Django
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Posts posted by Django
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For those in the MF market a much cheaper GFX 50R is expected to launch at Photokina:
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6 hours ago, kye said:
Regardless, this means that unless they deliberately change this, that 4K seems to be the only likely solution for getting good 1080 out of these cameras (by recording 4K and downscaling to 1080). Unfortunately this isn't likely to happen soon IMO, considering how slow they've been to introduce it, and considering the awful RS on the M50, which combined with this article from Andrew suggests that it's more of a fundamental problem.
Bummer. Looks like I'm not only up for a new camera, but also have to change to a new lens system.
you might wanna hold up until photokina in september where Canon is expected to announce a high-end (FF) mirrorless. i have a feeling they might get video specs right this time.
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I haven't heard from the "big" reviewers about the bottom pixel issue either yet it appears pretty widespread. Most of those youtubers at the sony event aren't even videographers. Quite possible they didn't stress the camera under harsh enough conditions. Not to mention the A73 launch was in (winter) february and we're now almost summer. Regardless there are indeed overheating reports on YT. This dude shows shut down at 25mn under 30degC:
@kye i'd probably avoid if planning to shoot 4K outdoors in OZ heat!
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1 hour ago, kidzrevil said:
They chose 22.3 because it allows them to do 3x3 pixel binning without moire artifacts or a noticeable degradation of quality. Pixel binning also has the added effect of making pixels look brighter by using neighboring pixels from the 22.3 sensor when output to 1080p. It cuts down on processing power required versus 1:1 full sensor readout and works really well for the higher end Canon's that don't use line skipping for their 1080p output
I think its the codec and in camera processing making the image so soft. ML Raw is such a huge jump in quality it has to be the codec & image processing
the codec isn't helping but it's more than that.. cuz recording to prores externally stills gives out a soft image. the upscaling seems to be the main culprit.
someone in this thread claimed:
5D3 uses large group pixel bins of 5x5, resulting a 1152x648 RAW bayer, which then gets upscaled to 1080p, that's why it has about 600-700 lines of resolution
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Canons best 1080p is on it's C line. Even the lowly 24Mbps from the C100 blows away in sharpness/detail any Canon DSLR with twice the bitrate. That's cuz of internal downscaling from a 4k sensor.
Of course ML Raw on 5D3 is in another league but the typical Canon soft 1080p is terrible across the entire DSLR line imo and feels like upsacled 720p..
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48 minutes ago, Kubrickian said:
Is the WDR in the same LUT package as Eterna? Anyone got a link?
yeah it's in the same pack, just google fuji lut.
i've just tried it and indeed very similar to Eterna with a hint more highlight info.
should match up nicely to WideDR profile on my C100!
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internal FLOG + Eterna LUT is a game changer. Dynamic range gets a major boost and the final look is so much more filmic then before.. it's like a whole new camera!
HFR options is also pretty cool. overall at under a grand second hand with the grip & around half the cost of new XH1, i feel XT2 is among best value cameras around thanks to this update.
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Just picked up an XT2 again however just found out Fuji pulled the plug on the 4.0 update because of the bugs:
I'd really like to test the F-Log & 120fps so was wondering if anyone here could send/upload the 4.0 .DAT firmware file? would be much appreciated!
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10 hours ago, ntblowz said:
I posted some full res photo sample on dpreview forum.
https://***URL removed***/forums/post/61111222
still seeing what appears like spherical abberation. any chance you could provide us with some video samples? with the (1.5x ?) crop in 4K that effect should be diminished.
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not to mention i'm seeing some pretty severe spherical abberation from the sample pics of that custom adapter.. usually result of poorer quality focal reducers..
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XH1 also features a new silent movie control mode: The Silent Video Operation function allows you to control settings such as aperture, shutter speed, ISO sensitivity and white balance with silent touch-panel operations on the rear monitor, preventing the camera from picking up operation noise from buttons and dials during video recording.
I believe this mode also saves independent video settings from still settings.
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The one area where Sony usually keeps ahead is sensor tech.
But the days of Sony "leading the way" are kinda past i feel.. they were the laziest this year at NAB by just adding a picture profile to the FS5 and calling it a day with their Mk2.
We're still seeing the same 8-bit 100mbs XAVC codec in their third generation MILCs. They took away big features like timelapse from previous gen. Still no AF-S in video. Still color science issues, still same resolution EVF, convoluted menu system...etc.
Meanwhile Fuji put a 200mbps codec, DCI 2K/4K options, Flog/Eterna, IBIS, touch screen, top display etc in only their second 4K body ever. Camera has it's quirks but not bad overall improvements imo.
Ergonomics & color science wise i also find Fuji is way ahead the competition.
But the real battle is going to be at Photokina in september with XT3, A7S3, Pocket 4K as well as much expected FF MILCs from CaNikon.
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yeah.. try and shoot artificial / mixed lighting, that's where the sony usually starts to get confused & struggles.
what i see from that test and others is that the sony picks up a lot of detail, more so than fuji.. but at closeups any skin imperfection really pops out in an ugly way, you can see it in that video, the girl looks all blotchy red like she's got allergy attack on the sony side while the fuji looks more uniform/normal.
also i think you mean Fuji 35mm f1.4?
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true. 5D4 rolling shutter in 4K is A6300 bad. 1080p seems ok.
i'd stick with 1DX2.
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Let's not forget 5D4. Same thick 500mbps MJPEG video files as 1DC/1DX2. Much lighter bodies. Best DPAF implementation (beats C200). C-Log.
If you can deal with the crop , it's a solid camera option in Canon land imo.. they're going down in price a bit too.
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@1Ale82 If your shooting out in the mountains with cold/rain elements i'd forget the sony's especially A7III as it's only dust/moisture proof vs complete splash/freeze weather sealing for XH1.
And with the WR primes you could have a rock solid setup.
Also you mentioned timelapse, another point for XH1 as it's got an intervalometer function. no can't do on A73.
Btw, don't discard your XT2, with the latest update it's got F-Log, 120fps and couple other enhancements.
XT2 + XH1 could be an awesome combo and minimize lens swapping.
As for the 200Mbit vs 100Mbit, less compressed means less artifacts which could be very useful in nature/water shots imo.
Check out the thorough A73 vs XH1 comparison here: https://mirrorlesscomparison.com/sony-vs-fujifilm/a7iii-vs-fuji-xh1/4/
- Mat Mayer and frontfocus
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It's a tough call depending on your priorities but to me it sounds (and looks) like Fuji has the edge in IQ.. even if Sony has the advantage in low light & AF performance:
Video – 4K comparison and analysis
Colours are similar to what we saw for the SOOC JPGs. The X-H1 has more dominant green tones with manual white balance and some profiles like Velvia produce really strong saturation, whereas Astia and Provia are more balanced.
Some Creative Styles on the Sony such as Autumn leaves and Landscape give you realistic colours with lovely tones, but keep in mind that these profiles are designed for stills and can easily clip highlights in situations with strong contrast.
Fortunately, Sony has 10 Picture Profiles that can be entirely customised with settings designed for video. They were inherited from the Cine-Alta professional camcorder series.
You can configure them to be smooth with low contrast and saturation – which gives you more leeway for colour grading in post production – or have a nice result straight out of camera. Using them definitely requires some trial and error as they are quite advanced but the results can be very nice indeed.
The X-H1 introduces Fujifilm’s first film simulation mode designed for video: Eterna. It has less contrast and saturation so that it is easier to colour grade once again. It is not too dissimilar from the Pro Neg Std profile.
For skin tones, the Fuji has a smoother and more uniform rendering whereas the Sony adds more details and subtle tones. However it can also display more highlights if there are some reflections due to sweat or lack of make-up.
Eterna, as well as some of the Picture Profiles on the Sony, can already give you a good amount of dynamic range to work with. On the A7 you can control settings such as Black levels and Black Pedestals, whereas the X-H1 gives you highlight and shadow parameters, as well as two dynamic range settings.
The most interesting are DR200% and DR400%: combined with ISO 400 or ISO 800 respectively, they allow you to retain more highlight information or open the shadows more significantly than when recording at ISO 200. It does introduce more noise in the dark zones however. On the Sony, the HLG3 gamma retains more highlight information but can’t match what you can obtain with the DR settings on the X-H1.
For superior dynamic range and colour grading, there are Log gamma profiles. The A7 III has two: S-Log2 and S-Log3. The latter opens the shadows more but can also produce more noise as a result. The X-H1 has one F-Log profile that gives a good latitude but doesn’t reach the same balance between shadows and highlights that the A7 does. Note that on both cameras, the minimum sensitivity is 800 ISO when using Log curves.
Keep in mind that internal recording remains compressed (4:2:0 8-bit) but you can achieve better results via the HDMI output (4:2:2 8-bit). The X-H1 can record at 200Mbps which is double the bitrate of the A7. As a result, the Sony can display more compression artefacts which are especially visible after applying some colour grading.
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@jonpais there are lotta stores doing big rebates on XT2 currently here in EU. and a lot of second hand units fo even lower as well. both are results of XH1 & XT2 approaching EOL with XT3 expected at Photokina..
27 minutes ago, Kisaha said:and, everything the X-T2 gets, makes the H-X1 a weaker buy.
well one has to admire Fuji for giving older models, new features (like 4K on Xpro2 last year).
but XH1 in Fuji's eyes is mostly a hardware enhancement: IBIS, body size / grip, weather sealing, touch screen.
and they still left stuff like DCI 4K/2K, 200mbps & Eterna exclusive to XH1.
anyways it's a win-win for the consumer imo..
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weird?!! XT2 came out in 2016... Fuji's first 4k camera... i say better late than never. XT2's can be bought for just about a grand now. You gotta spend $5500 if you want 120fps FHD at Canon. And you still don't get log!
slomo is looking clean!
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Again no argument F55 >>> UM4K but it's like saying: Aston Martin DB5 is a really good car. It's worth 10x the price of a Hyundai imo. I find it to be a 10x better vehicule. Maybe it's the user, but just watch "Goldfinger / Casino Royale". Beautiful stuff.
we're in a BM Pocket thread on a compact hybrid forum. affordability & good value were the points being made.
btw, on a side note i've been catching up on 'The resident' (discovered via this thread) kinda fun trying to guess which shots are Alexa, UMP & BM Micro!
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No one is going to argue about DR superiority of the UM4.6K with 15 stops advertised instead of 12 for the 4K. It's also got a wider ISO range.
All i'm saying is if you're allergic to rolling shutter and again want a 4K Super 35mm Sensor with Global Shutter then the UM4K/BMPC4K are a good deal.
The F55 is literally 10 times retail of the UM4K and 20 times a used BMPC4K. Just sayin'
- Damphousse, graphicnatured and sanveer
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Tips for achieving this style if cinematography
In: Cameras
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i'd say a mix of 16mm analog & digital. the shots at 0:10, 0:40, the biker jacket shots & couple other definitely appear digital. it's a dope ad in any case imo!