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Everything posted by currensheldon

  1. The extra DR would be the big spec that would really push the XT4 into a big upgrade category. Though, even with the same IQ as the XT3, IBIS and 2x battery life are already huge upgrades in my opinion. also, not a huge deal to sell a used camera for 70% of its new price after using it for a year to upgrade. Might “lose” $500 or so, but seems like you could easily build that into your pro work rates over the course of a year. Now, if I wasn’t getting paid for any of my video or photo work, I wouldn’t upgrade more than every 4-5 years.
  2. Since the XT3 and XT4 are so good, they should just go all out with the X-H2 and make it first and foremost a video camera. Make it an XC-15 style camera (or a smaller C100), with modular XLR adapter, internal NDs, all the video codecs, timecode, etc etc - plus the things people don't believe belong in a cinema camera - like IBIS. Go right up against the lower end ($2,500 - $4,000) cinema lineup that Sony, Canon, and Panasonic have abandoned (other than the S1H, which is still a hybrid mirrorless photo camera). Finally give the X-Mount a reason for their beautiful X-Mount cinema zooms and great mini primes. Make the ultimate doc/journalist/one-man-band camera.
  3. I am pumped for this camera. IBIS + a bigger battery were definitely the two biggest reasons I was holding on to my GH5 as my take anywhere, traveling video production camera. But Fuji strikes the perfect balance of small, compact, lightweight (lenses especially), high-quality, large sensor, great image, great color, good AF, etc etc. Full-frame is great, but lenses do get big and expensive FAST. And MFT suffers from low light performance and not good AF - and the high-end lenses are more expensive than the Fujis. Not to mention the Fujis are much better photography cameras. Love the XT3, but the lack of IBIS and dismal battery life always held me back. Looks like both of those are fixed. Can't wait to sang the XT4 as my travel, small production video camera. Hope it gets true 10-bit 422 (rather than 420) and some sort of 4k 120fps burst mode.
  4. Agreed - and much quieter AF. Though, I do love their F2 primes and that's usually pretty great for AF on a gimbal. I'm pumped for this camera. Not sure it will be my main one, but I love Fuji for photography or for traveling/lightweight cinema setup, so an XT3 + IBIS + much better battery life is along something to get excited about. Hope there are still some surprises to come, but even just that is pretty exciting.
  5. Yea, all true. I think the 8K thing is sort of a gimmick and won't be that usable for a variety of reasons - either it won't have a high-end enough codec to be useful or the file sizes will be so large, the average person who would buy a hybrid camera won't use it. The R6 may be the better bet. They basically just need to put the 1DX III specs into an R5 body + IBIS and they're in a HUGE lead. 5.5k raw, 4k 10-bit full frame up to 60fps, great AF, best color, electronic ND with adapter, etc.
  6. Seems like Canon has really turned a corner recently. I know people like to blast them, but their initial mirrorless cameras really seem to just be old tech to max out profits from the R&D of the 2010-2018 DSLR lineups. But end of 2019 and now 2020 seems to be the time they are rolling out all the tech they've been working on the past few years. Their last few announcements have been pretty huge. The C500 II has 6k Raw up to 60fps. Plus full-frame. Plus full frame 10-bit in 4k. Plus 4k raw. The 1DX III, while not my favorite form factor, is not really crippled in any way. 5.5k raw up to 60fps. 10-bit 4k in full-frame. All-intra codecs. Etc. There are just no other cameras even in these ballparks at these price points. What the C300 III (hopefully RF and at NAB 2020) and EOS R5 and R6 are will really show whether this is a new direction for Canon or just a blip that snuck through. But I really think Canon has turned over a new leaf. In comparison, Sony, with the FX9, every A7 or A9 release since the A7sII, seem like the conservative ones. Same 8-bit codec. Same FS7 features in the FX9. No raw. No 6k. But I guess when you get out in front, might as well just keep making money off of old tech. Canon was like that for a decade and now realize they need to fight back. Sony will probably have a huge 2022, once they lose a lot of recent converts back to the company lots of people grew up with: Canon.
  7. I have a feeling this giant countdown clock to the announcement of the Fuji XT4 on the official Fuji website is a good indication it will indeed be the XT4: https://fujifilm-x.com/en-us/lp/x-t4-teaser/ -- I'm pumped to see what this camera is. Totally agree that 6k isn't necessary. IBIS, much better battery life, maybe one-stop better ISO performance, and more professional codec options is way more important than 6k. 120fps in 4k would be sweet though.
  8. From the press text: "The EOS R5 will be the first Canon camera equipped with IBIS (In Body Image Stabilization) and when used in conjunction with the extremely effective in-lens stabilization (IS), will allow photographers to handhold the camera in light levels not previously imagined." It is confirmed that it is real, mechanical IBIS. So, no need to worry there. Also, 8-bit 420 8k (likely) is not even close to being better than 6k 12-bit, 422 raw (C500II), so this camera does not really tread on any toes. -- I do think Canon has now realized that there are a lot of people who like having the same manufacturer from A-Cam to B-Cam to C-Cam that can achieve similar specs and IQ. So the C500 II (and future C300 III) will only gain from a strong Canon mirrorless lineup. I've been using Panasonic (and not Canon) for the past 2-3 years because I needed 10-bit 4k for both A-Cam and gimbal cam (EVA-1 and GH5). But, prefer Canon, so once they get an RF-mount cinema camera out and THIS camera, I'll be back. -- What the R5 MUST have is 10-bit 422 4k internally up to 60fps. The S1H does it, the A7sIII will do it, the GH6 will do much more. If it doesn't have a solid 10-bit 422 codec in 4K with NO CROP, then all the 8k is for naught and I'd rather have an S1H or Fuji XT3/XT4.
  9. I would really love to go Fuji. This is very tempting, but so is the upcoming R5 and R6. But the small size of the Fuji lenses, the awesome quality of the Fuji lenses, the beauty and usability of the system, and their image/color are all really swaying me in that direction.
  10. Canon doesn’t really put out new tech until they have it down, so I would think the IBIS would be closer to Panasonic’s than the not great IBIS of Sony. Don’t know about Nikon. but Canon has a history of being late to the party but having tech and gear that just works and works great in a variety of conditions.
  11. I think we’ll see the first RF cinema camera at NAB 2020 in April. Since the C500 II can do it all, I wouldn’t be surprised to see the C300 III be the their highest end RF camera.
  12. That's true, but still doesn't seem like there is any room beneath the RP. That camera is going to be $750-800 by the time the R6 comes out - and doesn't do even close to what the R6 is rumored to do. I would say the R6 is more like the 6D line and the RP is basically a full-frame Rebel. Also seems like the EOS R and EOS RP will be drop out of the naming structure and were just one-offs to get people into the RF system, use old technology to keep costs down, and give them enough time to get a great selection of lenses out. This R5 and R6 launch could be viewed as Canon's REAL launch into mirrorless cameras.
  13. I don't get why people think this will be a budget option just based on megapixels. The most expensive cameras in the game (the built in battery grips of the 1DX (and whatever the Nikon variant is) and the Sony A9) are low megapixel cameras: 20-24 megapixels. I don't see how Canon can put out something lower than the RP that is full-frame. That camera is like a great toy. Instead, I think the R6 could the more video-oriented RF camera - with the specs of the 1DX III but without the built-in battery grip.
  14. Has that size been confirmed? If so, that's nearly twice the power of the current Fujis. Hopefully they couple that with a more efficient processor (like the 1DX III did) and get us close to 2-3 hours of 4k shooting time.
  15. For sure. I love the feeling of the S1. Great ergonomics, beautiful build, buttons where you want them, fantastic grip, etc. might be one of my favorite cameras ever made. I’m hoping the R5 is somewhere in between an EOS R and S1. Maybe 750-850 grams, so still smaller and lighter than 5D, but definitely more robust than the EOS R.
  16. 10-bit 422 internally is a must from now on for any higher end mirrorless body. I’d much rather have that than 5.5k raw.
  17. I think Canon has shown with the C500 II and 1DX Mark III that they are through crippling their cameras until they regain a much steadier and more dominant lead over the competition. People claim that Canon crippled the 1DX Mark III because it can't do AF in 50/60fps 5.5k raw, but if they just launched it with 24/30fps in 5.5k raw, people would still have been blown away. Same with the 10-bit 4k 422. Yes, you have to crop the sensor 1.3x to get 10-bit 422 with AF, but these are added bonuses to a camera that offers things NO other mirrorless or DSLR offers. I'm not sure I'd call it a real cripple. And the C500 II is just packed to the brim. If anything, it has been Sony that has been crippling their cameras intentionally in comparison. Panasonic hasn't, but their AF is seen as such a bummer, that they basically have (whether they have a choice or not, not sure). With the lenses Canon has been putting out, I really do think they are coming out swinging in 2020. Two monster full-frame RF cameras and I bet a C300III with the RF Mount at NAB 2020 that is the direct competitor to the FX9 but, unlike that camera, will have internal 4k raw, 4k 120fps, and a full-frame sensor.
  18. This makes a ton of sense and seems to show that Canon released the EOS R and RP to get into the mirrorless space, but were really just launch models to slow the bleeding to Sony and Fuji. Then they focused on the the things they are amazing at (lenses, adapters, color, etc) until they could get their mirrorless tech in a place that really swayed people. I don't see this as a competitor to the 1DX III at all. If you're main thing is video, then the 1DX style body is not that enticing compared to something like the C200 or EVA-1 (same weight basically), whereas a much more compact mirrorless body is. Plus the 1DX III is for Olympic photographers and people who really need OVF/DSLR/speed. I'd try it out for video if that was my only option with Canon, but I'd probably default to an S1H or XT4 for my go-to video body instead because the 1DX has too many limitations (fixed screen, no EVF, huge, hard to use on small gimbals, etc). In the end, Canon may have set this up pretty perfectly. They have the really high-end, top notch lenses available when these two, souped-up models are dropped. Whereas Panasonic dropped some souped-up models but no real lenses for them. They've added some, but the refrain continues (and autofocus, of course). But I just hope Canon focuses on great 4K (10-bit 422, 60fps in 10-bit, maybe 12-bit raw like C200) rather than push for 8-bit 8k (but that may be what the R6 is for).
  19. Well, the 1DX Mark IV is a looooong way off, so you're safe there. However, might be worth waiting for the RF model that has similar video specs. I'm hoping for around NAB 2020 after I announce the high-resolution model in February.
  20. hehe all true - just having a bit of fun at Sony's expense. Seems like a lot of A7sII users went to A7III though. And A7rII > A7rIII > A7rIV was pretty quick as well. Same with all the a6000-bodies coming out all the time. Not really sure which models are replacing which models, but it's a bit convoluted in there.
  21. I like to think that Sony has trained its customers into always needing the newest and latest tech, so they are constantly upgrading and selling every 6-12 months. Whereas Canon and Fuji users seem to use their cameras more specifically for the joy in using them. But, I'm not a Sony fan at all, so my bias is really showing through here. --- As stated on another thread, all of these specs would be very welcome in a small FS5-ish style cinema camera from Fuji. But as long as this has 1. IBIS 2. A much better battery - at least double the record time as the previous model 3. AF improvements to bring it close to Canon and Sony I think it will be a big hit. I'd love to add in 10-bit 422 instead of 10-bit 420, 4k in 120fps, and ProRes Raw out via the HDMI. But those would all be icing.
  22. Yea, would be great to get this verified, but everything I've read and watched has said AF doesn't work in 50p/60p in Raw and 50p/60p in full-frame 4K. Both a bummer, but not a huge deal for me personally because the file sizes in 60p raw are so gigantic I can't see myself using it very often and the 4k crop mode is only 1.3x, which isn't terrible for 60p AF. Just if you want to use something super wide.
  23. Seems like there is a lot of 120fps in this video and, to my eyes, it looks pretty amazing.
  24. That's a good idea as well. I like Fuji continuing to offering something different than the competition in those two fields, and video is one of the best ways to differentiate itself. Super35/APS-C: Packed full of features, high frame rates, IBIS, great AF, etc Fuji Cine LF: Medium format sensor for dreamy cinema. Basically the GFX100 specs in a compact (FS5-ish) cinema body. Or a EZ-Cam/Red Komodo like box. That'd be sweet.
  25. Yes, agreed that Fuji should fully embrace their APS-C/Super35 sensor size and go all in on the things that are harder for full-frame to do: make affordable cinema and video cameras that are compact and travel well that are packed full of features 2-3 years before they make it into full-frame cameras. The GH5 did this 2-3 years before the S1H came out. Still nobody has topped it for 10-bit 422 internal 4K outside of Panasonic itself and the $6500 1DX III. I LOVE the Super35 sensor size as long as there are lenses that are made specifically for it. Fuji has tons of those. The Canon EF mount is frustrating because if you want a stabilized 24-70mm f2.8 for doc work, the only lens that is close is their 17-55mm and it vignettes in DCI 4k and 2k. Sony has some, but underwhelming in general. Definitely think Fuji needs to get into the video game big time in some way. Why not a Canon XC-15-esque model with 2 mini-xlrs and inernal NDs and an X-Mount? Or a Fuji X-H2 that has all the features of the S1H but with great AF and internal NDs? And then an FS5-like video camera for doc-oriented projects with IBIS and 12-bit codecs. They definitely have an opportunity to continue to do what they are doing and offer something different, rather than just go full-frame like everyone else.
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