Marcio Kabke Pinheiro

I use iDrive. Ok upload speed, have the option to backup both to a external drive and the cloud.

My FZ1000 arrived. Good news - everything is working beside the problema that the previous owner said. The EVF looks a little hazy (or I forgot how are the EVFs from the past) but very workable, the lamination of the LCD is kinda bad - but only when the camera is off, with the LCD on it dissapears. Did not test the HDMI, conector looks ok, probably a bad solder. The rest of the camera is in excellent shape - and came with 2 batteries and a 64Gb Sandisk Extreme card. Not so good - the "dust in the lens" is not in the lens, is in the sensor. Since I will almost always use it wide open at concerts, probably will go unnoticed. Will try the "bottle with vaccum cleaner" technique that people use with the LX100, but I do not have very high hopes. If the dust bothers me, probably will use the iFixit guide to get to the sensor - as last resort, the procedure looks easier than most cameras, but the sensor assembly is mounted on springs and probably is very easy to lose the sensor calbration. But for $270 (the prices here of the FZ1000 used are around double than that), I'm happy.

Kind of a lottery. Went to a festival some days ago, they stated clearly "no professional or ILD cameras allowed", which blurries the boundaries even more, hehehe. Did not wanted to risk it, brought an old Sony HX9, some usable stills shots. In the entrance, saw a hipster trying to bring in a Leica M with a 50mm Summicron - not the best combo for a 20000+ people festival, I must say. 😄 The security just asked "it changes lenses" and the idiot said "yes". The guard was in a good mood and just said "ok...go in". In general, they just hate "DSLR style" cameras (hence my preference for "rangefinder" bodies - not for nostalgia, is just everybody thinks it is a film camera). With my m4/3 bodies, the only concert that my cameras were banned was when I brought a GH2 with kit lens (because it looks "DSLR") some years ago...all the GXs, even with tele lens, no problem at all. Probably my X-S10 with the 55-200 would be green lit, but since would be a time consuming trip to my home, did not wanted to risk. But the FZ1000 is getting on just in case, for big festivals could be indeed a good choice - usually the stage is well it and the smaller sensor would be less of an issue.

iFixit have a VERY good disassembly guide, probably will take a look. Same for the lens dust - if it is in the front elements, is very easy to solve; the seller told me that the dust is not visible, hence it could be in the sensor. But in the same guide they show how to get to the sensor, and it is much more easier than most current cameras.

Still hope that lower models keeps the 26mp current sensor with the new processor - which for me, would be ideal.

Unearthing an old topic, because I have a very cheap (US$ 280,00, with a defective HDMI port - looks like only a broken soldering - and a little lens dust) FZ1000 on the way. Music festival / venues are becoming more strict here and started to ban all ILC cameras, hence I needed a fixed lens one. @BTM_Pix, do you remember how your FZ1000 worked with your html commands?

You always note the difference - I tought than moving from the 20mp m4/3 to 26mp X-mount will not bring too much of a difference, but I was wrong. Both in quality and storage requirements... For some instances, 40mp would be very useful. For concert shooting, the ability to crop from 40mp to 20mp would be very welcome. But for "no crop" work, not so much. One thing that was never explained (or tested): if you drop the resolution from 40mp to 20mp in stills, it is oversampled or line-skipped? If you don't need the 40mp for some work, a oversampled 20mp image could both bring less storage requirements AND (maybe) more color accuracy. This would be a very interesting alternative to me - albeit, if oversampled, probably would not diminish rolling shutter (could even increase it). And for video, the 40mp sensor needing to crop to be oversampled in 4k was a HUGE bummer.

...or current days, if you don't use a X-T4 or X-H2. Filmed my daughter's birthday with my X-S10. Ok, I always use Boost Mode ON, but the 1st battery died with only 40 mins of non-continuous shooting... X-S10, with IBIS, just chews smaller batteires.

I thought that you were with Fuji again, I'm not entering here as often and is hard to keep tracking of tour camera changes. 😁 Now I saw that with the X-T5 only have 4k oversampled with a crop. Dunno how is the quality of the not-oversampled 4k, but it is a step back from X-T4. Ok, X-T5 is clearly a stills focused camera, but it is bringing me VERY big concerns about the rest of the Fuji line. I'm a mid-range camera user (have a X-S10 now), and if this 40mp trickle down the line with even worse video specs, it will be a problem for me in the future - I want the (maybe) better IBIS and the better AF, but not downgrading the video quality. My hope: the X-T50 and / or the X-S20 keeps the 26mp sensor (more than enough for me) with the new processor.

About video AF with Fuji, for me they have two serious problems (at least in my X-S10: - Face / Eye detect goes haywire with more than one person on scene - the worst problem for me. If there is a single person, it works very well - not Sony / Canon level, but for me good enough. But when there is more than one person, the focus point jumps around the various people on the scene. Tried to change the focus area hoping to force it to just look for faces in that area, no luck. Yes, you can use the joystick to move through the various faces detected, but right after it will jump to other face. Saw in some review of the X-H2s that now it gave some priority to a face in the determined focus area, but still have the problem. Don't know how it works with other brands. @MrSMWdo you have this problem too? - Beacause of the issue above, the best solution would be using tracking - choose single focal point, put it in the head of the desired person, and track it. But...still no tracking in video from Fujifilm.

With the same aperture - yes, bigger and heavier. But if you put the 16-80 f/4 on the X-H2 (I know, it's not a stellar lens, but playing with equivalency and rage), almost the same size, a little bit heavier but far more range... https://camerasize.com/compact/#887.1042,891.853,ha,t

Launched today. One curious thing: it is a 26mp sensor, instead of the 24mp sensor of the A6xxx line. Probably the same of the Fujifilm XT-4, but with Bayer.

The XH2s are VERY compact - smaller than the GH6 and pratically the same size of the OM-1. And if you use the Olympus PRO lenses or most of the more professional m43 lenses, the m43 size advantage becomes negligible (and, in some cases, the weight also). But they are not for me. My perfect Fuji camera would be a X-E5 with IBIS, with the back dial and some buttons back, and a little better EVF. But will not happen. In fact, it will be kind of a problem in the future because I don't need 40mp...

Very sad here with the news, Andrew. Even more because now I have a daughter, that will make 4 on Saturday - I can relate with this kind of pain. There is no words that can help with this. All we can do is send some good whishes for better times ahead. Be there with Arabella, Liam and your mom - all of you will need each other. Things are kind of hard here too, but I made a little contribution - more to show our love than for the value. Hang on and take all the time needed. We will be here.

I've started seriously with photography and video with m4/3. As the opposite of the majority here, I'm no professional photographer or filmmaker. Probably could be classified as "enthusiast". I like to make movies and stills on my trips, love to film or photograph live concerts, even made some videos for some friend's bands. m4/3 was perfect for me - VERY small lenses, does not attract any attention from people when using them on trips, always been dismissed by security at concert's doors (only happened one time, with the GH2, that looked like a DSLR...), and could carry all the lenses that I needed in a messenger bag. In my last trip, before covid, had a GX85 with the 12-32 pancake zoom, the Panasonic 42,5 f/1.7, the Panasonic 45-175 and a Rokinon 12mm f/2. Never got in a situation during the trip that I needed other lenses. To be kind of invisible on trips and concert, I had a primary rule: never use a body that looked like a "professional" DSLR. For this reason, "rangefinder" bodies are my preferred, most people even mistake them as film cameras. Had the GX7, GX85 and GX9; and midrange Olympus silver bodies for the same reason: E-M10 MK I and III, E-M5 MKII. No more GHs after the GH2, or E-M1s. Then I sensed the tide - m43 probably would become a niche format. Full video for Panasonic, wildlife and adventure for OM Digital. The horrendous G100, the E-M10 MK IV and E-P7(which was already developed before the spinoff) were the last discreet m4/3 cameras - and I see no signs of them returning. And yes, I think that the future of the format is in danger - OM Digital must sell to keep afloat, and Panasonic could pull a Samsung in any moment. Lenses, same thing. With the exception of the (amazing, in my opinion) Panasonic 9mm f/1.7, almost only Olympus PROs and the Panasonic f/1.7 duo. Big lenses, APS-C size or bigger when you brings equivalency on the equation (and I, contrary to most people, looks on equivalency most about low light that depth of field). Coupled with the fact that here in Brazil Panasonic and Olympus never sold their cameras officially, and the prices are very high, I started looking to APS-C. Easy choice: APS-C was already left to dust by Sony (albeit the newer primes are good, the bodies still sucks), Nikon and Canon did not have options at the time (EOS-M was out of question, and the Nikon and Canon APS-Cs mirrorless came after and still have very few lenses), and I gone to Fuji. Fuji is much better then m4/3? Compared to my previous kits, kind of. But not always. First: weight. The retro cult of Fuji lovers despises anything that is plastic, hence the lenses are kind of heavy compared to my previous ones, but not using equivalency. The 18-55 f/2.8-4 is AMAZING compared to the smaller m4/3 zooms; never thought that the m43 zooms that I had were bad, but this one is another league; ok, I could have the Oly 12-40 f/2.8, but it is larger, heavier and pricier. The 55-200 is VERY good too. The "Nocticrons" are lovely. Tiny, sharp, have the 35 and the 50, probably will get the full set. Are the "Olympus 45mm f/1.8" of the system. But to make the same equivalent travel set of my last trip will be heavier. Would like to see some "Nocticron zooms", f/4 or even f/4-5.6 - the Sigma 18-50 f/2.8 is an example, will get one as soon Sigma releases a X version. Another problem on Fuji is IBIS. I have the only "discreet" body that have it, the X-S10. If the X-E4 had IBIS, would had bought it on pre-order, but...purists won. And would have 2 interfaces, PSAM and retro-dials, have a little bit of preference for PSAM (works better with custom positions), but no problem with retro ones, just wants consistency. Fuji is better for me now, in comparison, because of two factors: - PDAF all across the line - for single AF...m4/3 is better, a tiny fraction but a noticiable one. Could be the larger DOF, but in S-AF it was a little faster and confident. But for moving subjects (almost never used C-AF before, but now I have a little daughter...), MUCH better. Good rate for stills, and for movies, more than good enough. Ok, I never had a PDAF m4/3 camera, because only the E-M1s and the E-M5 MK III had it, but this week I filmed my daughter going back and forth on a swing, with very good AF, a thing that was impossible from my previous cameras. - Possibility to pull in focus DURING recording, withour recording the enlarged image - is a thing that I've always wanted when filming concerts, and in the m43, only was implemented now, on the GH6...now that I have it, could not go back. Worst problems? - The IBIS is kind of bad for vídeo. Looks like the same algorythm is used for stills and video, very jumpy on vídeo. Not a deal breaker, but even my GX85 was better. And from the samples that I saw, were not fixed in the both the X-H2 models. - No tracking on video. And the face detection have a serious problem - works VERY well when you have only one person on the frame, but put two or more people and the system goes crazy, jumping from face to face. You should have an option to lock on a specific face, or have tracking. Sold a lot of my m4/3 stuff already, kept the GH2 and the E-P1 (for sentimental reasons and low value nowadays), will keep the 12-32 pancake and the 45mm f/1.8. And I have to confess that the OM-5 look like an almost perfect camera for me - good PDAF (juding by the OM-1 performance), small and not "DSLRish" body, good enough video, and that amazing IBIS. But will not have focus pull assistance during video, no smaller and lighter revised zooms on sight, and the future of the format still a danger.

Saw an article somewhere talkin about this new "joint venture" between Panasonic and Leica, and mentioning that "PDAF is a possibility". I guess that it is a good "way" to move to PDAF without having to admit their "defeat" on DFD, saying "with the joint collaboration with Leica we could bring a new AF method", something along these lines. Panasonic was stubborn for ages to not implement IBIS in their cameras, saying that OIS was a much better solution - until they caved in because of the Olympus's IBIS success, and now they have one of the best stabilizations on market. Japanese pride make camera manufacturers VERY stubborn.

Most interesting of this camera is the media part -only one CFexpress Type B, and a massive 1Tb internal PCie SSD. Connect the camera in the computer using it's USB-C 3.1 Gen 2 port, and file transfer is fast as hell, or use it as an external SSD and edit the files without transfer. About the new resources (PDAF, IBIS), let's see the tests. One thing is implement PDAF and IBIS, other is implement it well.

Manufaturers will not allow it now, afraid of a massive lawsuit from RED.

Gone to do some research in gsmarena, that usually do some very technical reviews. The Fold 4 uses the GN3 sensor, 8160x6144 resolution, and yes, the stabilization is electronic. Since 8k is 7680x4320, probably Samsung is using gyro data to do the stabilization on the fly, using the extra area of the sensor as a "fluctuation" zone to avoid cropping. Probably with more shaky movements, this extra area could not be enough and could be more jumpy, @markr041 could test this. But why Sony and now Blackmagic don't perform this on-the-fly gyro stabilization in their cameras, since both have internal gyro data? Simple - camera chipsets use much older technology and could not touch the grunt power of a modern smartphone chipset. Last note: looks like the Galaxy S22 have an even better sensor (GN5) and uses the same kind of stabilization (it have OIS too, but looks like that there is no option to choose between OIS or OIS+EIS, only both or nothing).

Now imagine a NX2 with this kind of stabilization...

That's why I only mentioned the smallest gimbals out there - I only use small cameras / lenses as possible (that's why I will never go full frame unless there is no option), and the smallest possible gimbal, to attract minimum attention on the streets when travelling. My last setup travelling pre-Covid was a GX85 with the 12-32 and the OG Crane M. Not a single glance from anyone. My current camera is a bit larger (X-S10) but the G6 Max is much smaller than the OG Crane M (it indeed almost look like a bottom handle), probably will not get attention too. But you are right, with a monitor and cable, probably will not be so discreet. And @webrunner5 have a point too, gimbals have a visual very different from handheld.

Probably a small gimbal is the solution. The newer Crane Ms and the Feiyu G6 Max (I have one) and the newer Scorp Mini could easlily handle a OG BMPCC and a 12-35 2.8. Even the original Crane M, that could be bought very cheap probably could handle it.

GX80 works wonderfully with the @BTM_Pix hack to get Cinelike-D. When I had one, used it with Leeming Lut for Cinelike-D and the colors were amazing.

Yep, they revealed today that all the BMPCC cameras (4K, 6K, 6KG2 and 6K Pro - not the OG BMPCC, of course) already had an internal gyro that is now enabled, and the data could be used to stabilize in post using Resolve.

Probably one of the most "one more thing" surprises of the last years - even the BMPCC 4K had the hidden gyro sensor. 🙂 Only problem with gyro stabilization is that a crop is needed - more movement, more crop. In the Grant's demo you can see it clearly, the boat shot have a bigger crop than the person shot. A great thing (in theory could be done in firmware, but probably would spend a good deal of processing power) is that the camera uses the gyro data to estimate the crop and provide a crop box on the fly. Probably kind of complex to implement. But in the 6k, if you already plan to deliver in 4k, you could leave some room for crop already. And the stabilization looks solid, a very welcome feature for the cameras.