Jump to content

Recommended Posts

I'd considered upgrading from my two 16mp XT-10s to the 26mp TX4 but wonder if the modest jump in pixel count is worth it - realizing that it's area and not linear. After all the Sony A7R4 has gone to 61mp which, even cropped to APS-C, is still over 27mp by my estimate. I love the Fuji X f.4 10-24mm and would hate to have to go the equivalent weighty monster in a 35mm mirrorless system. Is there any chance that Fujifilm might have a sensor (for a TX5/XT-4?) in the pipeline which is in the region of 30-35mp. I would upgrade for that!

Rereading my draft I think I might have answered my own question - 26mp on APS-C is close to the  density of 60mp on full-frame, so is it current state of thee art?

Link to post
Share on other sites

the jump from 16 to 26 is definitely NOT modest...i noticed a significant difference going from 20mp to 24mp

at the moment, the highest resolution in a crop system is the canon M6 mk 2/canon 90d, at 32mp, or you could go the olympus MFT route with their high res mode, which takesmultiple exposures and combines them for something like 60mp as far as i remember

if resolution is of the utmost importance, go the GFX route, otherwise you will be plenty happy with 26mp

Link to post
Share on other sites

1 hour ago, Olaf W. said:

Are you cropping a lot or why do you assume more MP could be useful? IMHO you should look for other differences between the models than just the resolution of the sensors.

My primary interest is landscape with lots of detail and having the option to print large. Initially I looked at settling on one sharp compact prime wide angle lens for Sony FE (like the Zeiss Loxia 21mm or 25mm, with dedicated manual focusing on full frame camera), with enough resolution to crop moderately if necessary for framing, or to extend the versatility a little of the fixed focal length - certainly not cropping a lot or all the time. Other features of the camera would be subsidiary, as it's mainly still imagery with a tripod, not action or video or extended focal lengths.

I then looked at an ultra-wide to medium-wide zoom as another option, being more versatile, which is where I realized I wanted the same characteristic as the Fujinon XF 10-24mm on APS-C, i.e. the Sony FE 16-35mm f.4. That's a heavy and bulky lens, which brings me back to retaining the Fuji 10-24mm and wishing for a higher res.sensor  on APS-C.

Link to post
Share on other sites

7 minutes ago, andrei89 said:

the jump from 16 to 26 is definitely NOT modest...i noticed a significant difference going from 20mp to 24mp

at the moment, the highest resolution in a crop system is the canon M6 mk 2/canon 90d, at 32mp, or you could go the olympus MFT route with their high res mode, which takesmultiple exposures and combines them for something like 60mp as far as i remember

if resolution is of the utmost importance, go the GFX route, otherwise you will be plenty happy with 26mp

Thanks andrei89. I suppose, when I said "modest"jump, I was thinking of the slight jump from 24mp to 26mp, after I'd previously decided to wait for a higher res sensor than in the X-T20 or the X-T2. Interesting about the Canon camera, although already use the Sony RX10 Mk4 as well as Fujifilm X-T10, and don't want to go to yet another make.

Link to post
Share on other sites

  • 2 weeks later...

Ive made 30 x 20 from my XT1 which was "only 16mp".  Now with my XT2 and XH-1 I honestly haven't made anything larger than that same size 30" x 20" and I cannot tell the difference.  I am a firm believer in "shot Discipline".  To me, this is much more critical than the megapixel count.  I find myself focusing with auto focus, then switching to manual to micro tune.  I have a solid tripod,  I use my 2 second self timer, and if the situation permits I use the electronic shutter just in case.  I also block the wind with my body if need be. All these combined will help you achieve amazing results.  To me these are more important now than ever as I now shoot with not only my X camera(s) but my medium format Fuji gear.  

I have yet to print larger than 13 x 19" from the GFX but I do have plans to print a 50 x 40" print on acrylic/glass.  I need to generate that 200mb tiff to send in to the printer.

Hope this helps.  Just keep in mind it's not always megapixels...

Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
  • Similar Content

  • Posts

    • A fungus in the forest.

      Welcome, dear visitor! As registered member you'd see an image here…

      Simply register for free here – We are always happy to welcome new members!

      (p.s. Open Topic.)  
    • The backslashes you are referring are just symbols denoting path.  Once you import into these LUTS into Davinci Resolve those backslashes are removed by default and you only see is the true file name which has no backslashes.  Convince yourself of this by opening the LUT folder from the Davinci Resolve Project Settings.  Do you see any backslashes in those LUT names? Of course not.  The only name you see is the one that has the underscores and the periods. These LUTS work as designed without having to change any path names.  However, they need to be set up properly through CSTs and by what is supported in Davinci Resolve.  Hence, the FLog2C film simulation LUTS cannot be used because Davinci Resolve does not support Fuji Gamut color space and the FLog2C gamut. Alternatively, Davinci Resolve does support Flog2 film simulation LUTS because the color space for FLog2 is Rec 2020 and there is an FLog2 gamut. If all you are doing is changing the path names then you are not getting the correct results.
    • I found the reddit topic i refere to :  https://www.reddit.com/r/davinciresolve/comments/1pc3f1e/cant_apply_new_fujifilm_gfx_55_lut/ "Update for y'all, It's just like what @ExpBalSat said, it's because of the backslashes in the names break them. I changed the file name and it works now. "   For me it was the solution. Realy annoying if it doesn’t work for you 😕  
    • Here is the solution to using the Eterna 55 file simulation LUTs in Davinci Resolve.   In general, do not use the FLog2C to film simulation LUTs as they are not supported by Davinci Resolve for two reasons: 1) Davinci Resolve does not support Fuji Gamut Color Space and 2) Davinci Resolve does not support FLog2C gamma.  Instead, use Flog2 which is supported by Davinci Resolve.  Here is an example.  Let's say that you want to use Classic Chrome simulation.  Do the following: Complete your color grade and use a CST to get to Rec 709. Add a node.  Use a CST to convert from Rec 709 to FLog2.  Output Color space is Rec 2020 and Outout Gamut is FLog2. Add a node.  Apply the FLog2 to Classic Chrome LUT Create a combination node from node in steps 2 and 3. Apply a Key to the combination node and adjust the Key Output Gain to get the amount of the combination node that you want applied. So that you do not have to do this over and over again, generate a LUT for the combination node.  Remember to turn off all other nodes before generating the LUT. Hope this helps others. Don  
    • Thanks for the insights. I think it's really hard to make a decision without having the two side by side! 
×
×
  • Create New...