Tim Sewell

Hallo Tim,
I am a Austrian x-t2 User..my Englisch is not good - Sorry
The ideal combination is absolutly two x-t2
I have sold my C100 + 7D and many Lenses..and Chanced to Fuji. 
My change to Fuji I have in no way regret. Property still have an xc10 - this I will still sell and still buy an X-T2.
Unfortunately, my English is too bad for me to contribute here in this discussion better.

My wife is shooting xpro2 right now for a gig. She's b-cam. 
If I have time I'll upload some footage. We're on the Isles of Scilly, so some nice beachy images...

You'll see the main differences in scenes with lots of movement and/or lots of fine detail - use of a low compression codec results in far fewer motion artefacts, better cadence and less smearing of detail. You'll also - as you surmised - have a lot more flexibility in post and be able to place much more extreme grades (should you need to) on the output. You'll also be able to do much higher quality green screen, if that's your bag.

Heh - I wouldn't be too sure. I've ordered business cards and set up a Smugmug site and I have to dig out all my old weddings/events/portraiture/music stuff from 8 years ago and upload it. Then I have to get some marketing going - I'm not expecting to do any paid work until next year (and that will more likely be stills). I'll probably find a couple of kooky businesses (I live in Brighton - there are plenty of them) to do free promotional vids for... we'll see. Thing is, I'm limited to weekends initially as to do anything on a weekday it has to pay a pretty large day rate to make it worth my while taking a day off from my main work - a calculation made necessary by my 3 children and the yuuuge mortgage I'm on the verge of taking out.

Yes Don't know. Seems to work fine though. AF-S, AF-C. No tracking or face detection (except in HD). Rolling shutter on the camera is fairly average (ie. good in HD and poor in 4k). I'm not a big fan of the HD, especially in low light. The XT2 has several firmware enhancements that make it a lot more usable for video (eg. being able to switch between the EVF and LCD, and ability to change iso while recording). - Others have pointed out other issues that make the camera not a great choice for documentary type work. But would be good for things like narrative where you can take your time.

I've used Fuji for paid gigs.
X-pro2.
Works okay. Not reliable image. Odd distortion with edges of frames and the Fuji wide angle lens. 
Anything with auto exposure will result in "step" adjustments.  Not smooth changes. 
Its useable, but doesn't exactly inspire confidence or allow flexibility. 
Needs exposure compensation in post, and you have to adjust the native files.  If your workflow happens to involve a transcode before editing, you're gonna have an issue to deal with insofar as you'll have to adjust levels while transcoding or you're gonna have a lot of detail lost in the blacks and highlights.
Most folks don't work this way these days, so most likely that's a moot point, but still mentioning it just in case...using FCP7 ain't a viable option, for instance.
Color sure is purty tho'

This is a decent comparison to summarise the differences in video performance between the X-T2 and the X-T20.
The headline difference is in the line skipping on the X-T20 which gives the X-T2 the edge (ho ho) in terms of sharpness but at the expense of the additional crop factor.
Its by no means a night and day difference though so they will cut together without a major issue.
The X-T2 can also do log albeit only to an external recorder.
On the other hand the X-T20 does touch AF which might be something that would be appealing.
There are other additional hardware differences that favour the X-T2 such as a better EVF, dual card slots, the battery grip and so on so there's no question its a higher end offering but, IMO, I think a better spend instead of two X-T2's would be one X-T2, one X-T20 and use the saving on a Crane or other gimbal.
You'd be getting near identical IQ so most of the advantages of two of the same model but with the advantage of the flexibility of different form factors (the X-T20 is not far off GX80 tiny) and also addressing its achilles heel compared to GH5 etc of not having IBIS.
 

THe guy who did the one I posted used SOOC JPGs. But, y'know, Fuji....

I shot as jpeg and even then it killed a mac and my camera - 55000 frames all up. We edited through bridge in terms of what was needed to fit the shot list - and then looked at the sequence and then stripped out frames to make the cut and paste effect more pronounced ( so to speak ). Actually as I progressed through the campaign of x3 I became more cinematic - by default - but it wasnt porbably what they needed - so we had to strip it down even more to make it more random......the finally cut was passed onto a pro.

Google is your friend: https://www.canneslions.com/

So I've been back down to Philip Bloom's beach again (hah!) - this time with a tripod, BMDVA and Samyang primes at golden hour. Bloody windy, but a nice light. Hope you like it.
 

Don't buy EF lenses!! But an EF focal reducer can make sense, if you're just using it as a base to adapt other things to it. 

I'm don't do video for a living so here is a different point of view.
I was going to school for photography when I got married. I sold off all of my gear to fund a place to live. I have an office job with kids, and cats. I found a vintage lens and resold to get a Canon T5 for one off event photography job on the side. I found 2 more vintage lenses, sold those and the T5 to buy GX85. I found an open box Zoom H1 for $50 at a retail store near by. I'll probably keep doing this and do overtime at work to get lenses and audio stuff. Hopefully will have enough time to shoot and land a small gig next year. I hate my office job, but it feeds my family.

I recently picked up one of these: https://www.amazon.co.uk/gp/product/B0032XQSN0/ref=oh_aui_detailpage_o07_s00?ie=UTF8&psc=1
For the price (cGBP80/90) it's absolutely fab - makes Final Cut faster and a lot more intuitive.

I've received exclusive info from a trusted source to exactly what this new gizmo does:
1. VR, Holographic, 3D and some other cool sounding stuff that actually does sound cool but we have to use our imagination into exactly how it will work. 
2. New Module - RED Car Control. Simply control your actual car in a VR Google map. Pretend it has guns to shoot other cars in your way. (Bluetooth and Cruise Control vehicles only). 
3. New Module - RED Nightmare Grenade. Record and play your worst nightmares in REDs r3d codec at up to 8k 120fps and share your experience online in VR. 
4. New Module - RED Weapon Tank. Convert your RED Weapon into a tank so you can film it blow up stuff at 1000fps. 
5. New Module - RED Blast Radius. Use your Hydrogen radar module to identify Google, Apple and Samsung phones around you. Detonate them with a single touch. 
6. New Module - RED Interrogator. Use your phone's A.I assistant (like Siri but angry and military like) to question other peoples camera choices as they are inferior to RED. 
7. Camera Expansion - RED MAX. Combine your phone with RED's new RED MAX projector that can predict the future of all other camera brand resolutions and frame rates. Comes with canned laughter. (the projector comes at up to IMAX size and can also be combined with helicopter propellors for RED SKY IMAX. 
8. Camera Expansion - RED Chain Bomb. You can "daisy chain" all RED Hydrogen phones together by Bluetooth or Wi-Fi to create a holographic RED logo in the sky which explodes into red fireworks. Doing this increases your RED Weapons ISO temporarily to ISO 3000,400,700,201. 33. It's so sensitive that you can actually film through objects. 
9. Firmware Update - RED Handed. This is sort of like Apple's "Find Your iPhone" app, but this actually detects if someone has stolen the phone and activates an electric shock so the robber drops your phone. It then has wings that come out the sides and flies back to you. 
10. Firmware Update - Code RED. Write your own code and add features to your RED Weapon camera, such as a Disney film app or even better, a library of War genre films to watch while you judge exposure on your shoot. 
 
The trusted source also said the price for the phone is just for the actual shell of the phone, and you will have to buy all the separate components and modules to make it work. Each module is rumoured to be priced around $47,500 and there will be 437 to choose from by 2019. 
Text messaging will be added as firmware update in 2020 and it will cost a cut-price of $23,000. 
 
Ok, ok....it's Friday, I've finished for the day and I fancied have a mess around. But of course, this is all true! 

Atomos retweeting this - don't know the details: 
 

Atomos retweeting this - don't know the details: 
 

Its was 0 when Nikon introduced DSLR video in D90. 

The two major problems those LED ad board actually present to us shooting in stadiums as they become so widely adopted are :
1) We've had to get taller stools.
2) They are quite temperamental so you often have their techs crouching next to you and fiddling about with them.
White balance changing in a fast burst due to floodlights pulsing is an order of magnitude higher as a lighting issue than the LED boards.
For this LED board stuff to be causing a genuine problem for people shooting at stadiums with the A9 then people would have to be actually shooting at stadiums with the A9 in the first place. And in my experience, they're not. For reasons that have zero to do with banding.
Such an odd thing to go after them for in the overall scheme of things with that camera.
This image they've used to show the banding though....
I'm not being catty, because I don't mind that fro fella, but I don't look at it and think "Wow, look at the banding"
I think "Where's the ball, why is your horizon off, why is the focus on the wrong player, why is it so noisy for a shot in broad daylight, why is it so heavily processed"
If I sent that on the wire, it wouldn't be the banding that would be preventing it from getting published.

I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.

I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.

11. The long term benefits of sunscreen have been proved by scientists

I'm so white, on certain shoots I've used myself as a reflector.

11. The long term benefits of sunscreen have been proved by scientists

11. The long term benefits of sunscreen have been proved by scientists