Fuji X-T3 released

brettsherman said:
For the GH5, "low light" basically means any interior shooting without setting up lights. This is documentary-style production. I regularly find myself shooting at 12,800 ISO, even at f/4 or f/2.8. There are a lot of dark interior spaces. Minimally I need a camera that will shoot clean 6400. GH5 cannot. (I also need solid AF on an SLR as it is often used on a gimbal).
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12,800 ISO?? At f2.8 indoors?? How??

Heck, I was shooting my unboxing vlogs last night indoors with my 25mm f1.7 set to F4 or so at ISO 3,200 and I thought I had the room pretty dark! (as I wanted a dark background intentionally, so I switched off lights except for a couple of small ones for key and hair/fill light)

Makes me question just how dark it must be indoors if you're doing 12,800 ISO at f2.8, are you shooting in sewers or bat caves?! Then sure, go for the GH5S instead and put a small LED on the camera. (even just a little Aputure AL-MX can be perfect, and can actually help improve the look of your footage if you don't over do it but use it in a subtle way to help your footage pop out a bit from the background)

NorBro said:
Read back a little and you'll have a better understanding of the context.

Post #28...my response was to him saying Fuji was almost catching up to Panasonic, and I provided a different opinion.
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In areas like: waveform monitoring, an XLR accessory, and timecode, just to name a few things, then yes Fujifilm still has a while to go to until they properly catch up with Panasonic.

But don't let this come across as me being too negative about Fujifilm!
Not at all!
Am very impressed at the strides forward that Fujifilm is making in themselves attractive to filmmakers.

sgttom said:
Well for me APSC gives a certain look. With M43 you are forced to use wider lenses which have more distortion. Its a stylistic thing, but APSC close to Super 35 is what most people are used to seeing in theaters. Its also a cost thing .95 glass tends to be very expensive compared to moderately fast APSC glass.

I do agree with the new sensor used in the GH5S and BMP4K (as well as other cameras) the lines between sensor size are blurring.
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There are lots of very very affordable f0.95 glass for MFT.

https://www.ebay.com/itm/Kowa-33-5mm-F0-95-Ultra-Fast-TV-Lens-Adapt-to-Mirrorless-4-3-1/312237016356

https://www.ebay.com/itm/25mm-f0-95...ens-with-MFT-Adapter-Manual-USED/273336520569

https://www.ebay.com/itm/Navitar-17...-95-Micro-Four-Thirds-M-4-3-M4-3/173346359741

https://www.ebay.com/itm/Mitakon-Zh...Lens-for-Micro-Four-Thirds-Black/202432334658
 
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Why does sensor size really matter?

In practical terms there is a chance of getting an ND behind a reasonable zoom!

On paper it doent matter, but in reality that is important.

S
 
Finding myself more and more tempted by the XT-3. I am still using a GH4 and was considering upgrading to the GH5-s or the Pocket 4k. To me 10bits is an absolute must today for any camera to be considered professional.

I'm interested in the Fuji over the GH5s not because off the low light or larger sensor since the GH5s with a SpeedBooster can have the same FOV and DOF as the Fuji. What I'm more interested in is having good sensitivity while not also sacrificing stills quality. I think the GH5-s more than handles a realistic amount of low light but the 10mp stills are a huge issue for me since I shoot both video and stills. The Pocket 4k is intriguing fro ma video only perspective but pretty much not a stills camera at all.

The Fuji to me represents a 10bit camera with good color that can achieve s35mm look and pretty decent low light performance up to ISO 6400 while still being able to produce 26mp stills. I can get great 10bit color and ISO 6400 out of the GH5-s but it sucks for stills.

I'm also perfectly ok with the 4:2:0 10bit. When it comes to color the 10bit will matter 1000x more and 4k 4:2:0 is still a ton of color and just as much color samples as 4:4:4 2k formats have. I like to look at 4k 4:2:0 as more of a it having a bonus luma vs a color loss. For 2k workflows the 10bit 4k 4:2:0 will yield some extremely accurate 2k 4:4:4 that at worse will have some rounding error in extremely sharp high contrast edges. Not that 4:2:2 prevents that rounding error anyway.

I have also been impressed with the Fuji lens choices which are not any more expensive than native m43 glass and even if I stay native Fuji pretty much cover every lens choice I would ever want.

Finally the lack of IBIS doesn't bother me since I currently use a GH4 and was only considering moving to the GH%-s and Pocket 4k which also do not have IBIS.

This is the closest I have ever felt to moving away from the Panasonic GH line.

for those that have used both a GH1/2/3/4/5 and the Fuji camera how do you find the controls for video/stills compared to Panasonic? Does shooting video feel natural like it was influenced by a video camera or does it feel more like a DSLR after thought? Do the controls or menus ever get in the way?
 
IronFilm said:
In areas like: waveform monitoring, an XLR accessory, and timecode, just to name a few things, then yes Fujifilm still has a while to go to until they properly catch up with Panasonic.
Click to expand...

In areas like: larger sensors, better auto-focus, more megapixels, internal 10-bit 4K/60p, just to name a few things, then yes Panasonic still has a while to go until they properly catch up with Fujifilm.

Do you see what we're doing here?

Just opinions; not facts...so they shouldn't be written as such.
 
IronFilm said:
12,800 ISO?? At f2.8 indoors?? How??

Heck, I was shooting my unboxing vlogs last night indoors with my 25mm f1.7 set to F4 or so at ISO 3,200 and I thought I had the room pretty dark! (as I wanted a dark background intentionally, so I switched off lights except for a couple of small ones for key and hair/fill light)

Makes me question just how dark it must be indoors if you're doing 12,800 ISO at f2.8, are you shooting in sewers or bat caves?! Then sure, go for the GH5S instead and put a small LED on the camera. (even just a little Aputure AL-MX can be perfect, and can actually help improve the look of your footage if you don't over do it but use it in a subtle way to help your footage pop out a bit from the background)



In areas like: waveform monitoring, an XLR accessory, and timecode, just to name a few things, then yes Fujifilm still has a while to go to until they properly catch up with Panasonic.

But don't let this come across as me being too negative about Fujifilm!
Not at all!
Am very impressed at the strides forward that Fujifilm is making in themselves attractive to filmmakers.




There are lots of very very affordable f0.95 glass for MFT.

https://www.ebay.com/itm/Kowa-33-5mm-F0-95-Ultra-Fast-TV-Lens-Adapt-to-Mirrorless-4-3-1/312237016356

https://www.ebay.com/itm/25mm-f0-95...ens-with-MFT-Adapter-Manual-USED/273336520569

https://www.ebay.com/itm/Navitar-17...-95-Micro-Four-Thirds-M-4-3-M4-3/173346359741

https://www.ebay.com/itm/Mitakon-Zh...Lens-for-Micro-Four-Thirds-Black/202432334658
Click to expand...

I was referring to auto focus glass. I wonder how sharp those lenses are wide open though.


Thomas Smet said:
Finding myself more and more tempted by the XT-3. I am still using a GH4 and was considering upgrading to the GH5-s or the Pocket 4k. To me 10bits is an absolute must today for any camera to be considered professional.

I'm interested in the Fuji over the GH5s not because off the low light or larger sensor since the GH5s with a SpeedBooster can have the same FOV and DOF as the Fuji. What I'm more interested in is having good sensitivity while not also sacrificing stills quality. I think the GH5-s more than handles a realistic amount of low light but the 10mp stills are a huge issue for me since I shoot both video and stills. The Pocket 4k is intriguing fro ma video only perspective but pretty much not a stills camera at all.

The Fuji to me represents a 10bit camera with good color that can achieve s35mm look and pretty decent low light performance up to ISO 6400 while still being able to produce 26mp stills. I can get great 10bit color and ISO 6400 out of the GH5-s but it sucks for stills.

I'm also perfectly ok with the 4:2:0 10bit. When it comes to color the 10bit will matter 1000x more and 4k 4:2:0 is still a ton of color and just as much color samples as 4:4:4 2k formats have. I like to look at 4k 4:2:0 as more of a it having a bonus luma vs a color loss. For 2k workflows the 10bit 4k 4:2:0 will yield some extremely accurate 2k 4:4:4 that at worse will have some rounding error in extremely sharp high contrast edges. Not that 4:2:2 prevents that rounding error anyway.

I have also been impressed with the Fuji lens choices which are not any more expensive than native m43 glass and even if I stay native Fuji pretty much cover every lens choice I would ever want.

Finally the lack of IBIS doesn't bother me since I currently use a GH4 and was only considering moving to the GH%-s and Pocket 4k which also do not have IBIS.

This is the closest I have ever felt to moving away from the Panasonic GH line.

for those that have used both a GH1/2/3/4/5 and the Fuji camera how do you find the controls for video/stills compared to Panasonic? Does shooting video feel natural like it was influenced by a video camera or does it feel more like a DSLR after thought? Do the controls or menus ever get in the way?
Click to expand...

Video is fine on the Fuji cameras. I wouldn't say it feels like an after thought. I do like the handling of Panasonic. GH5's and GH4's just felt great in the hand. I prefer bigger camera bodies then Fuji. But I am sticking with Fuji.
 
Thomas Smet said:
for those that have used both a GH1/2/3/4/5 and the Fuji camera how do you find the controls for video/stills compared to Panasonic? Does shooting video feel natural like it was influenced by a video camera or does it feel more like a DSLR after thought? Do the controls or menus ever get in the way?
Click to expand...

I only have GH2 experience to compare:

GH2 stills menus and controls are not nearly as logical as Fuji XT1, since XT2 and XT3 still have most of the controls external, it should be a somewhat close comparison. If you are on the fence, and can wait a little while, I'd suggest getting an XT1 and shoot some still with it and see how you like it.

Also be aware that it could take several months before applications catch up with the XT3 RAW processing. If you need it tomorrow, and need to deliver tomorrow, XT3 is not the stills camera I would choose. If you can wait for software to catch up, then XT3 will very likely be a great stills camera.

Video on the XT1 is an afterthought. On previous cameras you set the drive mode to video and then the shutter button started the recording. XT1 menus are a little out of place for video, and you were stuck using the video start/stop button. Moire on XT1 is bad, especially at 60fps, and especially with sharp Fuji or Zeiss lenses. XT2 is supposed to be better and I hope XT3 is fixed and no longer a problem.
 
Andrew Stone said:
Are these the Fuji lenses, Matt?

https://www.bhphotovideo.com/c/product/1021608-REG/fujifilm_16412188_xf_10_24mm_f_4_r.html?sts=pi

https://www.bhphotovideo.com/c/product/1110879-REG/fujifilm_xf_16_55mm_f_2_8_r.html?sts=pi

https://www.bhphotovideo.com/c/product/1080892-REG/fujifilm_16443060_xf_50_140mm_f_2_8_r.html?sts=pi
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mcgeedigital said:
That's them, Andrew, yes!
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Thanks for the confirmation!

As always, with new camera releases, one of the first questions that comes to (my) mind is the quality of the off speed/slomo footage. Appears the camera will do 1080p at 120 fps. Hopefully this will be decent looking both internally and externally through the HDMI port.
 
There is some footage of the 120 slow motion. I may be wrong but it sounds like the 120p will be available in 10 bit recording H265 at 200mbps. It sounds like a pretty beefy codec in comparison with the 100mbps 8bit H264 every other camera has.

Greg_E said:
I only have GH2 experience to compare:

GH2 stills menus and controls are not nearly as logical as Fuji XT1, since XT2 and XT3 still have most of the controls external, it should be a somewhat close comparison. If you are on the fence, and can wait a little while, I'd suggest getting an XT1 and shoot some still with it and see how you like it.

Also be aware that it could take several months before applications catch up with the XT3 RAW processing. If you need it tomorrow, and need to deliver tomorrow, XT3 is not the stills camera I would choose. If you can wait for software to catch up, then XT3 will very likely be a great stills camera.

Video on the XT1 is an afterthought. On previous cameras you set the drive mode to video and then the shutter button started the recording. XT1 menus are a little out of place for video, and you were stuck using the video start/stop button. Moire on XT1 is bad, especially at 60fps, and especially with sharp Fuji or Zeiss lenses. XT2 is supposed to be better and I hope XT3 is fixed and no longer a problem.
Click to expand...

I haven't noticed any moire on my XT20, and its sopposed to have more then the XT2. So I think the XT3 should be pretty solid.
 
If I were buying a camera right now, the hardest decision would be between the Pocket 4K and X-T3.

https://petrolicious.com/films/1969-porsche-911t-maximum-pleasure-minimalist-package

This is from the X-T2 and X-T20 (I supplied the X-T20).

*Edit:

Shot by Macgregor
Before the F-Log internal update so straight to a profile
No External Recorder etc.
I believe on Fuji lenses as well


I know what the Pocket 4K can do as well, and I have a pretty good idea of what the X-T3 can do. In the end I'd probably go Pocket 4K because of shooting formats and flexibility, but it'd be a very very close call... extremely close.
 
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I had a heck of a hard time canceling my Pocket preorder, but seeing the AF of the X-T3 eventually closed the deal.

It's just one of those things...one little feature can make it or break it for someone whether it's AF, RAW, IBIS, 'color science', 'motion cadence', dual-card slots, etc.
 
Kholi said:
If I were buying a camera right now, the hardest decision would be between the Pocket 4K and X-T3.

https://petrolicious.com/films/1969-porsche-911t-maximum-pleasure-minimalist-package

This is from the X-T2 and X-T20 (I supplied the X-T20).

I know what the Pocket 4K can do as well, and I have a pretty good idea of what the X-T3 can do. In the end I'd probably go Pocket 4K because of shooting formats and flexibility, but it'd be a very very close call... extremely close.
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Holy hell, that was gorgeous!
 
Kholi said:
If I were buying a camera right now, the hardest decision would be between the Pocket 4K and X-T3.

https://petrolicious.com/films/1969-porsche-911t-maximum-pleasure-minimalist-package

This is from the X-T2 and X-T20 (I supplied the X-T20).

*Edit:

Shot by Macgregor
Before the F-Log internal update so straight to a profile
No External Recorder etc.
I believe on Fuji lenses as well


I know what the Pocket 4K can do as well, and I have a pretty good idea of what the X-T3 can do. In the end I'd probably go Pocket 4K because of shooting formats and flexibility, but it'd be a very very close call... extremely close.
Click to expand...

It really comes down to what does one do more of. Film making or videography. I understand the term videography may not be as cool or sexy but for a lot of people its what actually pays the bills every month.

If one is strictly a film maker then the Pocket is a no brainer. If one does a wide range of projects I think the Fuji or Panasonic is a no brainer. Just too much versatility needed to lock into one camera type and one workflow type. Yes in some cases ProRes can be easier to edit but without a doubt its a much larger footprint vs the 150mbps on the GH5 and the 200mbps on the Fuji for visual quality that is 95% there.
 
Thomas Smet said:
It really comes down to what does one do more of. Film making or videography. I understand the term videography may not be as cool or sexy but for a lot of people its what actually pays the bills every month.

If one is strictly a film maker then the Pocket is a no brainer. If one does a wide range of projects I think the Fuji or Panasonic is a no brainer. Just too much versatility needed to lock into one camera type and one workflow type. Yes in some cases ProRes can be easier to edit but without a doubt its a much larger footprint vs the 150mbps on the GH5 and the 200mbps on the Fuji for visual quality that is 95% there.
Click to expand...

Hmm... I feel like ProRes 422 and 422 LT are both either smaller or just as light as those, and still easier to cut? Could be wrong! Probably wrong! Nothing wrong with shooting LT or straight 422, either. Personally wouldn't bother comparing formats because DSLRs can't compete there. But features like Auto-Focus or Articulating Screens, stills, those are things that the P4K can't really engage in.

IQ would be the last thing I'd be concerned with going with an X-T3, it's nowhere near as thin/flat as a GH5x or A7x, if Fuji ever decided to put their sensor into a larger body that didn't need to be rigged, a lot of camera manufacturers would be in trouble.
 
Actually I believe this was fully shot on an xt2 and xt20 as well, but before we could do internal Flog, which is waaaaaaay better than the standard profiles.

https://youtu.be/3GA4vP7PKWg

Also notice, imthink the xt3 does dr400 for an extra 2 stops of highlight tange on video, something the xt2 didnt do.
 
Kholi said:
If I were buying a camera right now, the hardest decision would be between the Pocket 4K and X-T3.
Click to expand...

I'm looking at the Z6 too, shame it doessn't do 10bit log internally, but I always use an external monitor anyway, so a Ninja works. Bad rolling shutter is a deal breaker though. I'm thinking either a decked out Z6 or a Pocket/X-T3 combo to replace my 5D Mk3 ML rig. Just not sure I can ditch raw, but Nikon color may be worth it.

And then Panasonic decides to crash the party.
 
That looked really great, but well, it's macgregor shooting cars, it's always going to be great... XD

I'm intrigued by the dr400 bit. Is that two extra stops on the highlights compared with the built-in profiles, or with previous F-log???
 
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