Fuji X-t4.... 6k... 10 bit internal... 60p?

[william howell]

Ok... 2020 is bonkers.

https://fujiaddict.com/2020/01/09/fujifilm-x-t4-x100v-and-x-t200-details/

 

[C. Burkhart]

Love Fuji. Their color science is excellent. Great looking images. Much prefer to the Sony mirrorless. Cutting my X-T3 with an Alexa. No issues. Wow.

 

[Karim D. Ghantous]

Yes, Fuji makes arguably the best cameras of its class, but Sony is my pick - but only just. Fuji makes the best bodies for sure. But I am somewhat invested in the E mount system (as well as the Micro 4/3 system) and I will stay with that for a while longer. In fact I might go all Micro 4/3 in the end.

I do like the 'anamorphic ratio support' for sure, if it is what I think it is. So far I think only the GH5/s has that, out of all the stills hybrid cameras.

 

[Zack Birlew]

If that’s true then it makes me wonder about the Sony A7S III even more! If Fuji has something like that ready to go then either the A7S3 will have to match it or exceed it. Granted, RAW support could be a clincher with a lot of newer cameras and may even be what makes people go back to regular video cameras if DSLRs and Mirrorless cameras don’t start adding it too. I was actually wondering about the XT-3 as a stills/video backup before the BM Pocket 6K hit. Hopefully we get some confirmation soon as these are exciting specifications!

 

[C. Burkhart]

If that’s true then it makes me wonder about the Sony A7S III even more! If Fuji has something like that ready to go then either the A7S3 will have to match it or exceed it. Granted, RAW support could be a clincher with a lot of newer cameras and may even be what makes people go back to regular video cameras if DSLRs and Mirrorless cameras don’t start adding it too. I was actually wondering about the XT-3 as a stills/video backup before the BM Pocket 6K hit. Hopefully we get some confirmation soon as these are exciting specifications!

I think the two distinguishing features which separate dedicated video cameras and DSLR/Mirrorless, is dynamic range and rolling shutter. RAW and color depth are important and that gap is closing. However, exterior shots which require a great deal of latitude or lots of movement are still challenging for these little cameras. On sticks and in controlled lighting situations, there is no question that they are now on par. I love my X-T3 (GREAT color science), but let's see if the next generation can finally deal with Jello or very contrasty situations. I think the RED philosophy of going for resolution is going to be challenged by the newcomers, so hopefully it will begin to add value in other ways. Never have been a fan of RED cameras (mostly because I don't like how they render skin tones in other than daylight situations) but I do appreciate how they have pushed the boundaries. Let's see what Komodo brings.

The BM pocket has good specs concerning rolling shutter, but latitude is still an issue and a lot of artifacts are still there in the shadows. If the A7S III incorporated the same color science that is in the Venice and the new FX9, they would probably hit it out of the ballpark. But that is probably more wishful thinking than reality.

 

[Hrvoje Simic]

I love my X-T3 (GREAT color science), but let's see if the next generation can finally deal with Jello or very contrasty situations.

Jello on T3 ? What are you doing with it ?
It has very good motion.
Eterna tweaked in camera has excellent DR handling.

 

[C. Burkhart]

Jello on T3 ? What are you doing with it ?
It has very good motion.
Eterna tweaked in camera has excellent DR handling.

Shooting bad American desserts. Handheld.

At 4K - 24/25 fps it's rolling shutter is at 20.6ms (roughly the same as the Canon 5D3 in 1080 - 24/25fps)
In 1080p - 24/25fps it starts to shine at only around 12ms

By comparison, film is at roughly 5ms and the Alexa Classic comes in around 6ms. The newer generation Alexas have better RS, but I don't have the figures for 4K. In 2K the Amira is around 2ms

In terms of color and skin tone rendering, I find the FLOG to be very similar to that of the Alexa in LOG. Don't even have to use Eterna. The most pleasing thing though is that it seems to hold the highlights on faces better than most Sony cams. There just is more info there. It is pleasingly flat and the roll off is gentler. It still is not going to hold the sky on a bright day like my Alexa though.

 

[Hrvoje Simic]

Shooting bad American desserts. Handheld.

Fair enough. : )

In terms of color and skin tone rendering, I find the FLOG to be very similar to that of the Alexa in LOG. Don't even have to use Eterna.

The most pleasing thing though is that it seems to hold the highlights on faces better than most Sony cams. There just is more info there. It is pleasingly flat and the roll off is gentler. It still is not going to hold the sky on a bright day like my Alexa though.

Fuji CS is in a league of its own.
Try Eterna with DR400 on ISO640 and playing with Shadow Tone / Highlight tone.

It still is not going to hold the sky on a bright day like my Alexa though.

Depends on which properties you are talking about.
No one with that pixel size captures that much in high range like Alexa.
Nothing particular to Fuji, sensor limitations. Tonal handling is top notch.

Fuji cinema camera with latest sensor tech and 4K per 24mm pixel pitch would rock.

 

[Derek Doublin]

Fuji cinema camera with latest sensor tech and 4K per 24mm pixel pitch would rock.

I think that is something we’d all love to see. And it really makes sense. Fuji manufactures high end lenses like the Cabrio, which is an amazing piece of glass. And they are firmly planted in large format photography. The only reason I can think of, that is preventing them from entering the cinema market, is that it does seem quite saturated right now. We’ve got Sony, Canon, Red, Arri, Panasonic, Blackmagic, etc. And most of those companies have 3 to 6 different models to choose from. There’s like 25 different cinema cameras on the market right now. It’s pretty amazing when you think where we used to be, back when the 5D Mk II was announced.

Still though, if there was a camera company that could give Arri a run for their money, it’s Fuji. Canon skintones are often too magenta, and Sony is too green. Fuji sits right in the middle. It’s still a little biased to magenta, but considering the XT3 costs $1500 and it can cut with an Alexa just fine, that’s saying something. Imagine what they could do if they made a $10k cinema camera with FLOG and all their built in film stocks! It would be killer!!

 

[Hrvoje Simic]

I think that is something we’d all love to see. And it really makes sense. Fuji manufactures high end lenses like the Cabrio, which is an amazing piece of glass. And they are firmly planted in large format photography. The only reason I can think of, that is preventing them from entering the cinema market, is that it does seem quite saturated right now. We’ve got Sony, Canon, Red, Arri, Panasonic, Blackmagic, etc. And most of those companies have 3 to 6 different models to choose from. There’s like 25 different cinema cameras on the market right now.

S35 capable with on-board Raw besides Arri:

Canon C200, C500mk2
Red Dragon, Helium, Gemini, Monstro
P6K, Ursa
- Sony & Panasonic need external units.

So besides Arri: 8.
7 in the context of higher segment production. (- P6K)

In the context of lattitude, DR and highlight range especially, number gets drastically reduced.

I'd say there is room in the upper segment.
Not in the crowded part.

It’s pretty amazing when you think where we used to be, back when the 5D Mk II was announced.

Yup.

Still though, if there was a camera company that could give Arri a run for their money, it’s Fuji.

Yup.

Canon skintones are often too magenta, and Sony is too green. Fuji sits right in the middle. It’s still a little biased to magenta,

Yes and no.
But I get what you mean. : )

T3 has top class skintones.
Just use manual white balance and Eterna.

Imagine what they could do if they made a $10k cinema camera with FLOG and all their built in film stocks! It would be killer!!

Yeah but not with this F-Log.

I'd say $10K is too low to reach the full potential and can compete with Arri.
For compact auteur cam it might do with cinema grade imaging potential, for production camera and all it takes, no. We can only speculate about pricing from market interpretation, product pricing is much more complex and depends on many production parameters.

 

[C. Burkhart]

Still though, if there was a camera company that could give Arri a run for their money, it’s Fuji. Canon skintones are often too magenta, and Sony is too green. Fuji sits right in the middle. It’s still a little biased to magenta, but considering the XT3 costs $1500 and it can cut with an Alexa just fine, that’s saying something. Imagine what they could do if they made a $10k cinema camera with FLOG and all their built in film stocks! It would be killer!!

One thing to note, is that with a little experience in color grading, most of those color dominance's you mentioned can easily be corrected out. The problem is not there. It really is in how the overall dynamics of the image work. Where faces are concerned, I just have noticed that even if the image is shot in raw or a codec like Prores 444, it is still difficult to have nuances, dimensionality, good highlight retention, etc on some cameras. It really is a mix of art and science. For instance, I never liked Red's Dragon sensor, too often faces felt like a simple wash of color, which yes you could correct to something reasonable, but there just was no dimensionality. They often feel flat and wooden. Never felt that with the X-T3.

 

[Hrvoje Simic]

It really is a mix of art and science.

It always has been.

The conceptualizaton of them being separate is an illusion of modern age.

For instance, I never liked Red's Dragon sensor, too often faces felt like a simple wash of color, which yes you could correct to something reasonable, but there just was no dimensionality.

In the thread nearby one can see what is possible with Dragon... ; )