Django

I see this as a useful feature for fly by wire lens systems where manual focus pulling can be tricky. but to reply the thread title, the answer is no!

it better not be more... especially if it's a 1" sensor. too many good large sensor hybrids in the sub $2K region atm. and with ProRes Raw probably appearing in future DSLR/MILCs, BM are going to have to be real innovative & agressive to turn heads imo.

FS5 II had to happen to make way for A7SIII and provide an upgrade path from their MILCs.. which have currently surpassed the FS5 in both AF & IQ (aside from raw). I'm hoping for a new sensor, 10-bit 4K & much improved AF. Raw internal would pit it straight up against C200 but probably external standard.

shutter angle, all-i/ipb & global/rolling shutter probably affect motion cadence the most.. hence cameras like digital bolex winning in that dept imo.

IBIS is not a replacement for a gimbal. YMMV depending on sensor size etc.. but generally it definitely works best when standing still to eliminate micro shakes. Sony even calls it's IBIS "steady shot". In such practice XH-1's IBIS does imo an excellent job. For stills, it's even better allowing sharp usable shots at sub 1/15 levels, allowing excellent low-light capabilities for still subjects (which kinda narrows the stop gap with A7III etc) .

I dunno our go to boom operator swears by this big old tascam unit (looks almost analog!). sounds great but his mic is probably worth 10 times the recorder. I don't know much about field equipment but spent quite a lotta time in pro audio studios and the amount of vintage "hidden gem" rack units far surpasses what's to be seen in commercial video production equipment imo (except maybe vintage glass). of course UAD has capitalized on that with their excellent plug-in emulations. i can strip down and pack my C100 and a big L lens inside my billingham hadley pro bag.. which is basically briefcase size bag. but i hear you about a hybrid and especially full featured one by canon. we're all praying they go all out with the FF MILC. the latest article on canonrumors says canon has used an unprecedented amount of feedback for it's development. looks like they really wanna get it right this time. that does give some hope. hopefully we'll hear more at NAB in a few days..

Speaking of aliasing, could any XH1 user check the IQ with DCI 2K (FHD 17:9)? On XT2 FHD has pixel binning artifacts but from my small time with XH1 it seemed to fair better in DCI 2K mode. This would be interesting to me as there is no crop in FHD.

you got this a bit wrong... pro filmmakers want pro dedicated tools. the C-line answered that as far as ergonomics, built-in NDs, recording time, battery life, XLR/SDI etc.. the game changer from the C-line was the modular approach and DSLR-inspired hand grip. this paradigm was so brilliant & succesful Sony (FS) & now even Panasonic (EVA-1) have copied it. and it is far smarter & easier to strip away these type cams than to rig up MILCs:

I think MILC users today are expecting strong video features no matter what background they are coming from. ..and "Cine line a big mistake"...?!! Tell that to all the happy EOS Cxxx camera owners out there.. (fwiw i just bought my second C100 two weeks ago!)

Rumored specs [CR1]: Look & Feel: large grip with top LCD, very comfortable to hold; dials are very similar to those we found on the EOS 5D Mark IV. Side articulating screen Sensor: Upgraded version of the EOS 5D Mark IV sensor, obviously includes DPAF. Frame rate: 10FPS Silent shutter and 1/16000sec shutter speed is available Focus control is very similar to EOS 5D Mark IV’s 61-pt AF system. Dual SD card slots Video Features: C-Log 1/2/3, Focus Guide Formats available: 60p/30p/24p 4K (both DCI & UHD can be chosen). FHD 120p Weight: not very light, but similar to Sony A7 but a bit larger due to the big grip. http://www.canonrumors.com/here-are-some-claimed-specifications-for-one-of-the-prototype-canon-full-frame-mirrorless-cameras-cr1/#ixzz5BW1eMtww

The Bloom has spoken.

I'm sure those wizard engineers at Sony could figure out.. speaking of Fuji they well managed to crunch a built-in selectable 3 stop ND in the tiny X100 series..

not if it remains 8-bit 420. FS5 now ships with raw upgrade too. anyways electronic ND imo would make the most sense on a lowlight monster like A7S series, especially considering the minimum 1600 ISO for S-Log.

I highly doubt Sony will go 10-bit with A7S3. That would outperform the FS5. And they aren't going to redesign the A7 mark III body just for the S model. My guess is a new sub-24MP BSI sensor with simply even better low-light capability. Maybe something like an electronic ND. 4K60p. And hopefully a better codec than the aging 100mb XAVS-S (XAVC-L or XAVC-I).

this is all a moot point as that video was shot in F-Log and (heavily) graded in DaVinci.. so nothing 'Fuji' really about these colors.. interesting to note though the guy had some issues while grading: One big problem I found was in post production. I edited and graded everything in DaVinci Resolve, but when I exported the final file I noticed a green cast on it. I tried to play around with every single setting, but nothing. I ended up creating a timeline node with a magenta tint at 13. Not sure why this happened, but maybe DaVinci doesn't completely support F-Log just yet. this seems to echo what a user reported here on XT2 Flog footage. i wonder if the low bitrate of the 120fps makes for cast issues when grading in post..?

Careful now.. A73 fudges low light results by applying heavy NR but the low light king is still A7S2: A73 still the overall better all-rounder hybrid..

oh lighten up jon... always so confrontational..

..and welcome to ETTR class today folks in the Fuji X-H1 thread!

that's exactly what i'm afraid of: Canon doing something stupid.. at least from us consumer pov.. canon's strong segmentation & cinema line protection seem too strong for them to all sudden give out everything on a MILC (FF, native EF mount, Dual pixel, manageable 4K, IBIS etc..) which is what they'd need to do to make videographers switch imo.. of course i'm hoping i'm wrong and that sony's success in doing both MILC & cine cams with some overlap will enlighten them to do the same. i'll believe it when i see it though..

Yeah that warping is weird, i didn't experience anything like that. wonder if Gordon used warp stabilization in post or could that even be rolling shutter distortion?! BTW, interestingly, the first comment in that video has to do with the previous subject matter:

well the Eterna LUT for F-Log basically gives you the same result as the Eterna film simulation. So the film simulation can be viewed as an in-cam LUT. anyways, just look up at the real world example of the music video project posted by @brianwahl for another take on the subject: Eterna doesn't require much of anything to deliver..

well that depends on one's grading skills, actual footage & what you're trying to achieve. there is not one single general rule to follow on this topic.. as for Eterna, Fuji says it themselves: The film simulation "ETERNA" is designed to achieve the "Cinema Look" in one take. I've tried it and it can absolutely render a deliverable SOOC image. it has the added benefit of allowing greater flexibility in post than the other sims, again, if one should need it. But it's not what it was designed for primarily. It was to give a more suitable cinematic film sim for video. It's basically a LUT. You'll want to shoot F-Log if you want the greatest flexibility in post.

@jonpais i think you are confusing Eterna with F-Log. Eterna, like all the other sims can be delivered SOOC and is actually meant to reduce work in post: The FUJIFILM X-H1 features the "ETERNA" mode, a new Film Simulation mode suitable for video recording, simulating the output of cinematographic films. Characterized by subdued color presentations and rich shadow tones, this mode can be used at 400% Dynamic Range (equivalent to approximately 12 stops) to attain video recording with a high degree of perfection while substantially reducing color-grading workload in post processing. my experience with it is that it indeed requires very little tweaking but since it's pretty flat does allow flexibility -should one need it- other sims tend to crush the blacks too much. @BTM_Pix My short experience with the X-H1 IBIS was that it was really solid when holding still or doing pans, walking is when you might notice some micro-adjustments but imo all IBIS systems somewhat fail when you start walking. it's what gimbals are made for. XH1 IBIS is still miles ahead of Sony FF imo.. I'm more concerned with the rolling shutter on XH1. it seemed to me worst than XT2 (borderling A6xxx). But maybe i'm wrong. Perhaps @frontfocus or someone could compare/measure it and report back to us on that.

say what you want about who started what first.. Sony is still currently the only FF MILC player. it's going to take a very solid first effort from Canon to make a splash..

Speaking of second hand C100's i ended up doing just that and picked up a minty C100+DPAF+Ninja Star last week. Whole kit cost me far less than a XH1/A73/GH5 and I'm still more impressed by the 1080p IQ of this old 2012 sensor than any of these recent MILCs. Not to mention NDs, pro audio & handling.. That being said i'm still looking for a hybrid replacement of the XT2 i got stolen last month and of course XH1 is high on the list.. We do have the A73 + Batis lenses at work. It's undeniably a powerfull & compact system that can produce some excellent IQ (hot pixels & bugs aside). But i feel zero emotional connection to the camera or the footage. it's just a tool. No excitement. Unlike shooting with the Fuji. I fully agree with most the pros/cons listed by @brianwahl especially that Fuji produces excellent usable SOOC results both in stills/video. However not sure i can agree when it comes to lenses & manual focus for video. Focus by wire sucks for video imo: it's steppy, innacurate and the fast f1.4 fuji primes do make a racket. I haven't tried the new linear mode but nothing beats mechanical with a nice throw imo. Sony also has the advantage of having so many adapters available & vast vintage full frame lenses to choose from. If i were to go back to Fuji i'd probably cop some Samyang cine glass to pair with it. The FF + S35 4K is imo the strongest advantage of the A73 vs the odd 1.7x crop of the XT2/XH1. And for stills FF > APS-C. But the analog ergonomics, colors & film simulations are still a strong selling factor and is what keeps me coming back to these quirky Fuji cams.