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Everything posted by eyesuncloudedphoto

  1. The real trouble with the Micro Cinema/Studio format was that, by the moment you need to do some more serious work you end up rigging them anyway, with external storage, monitor, power, etc. The BMPCC4K, in theory at least, can (marginally) be used as is, thus resulting in a more compact form factor. Also I'm not sure heat dissipation concerns would allow a real "pocket" version of the BMPCC4K.
  2. At first glance this looks like a good idea, even a necessity in a certain sense. But let me play devil's advocate for a moment. The problem is with (a) availability of S35 sensors with the same properties as the one in the BMCC4K and (b) the lens mount. If they somehow manage to overcome the first problem, the one with the mount remains. Having an EF or PL mount defeats the purpose of such a camera; a BMPCC4K with a speedbooster will be its equal or better. They could go for a m43 mount (it can cover a S35 sensor for video) and also perhaps offer their own SB versions, with embedded ND, but I don't consider it probable. I still find the idea of such a camera highly interesting, especially considering the larger physical format could enable updated battery power, cooling, different storage media or even a clever modular design.
  3. Anyone tested the new version 2.4 firmware yet?
  4. Hey, just a quick question: any insights on the Voigtlander 28mm f2.8 SLII, with a Speedbooster? Looks interesting due to the size (compared to an equivalent Nikkor or other vintage 28mm)
  5. Up until very recently, traditional Fuji fans have been negative to almost hostile to even the inclusion of video features. I've been in epic fights over having decent video capabilities with the X-Pro2, for instance, and even the X-T2 should be a "pure photography camera" (sic!) for some of these idiots. Things have turned 180 degrees in the last couple of years: nowadays most consider the last breed of Fujis as the best hybrid camera system overall in the market, and some even buy them primarily for video. If the X-H2 lives to the expectations, it would solidify this trend. I'm also wondering if a "proper" cinema camera is in Fujifilm's future. FF video is in fashion lately, but Super 35 is the norm for cinema cameras (not to mention, FF look and light gathering using a SB). As you say, and have heard from a lot of users, having a proper color science and ready-made efficient film simulations is becoming more important than RAW or Prores for a good percentage of potential customers. That is not to say the latter should be excluded, but imagine a small-format cinema camera with Fuji color science+sims. Due to form factor, it would have proper controls and ports, a V-mount battery, possibly electronic ND and slot for small SSD. Heat dissipation would not be problem either. This could compete in the EVA-1/C100 space, and right now people know what to expect from Fuji video. But one step at the time: at this point, I guess an early X-H1 replacement is in order. Being at a higher pricepoint and different format than the X-T3 I don't see it hurting its sales; it could also eliminate any advantage Sony may gain introducing their "high-end" APS-C camera.
  6. The 29:59 limit is there in any case (it also breaks up the footage in 4GB chunks because of the stupid file system). I haven't tested it with an external supply, but I'd suppose situation would not improve with one.
  7. Hahahah, true. You can safely bet you can find the newer ZF or ZE version for less. It's also not that small... but it has the mojo for sure.
  8. 28mm f2.8 or f2 "Hollywood" if you can catch a bargain (which happens from time to time).
  9. Voigtlander 17.5mm makes sense, and the Panaleica 15mm f1.7 would also serve well I believe. But I'm tempted to say SB+28mm vintage lens (Contax/Zeiss, Nikkor 28mm f2, Minolta 28mm, Canon FD, Olympus OM, options are limitless). Reason being, I'm quite fond of the ~40mm focal length you can get from this combination, I consider it perhaps the most cinematic one. Especially combined with a vintage lens' rendering and the effective f1.4 aperture you'll be getting with SB. And it's not that big or heavy on the GH5. If you go this way, de-clicking the lens would also be a good idea.
  10. I haven't noticed hot pixels in either the X-T2 or the X-H1, but, to be fair, I only did smaller clips with both, because of the length limitations. I'm heading to an athletic event later today, and will also be shooting tomorrow, and will make sure I'll share some short unedited footage, since also members on FB groups I administer have asked about it. Probably Monday. ?
  11. That makes sense. It's also refreshing to see battery power displayed accurately at last.
  12. I wouldn't say the 16-55 is sharper than the Sigma in "absolute" terms; have used both the Nikon and Canon versions on Fuji cameras, as well as the GH5. both with speedboosters and dummy adapters. The point is, the 16-55 is perfectly matched to the X-Trans sensor, can't put my finger on it, could be micro contrast, color rendering or whatever. The end result is, it produces a magnificent image, both for video and stills. Speaking of the AF, hell yes, it's bloody instant. This is true of other linear motor Fujinons also. I tested the X-T3 with the lowly 15-45 yesterday, a lens you can pick-up for 150 euros new, in some places, and it's tiny and feather-weight. It has an electronic focus ring that provides a smooth zooming action, and AF is so fast that it fools you into thinking it's parfocal. I'm preparing a review of the X-T3 for (probably) the next 10 days or so; although I fried the X-H1 in a previous review, I think the X-T3 is the bomb. Shame Fujifilm couldn't hold on and release the X-H1 with these exact same specs, instead of hurrying it to the market and having to face the marketing onslaught of the a7iii. Thank you for that! Great info! Speaking of batteries, I did a quick test of the 126S on the X-T3, and findings were surprising. In the X-T2 and X-H1, the battery lasted somewhere between 40 and 50 minutes in video. The X-T3 managed one hour, 20 minutes continuous recording (here is a screenshot of the last frame of my test video). This was 4K 100mbps recording, completely static (so no AF), and, although it's far from the ~2.5 hours on the GH5, it's still much better than the previous situation. They probably did some magic with the power circuit in this camera. Worthy of note that the battery indicator was very accurate; in fact it remained on red for more than 20 minutes (whereas in previous cameras it would turn red and after a couple of minutes die suddenly). Have also to note that the camera started overheating (not to an alarming degree though, and no protection circuit kicking in).
  13. Exactly this. Zero to hero is a huge understatement here. I've been using Fuji cameras for photography almost exclusively for the last 3+ years and have been an X-Photographer for the last two and a half. "Video with Fuji" was comedy material 3 years ago. Now that I have slowly transitioned (or, to be more precise, returned to my situation 6-7 years ago) into doing 80%+ video work, Fuji has managed becoming a prominent player in the video field. I have the X-T3 sitting on my desk as I write this and I literally can't believe what they've accomplished in such a short time. True, there are several things that need polishing and a "proper" heavily video-centric X-H2 is still in the cards. But in my mind they have proven their commitment to this field. IMO they have to look into expanding and/or coming up with newer versions of their lenses that are more appropriate for video work. I have great hopes for the upcoming 16-80mm for example, since this could be an excellent run-and-gun lens with a future camera featuring IBIS especially. An external sound module or, even better, specialized multi-function interface/power add-on (see Panasonic DMW-YAGH) is also in order, I believe.
  14. You know what: let's take this one tiny (sic!) step further. ? Perhaps it's time for Panasonic to man up and acknowledge the fact that what 99% of their GH5/GH5s customer base really want, is a Panasonic-made BMPCC4K. Meaning a proper small-format cinema camera with enough stills photography features to satisfy certain needs for a cinematographer (i.e. all the basic ones plus timelapse/stop motion animation, etc). They could even get away with using an electronic shutter only and, if global shutter becomes a reality, this is a moot point anyway. They could have IBIS and non-IBIS versions available (5/5S differentiation) with the "S" version perhaps using a multi-aspect Super 35 sensor with enhanced low-light sensitivity. I wouldn't mind the camera becoming bigger, like the BMPCC4K has. Getting rid of the "H" (as in "hybrid") element, or, to be more precise, downplaying it in favor of a video-centric concept will hurt nobody. Let's be honest, if someone really wants a true "hybrid" camera in the Lumix line-up, he has the option of the G9 and soon the S1/S1R will cover this niche in the FF category. Which leads into another hypothesis that is slowly becoming relevant: the S1/S1R will not be so much FF versions of the GH5 but rather of the G9. Panasonic will also have to sometime also make a S-camera with heavier video orientation. Going back to your proposed future Panasonic lineup: G m43, perhaps with a hi/lo philosophy, as the basic hybrid line GH successor as a proper small-factor cinema camera, with emphasis on video operability while retaining most of GH5/5s stills capabilities S as FF contenders against Sony and Canonikon with an additional version with heavier emphasis on video including 8K EVA as pro cinema line, including FF sensor and no-compromise operability
  15. This makes total sense IMO. The GH5 is still untouchable feature-wise, among hybrid cameras. What is perhaps needed is focusing on the video side of things even more, offering advanced features not found in anything sort of a "proper" cinema camera. Internal ND, for instance. Internal RAW and/or Prores. Perhaps the first application of global shutter? A number of things are easier and more economical to implement with a smaller sensor.
  16. Mattias, I used to own the 16-55 and used it for about a year and a half with both the X-Pro2 and X-T2. It's a totally magnificent lens for the X-System. Shooting stills, I had shootings where I ended up using it exclusively, although I had 4-5 other Fujinon lenses in the bag. I sold it some time ago to finance some other stuff, but was regretting it terribly sometimes... As it happens, just today I received from the Greek Fujifilm dealer a brand new 16-55 along with a brand new X-T3. ? Just scratched the surface so far, but I'm blown away at how well they work together, especially for video AF (stills AF is a given; it's instant and accurate). Also keep in mind that, being a heavier lens, actually helps a lot while handholding it. In fact I did some shots at the wider end and, if care is taken, you would swear they are stabilized. You can usually find it in Europe at a little more than 800 euro new; through grey market importers. If you can buy tax exempt from a different EU country, it would be about the same (retail minus tax). A word for the Tamron: a colleague uses it mainly in weddings with the a7Sii. He tells me that, initially, he had some issues with AF, but my understanding is they were fixed by some firmware update. Apart from that he likes it a lot, and considers it a swiss-army knife type of lens. Quality wise though I think the Fujinon is in a different class, not to mention not being a "generic" zoom lens (it's "custom-made" for Fuji cameras, I mean).
  17. My fear is that Sony is starting to become... Canon ? They managed to make a huge impression in the FF market; in fact, they claim at every opportunity that they are No1 in sales for FF cameras worldwide for 2018, regardless of type (DSLR/mirrorless) and nobody seems to dispute it. They accomplished the unthinkable: having a literally huge lens ecosystem, both Sony brand and third party, in just 5 years or so. Now it seems to me that they either rest on their laurels, or, a more probable estimation, they are rather nervous at being at the top. After all, it's the first time they have such an impact in the photographic market, as a systems (not only sensors/electronics) brand. But... read on. As @Andrew Reid remarked, and everybody is screaming for years, they've left their APS-C sector far behind, both in capabilities and originality. This is where they can make the next impression, I think, winning a huge number of fans in the process. As discussed in the other thread about the rumored "high-end" APS-C Sony camera, they just have to take advantage of the fact that there is currently... no Fujifilm X-H2! If they manage to produce an APS-C camera with the same features as the X-T3 but also the advantages of a larger a9-type body (IBIS, large battery, ergonomics, etc), and sell it close to the a7iii initial price, they'll have an absolute winner. Their FF line-up remains untouched (a FF buyer will remain a FF buyer), they even offer a more specialized (high-speed, video-centric) compatible option for FF Sony users. They also ruin the day of their Panasonic and Fujifilm rivals and even create doubts for new customers looking at Canon R or Nikon Z for video. They will need at least a couple of top-notch APS-C lenses to complete the package, but they have the luxury of the existing FE lineup. This is the "switching attention to APS-C" they're talking about, I think. Probably a smaller, a6xxx body-type camera will emerge at some point too. And what we are getting to is this: perhaps this is not incompetence or nervousness at all, but, rather, a clever medium/long term strategy? Interest in the FF line is a given; just keep it alive by marketing means, e.g. making a point on how complete the FE system is, compared to Canonikon and the (still vaporware) Panasonic Promise for an out-of-this-world a7Siii, but be deliberately vague, buying time to see rival's moves Aggressively attack the crop camera sector, stealing as many customers from Fuji/Panasonic (and even Canon EOS M) as you can.
  18. Who knows; this is Sony and they have messed up in the past... But they are in a very good position to box the market right now. Assuming they can even use common parts to lower cost, a a7-format APS-C camera with the rumored specs could be a leader in the crop-sensor category at a competitive price. If the camera ends up being, more or less, a "crop sensor a9", they could even go after the D500 market, although, sincerely, they don't have the proper APS-C lenses for sports and wildlife. OTOH the avoid competing with themselves; IMO success of the a7iii is due to overall features offered at this price-point and with a FF sensor. It was never about high-speed performance or top-featured video camera. On the latter, perhaps we'll see a new codec and updated color science, to be later included in the a7Siii? In any case, exciting developments.
  19. Do you have reason to believe that the Sony version will have lower specs, esp. concerning video features?
  20. It would make no sense not to. The main question is if this would be "the same" a7 body, which would mean the same grip can be used too. Also: more space for cooling inside the body and, of course, dual card slots, bigger EVF, etc. In this case, the back screen shall remain the same too. It may be that they'll introduce a redesigned top panel with LCD screen too, to justify this being a pro APS-C camera, probably at the same cost as the a7iii (release prices). This could most probably be the "Sony XH1" (or, regretting to say it as a Fuji user, what the XH1 should be in the first place...)
  21. According to Sonyalpharumors: https://www.sonyalpharumors.com/sr5-sony-will-soon-announce-a-new-high-end-aps-c-camera-with-evf-in-the-middle-like-the-a7-series/ Simple solutions: use the a7/a9 body, put in the same sensor found in the Fujifilm X-T3, but with a proper battery (and same a7 grip) and IBIS. Who else thinks this will be the real GH5 challenger?
  22. Concerning the body design/controls: I'm personally happy with the size and format, but then again Panasonic was always a company that understood a camera should be as hefty as needed for the application. I know that it will not make a difference to the final design, but I do wish they could implement a few design traits: 1) WTF is with this on/off switch? Why can't it be around the shutter button? As it is now, it needs an awkward thumb movement to use 2) I wish the front/rear control wheels were metal. I know it makes no difference in use but I'm spoiled with the feel on my Fujis 3) Why can't we have a mirrorless camera with backlit buttons? Nobody shoots in dark venues anymore? 4) I liked the X-H1 top panel so much (with ability to show info even with the camera off) that seeing this orange-lit display makes me cringe a bit 5) When other companies are going to steel Canon's idea of recessed strap eyelets?
  23. At this point, I think it's much safer to deduce that the sensor is a Sony one and not a TowerJazz like in the SL. This might be an erroneous assertion but everything points to the same base sensors as the ones in the Nikon Z6/Z7. Not there should be huge difference with the SL sensor, with the same lenses, but just sayin'
  24. The most "hands-on" video on the S1/S1R up to this point, I think: https://www.youtube.com/watch?v=pyJrh0T5jeY
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