sudopera

Love my little X-T10. Apparently the 20 will also have a touchscreen  Hope they keep the same size and don't bump up the price too much.
Like others have mentioned here, the XT2 has some major ergonomic quirks. But when I go home and load up the footage on my monitor, all is forgotten and forgiven for the beautiful image it gives

Yea, 99.9% sure I heard that 10bit 4:2:2 at 4k/60p is available with external.

The 0.64x Speed Booster XL and 0.71x Ultra are both designed to cover fullframe 4:3 format (21.6mm diagonal).  As long as you use a master lens with a sufficiently large image circle you wont have vignetting.  24x36mm format lenses will always work.  I expect some issues with certain APS-C lenses.
Well, you would be slightly hampered by 4:3 if shooting with 2x anamorphics.  But with 1.79x anamorphics on the other hand . . . . .

Is the shot near the end supposed to be blue? Because if it is, you need calibrate your monitor, it's leaning toward magenta in most of your shots here.

So of course I decided to take my own crack at the footage, goal to see how interesting I could make the footage if it was just given to me. Selective sharpening, retiming, and reframing are used. Did not enjoy that low shot so I didn't bother with it.


10-Bit - Very impressed with great range and edit flexibility.
8-Bit - Disappointed, clear banding on skin tones.
 

Man this camera sounds so good. A true video workhorse with 12 stops of DR, improved RS and an excellent codec. All for less than £1700 (almost half the price of a C100 II and a third of an FS5).  Neumann's sample footage is stunning. Really looking forward to owning one of these. 

I'm not pre-ordering because it doesn't have the Auto Hollywood Mode, in which I'm guaranteed to be a Hollywood cinematographer. I don't want to buy lights and go to all that effort just to get a usable picture at night time. ;-D 
In all seriousness, the camera seems like a no-brainer. I had and loved the GH3. But I'll be waiting for these firmware updates and some user experiences / knowledge before placing an order. I made that mistake with the RX10 II (which didn't work out for me at all). 
I also need to break in my A6500 first!

No offense to the other Panasonic ambassadors but someone at Panasonic was very smart to get Luke involved.

Well, it is clear after seeing all these videos who is a real filmmaker. Great job Luke and thanks for the files!

I agree about the lens choices too.
Can't figure Why the M43 makers don't concentrate on Faster Lenses. Like maybe a few f1.8 zooms or f.95 primes
 Even if it means collaborating with Voigtlander or Sigma. Leica is great but their prices aren't.  

Nice video, and so true!
They have two Varicams, and the one Light, which can be a super FS7 if you like (the "super" part makes it rather expensivy).
I would be more interested in a super FS5 (or a hyper C100) and I wouldn't mind if they called it a Varicam Micro, Mini, or whatever.
I am one of those people that find the C100 form factor as one of the best for doing run and gun video, which is 95% of my work.
It would be interesting to see such a camera with 180fps, 10bit internal, IBIS, whatever - everything for less than 5000.
and then I would have a G(X)85 - GH5 and a AF5, or whatever it is called. Covered from all sides, super happy!
 

I agree. I have owned a A7Sii ( my first camera with ibis), then later on, a GX85... I liked both cameras, but I probably enjoyed using my bmpcc more than the A7Sii. I dig ibis, and gimbals but it's not game over if your camera is without them.

There are tripods, monopods, feet (that can walk the distance and use a wider lens!). I am surprised that suddenly IBIS and gimbals became a necessity. Like the a7sii, all of a sudden people prefer shooting in absolute darkness! 
I am not against IBIS/GIMBALS/HIGH ISO SENSORS, but there are ways working around limitations. After 18 years of pro work, this year was the first to use A7sII and Ronin, great, but only for 3 occasions (2 the A7sii and 1 the Ronin).

I average $1 per 1000 views and have yet to earn $250 in two years lol. It is good to be monetised, though, just in case you film something extraordinary that gets a few hundred million views in a short time whereby advertisers fall over themselves to pay the top rate for a few months.
My biggest gripe are the spammy companies offering to license your video and offer you 60% - how generous of them.
To be a top earner on YouTube you generally have to appeal to the lowest common denominator; which is to have wild hair, a whacky disposition, be stunningly good looking, have a knack for tapping into the brains of the near dead, master the art of false humility and get people to feel sorry for you, be a big fat show off or any combination of those listed. There are many seriously talented folk on YouTube who get nowhere in terms of hitting a million subscribers (or even a thousand in many cases) but then that is not why they are there in the first place.
Philip Bloom has around 125,000 subscribers
Casey Neistat has around 6,125,000 subscribers
That tells you all you need to know about this world.

I've never encountered any triggered overheating protection ever on any camera I've ever owned (they didn't get that uncomfortably warm either).
So... why does Sony have such huge issues with this? How can they expect me to buy a camera I can't rely on? Work arounds with screen dimming, lifting the screen, opening the battery compartment, taking external power, adding a fan... that's all cute 'n stuff. But those are workarounds that should not have to exist. Hope they get their shit together with their next A-release. I did intend to go Sony, but just not like this I'm not.

Micro Four Thirds is increasingly going up-market and into pro territory, but unfortunately new Panasonic and Olympus cameras are getting more and more expensive by the day.
Thankfully the G85 is a pro camera without a pro price - it represents a genuine advance over the Panasonic GH4 with cleaner low light performance and better automatic white balance.
Read the full review!

Ooh, that luks gd. Would've been a no-brainer with sensor-stabo. I detest Apple, but I wouldn't mind them rolling out an X-T2s right about now.

Did you try Classic Chrome, from what I've seen it should be the least saturated/contrasty profile.
Here is an example
 

So, trying to function as professional in the industry is more about people skills than not.  At least that's been my experience at the level I'm at.  No one's ever going to hire me because I have a craft level that's superior to those in the upper echelon of film making.  I'm just not that guy.
Which leaves me in a precarious situation --as most of the time the work I'm doing has been quick boutique "one-offs" wherein I go in for a day or two, gather footage, then take it back to the homestead and edit it together.  Rather simple, small and fun stuff to do.  Nothing special about that.  12 year olds have better equipment and do the same.
The tough situation I'm facing is that my ability to tolerate a difficult client has diminished.  Maybe it's a sign of getting older?
This is no small thing.  Seriously, the desire to coddle a client has seemingly disappeared.   For instance, I'm working on a documentary thing where the client is so maddeningly absent minded, she has forgotten about shoots, called me in at the last minute to locations, sent me on location for shoots that are irrelevant to the product, has failed to produce shoots that offer any useable coverage, won't stop talking (about herself) to the documentary subjects on location to allow clean b-roll of said subject, doesn't seem aware that words from an interview require some sort of image to cover the endless droning of a talking head, refuses provide interview (trans)scripts with accurate time-code, etc, etc, etc.... 
Basically, she's kind of incompetent (from my point of view) to direct documentaries.  Nice person, but her choices and process are maddeningly pathetic.  Nevertheless, she's paid me a flat rate to do all this stuff for her.
Aha!  Therein lies the problem.  
Never, ever, work with a bad client on a large project for a flat rate. --AND ALWAYS assume first time out of the gate, no matter how sweet they are, that you're getting in bed with a potentially difficult client.  You'll end up being exploited and resentful; resentful to your client and resentful to yourself for agreeing to such ridiculous terms to begin with.
Anyway, that's my advice.  How to y'all cope with a shitty client?  I drink lots and lots of wine and get fatter.  You? 

Doing some traveling with the XT2, here's a screencap, shot from the bridge in Sydney Harbor. This is Classic Chome SOOC 4k/30p. Wish there were more clouds and a little less haze. Good color is so effortless with the XT2. Love.
 

To me, like Andrew said, this is just a mirrorless 80D. I don't really see the added benefit of it being mirrorless much, unless they would've given it all the mirrorless bells 'n whistles. There aren't many lenses and the ones that are there aren't all super compact or anything. So... people really start using it like an 80D with an adapter and EF lenses... ok, so maybe all the features? Well, no 4K, no slowmo, no nothing. 'But it has stabilization!' lol, yeah digital one. Such a joke. And have you seen prices? It's not exactly cheap either. And the tilty flippy screen folds downwards... who the hell came up with that. So... they borrowed the design from the G5 X, but failed to copy the vari-angle screen. I just don't get it. Might as well get the 80D already? Ha, or better yet, pick out something different entirely. It's a few generations away from being an actual viable concept. It's only straight out of camera colors and dualpixel AF keeping Canon alive at this point, folks get told at stores to buy one because they can mess up the least themselves. Other cameras might actually require a little knowledge and skills, but then get the far superior results. Panasonic, Sony, heck even Samsung innovated a great deal by going mirrorless. With Canon... it's just more of the same. I just don't really get it and therefor I won't get it.

I'm baffled that people still put up with the Sony quirks in the A6x00-range... who wants a camera that's unreliable? Or atleast gets so hot you can bake an egg on it (maybe nice winter hand warmer though). Deal with that kind of nauseating rolling shutter? Maybe otherwise it scales lovely detailed images and you might've fixed the overall color and channel clipping issues thereof. Anyways. Curiosity killed the cat. I'm not one to be all over that, but I guess you want to try out profiles for that camera. And then ditch it as soon as you figure 'ah, now I remember why this sucks', as it probably wasn't the color alone. Casheroos down the drain. I'd be more likely to get a NX1 if I wanted APS-C. Actually, I think the X-T2 might make more sense now. Or you can just suck it up and deal with the smaller sensor performance out of m43 cameras already if you must have sensor stabilization... GX80, G80, GH5, E-M1 Mark II. Take those over the A6500 until Sony decides not to make sucky APS-C cameras anymore. But you know. Everyone gotta do what they gotta do. Wish Panasonic would join up with Blackmagic Design for a re-do of the BMPCC and approach things a little more differently this time. A more sizeable and serious standalone 4K ProRes/RAW DNG shooter. There's nice ingredients all over the place... but noone's nailed a sweet dish quite yet. Why does it always have to be a little sour or bitter... and for Pete's sake, can't we have Nikon meddle in already? I'd love to see a mirrorless no-bs (e.g. crop) 4K APS-C camera by Nikon to be honest. No cinema line to protect there. I'd be all over that.

Not really. If you're using native lenses, it's only an extra 1.17x crop. Instead of a 35mm, your 23mm turns into a 40. Oh no, what a tragedy.  If you're using adapted lenses, a simple speed booster takes your crop factor to a badass 1.25x. Either way, it's nothing I'd cry over.

I'm a low budget event shooter so I shoot lots of stills and video. Shooting with the a6x000's can be a chore with only one top dial, so you have to use the goofy d-pad wheel on the back to adjust two of your exposure parameters since you can assign ISO, SS and Aperture to the one top dial. Fuji has physical controls for all three right on the camera, plus exposure compensation and front/rear control wheels that are clickable for more functionality. You can adjust everything while looking through the bigger/sharper/brighter EVF - which is how I shoot almost all of my stills. The grip adds extra battery capacity and slightly improved camera performance, along with some killer ergonomics. The joystick makes moving the AF point a breeze.
They both have great IQ in 4k, HD is better on the XT2. But the shooting experience is worlds apart. I just sold my a7rII and a6300 - was considering getting twin a6500's, but since Sony ignored overheating (manual override of the shutdown is not a fix), ignored awful rolling shutter, hasn't released a new APS-c lens in a few years, didn't add UHS-II support or fix any of the other issues the a6300 had outside of adding IBIS and a half baked touchscreen, I decided screw it - I'm not giving Sony any more of my cash. I now own two XT2's and a slew of Fuji lenses.

Some nice D16 colour.....
 

www.jukedeck.com
Pretty wild stuff.