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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!

17.7mm vs 26.7 mm , an adapter should be doable! Would be a tighter fit though for the electronics. However people who buy GFX lenses (they're very expensive) is an extremely small niche of buyers, an adapter wouldn't sell many at all. And I doubt a Fujifilm FF camera should be made, as Fuji would just run into the same problems Sony did. (if not even worse, for Fuji) As Sony never started out with planning to make a FF mirrorless camera, thus when they decided to later on they had to face the decision of: 1) ditching E Mount and creating a new mount, like Canon has done with EOS-M (then making RF Mount instead) 2) squeezing in a shoehorned FF sensor into a mount intended for APS-C, with all those compromises that mean (such as Sony's IBIS never being as good as the competition) I personally think Fuji has been very smart here. They realize they're too small to compete head to head against the big guns of Canon/Nikon/Sony FF. Instead they've got the double headed strategy of: 1) embrace the essence of the purpose of mirrorless, high quality but very compact camera packages. A Sony FF kit will never be quite as compact as a Fuji APS-C kit (Olympus is taking a similar strategy here, but leaning the quality/compact balance further towards the compact side). This allows Fuji to sidestep competing directly against Canon/Nikon/Sony, and Fuji can instead play to their own strengths. 2) bring out mirrorless medium format cameras positioned above FF cameras. As Fuji is gaining the first mover advantage in the medium format mirrorless market, and in the long run sensors will become cheaper and cheaper. Eventually medium format will become "affordable" for even the average joe, just like has happened with FF cameras. Today an entry level FF camera is one anybody could buy, FF is no longer super expensive like it was back at launch. (imagine a world where a Medium Format camera only costs a few hundred bucks more than a Full Frame camera??) It's a nifty business strategy, sidestep the white hot intense competition in FF bodies, and instead bring out the very best there is one stop above and one stop below FF. (which also handily positions Fuji's own products two stops apart, which is a good distance to space them apart. Prevents their own products being so directly in competition with each other as they're spaced far apart. Interestly, Panasonic has a similar strategy wih a gap apart of two stops as well with their cameras: but MFT vs FF, instead of APS-C vs Medium Format) Is a bold strategy which is a bet on the future that Fuji (and Panasonic) are making: They're betting that with time the performance of their smaller sensors will become so good, many people will happily compromise in exchange for having a small compact kit. They're also betting (this was a much eaiser bet for Panasonic to make, than for Fuji. Except that Panasonic is fighting in a tougher market niche... against Sony/Canon/Nikon) that the prices on their large sensors will come down in price far enough that they can become relatively mass market products and not just a small small niche.

You can't freeze time or be satisfied for very long, where's the fun in that... Always chasing knowledge, perfection, performance is what this forum is about. I find it fascinating that the image in ProRes RAW on the Z6 has the weird attributes it does compared to the internal H.264. I guess that makes me a camera nerd. So be it.

Hey guys! Got a stupid good deal on Zeiss Distagon 35 f2 T* i’m getting it next week. $300 Anyone used this? Comments concerns i should know about? I already have FF gears that will fit but just wanting everyone’s experience with them. Either way, I plan on sharing usage over with my photo camera too.

I am not always chasing the next great latest thing, but when my wedding season finished last October, I sold pretty much all my kit in anticipation of Fuji bringing out something like this for the 2020 season. I shot XT3 for video last year and XH1 for video the year prior and kept a single XT3 body which should now move to backup and personal/travel camera with the 16-80 zoom. The plan is also to move over fully to the f2 primes for their compact size, weight and af speed. Happy days, please don’t cock it up Fuji. All I want for Easter is 4K 60P and IBIS, Eterna & Classic Neg. I am not so bothered about battery life though would welcome it and do not care about 6k at all, but 100/120P 4K with audio capture would be appreciated! Otherwise pre-ordering a pair. Nikon Z6 and Panny S1 came closest to my XT3’s but neither could replace.

By the way a lot of things have been discussed in the previous tread you can find it here I would prefer it if there was only a single place to talk about the sigma fp, because it would be easier to follow the discussion.

If Fuji made a dedicated cinema camera with a large format sensor and the GFX mount totally by passing mid tier S35 and FF cine cameras would be insane.

"camera: EOS-M with MagicLantern, lens: Angenieux 8-64mm Super 8 zoom, recording format: MagicLantern 14bit raw" :

Maybe it will have a boutique carved ironwood grip?

Me in a camera shop.

This is exactly why I think Panasonic with stay with MFT at least through the GH6. They have a massive group of users that want a full featured video camera for ~$2000. MFT lets them do that. It's impossible in FF at least in 2020.

I think that Arri are currently quite comfortable concentrating on and dominating the high end market.

Personal View covered it. Been a long wait for it. They'd be better off keeping it under-wraps then surprising everyone, and then releasing it.

I'd go GFX 100 Larger sensor IBIS Phase-detect AF Excellent 10bit codec, not too huge file sizes Very good EVF Much higher resolution stills Better ergonomics for video (i.e. tilt screen) and more features

ffmpeg is multiplatform and only uses its own, included codec library (here is a complete list of all encoders). Performance is practically the same on Windows, Linux and MacOS, although the program is chiefly developed under Linux. Hardware acceleration indeed degrades the export quality to h.264 or h.265 if you use the (very fast) on-chip encoders of Nvidia and AMD GPUs. The CPU-only x264 and x265 codecs of ffmpeg yield much better image quality, especially if you use the "slow" or "very slow" encoding preset and the "film" tuning parameter. (They are also available in the Handbrake GUI.) You pay with much longer encoding time. Optionally/alternatively, ffmpeg can also use the Nvidia on-chip encoder (nvenc, which you can select in Handbrake as well). For me, as a commandline person, it's easier to just type "ffmpeg -i myvideo.mxf -vcodec libx264 -b:v 18000k -tune film -preset veryslow -b:a 192k myvideo.mp4" than clicking through Handbrake's menus, but your mileage may vary...

"Except for none crop 4K" "Except for RAW at 60/50p" So it only works in Super 35mm crop mode ALL-I... There is no crop mode RAW. That's my reading of it.

It's good to have the options, just the P4K is a more sensible choice for more people. I had the money and the will to buy the 6K, just couldn't justify the workflow and the inconvenience however hard I was pushing it in my mind! @BTM_Pix I didn't want it to sound like an "I told you so" comment, sorry if it sounded like this, that wasn't even the case back then, I was typing with the one hand doing sound with the other and I didn't really processed my replies! I was trying to find another comment, that it was spot on about the popularity of two cameras but I just found the above, and that's that. I still believe that the next step will be 8K and that will be our next purchase, until then we will see a few more 6K cameras, when the market will be more mature.

Oh many companies keep their prices quite similar (or only modest reductions) over the lifespan of a product. If you really want to get a big shock, look at the price of a Sound Devices 552! Still available to buy brand new today from many stores, and listed by Sound Devices as a "current product": https://www.bhphotovideo.com/c/product/650181-REG/Sound_Devices_552_552_Portable_5_Channel_Production.html It's over three thousand dollars, and it was an amazing machine for its time. (I've got one that I started out with) But "that time" was OVER A DECADE AGO! Since then you've had Sound Devices 633 / 664 / Zaxcom Maxx / Nomad / etc all come out at similar prices! Which are all much much MUCH better recorders to choose instead. (not to mention the competitive pressures from the Sound Devices 688 / 788T / Sonosax SX-R4 / etc coming down on price on the secondhand market, you can get a secondhand 688 for only slightly more than a new 552!! And a 788T for nearing on half the price of a new 552. Plus of course the huge destructive wave of cheaper machines attacking from below with the Zoom F Series and Sound Devices MixPre series) Yet the 552 remains for sale, but not discounted at all, not a penny. You'd have to be bonkers to buy a brand new 552 today in 2020.

Who here would buy a Fujifilm GFX 50R if it was half the price and had 4K 10bit in it? Instead of a Sony/Canon/etc FF Mirrorless for the same mid two thousands price. That hasn't happened yet, but it will happen this decade for certain. As sensor costs continue to fall.

Here is a new skit I have made:

I think the G6 was the first Panasonic to have focus peaking. Weirdly enough I forgot the GH3 existed until you mentioned it... LOL. Even weirder, I always liked the image from the GH3. That 90Mbps All-I looked great and it had a great build quality... I wonder how much they are selling for?

HF??? Do you mean "RF mics"? You ideally need more than just lav mics to do a car scene well. Does you sound mixer have experience doing car scenes?

Last but not least from our good fellow @ZEEK:

A couple more in todays feed.... First up is Blondihacks making a tripod-screw-adapter from scratch on the lathe. Takeaways from this is a magic arm on a magnetic mount and metal plates mounted above the work areas. Its interesting to see the quality of the video and that it's shot entirely on a smartphone. Especially when you juxtapose her track record of high-quality videos which are at least partly monetised through Patreon, with her obvious naivety around the world of the DSLR. and next up is a BTS on a cooking video from Peaceful Cuisine (Ryoya Takashima). Here's the finished video: and the BTS vlog: No idea what level of monetisation is going on here, but considering it's shot on GFX100 with a Sony appearing in the video too I'm expecting that he's got a job and this is a passion / side-hustle. If you're thinking you want to get into YT then this is your competition.

Do you need a mic input? Cause the GX85 (GX80 overseas) is a KILLER camera but it lacks a mic input. I got it as my c-cam for multicamera shoots. Combined with the 35-100mm f/2.8 it blows my mind. You could always attach a Zoom H1 or something for better audio.

I was watching a TV show last night and they had some cool spy vs spy stuff through the streets of Hong Kong, and it was shot well, had great colour science, the story was engaging, but it felt like a home movie. I've watched several seasons of the show and other sequences didn't have the same feel. I worked out that it's because I'd been to where they were filming. I've increasingly noticed this trend - if I've been somewhere then it doesn't seem so exotic anymore, it doesn't have that 'other world / smooth / detached' feeling that something being 'cinematic' feels like to me. Some of my favourite travel videos have transformed over the years from spectacular experiences to slightly awkward sequences of shots of places I've been. Does anyone else find this?

I don't have any direct personal experience of them but I these two Canon ones do get full coverage albeit at a reduced short end.

Thanks, I've seen some Varizoom Lanc controllers but I think I just need to bite the bullet and buy the Ursa Hand Grip because that really has the simplicity I'm looking for. That paired with the BMPCC Speedbooster and the Canon 17-55mm seems like a great minimalist handheld set up. The problem with that setup is that the total cost would put me in the P4K price range and I'm unsure if it's a wise investment at that point and I don't know if the total size would be much smaller... OT - Do you know of any good 12-75mm c-mount lenses that cover the S16 sensor of the OG or the P4K crop mode? I have the Cosmicar but it vignettes heavily as I believe it's designed for 1/2in sensors. It was a beautiful little parfocal lens with the EOS-M in ML crop mode though. I'll probably just use my 5D3 for another few years... LOL. Seriously though, I think I can't conceive shooting in anything less than native full frame raw/ProRes. Completely OT - I don't know if I ever thanked you for turning me onto Samyang lenses, but the 50mm 1.4 continues to amaze me on my 5D3... So cheers... for continuing to be one of the most helpful members on this forum!!!

@Video Hummus The Laowa Argus lenses will be primes. @Stab There are a few longer S35 zoom lenses: Sigma High-Speed 50-100mm T2 Angenieux EZ-2 15-40mm T2 Angenieux EZ-1 30-90mm T2 Fujinon Premier 14.5-45mm T2 Fujinon Premier 18-85mm T2 Better off using a focal reducer with a full frame f/2.8 zoom lens. You get almost equivalent depth of field, longer zoom ranges, many options and much lower costs.

You can also use a 360 VR cam... Full thing: here btw (campaign is long over, but info can be found here). That's like the only VR 360 application I actually thought was a promising format. I could imagine a 'who dunit?' crime video/game, where you have to pay attention and catch clues of who killed who and schtuff. Otherwise I never found implenations of VR that interesting.

I will be surprised if Resolves does rescale in anything different than the image native gamma, that is in whatever gamma the values are at the point of the rescale operation. But if anything, some apps convert from sRGB or power gamma to linear for scaling, and then back. You can do various transforms to shrink the ratio between extremes, and this will generally reduce ringing artifacts. I know people deliberately gamma/log transform linear rendered images for rescale. But it is mathematically and physically incorrect. There are examples and lengthy write-ups on the web with what might go wrong if you scale in non-linear gamma, but perhaps most intuitively you can think about it in an "energy conserving" manner. If you don't do it in linear, you are altering the (locally) average brightness of the scene. You may not see this easily in real life images, because it will often be masked by detail, but do a thought experiment about, say, a greyscale synthetic 2x1 image scaled down to a 1x1 image and see what happens. I have a strong dislike for ringing artifacts myself, but I believe the correct approach to reduce these would be to pre-blur to band limit the signal and/or use a different filter: for example, Lanczos with less lobes, or Lanczos with pre-weighted samples; or go to splines/cubic; and sometimes bilinear is fine for downscale between 1x and 2x, since it has only positive weights. On the other hand, as we all very well know, theory and practice can diverge, so whatever produces good looking results is fine. Rescaling Bayer data is certainly more artifact prone, because of the missing samples, and the unknown of the subsequent deBayer algorithm. This is also the main reason SlimRAW only downscales precisely 2x for DNG proxies. It is actually possible to do Bayer aware interpolation and scale 3 layers instead of 4. This way the green channel will benefit from double the information compared to the others. You can think of this as interpolating "in place", rather than scaling with subsequent Bayer rearrangement. Similar to how you can scale a full color image in dozens of ways, you can do the same with a Bayer mosaic, and I don't think there is a "proper" way to do this. It is all a matter of managing trade offs, with the added complexity that you have no control over exactly how the image will be then debayered in post. It is in this sense that rescaling Bayer is worse -- you are creating an intermediate image, which will need to endure some serious additional reconstruction. Ideally, you should resize after debayering, because an advanced debayer method will try to use all channels simultaneously (also, see below). This is possible, and you can definitely extract more information and get better results by using neighboring pixels of different color because channels correlate somewhat. Exploiting this correlation is at the heart of many debayer algorithms, and, in some sense, memorizing many patterns of correlating samples is how recent NN based debayering models work. But if you go this way, you may just as well compress and record the debayered image with enough additional metadata to allow WB tweaks and exposure compensation in post, or simply go the partially debayered route similar to BRAW or Canon Raw Light. In any case, we should also have in mind that the higher the resolution, the less noticeable the artifacts. And 4K is quite a lot of pixels. In real life images I don't think it is very likely that there will be noticeable problems, other than the occasional no-OLPF aliasing issues.

I believe he may have used Emotive on the Ursa portions; he is a huge fan of GHa and has P4Ka as of 3 weeks ago. The rolloff on the sunny leaves etc. feels right, but the colors are very off and green; its a safe bet that the Ursa has quite a different color science than the P4K, and will need its own conversion (working towards that day)

He doesn't need to prove himself! He has an opinion and that's that. It's not a photo competition. The skin tones are pretty dreadful in my opinion as well, but it's not ideal light.

I moved from a GH1 to a G6, it is just so much better, and the G6 is now so dirt cheap I'd struggle to recommend for settling for anything cheaper. (then again the G7 is only slightly more.... it is a slippery slope! Next step each time just being a little more)

His response to me was "Bad skin tone from a Professional Sony photographer. Let me in and I'll nail the shot and skin color with a Canon." "His photo's are bad. No anticipation, very bad composition , bad color, nothing dynamic, missed focus." I'm giving him the chance to prove himself. ?

This topic is fairly interesting to me. Let me pretend to know what you guys are talking about and summarize the issue. When the sigma FP is debayering the raw footage; it seems to be causing artifacts because of the algorithm it is using - a firmware update is needed to cleanup the out of camera video by using a better algorithm. Also, since RAW is RAW, davinci resolve needs an update to better read the sigma fp raw footage because it too is adding artifacts to the footage. If those two things were fixed. Most importantly, the better support of FP raw within davinci, than for $1.8k, this is a really good camera for the price. Am I seeing everything correctly? ?

I sold my BMPCC4K. I kept my 2 OG BMPCCs.

I'm perpetually baffled that nobody has release an APS-C lens to rule them all yet. Something to replace the aging ~18-50ish lenses already on the market. I guess the companies all know that APS-C & DSLR's are going to die out so they've pretty much given up on them. I'd love to see a standard cinema zoom made to fill the current gaping hole in the market though. Something like a 19-60 f/2.8 version of Sigma's cine lenses, available in EF or PL. For $3500 that would be an absolute winner for every person who owns an FS5/7, C100/C200/C300, URSA, BMPCC 6K, Raven or EVA1. Everyone I know using those lenses is still holding onto ancient Canon 17-55's or speed-boosted 24-105's and would be happy to upgrade them if something came along. The lenses that have come closest so far are: Fujinon 18-55 T2.9 - but doesn't fit EF/PL Sigma 18-35 T2 - not long enough for "all-purpose" shooting Red 17-50 - PL mount only and no longer in production.

This video, at the very beginning, shows aliasing color artifacts. It is claimed to be ProRes RAW. But the aliasing color artifacts could be from debayering color moiré due a lack of AA filter, of from pixel skipping in the RAW codec. It is hard to tell if not also the same footage was captured in N-Log. BTW ... and to avoid any misunderstanding ... I do NOT say "aliasing is an issue". I say Nikon aplies pixel skipping in their RAW data pipeline. As with debayering color moiré, I expect plenty of footage where its effects can't be noticed. I even remember the early days of the D800E (stills photography) where people claimed debayering color moiré would never be seen. It took a while. But today, it is pretty well understood when to expect, and not to expect, color moiré. Mostly in very fine farbrics of fashion at a single critical distance actually.

I think 1917 did a great job of keeping the film exciting, but it is not "action-packed" like most action/war movies. It feels very realistic. It's more stressful and tense than high-flying action. And, like in real life, any fights are messy and realistic. I really think they toed the line very well of action and reality.

"Difference" in what manner? In terms of ROI? Yeah, I'd say the difference for most people is quite significant. You'll see two dozen job adverts for a "FS7 shooter" for every one looking for a C300mk2 owner.

They're just such radically different cameras, puzzles me how someone can swing to considering an a7 one moment to GoPro the next! (or even the reverse, GoPro to a7) They were even selling for sub $200 brand new, is a pity the current eBay prices don't reflect that. (the Z Cam E2C is another really cheap Z Cam camera if you're not aware of it, pricier, but close in price to the E1 than to the E2)

So I just did that - but I had no resolution chart at hand, but used a fine-pattern silver synthetic fabric to provoke moiré in the camera. With the Sigma 45mm/2.8, I did two shots, both at f8 and 11 degree shutter: - one UltraHD CinemaDNG shot; - one 24MP still DNG shot. I processed both in RawTherapee (but without False Color suppression filter): 6K (24MP) still DNG 4K (12MP) CinemaDNG The difference becomes already visible here, but for 1:1 comparison, I opened the 24MP still in The Gimp, scaled it to 3840 horizontal pixel (using cubic scale) and cropped it from 3:2 to 16:9 aspect ratio: still DNG, scaled & cropped to 4K 3840x2160 Now let's compare the 4K still DNG and the 4K CinemaDNG in a 1:1 center crop: CinemaDNG still DNG, downsampled to 4K While there's visible moiré also on the still DNG, the result in 4K CinemaDNG is much worse, very obviously because of a problematic scaling method. (Scaling an undebayered 6K/24MP Bayer matrix into an undebayerd 4K/12MP Bayer matrix, and probably not using the best algorithm for that.) The result is both an excessive pronunciation of moiré and (compared to the downscaled 6K) a blurry image - much like in the good' old Canon video DSLR times... One more test: center crop from the still DNG, this time downscaled in the Gimp from 6K to 4K without any pixel downsampling, but with line skipping ("Interpolation off") - still DNG, line-skipped from 6K to 4K Moiré is more pronounced than in the downsampled still, but still not as bad as in the CinemaDNG. So I really suspect the culprit in the transformation of the undebayered 6K to undebayered 4K, probably through crude line skipping/heuristics.

Oddly enough, you'll actually see a Renault engine on some of them, including the A class. https://www.smartmotorist.com/mercedes-engines

It's been done - the JVC LS300. Fantastic implementation, too. It just wasn't popular enough of a camera to spark a movement.

Shooting with it yesterday on a C300 II and I had the same thought - really wanted it to be longer. It's just too limiting, but the f1.8 aperture is too good to pass up. 16-55 f2 would be amazing, but I'd take an 18-50mm f2 in a heartbeat.

I had so much fun shooting with Mavic 2 Pro. Felt like a kid who got his first video game console. H265 in 10bit holds up surprisingly well. I graded my video in HDR and didn't experience any issues other than slight banding in the gradients.

Please provide evidence for any of this. Or not. I don’t care because at this point all you’ll share is fake news vitriol. What leftists have decided they can do is pick a position, scream it as loud as they can until they and everyone around them believe it’s true. If they want to punch you. Well they say it’s ok to punch Nazis. Then label you a Nazi. Then punch you. Regarding “confessed aspiring rapist” I assume you’re referring to his pu$$y comment. Which anyone with half a brain knows was said and meant as an exaggeration. Like “I’m going to kick his ass.” But I’ve never seen anyone actually kick someone in the ass. Fake news. Regarding “criminal”. No obstruction. No collusion. Fake news. Regarding “diagnosed compulsive liar” I haven’t heard this one. I mean I’m sure he lies or has lied. I would never attempt to defend this. But Hillary anyone? Fake news.