but it is bringing me VERY big concerns about the rest of the Fuji line. I'm a mid-range camera user (have a X-S10 now), and if this 40mp trickle down the line with even worse video specs, it will be a problem for me in the future - I want the (maybe) better IBIS and the better AF, but not downgrading the video quality. My hope: the X-T50 and / or the X-S20 keeps the 26mp sensor (more than enough for me) with the new processor.

About video AF with Fuji, for me they have two serious problems (at least in my X-S10: - Face / Eye detect goes haywire with more than one person on scene - the worst problem for me. If there is a single person, it works very well - not Sony / Canon level, but for me good enough. But when there is more than one person, the focus point jumps around the various people on the scene. Tried to change the focus area hoping to force it to just look for faces in that area, no luck. Yes, you can use the joystick to move through the various faces detected, but right after it will jump to other face. Saw in some review of the X-H2s that now it gave some priority to a face in the determined focus area, but still have the problem. Don't know how it works with other brands. @MrSMWdo you have this problem too? - Beacause of the issue above, the best solution would be using tracking - choose single focal point, put it in the head of the desired person, and track it. But...still no tracking in video from Fujifilm.

With the same aperture - yes, bigger and heavier. But if you put the 16-80 f/4 on the X-H2 (I know, it's not a stellar lens, but playing with equivalency and rage), almost the same size, a little bit heavier but far more range... https://camerasize.com/compact/#887.1042,891.853,ha,t

Launched today. One curious thing: it is a 26mp sensor, instead of the 24mp sensor of the A6xxx line. Probably the same of the Fujifilm XT-4, but with Bayer.

The XH2s are VERY compact - smaller than the GH6 and pratically the same size of the OM-1. And if you use the Olympus PRO lenses or most of the more professional m43 lenses, the m43 size advantage becomes negligible (and, in some cases, the weight also). But they are not for me. My perfect Fuji camera would be a X-E5 with IBIS, with the back dial and some buttons back, and a little better EVF. But will not happen. In fact, it will be kind of a problem in the future because I don't need 40mp...

Very sad here with the news, Andrew. Even more because now I have a daughter, that will make 4 on Saturday - I can relate with this kind of pain. There is no words that can help with this. All we can do is send some good whishes for better times ahead. Be there with Arabella, Liam and your mom - all of you will need each other. Things are kind of hard here too, but I made a little contribution - more to show our love than for the value. Hang on and take all the time needed. We will be here.

I've started seriously with photography and video with m4/3. As the opposite of the majority here, I'm no professional photographer or filmmaker. Probably could be classified as "enthusiast". I like to make movies and stills on my trips, love to film or photograph live concerts, even made some videos for some friend's bands. m4/3 was perfect for me - VERY small lenses, does not attract any attention from people when using them on trips, always been dismissed by security at concert's doors (only happened one time, with the GH2, that looked like a DSLR...), and could carry all the lenses that I needed in a messenger bag. In my last trip, before covid, had a GX85 with the 12-32 pancake zoom, the Panasonic 42,5 f/1.7, the Panasonic 45-175 and a Rokinon 12mm f/2. Never got in a situation during the trip that I needed other lenses. To be kind of invisible on trips and concert, I had a primary rule: never use a body that looked like a "professional" DSLR. For this reason, "rangefinder" bodies are my preferred, most people even mistake them as film cameras. Had the GX7, GX85 and GX9; and midrange Olympus silver bodies for the same reason: E-M10 MK I and III, E-M5 MKII. No more GHs after the GH2, or E-M1s. Then I sensed the tide - m43 probably would become a niche format. Full video for Panasonic, wildlife and adventure for OM Digital. The horrendous G100, the E-M10 MK IV and E-P7(which was already developed before the spinoff) were the last discreet m4/3 cameras - and I see no signs of them returning. And yes, I think that the future of the format is in danger - OM Digital must sell to keep afloat, and Panasonic could pull a Samsung in any moment. Lenses, same thing. With the exception of the (amazing, in my opinion) Panasonic 9mm f/1.7, almost only Olympus PROs and the Panasonic f/1.7 duo. Big lenses, APS-C size or bigger when you brings equivalency on the equation (and I, contrary to most people, looks on equivalency most about low light that depth of field). Coupled with the fact that here in Brazil Panasonic and Olympus never sold their cameras officially, and the prices are very high, I started looking to APS-C. Easy choice: APS-C was already left to dust by Sony (albeit the newer primes are good, the bodies still sucks), Nikon and Canon did not have options at the time (EOS-M was out of question, and the Nikon and Canon APS-Cs mirrorless came after and still have very few lenses), and I gone to Fuji. Fuji is much better then m4/3? Compared to my previous kits, kind of. But not always. First: weight. The retro cult of Fuji lovers despises anything that is plastic, hence the lenses are kind of heavy compared to my previous ones, but not using equivalency. The 18-55 f/2.8-4 is AMAZING compared to the smaller m4/3 zooms; never thought that the m43 zooms that I had were bad, but this one is another league; ok, I could have the Oly 12-40 f/2.8, but it is larger, heavier and pricier. The 55-200 is VERY good too. The "Nocticrons" are lovely. Tiny, sharp, have the 35 and the 50, probably will get the full set. Are the "Olympus 45mm f/1.8" of the system. But to make the same equivalent travel set of my last trip will be heavier. Would like to see some "Nocticron zooms", f/4 or even f/4-5.6 - the Sigma 18-50 f/2.8 is an example, will get one as soon Sigma releases a X version. Another problem on Fuji is IBIS. I have the only "discreet" body that have it, the X-S10. If the X-E4 had IBIS, would had bought it on pre-order, but...purists won. And would have 2 interfaces, PSAM and retro-dials, have a little bit of preference for PSAM (works better with custom positions), but no problem with retro ones, just wants consistency. Fuji is better for me now, in comparison, because of two factors: - PDAF all across the line - for single AF...m4/3 is better, a tiny fraction but a noticiable one. Could be the larger DOF, but in S-AF it was a little faster and confident. But for moving subjects (almost never used C-AF before, but now I have a little daughter...), MUCH better. Good rate for stills, and for movies, more than good enough. Ok, I never had a PDAF m4/3 camera, because only the E-M1s and the E-M5 MK III had it, but this week I filmed my daughter going back and forth on a swing, with very good AF, a thing that was impossible from my previous cameras. - Possibility to pull in focus DURING recording, withour recording the enlarged image - is a thing that I've always wanted when filming concerts, and in the m43, only was implemented now, on the GH6...now that I have it, could not go back. Worst problems? - The IBIS is kind of bad for vídeo. Looks like the same algorythm is used for stills and video, very jumpy on vídeo. Not a deal breaker, but even my GX85 was better. And from the samples that I saw, were not fixed in the both the X-H2 models. - No tracking on video. And the face detection have a serious problem - works VERY well when you have only one person on the frame, but put two or more people and the system goes crazy, jumping from face to face. You should have an option to lock on a specific face, or have tracking. Sold a lot of my m4/3 stuff already, kept the GH2 and the E-P1 (for sentimental reasons and low value nowadays), will keep the 12-32 pancake and the 45mm f/1.8. And I have to confess that the OM-5 look like an almost perfect camera for me - good PDAF (juding by the OM-1 performance), small and not "DSLRish" body, good enough video, and that amazing IBIS. But will not have focus pull assistance during video, no smaller and lighter revised zooms on sight, and the future of the format still a danger.

Saw an article somewhere talkin about this new "joint venture" between Panasonic and Leica, and mentioning that "PDAF is a possibility". I guess that it is a good "way" to move to PDAF without having to admit their "defeat" on DFD, saying "with the joint collaboration with Leica we could bring a new AF method", something along these lines. Panasonic was stubborn for ages to not implement IBIS in their cameras, saying that OIS was a much better solution - until they caved in because of the Olympus's IBIS success, and now they have one of the best stabilizations on market. Japanese pride make camera manufacturers VERY stubborn.