Django

@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.

@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.. 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..

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!

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!

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'

@mercer yeah kind of an overlooked camera.. the BMPC4K also has that exact same sensor and can be picked up second hand even cheaper like around $1600.. not bad for 4K Super 35mm Sensor with Global Shutter, ProRes/Raw, 12 stops, SSD, 5" touch screen & SDI outs!

nope it got dropped just like on the UM4.6K. here are some numbers i found pulled from bmd forum: URSA Mini 4.6k: 4.6k – 15.17ms 4k/2160p – 12.64ms 2k/1080p – 6.32ms Micro Studio: 9.9ms Micro Cinema: 13.3ms Pocket: 17.74ms BMCC: 23.62ms

AFAIK the only BM cameras that don't have any RS are the BMCC4K & Ursa Mini 4K both of which feature a global shutter sensor. UM4.6K/UMP etc do exhibit RS even if on the moderate side:

My guess is BMD were considering ProResRaw support during the NAB launch but may not anymore. First of all as mentioned, BMD already supports Raw & ProRes. Adding ProResRaw isn't as simple as just adding an extra codec to the camera. ProResRaw works primarily on the NLE side ( Demosaicing and processing are deferred to the time of playback and are performed by application software.). This means BMD would have to also develop and ensure full compatibility with Resolve, which they have just released a new version and probably aren't eager to mess with. I also suspect Apple have developped ProResRaw in an attempt to sell/convert more editors to FinalCutPro as the official ProResRaw white paper specifies: Final Cut Pro includes a streamlined and GPU-optimized demosaicing algorithm designed to meet the performance demands of real-time, multistream video editing. So it could also be BMD aren't eager to support a codec that may make their Resolve users switch to another platform and/or hinder current Resolve performance. Unlike other camera manufacturers, BMD's hardware is very tied to their software package. In addition there may be high licensing fees both for camera & software dev tools that BMD just aren't ready to deal with on both ends..

ok well i think the issues you may have had with the video you posted and perhaps others had way more to do with the grading quality than inherent cinematic or anti-cinematic properties of the camera. it also makes a big difference if you're shooting RAW. let's not forget about lenses, those zeiss super speeds s16 are a great pairing but it's worth noting the full prime kit will cost you 5-10 times the price of the camera! but cine glass will take you a long way towards achieving.. cinematic footage. In the end what makes BMD cams special and different from the hybrids is ProRes/RAW, no OLP filter, no NR/Sharpening, Film/Log profile, color science. Basically the ingredients you'll find in much more expensive cinema cams.

ok so on the one hand you claim the video you posted is "fairly representative" of the pockets IQ but you've now suddenly realized through the above video that "the operator is 99% responsible for the image quality"... ? so basically you're whole point about the pocket was moot?

why are we comparing footage from a FHD camera released 5 years ago with a S16 size sensor to an upcoming camera that shoots 4K with brand new M4/3 size sensor, 4th generation color science and featuring dual native ISO? the only thing the original pocket & the upcoming pocket 4K share in common is the "pocket" moniker and even that is misleading imo. if anything the IQ will be closer to a GH5S without NR/Sharpening, and with BMDs Film/Log profile, color science & pro res / raw recording support.

yeah well that's a sore subject.. irony is i did get my XT2 stolen.. at the airport where i least expected it and let my guard down. rimowa & pelican case surely didn't help. lesson learned.

Fuji XT2 is pretty inconspicuous. Especially with F2 WR primes. I've shot with it in parts of India & Morocco where a bigger or more digital looking camera might have got me in trouble. A lot people thought it was an old film camera. XPRo2 would probably be even better in that regard. 5D3 is definitely not the most discrete camera and with lack of EVF/tiltscreen it yells i'm shooting video. I found D750 way more discrete for street shooting. If you are going to use a DSLR mask logos etc with black tape. Use pancake/short lenses to make it look a little more point & shoot. How you dress & act in public is also key for this type of shooting imo. Gotta blend in / look amateur

@Juan Melara Gear Porn alert!!! seriously that's sick AF.. super clean setup mate. keeping the ARRI dream alive for us small folks!

Yes it's quite a leap from a 5D to an Amira/Alexa, hence my skepticism towards means of affordability.. especially for hobbyists shooting kids!!! FYI most current ARRI cams are in the hands of rental houses, hollywood studios & tv/film/production companies. sounds cool, care to elaborate?

wait what... tons and tons of content gets shot on ARRIs for YT.. ?! who? where? how? if IQ isn't "that important" as guy above states.. and for "no budget festival-oriented narrative video" why are we talking a $40K 10lbs body exactly?! above all.. in a "guerrila shooters" thread that states "can't have a setup that looks pro" Am i missing some kind of sarcasm ? Are yall pockets even that deep? or are we on some E.S. BS here again ?? *confused*

@HockeyFan12 bro we're talking $150 / monthly in countries like Vietnam!

Looks like it outputs 1080p max via HDMI period. it's a bit an odd limitation but then again with internal RAW/ProRes, not much reason to record externally so it seems the video out is there mainly for external monitoring purposes. I hate HDMI, it's unreliable on the field but hey can't have it all at this price point!

@jonpais With an average salary of $145 for a Vietnamese worker, somehow I feel it is going to be easier to find qualified help. anyways glad it's working out for you down there mate!

well for me personally that's not an option. I like to keep sets at a dead minimum possible. Anybody that isn't vital and hence experienced/trustworthy shouldn't be present imo. Not to get all Christian Bale-ish, but the amount of amateurs/onlookers etc that have slowed down, straight up ruined a take/scene or worst wrecked equipment is catastrophic. I'd rather carry the extra weight, take the extra time with a tiny crew i trust 100% then hire a bunch of help that will be loitering or worst during the day. that's just me though, some people love the god syndrome of a overpopulated set! of course if it's a hobby or indie project, you'll often take anything you can get.. nobody is going to argue that.. they're in a totally different category period! but compared to Alexas it's pretty obvious Arri's marketing them towards a more high-end ENG market: Amira boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. Sliding dovetails allow the camera to be perfectly shoulder-balanced for comfortable handheld shooting, while the innovative multi-viewfinder combines a high resolution OLED eyepiece with a fold-away LCD monitor that provides both a live view and full access to camera functions. • Quick start-up – ready to shoot • Optimized for the single operator • Sliding dovetails – perfect shoulder balance • Internal ND filters (0.6/1.2/2.1) • OLED eyepiece and fold-away LCD monitor • Multi-channel audio – easy-access controls Not for everyone obviously, but for who can afford them and want that ARRI look handheld (e.g. NFL Films, high-end docus, action/war movie scenes etc) it clearly has it's purpose

damn.. usually not a fan of gimbal shots but that was really well executed. surprised the AF held up so well & slomo not displaying any artificacts (although probably slowed down in post).