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Django

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  1. Django

    Fuji X-H2S

    @Attila Bakos Dunno, here is the page dedicated to the new sensor: https://fujifilm-x.com/fr-fr/products/x-trans-cmos/ What I wonder is if they have finally found a way to fix those false color issues plaguing Xtrans that we talked about couple months ago? does this point give promise: Arrangement of G pixel on all diagonal lines G pixels are placed in all diagonal lines. It improves the accuracy of diagonal high-frequency image detection and color interpolation
  2. Well I'm quoting this from cined's RAW update lab test performed just last month: "In XF-AVC Long GOP C-Log 2 (from 60-120 frames per second) the dual gain output is not active and we loose about 1 stop" They proceed with full-on charts subbed: Waveform plot of the Xyla21 chart using frame rates > 60 fps with the C70 (C-Log 2) Looks like it only applies to 60 above in Clog2. Maybe its using S&Q though which uses additional processing to slow down in cam? How does 8K affect IBIS? R5 has both. Also if 8K drains battery but you have no interest in 8K, just avoid shooting 8K and save battery. Problem solved. As for the editable codec, well R5C is the only non Cine cam that has XF-AVC. I understand no IBIS is the deal breaker for you, that said the irony to me is that you chose C70 in the end, a camera which also does not have IBIS !? Like I said, we all have different requirements and indeed definitions of hybrid. Mine isn't necessarily video centric but most of my gigs are either video or photo. And when I do have "hybrid" sessions, they rarely require me to have to flip from one mode to the other in a split second. For gigs that may require that, I simply bring along one of my numerous extra camera bodies. Its a better solution anyways because that way I can have different focal length lenses already set up. Changing lenses will take more than 8 seconds so regardless if you need that split second readiness that's the way to go imo. ..seems like you agree. Most wedding photographers I know have 2 to 3 camera bodies. And all the photo/video hybrid wedding shoots I've done, we were at least two shooters dividing duties. In such configurations, where you have multiple camera bodies and/or multiple shooters, I don't see how the R5C's 8 seconds mode switch is going to be such a big issue. I take it you were shooting last Saturday? (I'm also in France) What a day.. FWIW the R5/R6 are actually magnesium-alloy internal chassis, with the R5 having painted magnesium-alloy shell with some polycarbonate zones and the R6 all exterior polycarbonate panels bolted to the exterior. This isn't any regular plastic, and has none of the issues associated with molecular dehesion that regular plastics suffer from. It retains its colour, is amazingly lightweight, possesses unique electrical resistance, resists thermal transmission, is UV resistant and offers additional impact resistance and is hard to scratch. For this reason, many actually consider the R6 superior build to the R5 that scratches easily. No metal exterior also means no hot handling points in extreme weather conditions like those you're describing. Like I've said I've used it shooting firemen in a state of the art fire simulator in Vendée (first simulator of this type in France) with temperatures reaching 600 degrees C !! Now obviously I did not take my R6 directly inside the simulator during the exercise (I did take an iPhone up to about 200 degrees, and it survived recording for several minutes!) but the R6 was used just outside with bursting flames and still very hot temps and the overheat warnings never came on nor did it feel hot to the touch aside from the dials. By the way, when the warnings do come on, it always seems timer based. All that being said, screw overheating. My next camera purchase will be for sure a no time limit, no overheat limit camera. But not necessarily full magnesium either for the reasons stated above.
  3. Well we all have different requirements & deal breakers but calling the R5C mediocre is pretty extreme. No IBIS for photography has never been a problem for me personally. If I'm shooting lowlight I'll use fast glass, crank up the ISO or use a flash. There's always sticks for long exposure. For video work its a nice convenience for locked handheld shots but the EIS + OIS isn't a bad compromise either. For anything more serious: mono/tripod, gimbal. I just don't see lack of IBIS as that big of a downer. YMMV. Battery wise you can always get the battery grip or use a bottom plate screw-on power base with dummy battery which is a much more elegant solution than your basic external power banks: I guess my point is when there's a will there's a way. I find the R5C a very interesting product that merges C-line & EOS line perfectly. Only thing missing to me would be ND's but no hybrid seems to have done it yet. R3 is a dope camera but the price is ridiculous if you're not a sports/action photog. We're talking Komodo money. You shoot a lot in 60p no? Beware as in XF-AVC Clog from 60p to 120p the dual gain output is not activated. Cine just did an updated lab test with the new RAW update: About 13 stops can be identified above the noise floor, as well as a 14th and a faint 15th. IMATEST shows 12.3 stops at a signal to noise ratio of 2 (SNR), and 14 stops at SNR = 1. Also, in the middle graph above the blue “14” line about 3 additional stops are exhibited. Wow! Now, as we have reached already 8 stops of exposure latitude – the maximum we have seen so far with all cameras in the lab with one exception, the Arri ALEXA Mini LF (having 10 stops of exposure latitude).
  4. I use gimbals, mono/tripods even with IBIS cameras. IBIS is useful but it isn't magic. I'll take the camera that doesn't overheat over the others if given the choice. Plus all the C-line video features like LUT import, WFM, shutter angle, S35/S16 crop modes, anamorphic desqueeze etc.. That said, I'm leaning towards C70 (+ R6). The NDs, battery life, audio & DGO sensor being more useful to me than 8K.
  5. The ND adapter is expensive but you can use the regular 100€ EF to RF adapter to save money. I understand it's a problem on PC but the codec edits fine on any current Mac including the $999 MacBook Air. I also wouldn't say no one asked for 422. 422 has double the colour info of 420 and really shows when you push a grade or do chroma keying. there is a reason why its a broadcast standard. As for 8K, overkill for most users but nice to have on-board, I would definitely make use of it for cropping alone. Again R5C is really the model to look at for hybrid shooters. No overheat and all the C-line video features including the XF-AVC codec that edits across all platforms.
  6. R6 overheats less than R5 and when it happens there is a mode that'll let you keep shooting: FHD. Not ideal of course but the FHD is actually quite good. Obviously if money is no object: R5C is the way to go. That said if FF isn't an absolute requirement the R7 could be a better choice than R6 as far as overheating. Well I think the decision makes sense in that CLOG is much more useful in 10-bit 422 than any lower quality setting. With any recent Mac (+M1) it edits perfectly fine. Definitely a problem though for older machines, you'll need to upgrade. Interesting that your C70 footage doesn't behave the same. I wonder why that is? is it not also 10-bit 4:2:2 h265? While I agree with you, there simply aren't many mirrorless systems out there that rival with the good old magnesium pro DSLRs. And obviously the cheaper the model, the cheaper the camera build. That said, I've had zero issues with my R6. It handles well, is responsive, and despite a lighter feel it is solid, has survived being knocked over tripods and it's been brought into pretty extreme/harsh conditions shooting with firemen, snow, seawater etc. FWIW I've had camera failures with Nikon, Fuji & Sony. Never Canon. Obviously I'd feel much much more comfortable with an R3/1DX3 for those types of shoots but then again the R6 keeps on ticking for me so I keep pushing back the upgrade path (which is always good because new cameras keep coming out). I haven't held an R7 but it appears somewhat on par with the rest of the lower/mid R range. I don't like the thumbwheel around the joystick.. but hey if you're upgrading from a Rebel T6 then it should def be a step up.
  7. We've all been there, that said I try and strive to do more than "good enough" these days. Maybe its because my scene is very competitive since post-COVID (videographers are hungry), so that keeps me on my toes. Also my clients are more and more savvy when it comes to video, phones can do a lot these days and they pay for results that show. The infamous "cinematic" term gets thrown often. That doesn't mean shooting RAW anamorphic (although I'd like to give it a shot in near future) but I mainly shoot with primes (Canon L, Zeiss & vintage Leica) and spend time grading (to the point where I now charge extra budget for that). As for details vanishing on social media/smartphones, that's true but shooting vertical may be an interesting option to make most of the limited display real-estate. The C70 is one of the only cameras out there that has a vertical mode. Open Gate is also good for this but not an option here.
  8. I'm not a fan of digital sharpening. Makes the image look cheap video. If a lens/sensor is soft just let it be. All I'm saying is the slight oversample of the R6 just outputs that extra resolve detail from my L glass which is really nice. Its not like its a radically sharp 6K/8K image either. You can also counteract softness of the C70's 4K with indeed sharper lenses than the EF 24-105 which brings me to the next point.. Using the SB with EF glass is great, especially for that FF look and extra stop.. but the SB adds weight imbalance but also adds glass which softens the image and can result in ugly flares in direct or backlit scenarios. This is where an RF lens like the 35mm F1.8 comes clutch. Its super compact, has superior IS than EF as it uses extra gyro info so excellent for handheld, is optically superior to EF adding that missing sharpness & is pretty fast at F1.8 so good for lowlight. Also being a native lens, the AF is gonna be bit more responsive. Give it a try sometime. Again its super popular with C70 users for a reason.. oh and best part is its like under $500. ..that said it is not a mojo lens.. great for run & gun but for a more high-end commercial or cine look I'd probably go anamorphic with the new sirui RF lenses if/when I get a C70. or go vintage for straight up anamorphic dream mode..
  9. Django

    Fuji X-H2S

    here's a new video centric review: so many quirks it seems.. AF, IBIS, that horrible smear bug (wtf) and yeah the zoom lens exposure issues. I so wanna love this camera cuz on paper the specs are great but then it sounds like so many compromises and also the severe lack of exposure tools. is there even a rec709 assist view when shooting log? I haven't shot Fuji since XT2..
  10. From what I've gathered from C70's CRL upgrade videos on YT, there seems to be minimal IQ increase when shooting RAW on this camera. I was expecting more sharpness/detail so I guess you could add that do the "disappointment" list although it is perhaps on the flip side proof of the XF-AVC codec robustness (pretty much ProRes equivalent). The C70 has a pretty soft (non oversampled) 4K image generally speaking, which isn't necessarily a bad thing, although I mut say I've gotten used to the 5K oversampled 4K image from my R6. Just strikes that perfect balance of slightly oversampled but not insanely sharp 6K/8K. A bit like the C100 struck that right balance for FHD. Anyways, thanks for the update, some interesting user feedback & video content (pretty exotic scene from a central European perspective!). Lens wise if the 50mm 1.4 is your favourite, may I suggest you check out the RF 35mm 1.8 IS Macro lens. Its affordable, converts to 50mm on the C70, is very compact, has great IS, fast aperture and bonus macro. It's my run & gun choice on the R6 (doubles as a fast 35mm/50mm depending on FF/crop mode). I've noticed a lot of C70 users depend on it as well..
  11. Ok interesting but my main question is then why go done this route? Wouldn't it have made much better sense if the photo side of A7S3 was 48MP and flip to 12MP for video or lowlight photography as you suggest those 100MP smartphones do? That would really be best of both worlds no? Why lock it down to 12MP only? There is still MP sacrifice going on.
  12. @androidlad wasn't it revealed A7S3 actually uses a 48MP quad bayer sensor binned down to 12MP? That would explain the increased read noise and performance similar to A1. https://www.sonyalpharumors.com/surprise-the-sony-a7siii-actually-has-a-48-megapixel-quad-bayer-sensor/ Yup, I've done many photography events including two weddings with R6 no problem. It uses the same sensor than 1DX3.
  13. I thought so too at first (its not that we're mean spirited OP, but there have been similar trolls before) but a quick check in post history and it seems consistent: That said, it also showcases a pattern.. from Sony to Fuji.. To Canon.. and now back to Sony..and Fuji? All in the span of about a year?! I mean these things do happen but have to ask don't you get tired of switching systems so often? seems like endless tail chasing and money drain. I don't wanna beat a dead horse but perhaps its time indeed to actually learn a bit about shooting & colorgrading! I really don't think the problem is with your cameras. You still haven't told us what your lens situation is either by the way ?
  14. Django

    Fuji X-H2S

    That's what I thought but then Komodo came out with RF mount.. Surely there is a licensing fee that maybe BMD doesn't wanna pay to keep the price tag low but EF closes so many lens options, especially the new wave of anamorphic. I'm anxious to see what they got coming next, they were rumoured to drop a camera last month but maybe parts supply shortage made that impossible? FS5/FS7/FX6/FX9.. C70. It's doable !
  15. @SRV1981 You keep bringing up the X100V.. it's a neat camera but really not as small as most may think, A7S3 is actually less large (and FX3 would be as tall without the EVF): Stick a pancake lens and an FX3 would be rather similar dimensions with the benefit of IBIS & FF. Of course you'll be missing the faux-Leica look and manual controls which are part of the charm. Just saying.
  16. Django

    Fuji X-H2S

    Great points/suggestions. The ND situation is really first on the list imo. Still zero in-cam solutions on a hybrid in 2022. And yeah a 5" display changes everything. The BM6K Pro does address that, and has NDs, and has compressed RAW. If only it wasn't EF mount, I'd be all over it.
  17. Django

    Fuji X-H2S

    I've posted the trailer & BTS here earlier, here is the official page: Short film "AION" Trailer by Giulio Meliani Shot in ProRes HQ F-Log2 with the MK 18-55mm & Fujinon 19-90mm Cabrio Cinema Zoom. A7S3/FX3 are solid all-rounders but the shooting experience still lacks. R5C has it all except IBIS with internal RAW, 8K and full video assist tools, shutter angle, LUT import etc. XH2S is interesting as for $2500 you get 6K/4K120p, ProRes, Open Gate. Great DR & minimal RS. I do wish the video mode would have proper exposure tools, shutter angle, LUT support. That's still what a lot of these hybrids are missing. Only Panasonic & R5C seem to get it.
  18. Django

    Fuji X-H2S

    Actually the new 23mm F1.4 WR uses a different "Linear Motor" then the previous version and has night & day video AF performance. That would probably be my main prime lens (35mm f1.4 being my favorite FF lens) if I switched back to Fuji! Here is an XH2S video showing the video AF & IBIS performance on the new 23mm F1.4 WR: pretty good tracking performance and smooth wide open auto rack focus at 1:48 & 5:40. btw, never mind the poor DR, its shot in 8-bit classic chrome.
  19. Agreed, I have an R6 and it can spit just as good IQ as any latest-gen Canon/Sony in 10-bit Clog3. At least give it a try before giving up and switching systems. If you haven't even shot with it in Log yet and have no grading experience, then you really haven't given the camera a proper chance to prove it self yet. What lenses do you have? Also having ND filters or even something as basic as choosing the right time of the day in relation to forecast/sunlight and avoiding harsh backlit shots etc can make or break footage looking video/filmic. Let's analyse the (FX3) wine commercial you referenced: notice how all shots are done before/after/during sunset (aka golden/magic hour) and on a cloudy overcast day. good location, composition, shot diversity, camera movement, tight editing, synced music, adequate grading that fits the LA beach scenery, faux 8/16mm cuts etc. Plus you know good looking smiling stylised actors living it up with their favourite beverage. that's quite bit of work/experience to get there. every shot is prepared, calculated and staged, not just point & shoot random people at random time/location with an expensive camera. pro video is hard work, having the right tools is just 101 prerequisite.
  20. Like I told you in my PM last night: You seem a little all over the place with what camera system to chose. R5C/R6/C70/A7S3/FX3/FUJI.. There is no magic "cinematic" camera out there. Thing is all latest gen camera bodies will do a good job, but it's really the operator and color grading that will be the decisive factor for making things look filmic.. or not. My advice to you is, again, to learn how to properly shoot/expose in LOG and learn how to grade with the help of some LUTs you enjoy. Nothing will look truly cinematic SOOC. Also more important than camera body is probably lens choice. This can really go long ways to improving IQ. Consider that also when you're planning camera system switching or you might just end up chasing your tail. Too many people focus on camera body and not enough on lens, lighting, filters and color grading / pp skills.
  21. Django

    Fuji X-H2S

    Its definitely the video centric model with the upcoming 40MP XH2 being the photo centric hybrid. Short film trailer & BTS shot with the MK cine zooms:
  22. That announcement is so vague lol. These companies just love speaking in riddles. "L2 Technology" is on some Empire Strikes Back secret duo shadow tech..
  23. Django

    Fuji X-H2S

    yeah some pretty ugly footage in most reviews. but a lot of it is rushed and/or poorly graded. This is one of the better ones IQ/Grading wise imo:
  24. Django

    Fuji X-H2S

    Here is a pretty nice deep dive from an actual pro Fuji shooter. 6K Open gate + Sirui anamorphic test included:
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