Thomas Hill

Sorry, everyone, if I had known that Nikon and Atomos were waiting for me to sell my Z6, I would have sold it sooner.

Sorry, everyone, if I had known that Nikon and Atomos were waiting for me to sell my Z6, I would have sold it sooner.

I'm grateful for the abundance of cheap equipment and software.
But I'm also grateful to the thousands of people who spend their time freely sharing knowledge on sites like this, from the retired pros with decades of industry experience, to experimental newcomers with more ideas than experience, and everyone in between.

What you could do instead of being forced into a daily edit, is to simply convert the RAW to a LOG format, and archive the files on a 4TB drive for after the holiday.
Or try SlimRAW transcode app.
Uncompressed 4K RAW is always going to be challenging for travels and shooting a lot... It's meant for sparing use on an art project or short film.... it might even be better to shoot 10bit LOG when the next firmware update comes out because there are times when the sheer file sizes of RAW are just going to be a headache. In same way there will be times when an X-T3 gets a shot that the Fp's autofocus would be too much of a slouch for, but conversely times when the Fp will give you a wow factor that APS-C is too limited for.
In terms of the stills I like the Fp as a gentleman's 'artist's tool' but one that is down to earth... practical.... taking it slow, not too showy. Bit like a Leica M, but way more flexible.
In terms of the video I like how unique it is. A mini S1 with RAW. How great is that!! Cinema DNG 4K is real RAW, and it's full frame, and it's there on my SD card or SSD when I want it.
I had the X-T30 briefly and it's a bargain. However, the X-H1 is so much more. The feel when you pick it up is amazing, really high-end, and ergonomically it's Fuji's best camera aside from maybe the GFX 100. The X-T30 feels REALLY cheap in comparison. I can nail manual focus all day through the EVF on the X-H1 even at F0.95, and I can reel off handheld shots as if it's on a tripod. For locked-down handheld shots the IBIS is even better than the best (GH5 / Olympus)
You can tell the X-H1 was a narrow margin camera for Fuji and that they make more money on the X-T3... The way it is engineered, the springy almost silent shutter, the quality of the components is out of this world.
It'll be a tragedy if it does not get an update in 2020 with the X-T3's sensor.

Yup.
Recording RAW is a pro choice, there's no way around that and for holiday videos and snaps as you've found, isn't ideal. Maybe once they include some kind of log recording through firmware it would be better suited to that. But i see this as a sensor in a box and you build everything around that.
The cinematic DNG test that Lars posted back there is perhaps some of the best footage that's been publicly shown from the camera. These are very challenging scenes for any camera and the fp does a fantastic job. However their post workflow isn't ideal - i see exposure wavering between frames which is either a factor of the firmware version they are using or the fact that appears to be batch processed through lightroom.
The native gamut of the camera is certainly beyond 709, so therefore as i guessed that workflow is going to be the nut to crack. I've shot primaries off a reference monitor in P3 and 709 and can clearly see the difference. So any workflow built around 709 (Adobe) will somehow be messing with the native gamut to squeeze it into the 709 bucket meaning colour clipping or scaling - all warning signs for me that the final image will be compromised. Another reason why the camera isn't for the masses.
I personally would not archive DNGs in any log or compressed format but slimRAW is a good choice. I don't see the point of having a camera that can dump out RAW then transcoding to a less format. Just get a camera that shoots in the format you need.
This will be sigmas marketing issue. I understand what they're aiming for but it's a small market. Steve Huff certainly has fallen for the stills side and i get my VF today i think, in which case then i can spend some time using it like that. 
cheers
Paul
 
 

Autumn in my neighbourhood, XT3 with Bolex Moller 16/32/1,5x. 
 

Well I received it 2 days ago (3 days before the estimate) ? Years ago my main casual camera was the Panasonic GX7 + Olympus 17mm f1.8. This camera actually achieves everything that I wanted in an upgrade to it. Maintains the same body size but has a better grip. Better sensor. Better colour out of camera. An even smaller 35mm equivalent lens. And has video stabilisation,
I've been comparing the Canon to my Fuji XT30 ?

Something that surprised me is that there's actually a setting called "Highlight Tone Priority" that's not too dissimilar to Fuji's DR setting. 
Disabled:

Enabled:

 
And so the result is that you can actually get quite similar dynamic range to the Fuji with Eterna on DR400.
Fuji:

Canon:

Fuji:

Canon:

One thing that disappoints me is that bokeh of the 22mm is noticeably smaller than the Fuji's 23mm.
Fuji 23mm f1.4 @ f2.2:

Canon 22mm @ f2:

Another thing I noticed is that Canon's whitebalance usually does a better job than Fuji. Prior to the X-T30 I've also owned the X-t2, which also struggled with finding the right WB.
 

@Cinegain you make some valid points, but with all due respect, it seems like you’re still dictating what is, or isn’t, acceptable in an open lens thread.
Don’t get me wrong, I’m interested in almost anything lens related. For instance, Kye’s video link is sending me down a spiral of Canon FD lenses. Speaking of FD lenses, Zach’s contributions with his Canon FD 35-105mm f/3.5 lens, on a t2i, is actually very interesting since we already know that FD lenses don’t easily adapt to EF, so he must have had the mount modified. Your normal lens search would yield little results if searching for images or reviews of that lens on an older model Canon camera. And as a former t2i owner, I can easily ascertain how that lens would translate to other cameras.
With my lens tests, I purposefully use the same actor, in similar locations so I can weed out which lenses I want to keep or sell. I post a couple images from those tests hoping to get some insight from other members or perhaps supply some info to other people that may be wondering how that lens renders with ML Raw. I’m sorry if it isn’t your cup of tea, but it doesn’t mean it’s invaluable to someone else. Hell, without samples, I think a lot of us might not know about the Nikon Bourne Identity lens and how it looked on a G7 or how the Tokina Angenieux Zoom renders on the P4K.
But again, I look forward to your posts regarding topics you find interesting, even if I don’t find them as telling or useful to my work.
But I agree with the sentiment of your comment. It’s given me some food for thought on other ways to tackle my personal lens tests and if I do share any of them, I will try to include a little more pertinent information in future posts.

I want colors close to this (not that much warm though).. but straight out of camera! Wish Nikon let us import luts.. someday.
 

Started to work on my triggering handle
Also had à meeting with smallrig people today. They will work on triggering handles in the future as i told them all the interest of It.
Also asked for many more things. Let's cross fingers

Just shot this on the XT30, tighter shots are the XT30. Mix of 1080 and 4k footage. Overall I was happy with the performance in lowish light. 18-55 lens at f4

Yeah I don’t have as issue with jumpiness. -1 or -2 speed and +2 tracking works well. I’m honestly considering buying a sigma 18-35 and 50-100 + fringer pro. Seeing people get good results with those.

You might want to experiment with your AF settings.

Video AF depends on the lens. The newer ones are great but the older f1.4 lenses aren't so good and make a little noise.
The 23/f2.0 is fantastic and the 18-55 kit zoom is really good, too. I just got the Zeiss 32mm and it seems to work really well but I haven't used it enough to say for sure yet. The 35/f1.4 is good for photo but a little slow and noisy for video. These are all the ones that I have tried so far.

Stunning shots! The XT3 is a hell of a camera. I keep looking at others but always come back to it. 
 

Yes I meant XT-3. One of the issues I'm having with the Z6 is that so much of my work ends up on a 2048x858 Theater Screen at 24 fps. I'm a Theater Manager in Massachusetts and that is the format that we display our preshow and some mini documentaries which is the majority of the content that I create. So currently I'm shooting 4K on my Z6 and have to change the format from 23.967 to 24 for everything I do. Small issue for most people, but annoying for me because I have to do it constantly. (Side note: people defending Canon for leaving it out of their new body, I can never even consider using that camera because of the lack of 23.967.) 

So the XT-3's internal 2048x1080 24p and good audio is very appealing for my weekly work needs. We'll see how it performs after some testing on my end.
My main worry is the battery life on the camera. Hated the A7rII's battery and how often that was an issue with it. Thankfully the XT-3 you can power through the USB-C port, so I'm hoping it will be less of an issue. Have 4 paid shoots on top of work related material that I need to shoot in the next two weeks, so I can really see if it fits into my workflow. Really it's about being able to do my job and shoot fast, getting the coverage I need and deliver. Camera brand should be secondary to that, otherwise it is just playing favorites. I would be looking into the panasonics as well, but m43 sensor is to small for my liking (will be using this camera for stills as well) and the new full frame bodies are huge and the glass is lethally expensive on them. 

and the EOSHD Nihilist quote of the day goes to..........   *drum roll*
???

Yep, perhaps some component is not holding up to what they expected and they prefer to play it safe and do a hardware upgrade. On every site people have been complaining about companies giving more features if need, even for a paid upgrade. You have a company doing it, and giving you the ultimate format and people are still complaining. I mean Nikon just brought 10 bit (full frame) and raw to the dslr mirrorless market price segment and those guys are still complaining. You would believe Nikon just removed 24p in their latest camera release or still sticking to 8bit video.

DaVinci Resolve Studio 16.1 public beta 2 released
• Support for Fujifilm F-Log colorspace
Now it's possible to use  RCM and make color grading without LUT.
1a : F-LOG
1b :  Color space F-Log+OFX tone mapping simple
1c : Simple adjustments expo, contrast and auto WB.

I’ve never had an account in here. Just lurked. 
But I finally had to sign up. Some of us grow so tired of reading your repetitive assumptions, theories, and misguided opinions. 
No one in their right mind thinks canon removed 24p to save a bit of money. 
 
Furthermore the license fees fees have an annual cap. Once a company hits that cap it can’t cost them more. I imagine big companies that manufacture video equipment using these codecs hit that cap regularly 
 
please stop repeating the same terrible excuse every page 

32bit float?  So it's the Sound Devices version of the Zoom F6 that has been delayed into October? 

For anyone wondering how the LUT matches up Panasonic's LUT or even compared to RED footage, here's some Z6 10-bit NLog footage with Nikon's new NLog to rec709 LUT...

Here's the same footage with the Panasonic VLog to rec709 LUT applied...

And for good measure, here's what my RED Epic-W captured...

I'm going to keep using Panasonic's LUT for now.

still running and gunning with my pocketsize handheld setup (100fps fw update is all i needed )
 

According to B&H, it's $3999 for body only.

One of the rumor sites had it at $1399