Fuji X-T3 released

marvinhello said:
We need a lab test to determine the SNR in the last couple stops in HLG shadow area. It looks like HLG makes better use of the available bits than F-Log since F-Log has a much higher black level.

According to LUTcalc, HLG maps 18% grey to 22IRE while F-log maps it at 46IRE.
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From what I have seen you don't gain any latitude switching from one to the other on the camera side (as opposed to the monitoring side), what you gain is increased color gamut in HLG. This means that the chroma values will be more present, it also means that when you hit the noise floor, HLG could appear to have more noise because the chroma noise will always appear more present than the standard log noise. So the S/R ratio might be the same, but in the HLG image it will appear more elevated after grading. However, if used properly, the increased color gamut can also help divert the viewers attention away from the noise in the shadows by shifting their focus to the added vibrancy in the highlights. So there is a part of this that is a perceptual difference, not just measured by SNR. The issue currently is that until more cameras implement 12 bit color space, they really are not taking the most advantage of HLG, so for the moment HLG and FLOG appear very close to each other.
 
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yoclay said:
From what I have seen you don't gain any latitude switching from one to the other on the camera side (as opposed to the monitoring side), what you gain is increased color gamut in HLG. This means that the chroma values will be more present, it also means that when you hit the noise floor, HLG could appear to have more noise because the chroma noise will always appear more present than the standard log noise. So the S/R ratio might be the same, but in the HLG image it will appear more elevated after grading. However, if used properly, the increased color gamut can also help divert the viewers attention away from the noise in the shadows by shifting their focus to the added vibrancy in the highlights. So there is a part of this that is a perceptual difference, not just measured by SNR. The issue currently is that until more cameras implement 12 bit color space, they really are not taking the most advantage of HLG, so for the moment HLG and FLOG appear very close to each other.
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HLG and F-Log share exactly the same colour gamut - BT.2020. And HLG was designed to work with both 10bit and 12bit.
https://www.itu.int/dms_pubrec/itu-r/rec/bt/R-REC-BT.2100-2-201807-I!!PDF-E.pdf

It's possible for one colour space to have more DR than another within the same camera, GH5s for example, has a bit more DR in HLG than V-Log L:
https://www.newsshooter.com/2018/04/27/panasonic-gh5s-ebu-assessment/
 
Looking for 1st portable video camera. From a video standpoint only, why the X-T3 over the Pocket 4K? Also what advantages besides IBIS would an X-H2 have over the X-T3? Love the color science(and less videoish) of both the Fuji and BMD BMPCC4K. Panasonic GH5 and Sony are not an option because of this. Thank you for your input.
 
boo said:
Looking for 1st portable video camera. From a video standpoint only, why the X-T3 over the Pocket 4K? Also what advantages besides IBIS would an X-H2 have over the X-T3? Love the color science(and less videoish) of both the Fuji and BMD BMPCC4K. Panasonic GH5 and Sony are not an option because of this. Thank you for your input.
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If you just need a video camera, look into Z cam E2.
 
The E1 (first version) started shipping before the BMMCC, but the micro was announced back at NAB 2015 (but delayed until 2016 as they couldn't successfully implement a global shutter in their camera to their cinematic standards).

Nevertheless, the small box is nothing new.
 
no we're pretty much set at either the X-T3(or wait a year on the X-H2) or Pocket 4K. Checking why(it seems) the X-T3 is a better option than the BMD Pocket 4K. Seems people prefer it in this thread. Thanks.
 
boo said:
no we're pretty much set at either the X-T3(or wait a year on the X-H2) or Pocket 4K. Checking why(it seems) the X-T3 is a better option than the BMD Pocket 4K. Seems people prefer it in this thread. Thanks.
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Zcam E2 shares the same sensor with Pocket 4K just to let you know, and E2 offers way more features (including 4K 120P), they both offer higher dynamic range and lower rolling shutter than X-T3.
 
Per usual paper specs don't really tell the entire story.

The E2 looks amazing in writing but has no competitively impressive motion pictures...at least not yet (and IMO).
 
BMPCC shoots RAW, X-T3 doesn't. In my mind that and Mini XLRs are all it has over the X-T3. What the X-T3 has is arguably better color science (have you seen anything from the BMPCC that has blown you away? I haven't)
It's not that the BMPCC has bad color science but to my eye, the Fuji is better and much quicker simpler to get there. The Eterna and film sims are great and FLog is workable and gives better DR.
The X-T3 also has very good, almost as good as Canon DAF face detect, eye detect and overall pretty good tunable AF. You cannot even see the BMPCC screen in daylight, at least you can see the X-T3 screen although it's not super bright.
It's also cheap like the BMPCC. As much as I really like BMD as a company and their products, the BMPCC has a disappointing realibility record so far with the BMPCC, read Erik Naso's experience on Cinema 5D.
Both cameras have lousy battery life so that's a draw. If you are a hobbyist filmmaker, go with the BMPCC. If you need to shoot stills, killer, detailed video, run & gun or OMB,
and you are not shooting with a crew and someone who can monitor focus, Fuji all of the way.
 
boo said:
no we're pretty much set at either the X-T3(or wait a year on the X-H2) or Pocket 4K. Checking why(it seems) the X-T3 is a better option than the BMD Pocket 4K. Seems people prefer it in this thread. Thanks.
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If you can wait for the X-H2, I would do that, as it'll probably address a few of the main niggles (IBIS and possibly 10 bit 4:2:2/higher FR internal). I essentially decided to leave Canon behind and bought an XT-3 with the expectation that it will become a B cam to an X-H2 whenever that comes out (and then, in my dreams, those two will become B/C cams to Fuji's dedicated Cine Cam, which I really hope they're working on).

For cine use only, I think picking a "winner" between the XT-3 and P4K depends on how much you value/prioritize:

- Bottom dollar -- the P4k, especially if you factor in Resolve Studio, is a great value*. XT-3 isn't far behind.
- P4k has what I would call "Better IQ Potential" , I think the DR is higher, RAW is crazy if it ends up getting it, low ISO I think is better... but that also requires plenty of processing time/storage/etc. If you value faster deliverables, the XT-3 with a film simulation is probably superior.
- How you feel about M43
- BM reliability -- I got roasted for saying this before, but I'll say it again -- they've got a history of releasing cameras with fairly significant physical issues. Haven't looked into the P4k myself but do your research on this front, e.g. google "Pocket 4k broken forum" etc. Here's where the * from above comes in -- the value significantly decreases if the thing turns into a paperweight. So may be worth waiting to see reliability #s.

Ultimately I think they're both great in the right hands and you can't go wrong with either one, just comes down to personal needs and preferences.
 
dcoughla said:
- BM reliability -- I got roasted for saying this before, but I'll say it again -- they've got a history of releasing cameras with fairly significant physical issues. Haven't looked into the P4k myself but do your research on this front, e.g. google "Pocket 4k broken forum" etc. Here's where the * from above comes in -- the value significantly decreases if the thing turns into a paperweight. So may be worth waiting to see reliability #s.
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THis was the first thing that ruled it out for me. It's 2018. If a manufacturer comes out with a piece of gear that isn't reliable, I won't even consider it no matter that it does or how inexpensive it is.
 
Well, here’s hoping the XT3 delivers, because I’ve just gone all in on two bodies, the 16-55mm, 10-24mm and 50-140mm, alongside battery grips, PL adapters, and a whole host of smallrig and wooden camera gack to make it all work. 

The boxing day sales were just too tempting, and I pretty badly needed to consolidate my stills gear - APS-C Nikons, Full-frame Nikon, and APS-C Sony for underwater. I’m hoping a single, unified system will save a lot of unnecessary double ups and expense moving foward.

I’ve got my fingers crossed that the 10-bit output will also make the cameras viable for some b-cam/gimbal duties alongside my proper cameras.
 
Been awhile since logging into DVXuser. Wanted to see what was the latest news in this forum. Then saw this long X-T3 thread. Been doing research on this camera since yesterday. Thank you all for your feedback.

It makes sense going with this over the BMPCC4K based on reliability alone. Being a hybrid, taking excellent stills is a darn huge bonus. Love the color science and the sharp lenses. Prob start out with the sharp kit lens and move up to the others as posted in page 5. IBIS not an issue with a gimbal/tripod and OIS lenses. This will be my portable a-cam and once the XH-2 comes out, the X-T3 will be the b-cam. By the time that happens, I'm invested in Fuji gear and have learned the ins/out of the camera/menu. Being in LA, going to see where I can rent/play around with the MK cine lens as well.

Look forward to seeing your feedback on gimbals and audio options being used. I'm all in with the Fuji and the X-T3. Will be cancelling my Pocket 4K order to give another a chance since I'm high on the waiting list. Thank you again all...and hopefully there will be a Fuji sub forum soon as this thread is long. :)
 
boo said:
Been awhile since logging into DVXuser. Wanted to see what was the latest news in this forum. Then saw this long X-T3 thread. Been doing research on this camera since yesterday. Thank you all for your feedback.

It makes sense going with this over the BMPCC4K based on reliability alone. Being a hybrid, taking excellent stills is a darn huge bonus. Love the color science and the sharp lenses. Prob start out with the sharp kit lens and move up to the others as posted in page 5. IBIS not an issue with a gimbal/tripod and OIS lenses. This will be my portable a-cam and once the XH-2 comes out, the X-T3 will be the b-cam. By the time that happens, I'm invested in Fuji gear and have learned the ins/out of the camera/menu. Being in LA, going to see where I can rent/play around with the MK cine lens as well.

Look forward to seeing your feedback on gimbals and audio options being used. I'm all in with the Fuji and the X-T3. Will be cancelling my Pocket 4K order to give another a chance since I'm high on the waiting list. Thank you again all...and hopefully there will be a Fuji sub forum soon as this thread is long. :)
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I bought both the Pocket 4K and the XT3 in October.
The XT3 is a pretty compelling package and by far the best current hybrid (and I needed a back up for my 5D mkIV for wedding photos).
The Pocket 4K provides a stunning image (even when using ProRes LT) and, when matched with the Voigtlander 25mm, is a killer combination, if you can works with the cameras faults. The primary one being the horrifically bad battery time and notifications.

You can see examples of both (as well as the C200), here:

The XT3 was used almost exclusively on the Zhiyun Crane 2 for gimbal shots.
 
Grug said:
Well, here’s hoping the XT3 delivers, because I’ve just gone all in on two bodies, the 16-55mm, 10-24mm and 50-140mm, alongside battery grips, PL adapters, and a whole host of smallrig and wooden camera gack to make it all work. 

The boxing day sales were just too tempting, and I pretty badly needed to consolidate my stills gear - APS-C Nikons, Full-frame Nikon, and APS-C Sony for underwater. I’m hoping a single, unified system will save a lot of unnecessary double ups and expense moving foward.

I’ve got my fingers crossed that the 10-bit output will also make the cameras viable for some b-cam/gimbal duties alongside my proper cameras.
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I find it an excellent companion for my C200 for gimbal needs.
I bought a similar setup to yours, except I purchased the Fuji 18-55mm instead of the 16-55mm because I needed the image stabilisation for the gimbal.
The video on my post above utilised the Fuji 23mm f/1.4R. I feel that the 18-55mm works much better and stabilises the micro-jitters caused by not having image stabilisation. Here's a short promo where I used the 18-55mm primarily with a gimbal (along with the Pocket 4K and C200):
 
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Thanks for the sample spinscapes. How are you liking the Pocket 4K vs Fuji images? How are you liking the Crane 2 with the X-T3? Would are you using for audio?
 
With the 10-24mm f/4 R OIS and 50-140mm f/2.8 R LM OIS WR, and the upcoming 16-80mm f/4 R OIS WR, you pretty much got yourself covered for most shooting situations with image stabilization and fixed aperture...with the Fuji color science. :)
 
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