androidlad

X-T3 already does most of those listed scanning resolutions/framerates, other than those marked "new", it supersamples to 4K.

X-T?? is expected to offer a diverse selection of movie recording resolutions and frame rates, some of which will be made available to X-T3 via a firmware update. 6240x4160 (3:2 Open Gate/New) at 24/25/30 fps 6240x3510 (16:9): at 24/25/30/48(New) fps 6240x3304 (17:9 DCI): at 24/25/30/48(New) fps 6240x2642 (2.4:1/New) at 24/25/30/48/50/60 fps 5266x2962 (16:9): at 50/60 fps 5266x2787 (17:9 DCI): at 50/60 fps

Same sensor as X-T3.

Expect: Slightly bigger body than X-T3 Improved IBIS mechanism 16bit RAW stills ISO 64 6K 60P in 2.4:1 crop

HLG can be either full range or video range per BT.2100 spec. Fujifilm use full range 0 - 1023 for their HLG implementation.

No crop and AF is available. 1080p quality is identical to 1DX II, anisotropic sharpness/detail up to 30p, then softens from 50 to 120p.

There won't be 29min59sec limit on Alpha cameras, it's already gone on a6400, 6600 and a7R IV.

X-mount being 44mm in diameter (vs. 46mm E-mount), it would be cost-prohibitive, if not impossible to put an FF sensor AND design FF lenses for it. It would also be unrealistic to adapt 65mm diameter G-mount to X-mount, and a huge waste of optical performance from GFX lenses. Just use GFX cameras with its "35mm format mode". I'd rather Fujifilm focus its limited resources on its APS-C and MF line-up.

Because it's S-log, the blown out highlights only happen in Premiere when the metadata is tagged HLG or PQ.

Yes, or you can record HLG on Atomos with "native" input to avoid HDR metadata.

De rien. T'es beau gosse.

Record on the Ninja V. There's no way to change that in Premiere at the moment. BTW you're hot.

Not much room for improvement. Fujifilm is limited by the X-mount diameter of 44mm, while MFT having 38mm and significantly smaller sensor, meaning that similar to Sony, Fuji sensor does not have a lot of room to move around.

https://www.43rumors.com/ft5-first-olympus-e-m1iii-specs-info-its-an-e-m1x-without-the-built-in-grip/

It's a Premiere Pro issue, in the third clip with blown out highlights, Premiere Pro sees the PQ/HLG metadata and display the HDR clips as is, without tone-mapping, it assumes you working on an HDR monitor. The highlights aren't actually blown out, if you check the scope, it can be brought back to SDR range with exposure tools. The workaround is record the clips without the HDR metadata.

Canon just published 1DX III video tech whitepaper: http://downloads.canon.com/nw/camera/products/eos/1d-x-mark-iii/resources/Canon_EOS_1DX_Mark_III_Video_White_Paper.pdf

Sensors have a fixed scan rate for a given readout mode, in the case of 5.5K RAW and 5.5K supersampled 4K, it should be equivalent to the the maximum framerate, 1/60s.

With 60fps full 5.5K readout, the rolling shutter isn't going to be higher than 16.7ms.

DR/latitude aren't the only metrics for image quality. If there's a risk of underexposure, there's a thing called lighting. 4.6K uses a custom Fairchild sensor.

New firmwares for DJI Ronin S/SC added full camera control for X-T3: https://forum.dji.com/thread-206413-1-1.html https://forum.dji.com/thread-206414-1-1.html

The only thing HLG mode changes is forcing the codec to be HEVC/H.265 10bit 4:2:0. FHD 120P is pixel-binned and line-skipped from a 4.8K, 1.29x crop. 4K 60P is super-sampled from a 5.5K 1.18x crop.

I can't say anything other than we'll find out soon on the 24th.

The crop options are 1.34x in 4K DCI and 1.43x in 4K UHD.