Fuji should make a $2000 full frame cam

[EphraimP]

On 1/19/2020 at 7:26 PM, BrooklynDan said:

I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. 

I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.

 

On 1/19/2020 at 9:21 PM, IronFilm said:

Bingo! A Fuji Cinema Camera would have none of the downside risks that a FF camera would have, while playing to Fuji's strengths and existing product range / customer base. 

Take the X-T3 internals, boost it up to make it be 4K 60fps 422 10bit internal, with built in NDs, and a couple of XLR inputs, and a TC & SDI I/O, plus just in general a smartly designed body like a FS5 or EVA1, then Fuji has a winner on their hands so long as they keep its final price below the competition!

This, so much! As soon as I read the topic header, I thought, "naw, we don't need a full frame hybrid, we need a Fuji cinema camera." Personally, as a newer Fuji shooter, I'd go bananas for a X-mount cinema camera with internal ND, XLR jacks and TC & SDI. They wouldn't even need to make their own monitor, and I wouldn't even care if they gave us a 10 Bit 422 internal, as long as they still played nice with Atomos and BM monitors. Honestly, being able to record straight to a 1-4 terra sd that I can plug directly into my computer is the bomb, and I can use the internal cards to capture proxy-style backup files. 

To get a cinema camera that matched well with my X-T3, I'd definitely go for that. A GFX version is a nice pipe-dream.

[Andrew Reid]

Call me crazy but I just bought a second hand X Pro3.

I am curious for colour-related reasons.

The movie mode has a few new parameters to play with when it comes to colour and the new film style.

The X Pro2, the ergonomics of which I preferred over the X-T3 in every way, ignores all the film style parameters including sharpness, and just uses default. It also doesn't shoot F-LOG, Eterna, ignores DR setting, and doesn't have slow-mo 120fps so I thought it worth the upgrade, the X-Pro 2 being one of my favourite stills cameras that also happened to do pretty nifty 4k with the firmware update.

Sure, the X-Pro3 lacks some of the X-T3 specs... no 10bit, screen may take some getting used to, EVF is smaller, and X-T4 might be round the corner with IBIS but there is something I like about the X-Pro body design and handling.

If you look at the tests so far, X-Pro3 is using 6K full sensor readout as well like X-T3 so the image should be very good. Very high bitrate ALL-I H.264 as well, so easier to edit than the 10bit on X-T3.

Phase-detect AF.

I think it's going to be a dark horse of a camera to be honest, especially when used prices come down, and a bit different.

[IronFilm]

3 hours ago, BrooklynDan said:

A medium format video camera from Fuji would shut the game down. Even though, it would be a pretty impractical format with limited lens choice compared to Super 35 or full frame, cinematographers think with their hearts as well as their brains, and getting the opportunity to shoot on a nearly IMAX-sized sensor would override a lot of other considerations.

Do it, Fuji. DO IT.

Your wishes has been granted, for the low low price of less than $10K too:
https://www.bhphotovideo.com/c/product/1480135-REG/fujifilm_600020930_gfx_100_medium_format.html

Full width medium format digital 4K.

[chadandreo]

21 hours ago, BrooklynDan said:

A medium format video camera from Fuji would shut the game down. Even though, it would be a pretty impractical format with limited lens choice compared to Super 35 or full frame, cinematographers think with their hearts as well as their brains, and getting the opportunity to shoot on a nearly IMAX-sized sensor would override a lot of other considerations.

Do it, Fuji. DO IT.

GFX 100?

[Andrew Reid]

[BrooklynDan]

The GFX 100 is not a cinema camera. It is a mirrorless stills camera with video capabilities. Which is fine for one-man-bands or C-camera use on a set. But it's not a cinema camera like a C300 or FS7. The form factor is different. It's not suitable for use by a camera crew with remote follow focus, wireless video, on-board monitors, etc.

[Alt Shoo]

It’s not a cinema camera in the traditional sense, but it can definitely be used for cinema productions, especially large format. 

 

[chadandreo]

1 hour ago, BrooklynDan said:

The GFX 100 is not a cinema camera. It is a mirrorless stills camera with video capabilities. Which is fine for one-man-bands or C-camera use on a set. But it's not a cinema camera like a C300 or FS7. The form factor is different. It's not suitable for use by a camera crew with remote follow focus, wireless video, on-board monitors, etc.

I dont think it would be hard to rig with the smallrig cage and accessories. Although I normally shoot on Red or c300 II, I built one one my XT3s for cinema and it works fine as a cinema camera.

The reason why I mentioned the GFX 100, is because you mentioned a large sensor Fuji camera, which is by far the cheapest 4K Medium Format camera that can be used for cinema. It also does 2K60 and has a usable AF system. Comparable cameras that are capable of shooting video are $40K +. 

[IronFilm]

2 hours ago, BrooklynDan said:

But it's not a cinema camera like a C300 or FS7. The form factor is different. It's not suitable for use by a camera crew with remote follow focus, wireless video, on-board monitors, etc.

I look forward to the day a mirrrorless camera gives us both a full size HDMI and a SDI output (as when you're running monitors for DoP / cam op / 1st AC / clients / director / external recorder / sound mixer then you really really need at a minimum two outputs).

Together with a TC input, XLR accessory (such as the Panasonic DMW-XLR1 or Sony XLR-K2M) and an eND then you'd have a kick ass camera that could handily replace a C300 / FS7 in many scenarios.

This is what they should have done with the Panasonic S1H!
 

[BrooklynDan]

I do not understand why people are so enamored of the mirrorless form factor. It is an option, but is it the ideal shape for a cinema camera? No. Wouldn't you rather have a camera shaped like a proper camera, at least one that is longer than it is wide? I've been working in rental houses for years, and when it comes to ACs and camera operators, speed and reliability is key

An Alexa Mini or a Venice works beautifully with every imaginable accessory. You can rig it up with a Preston, Cine Tape, Teradek, multiple on board monitors and the matte box of your choice without breaking a sweat. There's ample room on the camera body and lots of options for power outputs.

Do people rig up A7s and GH5s and 5Ds like that? Yes. But it's a struggle and you wind up fighting against the thing. It's not designed to be used like that. It's designed to be held up to your eye so that you can snap a picture. No amount of Log profiles or Raw outputs will change that.

[thebrothersthre3]

1 hour ago, BrooklynDan said:

I do not understand why people are so enamored of the mirrorless form factor. It is an option, but is it the ideal shape for a cinema camera? No. Wouldn't you rather have a camera shaped like a proper camera, at least one that is longer than it is wide? I've been working in rental houses for years, and when it comes to ACs and camera operators, speed and reliability is key

An Alexa Mini or a Venice works beautifully with every imaginable accessory. You can rig it up with a Preston, Cine Tape, Teradek, multiple on board monitors and the matte box of your choice without breaking a sweat. There's ample room on the camera body and lots of options for power outputs.

Do people rig up A7s and GH5s and 5Ds like that? Yes. But it's a struggle and you wind up fighting against the thing. It's not designed to be used like that. It's designed to be held up to your eye so that you can snap a picture. No amount of Log profiles or Raw outputs will change that.

I agree, which is why I don't like DSLR type cameras that have to be rigged. 

Huge reason is you end up having this weird skyscraper like form factor when you add a monitor to an SLR. I mean it can work I used a Pocket 4k with a small HD for a feature and it really wasn't bad. But something like a Z cam or red is better. 

[chadandreo]

1 hour ago, BrooklynDan said:

I do not understand why people are so enamored of the mirrorless form factor. It is an option, but is it the ideal shape for a cinema camera? No. Wouldn't you rather have a camera shaped like a proper camera, at least one that is longer than it is wide? I've been working in rental houses for years, and when it comes to ACs and camera operators, speed and reliability is key

An Alexa Mini or a Venice works beautifully with every imaginable accessory. You can rig it up with a Preston, Cine Tape, Teradek, multiple on board monitors and the matte box of your choice without breaking a sweat. There's ample room on the camera body and lots of options for power outputs.

Do people rig up A7s and GH5s and 5Ds like that? Yes. But it's a struggle and you wind up fighting against the thing. It's not designed to be used like that. It's designed to be held up to your eye so that you can snap a picture. No amount of Log profiles or Raw outputs will change that.

I hear where you’re coming from. 
I was originally just responding to your question about a Fuji that’s medium format and can shoot video. GFX 100 is fairly new, so I wasn’t sure if you heard of it.

There are definitely cameras that works better for each specific job. I think the GFX as an amazing b-roll or specialty cam. 

[Marcio Kabke Pinheiro]

On 1/20/2020 at 8:13 PM, IronFilm said:

Yeah, Fujifilm lacks a great vlogging camera. Just give us both a screen that you can see *and* a mic input at the same time. (bonus of course if it has IBIS and great AF! Dumb things like only 8bit and 15 minute limits won't even matter if it has everything else I just mentioned)

The XT200 fits this bill, I guess.

[Mako Sports]

On 1/24/2020 at 9:30 PM, BrooklynDan said:

I do not understand why people are so enamored of the mirrorless form factor. It is an option, but is it the ideal shape for a cinema camera? No. Wouldn't you rather have a camera shaped like a proper camera, at least one that is longer than it is wide? I've been working in rental houses for years, and when it comes to ACs and camera operators, speed and reliability is key

 

True even though my a7iii is smaller /lighter and usually puts out a better image over my FS5, the video camera just makes life easier/absolute grab and go setup if you pair it with a doctor style shoulder bag. 

Internal nd, sdi, rotating control grip, and xlr inputs are REALLY hard to give up.

[IronFilm]

4 hours ago, Márcio Kabke Pinheiro said:

The XT200 fits this bill, I guess.

It came so so so close.... just needs IBIS!

Wait for the X-T300 I guess??

[Marcio Kabke Pinheiro]

15 hours ago, IronFilm said:

It came so so so close.... just needs IBIS!

Wait for the X-T300 I guess??

Have my doubts that Fuji will trickle down IBIS to a XT-40 / XT-300 very soon. Or remove the 10/15 min cap.

Since their lower bodies have VERY good specs, they are probably afraid of canibalization.

But if I was a vlogger, would use a XT-200 in a Crane M2 in a heartbeat.

[IronFilm]

47 minutes ago, Márcio Kabke Pinheiro said:

Have my doubts that Fuji will trickle down IBIS to a XT-40 / XT-300 very soon. Or remove the 10/15 min cap.

Might have to wait for the X-T500 😞