Attila Bakos

The Fringer adapter is looking good on the X-T3:

AF test with older primes compared to X-T2. X-T3 focuses faster with less hunting, also continuous AF seems to be more confident, however the transition between close and far subjects is not butter smooth. Might be better with newer lenses.

25 minutes ago, toxotis70 said:

is there any comparison between 420 and 422 , with any other camera ?

I didn't find any so I decided to do my own test. I downloaded two freely available Fuji RAF files and exported a 3840x2160 area as 16bit TIFF. Then I used these files to create 1 sec movies using FFMPEG. I created 3 versions of each: 8bit 4:2:0, 8bit 4:2:2, 10bit 4:2:0. I used H.264 encoding, the files should be playable in the latest Resolve/Premiere. All are 200Mbps. You can check the files in MediaInfo to verify encoding parameters.

Download the test from here: https://drive.google.com/open?id=1SbeLZJTN7jWLC2XStb-EU4QWIsCQRDyD

For some reason the TIFF has slightly different colors, ignore that. What matters is the transition of colors. Try to pull keys in the first test, or break the sky gradient in the second test with a high contrast. Tell me if you see a huge difference, because I don't. Of course my test can be flawed, I'm no expert in encoding.

12 hours ago, Luke Mason said:

Ha, I've done my research, The bitrate Fuji implements at 200Mbps and 400Mbps exceeds the maximum for hardware acceleration (for now).

But then how is it possible that my old i7-3770 with a GTX 1080 plays the 400Mbps jellyfish sample smoothly?

I downloaded the sample from here: http://jell.yfish.us/

I used MPC-HC to play the files. 10% GPU usage and around 15% CPU. Do NLE's handle these files differently?

11 minutes ago, Jimmy said:

Care to post a link to these tests?

The XT2 has at least 12 stops... good enough for most. XT3 should improve this further.

I'd be interested too as both Cinema5D's and Dpreview's initial comparison shows slightly more DR on the X-T3.

The lockup issues are still here though. Just saw a video where the guy had three lockups in a day with Fujifilm recommended SD cards. Only battery pull helped. The camera was the final version. He said he will write an article with details. The video only shows the camera in a locked up state so I'm not linking it.

2 hours ago, sanveer said:

Is there some official literature or something else that states this. 

No nothing official I'm afraid, but here's a research paper you can check:

https://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=7254155

And a user test you might find interesting: http://wp.xin.at/archives/3465

Obviously a lot depends on encoding parameters, but if all done properly, the differences seem to fade away way earlier than 200Mbps, so I think you won't find any difference even if you try to break the footage in post.

3 minutes ago, Anaconda_ said:

Does that make it a 2.7x crop in 4k60p? That's quite a jump.

So the advantage of h265 here is filesizes then?

No, 1.5 x 1.18 = 1.77

I'm not sure if H.265 has a visible advantage at 200Mbps.

24 minutes ago, Anaconda_ said:

I've tried looking but am I right in thinking the 4k60p is 400mbps in h265? If so, isn't that equivalent to 800mbps h264? That's quite astonishing.

The only downside really is the 4:2:0 in camera.

It's already 1.5x crop, is there extra crop for video?

I also see that it's rated at 30 minute record times. is that based on 30fps recording? If so, does that mean 60fps is limited to 15 minutes?

It's 200Mbps (and Long-GOP) in 4K60. See here: https://***URL not allowed***/wp-content/uploads/2018/09/pic_05.jpg

And it's not equivalent to 400Mbps H.264 at these high bitrates. The advantage of HEVC only shows at low bitrates.

Dpreview says there is an extra 1.18x crop applied in 4K60, but not in 4K30.

On 9/10/2018 at 8:16 AM, Snowbro said:

I'll check it out tomorrow, thanks 

Yeah, that's how I have created a handful of luts. Just trying to combine 2

Well I just created another tool, which does exactly that, it can combine/merge 3DLUTs: http://colorizer.net/index.php?op=lut_combiner

It's in beta testing state, please tell me if you find any errors.

It's not a good idea to judge banding by youtube footage.

If I apply more contrast to the youtube frame to show banding, this is what I get:

Now if I go to vimeo and download the original ungraded version, and apply about the same contrast, this is what I get:

And the original ungraded version uploaded to vimeo is still 8bit! In 10bit you will have even less banding.

27 minutes ago, frontfocus said:

???
Eye AF is unavailable in movie mode! <

It's still a great feature. But I remember reading that the X-T3 can do eye AF in video mode as well. We'll see about that when the AF tests pop up.

Gordon Laing's short touch AF test, transition is not smooth here:

Also check the eye AF at 10:00 here, it seems to be much slower than the A7III:
 

4 minutes ago, Anaconda_ said:

The sun will always be blown, that's hardly a choice. The choice was to try to save the detail in the clouds.

Having not seen the original files and making this up as I go along. I would have just lifted the shadows and left the sky totally blown out. I think it would have looked a lot nicer and still give the model some detail against the strong light.

Something wrong with your quote, that wasn't me But I agree completely.

1 minute ago, Bioskop.Inc said:

Again, use the P4K with vintage lenses & it shines!

Low light was amazing & I wouldn't worry too much about the sun - the choice was made to see her & blow the sun. You've gotta remember it's the brightest thing you'll ever film & there will always have to be a pay off. There's also nothing wrong with crushing blacks or blowing highlights - it's a modern malady that tries to enforce that you can't do this.

Blowing the sun is not the problem, he tried to recover too much highlight detail, which creates a distracting, harsh edge around the blown-out parts.

1 minute ago, mercer said:

I remember when I had the NX500, it was 70mbps h.265 and it was compared to 120mbps, or so, of h.264. So out of curiosity, if 400Mbps in h.265 wasn’t not compressed, would it be at ProRes HQ levels?

While it's true that H.265 can have the same quality as H.264 with approx. 50% of the bitrate, it's only at low bitrates, like streaming. As far as I remember at such high bitrates like 400Mbps the difference would be almost non existent, but I can't show you any test at the moment that proves this, maybe someone else can.

3 minutes ago, mercer said:

Yeah wouldn’t 400Mbps in h.265 be higher data rates than ProRes comparably?

4K 24p ProRes HQ = 754Mbps
4K 24p ProRes = 503Mbps
4K 24p ProRes LT = 350Mbps

1 minute ago, Márcio Kabke Pinheiro said:

400mbps in 4k60 in All-I and Long GOP in H.265 (could be a mistake, because 400mbps Long GOP in H.265 is VERY high),  200bps or 100 mbps in 4k30 and below (10 bit 4:2:0 in H.265 and 8 bit 4:2:0 in  H.264). DPreview have a full table on https://***URL removed***/reviews/fujifilm-x-t3-first-impressions-review/2

If this camera had IBIS, would be shut up and take my money. Waiting for the real world reviews (as other cameras), but looks like a shot out of the park by Fuji. Amazing.
 

According to the press release 4K60 is maxed at 200Mbps.

This is from Slashcam, it explains everything pretty well:

11 minutes ago, mercer said:

According to B&H, it has 2K up to 60p. That’s a cool feature. Any word on the bitrates?

[DCI 4K (4096 x 2160) ] 　59.94p/50p/29.97p/25p/24p/23.98p 400Mbps/200Mbps/100Mbps 59.94p/50p: up to approx. 20min. 29.97p/25p/24p/23.98p: up to approx. 30min
[4K (3840 x 2160) ] 　59.94p/50p/29.97p/25p/24p/23.98p 400Mbps/200Mbps/100Mbps 59.94p/50p: up to approx. 20min. 29.97p/25p/24p/23.98p: up to approx. 30min
[Full HD (2048 x 1080) ] 　59.94p/50p/29.97p/25p/24p/23.98p 200Mbps/100Mbps/50Mbps up to approx. 30min.
[Full HD (1920 x 1080) ] 　59.94p/50p/29.97p/25p/24p/23.98p 200Mbps/100Mbps/50Mbps up to approx. 30min.
[Full HD (1920 x 1080) High speed rec.] 120p / 100p 200Mbps(recording) up to approx. 6min.

Recording movies in 400Mbps can be done with DCI4K/4K 29.97p/25p/24p/23.98p.

DCI4K 59.94p/50p is not available when H.264 is selected.

6 minutes ago, Jimmy said:

Maybe i'm reading it wrong, but sounds like 10 bit 4:4:2 is internal (but 4K 60p will be 4:2:0?)

https://www.fujirumors.com/breaking-fujifilm-x-t3-specs-leaked/

To me it seems like 4K60 10bit 4:2:0 internal, and 4:2:2 external.

12 hours ago, Luke Mason said:

I used QCTools to check 10bit quantisation, I can confirm it's true 10bit colour.

Thanks for mentioning QCTools, I didn't know about it and it seems to be an awesome tool for analyzing video.

9 minutes ago, Mokara said:

They should be, unless you are talking about RAW feed. Regular HDMI video would simple be an uncompressed form of what is normally recorded in camera.

With RAW you would need to apply those corrections yourself since all you are getting is data directly off the sensor without any processing applied to it.

No not RAW, I wanted to know if the Z6's 10bit 4:2:2 N-LOG over HDMI has these corrections.

Does anyone know if the in-body lens corrections (distortion, CA, vignetting) are applied to the HDMI feed as well?

7 hours ago, Walter H said:

@Attila Bakos Hello! I just made a donation to you at colorizer.net and thanks for creating this LUTS. Is there any consideration still to make a flat Eterna LUT? I just find the backed in contrast of Fuji's Eterna LUT too severe as a starting point but I do think the color is beautiful. 

Curious. Still shooting with my X-T2.

Thanks a lot! I don't have a Fuji body at the moment, but I have some savings for the X-T3. If it turns out to be good then I'll make new LUTs. Until then visit my experimental project: http://colorizer.net/index.php?op=lut_contrast
With this tool you can remove the contrast curve of a 3D LUT. With the method I use the curve of the Eterna LUT can't be removed without distortion of the RGB transformation, but you won't necessarily see it in real-life footage. Maybe try 50% strength or less.

Is it true that you can't use face detection when an external monitor is plugged in? Can anyone confirm?