Fuji X-T3 released

[marvinhello]

I did try Vu brand NDs (fixed and variable), along with at least 7 other brands. I work in the biggest rental house in Canada.


They show noticeable colour cast >2 or 3 stops, easily correctable with RAW photo, or take some effort to WB beforehand for video. Some other brands do worse though.

The only truly neutral threaded NDs is indeed Breakthough's X4, we tested up to 6 stops and RGB values on a grey chart never deviate more than 2 from each other.

For square NDs for use in mattebox, our conclusion was ARRI FSND and Mitomo True ND are the most neutral.

Cinematographers never go back to Schneider or Tiffen after they've tried the above.

I know that you believe you grabbed a bargain, congrats. But interesting you jumped straight to personal judgment and again failed to keep the discussion on topic. Well I guess it might well be a common trait among people who brags about buying $9 NDs.

 

[jcs]

I did try Vu brand NDs (fixed and variable), along with at least 7 other brands. I work in the biggest rental house in Canada.


They show noticeable colour cast >2 or 3 stops, easily correctable with RAW photo, or take some effort to WB beforehand for video. Some other brands do worse though.

The only truly neutral threaded NDs is indeed Breakthough's X4, we tested up to 6 stops and RGB values on a grey chart never deviate more than 2 from each other.

For square NDs for use in mattebox, our conclusion was ARRI FSND and Mitomo True ND are the most neutral.

Cinematographers never go back to Schneider or Tiffen after they've tried the above.

I know that you believe you grabbed a bargain, congrats. But interesting you jumped straight to personal judgment and again failed to keep the discussion on topic. Well I guess it might well be a common trait among people who brags about buying $9 NDs.

Great- can you post examples of what you posted so we can see for ourselves?

 

[Alvise Tedesco]

The only truly neutral threaded NDs is indeed Breakthough's X4

Very assertive. I guess you tried also my set of 77mm Formatt Firecrest.
I'm pretty happy with those (all the way to the 1.8) on Red (where, btw, I would never use Tiffen) and today on my new XT3. Your suggested brand better be reeally neutral for that price..

 

[NorBro]

I did try Vu brand NDs (fixed and variable), along with at least 7 other brands. I work in the biggest rental house in Canada.


They show noticeable colour cast >2 or 3 stops, easily correctable with RAW photo, or take some effort to WB beforehand for video. Some other brands do worse though.

The only truly neutral threaded NDs is indeed Breakthough's X4, we tested up to 6 stops and RGB values on a grey chart never deviate more than 2 from each other.

For square NDs for use in mattebox, our conclusion was ARRI FSND and Mitomo True ND are the most neutral.

Cinematographers never go back to Schneider or Tiffen after they've tried the above.

I know that you believe you grabbed a bargain, congrats. But interesting you jumped straight to personal judgment and again failed to keep the discussion on topic. Well I guess it might well be a common trait among people who brags about buying $9 NDs.

Bragging about buying a $9 ND, huh...oh, if you only knew. lol

I didn't fail to keep the discussion on topic; you failed to understand how forums work.

We try to look out for each other here and there with bargains.

Someone might not have the budget to purchase more expensive options and may really appreciate a $9 filter.

 

[Alvise Tedesco]

Few days I got the XT3. Very nice. What I dislike the most is probably the slow rolling shutter speed
Now it's time to decide between a Ninja V and a Shinobi
I found the HEVC 400mbit robust enough to withstand the kind of non heavy grade I'd generally do (match Canon C200, for example). And that is a point for the lighter Shinobi (I think mirrorless are all about light set up. Don't need to impress clients) instead of an external recorder
But I'm spoiled with the super easy C200 MP4 for general purpose. I didn't expected the HEVC to tax so heavily my MBP 2015. Is there a way around this? I wish I could do 1080 proxies in FCPX to do offline edit.
So, possibly better idea to buy a Ninja V. But I wouldn't be happy with the added weight.
Opinions? Maybe a Ninja owner that tells me there's soo much more in the 422 prores?

 

[markfpv]

I didn't expected the HEVC to tax so heavily my MBP 2015. Is there a way around this? I wish I could do 1080 proxies in FCPX to do offline edit.
So, possibly better idea to buy a Ninja V. But I wouldn't be happy with the added weight.
Opinions? Maybe a Ninja owner that tells me there's soo much more in the 422 prores?

Why not simply transcode the HEVC to whatever ProRes file quality (422, HQ, etc.) you want on import - if you are using FCPX?

 

[scorsesefan]

I have a 2017 Imac with pretty good specs and the HEVC from the X-T3 is way too intensive for my system. I would just transcode to an edit friendly format. Also, I have noticed very little difference between 200mbit and 400mbit on the X-T3...

 

[puredrifting]

Why not simply transcode the HEVC to whatever ProRes file quality (422, HQ, etc.) you want on import - if you are using FCPX?

This. The only reason we are shooting H265 is to get 10-bit. And Prores are 10-bit codecs so converting it to Prores makes a lot of sense and FCP X makes it pretty painless. I think it's pointless to try to edit H265. I agree with Scorsese fan too, I see very little difference, other than eating up memory cards twice as fast, between the 200 and 400Mbps. I would only shoot the 400Mbps for green screen or compositing.

 

[DLD]

When NX1 was hacked to record in HEVC at 150 rather than at 80, the difference was deemed negligible. 80 was transcoded to the ProRes Standard at 500 Mbps. ProRes HQ is 770 or so.

 

[Guest]

@Marvinhello, i like using cheap ND for special effects. Some colors get crazy on higher cheap ND values. Fun to muck around with. For home use, idk, would depend on the user, but yeah.

For pro work, it is worth buying true ND or similar highend filters. At least until sensors get around it.

The fuji seems like a camera that if you are buying it for the colors, then a good ND is in order.

 

[markfpv]

When NX1 was hacked to record in HEVC at 150 rather than at 80, the difference was deemed negligible. 80 was transcoded to the ProRes Standard at 500 Mbps. ProRes HQ is 770 or so.

This. The only reason we are shooting H265 is to get 10-bit. And Prores are 10-bit codecs so converting it to Prores makes a lot of sense and FCP X makes it pretty painless. I think it's pointless to try to edit H265. I agree with Scorsese fan too, I see very little difference, other than eating up memory cards twice as fast, between the 200 and 400Mbps. I would only shoot the 400Mbps for green screen or compositing.

My P4Pro shoots H.265 at @100Mbps and I've never had any quality issues with transcoding it in FCPX... so pretty certain I'd be fine with the 200 on the XT3.

 

[Alvise Tedesco]

Why not simply transcode the HEVC to whatever ProRes file quality (422, HQ, etc.) you want on import - if you are using FCPX?

I have a 2017 Imac with pretty good specs and the HEVC from the X-T3 is way too intensive for my system. I would just transcode to an edit friendly format. Also, I have noticed very little difference between 200mbit and 400mbit on the X-T3...

This. The only reason we are shooting H265 is to get 10-bit. And Prores are 10-bit codecs so converting it to Prores makes a lot of sense and FCP X makes it pretty painless. I think it's pointless to try to edit H265. I agree with Scorsese fan too, I see very little difference, other than eating up memory cards twice as fast, between the 200 and 400Mbps. I would only shoot the 400Mbps for green screen or compositing.

Sure, I would never pretend to edit H265. And I'm not talking about quality issues. Quite the opposite. I see I can color without having the image falling apart.
I'd love to have the lightest set up, and transcode to Prores. But no matter if it's LT or HQ, transcoding takes all the time it takes. For all the footage I not only shoot but also edit, transcoding is the way I'd do. But the low end clients I have, are spoiled with the MP4 simplicity from the C200. It doesn't matter it is an inter frame codec. It's just soo easy on every computer. And they can edit right away. If I'd buy a Ninja, they could edit right away XT3 footage as well.
BTW thanks for the 200 vs 400 mbps suggestion. That is a good point for internal recording (less media needed for archival) . I'm just asking myself, since I need an external monitor for sure, does it make sense to get the lighter Shinobi when there is the Ninja V? Money is no object, but I want to keep things light as I can..
Then, apparently, external 422 recording render (XT3 critical) red tones differently from internal recording. Having better reds would be a big plus whenever I'd need to mix with C200 footage. But are they better? Not sure..

 

[macgregor]

Reallly quick question guys:

I think I read that over 25p in 4K there is a slight crop. Did I dream this?
In order to get 4K 60p I need to drop to long gop but do I still get 10bit h265?
Is is limited to 200Mbits at 4K 60p?

How much quality is lost 24 vs 60p in 4K?


THanks

 

[LoganMackay]

Few days I got the XT3. Very nice. What I dislike the most is probably the slow rolling shutter speed
Now it's time to decide between a Ninja V and a Shinobi
I found the HEVC 400mbit robust enough to withstand the kind of non heavy grade I'd generally do (match Canon C200, for example). And that is a point for the lighter Shinobi (I think mirrorless are all about light set up. Don't need to impress clients) instead of an external recorder
But I'm spoiled with the super easy C200 MP4 for general purpose. I didn't expected the HEVC to tax so heavily my MBP 2015. Is there a way around this? I wish I could do 1080 proxies in FCPX to do offline edit.
So, possibly better idea to buy a Ninja V. But I wouldn't be happy with the added weight.
Opinions? Maybe a Ninja owner that tells me there's soo much more in the 422 prores?

I think you are the first person I’ve seen complain about rolling shutter on the X-T3. Is it not one of the best performers outside of much more expensive cinema cameras?

 

[LoganMackay]

Reallly quick question guys:

I think I read that over 25p in 4K there is a slight crop. Did I dream this?
In order to get 4K 60p I need to drop to long gop but do I still get 10bit h265?
Is is limited to 200Mbits at 4K 60p?

How much quality is lost 24 vs 60p in 4K?


THanks

Can’t answer for the 25p question.

4K60p is limited to 200Mbits but can still do 10bit h265. If there is a quality drop going from 23.97 to 59.94, it’s negligible. I guess that last part depends on your needs, but it looks gorgeous to me.

 

[dcoughla]

Reallly quick question guys:

I think I read that over 25p in 4K there is a slight crop. Did I dream this?

Edit 2: Tested, yes, there's a crop. 1.18 for 4k60 according to the internet. 1.29 for the high speed modes

In order to get 4K 60p I need to drop to long gop but do I still get 10bit h265?

yes

Is is limited to 200Mbits at 4K 60p?

yes

How much quality is lost 24 vs 60p in 4K?

Haven't tested, but I think it's just the difference between 400 and 200?

 

[markfpv]

But no matter if it's LT or HQ, transcoding takes all the time it takes.

I'm not sure what you're saying here... but just as an fyi to make sure you're aware - I can import 1tb worth of HEVC footage - and just simply check the "create optimize media" button under "transcoding" in the media import window. And I can start editing that footage immediately on the timeline. The transcoding happens in the background while I edit. Sure, I could go wait... but I don't have to.

 

[Alvise Tedesco]

I think you are the first person I’ve seen complain about rolling shutter on the X-T3. Is it not one of the best performers outside of much more expensive cinema cameras?

I did not compared it to other mirrorless, but at first glance my old GH4 behaves clearly better and that was my benchmark. On the other hand, GH4 sensor is smaller, and probably I am more sensitive than average to wobble

 

[puredrifting]

I'm not sure what you're saying here... but just as an fyi to make sure you're aware - I can import 1tb worth of HEVC footage - and just simply check the "create optimize media" button under "transcoding" in the media import window. And I can start editing that footage immediately on the timeline. The transcoding happens in the background while I edit. Sure, I could go wait... but I don't have to.

On my 2017 27" iMac, it works exactly this way. You just see the image a bit softer until it's all converted. But as far as editing, you can begin immediately, that's one of the best things about FCP X.

Rolling shutter is excellent on the X-T3, I barely notice it unless shooting cars and that sort of thing where the camera or subjet are moving at high speed. Not really a factor anymore like it used to be. I noticed it on the Canon EOS R, now THAT is some horrifically bad rolling shutter, think 5D MKII bad.

 

[Alvise Tedesco]

I'll give another try, thanks
Timeline play was stuttering but I see now the 4 disks RAID I was reading out off it's 98% full