withfilm

Dan, I'm happy with C1 processing but still can't find a good workflow. Currently cataloging with Lightroom and quick exports. Capture One for finals and prints. 
 
Any tips here? 

I absolutely agree that the X-T2 is going to be going after the D500, as EyesUnclouded says... One huge advantage of mirrorless is that, if you've built a high-speed camera, you've more or less got a highly capable video camera as well. Unlike Nikon, whose AF setup at high speeds is the one in the prism (phase detect, NOT on sensor), Fuji's AF is all on-sensor - it has to be, since there's no beamsplitter. Nikon can't get at their primary AF while shooting video, while anything mirrorless CAN. They can (and I  believe will) go for the D500 and GH4 markets with the same body (in a mirrorless camera, you almost get a GH4 for free when building a D500). Of course, you still have to do the codec side of video, but a lot of that is just having a good enough processor and licensing the right codecs. Fuji has the processor, and already pays for H.264 - I don't think you pay more to implement a higher data rate? My version of an X-T2 has high data rates and excellent codecs, but it's still a DSLRish design (I'd expect it to look as much like an X-T1 as an X-Pro2 looks like an X- Pro 1). It has a clean HDMI output, but NOT specialized video connectors like HD-SDI or XLR audio - those connectors are too large, and would compromise its use as a still camera.
I'd expect Panasonic, whose sales are tanking, to move their video focused GH series even farther upmarket, and away from still photography. The X-T2 may (is even likely to) have GH4-level video capability, BUT I'd expect the GH5, which is due around the same time as the X-T2, to have even higher end video codecs (probably native ProRes or similar and maybe raw video), professional sow notion, additional video-focused connectors, and perhaps even to LOOK like a video camera, with a rotating handgrip and a trigger. Time to stop pretending that thing is a still camera - I'm kind of expecting a "baby Cinema EOS" look to the GH5! Panasonic will probably maintain a true hybrid one level below the GH body, but I'd expect the GH to keep moving ever more towards being a dedicated video camera.
 
 
In the $1500--$2000 non full-frame market, we'd have something like (released by Photokina, on the market by Holiday 2016), ignoring stray Leicas and the like:
1.) Fuji X-Pro 2 - "rangefinder" with superb stills, acceptable video, unique interface
2.) Fuji X-T2 - DSLR style with high speed, excellent stills, 4K video with high data rate (but no specialized video interfaces - maybe an "adapter box"),  many dial controls.
3.) Nikon D500 - rugged sports DSLR, trades some image quality for speed, amazing high ISO, 4K video, but limited video functions
4.) Canon 7DmkIII - similar to D500, not QUITE as fast, but some additional video features.
5.) Panasonic GH5 - "baby Cinema camera" - yes, you can use this thing for 16 MP stills, but you can take a pickup truck to LeMans or use a Ferrari to buy groceries, too! Dedicated video form factor and connectors.
 
Possibilities:
1.)Sony A6100 or A7000. If they mean to price it above $1500, they'd better introduce some lenses, too Probably has a 36MP sensor, good to excellent video features and a really lousy 16-50 power zoom kit lens!
*From some of the interviews we saw with Fuji executives(they were asked "did you consider going over 24 MP", and replied "We found the best image quality at 24 MP", NOT "what sensor could we have used over 24 MP?", they experimented with some high pixel count sensor and weren't satisfied. Of course, that could have just been the known Samsung 28 MP sensor, which I'm sure is for sale, but I think they probably had samples of the Sony 36 MP unit, and CHOSE the 24 MP model...
2.) Canon or Nikon upper-end mirrorless body (if it's in this price range, it's more likely than not to be full-frame)
3.) Olympus E-M1 mkII. I don't know WHAT body they could dress that old sensor (or even the 20 MP variant) up in that would get the price over $1000, but that doesn't mean they won't try. I'd be surprised to see it touch $1500, but I guess it could.
 
On a different side of Fuji's system, does anyone know much about the new flash? My guess is that it's a Fuji rebrand of some new Sunpak that's not on the market yet, but that's a guess.

Fuji has been hinting strongly and publicly at the X-T2 showing up with the new sensor - comments like "the sensor and processor can handle 4k video, but that wasn't right for the X-Pro 2 - that's another camera".  The new X-Processor Pro in the X-Pro 2 hints at something else, too (and Fuji's pretty much said as much) - you don't need that kind of processor speed in an image quality focused RANGEFINDER??? I haven't been able to find the processor speed (either in megahertz and core type or in megapixels/second) for any camera other than Fuji's new X-Processor Pro (and the old one by reference in the description of the new one), but it seems to be in the range of at least a Nikon D4s/Canon 1Dx class processor, if not closer to the D5...The only reason for that speed that I can see is that it is shared with another project, one where it makes sense.. I can only see three possible cameras that could need a processor like that (an X-T2 that competes only against the D7200/ EOS7D mkII class doesn't need it).
:
1.) A "Top Pro" class DSLR (or in Fuji's case, the first attempt to put a mirrorless camera in that range)!
2.) A movie camera, or a true hybrid (GH4 or A7s type camera)!
3.) A medium format camera (this isn't the X-T2, but it may ALSO be sitting on Fuji's "interesting ideas" shelf, if not already in "interesting prototypes").
 
If I worked for Fuji, I'd be aiming at a combination of 1. and 2. above - the Nikon I'd be aiming at is the D500, not the D7200, and I'd add GH4 class or better video capabilities.
 
I'm guessing here, but here's my version of the X-T2...
 
X-Pro 2 sensor and processor
Leica SL viewfinder (or something similar)
Increased emphasis on video, since it no longer has to be the flagship still camera (I'd expect a LOT of video modes and options, some of them 4K, with GH4 level or better maximum data rates). At least 100 Mbps maximum data rate in 1080p and 4K, 200 Mbps certainly possible.
MAYBE an innovative codec in addition to H.264 (we've just begun to see native ProRes in a few cameras)
12 FPS with full autofocus (it could be either 10 or 14 (or more - the processor, astoundingly, would allow 20 FPS - see my comment on "what's this thing doing in a rangefinder" above), but I'd split the difference among likely frame rates and say 12.
Dual card slots, either SD/SD or maybe SD/XQD if they need XQD for some of the video data rates, or for an absurd frame rate
Modified X-T1 body (if the ISO dial in the X-Pro 2 works out, it may migrate to the X-T2, leaving the left side dial for drive modes and perhaps metering modes)...
Accessory grip with some additional video-focused connectors and the ability to take either multiple (3? one in the camera PLUS two in the grip ) NP-W 126s or a bigger battery
Weathersealing at least at, perhaps above the X-T1/X-Pro 2 level.
$1999
 
And the X-T20 (or more likely it'll be the X-T7 or some other in between number),using the 24 MP sensor, but perhaps a cut down, single core version of the processor.
Existing X-T1 viewfinder
Good (but not absurdly good) video - think 50 Mbps 4K and 1080p, H.264 only. This video will probably find its way to the X-Pro 2 with a little Kaizen firmware, which Fuji's even hinted at (the X-T2 video probably won't)
8 FPS
Single SD slot
Basically an X-T1 with the new sensor and a nice little video tweak.
$1199.
 
The X-T10 will stay a while, dropping to around $799 and giving an entry level  choice between rangefinder and DSLR styling.- it's a similar camera to the X-E2s in a different style.
 
I guessed at a split upgrade for a number of reasons having to do with Fuji engineer comments AND the power of the processor. Fuji engineers consistently mention a "multimedia camera", and the X-T1 really isn't one. It's a high performance still camera, but its video mode isn't even great for a midrange DSLR, let alone in the range of the mirrorless hybrids. That suggests the upgrade will have something distinctly new in that regard... The X-Processor Pro can handle a multimedia camera, and why build it for anything else (half of it would be perfectly sufficient for the X-Pro 2, or for a "vanilla" X-T2)? Fuji is small enough that they share a lot of parts between models, and that could explain the absurdly overpowered processor in the X-Pro 2.
 
If I had to guess on timing, I'd say Photokina, with pre-holiday availability? It's a bit tricky, because Fuji'd want to hit Photokina with the pro camera (not have it already out 3-4 months, and have the cut-down version be the Photokina introduction). On the other hand, the cheaper camera is going to be the holiday seller...
 
Maybe they'll slip the X-T2 out for the Olympics (Maybe with a great new telephoto prime - how about a 200mm f2.4 which becomes a 280mm f3.5 with the 1.4x AND a 400 mm f4.8 with a 2x converter)? A 200mm f2 does even more interesting things with converters, but that's a HUGE lens (5 lbs or more), and it's over $5000 (of course, so's everyone else's fast sports telephoto)... Given Fuji's sensor size, a 200 mm f2 is equivalent to a 300 mm f2 on full frame, then it can convert to a 400 mm f2.8 equivalent AND a 600 mm f4 equivalent. I haven't heard ANYTHING about a long, fast prime, but it's what a body like that would need to add to the present lens lineup...

For compactness' sake, I hope the lenses are specifically designed for 33x44.That is one of the secrets of the present X-system - really high quality APS-C lenses, instead of full-frame lenses that are too big (mostly at the wide to normal end). Fuji will never get ahold of a sensor larger than 33x44 at a reasonable price unless Sony plays around with CMOS sensor sizes. The bigger Kodak (now Truesense) and Dalsa sensors are incredibly overpriced CCD dinosaur derivatives of military or industrial sensors (market leader Dalsa is a division of spy satellite parts (among many other things) maker Teledyne)- the camera market (as we'd define "camera") is meaningless to those companies/divisions. Sony is the only supplier of camera-specific medium format sensors, and the market is probably too small to attract a competitor. Given this, a 33x44 system with specialized 33x44 lenses will be much more attractive (primarily in size and weight, but also possibly in image quality - area coverage is one of many competing goals in lens design) than a 33x44 system with oversized lenses.
 
There are at least four separate markets for this system,  and the lenses need to satisfy all as best they can.
 
1.) Studio. Lenses as fast as possible for depth of field/bokeh, and with leaf (AKA central) shutter for flash sync.
2.) Wedding/fashion/location portraiture. Lenses a good balance of speed and compactness, with at least some leaf shutter options
3.) Landscape. No need for fast lenses - make them compact, weather resistant and sharp (really sharp zooms mean fewer lens changes in the field). PLEASE no leaf shutters - they add weight and have slow maximum shutter speeds, which is sometimes important for light control.
4.) Architecture. If this system gets a tilt/shift lens or two, the architectural photographers will flock to it (not that landscape photographers would mind T/S lenses, either). Again, no need or desire for fast apertures or leaf shutters.
Street and travel photographers will probably share lens tastes with landscape and/or wedding photographers.
 
If I were Fuji's lens designers, I'd release the system with four initial lenses (plus leaf shutter versions of a couple of them). Every lens (with the possible exception of leaf shutter lenses) should be weather sealed. The diagonal of 33x44 is 55 mm, so a normal lens is actually 55mm (this sounds very close to full-frame, BUT the 50mm normal on full-frame is actually a bit long - it should really be 42mm).
 
30mm f2.8 (f4?). This is a significant wide-angle, equivalent to about 25mm on full-frame, about 16-18mm on APS-C. f2.8 would be ideal, but it might be huge. 30mm and under lenses exist for medium format, but they're big, heavy lenses with a lot of distortion correction in software. If a 30mm f4 is much smaller, lighter and less distorting than a 2.8, it's worth it. 
 
60mm f2 (f2.8?) Most medium format normal lenses are f2.8 - the smaller format may permit a reasonably sized and priced f2 normal lens. Important to have a leaf shutter version. Not sure if leaf shutter and f2 are compatible (if they are, a 60 f2 LS and a 60 f2.8 with no leaf shutter (but excellent weather sealing) might be an interesting set of options.
 
100 mm f2.8 (plus leaf shutter version). A fast portrait lens (by MF standards)
 
35-105 mm f4-5.6. The modest maximum aperture is to keep the zoom compact. If the 20-40 (or 20-45) is feasible, this lens might start at 40. If it's not, there's an argument for starting it as wide as 30.
 
Additional lenses (not necessarily available at launch).
 
90mm f1.6 (leaf shutter if possible, maybe APD). Not light or cheap, but the fastest portrait lens ever built for medium format (there is no medium format lens faster than f2 right now). This should be a leaf shutter lens, but I'm not sure about very fast LS lenses - Hasselblad Zeiss lenses for their focal plane cameras tended to be a stop faster than their leaf shutter versions.
 
Either a 20mm f4 or (ideally) a 20-40 mm f4 (or f4-f5.6). The widest lens ever for medium format - ideally, it's a zoom.
 
135mm f2.8 or f4. A long portrait lens or short telephoto (possibly macro, especially if f4). Eventually, the studio crowd would kill for an f2 leaf shutter version, but that is a very large, heavy, expensive lens.
 
250mm f5. Nobody's going to shoot sports or wildlife on medium format, and the f5 keeps it a reasonable size for people who would use it for landscape or travel.
 
105-240mm f4-f5.6. A long zoom. If this would be similar in size and quality to the 250, no need to make the long prime.
 
No need for anything longer - any photographer who owns a medium format X system will have at least one other system (probably an APS-C X system, likely a DSLR as well), with longer lenses if they care.
 
Exotica might include a 10 or 12mm fisheye , a 35mm (or so) faster than f2, a 60mm f1.4 (I'd actually release the really fast portrait lens before superfast wide or normal lenses - bokeh is MOST important in a portrait lens), and a couple of tilt/shift lenses for the architectural folks.
 
I'd hope for the normal lens to be under $1500, maybe closer to $1000, with several lenses under $2000. The zooms might be around $2000, with the fast leaf shutter lenses ranging up to $3000 or more. Tilt/shift lenses and other exotica would probably be even more when released, both because of complexity and low production. This is similar to Pentax pricing (except that there are a couple of very expensive newer Pentax lenses that don't seem especially exotic).
 
In terms of the body, I'd hope for:
 
~$5000 (at least cheaper than the $7000 Pentax)
Focal plane shutter (with the ability to disable it to use leaf shutter lenses) - speed range of at least 60 seconds to 1/2000
Around 2 lbs or less (the huge advantage of being both mirrorless and 33x44 - it shouldn't be too hard to get the body lighter than a D810 or a 5Ds)
Weather sealed
"Texas Leica" shape
Either a really good EVF (what Leica just used in the SL?) or a hybrid finder
4"+ LCD - crib it from the cell phone market - plenty of room.
Oddly, I'd expect it to use two standard Fuji W126 batteries - Fuji might not want to do a big battery for one camera - Pentax didn't (theirs actually uses their APS-C DSLR battery). It would have a very short battery life if it used a single W126, but two would work.
Dual card slots (probably dual SD - why would Fuji put in a CF slot, when they've not used one in years?). No real need for XQD - this isn't a super-fast camera.
Controls similar to X-Pro1 (perhaps with some X-T1-style additions)
 
Sensor:
Possibly the Sony 50 MP (as per the Pentax 645z), or possibly a 72 MP BSI variant (which would have the pixel pitch and technology of the A7rII, and should be easy for Sony to build - it's just a big A7rII sensor).