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About eurotrash

  • Birthday 10/26/1983

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  1. Due to the nature of how flicker reduction works, no, you cannot use it in video mode. This admittedly isn't well explained in the manual under 'shooting menus - flicker reduction'. All it states is that "Enabling flicker reduction disables the electronic shutter and increases the time needed to record pictures."
  2. Normal for Fuji cameras afaik. My XT-1 did this, as well as my XE-2 and now XH-1. It's bizarre but nothing to be concerned about. I assume (probably incorrectly :p) that it has to do with locking up the sensor or something while previewing images and videos already taken. *shrug*
  3. Yep, this is pretty well known throughout the years with Fuji's cameras and well discussed on other forums. I have an old XT-1, XE-2 and XH-1 and use them for youtube videos all the time. They're ALL different looking, even when using the same film profiles, lol. The XH is very subdued in its color profiles, less punchy contrast and lifted blacks but with a much more resolving sensor. 1080p looks incredibly crisp. The XT and XE have a very saturated look with pretty extreme contrast values and a much more yellow tint to their color profiles across the board. Crap for video though, they both look like they're coming out of a Razr phone from 2002, even at their highest possible output settings. I've thought about grabbing a second XH but eh... I've found that using custom white balance and trying to match the contrast and black levels, color and such on both cameras before shooting is the best thing you can do. Likely using a color checker as carylee suggested would be a better option. Just get them as close as possible before hitting that record button, really. Do remember that the physics of light can cause a scene to look different than say, your main cam, even whilst shooting the same subject if they're on different focal planes and distances/angles. The camera could be taking in more 3500k than 5500k or some such just due to it's relative position versus the other camera. This is compounded of course, by the aforementioned lack of consistent color grading so getting it mostly right in camera is important, regardless of what system you're using to shoot.
  4. Many times I've been faced with this particular issue, even when using face detection in brightly lit scenarios. I've defaulted to using the 16-55 due to it's fast AF motors instead of preferably using things like the 56 or 23 1.4...It's a bit heavy on the Ronin S though so I've been looking at using primes instead for longer shoots. My temporary solution is to buy the 35/2 for it's fast motors instead for video use while I contemplate moving my business over to a Sony system exclusively for video use and using the Fuji system for photography only. Perhaps the next iteration of XH camera will be vastly superior. It just sucks since I was an early adopter and still feel shafted by the close release of the XT3 right afterward which seems to trump AF speed and accuracy of the XH. That all said, more often than not I can get things going on the Fuji cameras. I can get the shots I need, albeit I need to act more methodically and really think about the shot I'm after and how exactly I'm going to achieve it working within the limitations of the gear I have. I wouldn't suggest a Fuji system to a run-and-gun shooter though, that's for sure. I don't trust it enough in it's current iterations and I don't believe that Fuji is going to pay much more mind to the XH-1 as far as kaizen goes. The XT largely overshadowed it in both popularity and sales and it's now become what I consider a 'dead' camera in the eyes of meaningful firmware updates to be honest. Let's not forget that the XH uses the same sensor found in your XT2..There's only so much the hardware can be pushed to do after the fact. I've been wrong before and I do hope I am this time but I can't help but speak my mind) To fully answer your last question, this is what I've found to be most useful to pay attention to to achieve the most accurate and non-hunting experience: AF speed of the lenses used Aperture used on the lenses used Continuous zone focusing Pay attention to how dimly lit the scene is and if contrast between your subject and background is going to become a conflict or point of contention for the AF system to lock on to. Paying attention to the video AF settings that you're using for your particular shot/style of shot
  5. You can, they're the same media. But the question would be "why bother?", when the price of standard SDXC cards aren't exactly wallet-melting. Agreed with the prior post citing issues of fitment inside the adapter having the propensity to cause issues. I just don't trust it in the same way as a card designed to fit in that slot, you know?
  6. You're right, the phrasing of the question is still confusing me, lol. So, you're right. When shooting video I usually (and probably obviously) just select my framerate in settings and then double my selected shutter speed using the T(time) selector on my wheel, then fine tune to whatever I want it to be using the command dials. It's really not that big a deal for me to take the extra few seconds to select the shutter speed, but everyone has different degrees of need in this regard, I suppose. The issue I see with making it automatic in settings is that the amount of users with this particular need is probably very low. I'm personally all over the map in video depending on the scene in question and not always using a specific framerate AND shutter speed every single time I shoot video.
  7. I understand now, thanks. However, on MY XH1, I don't need to do this as the shutter speed automatically switches no matter what position the command dial is in previously. When you switch to movie mode and you have a shutter speed set at say, 1/180th of a second, does the top LCD not say 24p (or whatever you chose under 'movie settings')? Your chosen setting under 'movie settings' should override any command dial setting and display the correct framerate on the top lcd, is what I'm trying to say. Of course, this isn't completely intuitive because you're sitting there looking at a dial that says 1/180th, but that's what you get with mechanical dials in a digital body. The only way they could synchronize it would be to add some kind of motor to the dial itself, allowing it to automatically turn to your chosen speed when you flip into video mode, I suppose.
  8. I don't know if anyone has experience using the magmod system but I'm experiencing a strange issue where the magnets inside the maggrip will cause the flash to trigger randomly. This doesn't happen with my YN560's or any other flashes I have. Tapping the flash sometimes will cause it to fire as well but it's so intermittent that I can't pinpoint weather it's the magmod base or just jostling that is causing the flash to randomly fire.. I bought this flash not long ago so there's likely some warranty that exists in some form or fashion but I need to know what everyone thinks. Got a wedding coming up and I'm trying to lighten my kit down with the Godox flash and not rely on the big flashes so much. Video for helpfulness. Apologies about video orientation! Caution, much banging of things against each other..Flash fires at about 1:00 or so:
  9. That would certainly be some setting! But as others have stated, the laws of physics still apply and the only real way to get that sweet, sweet 1:1 magnification is to buy a lens suited to the task. (That new 80mm macro looks awesome, btw..) You lose something, always. In the case of the converter, you do lose a stop of light and possibly some depth of field control, something you absolutely would want if you're doing macro work.
  10. 🤷🏻‍♂️delete
  11. "I would like to see in the MOVIE SETTINGS, an option where I can select the default shutter speed for the 30 and 60 on the shutter speed dial, only when I am in MOVIE MODE, obviously." Forgive me for not understanding, I'm not exactly sure what you're asking here. You can specify 48, 24, 30, 60 in the movie settings in-camera and when switching over to video mode, it will display that framerate. Are you saying you want to see it on the top selector dial instead or the opposite?
  12. Are you seeing what's referred to as 'banding' in areas when using a CPL or are you seeing a different degree of polarization in one corner vs. others? The problem with CPL's is, the effective degree of light polarization changes across the sky with respect to the angle of the sun to the axis of the lens. I find I must often accept a smaller but more uniform effect over the full frame vs. optimum in one corner. One very obvious way to test this is to take the same image on a Pentax camera and one on your Fuji using the same polarizing filter.
  13. Personally in a situation like that where I'm not actively 'working' and on vacation, I want to be as lightweight and mobile as possible. Again, I'd be shooting for fun, not spending too much time away from my family to take photographs. There'd be no way I'd want to take dual bodies in a scenario like that, personally. Looking at MY lens selection, I'd pop the 16-55 on during daytime and evening on the XH-1 and take the 23 1.4 for the darkest of allyways and corridors. The 16-55 has that foul weather advantage and I've dealt with that in Paris before.. That'd cover the majority of what I would be up to. If I were you, I'd just take that 18-55 and one good low light lens and be good to go, that lens isn't bad at all. If I were to take primes, it'd be the Zeiss 12 (or Fuji 14, whatever), 23 and 56. That would also be an acceptable option, at greater weight expense. 16-55mm: 23.2oz or 1.45 pounds 12, 23, 56: 10.2oz, 11.3oz, 14.3oz = 35.8oz or 2.23 pounds
  14. So when you tilt the camera to the left from landscape mode, that's the only time you hear it? I have not noticed this on mine, no matter the orientation or tilt..
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