Django

General rule? there are no rules, only format choices and he explained his motivations. Of course its personal, but I think other people can relate. I know I can.. YMMV. He also mentions tight spaces and narrow locations like shooting hallways etc. Going full frame means you don't have to step down to a wider focal length when you simply can't physically back up the camera to compensate for the S35 crop. Stepping down from 35mm to 24mm adds quite a bit of distortion. an alternative is to use a speed booster, but here again we're talking reasons for going FF.

what's wrong with mimicking things of your subconscious or revisiting the favourite FF lenses of your early 35mm photo days? that's one of the main appeals of going FF imo, the familiarity with the format and shooting wide-open on fast primes, both of which he touches upon.

No I don't think so. Medium format & Large Format have been existent in both photography and cinema for a number of decades, way before the digital revolution. They've been very popular within a niche but have remained just that, a niche. The trend in the mainstream camera industry is towards compactness and that's where APS-C/S35 still stands a fighting chance. MF & LF lenses are just too big and too expensive to ever take over FF/S35. And on the high-end cine front, with Alexa 35.. S35 looks like its got a bright future ahead.

It's not really snobbery, it's the reality of a certain bubble "cine" world. That of ARRI/RED/VENICE. Ironically, the very few theatrical releases I've done were shot with 5D3 (ML), C300mk2, BlackMagic Production Camera, FS7... albeit all low-budget documentaries/cinema vérité/art/festival films. And paradoxically, all my RED/ARRI shoots were for high-end commercials, TV, fashion/music videos. It's all relative. That's my reality. To give further context, at Cannes this year films made with these cameras entered the competition: C500mk2, S1H, A7S2, FX3, FX6, FX9 , A7III & iPhone 11X Pro (!). https://ymcinema.com/2022/06/13/the-cameras-behind-cannes-2022-alexa-mini-still-dominates/ Mostly as B-cams & for documentaries but that is an interesting evolution. While the Mini still "dominates" those entries are the most surprising/interesting to me. Budget, crew, clients pretty much drive what I'm going to use. The whole "cinema camera" term isn't really that relevant to me anymore personally. Yes, ARRI is the gold standard. But if an FX6, FX3, FX30 or iPhone better suits the project/budget then that's what will get used. I am attached to certain "cine" specs though.. shutter angle, DCI, I/Os, codecs, resolution, DR, rolling shutter etc. Luckily we're getting a lot of those in affordable bodies. Finally, "cinematic" image quality wouldn't be anything without lenses. The focus on these forums seems to be so tilted towards camera body brands, specs, sensor size etc.. but lenses can't be dissociated from the equation. It's really what may tie you to an eco system or a sensor size. Seems like the big boy cine cam discussion has sort of turned into Alexa Mini/35 vs LF/VENICE. If you look at the above camera Cannes list, or Oscar list or Emmy list.. it's actually pretty split in between S35 & FF. You can reference frame it however you want, the divide is the same no matter the category. Some DPs prefer S35 others FF. While sensor generation and overall specs (DR, ISO, resolution) may play a part, I think that again, what lenses a DP wants to use plays a decisive factor in his sensor size camera choice. We've already had similar discussions in the past. I like to use real world examples to illustrate my arguments so let me re quote what the Ozark DP had to say about his switch to Venice with FF Leica glass: “I started as a still photographer on 35mm film,” described Kutchins. “It creates a feeling. For example, I can describe it like shooting Super 8 versus full-frame, I feel like I’m watching it in a box, from far away. As a viewer, I feel distant, even in a close-up. It’s nostalgic, but I don’t feel connected. TV lives in the world of a medium close-up. We never go really tight. In full-frame, you still feel close." As Kutchins described, they took older Leica R lenses and rehoused them, which gave them the ability to shoot wide open. “It opens so super wide. I was intrigued by it as we went down the wormhole with the family, in isolation and distrust. I was intrigued to use the wider aperture to create more character separation. I love the result. Both Armando and I were excited by the possibilities. We play with depth of field and with lenses to create a separation from character in the background. Even with a wide lens, you can feel the character coming into my space and coming into the living room. That’s what we’re trying to do as filmmakers, create a presence in 2D space."

that use to be the case but I think since the C200, FS5 and now BM6K Pro, C70 or even FX6, that is no longer the case. They have great battery life so you can stay away from Vmount. Built-in NDs mean you can avoid a matte box. And stellar AF avoids the need for a follow focus rig. A lot of DPs do love to over rig their cameras and that's fine, just not my ethos. I usually strip them down to the bare minimum, I like fast energetic shoots to keep the momentum going. Obviously you can't do that with URSA Mini, RED & ARRI. You need a crew if you wanna be comfortable. Different scenarios. Different applications. Different results also. Sony is definitely cornering the market, mostly in broadcast. A friend of mine just joined one of the biggest TV shows for fashion & music and told me it's all Sony now. Used to be AMIRA up until just a year ago. I'm not sure why they switched but could be weight related as he told me they alternate a lot in between sticks and shoulder rig. Or did they go FF? I hope to go visit the studios and find out more. Fuji are killing it, and XH2S would also be my first choice today for personal camera and pet projects. But with no real upgrade path, limited ecosystem & outsider reputation.. Sony does feel like the best system right now as far as getting pro work in the industry. I still prefer Canon colors, ergonomics etc but their pricing isn't very competitive neither in pro bodies or RF lenses and their politics are lousy at the moment, they need a change in CEO or something.

Not sure what all this ARRI talk is doing in a FX30 thread but ok I'll bite. Locally, I've notice ARRI Classics are sitting for weeks/months on the marketplace, basically until the price hits rock-bottom. They're usually beat up as hell with very high mileage. I guess they're built like tanks but like second hand luxury cars I'm always weary of spending couple thousand and end up having an expensive paperweight if a major fail were to happen. Not to mention the giant form factor, not very liberating. unless you're shooting (budget) feature films I can't imagine a scenario where you'd pull up with this type of rig in 2022 lol

Even bigger profit margin on FX3. Same exact body, FF sensor, twice the price!

I want a Fuji XH2S for the sensor, resolution, open-gate, ProRes, film simulations etc. But as a working pro, already invested in Sony ecosystem plus an FS7.. the FX30 makes better sense. FX30 does have some nice features like Cine EI, LUT import & TC. Nice ergonomics, top handle with XLRs. Active cooling. And yes, rock-solid AF. But I'd also adapt glass and use a speed booster. It's just not very exciting, at all really. Completely utilitarian like most Sony cams. No real innovative features. A "new" old sensor. Sony aren't breaking barriers like Fuji, they are simply diluting their cine line. Making it more accessible. Most accessible ever, really. And that'll probably be enough for them to make bank. They also have bunch of A7III/A6xxx users that will upgrade to it, as FX3/A7S3 were above their budget. And FX3/A7S3/FX6/FS7 users that will add one as B-cam. Those are the main purchasing scenarios imo.

Looks like Sony launched local FX30 film projects in its main sub-divisions. This one just popped up from Sony Australia and is quite nice in a gritty graded way: Looks like it was mostly shot with FF GM lenses but also the APS-C 18-110mm PZ cine zoom lens designed to pair with the FS7.

Lol I know your being cynical but I think (or at least hope) most people are aware that S35 is the cinema standard!

Cancer has also wiped out members of my family and friends. It's even more tragic when it happens at such an age, my heart goes out to you and your family Andrew. I also know people who beat it, including a young woman who had all odds against her. I don't want to give false hope or anything as every case is different but you do have stronger chances when you are younger. Try and keep her morale up as best you can even if the circumstances are dire are the only words of advice I can give. Stay strong.

Meh Vegas is overrated, plus the whole point was to rip it to pieces, annihilate, nuke it. The shallow DoF was the character in itself. Call it a played out gimmick, fine, but it was never done before at 100% in a feature. I do get how it could annoy people though, especially those that can't stand shallow DoF. ..Uh what camera was this thread about again?

Wow that is a big price difference! only 300€ difference over here. I can't find my source on DR but here is what DPreview said about AF (citing the Fuji white papers): Although both cameras use the same AF system, interface and processors, the company says there will be performance differences between the two. In a post-launch technical briefing, Fujifilm characterized the performance of the X-H2's AF tracking of moving subjects and its subject recognition of moving subjects as 'good' rather than the 'very good' rating it assessed for its faster camera. This makes sense given the X-H2's slower readout sensor, which means the AF system is receiving less frequent updates from the sensor about what's changed (around 26 fps rather than 120 fps) However, the company does point out that the X-H2 has many more AF elements than the X-H2S, saying its 3.33M focus elements should deliver better focus on finely detailed subject such as fur and foliage than the 2.16 million elements on the X-H2S's sensor. Another advantage about XH2 is oversampled 4K and some kind of zoom function possibly similar to Sony's clear image zoom. Sorry if it was so painfully obvious to you! I haven't been on Fuji for a while.. its great those settings are actually there unlike on Sony's where NR can't be diminished. Thanks but I'm not really qualified for that! Definitely send it to him though (I guess h265 & ProRes files of similar footage ideally involving foliage for him to compare).

Any specific reason (other than price) why you picked XH2 over XH2S? Personally I'd rather go with XH2S's stacked sensor and benefit from all its advantages (better DR, AF, significant less RS, 6.2K Open Gate, 4K12Op) over 8K resolution. That said sensor aside both are pretty similar. From what I've noticed the recommended settings are to go -4 on sharpness and NR to get the most organic image. What I am really curious about is if ProRes diminishes the heavy chroma NR fuji applies to all its jpg & h26x footage, issue first discussed here: https://www.eoshd.com/comments/topic/60753-color-detail-issues-in-fujifilm-video-files/ Then there's also ProRes RAW & BRAW external for what should be ultimate IQ.

Say what you will I give him props for even attempting that.. its not like if it was an Ingmar Bergman film.. the flick was so over the top it just added another level of surreal.

yup saw that one in my feed this morning.. as he says at the very end though "we haven't tested out mixed lighting where a lot of the time the camera will break apart". especially true with Sony footage in my experience. but its encouraging, Sony definitely seem to improve CS, WB, skin tones etc on each generation. certainly true for broadcast and any production house that favours Sony. I know I bought my FS7 for that type of work even though it was technically an "old" camera, its still an industry standard. and the FX30 is shaping up to be the perfect b-cam (or even a-cam). I'm warming up to it. that said, let's not forget all the freelancers, content creators & web delivery production teams that don't need to bend to a specific manufacturer. that's a huge chunk of the market actually and where we start getting into spec wars. R6/R7, FX30, A7IV, XH2S, GH6, A7SIII, FX3, R5/R5C, Z9, FX6, C70 etc all start to compete with one another.

FX30 has a number of improvements over FX3 (oversampled 4K, double LCD resolution, focus breathing comp) but also some cons mostly on the stills side (no mechanical shutter, no drive mode). So as a hybrid FX30 isn't interesting. The best thing is the price, half that of FX3 while in the same exact body. FX3/FX30 vs A7S3: The FX line have TC, LUT support (allowing you to bake in a custom LUT), cine EI and of course the body with mount holes, tally lights, top handle with XLRs. And active cooling so less overheating. The only tradeoff is the EVF loss. Another option is the XH2S. You get your EVF and full photo specs. And on the video side a stacked sensor giving you great DR, low RS as well as 6.2K open gate, DCI 4K, ProRes, Film simulations etc.

maybe you need to put reading glasses on. he explained his work is mainly on FX6 & FX9 which are both FF cameras. he'd use FX30 as a b-cam so a speed booster makes sense to keep the same FoV and use the same FF lenses. plenty of FF cine lenses out now as well as large sensor cine cams from RED/ARRI. Sony's entire cine line from Venice down to FX3 is FF. SMH. You must be new to lenses, my FF Leica M & Nikkor AIS glass are more compact than any modern APS-C lenses. The extra glass from the speed booster can actually help reduce over sharpening from cameras like XH2S that have no OLPF. And the stop of light that you gain helps with S35 sensors poor lowlight performances. He said he also plans to use S35 glass and so FX30 allows him to use both FF & S35 lenses, unlike the FX3. I love shooting wide open at f1.4 or even f1.2. obviously for specific shots requiring isolation or a dreamy feel but you have entire films like Army of the Dead that were shot FF on a Red Monstro wide open at 0.95 on Canon Dream lens rehoused in Leica M mount: Rules are meant to be broken. And just to prove this isn't just a one off Hollywood phenomenon, here is 6.2K open gate footage from XH2S using a speedbooster with some shots done at f0.95 (lowlight footage from scene 4): I think the image looks fantastic personally, FF aesthetic/bokeh yet still very detailed but without the over sharpness usually associated with Fujis.

Yes this is what I was saying above. The FX30 is actually better than the FX3 in couple areas, namely the oversampled 4K and the sensor size that can reveal to be more useful than the FX3 that has no S35 crop mode in 4K. But the biggest competitor to the FX30 is imo A7IV. Only couple hundred dollars more extra and you get a FF camera that has a S35 crop mode with less rolling shutter and much better low light sensitivity. Plus an EVF and full photo capability. Same 10-bit codec. Same log profiles. And that is what pisses me off, Sony could have given FX3/FX30 DCI, shutter angle and WFM/false color and it would have been a clear winner for video. But they're afraid of losing FX6 sales which is ridiculous. If you're exclusive to video though I can understand the FX30 form factor and maybe LUT support and cine EI being a better option and better match if you're using it as an FX6/FX9 B cam. As an FS7 owner, the FX30 seems like the logical choice but it just feels so underwhelming to me. I hope to be able to test one this coming weekend, maybe I'll come around once I see what I can get out of it. So far the demo footage on YT is horrible but that doesn't mean that much doesn't it. As for the 6K Pro. Different category. It has NDs, it shoots RAW, that big LCD. It's a lot closer to a proper cine cam. That said I agree the EF mount limits it so much, it was the deal breaker for me. Well that and no AF or IBIS. Plus a so so sensor in regards to rolling shutter and low-light. At a time where the competition is fierce and cameras are now shooting RAW, 10-bit, ProRes. 10-bit 4:2:2 on a nice chunky codec is good enough for me though. My editors hate RAW too so yeah not viable on commercial work either. It's a nice thing to have though for those special shoots. I'll try and not be too hard on FX30 until I try it. Specs are a little disappointing to me but who knows I might be pleasantly surprised by it.

The FX3 is overpriced imo. It has the exact same downfalls as the FX30: Still no DCI 4K or shutter angle or WFM/False color. No S35 crop mode. No EVF. No internal RAW. No oversampled 4K. Actually the FX30 has oversampled 4K so in one important IQ aspect it is actually superior to the FX3! And it can do both S35 & FF with speed booster. I'm not really worked up, I just find the Sony cripple hammer very annoying and disappointing. Canon caught a whole lot of flack when it was up to those shenanigans but Sony gets a pass from you? double standards. See I do want a b-cam to my FS7 just like I'm sure FX6 & FX9 owners do too, but Sony doesn't give it to you. Not in FX3, not in FX30. At least Canon have C70 & R5C will full cine line features including internal RAW.. more expensive sure but no severe compromises like with Sony. All that said I will probably go with Fuji lol.

I'm a prime shooter personally, even on the few weddings I've shot (both as photographer & videographer). Swapping lenses is definitely a hassle in such fast paced environment which is why multiple bodies feels essential. A wide angle, medium & tele on 3 bodies and you're good for any situation. But I've also managed with a single body and a 35mm and even once on a single 50mm (kinda crazy when I think back at it!). Never done both photography and videography at once, that sounds like madness! Today if I were doing weddings I'd probably use 2 FF Canon bodies (R6+R5C) and have the 16mm 2.8 STM on one and 85mm on the other. Or two Sonys (A7IV+A7S3) with Zeiss 25mm F2 & 85mm F1.8. Those are currently my favourite lens combos for run & gun. I do have two destination weddings coming up next summer, I'm only a guest but have been asked to take candid shots, I will probably just bring my Leica M9 with the 28mm summicron. However if I pick up an XH2S that could change everything as it would be my ideal travel hybrid cam. I'm not sure yet about using Fuji for run & gun. I have in the past with mixed results. XH2S is the first camera that really peaks my interest over FF thanks to the stacked sensor but AF is still a big question mark. And I rely on AF heavily for run & gun and can't stand missed shots due to OOF. I've been looking at what lenses I'd get for the Fuji and my favourite back in XT2 days was 23mm F.14 (35mm equivalent), 35mm F1.4 (50mm) & 56 F1.2 (85mm). All very slow AF lenses but they do all have new versions out now. Viltrox also has what looks like a great inexpensive prime lens with AF for X mount lineup. The rendering looks like a sweet spot in between vintage & modern which is right up my alley aesthetic wise so I'd look heavily into those. I'd also pick up the Metabones EF speed booster with locking system to get FF aesthetic and use all my EF glass. Again the Fuji would really be my creative, family/friends, travel cam. The 6.2K open gate would also be very interesting to me for client work that requires multi aspect ratio deliveries. I could see the super sharp high resolution optical filter less image quality being useful for certain applications like product shots, fashion accessories etc. I have serious GAS for XH2S, and was waiting for the FX30 announcement and its a bit hard because I'm already invested in superb Sony glass and the FX30 would be a good B-cam to my FS7 but the specs are just too low vs XH2S.

Well its a dumb move imo because the FX3/FX30 would be perfect B/C cams to FX6/FX9 or even Venice. Think drones, gimbals, action shots. Also the FX30 web page talks about cinema and filmmaking all throughout: Sony's acclaimed Cinema Line cameras sets the standard for filmmaking, with beautiful cinematic imagery, high performance and highly efficient workflow. Film industry experience allied with state-of-the-art imaging technology. The outstanding Cinema Line series of cinema cameras is built on decades of experience in the film industry and supported by Sony's sophisticated new technologies on the cutting edge of digital imaging. And even if you're not aiming for cinema release 4K DCI is great simply for getting closer to full sensor readout instead of the UHD crop. Again every mirrorless brand offers this in their flagships / video oriented models.. except Sony. It's a deliberate cripple to continue and segment the now "affordable" FX line from the more expensive "real" cine line. Same for shutter angle, it's probably 2 lines of code to copy/paste but no dice. Its rather infuriating. I'll be at the Sony booth at a trade show next weekend and rest assured I will grill them about this. Not true: Canon R5C has shutter angle, Panasonic GH series also. FX3/FX30 are half-ass attempts and not 100% worthy of the FX line imo. R5C remains the benchmark with full cinema line OS. FX30 is really hyped because of its price point and sleak FX3 body but in reality you're not getting that much with NDs, DCI & shutter angle missing, no EVF, no mechanical shutter and a sensor that pales in comparison to what the XH2S offers you (14-bit readout, 6.2K Open gate, DCI4K, 9.7ms RS, 13.4 stops of DR, ProRes).

I shoot on both Canon & Sony systems. It's a tough call and does come down to personal preference. I favour Canon for camera ergonomics, UI, AF (both in stills & video), colours (especially skin tones). Lens wise, I find EF glass has more mojo (I just love my 35mm F1.4 L & 50mm F1.2 L). But I also love my Zeiss Batis primes that are more compact. RF has some amazing glass also, and even the affordable STM line is really good (I think I'll go for the 24mm & 85mm STM next). Lenses is really what ties you to a system so don't underestimate that aspect! Now specifically when comparing A7S3 to R5, well R5 does have 45MP stills, 8K, oversampled 4K & internal RAW. A7S3 has non oversampled 4K, only 12MP stills & a lot of NR at high ISO.. but better DR & less RS. The lowlight used to be where A7S series killed it but that's not the case with A7S3 since it is in fact a 48MP quad bayer sensor. Also the 1:1 4K doesn't allow super35 crop or focus breathing compensation. Bummer. 4K120p I dunno, it looks great on the R5 but haven't A/B it with A7S3. I think with 1.6 R5 wins on overall specs but if you really need that extra DR, super low RS & better 4K120p then it might tilt you over. Both I think are mirrorless workhorses. Sony colours have become much much better than in previous generations but I still find myself spending way more time in Resolve adjusting footage than with Canon where I pretty much can just slap a custom LUT and it looks simply amazing. Especially skin tones. To me this is a MAJOR advantage for Canon.

No DCI 4K though means matching with my preferred aspect ratio would be compromised. Such a weak cripple hammer decision. Sony is the only company today that won't allow DCI 4K on their mirrorless bodies. That alone is sort of a deal breaker to me.

Congrats on the new purchase. Yeah I always used the battery grip in my XT2 days. Keep in mind that on Fuji the grip allows 2 batteries + the internal one for a whopping X3 battery life! That should keep you going all day & night during those long wedding gigs. The grip is expensive but well worth it as it also offers a boost mode. There are two versions for XH2S, one has a transmitter. Looks pretty beefy on XH2S but very professional :