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This is just a little something I shot on the subway, absolutely nothing special. But it made me think. I used to shoot a lot of casual video on the streets. But ever since I became passionate about stills, more specifically street photography I never do it. Mostly because when recording video I feel like Im just missing out on great stills. An this was no exception. In fact its 1.5 years since I shot casual video out and about if we don't count "test shots" around the house. The irony is that I started shooting street photography to become a better videographer. I used to love shooting video. The best part for me was composition and grading. So I started taking Raw stills in order to get to practice bigger quantities of grading. The plan was to eventually make a video about it and recommend all aspiring videographers to shoot a lot of stills. Just like the DP's in the Zacuto shoot out says (forgot which). But along the way it completely switched on me. I started liking stills more. Specially the challenge. To capture a whole scene, the entire atmosphere, all the feelings in one single frame. Compressing an entire story into one single moment. 
Im not in anyway implying that Im good at it. But I love trying. Now when I watch vlogging street shooters on youtube, you know the type, Gopro in the hot shoe and a montage to hip-hop beats, I just get annoyed. In the video montages they miss out on so many great images. 
Same thing for me today. In this short video montage of nothingness I see at least 4 potentially great images. So, thats it. I still recommend all here that are aspiring DP's to shoot more stills. With something like a GRii you can always have it ready. Look for light, composition and story.
 Just be aware that you might switch to the dark side like I have. Don’t underestimate its power. What about you guys? Who shoots stills, why, why not? (btw, really soft lens in action here. It looked awesome with gorilla grain on my computer but I removed it since youtube always messes it up imo. And therefor its pretty darn soft. A couple of focus misses doesn't help either.)

When i started shooting (stills) all i did was grab the camera walk around the city where i live and try to look for interesting things happening around me and i do remember the feeling i had when i actually captured something nice! And at the time i was using medium format so i only had 12 chances to get something awesome, and i really miss the ritual of going out shooting and then developing those rolls just to find what came out of it, they werent always the best picture one could take but it was my own personal ritual which i think i will go back to.

I've heard a rumour that all the court's members were NX1 users, and that Lee promised to launch the NX2 if he is released.

My involvement with movie / stills (even as an amateur till this day) is (I think) kind of interesting. I love music (more in the past - free time is shorter to enjoy it each day that passes), love to go to concerts, but...my memory is kind of weak, a lot of moments in concerts end being forgotten. Hence I had the idea to film parts of the concerts as a way to remember. It was a time that smartphones are the Samsung's with Tizen, Android did not even exist yet, and I bought a Kodak Zi8 - a little film camera, fixed lens, with 1080p (a rarity in those days). And started to record some shows. Soon I upgraded to a Sony HX9, much better quality and sound. And with it, tried to start to take some stills - and liked it. Than start to search for a camera that could make good movies and stills, Google mentioned a camera called GH2, I found a site called EOSHD, which owner made a video in Tokyo with that camera that blowns me away...and the rest is history. Video brought me the stills, and I love both. It gives you that kind of satisfaction from a thing that was created, and done, only by you, a sense of accomplishment. As I guy that likes art, it is the closest that I can get to it. But I think that my stills side in much better. All photos with m4/3 cameras, "which sucks for concerts, you need a full frame one". The second one was published in the Franz Ferdinand's Instagram account, good moment.

Definitely right there. The Fuji users' forum I frequent is, in general, pretty sniffy about video. Most times, when someone comes up with a video related question, at least 25% of the responses will be 'buy a video camera'.

Nice theme, I think. Simply, I need a more complex language to express - or, better, striving to express - more complex thoughts and feelings. To be honest, I don't think that photography could be (for Westernian type of mind) in all extensity - repeat: in all extensity - form of art as great literature or classic music. Yes, it has precious dignity of skills and taste and knowledge. Yes there are great photo testaments of compassion and capability to extricate significant moment from banality - and as so, help to better experience the world. (And yes, I little disagree with Susan Sonthag and agree with Walter Benjamin.) Maybe it is similar to haiku poetry. But it is impossible to express - or, better - to completely involve, as sort of full-senses initiation, other man in haiku as in, say, Beethoven's Eroica. Further thinking, it seems to me that photography maybe is much more closer to sort of feeling/thinking/expression of Eastern mind? There always existed that wonderful feeling for moment, for profound non-ego encounter with mistery of nature and existence. Western greek/judeochristian civillization and state of mind always relayed on inner and outer drama, complexity, struggle, personality - and its picks of art and distinctive philosophy are such that can embrace world of turmoil complexity, as in Servantes, Goya, Shakespeare, Dostoyevski, Beethoven-to-Mahler/Shostakovich symphonies... Probably that's the reason why I'm longing for video/movie as language, greatly respecting type of mind and spirit that stay behind profound photography masters.

I really don't get it. 2 years ago Fujis were probably the worst cameras you could get for video. Heavy moire, missing sharpness, no control over settings. The X-T2 changed a lot of it. The image quality was very nice and it added some controls. And now, the X-H1 adds another bunch of nice features. No, it doesn't do 60fps or 10bit, but as a whole I think the camera looks very nice. It seems they improved the autofocus, they added a lot of features like 1/48s, linear response of focus or internal Log and added hardware like IBIS and the touch screen. No, it's not a GH5 killer, but I don't think it's supposed to be. "Jack of all trades, master of none", seems fitting. It's mildly cropped APS-C sensor won't match the low light performance of an A7S but it will be better than the GH5. Might be very close to the GH5s though. It's improved autofocus will probably not match canons dual pixel, but it might just be up there with Sony, close behind. And it doesn't have waveform or zebras yet (slashcam says Fuji might add those in an upcoming firmwareupdate) but it does have a lot of other small things, like the internal log profile, the 200Mbit/s codec, the DCI 4K option, 1/48s shutter speed, timecode, tally light and so on. And all of that with the very nice Fuji colors. To me it feels like a camera that might be very interesting to people shooting not video only, but both, photos and videos.

Yes, and in combination with a Tiffen Low light contrast filter. But Keep in mind my objective here was to challenge the "unacceptable noise" comment that some people hold against this camera, and others in the same class in general. A little Neat Video goes a long way. Also, by the time you add in more contrast or an s-curve to the footage, a lot of those artifacts perceptually go bye-bye. This isn't anything new. It has to be done on a lot of Alexa, RED and certaintly Blackmagic systems as well. Sony set such a high and impractical bar in my opinion. The high ISO capability is literally teaching a generation of how to NOT properly light and expose a dark scene, esstentially stripping away a really good tool that has been succesfully used for many of decade. And now the expectation (bad practice) of using very high ISO gets wrapped up in other systems, like the GH5s. It still comes with other compromises too. Darkness IS information in terms of narrative work, and I feel like I'm going to be evangelizing this more and more, and I'm already blue in the face as it is. ? Yes, this emoji is yellow. The viewer does not need to see every detail in a scene to comphrehend what the scene is relating. That would fall more into line with documentation. A narrative piece is not a document of antiquity, it's a story, therefore an illusion. The human brain is really good at filling in the blank spaces. All you need to give the viewer are hints, the brain parses the rest. It's pretty remarkable, and testimate to how powerful the mind is. Take my profile image of the man sitting in the car. You only see small hints of a car, some seat, some steering wheel, both descending into shadow. But you as the viewer know he's sitting in a car and not a train. Correct? It's what you don't see that's drawling you in. So going back to high ISO, do you really want to see all the details in the scene? I say, shadows are friends, not combatants. I learned this actually in my fine art classess in college some 22 years ago, and it was practiced knowledge long, long, long before that, and has been effective for all kinds of mediums within the arts and sciences.

Inspired by @Justin Bacle and his post, I recently picked up the big brother of the GB-Kalee that had damaged internals - but luckily the front focusing section was in great condition. The optics are a beastly 100mm front and rear so I separated the front focusing assembly and have been pretty impressed by the optic quality and coating. I post this here as it is a bit more info on the bigger brother of the GB-Kalee Small as it may inspire others to remount or test further these lovely vintage optics as single focus solutions. Unfortunatly I have just started a long term job that does not allow me to spend time playing with re-mounting this beast, so I've decided to sell. From what I can tell, to get minimum focus on this big boy (of 1m) - the front and rear optics need spacing of approx 40mm...which unfortunately is further than the helicoid will allow without unscrewing and separating the two body halves. However if someone was to re-mount or rail-mount the optics in some kind of MacGyver fashion, you'd have a very tasty big boy focusing optic to play with. Like I said, I now have no time to experiment with this myself, but from some rough handheld tests - it appears to deliver the same high quality as it's smaller Kalee brother, but with bigger optics. In a shameless move (but target to those following this thread who might find interesting) , here is my focusing assembly listed on ebay: http://www.ebay.co.uk/itm/GB-KALEE-VARAMORPH-Focusing-front-Assembly/253440130338

Toot, toot! All aboard the hype train! Final destination, disappointment junction! I hope they prove me wrong though

Ehh, on the video side they may not have the most cutting edge features in terms of frame/bit rates, because they're still very much like Nikon - more focused on stills. I'd say the XH1 is superior to any m43 cam outside of the GH5's on the video side. And its certainly competitive with every other APS-c camera on the market. It can give Canon FF a run for its money too. As a stills camera Fuji is - IMO - far better than anything m43. If you're a heavy stills/video shooter, I'd take the XT2 or XH1 over any m43 or Canon body until you hit the 1dx2 or 1dc. But even that's subjective based on your needs. And personally, as a natural light travel shooter, I hate higher ISO noise. NR has an impact on fine detail. Lots of debate over skin tones here, Fuji's are sublime in a few of their film profiles. Plus Pro Neg can be dialed to match Canon pretty well. I guess it depends on what you're looking for. Like most here, I'm looking for the unicorn. The perfect camera isn't there yet, and even when we do have a 4k60p, 10-bit body with IBIS, great AF, global shutter, and shoots amazing stills - there will still be warts. My definition of great will be different from you or anyone shooting narrative, because I'm very much a run-and-gun shooter that often doesn't have time to grade hundreds of clips for a 2 minute video. I like the final product to be as close as possible in cam. For me that point is much easier to reach with Fuji - despite its quirks. I have a love/hate relationship with Sony too, they still refuse to put two UHS-II cards in any of their bodies, even the $4500 a9. Its part of the reason I'm not buying the a7r3. The Xpro2/XT2 had them for a couple years, I can shoot to both cards without any card-writing delays. The Sony shutter sounds like a car slamming into a light pole, Fuji's is so much better, and the XH1 has dramatically improved on the XT2's already pleasing shutter with its floating mechanism. It goes on. Panasonic gives pre release until to lots of experiences video producers and it shows in pieces like Neuman's robot film. Fuji gave the XH1 to a few, they put together more release videos highlighting the video side of the XH1. They're definitely moving in the right direction. Adding 20 more pages to this thread is just shouting in a vacuum IMO - hit Fujiguys up on social, comment on their videos, comment to the Fuji honks that get test units to pass the word to Fuji, or even Fujirumors with your list of fixes. I do want to continue hammering Fuji to improve the video shooting experience, because they can make a lot of progress with FW updates. The last sentence quoted is accurate, Fuji has cultivated a user group that's very vocal about things like the exposure comp dial, and not about zebras. Just look at comments about a forward facing LCD, its all about the narcissistic selfie generation, not about its usefulness. Same goes for touchscreens, video, AF shooting video, and so on. Pick your poison... Chris

The secret to those images though is in the color grade. There are very few cameras that will look that good with minimal grading. I have spent months off and on in the color bay with v log tests devoloping LUTs that match my style with the camera in almost every lighting scenerio. But now that I have the LUTs developed, it's an easy matter of applying them to my footage as a grade, then doing my corrections underneath on each project. I think it's possible to create amazing images with almost any camera these days. The trick is to pick a camera and stick with it for a while. Take a couple of weeks to test it in every situation. Find out what exposures compliment the sensor, what ratios it likes, native ISOs, and what it likes for breakfast. Then after you find its sweat spots, take the footage into Davinci and play with it. Develope a color science that matches your style. Most codecs are robust enough these days to really develop whatever color science you want with your images in post, especially if you can shoot log.

Nothing some noise reduction in post can't handle:

Sorry, I was flying and just caught up with this. It's a GH5 with V-Log with a Canon 24-105 1st generation lens. I am falling in love with this camera more and more every shoot; I don't quite see what so many people have against it. With a speedbooster you get super 35 4K 10 bit log with a robust, yet not bloated, codec. Plus, a really tough body and battery that will get through some of the hardest shoots without overheating or dying:-) And the image is just beautiful! 12 stops of dynamic range are definitely enough for most normal shooting, I rarely end up blowing anything out, even when exposing on the bright side. The V log is a bit noisy, but the noise looks a lot like film grain, I think it adds a nice texture. Also, all the screenshots are taken from footage shot in 1080P 10 bit, not 4K.

Blown away by the codec... This shot had some serious underexposure going on. At least 3 stops head-room in the highlights. Brought the shadows up in Premiere and remapped to 16-235 (Fast Color Corrector) There's almost zero signs of compression in the shadows!! Which came up from invisible.

@Stathman ... you're right... it is. Hmm. Anyway thanks.

I tried to reproduce the issue with no success. The image i see in FCPX is identical with the one i see in Safari. But i did realise this. The uploaded image is completely different when it is small. it's like you described it. Darker with more contrast maybe? When you click on it, it's ok. Don't know why though...

The next step would be youtube videos of cats, where the sun does never shine. Ibis and 1.000.000.000 ISO would be mandatory!

Pretty sure any camera can do SCROTography if you just point it in the right direction

Canon fires a warning shot across Nikon's bow... ...and across Sony's, Panasonic's, Fuji's and Samsung's sterns???

Don't make fun with such matters, there is only one solution https://petapixel.com/2018/02/02/new-phantom-camera-can-shoot-4mp-6600fps/

Developing at home is very easy and cost effective. No darkroom required. And if you have a digital camera that shoots raw you can make DIY set-up that is just as goos as the best scanners out there. Most pro labs around here have switched to camera scanning. This is Kodak Vision 50D from Cinestill. I also have the medium format version but haven't used it yet. (Im glad you dig my IG)

Thats how canonrumors.com is too. These people are too stupid to know how good video can look coming from these large sensored cameras. In any case, this is smart of Fuji.... people that think that way, can't complain that they have to pay extra for video... I mean, yeah... you are paying extra for video in this case, but its the same sensor as the other cameras, if you don't want the video features go to the other cameras (plain and simple, and its cheaper too).

Maybe one of the custom launchers might work for you? They're primarily designed for seniors but they're equally practical for de-cluttering and making things more useful for those of us who only use a few apps. https://www.maketecheasier.com/best-android-launchers-for-senior-visually-impaired-users/ As for hybrids, the BlackBerry Key One gives you a good option of Android and real keyboard.

It's a common German surname (I'm not German, I'm American) but part of my family is descended from south Germany, although on my father's side we've been living here in the States since colonial times. In fact we had some personal conflicts with Thomas Jefferson, as he tried to hang one of my great grandfathers for treason against the United States for his loyalty to the King of England. A lot of ppl don't know that during those times no one trusted anyone, and George Washington wasn't a trusted figure at all either. Also have relatives that fought in the civil war. We are related to Lisa Hartman, the wife of Clint Black. Sorry, a bit of a history buff.

Neat Video is THE defacto industry noise reduction plugin worth every cent they charge for it. I would rather purchase Neat Video than buy another LED light. My process is to first run an instance of Neat Video, than grade the footage, then add a very subtle instance of noise to further help with dithering. In most applications, I don't need the noise instance to help smooth out banding and artifacts because Neat Video takes care of most, if not all of it. The noise layer is mostly psychological for me because that's how I took care of business before Neat Video came along. I seriously doubt a manufacture could script a NR algorithm in-cam on the fly with the power the NV delivers.

Some lovely stuff there @Rodolfo Fernandes (I just hope no-one quotes your post in full, though!)

Mobiado Grand Touch Executive $3,100.00 USD Vertu Aster $7,000 USD Goldvish Eclipse $7,700.00 USD Ready? Savelli Jardin-Secret White Ice $10,000 USD ARE YOU REALLY READY? Aston Martin Racing 808 $24,000 USD The rich are not using Apple. All these phones run a custom fork of Android.

It took Sony years and multiple releases of consumer and pro (fs7) cameras before they became more dominant over Canon in the budget filmmaking sector. Can't expect Fuji to do the same with just one release

Lots of good input. Its interesting to read the different experiences and preferences we have. Only thing I will ad is, a powerful picture can capture sound better than any microphone imo. But its not easy

I just tried it now. The results are not so good. Adding the Arri colour space transform to GHa Main pushes a lot of the reds into negative clipping. This is especially noticeable in dark and deeply saturated reds, blues and purples. Lowering the saturation of GHa Main by a lot prevents this clipping. However, the issue is still evident (although not to the same extent) in GHa LogC. This means you might see some unnatural colours when using GHa LogC with LUTs that expect an Arri input. I would not use Soft or Main with Arri Luts at all. VLog - chart exposed for middle grey Add GHa Daylight Main Add Arri LogC to X 2 gamut only If you look at the bottom of the waveform you can clearly see the red channel going AWOL in this step from GHa LogC to the Arri X 2 gamut (this chart shot was ETTR, and has no clipping) GHa LogC: Now add transform to Arri gamut:

Personally I must be crazy because I do a lot of timelapse and hyperlapse. So basically I have a foot on both world, photo and video. It takes a lot of planning and patience to capture the right sequence but timelapse permits to produce unique look thanks to the long exposure whereas you are usually limited at 48 or 50 shutter on normal video. Ironically, I never had the patience to capture single images and spend time in Photoshop, but I can spend hundreds of hours on AE and PR for a video. I find stills a little bit too "limiting" because I like to show motion and things happening. Eventually, I mix timelapse, drone and regular "ground" video. That's my personal approach.

I think video is a slow art, cumbersome and complicated. There's a definite attraction to the simplicity and enjoyment of stills shooting, and great shots come quicker, sometimes one after the other. With video, they pass you by... sometimes, even whilst you're adjusting the tripod. I started getting lazy for casual video - handheld, instead of a tripod, autofocus instead of manual focus, slow-mo instead of 24p, music instead of ambience, and so on... I want to go back to the slow way. Photography does have just as much power, and lends itself to pointing and shooting. Whereas video, when it is point & shoot, often lacks the same magic. Video is best when it's a slow burn of circumstances directly under your control... Less run and gun... More stopping and waiting.

I dunno cantsin. I can't get past the codec limitations. For me, all this process doesn't really add anything. If you look at the hand there are terrible compression artifacts in both images, without any differences in color. Here is a comparison of few places with boosted saturation (top orig, bottom neat): I see mostly different compression. Here is the difference between the two frames:

Go check ebay prices and compare the prices with 2014 equipment. There are a few reasons why people are still buying NX. I bought most of my equipment after NX was out. We are not naive primitive people, most of the NX crowd are very informed bunch.

Yeah I doubt it is TowerJazz. Seems like Sony's upgrade to their 42MP BSI CMOS to me. Has all the hallmarks of one. The real puzzle is why Sony keep giving their main rival the absolute top spec sensor, whilst putting older tech in their own. The 46MP sensor seems to have more dynamic range, lower minimum ISOs, more resolution, faster readout, possibly even onboard moire reduction in pixel binned 4K mode from 46MP and then the D850 uses XQD cards as well - another Sony tech, which they can't be bothered to put on their own cameras! You don't need it. Live-view feed is crystal clear, super sharp and detailed, big screen and very high res panel. It's better than D750 and that was already good to start with. I believe the Sigma ART lenses for Nikon mount focus the same way as the Canon versions... so there's a solution! Definitely the new tech should filter down to a D5700 or D6000 of some sort. No crop. No moire. Just clean 4K with flat profile and super clean codec, Nikon colours, etc. It would be very popular under $800. It's easier... Enable peaking in stills mode, focus, then flick the switch to movie mode to record. The flick to movie mode has zero lag or black out. No mirror flipping, or refocussing. Peaking looks lovely in stills live-view...pro-video quality.

Fuji X Photographer Jonas Rask's somewhat, er, idiosyncratic X-H1 test vid:

I think you've come a lot closer to unpacking it in words than me. Great breakdown, much appreciated. I do some 3D modeling, rendering, animation, etc. There's a parallel to what you just described in rendering as well. When you're going for hyper realism, you employ things like ambient occlusion, global lighting, soft raytraced shadows, etc. These properties give the model a more atmospheric/muted look and feel, smooth gradients, smooth rolloffs, etc. In fact, you often have to crank up your specular highlights for reflective/refractive surfaces with AO. Top render is without AO/ Bottom with:

Is this unique? Is this the best Fuji? Sure not. As Don @webrunner5 wisely pointed out even though he forgets to apply the same criteria on his RAW love : D almost anything can be mimicked with talent and effort. The other perspective on their superior approach is how easy this is able to be reached or how close and far the failure or loss is straight out the box. Art has no need to be complex. Certain vulgar or simple stuff as you wish works out more fluently lots of times LOL ;-)

lol, maybe the Sony a7Smk9 will be capable of doing Scrotography?

Were the original screenshots shot with the Canon 24-105mm? Makes it all the more impressive, as that's by no means a fast prime. Nice rendering. The 10bit looks as good as raw in your grade.

This camera is ideal for prosumer or amateur videographers." Point and shoot" with continuous autofocus (CAF), gamma DR all parameters at zero, dual antishake (OIS+DIS) and P mode. This video was shot handheld with the EVF and the 16-50mm S lens. The resolution is superior to anything I have seen ( 70mm film in a Cinerama or Imax theater not counted). You guys might say it´s "oversharpened" but I bet in that case you don´t have the up to date display which is an oled or VA panel FALD UHD TV. Yesterday I shot a video with the 50-150mm S lens and it is on YouTube also.

Great as usual Bozzie. That lens looks like it is really working out well.

Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell: Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here: The other film was "A Gripping Tale" written & directed by my friend Steve Sanders: Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.

Yes I was using it with the hack installed. And yes I was doing the trick before you even figured it out. Not sure how it took you so long to find out about it since you love it so much The images I shared were from raw stills btw. Yes I know the two cams aren't in the same ball park price wise but you kept saying it had similar colours, so I just had to point out that it really doesn't heh. The image is nice though. +1. The NX1 has many, many advantages. And the image looks great. Like I said, I would probably have kept it if it weren't for the weird iso 1600+ images and the steep decline in DR at those iso's. Low light takes up a lot of my work so I can't afford to use a camera that doesn't have the capability.

True. But a lot of people judge the NX1's dynamic range based on the first image and don't realise the range is incorrectly interpreted by their software. Here is a just as impressive A/B when both are 16-235... It's a more extreme grade, the recovery is huge... Bit of macroblocking in the very darkest areas on the art shop sign... And that's it!

I got me two sets of D-Mounts. Three Kern Paillards and two Yashicas. They cost me €12 + €6 + shipping for all of them and included two cameras as rear caps. If someone wonders about the specs compared to a modern Canon or Panasonic equivalent they are smaller, cheaper and better built with loads of character. So better speced indeed Here is a sample of the Kern 13mm f1.8 Here the Kern and Yashica 13mm goes head to head. Yashica Kern Paillard

Imagine how much a premium brand's image would be harmed if a bunch of low budget idiots would start using them? I can just imagine the complaints already: "It has shit battery life! I had to buy these expensive V mount batteries, which didn't come with it in the box. Dodgy RED trying to upsell you on hidden costs!" "It sucks at low light when I'm shooting outdoors at night in the forest with my Canon 18-55mm kit lens!" "It broke my PC when I loaded these 8K files into my editor and it crashed!" "This dumb camera doesn't have a portrait selfie mode!" "The autofocus is hopeless, I wish had never ever brought this camera! I'm sending it back and buying a Canon Rebel" And so on and so on and so on the reviewers, commentators, social media, and forum posts would go on and on. Then of course would come the avalanche of dreadful awful looking footage shot with this new "premium" but affordable camera. Because their talent/knowledge/budget/experience isn't even 1% of what the camera is capable of. If this is allowed to carry on unchecked for too long, it would end up harming sales of their high end budget cameras as well! So while I wish Arri would make a $3K camera, I also totally understand the reasons why they wouldn't want to do that.