- All right, we're off on another adventure.
Thank you for joining us.
And check this out! A Fuji film camera.
This is my first time shooting on Fuji.
This year, I wanna try to expand my horizons
on different cameras I try
that's outside of Sony and Cannon.
This and the Nikon Z9, like a bunch of you guys
have requested that I check it out.
And by the way, thank you to our sponsor DJI
for sponsoring this episode.
This is the RS3 mini.
- Love that you're trying to walk and vlog
on this trail.
- Why?
- Like look it's all rocky! - Look, rocks and it's
all poop too?
And I'm like dual-wielding cameras.
Luckily the RS3 mini is so lightweight
that it's not, you know, you like how I
plugged in our sponsor?
Lightweight! - Shameless.
- That is why I like it!
But anyways, this is the Fuji Film X-H2s
and this is not a new camera.
It's been out for a while so it's definitely
it's not one of those flashy new products.
But what they do have going for them is Fuji Film's been
making films since the thirties, and these days
most of us are shooting with digital sensors
because, first, it's way less expensive
than shooting on actual film and it's
just faster and just overall simpler.
But as good as these digital sensors are,
there still is that film-look
that a lot of us want to try to achieve.
So I am curious if Fuji Film has been able to take a lot of
what they've learned throughout the decades of making film
and been able to apply some of that to this digital sensor.
So right now we're filming at 6.2K and H265
And what's even more impressive is that this camera can
record 6.2K in ProRes internally in a 3x2 open gate.
But right now I'm filming an F-Log2 to get the most amount
of dynamic range.
And I have all image stabilization turned off
because I have the gimbal.
Now in F-Log2 the minimum ISO is at 1250
which is where I'm at right now.
I actually have a ND1000 on there and that's how I'm able
to open up to an F-14.
And this will be an interesting test to see how the
auto focus is working here.
I could turn this around and does it detect my face?
Oh, yeah. So focus is on me.
So, I mean, it seems like it's usable auto focus but man,
look at these mountains up here.
These are insane.
You know what that means?
- [Carrie] (dramatic vocal sound)
- Thank you for doing that sound, Carrie.
You're the best.
- I got you!
- This is just my 3.5-inch but check it out.
New 03 air unit in there so I don't have to attach
another camera off top.
Now I only got one battery so let make this count.
(dramatic sweeping music)
Hey, this is by far the biggest dive I've ever done.
(dramatic sweeping music)
Oh, I'm still falling. Geez.
(dramatic sweeping music)
Woo hoo!
Oh, that was fun!
That was a long dive.
It just, was just, like falling.
Falling.
Check the watch.
All right, so now we went ahead and turned on Ibis.
I'm on the 18mm Prime right here, but this is an APSC
so there's a crop factor I think around 1.5
so this 18's like a 27mm.
We're staying at the Cosmo, because it's supposed to be
a really great dog friendly hotel
and we got hooked up with a pretty awesome room.
Apparently.
- I'm scared we'll never wanna stay anywhere else.
Wait, we have a hallway?
- [Jean] Except for the lights flicker. Look at that.
Can I get some flicker-free lights in here,
in this fancy hotel room?
Good thing here in the menu I have this flicker-less option
and just like the Panasonic I now have
fine control over my shutter speed.
Synchronize that with the light so I don't see
the flicker anymore.
- Oh my gosh! Oh!
(Jean laughs)
Holy crap.
- [Jean] Oh, snap!
- [Carrie] Oh, oh my gosh! You almost lost it.
- Almost! What if it just went 'swoop!'
- Do we share this with somebody?
- [Jean] No.
- What the hell is this?
Running track up here. We're just run back and forth.
- [Jean] How's the Ibis is the real question.
- This feels much too luxurious for us.
- [Jean] Yeah.
- But you know who it's not too luxurious for?
- [Jean] Peta. (laughs)
- Peta!
- [Jean] Peta's just like, "Finally. I'm home!"
I'm definitely getting a backdrop
for the set back home, here.
So this would be perfect.
Another thing that's nice about the bottom plate from the
gimbal is that I can just go ahead and put it on here
'cause it's Arca Swiss and this actually even fits
in the peak design.
Like the shoulder strap backpack thing.
Just gotta make sure I'm level, here.
So we got that horizon line, which is useful.
Take off the ND filter, close down the lens
so that we get everything in focus.
I am wishing that there were more exposure cools though.
I mean like I've got this like little meter
right here could turn on Zebras, but, no false color.
Another thing that's really nice about this menu is that
I have a lot of control over the bitrate over my H2-65
'cause I'm about to just record at 6.2K for over an hour.
So I want to just be able to control how big of a file
that is, and since there's not that much going on
in the frame, I think I could probably just do this
at a low data rate.
Even at 50mb per second an H2-65 is always just
surprisingly decent.
So, I'll go ahead and just let it roll now.
And it's already time to check out. Man, that,
I don't wanna leave.
I was just absolutely loving the view.
I wanna stay here all the time.
You get the same view from like Caesar's Palace
and the Bellagio but the Cosmopolitan has this balcony.
But first impressions of this Fuji film.
I do like the look out of it.
I've been shooting everything in F-Log2 and converting
it over to the Eterna color profile.
Soft color and rich shadow tones
suitable for film-look movie.
It feels pretty neutral. It's not super contrasty
and saturated and the shadows look nice and soft.
The lens I've been using up to now is the 18mm F/1.4
But there's definitely some other lenses I want to try out.
Like, look at this thing. I love these little
pancake lenses. This is a 27mm F/2.8
That's just we have that smaller super 35 sensor.
When is that? 27 times 1.5 ... around a 40mm, I think.
Yeah, something like that.
Look at this. I love just being able to just like
cruise around with just like this.
If you look at it from the side, you can't even tell
there's a lens on there really.
But this thing though. 50mm F-1.0 ... one-point-zero!
What the hell?
I already got some low light test-shots with it
and it looks pretty amazing.
And I've actually been relying on the auto-focus on here
and I wasn't expecting it to be that good
but so far it's been pretty solid.
Except for when it gets really dark, then it goes to trash.
So at that point I had to go into manual focus.
The thing I'm definitely not too impressed with
is the Ibis emit stabilization.
I mean when I turn it on and vlog with it
it still gives me that harshness of that shake.
But there's another reason why we love DJI Gimbal.
(chilled ambient music)
But what was kind of insane to me is that this
entire setup here, it weighs this much.
I have to weigh it out later. So that's why I-
But considering how lightweight this is,
I'm still recording 6.2K ProRes, 422HQ.
That's gimbal stabilized.
Like that's crazy to me.
But the reason why I decided to go with the RS3 mini
for this trip is because I'm trying to pack lightweight
and minimal for this trip and it pretty much does all
the functions I need it to for solo operation.
And even though right now I have this
tiny little pancake lens on here, it can handle
a proper 24 to 70F-2.8.
Those are not lightweight lenses.
Comes in out under $400.
Can't forget the underslung mode shots.
These motion shots always look so much cooler
if you could add a little bit of parallax.
So getting something in the foreground and
almost having layers.
If you're ever taking some gimbal shots
and you're like, "Why does this look boring?"
Just try to find something in the foreground.
So if I'm filming that car, I'm gonna put this car
in the foreground and just slide around a little bit.
It really adds to that element of motion.
(whooshing vocalization)
- [Carrie] I love the sound effects.
- So whenever I'm doing gimbal work,
I always feel like I'm doing some martial arts
and like Tai Chi. Like. (roars)
Soft. Like heel, toe, step.
Ya. Another benefit of the RS3 mini,
we remove a piece and then we can just go ahead and
remount it vertically, so we can get poor crip video
which is now a necessity.
Makes me sad because I'm definitely a wide screen guy
but now I'm old for saying that.
I guess if I want to stay relevant I need to start doing
this TikTok stuff.
So yeah, if you're curious about the RS3 mini
link's down there in the description
and if you're doing more pro-work and you
wanna accessorize it to be setup bigger
I'll also leave a link to the RS3 pro
and also the 03 air unit.
Why not? That's the FPV camera that I'm flying right now.
All right, we're back home and right now
on top of the Ibis I'm tying out digital image stabilization
which is a 1.1x crop.
When I was recording in 6.2K that digital image
stabilization was grayed out.
But now that I lowered the resolution to 4K
in H265 it popped up.
So maybe this is a better option for vlogging.
Really what I need is a wider lens.
Working with what we got here.
Good morning.
Our number one customer.
Look at what camera I'm using right now.
- I see that!
- [Jean] Fuji Film - H2?
- [Jean] Yeah. - S?
- [Jean] S.
I'll have to ask you about this in a second
but first I need some coffee.
First major upgrade in this industry though.
- Mahlkonig E65 S
Grind by weight grinder.
- [Jean] And I put it in that's it?
What?
- [Barista] It turns green. You can.
- [Jean] Our last one was super loud!
How you guys doing?
Doing good?
- Weather's changing. It's getting better.
So. - [Jean] Yeah.
Sweet!
- Getting more customers in here, which is great.
People like him.
Really cool cameras and stuff.
- [Jean] Oh, you you trying to show me up here?
What is that?
Oh is that, that's the medium format stuff.
- There's an old one but it's still great.
- [Jean] So medium freaking format.
Holy crap! That is ginormous.
- This is a .79 crop I believe, so like less than one.
So reverse crop.
- The reason why I wanted to check out Fuji Film
is because I hear it has like a very filmic look
which would make sense 'cause it's Fuji Film
not Fuji Digital.
But then there's Fujinon. Those lenses are like
freaking fantastic.
- Really long ones that're like
- Yeah, like, the Cabrio 19-90.
You're photo first. Photo over video.
- Yeah.
- [Jean] And do you feel like as someone that used to shoot
a lot of film, do you get similar results
that you're satisfied with the Fuji film?
- Ah, yes. As I started shooting film
like, film just got more expensive and more expensive.
That was like, you know, I could just buy
this Fuji film camera and emulate all of the film stocks
that I was shooting.
I think it has like a 16-bit raw file coming outta here.
Which is crazy. So you can manipulate shadows
and highlights super well.
But just the baked-in film simulations
that come out of Fuji film.
The colors that they end up rendering to a jpeg
it just is so tasty.
But there's actually a app and a forum.
It's called FUJI X WEEKLY.
It's like a conglomeration of all these film recipes
and all the settings to get different looks
from different film stocks in your Fuji film cameras.
So you can check that out.
- There's kind of like a whole community dedicated
to like achieving specifically the film-look.
Can you send me a few of the photos you've taken
with this camera and I'll just put them on the screen.
- [No. 1 Customer] Of course.
- [Jean] Look at these beautiful images.
I don't even know what we're looking at right now
but later I'm gonna edit in some photos.
So wow. Beautiful!
In video, obviously, if I want to shoot and log
I have F-Log and F-Log2 but I feel like what they need
to do is create those film emulations and
have a bunch of LUTs that you could just apply
to this F-Log2 footage.
That way you could just shoot F-Log2 and then still have
the film emulations.
- Oh, I wasn't thinking about that.
- That would be cool.
- Yeah!
- But I wonder if I could turn off the log
and shoot with a baked-in look.
Which I probably wouldn't really do because I
- [No. 1 Customer] I think you can.
- [Jean] I like to maintain the flexibility,
but here let me try it.
I'm gonna turn off the log.
- [No. 1 Customer] I think the Eterna film simulation is
like their go-to video film simulation.
- Yeah 'cause if I shoot F-Log2 the primary LUT that I can
download off their website is the Eternal LUT.
So almost all this footage has just been F-Log2 converted
over to Eterna.
- There you go. Okay.
So, yeah, I can apply it to video.
The only downside is it's not baked-in.
It's flexible.
- [Jean] I think it's baked into your video files.
- Yeah.
- I like the warmness of this nostalgia one.
Like if I wasn't planning on shooting an F-Log and grading
this would be pretty nice.
- This one was taken on the GFX.
That one was a raw photo.
So that was a little corrected out of camera.
This one not on the GFX, but still pretty.
- [Jean] Where'd you take this on?
- [No. 1 Customer] That is actually on a MIA 645 Super.
So that's medium format film.
- [Jean] They both kind of look like film.
- [No. 1 Customer] Yeah.
- [Jean] So, yeah.
That was cool. - That was the goal.
- [Jean] It's almost like a milky look to it.
- [No. 1 Customer] Yeah. Right. That's like a...
- [Jean] The GFX renders highlights
specifically really well.
- The last one.
- And then we go into the bathroom here, so.
- 50 megapixel black-and-white JPEG straight ahead of GFX.
Alex's photography right here.
- [Jean] Where does that go?
Does that go here Instagram or what?
- Pretty sure that goes to my website.
- This is a Mamiya RB67.
Started my whole film obsession.
- [Jean] This is also medium format?
- This is medium format 6x7 negative.
It's so much money through this camera
is the reason why I bought a Fuji film GFX.
- [Jean] (laughs) How much does it cost
to take one photo with that thing?
- Oh, one photo with processing? 2-dollars. 2-fifty a photo.
- [Jean] So you gotta be very intentional
with every photo, huh?
- Super intentional. If you guys wanna look
through the viewfinder. - [Jean] Ooh. Let's see here.
- If I move the camera right, you're gonna see it go left.
- [Jean] Oh! Huh.
- And you're looking directly off of the mirror.
- If you take the photo on your Sony, are you like
"What the hell is this? Ew."
- Not, well, no.
It just takes a little more work to get there.
- [Jean] Yeah.
And then over here we have Frank.
Who just bought a Sony!
Finally, you switched. - No, no, no, no
- [Jean] Oh, you didn't? Okay.
- Cannon R6 mark II, and I'm loving it right now.
- [Jean] (laughs) Dude, you must be excited.
You get the Canon. - I'm jazzed. Yeah.
- So you're treating us
I'm the Sony and Panasonic guy.
You're the Cannon guy.
- And you're the Fuji Film.
- That's me.
- We need a Nikon, dude.
- [Both] Yeah.
- [Jean] This is Povia Standard.
You look very colorful.
- Oh, thank you.
- So if you're just trying to get a image just
straight outta camera, you don't have to
do any sort of processing to it or anything
but then you can adjust it.
This is kind of like the JPEG of shooting video right.
Now, this is bleach bypass.
I'm liking this one.
This is just pro-negative standard.
It's just very, kind of calm, but still it's like
it's like saturated but not super saturated.
Classic Chrome.
So we do also have 4K120 and full HD at 240
but both of them do have somewhat of a crop.
But we could do full HD 120, with no crop.
Kind of curious how that looks.
Whoa. Don't fall.
Dang. 1-point-4.
- On a medium format sensor.
- [Frank] Yeah. - It's crazy.
- Well, that depth of feel is like extra shallow. Yeah.
- Like literally I could get like part of your
eye in focus and then nothing else.
- It is cool just having the look baked
into all these shots when you're previewing it.
And you take it with JPEG and raw.
So if you ever decide, "Oh, I don't want
that black-and-white" you could go back and recover it.
- Yep.
- [Jean] Dude, the colors on this camera are
looking really nice, here.
- Yep. Fuji Films color science, during golden hour.
(chef's kiss)
- This is pretty cool right here.
- [Jean] Yeah. I'm actually waiting for the R50 to come in.
I'm testing that out cause it's just like
the budget version.
- Yeah, yeah!
- Episode on that coming soon.
- Going black-and-white here.
- [Frank] Oh, you got your Zebras on?
- Yeah. I gotta use Zebras 'cause there's no, like
false color or waveforms.
I really like waveforms.
That's one of the things that's nice about Panasonic,
'cause you get waveforms.
- This guy has false colors.
- [Jean] That has false colors?
- Yeah, in here. - [Jean] What?
Oh dang! You have false color in a Canon R6?
Dang! - That's crazy, huh?
- [No. 1 Customer] Well I've seen, that's funny
'cause I'm filming
in black-and-white so you actually can tell.
- [Jean] Now we're at nostalgia.
- It goes away when you hit the record button but
- [Jean] Oh, it's all good.
- Nostalgia! Look at those colors.
- [Frank] That looks good.
- It looks pretty good, huh?
- [Frank] Yeah, yeah, yeah. - So like this looks
color-graded already, almost.
It is definitely fun playing with these
different profiles though.
I don't even know if they're technically color profiles.
They're like film simulations.
It sounds so much cooler.
- They're like filter customized.
- It could just be filters but 'film simulation'.
It sounds so much cooler.
Classic Negative. Definitely feels kind of dark.
Classic Chrome makes you look like a badass, Frank.
- Thirteen.
- I am a badass. - [Jean] Classic Chrome.
(laughs)
- What are you talking about, man.
- [Jean] Not when you're on Vivid.
- I'm not a badass.
- [Jean] You don't look as badass anymore. No.
You look very vibrant.
- Like a regular person.
- [Jean] Yeah, no. Black-and-white.
- You always look like a badass
in black-and-white, no matter what.
- [Jean] Oh my God we have Sepia on here.
- Oh.
- (laughs) It's like the first filter on like
every old-school camera
You know, it's like look! We have filters! Sepia.
And it just looks like dirt.
I'm sure if it was used right it'd be kind of interesting.
- You could never use Sepia right, man.
- All right so we went ahead and sent
the camera back to Fuji Film.
So thanks so much to them for letting us try out the camera.
I had a great time with the camera and I may or may not
have flown it on a FPV drone even though
it's not covered under our insurance.
(drone whirring)
Come on. I had to try it out, okay.
I hear it has a really fast readout speed, so
basically, unless your sensor is a global shutter
like the Red Komodo it's probably a SeeMo sensor
that gets scanned from the top down.
Kind of like that TikTok filter.
SeeMo sensor is basically a much faster version
of this which you usually don't see but if you do
some fast movements or whip pants then you start
to see those straight lines kind of get bendy
and get that jello effect.
So the sensor readout and ProRes and 120-frames per second
was cool but not a super ideal drone camera
because of that Ibis.
Vibrations that come off the drone.
It just doesn't play very well with Ibis.
Even if you turn off the Ibis.
One of the things I really like about canning cameras and
Panasonics is that you could actually grab the playhead
and just scrub towards the end or beginning.
This menu is more like the Sony where I gotta like
fast forward and then find the spot I want to play back
and then just play like that.
It's like a VCR almost.
Oh by the way. What do you guys think of the new view
from the studio?
I'm gonna skip ahead to the fountain show, here.
I don't have to wait for 20-minutes like I do in real life.
This was recording straight for almost two hours or so
before the battery died.
The camera didn't overheat on me at all
while I was using it but you can get this attachment
for the back of it which is a fan
which helps cool it off faster, in case you're planning
on doing some heavy work with it.
So one of the things I've been contemplating is if I want to
take this desk and move it back to its original spot.
I mean, I moved it here because I can just look
straight at the camera it's just a little bit more practical
but I think I like, aesthetically, the other one better.
So I'm gonna start moving stuff back.
But what did you guys think about the footage
out of the Fuji film?
I would say at first I didn't notice a huge difference,
but definitely when I did a little bit of manipulating
to, especially, like the Shadows, I definitely saw it there.
I didn't really do any color grading to the Fuji footage.
I just kind of did a little bit of exposure corrections
because my first batch of footage was not the best exposure.
So I just did some corrections.
But other than that I just left it alone.
But the biggest thing is those film simulations,
those are cool.
The actual film has a ton of dynamic range.
So since they're trying to emulate that
they don't really clip off the highlights.
I feel like if I had the time to just kind of go in
and just get comfortable with the simulations and really
dial them in the way I want, may not be a terrible option.
And when it comes to the low-light performance,
considering that it's a Super 35 sensor,
perform pretty good.
But I will say when I was filming a lot of this,
I was like "Man, the low-light on this camera sucks."
It's because when you're looking at the back of the screen,
everything looks super grainy.
And I was like "Oh, this is gonna look terrible."
But then I look back at the footage
and it looks much cleaner.
So for whatever reason on the back of the screen
it looks awful.
But then you put it on here and it looks great.
I think this is roughly the placement we were doing.
Of course I have to change the camera angle 'cause I have to
slouch like this, to make sure I have this headroom here.
Or is this a new creative composition?
You know like Mr. Robot?
How they did like the wackiest compositions
like they would compose shots like this.
Anyways, I think I'm gonna finish setting this up
when I have somebody else sitting here for me
so I could be behind the camera.
It's always hard to try to set up a shot when you have
to go behind the camera and look at it
and then come back-and-forth.
Stand-ins are useful.
Well, why don't I go ahead and wrap this up
with a few comments.
Johnny says,
"Can we take a moment to appreciate Jean's
full-on sprint mode?
Tom Cruise ain't got nothing on you."
Okay, so Carrie thinks I've run like Tom Cruise
and she's always said that for some reason.
Hey, Carrie!
- [Carrie] You changed everything!
- Yes, I did. Again. Are you surprised?
- (laughs) No.
- Here you go.
We're talking about Tom Cruise run.
- Oh my gosh!
I've always told you, you run like, you're my Tom Cruise!
That's one of the reasons why I fell in love with you.
- I don't know if that's a good thing, or bad thing
but Jean doing the Tom Cruise-sprint for the crowd.
Total Tom Cruise-thing there.
You've got the Tom Cruise-run.
- Thank you people for the validation
I've been telling him for years.
- Except for I can only do the Tom Cruise-run for like
four and a half seconds before I'm winded. (laughs)
Robert says,
"That slypod looks awesome."
It it is pretty cool.
Honestly, I've had that thing for a while
and I just haven't really figured out a good use for it.
But when you can attach a gimbal to the tip of it,
it definitely makes it a lot cooler.
But the thing that was frustrating to me
was that you control it through the app
and it would constantly disconnect from the app.
"Your screen window is so convincing."
Ah, thank you.
Except for it's not calibrated yet.
I'll get to that eventually.
"One day YouTubers will come with detachable heads so they
can film themselves."
Oh, my gosh. That would be amazing!
I was just saying how it's so hard to be your own stand-in.
If I could just pop my head off and throw it
behind the camera and I just wander around.
Oh, my god.
I can actually do that with FPV goggles.
But that is all.
Click on stuff if you want more
of this annoying guy right here.
And see you guys later.
Have a good day.