OK Fuji, now you have my attention.

I have used Fuji cameras in the past (and love them), but only for stills. Today Fuji announced a very interesting camera for video and hybrid shooters. The new X-H1 shares the same 24-megapixel APS-C X-Trans III sensor from the popular X-T2, but adds a number of important improvements like five-axis in-body image stabilization and log capture.

The X-H1 records both DCI (23.98 and 24p) and UHD 4K (up to 30p) with Rec.2020 at 200Mbps, but only at 8 bits.

A cool feature is that Fuji has included specific shutter speed options for video on the X-H1.  For example, instead of  1/25 or 1/50 of a second, users can select 1/24 sec or 1/48 sec.

Slow-mo fans have to stick to 1080p, but can enjoy up to 120fps.

Key Specifications

• 24MP X-Trans APS-C sensor
• DCI and UHD 4K capture at up to 200 Mbps
• Slow motion 1080 (from 120 and 100 fps)
• 5-axis in-body image stabilization (rated at 5EV)*
• 3.69M-dot OLED viewfinder
• Touch sensitive rear LCD with two-axis tilt
• Twin UHS-II-compatible card slots
• Anti-flicker shooting mode
• Internal F-Log capture
• 24-bit audio capture
• Eterna/Cinema Film Simulation mode
• Timecode
• No-blackout continuous shooting
• Wi-Fi with Bluetooth for constant connection

Here are the complete specs on Fuji’s website.

First Impressions

I was told that the X-H1 is limited to 15 minutes of 4K shooting, but I haven’t test this yet. Even if this is accurate, I don’t believe it is a big issue for most people, unless you plan to shoot interviews or live events.

It is not clear if autofocus work in movie mode, and if it does, how fast and accurate it is. We’ll see.

I’m also curious to see if the new internal microphone is better than previous models. Apparently there’s no headphone jack on the body itself, so you will need the additional battery grip to monitor audio. Again, this isn’t a huge deal as the additional battery power is always welcomed when shooting video, but it’ll cost you an extra $300 USD.

Fuji also announced two new cinema lenses, the Fujinon MKX 18-55mm f/2.9 ($4,000 USD) and the Fujinon MKX 50-135mm f/2.9 ($4,300 USD).
The X-H1 (body only) costs $1,900 USD (less than the Panasonic GH4, Panasonic GH5s and Sony A7S II), and $2,200 USD as a kit with the battery grip.

I’d like to see real life examples of Fuji’s “Eterna/Cinema” Film simulation and F-Log footage. If you find a good one, please share the link.

All the items announced today should start shipping in two weeks.

If you are a stills shooter getting into video, considered watching some of our many free online tutorials.

Essential Filmmaking Gear – Lean and Mean.

On our previous equipments lists (here’s #1 and here’s #2) we covered the essential gear while working with small crews constantly on the move. Today, we’ll list the equipment we usually bring on “Lean and Mean” jobs. On these jobs we usually spend more time at each location, and don’t need to carry everything on our backs, so we can add a few bigger/heavier tools.

List #3 – Lean And Mean

Hybrid or Video Only Assignments
Small Crew On Location But With Some Time To Prep
Example: Maragas Winery Commercial.

In addition to everything on List #1 and List #2 we typically would add:

1. If the job doesn’t require stills I’d swap the GH4s or the Sony a7R IIs for a couple of Canon C100 Mark II bodies (Amazon and B&H). At this point we are seriously considering investing on a couple of Sony PXW-FS7 (Amazon and B&H), but we are waiting to test it against a Sony PXW-FS5 (Amazon and B&H) to make the call.

2. Depending on the job we would add another camera movement tool, like a Glidecam (Amazon and B&H) or a Ronin (Amazon and B&H) or even jibs and dollies. It depends on many different factors.

3. In terms of lighting I usually bring three 1×1 Bi-Color LED Panels (Amazon and B&H) with batteries (B&H) and two Chimera 1×1 Lightbanks (Amazon and B&H) with grids (B&H). That pretty much covers my basic needs. Another option is a Fiilex kit (Amazon and B&H), which I like a lot, but it is too expensive for most people.

4. A Sekonic Color Meter (Amazon and B&H) and a Sekonic Light Meter (Amazon and B&H) are pretty much mandatory.

5. Most of my grip gear is made by Impact simply because it is inexpensive, versatile and durable.  I consider essential a few accessories like adjustable Gaffer Clamps, and Collapsible Reflector Holders (Amazon and B&H) which also double as mic or light stands. These very inexpensive items effectively function as additional crew members.

6. We would bring a second Tenba Transport Rolling Tripod/Grip case (2 total) (Amazon and B&H), add a second Benro S8 tripod (2 total) one more Benro S4 monopod (2 total), and a very compact and portable slider (Amazon and B&H) that would take the same fluid head from the S8 tripod and/or the S4 monopod.

Here’s the complete list of what we are currently using.

Well, there you have our essential gear. There isn’t a perfect gear list, just like there isn’t a perfect camera, but the most essential items have been working great for most assignments. Of course, there are those long and complex projects that require everything and the kitchen sink. If I forgot something essential, please let me know here!

We also have produced several Filmmaking courses on Lynda.com, two of them specifically designed for photographers transitioning into video. Check them out!

Essential Filmmaking Gear – The Moving Crew.

On a previous article we covered the essential gear for solo gigs (List #1). On this article, which we call List #2, we’ll concentrate on the equipment required for longer/bigger hybrid assignments where I’ll have a few more people fulfilling different roles (gaffer/grip, second camera/editor, BTS camera/DIT). We are usually moving from place to place very quickly, so traveling light is essential. When possible, I added direct links to Amazon and/or B&H for your convenience.

List #2 – The Moving Crew.

Hybrid Assignments
Small Crew Constantly On The Move
Example: Panasonic Anamorphic.

So, in addition to everything on List #1 we’d typically add:

1. In addition to my sharpest and heaviest lens, Canon 70-200mm f/2.8 (Amazon and B&H), we’d also bring a Sigma 18-35mm f/1.8 (Amazon and B&H), and a Sigma 24-105mm f4. (Amazon and B&H). These are the same exact lenses I used last year on another one-man Hybrid project in Istanbul and Europe. To make the Canon and Sigma lenses work on the Panasonic GH4 we’ll need a Metabones Speedbooster (Amazon and B&H).

2. Having more space and more people to carry bags, I’d also add a Varavon cage (Amazon and B&H) to each camera body. I like these cages a lot!

3. An Atomos Shogun (Amazon and B&H). We previously wrote an article explaining why this is a must have item.

4. As many SanDisk Solid State Drives (Amazon and B&H) for the Atomos Shogun  as possible.

5. A USB 3.0 reader for the Solid State Drives (which are generously included in the Atomos Shogun kit).

6. A second 6TB G-Tech External Hard Drive (Amazon and B&H).

7. Two RodeLink kits (Amazon and B&H). They are great for interviews and to record clean sound while doing on-camera tutorials or even getting some BTS. The RodeLinks are extremely light, small, reliable and fairly inexpensive.

8. In addition to the monopod (on List #1) I’d add one Benro S8 tripod (Amazon and B&H).

9. I’d add one more Tenba Roadie Hybrid bag (2 total) (Amazon and B&H) for the most expensive, essential and fragile items, namely cameras, lenses, Shogun and hard drives.

10. One sturdy Tenba Transport Rolling Tripod/Grip case (Amazon and B&H) for light stands, tripods, grip, cables, etc. My favorite one is Tenba’s Rolling Case 38”

What else are we using? Here’s the complete list.

As you can see, anyone involved in run-and-gun, single-operator scenarios like weddings, events, corporate shoots, documentaries, red carpet premieres, product launches, sporting events, video podcasts, and even student films could benefit from these lists, so feel free to share them.

We also have produced several Filmmaking courses on Lynda.com, two of them specifically designed for photographers transitioning into video. Check them out!

Coming next week: List #3 – Lean and Mean. Working with a small crew but having a bit more time to settle down and prep. Bring the big guns!

 

Essential Filmmaking Gear – The Solo Gig.

In aviation, an MMEL (Master Minimum Equipment List) is a categorized list of on-board systems, instruments and equipment that must be operative in order to flight. Any additional equipment not included in the MMEL may break temporarily, but it won’t make the aircraft inoperative. For several years I’ve been attempting to create my own MMEL for “hybrid” productions. My simplest definition of “hybrid” is “productions or assignments where a skeleton crew (from one to four people) is required to produce, direct, shoot video and stills, record sound, and even edit. Most of these assignments will be happening on location, more often than not over several days.”

Like it or not, these gigs are becoming increasingly popular. It sounds crazy and indeed, being on the field trying to wear so many hats at the same time can be extremely stressful. The keys to make these projects run smoothly (and even fun) are simple: invest as much as possible in pre-production, bring only the most essential gear, know your equipment well, and be decisive.

Regarding gear, a substantial challenge is how to pack and travel as light as possible while carrying a full production and post-production setup that is literally on your back, so “essential” in my book is something you will use all the time, not “maybe, just in case, what if.”
Over time, we have created three “lists of essential items”, depending mostly on the crew’s size. When possible, I added the product’s link to Amazon and/or B&H for your convenience.

List #1 – The Solo Gig

Hybrid Assignments
One-Man Crew
Example: Japan.

When working and traveling alone, a single carry-on backpack (like a Tenba Roadie Hybrid bag) contains every item I’ll need for up to three days, except some clothes and toiletries that will go on a smaller backpack the gets checked in or shipped in advance. 

Hardware & Software:

1. A small, light and versatile Camera (“Cam A”) to shoot video. In the photo I have a Panasonic GH4 (Amazon and B&H), but I also like the Sony a7R II (Amazon and B&H).

2. A second camera (“Cam B”) to capture stills and B-roll, ideally identical to Camera A. Having the same brand, model and firmware can save you a lot of time in post. Plus the batteries, chargers, media and lenses are the same.

3. I like to carry a third (even smaller) camera for location scouting and behind the scenes stills. My weapon of choice is the Fuji X100s (Amazon and B&H). A compact camera is especially handy after a very long day, when I don’t want to carry more gear but still want to capture a few night scenes of nice-looking dishes during my evening meal. Here’s my original X-100s review. Believe it or not after all these years, I’m still using (and loving) this camera.

4. Two or three lenses. In this case I’d bring a Lumix 12-35mm 2.8 lens (Amazon and B&H) and a Lumix 35-100mm 2.8 lens (Amazon and B&H). I like these lenses because they are the equivalent to a 24-70mm 2.8 and a 70-200mm 2.8, but extremely small and light, yet very sharp and fast (2.8 all the way.)

5. For sound I’d bring a field recorder like the H4n (Amazon and B&H) or a more current model and smaller version like Tascam’s DR-05 (Amazon and B&H) to capture interviews and my own production notes.
While like the versatility of the H4n, it is bulky and too slow to start up, so we are considering something newer like the Zoom H1 (Amazon and B&H). I probably would also add at least one Rode VideoMic (Amazon and B&H) to capture soundscapes and decent scratch sound for interviews. And of course, we need to add good headphones to our audio package. (Amazon and B&H).

6. Two (2) G-Tech 1TB external portable hard drives (Amazon and B&H) and one (1) compact, super fast and awesome 6TB G-Tech External Hard Drive (Amazon and B&H). And by the way, I ONLY trust G-Drives, even if they fail every 14years.

7. A 15″ MacBook Pro (Amazon and B&H) with Adobe’s Creative Suite (Amazon and B&H) and Shot Put Pro. Here’s an article on how we use this software to backup our media on location.

8. A small tripod (Amazon and B&H). This thing is worth its weight in gold. I’ve used it for time lapses, low angle shots, as a handheld rig, car mount, microphone stand, and even to attach small lights for quick interviews. Priceless.

9. Benro S4 Video Monopod (Amazon and B&H). It’s small, relatively light, and sturdy. Works great.

10. A variety of Tenba Tool Boxes (Amazon and B&H) to pack all the batteries, chargers, cables, adapters and other small accessories. At first, they might seem a bit bulky but having everything neatly organized and protected is worth it.

11. One of my favorite photo bags ever, the new Tenba Shootout (Amazon and B&H). It is small enough to meet carry-on size limitations, but large enough to fit my most fragile and essential items. Plus, it is extremely comfortable.

12. In terms of lighting, for these assignments I try to use mostly available/natural light, but I always bring a 5-in-1 collapsible reflector (Amazon and B&H)

13. Two ND filters are essential when shooting daylight exteriors. By the way, we recently found out how to save $250 per filter.

14. Media pouch with ten 64GB SD cards (Amazon and B&H).

15. X-Rite’s Color Checker Passport Video (Amazon and B&H). If you get into the habit of using for a few seconds during production, it will save you hours in post. Guaranteed.

Miscellaneous Items:

1. Obviously, the most important tool if you are crossing any borders: the passport. This website compares the “power” of passports from many different countries, and, as Americans, we are blessed to have the most powerful one.

2. My good ol’ Columbia jacket/vest has been traveling with me to more than 40 countries. It has lots of pockets, a hoodie, and because it has a self-stowing pocket, it sometimes doubles as a pillow on the road. A priceless item, to be sure.

3. Media credentials which sometimes (but not always) can give you special access, get you discounts and the most important part, allow you to travel with some heavy or oversized gear without paying a fortune. Here’s a link to Delta, American, and United Media Baggage policies.

4. A hat, sunglasses and sunscreen — truly essential items.

5. I like to dress in layers and in dark colors when shooting on the road. Black hides dust and stains very easily. A cashmere sweater is worth its weight in gold, well perhaps even more.

6. I always bring gloves unless I’m going to the Caribbean in July, comfortable shoes, and plenty of granola bars.

What else do I bring with me? Here’s the complete list.

As you can see, anyone involved in run-and-gun, single-operator scenarios like weddings, events, corporate shoots, documentaries, red carpet premieres, product launches, sporting events, video podcasts, and even student films could benefit from these lists, so feel free to share them.

We also have produced several Filmmaking courses on Lynda.com, two of them specifically designed for photographers transitioning into video. Check them out!

Are you working with a small crew constantly on the move? In that case here’s our List #2 – The Moving Crew.

Life after Photokina: Fuji’s retro sexy X-E1.

 
During Photokina Olympus, Panasonic, Sony and Fujifilm announced new mirrorless systems. Fuji has not one but two new cameras, the X-E1 and the XF1. The X-E1 is noticeably smaller than the X-Pro1, but it retains the same Leica-esque retro rangefinder design.

The quality of the EVF is amazing, the grip is very comfortable, and the overall size-to-weight ratio is excellent. The X-E1 is available for preordering on Amazon for $900 body only or $1,400 with the 18-55mm f/2.8 lens.

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