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Everything posted by Django
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Sure it was a big planetary hit at $700 for an APS-C Vlog MILC. I just dunno if a $2500 full frame version is what the market is asking right now but what do I know. It's basically the reverse strategy of releasing the FX3 then FX30. Weird. An A7C mk2 with A7S3 sensor would have made more sense imo.
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What do you mean by "Resolve FUJI LUT"? I use the official Fuji Flog/Flog2 LUTs to convert to Rec709. I'm not aware of any particular Fuji LUTs in Resolve aside from the film stock emulation ones..? With cameras like S5II or FX3/FX30 you can indeed import custom LUTs which is great but not the same thing as Fuji film simulations. There are a bunch of parameters in Fuji film simulations that you can tweak and dial-in to create what they call "Fuji recipes". For stills that even includes film grain size, type etc.
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Not familiar with that particular model but yeah whatever inspires/sparks creativity is always a good thing! I'm a huge Leica fanboy, and my Leica M9P + 28mm Summicron is still my favourite when it comes to travel & street photography. The camera itself feels like a high-end pistol, and the rangefinder experience is so much fun (well to me at least, some people hate it). An X100 series is definitely a camera I plan to own some day for the leaf shutter flash sync and built-in NDs. But its really more of a point & shoot than actual rangefinder. Anyways, getting back to the XH2S it will be of course mainly a video tool but yeah similar concept of using something different than day in day out work tools!
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People. I live in Paris, France. I do event, docu, run & gun, fashion, art, music etc. While I shoot professionally with Sony/Canon.. I'm looking to go back to Fuji for more artistic, nostalgic projects. Would also double up for street photography, travel and social media content. Basically sort of a lifestyle cam. I'm kind of obsessed with 3:2 aspect ratio at the moment. Also I'd probably use the film simulations quite a bit.
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So yeah poor colour separation when shooting at a certain distance. I've noticed colours get mushy in those scenarios. Your subject has to remain fairly close. I like what this one kid has achieved with his XH2S, the grade is a little extreme and stylised but really makes the colours pop in a pleasant way: Thanks I do appreciate the effort but this type of footage (shaky blurry handheld trees and cars at dusk) is completely useless to me I'm afraid. Sorry, no offence. Fortunately I have since found really nice 6K ProRes HQ footage of skin tone closeups which is what I was after. FWIW I've been using Filmbox to grade it since it actually supports Flog2 (and has 250D stocks). The demo is limited to 2K timeline which ends up rubbing off that over sharp digital edge. Results have been looking great so far.
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Dunno but keep in mind the R6 does 4K60p no crop in 10-bit Clog. And for $2500 you could buy a R6 mk2 that pretty much mitigates overheating. And has EVF, IBIS, dual card slots etc. This ZV cam is going to be a hard sell outside of its intended Vlog market. Expect a full frame version of the ZV-E10:
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The C70 is an entry-level C line camera, just like the C100 series it doesn't feature SDI outs as its just not considered that type of camera. Its a run & gun solo operator joint. Just a step above mirrorless. It's price sits a good 1500€ under FX6. That being said, Canon have been sleeping on the C lineup. A C200 update is long overdue and is the series were SDI's make their appearance. Surely they are losing sales to FX6 with no worthy alternative at that price level. Then again, maybe that whole market of +6K€ cine cam owners is shrinking due to the current climate. Right now the money is in the $2K-$3K bracket it feels.
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i.e. $2499 / 2799€ That's actually super expensive for a camera that overheats a lot in 2023. Vloggers won't care because they shoot 30 seconds clips max at a time. Come to think of it this will be the perfect TikTok camera for rich Asian kids. I bet you the new AI features will be right up their alley too..
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SAR adds on his YT channel: "a very plasticky feeling, not at all high-end FX3 feeling". This is just the start, there will be more crippling, I guarantee you.
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And just as expected here is the first major Sony cripple hammer spec: Some testers also gave me a first feedback on this camera: New ZV-E1 E-mount camera is based on the Sony As7III Same A7sIII 12 Megapixel sensor 4k60 & 4k 120 (no crop). But it appears 120p might be coming later via firmware update no pixel binning 409k ISO AF from a7r V but it has even better detection Body overheats a lot at the moment Lots of new AI features, very innovative Similar body style of the ZV-E10, but in the size of the Sony A7c and with some FX3 elements Price slightly below $2,500 Announcement on March 29, 3pm London time
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I guarantee you this will have substantial Sony cripple hammer. It's a ZV series aimed at Vloggers. So what crippling to expect? No EVF, no IBIS, no fan, no 10-bit, no S-Log, no dual card slot. There is simply no way Sony is releasing an A7S3/FX3 in a A7C body for $2500.
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I'm not recommending him anything in particular, we're just talking shop and comparing cameras. There are enthusiasts with high budgets and also high expectations. There are pros that are very budget conscious and don't place priority on specs. There are Canon fans, Panasonic fans, Sony fans. FF fans, S35 fans, MFT fans. Etc. I don't know who is who when on gear forums, I can only give you my perspective.
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I dunno sorry but that's a really goofy way of looking at things, especially if you're a pro. Buy the best camera you can afford that fits your requirements wether that's specs (resolution, codecs etc) or i/o's ergonomics etc. Obviously be smart and on the lookout for what camera will be a better long term investment rather than short if the camera is at the end of a cycle. The FX3 is imo a much better investment and solution than the A7IV. First it doesn't overheat. That alone is key. Then you have all the cine features including LUT support. The fast readout sensor, A7IV has terrible RS. And of course the cage-less body and top handle with XLRs. If you're on a budget or don't need FF then the FX30 makes even better sense. S5ii is also very competitive. Why wait a year or two if you need the camera today? Don't get me wrong, I don't buy cameras often at all, in fact much less than your average person around here. When I find a camera I'm comfortable with I stick with it forever. And I rarely go for flagships when they are new (I skipped R5, A7S3). But there are plenty of excellent options in the $2K-$3K region right now both new and used if you're in the market for an upgrade. So many in fact that it is hard to choose!
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Most Alpha Sony shooters are FF at this point. Sony kind of abandoned APS-C even on the FX line. Its only now making a return mainly thanks to FX30 and some new APS-C lenses. But with speed boosters its actually kinda more versatile than FX3/A7S3 which cannot shoot Super35 crop modes due to 12MP sensor. No EVF and no mechanical shutter does mean its not a great hybrid and Sony for some silly reason doesn't give FX3/30 shutter angle or WFM. And no DCI options either. Still as Ironfilm says its the ideal side-kick to a FS/FX camera (has TC) and a great compact video option for the Sony ecosystem. I'd have already bought one if it wasn't for XH2S. Stacked sensor, 6K Opengate & ProRes is just so hard to overlook. Plus with EVF and solid stills performance. It ticks so many boxes. But the Fuji look is an acquired taste and won't play friendly with most production houses. Its pretty much relegated to indie or standalone shooting. Resolve doesn't even support F-Log2 yet for an ACES workflow. And yet despite all those rational reasons to avoid Fuji and stick with Sony, I'm still VERY tempted by XH2S.
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Comparing the Canon EOS R7, R10, Fuji X-H2 & Panasonic S5 II
Django replied to Andrew Reid's topic in Cameras
The chroma smoothing thing is real but overblown imo. Its a pixel peeper thing, in real life scenarios it rarely matters. Skin tones when shot properly are amazing. The 4K120p is amazing. Better than the class leading A7SIII. Here is some XH2S 4K120p footage shot in 8-bit 264 standard baked profile: Yes the image is sharp but hard to beat such a clean rich detailed 4K120p with no moiré. Any other Bayer sensor camera and that fabric would be moiré artifacting like crazy. And that's in the lowest 8-bit setting.. Its easy to pick apart issues but you also got to know how to play cameras to their advantages. I prefer softening a sharp detailed image then the reverse. Just pop on a vintage / cine lens and something like a Pro-Mist filter and you'll already get a much softer image.. add some film grading, halation etc on the very chunky robust ProRes codec and you've got yourself a very cinematic image with film like grain: -
Now it is a surprise - DPReview is closing
Django replied to Marcio Kabke Pinheiro's topic in Cameras
Honestly I'm shocked. No real explanation either which seems like a giant slap in the face of their community. -
As I'm getting closer to pulling the trigger on a XH2S I'd just like to revisit the infamous chroma smoothing issues. How big of a deal do you guys think this is? Like in practice when does it really bother you? It seems to me its only really noticeable when shooting foliage from a distance. But unless you're a nature landscape shooter I don't think you'll run into glaring issues. In another thread someone just mentioned Fuji has the worst tonality and color separation. That and the over sharpening. My reply was this is due to X-Trans. No AA filter and the chroma smoothing issues mentioned here. But the upside is more detail and a much more filmic-like grain at high ISO due to less chroma noise. I mean we tend to focus on the cons of X-Trans but there are pros as well, Fuji aren't crazy and stick with it for a reason. That being said my main gripe is with the red channel. Reds are often pinkish, you can see it right there in the thumbnail below if you compare the red square to the ProRes RAW. The red is missing richness and has some pinkish hue: Is there any solution for that? Like any color correction or LUT that fixes the red channel?
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Comparing the Canon EOS R7, R10, Fuji X-H2 & Panasonic S5 II
Django replied to Andrew Reid's topic in Cameras
That's because Fuji use X-Trans CFA pattern vs Bayer. There are pros & cons to that. The pros are less chroma noise at high ISO and hence a more film-like noise. Absence of moiré and no AA filter which explains the perceived extra sharpness. The cons are chroma smoothing in the color channel. This can be a big issue to some, or not at all to others. Seems like its especially problematic when shooting foliage from a distance. I don't really do that so haven't ever noticed much glaring issues. Only thing I've noticed when shooting Fuji is issues in the red channel which can be annoying. But overall I love the Fuji color science, the film simulations, F-Log etc. Sharpness should be turned down to the max in camera, again the absence of an AA filter can be kind of shocking but it does add detail so I guess that's more subjective. First time I'm hearing about that, you're talking about the H265 right? impossible to edit on M2 Max sounds nuts, you really sure of that? RAW bypasses the X-Trans CFA so explains why you get the color info back. I've been messing around with ProRes HQ footage from XH2S and find the IQ brilliant. Super chunky robust files that grade beautifully. In fact I'd be tempted to say its the nicest IQ I've seen from a mirrorless. YMMV. S5II was rather disappointing, the tiny h265 files just feel paper thin when pushing the grade. S5IIx with ProRes will surely be much better. Overall Canon does have the richest colours & nicest skin tones. But it can also feel a little exaggerated. I dunno I'm really tempted to switch back over to Fuji. again 6K Open-Gate with fast 14-bit readout and ProRes is just a winning combo imo. -
Comparing the Canon EOS R7, R10, Fuji X-H2 & Panasonic S5 II
Django replied to Andrew Reid's topic in Cameras
Yes that's because XH2S uses a stacked sensor capable of 14-bit readout under 30fps. Going above or using Flog1 drops the readout to 12-bit delivering lower RS. 4K120p goes as low as 3.9ms. If you add to that 6K open-gate and chunky ProRes codec options, you have one of the most solid IQs in mirrorless. This to me makes XH2S best bang for buck camera for ultimate IQ. -
X100 series has always been widely popular, perhaps even more now with social media etc. What I just found out is that Fuji are having trouble producing it due to the global parts shortage hence why the resell price skyrocketed. As a happy Leica M9 owner I have zero use for an APS-C pseudo rangefinder but the one thing it does have going for it is the flash + leaf shutter combo allowing super fast sync if flash photography is your thing. For that alone I would consider one if/when the prices get back to normal..
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https://www.eoshd.com/news/2-years-later-canon-quietly-removes-fake-overheating-limits-of-eos-r5-in-firmware-update/
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For the whopping asking price ( 7299€ !!!) it kind of is behind imo: No DCI options, no waveform, no LUT support, no pro / RAW internal codec etc. I'd much rather get an R5 for 3500€ now that the overheat is fixed. Sony just refuses to give you these pro video features on an Alpha camera. They barely even give you them in the FX3/FX30. Still some very clear segmenting going on with them.
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Comparing the Canon EOS R7, R10, Fuji X-H2 & Panasonic S5 II
Django replied to Andrew Reid's topic in Cameras
Nice roundup. I think the FX30 and R8 could have also got mentioned but overall I agree with your assessment. I was all set on a FX30 just because I have an FS7 with some really nice e-mount glass but I can't quite bring myself to it knowing that Fuji just has such better specs. Lack of EVF and mechanical shutter on FX30 is I'm afraid a deal breaker. My personal Fuji candidate remains XH2S for the stacked sensor and open-gate. Some pretty good deals both new and used are also now available. It really doesn't make sense for me go Fuji as a Canon & Sony lens owner but I feel so passionate about Fuji, I miss the film simulations etc.. they are just creatively inspiring as well as absolute beasts in the specs area. A bit quirky ergonomics and not perfect AF but the rest really makes up for it. So yeah I'm really leaning towards Fuji at the moment as my next camera despite economically meaning a major lens investment. -
@Attila Bakos As a colorist do you know of any solutions to get the loss of colour back in post on the internal codecs or is it just gone forever? Fuji XTrans is usually touted for its color science and film simulations which is why its so disheartning and even confusing to watch these findings where it seems in fact very poor in this domain versus any other typical bayer sensor. I don't know what to make of it..
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Studio cameras have no battery and no internal storage. Kind of a shame as I actually do like the studio camera form factor for tripod shoots. Anyways this presentation was a total snooze fest for non-broadcast shooters.