FUJIFILM, a respected company well-known for making high quality stills cameras, photo lenses and professional video and cinema lenses, is now taking its first steps towards implementing proper 4K video recording into their new X-T2 mirrorless camera. If you take a moment to look at the interview we recently conducted with Jun Watanabe, a manager at FUJIFILM corporation, you will hear how serious they are in planning to develop and enhance the video capabilities of that camera, and establish their name as a company that listens to their customers by supplying them with the right tool for their work. Tokyo, July 2016. The heat and humidity are almost unbearable. I guess the only person who really doesn’t care about it is me. After all, I just got the X-T2 for a short test ride, and learning its ins and outs completely distracts me from that heat wave. As the camera is still on a beta stage and the installed firmware is not final, I have to be very cautious with what I write. I know for sure that some of the key limitations I found while working with it are now being reviewed by FUJIFILM, and some if not most of them will be addressed in the final firmware release (or the one after). Before I continue, I must confess that during my meeting at FUJIFILM, I had the pleasure of meeting humble yet determined and professional people who really gave me the feeling of talking to a company that is willing to listen to customers. If the demand for a certain feature is there, they will do their best to fulfil those wishes and implement them as long as the hardware used allows for it. In order to achieve maximum picture quality, FUJIFILM provided me with the X-T2 mirrorless camera and the Fujifilm XF 16-55mm f/2.8 lens. I had in my hands an APS-C mirrorless camera which uses the H.264 compressing method with a data rate of around 100 Mbit/s in 4K mode. I’ll write up front that this combination is not suited for the occasional documentary shooter, as neither the camera nor the lens have any kind of built-in stabilisation, and micro shakes become very noticeable. For my next test, I will be using the less expensive yet equally capable Fujifilm XF 18-55mm f/2.8-4. This lens has a built-in OIS, so I expect to have a different user experience.. (Note that buying the X-T2 together with that lens will save you $300 over buying those two items separately). Here is a summary of what I found while working with the beta X-T2 camera. FUJIFILM X-T2 Pros: (in no particular order) World camera. UHD video in 25p and 24p, plus a variety of frame rates (up to 60p) in HD mode. F-log 4:2:2 (8 bit) through HDMI and external recording. For many, the 8 bit figure won’t cut, but with the current hardware being used, we have to be realistic. EVF is truly high quality! LCD screen is good and can be tilted. No dedicated video REC button. The photo shutter release button is used to start video recording. For people like me who are not interested in taking photos while shooting video, this is a plus as the button is located very logically. But for others, it might be a big obstacle, one that can result in skipping purchasing that camera all together. I’ve put this point in the Pros section because it works well for me. Testing during a relatively long interview, the camera did not get warm to the point of shutting off. I will experiment more when the final version is here. Rolling shutter looks well controlled in full HD 50/60p, but average in 4K 24p. To be checked in our lab test soon. Audio quality is well above what we are use to having in such small cameras when connecting an external microphone. Good battery life. Having 3 of those batteries (one in camera and 2 in the handgrip) helped me to shoot throughout the whole working day without a problem. The VPB-XT2 handgrip can serve as a very fast battery charger. FUJIFILM X-T2 Cons: (in no particular order) The camera together with a standard lens can only accommodate a very short photo tripod plate. Recommendation: use the additional VPB-XT2 handgrip to overcome that problem. Using the X-T2 together with the XF 16-55mm f/2,8 and VPB-XT2 handgrip, proved to heavily lean to the left side. On my next test, I will be using the Fujifilm XF 18-55mm f/2.8-4 and hope to have a different experience. Eyecup is hard and not replaceable. Not so easy to judge exposure during daylight. The headphones plastic cover on the VPB-XT2 handgrip is extremely hard to open. Patience is the keyword…. The default setting for the ISO and SHUTTER wheels is “rotation free”. If you push the center lock button, THEN you can’t twist them anymore. To my opinion, the default should have been LOCKED and when pressing the center lock button, then be able to twist the wheels freely. Currently “punch-in zoom” in order to verify manual focus is not possible. Currently changing ISO values while recording is not possible. Currently changing WB while recording is not possible. Noticeable aliasing/moiré in some situations while shooting in 4K. In full HD/60p, it is more evident. LCD/EVF are locked at the last viewing position. In other words, if one starts an interview looking at the picture in the viewfinder and then move away from the camera, the LCD will not turn on. Microphone and headphone jacks are located separately, one on the camera body, the other is on the handgrip. One will be forced to buy additional equipment in order to have total control over audio. Currently, waveform is not available in video mode In the beta camera I had, I could not monitor some of the changes I made in WB or film simulation. I know those are not possible to observe while in the Q menu mode, but I will repeat this test when I get the camera again and see why I couldn’t change it. One of my biggest concerns is the highlight roll-off when using the different film simulation modes. It is very easy to over expose the picture. FUJIFILM assured me that the highlight tone / shadow tone is based on a film simulation mode which was previously available only in photo mode, but that will now be available for video. This will help with addressing this phenomenon. At times, it felt like it takes longer then usual to write the data onto the SD card after stopping the recording, despite the very fast card I had. No screen layouts to help with simulating 2,35:1 or any other ratio but 16:9 Not all photo-related functions in the menu are greyed out. It can be confusing when judging what is available for video mode. Although the autofocus algorithm is totally the same, it is rather slow and inconsistent in 24p (as opposed to 60p). Dual SD slots are relevant for photo mode only. It would have been nice to see FUJIFILM using both for video too. Camera charger shows green light when charging. A bit confusing for the crowd who is used to translate green light as “charged”. As FUJIFILM is following its “illumination one color rules”, maybe the chosen color should be red instead of green (color on meaning charging, color off is battery fully charged, and blinking means battery fault). Conclusion: For now, I will avoid giving a solid conclusion as the camera I worked with is still in its beta stage. The final version should be on our desk towards the end of August. What I would like to emphasize is that the potential is clearly there, and it is up to FUJIFILM to decide in which direction to go. Also, I do hope that FUJIFILM will decide to implement an in-camera F-log function, although it will be 4:2:0 8 bit only. I’m truly looking forward testing the X-T2 in its final form. Last but not least, as the competition gets tougher and the anticipation for newer models from Panasonic (GH5?) and Canon (EOS 5D mark IV?) gets real, I can only conclude this article with 3 words: “interesting times ahead!”. Settings for the above video: 4k/24p, Film Simulation– “Pro Neg. Std”. Edited in Adobe Premiere CC latest edition. No color correction was done, but there was a minor change in exposure in a few shots. Audio with Machico-san was recorded in camera. Music supplied by: Art-list – The East Mother by Alon Ohana – Nova Beat, Audiojungle – The Love Angel, Travelling Japan Many thanks to Machico-san an her beautiful family.Read more
During my recent trip to Japan, I had a chance to visit FUJIFILM HQ and discuss the future of their X camera line, particularly the new X-T2. The talk was centred around the video capabilities of this new camera. Later this week, I will publish my review and a short video that I took with the X-T2. But first things first, and to anyone who is not familiar with the new camera, here is a short summary: As reported by us during early July, Fujifilm announced their first 4K APS-C sensor size mirrorless camera, promising to shake the somehow crowded DSLR/mirrorless camera market with a new filming tool that includes their famous film simulation. In addition, they have added an F-log function for achieving greater dynamic range and maximum flexibility during the color correction stage for anyone who is willing to use and invest in an external recorder. The additional offered VPB-XT2 handgrip will let you enjoy longer recording times in 4K mode (approximately 30 min. instead of 10 min.) and increased continuous recording time with a total of 3 batteries (one in camera plus two in the grip). Last but not least, it allows you to monitor the recorded audio, as the headphone jack is located on that grip. Jun Watanabe presenting the new Fujifilm X-T2 I must say that the people at FUJIFILM were very humble yet confident about their new creation. If you take a moment to look at the interview we did with Jun Watanabe, a manager at FUJIFILM corporation, you will clearly understand that the X-T2 is just the beginning for FUJIFILM when it comes to video-enabled mirrorless cameras. Now that they have acknowledged the need for a video function in their cameras, they will continue to improve and perfect this filming tool. Maybe the biggest news coming out of this interview is the likelihood of a firmware update that allows implementing Fuji’s F-log function in-camera, and not just through recording with an external device. In order to do so, FUJIFILM needs to be assured it is a highly requested feature. I truly urge anyone who watches this interview or reads this article to contribute by writing a short line and let FUJIFILM know it is indeed an important request. Please take into account that, while this implementation is certainly possible, it is still recommended to use the grip and record externally to achieve the highest recorded picture quality: uncompressed 4:2:2 8 bit externally, vs. compressed 4:2:0 8 bit internally. Another matter to point out is the subject of lenses. Apparently, the XF optics are designed by the same team in charge of Fujinon’s professional line of lenses. It is worth pointing out that FUJIFILM will consider expanding their selection of video zoom lenses according to market demand. Other topics discussed in the interview are FUJIFILM’s take on creating tools for professional filmmakers, and an answer to my question if we will ever see a full frame sensor size X camera. Stay tuned for more fresh content about Fuji’s new X-T2 camera, and please don’t forget to raise your voice and ask for in-camera F-log. Many thanks to Jun Watanabe, Kiyoshi Inoue and Fabian Chaundy for helping conducting and translating this interview.Read more
Let’s imagine that I am a small, but quality, camera manufacturer. What could I do to increase my sales? My business logic would drive me to look for a niche where my products shine, allowing them to sell more than they would elsewhere. When looking at the current DSLR/Mirrorless market, we can safely assume that my logic is completely twisted and worth nothing. If I was right, companies like Fuji, Pentax, Olympus, and Sigma would have spotted the trend of shooting video with photo cameras in time to ask their engineers to produce a product for that market—putting them in the spotlight for aspiring movie makers. Because none of these companies have an upper-level video market to protect, is that too much to ask? That’s why I was excited to get hands-on with the new Fujifilm X-Pro2 Mirrorless Digital Camera. Previous Fuji cameras didn’t show much hope for video quality, but with the X-Pro2, I was extremely curious and wanted to try out a camera from a manufacturer whose products I have not used before. After all, we’re blazing through 2016 and with the market declining (but no less competitive), I was interested in finding out if my business logic was still “wrong.” First of all, I must take my hat off to Fujifilm for not pretending that they have created an “amazing broadcast quality camera” as so many marketing teams have done before. On the contrary, the video features of the X-Pro2 are well hidden in the official publication. Within the camera’s menu, the video page is the shortest I think I have ever seen—choose a MOVIE MODE (1080 up to 60p), MIC level adjustment (more on that later), MIC/REMOTE RELEASE, and… well, that’s it! All other features (focusing mode, white balance, saturation, etc.) must be found from within the still image menu. Make no mistake; the X-Pro2 is a photo camera that can (in a “by the way” fashion) shoot HD video. Fujifilm X-Pro2’s very modest movie settings menu Ergonomics The X-Pro2 is built like a little tank. While it is robust and weather-sealed, it feels decent in your hand—in fact, it reminded me of holding a “mini” Leica SL. Of course, it took me a while to get familiar with its structure and button layout. I’m still not entirely sure how photographers operate this camera, but for video shooting, it was a bit uncomfortable. I would say that you should take my opinion on the camera’s ergonomics with a pinch of salt—it could be that spending more time with the camera would make the layout feel comfortable, perhaps even natural. If you are coming from a PAL country, on the mechanical shutter wheel you won’t find the number “50”. This can be achieved electronically by turning (a different) front wheel A dedicated REC button. I’ll save you the time. Don’t look for one—it doesn’t exist. Press “Fn” and the camera will start recording video. Looking for a shortcut button to change ISO values? Look elsewhere. Go back to the shutter wheel, lift it, and change the ISO value as required Articulated screen? Next Standard or long tripod plates? Try your luck. With the supplied Fujinon XF 16-55mm f/2.8 lens, there is no way to use either of those Functionality I’ll start with charging the battery. How many times you put a battery in the charger to charge and the light goes green immediately? That was a bit confusing. Apparently, in Fuli’s philosophy, green light is “charging” and no light is “battery charged.” Way to take a global standard and flip it on its head! As this is my first encounter with a Fuji camera, I did stumble a bit at the beginning with the X-Pro2’s buttons and menu structure (God forbid, I even looked at the camera manual once or twice). However, after getting used to it, my two major concerns when working it are as follows: Twice after removing the battery from the camera for recharging, my settings were reset, and I had to start from scratch After pressing the REC button, not much can be changed. Not the audio recording levels, ISO setting or even how to monitor the video (via the LCD or EVF). Whatever you’ve been using last when pressing record, that’s what you are stuck with for the rest of your shooting sequence There are other limitations that should be taken into account. You get the 16×9 video aspect ratio only AFTER pressing the REC button. Autofocus is truly good, but not in the continuous mode. On the positive side, EVF is nice and easy to work with (although it’s going to be next to impossible to change the rubber eyepiece to a better, more comfortable one) and the light meter is easy to work with—and effective. Video Quality There is something very pleasant in the aesthetics of the pictures this camera can produce. It is sharp and detailed. On the other hand, Moire and aliasing are very present in the finer details of some shots. Also, noise will kick in very fast when using ISO 1000 and above. As requested by many, Moire and aliasing sample footage. Fujifilm X-Pro2 Pros (in no particular order) Weather sealed, mirrorless APS-C sensor, exchangeable lens camera Nice color rendering and fuji’s famous “film simulation” is built-in-camera (available options: Provia/Velvia/Astia/Classic Chrome/Pro Neg. Hi/Pro Neg. Std/Acros/Monochrome/Sepia) Clever viewfinder system. You can change between Optical or Electronic in a flip of a button. In my opinion, the Optical is suited more for taking photos while the Electronic is better for video as it is a very high-quality one! An assortment of focus aid tools to ensure that you are in focus while filming (peaking, digital split image à la film camera style) World camera and up to 1080/60p Camera light meter is accurate and helps in exposing correctly Manual audio recording is possible, but no displayed visual meter layout after pressing the REC button Mic/remote jack (but with 2.5 jack instead of the standard 3.5) Rolling shutter is well controlled At the back of the camera, a responsive joystick is located for quick and accurate focusing positioning Battery life is good (if you remember that the green light means “charging,” not “battery full”!) Fujifilm X-Pro2 Cons (in no particular order) 14:32 min per clip recording limitation LCD screen is secure; there’s no flip or tilt No Log picture profile I would not recommend shooting video above ISO 1000. It gets noisy and mashy Continuous auto focus when shooting video is possible but not reliable No zebra for helping in judging exposure Limited 36Mbps data rate No external recording via HDMI (the HDMI connector is for playback only) No headphone jack You CAN’T change many in camera settings or values AFTER pressing the REC button It is not possible to change audio levels after staring recording Dual SD card slots for photo but only slot number 1 is dedicated to video Automatically switching between the LCD or EVF when looking through them is possible only before recording. Once you press the REC button, you are stuck with your last viewing device Very evident moire and aliasing Regarding the lens used in this video, the Fujfilm XF 16-55mm f2.8 R LM WR. It’s Fujinon’s flagship “XF standard zoom lens” with a focal length equivalent to 24mm – 84mm and a constant F2.8 aperture throughout the range. Here is a quick list of the Pros and Cons I found while combining it with the X-Pro2: Pros: Excellent sharpness throughout the zoom range. Constant f/2.8 aperture. Weather-sealed design. Speedy focus motor. Cons: No optical stabilization. Heavy! Note: The combination of the Fujifilm X-Pro2 and the Fujinon XF 16-55mm f/2.8 lens is nice, as long as you work from a tripod. The minute you take the camera in your hands, be prepared to witness annoying micro-shakes. Neither the lens or camera body has a build in stabilizer to compensate those. My Conclusion: The Fujifilm X-Pro2 is a nice addition to Fuji’s camera line and if they are looking to capture the attention of film makers, that camera is definitely a (small) step in the right direction. If they want to compete well in this sector, against more established companies, it shouldn’t look as if the video function was “accidentally implemented” as it does in the X-Pro2. I hope that functionality, image quality, sound, and resolution can seriously be considered by Fuji as legit when it comes to shooting videos with their future cameras. After all, they have the potential to deliver the best next thing. It’s only a matter of taking the decision to develop it! Will you be considering buying the Fujifilm X-Pro2 for shooting videos? Please share your thoughts in the comments section below About the above video: Shot in 1080/25 mostly in up to ISO 800 (basement shoots were taken in ISO 1000). “Picture profile”- “Pro Neg. Std”. Edited in Adobe Premiere CC latest edition. No color correction was done, but there was a minor change in exposure in 2 shots. The audio was recorded in camera and was later treated with audacity to help with some of the excessive background noise at the restaurant. (Sorry about the knife “loud knocks” at the background. Chef assistant was busy making lunch)…. Music supplied by Art-List Title: Sunny Days by Binary Love Thank you to Andreas, Julian, and the entire Otto Bauer restaurant staff for their help and contribution for that short video.Read more
The era of large sensor news shooting is coming Videographers like Dan Chung from DSLR News Shooter or Johnnie Behiri are news shooters that have early adopted the benefits of HDSLRs and large sensor cameras for their work. As we know by and by the limitations of these cameras are lessened and it seems like finally a company has taken the step to break the final frontier: The Fujinon Cabrio 19-90mm T2.9 PL lens is the first ENG style motorized zoom lens for large sensor cameras. I don’t know about you, but I miss the days of limitless videography with ENG style video cameras. The development of lenses that would help us use large sensor or HDSLR cameras in a camcorder like fashion seemed like a logic development that never happened. Until now! The Cabrio has servos for focus, iris and zoom and a bunch of other standard ENG features like wireless control or adjustable back focus. It fits a wide range of large sensor cameras like the Sony FS100, the new FS700, the Sony F3, Canon C300, or even the Arri Alexa or RED cameras. Here’s the catch: In terms of affordable filmmaking it’s totally unaffordable with its rumored $38,000 pricetag. But hey, this is just the first of its kind, if people find this kind of product useful and it definitely is then we’ll most likely see more ENG lenses for large sensor and hopefully also HDSLR cameras some day soon. via DSLR News ShooterRead more
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