Trek of Joy

^^^Agreed, being able to make image adjustments in cam makes a big difference with the xt2, which still has a better image than Sony's APS-c cams IMO, its just a little quirky to shoot video. We'll see what the XH1 brings in a couple months. I don't get why Fuji added 4k, but left out the ability to adjust sharpness and such, weird.

The GM1 is an odd comparison, its a dead model, it doesn't shoot 4k and you're not buying it new from a retailer with a great return policy. At least with the Zcam they're improving it and judging by the videos posted, it's capable of shooting pretty nice footage. It looks like some the best IQ you can find for under $200. I would much rather use it for BTS type stuff than my current setup - usually a GoPro. I'm intrigued.

+1 Your footage looks really good, this would make a great B-cam on the cheap. All my lenses are FF and either Sony or Fuji, this thing would look pretty goofy with a speed booster and a Nikon 28-70/2.8 hanging off the front. That said, I'm still seriously considering ordering one at $199.

Not word on PP's yet, I still think they will be added, it just makes no sense not to have them. I do fast turnaround stuff so I try to get it as close as possible in cam to a finished product. I shot for years with the 5d2/3 and filmconvert, so for me its no PP's are no big deal, the a9 has more DR, far less RS and better IQ than pretty much any Canon DSLR. I currently shoot with the XT2 for a great in-cam look. I'd like the improved RS performance of the a7r3, but I I'm moving on from the a7r2, I'm going for a used a9 to get downscaled FF 4k. But I shoot stills and video at events and short docs, nothing scripted, so I don't have the same needs as a filmmaker. If I want PP's, I have the a7s2 as well, but I use Cine 4/2 to get the full ISO range since I can't see a difference in DR between Cine and Slog. As mentioned earlier, I'm good with my current kit until the next a7s, the Fuji IBIS cam (will be shifting one of my XT2's to get this one) and upcoming CaNikon mirrorless offerings bring to the table. At about $1600 used, the a7r2 is now an incredible bargain. YMMV. Cheers

That gets you into used a9 territory as they're down in the $3400 range. The a9 tops the a7rIII in every way outside of stills mp, and its AF much better. Its just missing the PP's, but I've never had issues with the standard color profiles as long as you don't blow highlights. The oversampled FF 4k is flat out gorgeous on the a9. The zero blackout EVF makes everything else look like crap in comparison, including sports DSLR's. Personally I'd go in that direction over selling my a7r2 for the r3. Everyone is different. Cheers.

There's the crop. And then with the "video oriented" XT2 it still lacked proper exposure tools, had issues with lenses changing exposure while recording due to lens corrections, and you can't record video without moving the mode dial a few clicks from stills modes. Some of that was addressed in future FW updates, but it wasn't right at introduction and its still somewhat clunky if you're shooting stills at the same time - like when traveling. That's what I mean by getting it right. Eliminate the crop in 24/25p mode like Sony. Give us higher frame rates in HD. It needs histogram and zebras from the outset. It needs a record button so you can stab it in any mode to get video. AF tracking needs to be improved, it doesn't need to be at a9 levels, but Fuji is still playing catchup with its AF algorithms. I still hope that the XH1 inherits the bigger GFX battery and newer processor, but FR says no and he's been much more accurate than the other rumor sites. So that one isn't a deal breaker. I don't own the grip so my XT2's are capped at 10 min, but in heavy use I've gotten temp warnings just shooting still bursts and short clips in hot places like India and Cambodia - but no overheating. Though I've never had any overheating with my a7r2 either, even when I was shooting in blazing hot conditions like Egypt and the Namibian desert. As always YMMV. I'm still pre-ordering and selling one of my XT2's once its announced. Hopefully its a big seller and Fuji decides to add a dedicated Cinema camera to its lineup to compliment the MK Cine zooms. There's a lot of room outside of Sony, Canon and Panasonic's offerings as Blackmagic and other upstarts have clearly demonstrated.

Rumors say the crop is still there which is disappointing, but I really like the rumored spec, especially Flog internal and a higher bitrate. Will be selling one of my XT2's to try the XH1 out. IBIS is the main reason I still have Sony bodies. If Fuji can get it right, I may dump the a7r2/s2 and just get an original A7r for high rez/DR stills.

I wouldn't say I'm happy with the camera - but it produces great images. The A7R2 is obnoxiously slow, no touchscreen, moving the focus point around is a PITA, battery life could be better, can't toggle FF/s35 mode (something I do a lot) and so on. Like I said, the R3 addressed every complaint I have about the R2, but its the same sensor and no IQ improvements outside of slightly better FF video. The operation/body improvements are nice, but after tinkering with one for awhile I'd rather get another lens than eat $1500 for the upgrade. I'm coming from the perspective of a A7R2 user, so for me its a reasonable decision despite the newness of the camera.

This is one reason I can't part with my XT2's. They've gotten much better since introduction and Fuji has addressed some major criticisms on the video side. I also can't part with my a7r2 because the stills are just so damn good. The resolution and DR are next level compared to aps-c. Personally I wish Fuji went FF instead of MF with the GFX line so I could stay all Fuji.

Yes seriously. I have the R2, the R3 is the same sensor. The $1500 hit I'll take to "upgrade" for the revised body/speed (which I really like) and some RS improvements while keeping the same sensor and no better IQ in s35 mode (best IQ on both) - yes this gives me pause since there will be a new sensor coming soon. I also have the S2, if the S3 recycles the same sensor I'll pass again. I'm in full hold mode anyway with the looming CaNikon mirrorless, love the d850, just don't want to go back to anything with a mirror. Cheers

Wow, that's quite an improvement in s35 4k, its much worse on the r2. Still not sure I'm going to get the new model. Seems like a a7r4 with a new stacked sensor is 18 months away. With vastly improved RS, the new body fixes everything I don't like about the r2. Hmmm...

Stupid name - which is part of the problem, but I'm firmly in support of keeping the current rules. The changes are being driven by companies that have monopolies in many communities and are chomping at the bit to charge us more. I've been traveling around the world, we pay more and get less than many countries in Europe and Asia. Same for cell service, there are so many more companies offering service in many places outside of the US. I counted 13 providers in India - all were giving away phones and many were offering 6 months of free service at a fraction of what I pay. How I wish Google Fiber could go nationwide and put a beatdown on the crappy 50Mbps service I pay $100/mo for. The are many issues with the elimination of Net Neutrality, another is the fact that companies like Time Warner or Comcast can charge for access to competitors of their own networks. If you live in a community that's only served by Comcast - which owns NBC - they can upcharge for access to CBS, ABC, Fox and so on. They can charge content providers for access to the network and then charge us for access to the content providers. So we'll pay more to the ISP's and more to the content providers. And there's also an access issue, rising costs are going to impact low income households and rural communities. Ending Net Neutrality will not result in more infrastructure investment since again there is virtually no competition across most of the US. The only places we see significant investments are where there's competition. Cable companies also pay little or nothing for access to taxpayer maintained lands to bury their lines. Then they lobby hard against competitors being granted construction permits to maintain the monopoly. This is a lobbyist driven move so ISP's can squeeze more out of its customers while delivering less. All of the noise is just distraction tactics. The "we're not going to change anything" stuff from ISP's, like AT&T's claims, are just bunk. Prices will spike quickly and there's little anyone can do because there are simply no other options in most places. I don't know what the answer ultimately is - whether its regulation, creating government owned public utilities similar to power and water or something else - but allowing profit driven mega media conglomerates to have a monopoly and the ability to do whatever they want with internet access isn't the solution. Ending Net Neutrality is simply a cash grab by ISP's and nothing else.

GH5s - as in s35? JVC has already done a s35 sensor with a m43 mount - that's assuming the helicopter pic is the new camera (and not just a button add-on to a GH5 to make hitting rec easier) since it sporting what looks like the 8-18mm lens. I can't take credit for that one as it was mentioned earlier in one of these threads. Buuuuut Panasonic could be looking at recouping costs of developing that sensor by placing it in a hybrid body. Though the $2500 price speculation seems unlikely if that were the case. With a larger sensor you get more DR and the much loved multi aspect possibilities. What if the GH5s had the Varicam LT sensor and came in at say ... $4999? A C1/200/FS5 killa? Fun to speculate.

Supposedly its coming early next year, in the form of the new XH1. I'm holding on to some of my Fuji kit to see if they finally get it right. But I prefer IBIS so for now I'm mostly heading back to Sony. https://www.fujirumors.com/fujifilm-x-h1-will-fujis-first-ibis-camera-no-longer-x-t2s/#disqus_thread

Some seriously unrealistic speculation with the un-named GH-whatever. Look at the A7r2/3 and the d850 - neither have 10 stops with 14-bit raw stills at 3200, and m43 sensors are far behind that number. Video will be much further behind. Not sure what everyone is smoking, but the unrealistic expectations here are setting the stage for some major disappointments.

Ehh... no PADF, no sale for me. MF with fly-by-wire native lenses is a joke, same for running one on a gimbal. Literally everyone else has moved beyond contrast only AF at this price point. Despite Panasonic's marketing attempts - DFD isn't the greatest AF system in the world. Yes everyone's needs are different and plenty will never use the AF, so no need to hit me with the condescending "pros never use AF" bullshit. At that price point it needs a competitive AF system. If not I'll keep using Sony and Fuji. I was soooooo close to buying a GH5 and a EM1.2 when I was in Hong Kong a few months ago and just completely moving to m43, instead I re-bought the a7rII and a few lenses. I'm now thinking about selling my Fuji kit and going full Sony with the a7r3 and a smaller body like the a6500. I would like 4k60, but I'd like to be able to solo-shoot it on a gimbal utilizing AF. I don't buy the speculation about not being able to go PADF because of some contractual thing with Sony either, IMO they're focused on other areas like the video spec and now IBIS - and aren't devoting the resources necessary to program a CDAF/PDAF array since m43 cameras are a small source of revenue and turn little to no profit. I don't think something as awesome as 4k120p will get me to switch or even consider this, since DR will still be the same and AF will still suck compared to others. Anyone dreaming of another stop is delusional, since no currently available sensor architecture has delivered a full stop from generation to generation in the last few years, improvements are always incremental, a fun stop would be a dramatic gain. Not going to happen. Cheers

Just a follow up on this, I downloaded the new LR CC to my wife's iPad and to my MacBook, I still don't have cloud services and everything is fully functional. You have the option of synching to have everything in just one location, have edits automatically transfer between devices and such, but its not required. I have all the automation features off and just move files as I wish, works great. As a bonus, LR mobile is really fast since its completely new from the ground up instead of being slowed down by cumbersome legacy code. Its also completely free. If you can get by with a tablet, you pay nothing. Cheers

Shoot, didn't realize there's a v2 and a 2, I thought the 2 was the v2. Yes I've handled almost all of them, was in B&H back in Sept and spent hours tinkering. I have my sights set on the v2, just traveling around right now and can't find a good price on one. Almost pulled the trigger in Dubai a couple months ago, but it was still $800. Should have gotten one when I was back in the US in Sept.

Its similar in size to other single handle gimbals, but what's the alternative if you want gimbal-smooth handheld footage? To the OP - Joshua, what boom pole are you using for the jib-ish shots?

I'm traveling right now, transcoding takes a loooong time on my travel machine. Native files are slow on my MacBook, but much easier to deal with. When I'm back home in a couple months and working on my hot-rodded iMac, I'll convert to prores first. Cheers Chris

There are tests floating around on youtube/vimeo that show otherwise. Being able to shoot at base ISO's rather than the sky high ISO's required for Slog, and not needing to use LUT's makes life a lot easier too - but my grading skills are pretty basic. The DR curve is distributed different in Slog compared to Cine, but they both produce about 12 useable stops. Sony's claims of 14+ stops is just not true. Storage isn't the issue for me - though it does eat card space awful quick. Its how taxing the large files are on your computer when you have 100 clips, transitions, slight exposure/color corrections, titles and such on a timeline. Not trying to start a flame war either. Cheers

I've shot extensively with both, IMO when shooting video IBIS is vastly superior at stabilizing the image and reducing the micro jitters when shooting handheld. Plus the 5d4 file sizes, ugh. Though I would love DPAF on my a7rII, its not worth the mjpeg files for me. So shoot Cine 4/2 which has been shown in tests to have the same DR than slog, its just distributed in a different way and you don't have to overexpose then pull down highlights.

I guess we'll see. Perhaps the "coming in 2018" posted above turns out to be a great LR replacement, at the moment its vaporware so I'm not buying into anything until I can test it out. I personally don't like Capture One, and it would cost me more than LR since I buy new cameras every couple years and rent others in between to test. I need updated raw support. If they force cloud image sync then I'll need to find something else since I travel a lot and don't always have internet access, till then I'm good. As always, YMMV. Cheers

Just an FYI, I just updated to the new LR Classic, and the improvements in speed aren't just window dressing. My travel computer is a 2016 12" Macbook with a Core m5 processor and just 8gb ram. I'm shooting with a XT2 and a a7r2 - two cameras with obnoxiously slow files in LR. Everything is moving so much faster now. I have 300mb DNG's from uncompressed 42mp 10-shot panos, before upgrading it took a 10-15 seconds to build the preview and then a few seconds for each adjustment to take effect. Now its almost instant. Scrolling through images in the develop module is many times faster now. I've edited about 25,000 photos in the last 11 months on my MacBook, the update is a noticeable and welcome change.

My bad, been out of touch, didn't realize there are now two CC versions, thought they just whacked LR6. So just use classic CC going forward, then no worries about the cloud crap. Seems simple enough. I'm downloading the Classic version now. Thanks for the heads up. Cheers