“The Nikon D850 is quite the beast of a camera. It holds a massive 45.7-megapixel full-frame sensor that can record 4k video and create 8k time-lapses…. The only problem with such an amazing monster of a camera is that Nikon thinks it’s too much for women to handle….
… I myself can think of a large number of women photographers that would be more than capable of producing spectacular images with any camera, let alone this camera. But when Nikon created a team of 32 professional photographers to be the faces of the Nikon D850, they didn’t choose a single woman photographer….”
“It seems every other TCSTV episode, Jordan Drake is complaining about focus-by-wire lenses. So Jordan and Chris Niccolls decided to explain what focus-by-wire is, and why you probably don’t want it if you’re shooting video.”
Olympus M.Zuiko Pro lenses – The best lenses for Super 16 video shot with Micro Four Thirds cameras like the Panasonic Lumix GH5 due to their having manual clutch focus mechanisms. Draw back the focussing ring to switch from focus by wire into manual clutch focus with the benefit of fast, repeatable focussing without the variable focussing speed of focus by wire.
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Fujifilm XF 14mm f/2.8 R Ultra Wide-Angle Lens – B&H
“We went along to Rotolight’s HQ in Pinewood to have a look at the new Neo 2 light, announced this week. Dave sat down with Luke Curtis, Rotolight’s Sales Manager to find out more, not only about the Neo 2, but also Rotolight’s other light[s] – the Aeos and An[n]ova.”
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“Join Rotolight Master of Light Jason Lanier for a whirlwind trip where he shows you video footage and stills that he has shot for the brand new Rotolight Neo 2 where he does a review answering tough questions and giving real answers about this brand new light….
… In this video Jason shares footage from shoots done in London, Ireland, Miami, Nebraska and other places that he’s been able to use the prototype Neo 2 lights that Rotolight sent him to test.
Shortly after completing a European press trip where the Neo 2 was announced, a buzz started coming around about these lights and what their capabilities truly are. Videos, blog posts and more were posted with questions about power, battery life, and the various applications that the lights could be used in….”
I love my Fujifilm X-Pro2 digital rangefinder camera and have no regrets buying it despite its current inability to shoot 4K video, relative lack of other videocentric features and unimpressive electronic viewfinder (EVF).
As a longtime user of rangefinder cameras in all formats from 8mm (movie film) and 35mm (stills) through various 120 roll-film aspect ratios (6×4.5cm to 6x12cm) up to 4″x5″, it has been such a relief to once again have a very capable rangefinder camera in my hands.
I wavered on the somewhat slow XF 18-55mm f/2.8-4.0 R LM OIS kit zoom and a shortage of funds finally made that decision for me, compounded with the Fujinon X-mount lens series’ current 18mm focal length situation.
A fast medium wide-angle of 18mm in Fujifilm’s APS-C format, equivalent to 14mm in the Micro Four Thirds (MFT) format and 28mm in the digital 35mm format (I refuse to use the silly term “full frame”) is my number one choice for immersive documentary photography in combination with a moderate telephoto focal length like 50mm in APS-C, 30mm or so in MFT and 75mm in 35mm format.
I have applied that moderate wide/moderate long combination to almost all formats and aspect ratios in the past, occasionally adding something in-between, preferably on the wide side of “standard” or “normal”.
In other words, 27mm in APS-C, 20mm in MFT and 40mm in 35mm rather than the more usual “normal” focal lengths of 35mm in APS-C, 25mm in MFT and 50mm in the 35mm format, all of which feel like short telephoto to me.
My choices can vary, though, in shooting video when a longer “normal” lens offering clutch focus functionality for repeatable, accurate manual focussing may override my creative preference for a slightly wider focal length.
The X-Pro2’s advanced hybrid optical viewfinder (OVF) was the clincher in buying into APS-C, aided and abetted by the existence of those 23mm and 56mm focal lengths.
Lenses are, for me, key influencers in camera choice, with sensor aspect ratios coming second followed by a myriad of other often interrelated usability and functionality factors.
I shoot documentary and portrait photographs and documentary videos, am self-funded, and the gear I need must be affordable, small, portable, self-contained and capable of the best quality possible.
No single camera system can provide all that so I use APS-C/Super 35 and MFT/Super 16 cameras and lenses.
Right now, the Lumix GH5 has the edge over Fujifilm for video by a long list of remarkable top-end professional moviemaking features, which is little wonder given Panasonic has been working on video since the GH1.
We have yet to see any Fujifilm camera approach the GH5 in terms of its video feature set and its self-contained usability, and one can only wonder what may turn up in the X-T2S or what might have been of the now-abandoned Fujifilm APS-C/Super 35 “super camera” project.
Playing the waiting game wears thin especially when gaps persist in both sensor formats’ lens and camera offerings, and each has its pros and cons.
The 3:4 (vertical) and 4:3 (horizontal) image aspect ratio is optimal for portraiture and I often find 2:3 (vertical) and 3:2 (horizontal) irritating for that purpose while it is much more suited to documentary photography in horizontal aka landscape orientation.
I love the 1:1 image aspect ratio for monochrome portraiture and urban documentary, combined with the tilting EVF built into only one current camera, the Lumix GX8, allowing me to shoot as I used to with my Rolleiflex twin lens reflexes (TLRs).
I prefer rangefinder and rangefinder-style cameras for photography and cameras with fully-articulated monitors for video.
The perfect lens set comprising the right focal lengths combined with manual clutch focus, stabilization and fast non-variable maximum apertures with excellent mechanical and optical construction remains something of a pipe dream.
So, I compromise on APS-C/Super 35 mostly for photography with MFT/Super 16 mostly for video with a mix of Fujifilm, Olympus and Panasonic cameras and lenses.
Right now I am prepping to photograph a human rights rally tomorrow, the sort of event I have often covered at the same time with gear from all three brands and in both sensor formats.
In a DSLR-fixated culture, event participants are effectively rangefinder-blind, allowing me to photograph centimetres away from them without objection.
At this event, I have some constraints imposed by carrying my gear in a small shoulder bag that I have received for review.
The bag is capable of carrying one mirrorless camera plus three lenses in its default internal divider configuration, or up to four small lenses, or two mirrorless cameras-plus-lenses with a minor divider rearrangement.
I don’t currently have the ideal one-plus-three, one-plus-four or two-plus-two set-up in either mirrorless sensor format, so may limit myself to my X-Pro2 with 23mm lens on-camera and 56mm ready to swap should the portrait opportunities for which that lens is best suited arise.
I would much prefer two cameras with an 18mm lens on one and a 50mm lens on the other but that ideal set-up must wait for our self-financing effort to bear fruit.
I could carry an MFT Lumix camera with fast fixed maximum aperture standard zoom lens attached to cover the event with all my desired focal lengths and more, but I relish the discipline of carrying a limited set of fast prime lenses, and this new bag warrants a realistic test according to its default design parameters of one camera and two to four lenses, size dependent.
The coming release of Fujifilm’s X-E3 has me musing on another possibility this bag presents via rearranging its dividers, X-Pro2 with 23mm on one side and X-E3 with 56mm on the other.
A less tight fit might be the 18mm on one and the 50mm on the other but let’s not get too far ahead of ourselves.
What remains to be seen is whether the X-E3 will be a worthy companion to the X-Pro2, filling the gaps that the other camera cannot fill.
Although Fujifilm’s cameras have some way to go until they approach Panasonic’s video feature set, especially that of the GH5, they already possess certain advantages.
I enjoy shooting video via my X-Pro2’s advanced hybrid OVF with ERF in lower right of frame set to show the whole scene as seen through the lens, in close-up or in mid-view as desired.
Fujifilm’s manual clutch focus primes are a joy to use as are their aperture rings when needing to ride constantly changing available light.
Fujifilm’s film simulations that work so well for JPEGs apparently look terrific in video, as demonstrated by Andrew Reid at EOSHD with a still frame from a Fujifilm X-T20 which permits customization not currently possible on the X-Pro2.
The lack of 4K in the X-Pro2 is the only factor against using it more for video given I generally use multi-camera 4K set-ups for editing in 4K and increasingly, release in 4K, Australian fraudband’s lousy upload capabilities permitting.
All Fujifilm cameras have their persistent video annoyances, however, and Fujifilm does not appear inclined to correct them any time soon.
None has an integral headphone jack for audio monitoring.
Each has a non-industry-standard 2.5mm microphone jack, demanding the use of unreliable 3.5mm-to-2.5mm adapters or microphones with interchangeable audio cables like Røde’s more recent on-camera models like the VideoMic Pro+.
Interchangeable 3.5mm-to-2.5mm cables have proven hard to find but I eventually located and ordered several Beachtek SC25 coiled cables.
Fujifilm has proven deaf and blind to the crucial need for customizable exposure zebras for video and stills, instead substituting a blinking highlight overexposure indicator on the X-E3.
Cinematographer/director Paul Leeming explains how to use exposure zebras at his Leeming LUT One webpage.
While the exposure zebras problem can be remedied by a Fujifilm with a firmware update, the best solution right now for effective audio monitoring is by connecting compact audio adapters or field recorders beneath your camera.
Hmmm, looking at all the many themes and variations of acquiring top quality audio as a solo documentary producer/director/cinematographer, perhaps I should do an article on that alone given some cameras provide for audio acquisition and monitoring very well and others much less so.
ALL Fujifilm cameras need grips
One thing that was immediately obvious when I bought my first Fujifilm camera, the X100, is that it desperately needed a hand grip for better grip of the camera in all conditions when shooting on location.
My assessment remains the same for all subsequent Fujifilm cameras that I have tried out or purchased, including the X-T1, X-Pro2, X-T2 and X100F.
Fujifilm does not make a hand grip for the X100F, a truly bizarre omission given the camera’s very slight built-in grip and slippery leather-look plastic covering, which has contributed to placing the X100F lower down on my wishlist than it deserves.
“… DaVinci Resolve 14 is the biggest release in the history of the product, and has been designed to be a complete revolution in post production. DaVinci Resolve 14 is the world’s only fully integrated professional editing, color correction and audio solution. It scales from a single user all the way up to the largest collaborative studio workflows.
New features include up to 10 times performance improvement, a whole new audio post production suite with Fairlight audio built in, and multi user collaboration tools that let multiple people edit, color and mix audio from multiple systems, all in the same project at the same time. In addition, DaVinci Resolve 14 includes hundreds of new features for editors and colorists, including over 20 new effects such as automatic facial recognition and tracking so customers can quickly refine and enhance faces in their shots.
DaVinci Resolve 14 is like 3 high end applications in one. Customers get professional editing, color correction and new Fairlight audio tools. All it takes is a single click to switch between editing, color and audio. For multi user studios, DaVinci Resolve 14 Studio features bin and timeline locking, secure chat, a graphical timeline comparison tool for accepting and merging changes, and more. These features dramatically change post production from a linear to a parallel workflow. Customers no longer have to import, export, translate or conform projects. Everyone can work on the same project at the same time….”
“Neat Video plug-ins have been updated to version 4.6. Among the changes are generic noise profiles, second revision of the Premiere plug-in, support for new versions of video editing applications and GPU models, as well as other improvements:
Added a set of generic noise profiles.A new set of generic noise profiles is intended to help preparing a noise profile in a situation when video contains no frames and areas suitable for analysis by Auto Profile…
Added new Second Revision plug-in for Premiere.New Second Revision plug-in for Premiere uses the newer API of Premiere to overcome bugs of old API of Premiere that caused the following problems:
problems with cut/trimmed clips (incorrect input frames supplied by Premiere)
problems with adjustment layers (incorrect input frames supplied by Premiere)
The newer API (and therefore new plug-in) has some limitations of its own: it is necessary to manually prepare sample frames (by clicking a new button) before opening the plug-in window.
Second Revision plug-in is installed separately from the regular plug-in and will not automatically replace it in existing projects.
Second Revision plug-in for Premiere may supersede the regular plug-in in the future.
Added support for new versions of OFX host applications:
“You may have heard of DaVinci Resolve as a color grading tool—it has a strong pedigree in color, and about a decade ago, you only would have seen it inside high-end post-production houses and finishing facilities, replacing the color timing workflows for film with cutting-edge digital intermediate workflows.
However, it’s also great for syncing audio, preparing dailies, conforming, and in the past few years, has even started to offer tools for editing and sound mixing. The sound mixing tools are brand new, so the industry hasn’t adopted them widely yet, and the editing tools aren’t yet as robust as what you’d see from Apple, Adobe, or Avid, but they’ll suffice in a pinch. This whole collection of tools, together, makes Resolve one of, if not the most powerful tool in post-production. It’s the glue that holds the entire post-production workflow together….”
“The lens line-up of the FUJIFILM GFX Series expands further with the FUJINON GF45mmF2.8 R WR, the sixth lens in the GF Lens Series. Offering excellent portability, with a compact and lightweight design (490g), this new lens will bring street and documentary photography in stunning medium format quality….
… The “GF45mmF2.8 R WR” lens combines high performance with high reliability, making it an ideal photography tool for professional photographers. Because it’s compact, lightweight and portable, it’s also an optimal lens for snapshots and documentary photography, enabling photographers to shoot natural photos without intimidating their shooting subjects….”