spinkscapes
Well-known member
The Pocket 4K has an undeniably better image.
However, as it has been noted the Pocket is notorious for being buggy (mine has frozen once) and so therefore is not dependable as the principal camera without sufficient (and quickly available) backup. I do know that a poster on EOSHD had issues with two Fuji XT3's, however, this hasn't been my experience and I have found it completely dependable.
The Crane 2 and the X-T3 are pretty much the perfect combo. More than any other camera I've used I can get it properly (and perfectly) balance in less than a minute. The Fuji obviously has decent-to-good autofocus and when paired with an IS lens (as discussed previously) really sorts out the small micro-jitters you still encounter on occasion with a gimbal. Although if you are shooting in F-Log do note that the minimum ISO is 640 so you will need a strong 4-6 stop ND filter when shooting outside on a sunny day.
The Crane 2 and the X-T3 are also a reasonable size to be taking around through the 2 or so hours of formal photos that we tend to have over here in Australia between the ceremony and reception. We have bigger gimbals but they kind of defeat the purpose, primarily because they exhaust the user on what is usually a 12+ hour day.
I consider the X-T3 as my replacement for Samsung NX1. It does everything the Samsung did, just a little bit better. Principally, though, the 50p in UHD is excellent and I don't get the weird banding that I was getting in the sky from the NX1, presumably because of the bitrate.
In regard to the audio we have several solutions. Please note that we had real issues with the audio for Carlo and Emily's wedding at both the ceremony and at the reception.
At the ceremony we were faced with our dreaded nightmare - a wedding in the park with the officiant bringing her mic/speaker combo that had no way to get a clean out. As the microphone was held we couldn't even lapel to the stand.
So the audio of the first speaker was basically a Rode Videomic Pro + recording into a Tascam DR10L from about 5 metres away. There was also a second speaker, who we had put a lapel and Rodelink system on, however, talent doing what talent does best, he had somehow managed to disconnect the lapel despite there being a locking mechanism to avoid this.
The reception was at a footy club and they used an inhouse microphone with the roof speakers. Not only did the staff have no idea where any access point for the system might be but the microphone produced some of the worst tinny reverb that I've heard.
We ended up lapelling the two fathers with Rodelink's and using our Rode NTG3 straight into our recorder from the floor. An inelegant solution, and we are in the process of purchasing many more Tascam DR10L's to counter this problem in the future.
For the groom's mic I had a Sennheiser AVX system with Sanken COS-11D recording into a Zoom F4. This is a pretty killer combination. The only disappointing aspect of the Sennheiser AVX system is that the latency makes it unusable as a live setup. Whereas the Rodelink system works perfectly live through speakers.
For the bride we just used the same mic but we dual recorded to two tracks on the Zoom F4 and simply increased the amplification to the second channel.
