DPReview: Fujifilm XF 8-16mm F2.8 WR LM Review (video)

There’s no doubt that the Fujifilm XF 8-16mm F2.8 is a beautifully built lens. It’s also quite heavy, and at £1750 / $1900 it’s a pretty serious investment. Is the expense worth it? Chris and Jordan take to the hiking trails of Alberta to answer that question….

Commentary

Fujifilm’s Fujinon XF 8-16mm f/2.8 R LM WR ultra wide-angle zoom lens is beautifully built and delivers beautiful results, but it may not be the best solution for everyone needing ultra-wide focal lengths.

Its size and weight demand mounting it on a vertical battery-equipped Fujifilm X-T3 at the very least with the now-discounted Fujifilm X-H1 providing better balance than the slightly smaller and lighter X-T3.

If the X-H1’s OIS-equipped replacement, the X-H2, is in Fujifilm’s production pipeline then it may be wiser to wait for that to appear sometime late this year or more likely early next if the Fujinon XF 8-16mm f/2.8 R LM WR is an important lens in your gear kit.

My experience with the XF 8-16mm f/2.8 proves it to be an excellent solution for architectural photography where street furniture, trees and other buildings dictate using the widest focal lengths to get closer to your main subject and bypass non-removable visual noise.

I have used it successfully for documentary photography in the middle of dense crowds, though there were times I would have preferred the lens had optical image stabilization built-in for when the light dropped and slow shutter speeds were necessary to support deep focus via smaller apertures.

In bright sunlight, photographing landscapes was a pleasure and the lens lapped up fine detail but its lack of provision for attaching screw-on filters meant I was unable to try it out as a video lens and I am not in the market for large, heavy and expensive third-party filter adapters or even larger and costlier matte boxes.

If you need an ultra-wideangle for documentary photography and video then I highly recommend the Fujinon XF 14mm f/2.8 R which is small and light enough for use with an ungripped X-T3 and would work well on an X-Pro2 with a Fujifilm VF-X21 external optical viewfinder sitting on its hotshoe.

If a range of wide-angle focal lengths is necessary as well as portability and stabilization then I recommend the Fujinon XF 10-24mm f/4 R OIS lens especially it is stopped down below f/5.6 and preferably f/8.0, and this lens will not eat into your savings anywhere near as much as the otherwise excellent Fujinon XF 8-16mm f/2.8 R LM WR.

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Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • FUJIFILM VF-X21 External Optical ViewfinderB&H
  • FUJIFILM X-H1 Mirrorless Digital Camera Body with Battery Grip KitB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • FUJIFILM VG-XT3 Vertical Battery GripB&H
  • FUJIFILM XF 8-16mm f/2.8 R LM WR LensB&H
  • FUJIFILM XF 10-24mm f/4 R OIS LensB&H
  • FUJIFILM XF 14mm f/2.8 R LensB&H
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DPReview: CP+ 2019: Fujifilm interview – ‘We want to show photographers the future’

https://www.dpreview.com/interviews/8410636142/cp-2019-fujifilm-interview-we-want-to-show-photographers-the-future

“At the CP+ show earlier this month in Yokohama Japan, we sat down with senior executives from Fujifilm. During our conversation we covered everything from the upcoming GFX 100, to plans for APS-C and why the X100 still occupies such an important position in the company’s lineup.

Our interview was conducted with three senior executives in Fujifilm’s Electronic Imaging Products Division:

  • Toshi Iida, General Manager.
  • Makoto Oishi, Product Planning Manager.
  • Shin Udono, Senior Manager of the Sales and Marketing Group.…”

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  • Fujifilm camerasB&H
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Trying Out Fujifilm’s Fujinon XF 8-16mm f/2.8 R WR Ultra-Wide Zoom Lens on the X-T3

Thanks to Fujifilm Australia, I have been lucky enough to try out the Fujinon XF 8-16mm f/2.8 R LM WR ultra-wide zoom in combo with the amazing Fujifilm X-T3 DSLR-style camera and its VG-XT3 Vertical Battery Grip.

My primary motivation in requesting the loan was so cinematographer/director Paul Leeming could use the X-T3 to shoot video footage in order to create a custom Leeming LUT Pro for it.

He did the same for my X-Pro 2 camera, and I am looking forward to eventually relying on Paul’s various Leeming LUT Pro 3D look-up tables to quickly and easily combine footage from those two cameras with video shot with my Panasonic cameras and, hopefully, Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.

fujifilm_vg-xt3_vertical_battery_grip_04_1024px_80pc
Fujifilm X-T3 with VG-XT3 Vertical Battery Grip and Fujifilm XF 8-16mm f/2.8 R LM WR lens.

At the moment I am using the Fujinon XF 8-16mm f/2.8 R LM WR for stills photography and for a self-funded independent documentary photographer and moviemaker I believe it is stills to which this lens is best suited.

Reason number one?

The Fujinon XF 8-16mm f/2.8 R LM WR does not permit attaching circular filters.

Fujinon XF 8-16mm f/2.8 R LM WR

Large and costly adapters are required in order to attach square or rectangular filters in front of the lenses convex front element, though someone may come up with a similar adapter for attaching wide diameter circular filters to it.

Another large and costly solution is to invest in a matte box, though which one may be best is beyond my current knowledge and experience.

As a budget-driven documentary video solo operator I need to keep my equipment load and expenses down so I rely on circular variable ND filters.

My current VNDs are built with ageing technology, and more recent ones are reportedly sharper, more colour-neutral and offer a greater range of filtration density stops for today’s sensors.

I want to find the best contemporary VND, need a great set of fixed density NDs for less run-and-gun style projects, and I want to upgrade from 77mm to 82mm to future-proof for coming bigger lenses.

All that aside, I absolutely love the results I have been getting with the Fujinon XF 8-16mm f/2.8 R LM WR.

It balances well on a battery grip-equipped X-T3 whereas it is far too large and heavy for an ungripped camera.

I cannot comment on how it works with a gripped or ungripped Fujifilm X-H1 as I have yet to experience that particular camera.

I wish the X-T3 had the X-H1’s in-body image stabilization aka IBIS and optical image stabilization on the 8-16mm lens would have been terrific.

The X-T3’s ungripped body makes for a great companion camera to my X-Pro2 as I discovered during my first X-T3 tryout late last year, equipping the latter with a Fujinon XF 18-55mm f/2.8-4.0 alongside the former with my Fujinon XF 23mm f/1.4 R attached.

Adding a Fujifilm VG-XT3 Vertical Battery Grip to the X-T3 turns it into a great handheld portrait camera with the addition of my Fujinon XF 56mm f/1.2 R.

But I digress.

The Fujinon XF 8-16mm f/2.8 R LM WR is the first Fujifilm Red Badge zoom lens I have tried, and so far it looks like it adheres to the common praise heaped upon the Fujinon XF 16-55mm f/2.8 R WR, that it is like having a set of top quality primes at your disposal but all in the one lens.

The widest lens I have ever used until now was the Fujinon XF 14mm f/2.8 R, equivalent in 35mm sensor terms to one of my favourite focal lengths for immersive documentary photography and video, 21mm.

The Fujinon XF 8-16mm f/2.8 R LM WR goes well beyond that excellent and affordable little lens with a focal length range from 12mm through to 24mm in 35mm sensor terms, the latter not one of my preferred focal lengths by any means.

The Fujinon XF 8-16mm f/2.8 R LM WR’s focal range is particularly well-suited to cityscapes and ‘burbscapes, though it can handle documentary shots in a pinch provided you set it at 16mm and watch out for weird volume distortion of people and objects too near the corners of the frame.

Some of that corner volume distortion can be corrected in post-processing with DxO ViewPoint but that can also introduce other distortions in the centre of the photograph.

I would rather have a pro-quality 18mm lens for immersive documentary work, but Fujifilm has yet to update its current quirky 18mm offering or release the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

In my analog days I often made architectural photographs with 4”x5” sheet film cameras as part of corporate photography assignments, and as it was a sideline rather than a speciality did not have the set of wide-angle large format view camera lenses I would have liked.

The Fujinon XF 8-16mm f/2.8 R LM WR gives me all of those focal lengths and more.

Shooting architecture with a small handheld camera is a very different dynamic than doing it with a tripod-mounted field camera.

The small camera’s fast and easy mobility means one feels free to dart all around the subject and the zoom lens makes it so fast and easy to try out plenty of alternative camera positions.

I often found myself using the lens at its widest focal length when street furniture, signage and random objects and people got in the way.

So long as you keep a keen eye on potentially detrimental volume and perspective distortions due to distance from and angle of view to the subject, you will do fine.

On the other hand, if you want radical perspective and even more radical near/far object size comparisons, select one of the lens’ wider focal lengths and distort to your heart’s content.

The Fujinon XF 8-16mm f/2.8 R LM WR is possibly the sharpest lens I have ever used, with excellent resolution and micro-contrast.

Whether using Adobe’s Enhance-equipped Camera Raw 11.2, previous versions of Camera Raw or another raw processor or image editing application, its unsharpened raw files are impressive onscreen.

If adding sharpening in post-processing, go easy with it and you may also wish dial down your in-camera sharpening for certain subjects if you are a JPEG user.

The Fujinon XF 8-16mm f/2.8 R LM WR zoom lens makes for a superb addition to your Fujifilm lens collection if your work demands ultra-wide focal lengths, though its current high pricing will give some pause to stop, think and postpone purchase.

Many video-oriented users of Fujifilm APS-C/Super 35 cameras may be better off considering the Fujinon XF 10-24mm f/4.0 R OIS zoom lens for one or more of its most prominent differences – price, size, weight, optical image stabilization and not least the ability to easily mount circular filters of 72mm diameter or larger.

In terms of focal length, one loses 2mm at the wide and gains 8mm at the long end with the 35mm sensor equivalent of 15mm to 36mm, thus providing my preferred documentary photo and video focal lengths of 14mm, 18mm and 23mm or in 35mm sensor terms 21mm, 28mm and 35mm.

Add a medium-to-long zoom lens or some longer primes and you have most bases covered.

The Fujinon XF 10-24mm f/4.0 R OIS zoom lens is reportedly not as sharp or as high-resolving as the Fujinon XF 8-16mm f/2.8 R LM WR and I have read complaints about its lack of corner sharpness at certain wider apertures, so I hope it will be one of the lenses Fujifilm considers for revision in the very near future.

If the Fujinon XF 8-16mm f/2.8 R LM WR meets your needs despite its inability to take a screw-on filter and lack of OIS, and its price is beyond your budget, wait for the discounts and sales seasons or for Fujifilm to substantially drop its price.

If price is no object and if I were a full-time architectural photographer, this would be my number one and possibly only lens for the job.

Gallery, Fujinon XF 8-16mm f/2.8 R LM WR on Fujifilm X-T3

Fujinon XF 8-16mm f/2.8 R LM WR at 16mm and 8mm

The XF 8-16mm f/2.8 for architecture with the X-T3’s 3D Electronic Level indicator

fujifilm_x-t3_electronic_level_manual

One of the great X-T3 features rarely if ever covered in the many reviews of the camera is its optional 3D level indicator that can be assigned to a function button.

I have long wished that all Fujifilm cameras had the same always-on 3D level indicator that Panasonic puts in its cameras so that levelling shots involving parallel verticals is made better than guesswork.

Without much if any fanfare Fujifilm has upgraded its electronic level function from just displaying a simple virtual horizon, and if one assigns Electronic Level to a function button then the function becomes even better, a 3D electronic level that displays roll and pitch indicators.

I assigned Electronic Level to the X-T3’s front function button and, when pressed, its 3D form appears onscreen as an overlay for a fixed period so you can quickly tilt your camera in 3D space to avoid what they used to call “keystoning” of buildings.

I found myself using the 3D Electronic Level all the time when photographing architecture and street views, though sometimes I would run my images through DxO ViewPoint after raw processing in order to further refine perspective and volume deformation.

DxO ViewPoint works as standalone software as well as a plug-in in Photoshop and Photoshop-savvy image editing software, as well as a plug-in in DxO PhotoLab which does not, regretfully, support Fujifilm X-Trans raw files.

Links

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • FUJIFILM X-H1 Mirrorless Digital Camera Body with Battery Grip KitB&H
  • FUJIFILM VG-XT3 Vertical Battery GripB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • FUJIFILM XF 8-16mm f/2.8 R LM WR LensB&H
  • FUJIFILM XF 10-24mm f/4 R OIS LensB&H
  • FUJIFILM XF 14mm f/2.8 R LensB&H

Bounce-Back and Sore Eyes: Why to Choose Black-Bodied Cameras Over Half-Silvered Ones

I have been trying out a Fujifilm X-T3 loaded up with the latest firmware in order to shoot some HLG video footage and further try out the camera’s radically improved autofocus functionality which will reportedly be getting better again in a future firmware update, possibly in April this year. 

The first X-T3 I borrowed was half silver and half black while the current loaner is all black, and what an unexpected and pleasant difference that has made.

I made great use of the silver X-T3 in a two-day documentary photography project and shot quite a bit of footage with its Eterna and F-Log picture profiles, on location in available darkness and the brightest of high UV sunlight.

Each time, halfway through the day I would notice my eyes becoming sore and by day’s end the soreness would be unbearable, especially in my right eye.

_5780135_1024px_80pc
Plenty of reflective silver. Fujifilm X-T3 minimally rigged for video with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens, 58-77mm step-up ring, variable ND filter and lens cap for protection in your camera bag when out walking about.

I am ambidextrous and tend towards right eye dominance though that is not exclusive, and with DSLR-style cameras always use my right eye to view through their electronic viewfinders.

I had attributed the unaccustomed soreness to the slowly worsening eyesight of my ageing myopic eyes, and had feared the worst for my eyesight despite recent eye tests showing expected slow, steady but not marked deterioration in vision.

I wondered whether using an EVF camera might be the cause of the soreness given I own two Fujifilm viewfinder cameras, an X100 and an X-Pro2, and use their optical viewfinders in preference to their EVFs.

But then I also have two Panasonic Lumix EVF cameras, one viewfinder-style and the other DSLR-style, and have never experienced problems like this with either of them.

This week, after extensive use of the black X-T3 for shooting video and stills, I am reluctantly coming to the conclusion that the silver X-T3 and its highly reflective silver-coloured magnesium upper body might be the reason for my previous and constant eye soreness.

I have had no eye soreness with the black X-T3 at all.

Of course, this observation about the difference between the two versions of the X-T3 is a deduction and not the result of any form of scientific test, but it is something worth thinking about when I am in a position to invest in my own X-T3 and the coming  Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

I had been wondering whether my eye soreness was the product of the EVF in the X-T3, and was worried the problem might rule out investing in an X-T3 or any other DSLR-style Fujifilm camera, but the electronic viewfinder clearly is not the source of that problem.

Postscript

I used the black X-T3 in a wide range of lighting conditions throughout the weekend, in bright high-UV sunlight, deep shade and in poorly-lit train stations and experienced none of the eye soreness that I had when using the silver X-T3.

Links

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Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • FUJIFILM X-Pro2 Mirrorless Digital CameraB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • Fujinon XF 16-80mm f/4.0 R OIS WR – to be released later in 2019.

Fujifilm Global: Fujifilm announces firmware updates for the FUJIFILM X-T3

http://www.fujifilm.com/news/n190214_04.html

“… FUJIFILM Corporation (President: Kenji Sukeno) will release new firmware updates for the FUJIFILM X-T3 (“X-T3”) X Series digital camera in April.

Firmware Version:
[ FUJIFILM X-T3 Ver. 3.00: April 2019 ]

1.Strengthened the accuracy of face / eye detection AF performance

The AF algorithm has been improved along with the accuracy of face / eye detection AF. The ability to detect faces in the distance has been enhanced by approximately 30% and AF tracking is now more stable, even when an obstacle appears in the way. The improvements in AF are applicable to both still photos and video recording.

2.New Face Select function

The Face Select function has been introduced to provide priority auto-focus, tracking and exposure on a selected subject when multiple faces have been detected. The priority face can be selected by using the touch screen or focus lever.

3.Faster AF speed for subjects at a distance

Thanks to the improved AF algorithm, faster AF speed is achieved when shooting from short to long distances (or vice versa).

4.Intuitive operation of touch screen

A Double Tap Setting and Touch Function has been added to the touch screen settings*. The two settings must be set to OFF to provide a better touch screen response. These new settings allow a more intuitive touch operation when shooting, AF and focus area select.

*By default, Touch Screen Setting, Double Tap Setting and Touch Function are set to all OFF.
For improved touch screen response, Touch Screen Setting must be set to ON.”

fujifilm_x-t3_15_1024px_80pc
Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Commentary

Autofocus is a feature I had assumed would be nice to have rather than crucial when I first got back  into moviemaking and photography with hybrid digital cameras.

As time passed, and as autofocus steadily improved on the gear I was using through firmware updates and new camera models, I have come to see the utility value of autofocusing for stills photography and now, with the X-T3 having the best autofocus functionality for video yet of all the mirrorless cameras I have tried, it looks like it will be getting better again with April’s coming firmware update.

Improved face and eye detection is particularly welcome given I am in the process of getting back into portrait photography and manual focus with longer lenses and moving subjects does not always cut the mustard, as it were.

Links

Help support ‘Untitled’

sigma_18-35mm_f1.8_dc_hsm_a_02_1024px
Sigma 18-35mm f/1.8 DC HSM Art zoom lens for APS-C sensors and for adapting to M43 with Metabones SpeedBoosters, lens available in Canon EF or Nikon mounts.

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • 8Sinn camera cagesB&H
  • Angelbird 256GBGB Match Pack (2 x 128GB)B&H
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  • Atomos Ninja V 5″ 4K HDMI Recording MonitorB&H
  • Atomos Handle Adapter for AtomX SSDmini (5-Pack)B&H
  • Aurora-Aperture variable ND filtersB&H
  • Bluestar Eye CushionsB&H
  • Breakthrough Photography CPL, UV and ND filtersB&H
  • Chiaro UV FiltersB&H
  • Formatt-Hitech Firecrest fixed value ND filtersB&H
  • Fujifilm CVR-XT3 Cover KitB&H
  • Fujifilm EC-GFX Round Eyecup – B&H
  • Fujifilm EC-XH Wide Eyecup – B&H
  • Fujifilm EC-XT L Long Eye Cup – B&H
  • Fujifilm EC-XT M Medium Eyecup – B&H
  • Fujifilm EC-XT S Small Eyecup – B&H
  • Fujifilm MHG-XT3 Metal Hand GripB&H
  • Fujifilm NP-W126S Li-Ion Battery PackB&H
  • Fujifilm VG-XT3 Vertical Battery GripB&H
  • Fujifilm Fujinon XF LensesB&H
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  • MindShift Grea and Think Tank Photo camera bags and accessoriesB&H
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  • Phase One Capture One ProB&H
  • Røde video microphonesB&H
  • Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon EFB&H – can be adapted for Fujifilm X-mount cameras via third-party manual and autofocus smart adapters.
  • SLR Magic variable ND FiltersB&H – SLR Magic was reputed to be working on a collection of fixed value ND filters though they do not seem to have appeared at B&H yet.
  • SmallRig camera cagesB&H
  • Sony 128GB M Series UHS-II SDXC Memory Card Kit (2-Pack)B&H

Cinematographer/Director Paul Leeming Shoots Fujifilm X-T3 and X-Pro2 Footage for Custom Leeming LUT Pro in Our Home Studio

_DSF0072_aurorahdr2019_luminar2018_1920px
Australian cinematographer/director Paul Leeming with his Blackmagic Design Blackmagic Pocket Cinema Camera 4K, 8Sinn cage and Sigma 18-35mm f/1.8 Art zoom lens attached with Metabones Speed Booster EF-to-MFT adapter.

Australian cinematographer cum director cum LUTmaker Paul Leeming took advantage of a break away from the Australian bushfires, torrential rains and floods to drop by our Sydney home studio and shoot some footage on our Fujifilm X-Pro2 and a loaner Fujifilm X-T3, courtesy of Fujifilm Australia.

Mr Leeming was on his annual Australian jaunt after completing photography for a feature film set in Osaka, to eventually return to his domicile in the Netherlands where he will get back to working on Leeming LUT Pro custom look-up tables for the Blackmagic Pocket Cinema Camera 4K, Fujifilm X-T3, Fujifilm X-Pro2 and Panasonic cameras including the GH5 and GH5S, amongst others.

He shot the feature on two fundamentally different cameras, Panasonic’s Lumix DC-GH5S and the Blackmagic Pocket Cinema Camera 4K, and Leeming LUT Pro will play a crucial role in ensuring easy editing and colour grading of HLG and raw video footage.

According to Mr Leeming:

Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.

Multi-camera shoots are now much easier, because you are starting with a common, colour-matched baseline, meaning much less time trying to match cameras in post before starting your creative grading.

Once all your cameras have been corrected, you can optionally use the specially matched Leeming LUT Pro Quickies™ for a one-touch creative grade designed to work seamlessly with the common baseline of Leeming LUT Pro™ corrected footage.

Save hours of frustration and give your footage the best possible quality right out the gate. It’s as easy as Shoot – Apply Leeming LUT Pro™ – Done!

Leeming LUT Pro custom LUTs coming for Fujifilm X-Pro2 and X-T3

Mr Leeming shot colour chart footage using the ProNeg Standard film simulation on the Fujifilm X-Pro2 camera, and in the Eterna, F-log and HLG picture profiles on the X-T3.

His preferred profile when shooting with Panasonic cameras is HLG and it is likely that Fujifilm’s HLG will prove to have the same benefits when shooting for high dynamic range aka HDR and standard dynamic range aka SDR output.

I recently shot some HLG footage on the X-T3 in available darkness and the results were impressive to say the least.

Always carry a grey card for white balancing video

Mr Leeming showed me this Struan Grey paint sample card made by Taubmans and told me it is the most accurate grey card for white balancing that he has found available for free.

I have been guilty of forgetting to carry a grey card when out with my camera each day due to the ones I have being a little too large for my daily carry camera bag, so it is good to know there are smaller and cheaper – free! – alternatives available at your local hardware store so long as it stocks Taubmans paint.

Paul Leeming Shooting Footage for Leeming LUT Pro for Fujifilm X-T3 and X-Pro2

Mr Leeming travelled light, carrying a stripped-down Blackmagic Pocket Cinema Camera 4K rig in this Think Tank Photo backpack.
This stripped-down rig for the BMPCC 4K includes the 8Sinn full cage and once of Mr Leeming’s favourite lenses, the legendary Sigma 18-35mm f/1.8 DC HSM  Art lens for Canon EF-mount. He has preferred 8Sinn cages and accessories since buying one for his Panasonic Lumix DC-GH5. He also relies on Xume filter adapters and Formatt Hitech Firecrest Ultra fixed neutral density filters.
Shooting color checker footage at our home studio. The camera is mounted on a 3 Legged Thing tripod.
Mr Leeming relies on DSC Labs ChromaDuMonde CamAlign Chip charts for their high colour accuracy.
Photographing the Fujifilm X-T3’s monitor for use in writing the manual on the best settings for the camera and how to use Leeming LUT Pro.

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  • 3 Legged Thing tripods and accessoriesB&H
  • 8Sinn cages and accessoriesB&H
  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • DSC Labs chartsB&H
  • Formatt Hitech Firecrest Ultra filtersB&H
  • FUJIFILM X-Pro2 Mirrorless Digital CameraB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • Fujifilm XF lensesB&H
  • Metabones EF to Micro Four Thirds AdaptersB&H
  • Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon EFB&H
  • Think Tank Photo camera bagsB&H
  • Xume filter adaptersB&H

thomas fitzgerald: Capture One Express Fujifilm: An Overview

“In this video I give you a quick walkthrough of Capture One Express for Fujifilm (Also for Sony) to get you up to speed, starting with importing, then some basic editing, and finally how to export….”

Commentary

Now that Phase One has released its free Capture One Express raw processing software for Fujifilm, I can wholeheartedly recommend it.

I learned how to use Capture One Pro, the full version that supports hundreds of different cameras and lenses, some years ago by watching free training videos on the Web, and can highly recommend Thomas Fitzgerald as a Capture One teacher as well.

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  • Phase One Capture On Pro 11 – B&H

Nick Thomas: A Memento of Life | A Fujifilm X-T3 Short Film

A MEMENTO OF LIFE | A FUJIFILM X-T3 SHORT FILM from Nick Thomas on Vimeo.

Commentary

When I was trying out Fujifilm’s X-T3 as a video camera, shooting footage at DCI 4K 10-bit 4:2:0 F-Log All-Intra 400 mbps and recording internally rather than onto an external monitor/recorder such as the Atomos Ninja V, I was gobsmacked at the quality of the images even though it was just a little short of the 10-bit 4:2:2 footage that external recording makes possible.

Although cameras that shoot raw or ProRes footage such as the Blackmagic Pocket Cinema Camera 4K and the like are traditionally termed, well, cinema cameras, the X-T3’s footage is clearly more than good enough for many projects that independent documentary and feature moviemakers are likely to create.

It certainly is for me, and it certainly appears to be a step up from the reportedly excellent 10-bit 4:2:2 the Super 16-like Panasonic Lumix DC-GH5S camera is cable of recording internally and that is apparently a step-up from the Panasonic Lumix DC-GH5’s 10-bit 4:2:2 footage, also recorded internally.

We appear to now be living in the realm of ‘degrees of excellence’ and so image quality may no longer be the number one deciding factor when choosing how one may shoot a project.

Other factors such as colour science, camera size, shape, handholding ability, available lenses, rigging and more will become the deciding factors and that is no bad thing.

It is great to see what the Fujifilm X-T3 is capable of when shooting short features with it and Nick Thomas and his team have my thanks for kindly sharing their work here.

Bravo!

Links

  • Help support ‘Untitled’

    atomos_ninja_v_02_1024px_80pc
    The Atomos Ninja V 5-inch HDMI monitor/recorder, perfect for recording 10-bit 4:2:2 F-Log video footage from the Fujifilm X-T3.

    Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

    • 8Sinn camera cagesB&H
    • Angelbird 256GBGB Match Pack (2 x 128GB)B&H
    • Angelbird AtomX SSDmini (1TB)B&H
    • Atomos Ninja V 5″ 4K HDMI Recording MonitorB&H
    • Atomos Handle Adapter for AtomX SSDmini (5-Pack)B&H
    • Aurora-Aperture variable ND filtersB&H
    • Bluestar Eye CushionsB&H
    • Breakthrough Photography CPL, UV and ND filtersB&H
    • Chiaro UV FiltersB&H
    • DJI Ronin-SB&H
    • G-Technology Atomos Master Caddy 4K (1TB)B&H
    • HPRC 2500 Hard Case for DJI Ronin SB&H
    • Formatt-Hitech Firecrest fixed value ND filtersB&H
    • Fujifilm CVR-XT3 Cover KitB&H
    • Fujifilm EC-GFX Round Eyecup – B&H
    • Fujifilm EC-XH Wide Eyecup – B&H
    • Fujifilm EC-XT L Long Eye Cup – B&H
    • Fujifilm EC-XT M Medium Eyecup – B&H
    • Fujifilm EC-XT S Small Eyecup – B&H
    • Fujifilm MHG-XT3 Metal Hand GripB&H
    • Fujifilm NP-W126S Li-Ion Battery PackB&H
    • Fujifilm VG-XT3 Vertical Battery GripB&H
    • Fujifilm Fujinon XF LensesB&H
    • Fujifilm X-T3 Mirrorless Digital CameraB&H
    • LockCircle camera cagesB&H
    • MindShift Grea and Think Tank Photo camera bags and accessoriesB&H
    • Peak Design camera strapsB&H
    • Phase One Capture One ProB&H
    • Røde video microphonesB&H
    • SLR Magic variable ND FiltersB&H – SLR Magic was reputed to be working on a collection of fixed value ND filters though they do not seem to have appeared at B&H yet.
    • SmallRig camera cagesB&H
    • Sony 128GB M Series UHS-II SDXC Memory Card Kit (2-Pack)B&H
    • Zhiyun-Tech Crane-2 3-Axis StabilizerB&H

Paul Leeming’s Leeming LUT One 801 for Panasonic Cameras including Lumix GH5 and GH5S is Available, More Versions to Come

We have been following Australian director/cinematographer Paul Leeming’s progress in creating, refining and updating his Leeming LUT One unified, corrective Look Up Table aka LUT system for popular mirrorless and DSLR hybrid cameras and camcorders ever since we launched the ‘Untitled’ project. 

Leeming LUT One began as an effort to transform the Panasonic Lumix DMC-GH4’s ‘Cine-D’ aka Cinelike D video picture profile into the most accurate, most realistic rendering possible and has expanded to encompass a range of cameras including those made by Canon, DJI, GoPro, JVC, Sony and more, with support for the Blackmagic Pocket Cinema Camera 4K and Fujifilm X-T3 and others coming in the near future. 

Mr Leeming continues to refine Leeming LUT One with version 801 for Panasonic being the most accurate yet, setting a new industry benchmark for realistic colour rendering for video footage shot with the Cinelike D, V-LogL and HLG profiles for editing in Rec. 709 movie projects. 

Recently I put Leeming LUT One 801 to the test with Cinelike D footage from my Panasonic Lumix DMC-GX8 camera, the one that goes with me almost everywhere everyday, and the results were, as usual, impressive.

Better yet, correcting footage with Leeming LUT One then adding film simulation or creative looks LUTs produces rich grading with a lush and easy-to-grade tonal range.

Many independent moviemakers shoot video for the same project on several cameras including within multi-camera interview set-ups, and Leeming LUT One is invaluable in reducing time in the colour grading suite matching footage from all those different cameras, especially when exposed according to the principles of ETTR aka expose-to-the-right.

In all the following examples, I graded quickly and minimally to simulate the look and feel of the subject at the moment I shot it, to be as realistic as video permits.

Skin tones in mixed available light with Leeming LUT One 801 and LookLabs’ Digital Film Stock Fujifilm Eterna 500T

Reds, greens and blue in strong sunlight with Leeming LUT One 801 and Leeming LUT Quickies v8 Basic Balanced v8 Lighter

Greys and greens in weak sunlight on cold, windy day with Leeming LUT One 801 and LookLabs Digital Film Stock Kodak 5218

Links

  • Leeming LUT Pro – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”
  • LookLabsDigital Film Stock aka DFS – “DFS instantly gives you the natural look of film and the most flexible set of LUTs on the market. The DFS bundle includes 19 LUTs that perfectly emulate the most popular Kodak and Fuji film stocks. DFS comes in both REC.709 and LOG video formats and all SpeedLooks camera patches work with today’s most popular digital cinema and mirrorless cameras. DFS even makes your Android videos look like film!”

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Olympus M43 lensesB&H
  • Panasonic Battery Grip for Lumix GH3 and GH4 Digital CamerasB&H
  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic M43 lensesB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GX9 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H