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The 4K Fuji X-T2 is here


Mattias Burling
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Hey guys,

I have a question. I remember that Andrew had to remap the colour values of the X-Pro2 footage, because of a bug in the codec. I know that the 'older' Fujifilm models all had this issue. How can I test whether this is true for the X-T2 too. I tried to play around with the data level option of Davinci Resolve, but this is just trial and error. As far as I know, the problem is that the Fujifilm codec used the full 0-255 range, but didn't store this information in the codec, so that other tools expect a video level range. How can I check this?

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26 minutes ago, bunk said:

You could check the waveforms. Judging from your footage, it's fine as it seems to use the whole range.

btw thanks for uploading. Feels a bit thin after playing with BM footage for days but I like the colors.

X-T2.jpg

You're welcome. Regarding the waveforms, they are just scaled, but not clipped. I think Resolve doesn't throw away information regardless of the meta data of the codec. There is just this monitor calibration problem. But my biggest problem (compared to other mirrorless cameras) - skin tone - is solved. Since I also own a BMPCC, what issues do you see to match BM and fuji clips?

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On September 23, 2016 at 10:21 PM, Hanriverprod said:

4k autofocus

 

That looks nice, but a number of cameras can do the same thing sitting on a tripod with the subject perfectly framed, not the most challenging scenario. 

From watching The Camera Store (I think that was the one) review, it struggles in walk-and-talk scenarios, where the subject is moving and the camera op is tracking them.

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On 24 September 2016 at 0:17 PM, Lothar said:

I think Resolve doesn't throw away information regardless of the meta data of the codec.

Seems you're right. I tested it with my gh4, with a  0-255 and 16-235 luminance level. Came in exactly the same.

 

On 24 September 2016 at 0:17 PM, Lothar said:

Since I also own a BMPCC, what issues do you see to match BM and fuji clips?

No idea as I never tried it. But I do know grading BM footage is completely different from grading either gh4 or x-t2 footage. I only have a bmpcc for a little bit longer then a week now and still have to get used to it ...but the footage coming out of it is not comparable to my GH4, even externally recorded 10 bit prores HQ. The bmpcc walks all over it... Should have bought one way sooner.

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5 hours ago, Hanriverprod said:

Watching him shoot video if it only had ibis and a articulating touch screen instead of a joy stick you gotta fidget with causing even more jitters.

With the camera fixed on a tripod the joy stick focus guidance might be a good idea, but on a monopod or handheld it will cause the same amount of jitter as focusing manually (not talking about focus by wire on the OIS lenses). I'm pretty satisfied with the stabilization of the 18-55 and it's a sharp lens. For recording at 55 you really have to freeze, of course. If you dial in f4 (or higher) at 18 mil it will be a constant aperture lens, but it's not good at zooming in or out (if you're into this), because of the flicker you'll get (like the Panasonic lenses). But you don't have to adjust your ND at least.

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5 hours ago, Hanriverprod said:

Watching him shoot video if it only had ibis and a articulating touch screen instead of a joy stick you gotta fidget with causing even more jitters.

Thanks for sharing this review, I really like the guy's style. The XT-2 is a beautiful object to behold, but I have to agree, it would be difficult for me to go backward after having used the GH4's wonderful fully articulating touch screen. The poor stabilization and autofocus have been the Achille's heel for me with the GH4, though. It looks as though the autofocus kills it on the XT-2. Wait and see what Olympus and Panasonic's GH5 have to offer? Buy the XT-2 anyhow? 

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Before anyone starts thinking of buying this camera for its autofocus, I will say that the AF is more built for stills autofocus. Most of the native lenses (even the 18-55) have dated autofocus tech that just don't move fast enough for fast c-af, especially in video.  And as you may have seen in some videos, it tends to keep hunting for focus even when it's already locked on to something that's not moving. 

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