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About josdr

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  1. Fuji has superior colour science to Panasonic, not even something to argue about here. You do not need 4:2:2 unless using a green screen but people like to repeat it because a YouTuber said so. You can do 4:2:2 externally if you use green screen extensively. You have the best app-c mirrorless available for video, use it. Influence your shooting environment , deny the gear acquisition syndrome. Invest in a Meike cine lens if you must buy something , the 25mm is butter coupled with the x-t3.. If you like the video look, go with Panasonic
  2. We more or less agree on your other points so I will not comment on them but I would like to offer my opinion as to editing latitude and h265. Nowadays you can very easily edit h265 files with a mid-low tier Nvidia gpu that has a dedicated nvenc hardware decoder/encoder. They are very cheap all things considering so I am always amused by this" h265 is difficult to edit" for a reasonably powerful system that someone editing video would have.( I am talking 800-1000 euros here, not rigs costing thousands of your favourite hard currency ) I have a 1660s which is very affordable and I
  3. Ι would hardly classify people that do not like BM gear as ignorant as to what constitutes a cine camera. There are well established problems with reliability, bad quality control, subpar sensors etc that do not help its case for indy use. We are indeed thankful that it has disrupted the market with its pocket cameras that are affordable when compared to the ridiculous pricing of 'High end cine cameras", i.e mirrorless cameras with their menus on physical buttons. You overstate the case for the BMPcc iq.. I do not know about the 6k one, but my X-t3 looks way better than the 4k one wi
  4. Nope, I have shot countless hours with mine. Try reinstalling the firmware if it will let you, otherwise just reset all settings from the menu, that should fix it
  5. Sigma is a greta company worthy of our support. A great corporate spirit unlike the behemoth with the "magic" colour science.
  6. I would argue that the 422 is really useful with green screen recordings rather than anything else . Prores are much nicer to use, but any decent mid tier Nvidia gpu can handle h265 natively nowadays.. But we all do like to whine :).. If they would allow the X-T3 to output 12bit to the ninja v I would personally not think to "upgrade" a camera body for a long time.
  7. It is still 10 bit.... No real quality gain there compared to internal recording
  8. Are you sure your sensor/ glass are in pristine condition for starters? How do you handle the footage? Do you transcode the h265 to something else? I was a bit abrupt in my answer but colour is not a fuji shortcoming and I am not seeing the noise/sharpening reduction problems you are seeing. Why don't you try taking the nr and sharpening to -3 or -2 and see If that is better even if it seems counter logical. Sharpening artefacts , ghosting and smearing are not my experience . the X-T4 sensor is a bit more noisy than the one in the X-T3 (they are almost the same, with the X-T4 having a bit fast
  9. I can find lots of faults with Fuji, but their colour science is just great... I think he is confusing smaller cameras destined for Asian markets where skin over-processing is something that is sought for with what the X-T series can output. My X-t2,3 and 4 are stellar in this. It all sounds like a bad YouTube video reeking of fanboyitis shouting for Full frame good, aps-c bad. I will concede that Panasonic has improved , there was a poster here with one of the S series cameras that posted some great footage, but even that has a video look to it in most cases. Prores raw externally may come
  10. You should share what you are drinking buddy . Keep the Panasonic vcr colours , we will keep the lovely and unparalleled Fuji colour science.. You have no idea on how to use one do you??
  11. Truth be told if you record weddings a C or a FX may be more suitable in the long run, but I understand your position . I do not think the cameras can record indefinitely although they run quite cool in direct sunlight. As for the global shutter unicorn, I just do not know. I have been reading it for ages. I remember that Fuji and Panasonic were developing an organic global sensor. Fuji is quite strange in its decision. Its lens production choices are bizarre for starters and there are too many holier than though fujistas that will not accept anything deviating from their holy cannon
  12. I could not find one with a quick search but I am sure that all the hipster DP's would get one when it becomes available and keep it rolling for a couple of months just to prove a point . Seriously though, if you want to record a company meeting or a convention, you get a FX or a C and call it a day. No point for mirrorless to record for hours for a documentary or a movie.. I think that we do not understand that we now have access to miracle small boxes that DP's would be salivating over 10 years ago.
  13. Hi Tom I will agree with your prores raw and full hdmi for the X-H2. X-H2 should have both , the bar has been set. Unlimited recording not really, it is not that useful in movies, if at all and you will hardly use it as an A-cam for conferences. I find your statement that you cannot take a camera seriously that has a 30 minute record limit a bit unfair , with all due respect . I do not care that much about rolling - shutter as well, 99% of the audience will not notice or care. I kind of think that it is like those people that shoot brick walls , trying to find tangible flaws in mo
  14. It is a standard switch with three prongs where you need to solder three wires. No point in a video really if you get a switch, a suitable tip and some wire. I have done one without having a diagram, just by trial and error. I suggest that your soldering will give you more trouble , so here are a couple of tips. Apply solder to both sides of a connection before applying them together. Warm up the joint before applying solder. You will probably get "cold" joints in your first tries but you will get there.
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