andrew_dotdot

AF seems more responsive on first shine. Also this is my first experience with the stepless auto ISO, which is welcome. 
 

However, I think the charging via USB has changed. A plug-in charger I used before doesn’t light the green power light any more. My PD power bank still does though. 

13 hours ago, samander said:

I am a first-time poster but a long-time reader. These forums and this thread in particular has been a real service, so many thanks to you all.

I love my X-T3, but there are a few things that I cannot seem to configure that keep me from turning to it for most of my video. One of them is single-button autofocus ("one button AF" or "instant AF" or maybe "back button focus" for video). On my Canon C100 with dual-pixel AF, I can keep the camera on manual focus for most of my shoot, then press and hold one button to activate continuous autofocus when events start moving quickly and I know I cannot keep up, then release the button and go right back to manual focus. It seems like I should be able to do the same with the X-T3, but I've tried everything I can think of and am stumped. One of the downsides of having so many focusing options is that I am probably overlooking something, or two settings might be cancelling each other out. The closest I can get is:

• Setting up back button focus in AF-M mode. This works when the camera is not recording, but poorly: the exposure briefly shifts and the focus hunts at random (maybe using contrast-detect AF?). And once I start recording video, the button is disabled.
• Using AF-Lock in AF-S or AF-C mode. This is the reverse of what I am looking for, since autofocus is the default. Plus, manual focus seems to be disabled even during AF-Lock.
• Simply switching between AF-M and AF-C. Fine, but then I am switching back and forth and have to think about which one is active at all times; it is easier to just press and hold a button when I need AF. Plus the switch is designed such that it is pretty much impossible to activate without shaking the camera, so I cannot really change it within a shot. Using one of the Fn buttons would be better.

Any ideas on this? Thanks again for all your insights over the past months.

I also miss that from Canon. I took the opposite approach to get a similar functionality -- using the AF-lock function. Make sure to set the AF-L button to work in S (switch) mode, in the button/dial setting menu. (Otherwise it's only locked while you hold the button down.) 

Set the camera to AF-C, then lock the focus when it's where you need it. (A little blue AF-L will appear on the screen.) If you need to adjust focus, press the AF-lock button and let it re-acquire focus, then lock it back up again. This is how I shoot -- keeps it from hunting unnecessarily.

3 hours ago, steeped-prod said:

I have noticed the main battery does lose charge slowly. I have never had it go all the way down though. I’ve never had the camera on longer than a couple hours straight though. My assumption is that there is still a trickle effect that pulls some charge from the main battery. If you ever shut off for some ugh between shots it negates the effect as the battery recharges off the power bank. I haven’t tested extensively though with how long it takes though. 

+ @EphraimP

Concur. I've never had the camera run down when using a USB-C PD power supply. (I don't have the Anker, but something similar.) This weekend I shot two hours of 4k h.265 high bitrate video with the LCD on, and the battery didn't run down that I could see. Camera got warm, for sure. Without the powerbank, that's 3 batteries' work. 

3 hours ago, androidlad said:

If you search this forum, this questions has been answered a few times.

The abrupt exposure shifts are due to aperture changes designed to facilitate movement of lens elements during zooming.

thx for the confirmation. I thought it might be broken, since I worked with Canon for a long time and never had that with their zooms. It's the Fuji sawtooth aesthetic for the aperture vs zoom curve, I suppose.

Zooming = uneven exposure. Is this a thing with the X-T3?  --> So, I'm filming with my Fuji 18-55mm f2.8-4.0 lens, with the aperture locked at 4.0, ISO locked down, shutter speed 1/50th...

What I expect: Since f4 should be available through the whole zoom range, I'd expect the exposure to stay the same through the whole zoom.

What I see: Zooming in, it slowly gets darker, then snaps back to lighter three times on the way in. And vice-versa on the way out.  

Anybody know a way to avoid this or a workaround?

2 hours ago, Attila Bakos said:

Hmm... why is this my workflow? I rarely use CST nodes and I don't use the official LUT's.

EEK! Sorry!  I guess this wasn't you. I went just now to find the thread and I can't locate it now. Argh!

On 9/14/2019 at 2:25 AM, BrunoCH said:

I continue to explore F-Log grading with RCM without LUT. I think I'm getting better results (colors, highlights roll off). F-log is very good; Fuji LUTs are not so good.
I'm more excited about the definitive release of Resolve 16.1 than the XT3 firmware update.

I use the @Attila Bakos workflow where you use a CST node to convert from rec.2020 to rec.709,  and then make adjustments in whatever various nodes before hitting a second CST node to take it back from rec.709 to rec.2020, then apply the Fuji LUT (which is expecting rec.2020) at the end.

RCM, it seems to me, makes all of Resolve behave like the bits between the two CST nodes above, where you're always making adjustments in the rec.709 color space. You wouldn't put the Fuji LUT there between the two CSTs. Does that mean that the Fuji LUTs are no longer useable if working using the RCM with F-Log workflow?

15 hours ago, Shirozina said:

They both look terrible - more indicative of the users failure to expose, WB and grade + poor profile choice than the inherent 'colour science' of Sony vs Fuji

This. He called it a test for "out-of-the-box profiles" and they both looked terrible. The user who doesn't want to mess around in the menus will be lot happier with the results from an iPhone or Galaxy than with either one of these cameras.

I believe resolve also has a Paste Attributes-style function in the context menu for this kind of thing.

On 6/6/2019 at 4:12 AM, IronFilm said:

Have you tried a different cable and a different powerbank?
Those would be my #1 guesses for the source of your problem. 

 

Yeah, I tried it with my new PD power bank and compared it to my old “regular” power bank and it was the same thing. I moved the audio cables around to try to see if/where there was some interference coming in there, but I never heard it change.

I’m going to rebuild it one time just to see if it was a fluke. If it changes, I’ll post again. 

16 hours ago, Mattias Burling said:

I don't really use video AF unless its a very specific occasion. And my main work camera is a Canon with DPAF, which is as good as it gets, specially in continuous.
With that said, the push AF feature on the BMPCC4K coupled with a native m4/3 lens should not be swept under the rug.
It is very usable and quite quick.

(No continues worth mentioning though.) 

Yeah, it’s that excruciating trade-offs game. I do documentary and have a policy that if it’s ‘on sticks’ it’s raw. That’d be the use case for the BMPCC4K for me, but the 5D3 floats the boat there. But the 70D was routinely fell short in picture quality as the on-the-move camera leveraging the AF.

There’s no doubt the DPAF in the 70D I sold, or a client’s C100mkII that I often use, is a lot better than the AF-C mode in the Fuji. If the EOS-R had entered the market with better video specs, I might well have plonked down the cash and gone over budget for it.

Then again, just this morning I res’ed up a project from the 8-bit proxies to the Fuji’s UHD h.265 10-bit originals got a FHD render back out that was pleasantly comparable to the 5D3 ML raw in a way that the 8-bit footage from the 70D never ever was was. 

But here, if I’d been shooting BRAW I might not even have needed to make proxies, and how nice would that have been? And there closes the “circle of compromises “. Best not to think about it too much and just get on with it! 

I sold a couple lesser Canons (incl. a 70D) to buy an X-T3 to pair with my 5D3 on ML. The BMPCC4K was never really an option for me due to lack of autofocus.

I'm looking forward to hearing what you come through to. I'm feeling very jealous about BRAW when you describe it.

1 minute ago, The ghost of squig said:

I've been using an old Sandisk Extreme Pro 128GB SDXC UHS-I with no problems recording 400Mbit/s HEVC. I just ordered 2 of the newer 170MB/s read ones, glad to hear they're working OK.

Is that old one the "95MB/s" card? -- I have a 64GB one of those, which I was pretty sure worked with all codecs, but I didn't dare put it on my list, since I'm at the office and the card's at home and I wasn't 100% sure it was the 95. If that's so, then I can agree with you, it has worked for me on the 400Mbit/sec codecs.

1 hour ago, jagnje said:

what sd cards do you guys use? 

I have one of these that I bought to go with the camera: Sony 128GB M Series UHS-II SDXC Memory Card (U3)

And I had one of these (like @Attila Bakos), which works just as well for all codecs and data rates as the above in my experience: SanDisk Extreme Pro SDXC V30 128GB 170MB/s

A card to definitely avoid is the SanDisk Ultra 80MB/s, which only works with data rates up to 100Mbits/s. I had a bunch of these for codec recording on Canon DSLRs.

What those "Ultra" cards do turn out to be good for, though (on a semi-related note) is for filming when the footage is going into my iPad Pro for quick editing in Luma Fusion. Apple has nerfed the iPads direct-import-from-SD-card capabilities to only accept up to 100Mbit/sec h.264 and 50Mbit/s h.265 -- all of which work comfortably with those cards. The iPad will edit better data rates than that, but you're forced to go via iTunes or other bad workarounds to get the clips onto the device.

A weird use case, but something to be aware of:

I was using a Tascam DR-60D mk2 to record audio, and then feeding the audio from the dedicated line out ("camera high") into the mic input of the X-T3. Worked great until I decided to use the same power bank to supply juice to both the camera and the recorder.

Everything was still great on the Tascam's audio, but the audio on the X-T3 had a weird data warble noise clearly audiable -- something between a modem or fax, and a mobile phone interference noise. Unplugging either of them from the power bank made the problem go away. It happened with my nice new PD-compatible battery, and with an older big power bank I have.

Works fine with them plugged into separate power banks, but it would have been nice to power the whole rig from a single battery.

“Shot a water sports festival with X-T3, hugely empowered by the enhanced face detection in the latest firmware, face select also came in handy when switching subject.

F-log, HEVC 400Mbps LongGOP, sharpness and NR -4,  custom WB”

@androidlad — Curious here: Seems like you must have been shooting 4K (or DCI) at sub-30 FPS to use HEVC, LongGOP and 400Mbps. How did you decide to go for LongGOP versus ALL-I @ 400Mbps?

8 minutes ago, thephoenix said:

Well i am more of a manual focus person when It comes to video. But when i tried my Tamron af with the fringer It was really good  to me. And It was prior to fw  3.0

The Tamron Is quite new. so is the af It uses. maybe that Is  the beginning of an answer. Make also sure your fringer fw is up to date     

Will test the 85mm 1.4 from canon too but will be in 2 weeks as I am on a trip at the moment.

Yep. I'm all up to date on the fw, and all the lenses are on Fringer's supported list. So it was all a bit disappointing for me -- though I'd never used lenses with an adapter before. I didn't know what to expect, and I thought it was all part of the deal.

In similar conditions, those L lenses' AF is really reliable on a Canon body. They were super on the 70D, and still bringing home the bacon on the 5D3. ?

2 hours ago, thephoenix said:

Got a 5D

I still use the Canon lenses I mentioned on a 5D3 with magic lantern when the scene is on a tripod, but the 5D3 doesn't have continuous video AF at all. (That's what I have the Fuji for, y'know?)

For 'S' autofocus, à la the 5D3, the autofocus of the Fuji with an adapter is slow, but then it doesn't make that much of a difference. It eventually focuses and that is it until you ask it to refocus.

The OP didn't really say what his use case is.

@thephoenix >> Just curious - what Canon body do you have?  Mine was a 70D for any auto-focus-style work (which I sold to fund the X-T3). I was really surprised to read your experience, since mine was just the opposite — same lenses had wildly different performance on the Canon vs the Fuji body for me.

2 hours ago, thephoenix said:

depends on lense af and motors. it is pretty good on my tamron 24-70 and my 28mm 2.8. i mean when i compare to the same lenses on a canon body.

i also have canon 85mm 1.4 but didn't tried it yet on the fuji

to me the problem is not the adapter but the lense's af itself.

31 minutes ago, Inazuma said:

Can someone tell me how good autofocus is in video with EF speed boosted lenses?

I’ve got the Fringer EF-X Pro1 and I can tell you it’s not great for video. I only do video with the X-T3. It can take a second or two to acquire focus. Then, for thin DOF shots in “C” mode, it will “micro-hunt” quite a lot while shooting.  I have a button assigned to focus-lock to kill that during a shot. I have used it with the 24-105 f4L and the 70-200 f2.8L, and a bit with the 50mm f1.8 STM lenses that I already had, and wasn’t satisfied. As salt in the wound, it ignores the focus sensitivity and speed settings in the camera. It will shift focus as fast as it can, no matter what the camera-menu settings.

I now use the Fuji 18-55mm and 10-20mm stabilized lenses for video. They’re good lenses, and I’ve been satisfied with the AF performance in run-and-gun situations, whereas I’ve pulled my hair out using the Fringer adapter and my wonderful Canon glass.

47 minutes ago, Anaconda_ said:

I'm not sure why this keeps being said. I set BOTH clips (h265 AND ProRes) to FULL LEVELS and they matched in 16b3.

Perfect! Good that you clear this up. (Aw, nuts! I wanted to change my post above, but it was too old now.)

2 hours ago, Lars Steenhoff said:

yes something did change in the latest resolve b3, check the release notes and it mentions fuji files

Yes, I know. I'm the overwhelmed OP for the question -- I innocently asked if anyone knew what the change referred to in the release notes for 16b3 specifically meant for the X-T3. ?

1 hour ago, Anaconda_ said:

Just to clarify, my test was also in Resolve 16b3 with both files set to Full levels, and they matched according to the charts in the colour tab.

Does this mean...

1. The erroneous color shift for the internally-recorded h.265 files in Resolve is now solved? I.e, it matches what you'd get from an external recorder? (caveat: h.265 set to "Full Levels" and ProRes set to "Video Levels) 

2. The new 16b3 has introduced a situation where you must manually set ProRes F-Log clips to "Video Levels" (not Auto) in the Clip Attributes

3. A bug has been introduced in 16b3 causing a problem with highlight clipping for h.265 internal clips. (no inside-Resolve workaround found as yet, according to the thread with @Llaasseerr)

Umm. I need a TSDU version, I think. (Too Stupid Didn't Understand) Did something change in the new Resolve 16b3?

For me the use case is F-LOG on internal storage with h.265 in Resolve, which is I guess will be the use case for the majority of us interested parties in the dum-dum crowd.

On 5/12/2019 at 8:46 PM, ac6000cw said:

I've used a Tascam TM-2X on several Pana G-series cameras and been very happy with it. Note it needs 'plug-in power' on the mic socket to work.

https://tascam.com/us/product/tm-2x/top

(the plastic extension arm is optional - I've never used it, the basic mic is relatively small)

I had a TM-2X that I  bought to use with a Tascam DR-60D mk2 -- I turned on the plug-in power and was set to go, but the noise floor was not good. I do understand that the preamp for input 3/4 on the DR-60D is not the best, but I returned the TM-2X immediately. That said, might be just the thing for a wrestling film.  "Noise floor? What? I can't hear you!"

6 hours ago, kye said:

Codecs
• Addressed an issue where H.264 and H.265 clips from specific Fuji cameras would not be decoded with the correct colors

Resolve 16 Beta 3 -- I posted this in the thread about Resolve 16, but the Fuji fans are here: Does anyone know what this snippet from the change log specifically is talking about?