The recently released camera called the Fujifilm X-E4 shares many of the traits of their lower brethren but also from the higher-end models in a compact package. It ditches the better viewfinder for a small 2.36 million dot EVF that makes it a bit hard to see your composition but that also allows the camera to be smaller and more stylish than the beefy SLR style Fujis out there.
The Fujifilm X-E4 Slow Motion feature is the same as found on cameras like the excellent Fujifilm XS-10 which is a 120fps or 240fps full HD component that records in camera. Why are we not excited? well, the quality is lower than expected with some aliasing and moire characteristics that are so last decade. When are manufacturers going to offer the same 1080p quality at all frame rates instead of relegating the 120fps and 240fps modes to the lower bitrate and detail bin?
The Fuji X-H1 just announced does a lot of things right; It has a 200mbps 4k codec in UHD / DCI, 120fps Full HD which from the initial looks of it looks gorgeous and it finally has the 5-Axis Stabilizer on the sensor 5.5 stops worth that had eluded Fuji cameras for two years now. It even has a new Eterna color profile which makes it easy to color correct without being too flat or too processed.
However, the X-H1 is based on the same 24MP X-Trans APS-C sensor found on the X-T2 which while overall good, it has problems with color moire and fine textures due to the processing on the unconventional RGB pattern which has 4 adjacent green pixels and differs quite a lot from Bayer sensors. See this article from PetaPixel comparing both technologies here. But as far as video mode is concerned it looks to be a good contender to options like the GH5 and Sony 7 series.
Leica has announced the TL2. It is an APS-C camera with a milti-touch capable LCD screen, 4k video at 30fps and interfaces like USB 3 and HDMI for monitoring or playback to TV. It caught our interest because it also offers 1080p 60fps and 1280 * 720p HD at 120fps which is a real slow motion spec.
The camera is spartan but in the Leica Style, elegant and sharp. It is built to use Leica L Mount lenses but can also use the enormous array of Leica glass out there in the M and R mounts using optional adapters. As to why you would buy a $1,950 Leica pocket camera and then attach a lens that is as expensive or several times the cost of the TL2 for a less than ideal combination, is left for further discussion. However, if you are a Leica M owner with the craving of a smaller body; the TL2 may just fit your needs.
Announced just last week the Sony PXW-Z150 gets a lot of right for the low end pro video market. It has 4k 4:2:0 as many in the competitive price range of $3,595 MSRP. It has 4:2:2 1080p 10 bit at 50mbit which is a good surprise and it seems to be carried to the also included 120fps full HD 1080p slow motion mode.
The sensor is of the stacked kind and it is 1″ sized, the same as the ones in the RX100 IV and RX10 II from Sony which are really good at slow motion for a low price. However those full specs are not carried through in the high frame rate mode or HFR. It maxes out at 120fps 1080p instead of 240fps on the RX series in the 1k range and the FS5 which is a tad more expensive than the Z150.
Panasonic has released the specs of a new smaller version of their Varicam professional video camera with an S35mm sensor. The Varicam LT is the low cost version of the Varicam 35 which has higher end specs at a significantly higher price. The Varicam 35 has a 4k mode that allows up to 120fps at full 4k resolution while the Varicam LT has less power at a maximum of 4k 60fps.
The LT is mostly identical after that 4k downgrade in the rest of it’s capabilities with dual native ISO of 800 ISO and 5000 ISO for extremely clean image quality at those native ISOs. The Sensor itself is built for those opportunities that need higher sensitivity but also allow to shoot at reduced sensitivity for bright conditions. This is great news for the use of the high frame rate feature. The inclusion of EF mount and PL signify the seriousness of the product for an installed base of videographers and film makers with a growing arsenal of Canon and PL glass instead of Panasonic only lenses. They also state that EF lens compatibility will need to be tested and they will not support it directly.
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