josdr

If you had an understanding of the actual camera in question and Fuji's Acros profile along with actual use of the said profile compared to Lut's etc I think you would reconsider. Your advice is sound in a general manner but it is not applicable in this case. Acros (with its four variations) is that good. You can dismiss it as a "baked look" but I have not seen anything better in B&W . Since he wants to use B&W it is the best option in his case. I am currently shooting a short film that includes B&W scenes , and with all the testing we did compared to f-log, Acros came on top whether shooting with the actors or shooting locations. He can of course do his own tests and decide for himself but having gone through the proces of shooting acros along with f-log and comparing, I would not bother with f-log. There is a tonality and coherence of the image with Acros that cannot be possibly reproduced with an external LUT. Fujifilm is the undisputed leader in this. Please do not construct my words as unduly harsh or dismissive of your well-intended remarks, since I am not including smilies every three words. 😄 Alas the written word comes across too harsh when trying to make a point

I actually have an X-T3 and shoot B&W so this is not from the horse's rear end (sorry tupp ,could not resist the joke 😄) Acros will be great if exposed decently. You are not going to get the same result with a lut. Fuji's secret sauce is especially strong with Acros. Even in photography, Acros camera-derived Jpeg's are not the same as files exported from raw into acros jpegs (que long discussion and people saying otherwise 😆) I could add a lot of pretentious paragraphs about highlight rolloffs , curves and other technical mumbo jumbo but it just is. The rest is silliness as far as I am concerned Fuji has 4 Acros modes that will satisfy all your requirements although human conceit may make us think that we can do better adjusting sliders .

The new 84 year old president will now deem that 720p line-skipping is more than enough for the R5 and will give relevant firmware instructions... Is it really health problems or a means to save face? My best wishes to Mr Maeda nevertheles..

I completely agree with you there. Fuji needs a mk ii version of these lenses but they came up with a 27mm mk2 instead... Unbelievable. There is a 50mm f1.0 coming and possibly another mk2 lens of some focal length we do not know yet. They have a huge problem with firmware updates the past 18 months as well so it is a very mixed bag at the moment

Hello once again. Do you use automatic exposure a lot?? You can do a lot with iris control . I concede that this is its biggest shortcoming if you use auto iso but i personally work around it. As for recording limits, if you do weddings and stuff like that you are better off with dedicated video camera I think, you must have noticed all the discussions about the R5 :). X-T4 ibis is still not up to par and I do not think it will be. Fuji has shot its foot as far as firmware development is concerned for its cameras... Good luck with whatever you are buying!

You do understand that they have the best 4k in the market for their price range and very comparable to much more expensive offerings? And it is recorded internally as well? Why the fuck do you need IBIs? Trembling hands? 😃 Panasonic has a much smaller sensor to deal with, Canon R5 IBIs seems to be a major technological advancement compared to the tv/video look of panasonic ibis... Aps Lenses weigh fuck all and Fuji has the best glass for APS since it was not created as an afterthought to their Full frame equivalents. You can very easily grade h265 400mbps footage in a 1080p timeline with a decentish computer, using optimised media/cache/proxies in Resolve. People that say otherwise should read the Fucking Manual...( I am using an intel 630 gpu so that is as low as it gets)

Fuck the full frame "look" (Respectfully) 😃. That is for conceited brides and bokeh whores that cannot stage a photo to save their lifes. I(f he buys a 35 1.4 with the X-T3 he has all the bokeh a whore needs, let alone a 56mm 1.3 or a 90mm 2.0 if portrait is his thing- The 35mm 1.4 can be found reasonably priced secondhand, has magic pixie dust and is the most versatile of teh three ). The X-T3 can take great pictures and Fuji colour science is at the same level or better than Canon's... The video is comparable to a pocket 4k unless you are a "I only shoot raw snob" and has better "filmic" colours than more recent BM colour science. Not talking against you Django, I am writing all the above with a degree of jest 😃.

Let me correct that for you. "Can your camera filter my pimples, make me more beautiful and the groom less drunk? - What do you mean No - it has 8k though"

Great footage!!

Subscribed 🙂

You tubers and would be "content-creators" with fat parental credit cards.....

What ridiculous campaign would that be? Not believing reviews that corporate has ordained to its stable of paid youtubers ? A careful examination of the released specs of both R5 and R6 , coupled with a modicum of actual field experience and what else is on the market and technically feasible, show many severe shortcomings for both cameras that could have actually been avoided, and may indeed be rectified via firmware if Canon's cripple hammer is put to rest. Healthy discussion with solid arguments is always good. Blindly kneeling to the altar of Canon,Sony, Fuji etc, is not..

The last 2 on whether you have a 4:2:0 or 4.2.2 will probably only make a difference when using a green screen. And it does not detract from the main core of my argument. 10 bit or 12 bit 4:2:0 is way more important than having 4:2:2 🙂 and it certainly has nothing to do with what the R6 turned out to be All intra is quite different to lesser approaches but I suppose its perception may vary from eye to eye (or rather from the way one brain perceives what it sees compared to the other). I have not found h265 difficult to edit if using proxies correctly in lesser systems and we should probably get on the bandwagon with this since h266 is more compressed than h265 :). Editing is resources intensive , you cannot edit high definition video in lesser rigs. Newer Nvidia gpus from the 1660 forward have a dedicated chip for h265 encoding decoding... Resolve probably needs to fine tune its codebase there. Anyway, the R6 could have been a dedicated killer 4k video camera for Canon at that price allowing the R5 to shine for photos and keep the 8k on the box for the uninformed. Canon crippled it either by firmware and/or design choices so people like me will certainly not be changing to a R6 since it does not make much sense. I suppose Sony A7siii competition and some firmware updates may redress the balance a bit but I am not sure. I simply cannot afford a 15k C300 and its peripheral rigging to film some short films in my case, like most people with similar interests/hobbies/pursuits/occasional jobs that could probably stretch to 2.5k for a body. In my eyes the Sigma FP is the best FF path one could do now for its money if interested in cine.

Μy Χ-Τ3 has been a rock. I am now filming a short film at 35C+ ground temp weather, lots of direct sunlight, powered by an external usb-c power bank. It warms up but it works great and the video is just lovely... P.S I do not do 30+ minute shots so I cannot comment on that...

You are right Δημήτρη. Probably Fuji will build this aps-c camera (with great colour science) in the form of the X-H2. The suitable sensor for that is already available by Sony. Nevertheless they do need some decent video glass that will not be ridiculously overpriced , a very Canon-like future of Fuji pricing.

The jittering is visible even with DIS boost on.. I presume it may depend on the individual watching it, but I get the feeling that a frame is skipped... Fuji cannot seem to fix this...

My "previous gen" X-T3 shoots 400mbit h265 all-i 10 bit in 23.98 so I am quite surprised in what Canon did here. This is heavy handed to say the least . the r6 does not make sense for cinematography as it stands. They could have easily given it the 23.98 All i treatment . You are of course right in saying that " true 24p and ALL-I being more desirable for filmmakers especially as ALL-I has fewer motion artefacts".. I would have loved the Canon AF but this makes it a no go...

The R6 does not seem to have an all Ai option for 23.98 h265 with c-log on , severely curtailing the available bitrate. 30fps can do All intra with 470mbps at 4k but 23.98 is limited to ipb (4K) at 170mbps... If this is true, it is very mean indeed......

Sony can compensate for lesser video specs if it includes the colour science from the pro cams . Then we would have a fight. The R6 does not seem to have an all Ai option for 23.98 h265 with c-log on , severely curtailing the available bitrate. 30fps can do All intra with 470mbps at 4k but 23.98 is limited to ipb (4K) at 170mbps... If this is true, it is very mean indeed......

According to the table Andrew provided, no DCI for the R6 (that is plain mean Canon ) and no 23.98 for All-I mode? Cripple hammer indeed...

Pricing is bad ,hopefully the competition with the new sony will bring it to more manageable levels. Any info regarding bitrates and whether R6 will record raw externally (dreaming lol)

A great composer. Rest in peace maestro

fuji should release a decent update for the X-T3.. It is getting ridiculous by this stage... And with so many new cameras incoming, it will buy them a lot of goodwill, when new Fuji bodies come...

https://developer.nvidia.com/video-encode-decode-gpu-support-matrix nvidia 1660 forwards has a chip for h265 decode/encode

I use my dr60d mk2 with a powerbank tacked with scratch tape on its back. It works for hours running an ntg-2 (And you can easily replace the powerbank. )