Django

For what its worth XAVC-I on FS7 is a pretty fat 10-bit/422 intra codec with bitrates up to 600Mbps...

A7S3 is definitely coming. latest rumors suggest the Venice color science (to match Venice/FS5Mk2 as b-cam), a new BSI sensor reducing RS, even better low-light & faster HFR. 10-bit.. maybe in FHD. highly doubtful in 4k. would love a less compressed codec than the 100mbps XAVC-S. It's going to be an interesting year at Photokina with FF Canikon's hopefully announced!

lol only in Canon threads are we concerned about FHD IQ.. i'm hoping this means HFR, no crop 4K, manageable codec, log & dual pixel... all at the same time.

I picked up a C100 again recently, I had dumped it previously after going 4K.. but shifted back after realizing i still deliver just about everything in 1080p and that the C100 gives one of the best 4K downsampled 1080p IQ (especially when externally recording to ProRes). Most TV channels around the globe still broadcast 720p / 1080i. And most hollywood movies today are still shot/projected in DCI 2K i believe. I do appreciate 4K material when i find it worth it ( sci-fi blu-ray or a sports game on a big screen) and of course on monitors for editing but in most viewing cases i find 1080p/2K still perfectly adequate. As for 5D3 ML Raw, it certainly has a great mojo.. let's not forget we're talking 14-bit lossless.. allows for some really good grading/pushing:

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!

For those in the MF market a much cheaper GFX 50R is expected to launch at Photokina: https://www.fujirumors.com/fujifilm-gfx-50r-concepts-of-the-most-affordable-digital-medium-format-camera-ever/ https://www.fujirumors.com/fujifilm-gfx-50r-announcement-not-in-july-august-but-photokina-or-shortly-before-no-price-set-at-this-stage/

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.

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!

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

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..

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!

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.

Just picked up an XT2 again however just found out Fuji pulled the plug on the 4.0 update because of the bugs: https://www.fujirumors.com/fujifilm-x-t2-firmware-update-4-01-released-rollback-to-previous-version-fujifilm-gfx-x-pro2-and-x-h1-firmware-postponed/ 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!

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.

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.. https://www.popco.net/zboard/view.php?id=dica_forum_canon&page=1&sn1=&divpage=3&sn=off&ss=on&sc=off&keyword=부스터&select_arrange=headnum&desc=asc&no=10172

Nice catch but isn't this more an issue with Mac OS/Quicktime rather than the A7III? i can confirm similar inconsistencies comparing QT & VLC using Fuji/Canon footage.

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.

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.

Speaking of the devil... Gaspar Noé ‘Couldn’t Stop Laughing’ While Watching Lars Von Trier’s Controversial Serial Killer Film ‘House That Jack Built’

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?

true. 5D4 rolling shutter in 4K is A6300 bad. 1080p seems ok. https://***URL removed***/news/7057004492/don-t-get-ahead-of-yourself-canon-eos-5d-mark-iv-rolling-shutter-test i'd stick with 1DX2.

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.

@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/

yup.. and by that logic roughly 3X the image quality of Panny/BMPC4K.

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.