Django

unbelievable!! this looks exactly like an upgraded FS5 ?!! same sensor, same internal 100mb XAVC 8-bit 420 codec for 4K..etc only improvement is.. a revamped color profile!! i get color science is sony's biggest criticism but cmon.. what a colossal let down.

Yeah we do a lot of comedy work so improv is kind of second nature.. I went with the Mark 1.. again lol. I wasn't even in the market tbh but i fell upon a deal i simply couldn't refuse (mint with DPAF & a Ninja Star for 1500). Dual pixel has gone long ways though since C100 and indeed it's quite remarkable on 5D4/C200 with object tracking and touch functionality etc. I wouldn't hold my breath for ML to crack 5D4 any time soon even though last time i checked it was stated as being ported.. Hopefully their upcoming FF mirrorless will support ProRes Raw via HDMI.. wishful thinking i know! GH5 is a more likely candidate

I think everybody agrees SDI > HDMI however i don't think a single DSLR/MILC has had built-in SDI connectors AFAIK..

None yet. Btw we are talking about ProRes Raw, a new codec just announced. It's safe to assume the codec or output via HDMI will appear in upcoming devices: Atomos doesn’t have an exclusive monopoly on ProRes RAW, DJI will also be implementing the codec into the INSPIRE 2’s Zenmuse X7 camera in May. Just when we will see ProRes RAW implemented into other devices and even cameras are still unknown. Apple is keen to make ProRes RAW an industry standard codec, so I wouldn’t imagine it will be too long before we see it being more widely adopted. ProRes RAW is here

Most can.. but some definitely have trouble believe me lol.. also depends on direction style. our main narrative director loves doing improv takes and changing camera angles on the fly. can drive DOP/focus puller crazy at times but that's what it sometimes takes and why manual is still invaluable in certain situations. Of course that all means a production budget though. That being said Canon's dual pixel is amazing in it's accuracy and smoothness. It really looks natural and I've pulled off some rack focus shots that would have been tough without a focus puller. It can't do the multiple point thing though which is interesting, assuming it works good enough. AF in video is a big thing for me now and again especially on focus by wire systems. One of the main reasons i'm hesitant to go back to Fuji to be honest.

@cantsin I think it's a possibility since ProRes Raw brings so much more to the table in post than just ProRes yet in a similar average size bitrate. It's like raw for stills is now almost default in every camera which wasn't the case a decade ago. But of course I'm saying this because of Atomos's advertising on the new recorder aiming it at DSLR/MILCs with ProRes Raw via HDMI. Wishful thinking maybe but i really hope the introduction of this new codec will be a game changer and that camera makers will run with it..

As others have said it's going to hit it's limit in circumstances where the subject is moving and you can't predict the landing point but it's definitely an intersting feature, especially for product, landscape/architecture or static model shots etc.. i wish fuji had something like that. if i had to be picky though i'd say i did find in the example you posted the transition to be a little too perfect/electronic looking. maybe slower settings would look more natural?

I see this as a useful feature for fly by wire lens systems where manual focus pulling can be tricky. but to reply the thread title, the answer is no!

it better not be more... especially if it's a 1" sensor. too many good large sensor hybrids in the sub $2K region atm. and with ProRes Raw probably appearing in future DSLR/MILCs, BM are going to have to be real innovative & agressive to turn heads imo.

FS5 II had to happen to make way for A7SIII and provide an upgrade path from their MILCs.. which have currently surpassed the FS5 in both AF & IQ (aside from raw). I'm hoping for a new sensor, 10-bit 4K & much improved AF. Raw internal would pit it straight up against C200 but probably external standard.

shutter angle, all-i/ipb & global/rolling shutter probably affect motion cadence the most.. hence cameras like digital bolex winning in that dept imo.

IBIS is not a replacement for a gimbal. YMMV depending on sensor size etc.. but generally it definitely works best when standing still to eliminate micro shakes. Sony even calls it's IBIS "steady shot". In such practice XH-1's IBIS does imo an excellent job. For stills, it's even better allowing sharp usable shots at sub 1/15 levels, allowing excellent low-light capabilities for still subjects (which kinda narrows the stop gap with A7III etc) .

I dunno our go to boom operator swears by this big old tascam unit (looks almost analog!). sounds great but his mic is probably worth 10 times the recorder. I don't know much about field equipment but spent quite a lotta time in pro audio studios and the amount of vintage "hidden gem" rack units far surpasses what's to be seen in commercial video production equipment imo (except maybe vintage glass). of course UAD has capitalized on that with their excellent plug-in emulations. i can strip down and pack my C100 and a big L lens inside my billingham hadley pro bag.. which is basically briefcase size bag. but i hear you about a hybrid and especially full featured one by canon. we're all praying they go all out with the FF MILC. the latest article on canonrumors says canon has used an unprecedented amount of feedback for it's development. looks like they really wanna get it right this time. that does give some hope. hopefully we'll hear more at NAB in a few days..

Speaking of aliasing, could any XH1 user check the IQ with DCI 2K (FHD 17:9)? On XT2 FHD has pixel binning artifacts but from my small time with XH1 it seemed to fair better in DCI 2K mode. This would be interesting to me as there is no crop in FHD.

you got this a bit wrong... pro filmmakers want pro dedicated tools. the C-line answered that as far as ergonomics, built-in NDs, recording time, battery life, XLR/SDI etc.. the game changer from the C-line was the modular approach and DSLR-inspired hand grip. this paradigm was so brilliant & succesful Sony (FS) & now even Panasonic (EVA-1) have copied it. and it is far smarter & easier to strip away these type cams than to rig up MILCs:

I think MILC users today are expecting strong video features no matter what background they are coming from. ..and "Cine line a big mistake"...?!! Tell that to all the happy EOS Cxxx camera owners out there.. (fwiw i just bought my second C100 two weeks ago!)

Rumored specs [CR1]: Look & Feel: large grip with top LCD, very comfortable to hold; dials are very similar to those we found on the EOS 5D Mark IV. Side articulating screen Sensor: Upgraded version of the EOS 5D Mark IV sensor, obviously includes DPAF. Frame rate: 10FPS Silent shutter and 1/16000sec shutter speed is available Focus control is very similar to EOS 5D Mark IV’s 61-pt AF system. Dual SD card slots Video Features: C-Log 1/2/3, Focus Guide Formats available: 60p/30p/24p 4K (both DCI & UHD can be chosen). FHD 120p Weight: not very light, but similar to Sony A7 but a bit larger due to the big grip. http://www.canonrumors.com/here-are-some-claimed-specifications-for-one-of-the-prototype-canon-full-frame-mirrorless-cameras-cr1/#ixzz5BW1eMtww

The Bloom has spoken.

I'm sure those wizard engineers at Sony could figure out.. speaking of Fuji they well managed to crunch a built-in selectable 3 stop ND in the tiny X100 series..

not if it remains 8-bit 420. FS5 now ships with raw upgrade too. anyways electronic ND imo would make the most sense on a lowlight monster like A7S series, especially considering the minimum 1600 ISO for S-Log.

I highly doubt Sony will go 10-bit with A7S3. That would outperform the FS5. And they aren't going to redesign the A7 mark III body just for the S model. My guess is a new sub-24MP BSI sensor with simply even better low-light capability. Maybe something like an electronic ND. 4K60p. And hopefully a better codec than the aging 100mb XAVS-S (XAVC-L or XAVC-I).

this is all a moot point as that video was shot in F-Log and (heavily) graded in DaVinci.. so nothing 'Fuji' really about these colors.. interesting to note though the guy had some issues while grading: One big problem I found was in post production. I edited and graded everything in DaVinci Resolve, but when I exported the final file I noticed a green cast on it. I tried to play around with every single setting, but nothing. I ended up creating a timeline node with a magenta tint at 13. Not sure why this happened, but maybe DaVinci doesn't completely support F-Log just yet. this seems to echo what a user reported here on XT2 Flog footage. i wonder if the low bitrate of the 120fps makes for cast issues when grading in post..?

Careful now.. A73 fudges low light results by applying heavy NR but the low light king is still A7S2: A73 still the overall better all-rounder hybrid..

oh lighten up jon... always so confrontational..

..and welcome to ETTR class today folks in the Fuji X-H1 thread!