BrunoCH

The full specifications are published
https://www.tascam.eu/fr/ca-xlr2d

Do you know on the XT4 with the latest firmware update, you can choose the threshold of the overheating auto-off protection? It is now possible to record at least 40 minutes ; 4K 60p H265 10bit.
Watch this video at 2'50 and 4'01mn
 

Do you know on the XT4 with the latest firmware update, you can choose the threshold of the overheating auto-off protection? It is now possible to record at least 40 minutes ; 4K 60p H265 10bit.
Watch this video at 2'50 and 4'01mn
 

You can read this, on this page
https://www.doc-diy.net/photo/remote_pinout/
Fuji (Fujifilm)
Fuji has currently three types of wired shutter release connectors.
2.5mm Jack Plug
Some of the Fujis have the standard 2.5mm jack socket to connect the microphone. This socket also serves as a shutter release socket. The wiring is compatible with Canon and Pentax (see above) and cheap remotes designed for these brands can be used. 
So the fuji remote control works like the RS60-E3 cannon remote control.
And you can read this on this page
http://www.camerahacker.com/RS60-E3_pin-out/pin-out.php
When the button on the remote control is pushed half way, contact section 1 and 2 are shorted together, causing the camera to focus. When the button on the remote control is pushed all the way, all three contact sections are shorted together, causing the camera shutter to be released. Pin 1 is actually the ground connector. Therefore, it's pin 1 and pin 3 that causes the camera to trigger.
1 - ground
2 - focus
3 - shutter
When you build your own camera interface, you can split the auto-focus and shutter release function by using two switches or use two independent circuits.
 
Now I think I have everything I need. I will try to build my trigger button this weekend. I will use wire 1 and 3 on the momentary button and hide and protect wire 2. 

Yes, I like that. I hope it works safely that way, that makes things a lot easier.
 

Thanks Jay60p for the answer, but I think the diagram is more like the one I corrected. Just thinking about how the stereo audio is connected. I think I'll try to connect only 1 and 3 on the momentary button and I won't use 2. Just to trigger the rec. but I'll continue to do some internet research first.  

That looks like a single pole, single throw, momentary closed switch.
Possibly what he did, in that video, was connect the 1 & 2 contact wires in the
Vello harness to one switch terminal on the push button, and the contact 3 wire to the second switch terminal.
Using the push button in this way would be the equivalent to holding the camera's button down half way
during switching it on, then full press for recording (and back to half press), full press for stop recording (and
back to half press), then turning off the camera (while holding half press). In other words, the camera will
always be in half press mode. I tried this and it works on my X-T3, you should try it on X-T4.
I would investigate this further online, maybe talk to Fuji support.
 

The trouble with that wiring is you need intermittant use of half press for AF-S focusing. It also stops focus check (hi magnification) from working in manual focus mode. And probably interferes with a bunch of other things, like no playback!
It may be that he just directly connected 2 and 3 contacts to the switch , but I won't try that unless it's been shown to be safe by a reliable source online.
 

Here is a diagram I worked out for the X-T3:

This is what I found inside my Vello remote for X-T3.
I attached external wiring to 2 & 3 for remotely firing off frames when digitizing my Arri II 35mm timelapse footage, a frame at a time run by a geared down motor. The X-T3 results are excellent. My major project at the moment.
 

I have the 25, 35 and 50mm of this Meike cine lenses. The only downside is the lack of focal length wider than 25mm for X-mount. An optic around 18mm would be really the best.
Otherwise, it's good and really good : Long focus throw / Focus ring is very smooth / No focus breathing/  10 pieces blade /Incredible optical quality / An incredible manufacturing quality (I haven't seen a single dust inside my 3 optics) / All is metal.
The 35mm is the focal length I use the most because it's the basic focal length on an APSC sensor. 
 

There is no difference in "gradeability" between 420 and 422.  The big difference about "gradeability" is 10bits vs 8 bits. F-log is better too. ProRes is better than H265 for hardware but it's another question. 

There is no difference in "gradeability" between 420 and 422.  The big difference about "gradeability" is 10bits vs 8 bits. F-log is better too. ProRes is better than H265 for hardware but it's another question. 

I tried one more time today

No. Not easy to manually focus with two side handles.

16mm on veydra covered the 16:9 area on apsc Sony, I saw it on my own camera. On 3:2 full sensor there was vignetting in the corners. I looked for the 2 or 3 shots I took at NAB 2017 but not finding them 😕 so I have no proof but my word.

There is absolutely no problem to match these three lenses with the 10-bit F-log. 

Yep, its a killer. Only shows up in certain situations but when it does it makes footable pretty unusable at least to my standards. 
 
Beautiful! Some micro jitters at the very start but very nice. 

Nikon 16-35 F4, 24-70 2.8, 70-200 2.8G (First Version)

These lenses offer a great range and color with a matched look. For used prices they are a great way to cover a huge zoom range with full frame coverage.

Do NOT go for the 17-35 2.8, overpriced with ugly distortion and bokeh.

Nikon 24-70 2.8G  on Sony F3

Not possible : Apple Prores raw is a raw pattern bayer image. GFX is a normal bayer sensor , not the case of XT serie with an Xtrans sensor.

Hiya!
Another extensive post coming from me - brace yourselves!
Long story short: I tried to minimize my 35mm eqv. setup and see what potential drawbacks would this bring.
 
Left side: newly acquired Newyi 25/1.8 CCTV C-mount lens bought for astonishing 23$.
Right side: Zhongyi Lens Turbo II + Nikkor 35/1.8 G (officialy it's a DX lens [meant for Nikon APS-C cameras], but it happens to cover FF quite nicely).

 
Goliath vs David:

 
Operation-wise, it's difficult to pick a clear winner.
Newyi, being a CCTV lens, is so tiny that it's rather tricky to wield, even with my  small fingers. Aperture ring is stepless and smooth, whereas focus ring is a bit stiff near infinity.
Can't say a bad word about focus throw or focus zones overlaying one another - those are all good and allow to precisely nail the focus.
Nikkor, on the other hand, isn't the most intuitive lens and is rather quirky to operate manually. There are no focus marks and the focus ring has little steps that can be felt while fine tuning.
There is no aperture ring and the only way I can affect the aperture is via an AI - EOS adapter with built-in aperture lever.
Having said that, Nikkor simply feels better in my hands. It may be bigger, heavier and not meant for manual use, but it is what it is.
 
Newyi is advertised as a f/1.8 lens, yet it doesn't gather as much light as it really should.
The same scene, shot in the same conditions, required a shutter speed of 1/60 when I used Newyi wide open, compared to a shutter speed of 1/105 when I used Nikkor (via dumb adapter, not a speedbooster).
Speedboosted Nikkor gave me a reading of 1/160.

That's a 2/3 EV of difference, which makes Newyi rather a T/2.2 (if not less) lens, not a T/1.8 one.
Speedboosted Nikkor is almost a T/1.4 beast.
 
Field of view between those two is almost identical.
Nikkor has some serious barrel distortion, but it's due to it being a DX lens.
 
Sharpness and contrast:
Wide open Newyi is not only tack sharp in the center, beating the Nikkor easily, but also free of any noticeable aberrations/fringing.
Unfortunately, it's less contrasty and introduces some ugly beige/red tint to the shadows.
Some 100% crops.

 

 
Those are my thoughts after owning the Newyi for 3 hours.
I really wanted it to replace its bigger competitor, but to me contrast, color rendering and ability to gather more light is more important than sharpness and portability.
 
Nonetheless, the fairy tale has a happy ending and Newyi managed to find a new host - Sony NEX-5.
I hope my sister enjoys it, lol.

 
Here is a photo taken with it on a NEX-5:

And a 100% crop:

Nice work !
Funnily enough I was Place de la contrescarpe and right where you were in the quartier latin doing the same kind of shots with my X-T3 two days ago !

Ready ! Waiting for the end of lockdown🙂

Here are a couple of grabs from me in the house. The grab in the dark is from a scene out of the documentary Marcy Made, which is on Vimeo On Demand. I used a JVC GYLS300 and the Sirui 50mm. 

Hey, no excuses...  dig out a halogen work light, put up the xmas lights in the bg, switch to 60/120/240p, get a family member to dance (some only require wine and a little encouragement) and LET US SEE THE FOOTAGE!!!!

Taking a deep breath.
Nikon 16-35 F4G on the Sony F3