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The 4K Fuji X-T2 is here


Mattias Burling
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Leaving highlight and shadow tone untouched in camera on an overcast day, Astia was too contrasty to my eyes. I tried lifting the shadows and lowering the highlights in-camera during my test of the Fuji 35mm f/2 this morning, but I think I got it backwards and ended up with a bunch of insanely super-contrasty shots.The 35mm f/2 is a superb lens: super tiny, solidly built, lovely rendition and wicked sharp. Small lenses like that involve lots of compromises, such as higher vignetting and weaker edge sharpness. But looking at my clips from this morning, you wouldn't guess it. My only gripe is that, even though the lens is all metal, and has an aperture ring (!), the stupid lens cap is a screw-on plastic affair. I guess they fixed this with the 23mm f/2, and from what I hear, the hood can also be used on the 35mm f/2. Anyhow, most reviewers are unanimous in proclaiming the X-T2 a great stills camera and a so-so video camera, but as you can see from practically every video posted in this thread, in the right hands, it produces lovely looking images, and I don't regret my purchase at all. On a side note, I feel like I'm participating in a cult or something here at EOSHD, because I've lived in Vietnam now for four years, and 99% of photographers are still shooting with Canons. Serious filmmakers here wouldn't be caught dead with a mirrorless camera. 

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7 hours ago, SuperSet said:

Looks great. Was that graded or SOOC?

 

No way that's SOOC. I just asked him if he used a film emulation. We'll see.

2 minutes ago, jonpais said:

No need to ask. He's provided the information already:

Some technical info, if you are interested:
Camera: Fujifilm X-T2
Lenses used: FUJI XF16mm F1.4, FUJI XF18-55mm F2.8-4, FUJI XF55-200mm F3.5-4.8
Film Simulation Mode: Astia Soft (i wish Fuji would implement F-Log internally)
Edited on Premiere Pro CC 2017, graded with Lumetri.

Where did you find this info? I don't see in on Vimeo.

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9 hours ago, SuperSet said:

Not sure if this has been posted but this dude's video shot in Astia Soft looks great. I'm beginning to think that's the best profile to use.

 

Looked great. Can see some serious work getting done with this camera in the right hands. Those colours were spot on with how it really looks, and it handled the rapids on the waterfall quite well.

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3 hours ago, jonpais said:

Here's my test of the Fuji 35mm f/2 on the Fuji X-T2. Tomorrow I'll do the 50-140mm f/2.8. 

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Colors are fantastic, looks like this camera is a huge post time saver. Image really looks like a finished product for regular projects where there is no need for stylized grades.

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5 hours ago, jonpais said:

Here's my test of the Fuji 35mm f/2 on the Fuji X-T2. Tomorrow I'll do the 50-140mm f/2.8. 

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Looks great. I really considered this camera. What do you think it'd be like for a bit of run and gun? The only thing I don't like is the lack of stabilisation. But you gotta give it to this camera, the colour is outstanding. 

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Thanks for the comments everyone. I still think the colors are a bit too saturated, the blacks are crushed and the highlights are blown out. I'm going to shoot with the 50-140mm this morning with shadow tone set to -2 and highlights at -1 and see if I can't get a flatter image out of this thing. Also, even though I've got in-camera sharpening as far down as it will go, the images stil look way too sharp to me.

For run and gun, documentary or guerilla filmmaking, you need a camera that has everything at your fingertips; it should also be reliable. Some things the XT2 has going for it are a wide selection of superb lenses, including a number of fast primes; it has fast autofocus and a brilliant EVF; quick turnaround time in post, since you won't be spending hours tweaking the colors (unless you want to!). Downsides are that many of the lenses in their catalogue aren't stabilized; exposure dials and menu items are all accessed through physical controls, which takes longer than a touch screen, and using them means noise and camera shake. The LCD isn't fully articulating like some of the Panasonics. You can hear more about many of the advantages and disadvantages in Max Yuryev's review, or read my own short review here. For a lot less money, you could get the Lumix G80/85. I don't own the camera (yet!) but the single greatest pitfall I see is weak AF-C performance. 

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7 hours ago, sudopera said:

Did you try Classic Chrome, from what I've seen it should be the least saturated/contrasty profile.

Here is an example

I intend to try that next. Like I promised, I went ahead and shot with the 50-140mm this morning. Build quality of this monster is on par with Zeiss. The focus, zoom and aperture rings are dampened to high hell, which I happen to love. Autofocus is fast and completely, utterly silent. The 16-55mm f/2.8 amazed me, the 35mm f/2 astounded me, and now the 50-140mm f/2.8 just blew my socks off. It really is, without exaggeration, a flawless instrument. I followed Max Yuryev's recommendation and raised the shadows by (confusingly, -2) and lowered highlights by -1. The images are flatter now, not Panasonic 'Natural' flat, but perfect for just shooting, putting on the timeline and uploading to YouTube without any grading. The colors are not 'accurate', not in the viewfinder, and not when viewed on a desktop at home. What Fuji does is transform the color into something extremely pleasing. When I see lens and camera tests online where the reviewer has placed a color chart next to the subject, well... that's all well and good, but fidelity to nature does not an appealing image make. While a lot of filmmakers in the online community are always asking for a useable Log profile in their cameras, a great many professionals: documentarians, news gatherers, vloggers and the like, just want an image they can easily acquire and deliver. Because I'm a hobbyist, not a professional, and I do this just for my own enjoyment, I can say that, given a camera with IBIS and touchscreen with nice colors, or a device without those features, but which produces spectacular color, I'd choose the latter in a heartbeat. 

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I ordered a 77mm SLR Magic VariND II, I'll use it with a step up ring on the kit lens. I might buy the 16-55 2.8 later hence the 77mm. The problem is I can't use the lens hood this way, what would you guys use to block unwanted light in this case? I want to keep it as lightweight as possible.

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That's why I don't like step-up rings. :( You do realize the 16-55mm is a monster lens, don't you? Definitely not something you'd carry around as an all-rounder like the Panasonic 12-35mm f/2.8. Anyhow, here's a clip I made with the Fuji 50-140mm f/2.8. I followed Max Yuryev's suggestion and raised shadows -2 and lowered highlights -1. With the flatter contrast, what appeared to be oversharpening is no longer an issue either. happy camper.

 

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20 hours ago, jonpais said:

That's why I don't like step-up rings. :( You do realize the 16-55mm is a monster lens, don't you? Definitely not something you'd carry around as an all-rounder like the Panasonic 12-35mm f/2.8. Anyhow, here's a clip I made with the Fuji 50-140mm f/2.8. I followed Max Yuryev's suggestion and raised shadows -2 and lowered highlights -1. With the flatter contrast, what appeared to be oversharpening is no longer an issue either. happy camper.

 

Yeah I see now it has more than double the weight of the kit lens. One reason the keep that too. I ended up ordering a cheap screw on lens hood, not much options for 86mm anyway. (That's the front thread size of the ND filter.)

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The colours from this camera are blowing my mind. Unbelievable skin tones. Even though the dynamic range is obviously limited they've found a way to make the highlight roll-off very pleasing too. Compare that to how Canon camera's just blow out with a harsh edge. If only the Fuji had IBIS and smart adaptors for Canon glass..

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4 hours ago, Taranis said:

Yeah I see now it has more than double the weight of the kit lens. One reason the keep that too. I ended up ordering a cheap screw on lens hood, not much options for 86mm anyway. (That's the front thread size of the ND filter.)

Everyone here already knows about my aversion to variable aperture zooms, but I've got a lot of time on my hands, so can you share your thoughts on how you can justify the purchase of the 16-55mm, given that it's four times more expensive, weighs a ton, etc., etc. Are you unhappy with the kit lens? Sorry, I'm bored, just want someone to talk to. ????

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Jonpais! Love the SOOC look with the 50-140 :)! 


I just got my x-t2 and am starting to shoot a little with it.  I have to say it is excellent!  I need to look at other lenses for lowlight options.

Could you take some video shots and night and indoors with limited light?

I recently invested in a c100 II because I'd like to do some video/doc. work for my students and myself but I am having major buyer's remorse now that I see how great of an image x-t2 is achieving.  I'm actually strongly considering selling my c100 II and 24-105 with less than 2 hours of recording time.

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2 hours ago, jonpais said:

Everyone here already knows about my idegenkedés to variable aperture zooms, but I've got a lot of time on my hands, so can you share your thoughts on how you can justify the purchase of the 16-55mm, given that it's four times more expensive, weighs a ton, etc., etc. Are you unhappy with the kit lens? Sorry, I'm bored, just want someone to talk to. ????

Haha I wish I had your time, my 1 year old daughter leaves me close to none :) Right now I have no reason to buy the 16-55 as I have very little experience with the kit lens, I bought it 2 weeks ago. But who doesn't love fixed aperture zooms... so I wanted to buy the ND filter for the largest lens I might buy in the future. I come from Nikon so I have no Fuji glass at all, and I want to be prepared.

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