I'm a DP for around 10 Years now and let me tell you this: don't stress about this too much. Cinema cameras are all very similar, If you know one you can operate other ones with almost no problems. So it definitely is a good choice to get used to it. But there are so many different cameras on the market and while the operation is quite similar, you still have to get used to the menu system etc. Especially because "time is money" and nobody wants to wait on set. But I think most DPs know the feeling, for example I worked a lot with Red in my early days and then had my first shoot on an ARRI, I felt a bit anxious about it, but for every camera there are for example walkthroughs for the menu system, base ISO etc. If I have a Job with a Camera I don't know, I just watch those 2-3 Times, read the Manual etc. until I'm comfortable with it. Renting one prior to the shoot is the best option of course, but it's almost impossible to do that with a Alexa35 for example, because you can't just pay 1500$ to test things out. But to round this up: most DP's don't know all the camera systems that are out there and even if you buy the URSA, you maybe will get the same situation again with a different camera. But it's not rocket science and if you follow the steps above, you will be fine :)
I wouldn't sell up because of this. Rent a cine camera a few times, make some short films on it, use those to promote your experience and invest in something more like that when the time is right. That's what I'm thinking of doing. Like others have said, you get used to a BM and the next call you get will want you to have had experience on an FX6!
Yeah i feel that. You and others make a great point about how others preferences will always be changing. I have no plans to sell anytime soon just speaking to down the road. Glad to hear you are thinking about doing something similar.
Fam, it's not the camera. Yes the xh2s has it's down falls and yes it's not a production camera. But to think the xh2s was going to get you big budget jobs is a little naïve. On the other side, it sounds like the client didn't fully understand the roll of a DP. The visual execution is more important than any camera you put on set. So they missed out on your creative approach to execute the job. But all the best to your journey bro!
Hey Josh! Opened up my comments and was honestly so surprised to see that this video made its way to your feed as you are someone I definitely respect in the video / filmmaking / youtube world! Genuinely love your videos and find them super helpful! The vast majority of my youtube content revolves around getting the most out of what you already own and encouraging people that they don't need to buy the next thing. Was hoping to just add a little nuance to that conversation by sharing an experience that seems to contradict that. Appreciate you watching, adding to the conversation and also speaking to the client side as well :)
@@blasepivovar haha I've been a subscriber to your channel for months now! Always great content from you bro and a relaxing to watch. But I totally understand. I didn't mean to come off as bashing 😅 (sorry if I did) but I do look forward to see where this takes you next.
@@CineDailies thanks bro! wow had no idea you were a subscriber. happy to have you here and glad you enjoy the style of vids. still trying to figure this youtube thing out :)
I've shot a lot with the red one, red epic, ursa 12k, ursa 4.5k and I've always noticed how much a cinema camera limits the creative process. If i did a test and pitted my Fujifilm XH2S against the cameras just mentioned, I'm pretty sure I could get more creative shots in less time with the Fujifilm XH2S than with any cinema camera. The weight and handling of a cinema body are simply points where each shot takes longer. It's just great to have a small camera with which you can quickly try out creative angles and ideas without having to rebuild the setup. I shot a whole film with the XH2s last year - in the heat, in the rain, in the snow - I wouldn't have dared to do all that with my red epic.
If i may say something, Blase Rent " a proper cinema camera" Shoot some personal, authoral projects with it, make some youtube videos with it,compare it with your XH2s and make some money from youtube while gaining experience. Then, keep your faithfull XH2s and, from time to time, rent a red, an ursa, an Arri and make youtube videos with it; This way you can practice and gain confidence with those cameras, while profiting from youtube. I would love to watch these videos and i am loving watching your content! Please do keep up the good work!
Fujis XH2S is a great camera and i would love to see it being compared to cameras like the Red Komodo, Arri Alexas, the Ursa 12k and Canon C line up. I would love to see a series where Compare Cinema Cameras to yours Fuji XH2S!
Hey man, one of the DP's in my area has only ever owned a pocket 4k. Over the past couple of years I've seen this dude grind his brain out and is now shooting with the alexa 35, lf, venice 2... etc etc. He's now one of the 'go-to' guys for multiple directors and production companies in this area. And guess what, he still has only ever owned a pocket 4k! I found that super inspiring and just wanted to share that with you. There will always be jobs that you lose to others but that could just be due to finances on the productions side of things!
That’s 100% true but it also makes perfect sense that they would prefer someone who has experience with the camera they are using. It’s about confidence on set and workflows. Blase is a talented creator and I’m sure he’s a skilled DP, but if you are trying to fit someone into a production pipeline, consistency in the equipment (and having people who are experienced in using said equipment) matters. I’m sure Blase could have figured it out and done a great job, but their reasons for having some hesitation are legitimate.
Praise God!! As I am starting my career as a 🎥 🎞 film maker. I had the budget for an x-s20. I ordered it last week. It will arrive on Saturday. I thank you for this perspective. I don't feel lesser than.< I am at the beginning with a beginner's budget. I hope to grow and get to the camera you currently have after getting client work. Thank you for all you share and proper perspective. 🙏
Thanks so much for the kind reply and encouragement! Glad that it was a helpful thing to hear even if you find yourself in a different spot in your career. Appreciate your input in the conversation!
I think you nailed the 'issue' right on the head- it is perceptions more than reality when one compares most currently available cameras at this point. The technology has gotten so good that almost any camera you pick up can compete image-wise with the original Arri Alexa in terms of resolution (Arri wasn't 2.7K)/ dynamic range/ gradeability - and it was and is still used on many major productions (The Last of Us this year being one example...) While the newest Arri and Venice are definitely a huge step-up at $70K price -points the difference between a $2K and a $20K camera nowadays are usually minimal at best practically. FYI - as a budget option the Sony FX30 is a great choice- gets on into the Sony Cine line (and menus/setup) without breaking the bank- I am loving mine!
Thanks so much for your thoughts. Such a great point and yeah camera technology is actively still getting better / more affordable. Appreciate your encouragement and glad to hear you are loving the FX30!
Honestly I own a RED Komodo and I have two XH2S. If it weren't for the brand name of RED cameras I wouldn't really care all that much, so I feel your sentiments. I too thought owning a bigger brand name or cinema camera would help me get clients. Honestly, it's a nice selling point but at this point my 12 years of experience matters more than what camera I'm using. When I show clients the side by side comparison they are astonished to know the XH2S can keep up. It's the wizard not the wand. The fuji is perfect for social media, small music videos, photos, or sneaking documentary shots. There's a right camera for the right job. Sure a cinema camera might be down the line for you, but it's not necessarily gonna get you more jobs. Take more jobs for free with the cameras you want that experience with and then when that moment comes you'll have that experience not at the expense of your clients. My AC did that and now she gets a ton of jobs working with ARRIs because she has the proper experience. Knowledge is the true goal.
Feel that. Really appreciate the advice. Yeah there definitely is a balance as gear is not everything, but at the same time it is something. While the XH2S is an amazing camera for so many jobs (social media, small music videos, photos, docs), my hope here was to speak to why i'm not attached to it long term as a primary A cam if I am seeking out some higher level projects. Hence the situation where you own a Komodo and the XH2S! I think what you are saying is great and totally agree with those suggestions! Hopefully that makes sense but I think we are pretty much on the same page :)
This one is definitely a new style of video for this channel as I am opening up what I knew would be a slightly controversial ‘can of worms’ - not for the sake of controversy but just to open a conversation that i haven’t seen many speak to on youtube. I currently have no active plans to sell my Fujifilm cameras. A more wordy and less clickable title for this could have been: 'Why I Will Stop Using the XH2S as my Primary A Cam Down The Road' :)
Rent a "proper cinema camera", shoot some videos for youtube, make a video comparing said cinema camera to your Fuji. Profit while having fun and learning a new camera !😃 😉
As an aspiring filmmaker just starting out in my career, I think your videos are, and have been, so helpful in keeping that core idea of great things don't have the be made with the most sophisticated or expensive gear, it's what you do with what you have being the thing that counts. I use an XT4 personally, and with a handle, 1 zoom lens, and a cheap mic, you've been an inspiration to me and I've come to create some cool things.
Hey Sean! That is so cool to hear. So glad that my videos have been helpful to you in some way. No plans of stopping making videos about using budget friendly gear even if I ever were to upgrade my camera. Thanks for letting me know :)
That’s part of business… having access and experience with currently desired tools. When we work for ourselves, he camera choice is purely personal and does not carry much weight. When we work for production companies, we are fitting into their existing workflow. I had the exact same situation, I was beyond happy with my c70 but was continually requested to fit in a Sony workflow. So I made the jump and now am acquiring all of those jobs. It was a great investment to go with the fx6. And now I can take projects that require knowledge of either system. I really liked this video, man. Looking forward to the next one. I also make blogs detailing my switch in case you are interested to see the ROI.
Thanks for being vulnerable and sharing your experience, Blase. I want to add that trust and confidence are vital to relationships. This isn't about cameras but trust and confidence. The other DP that was hired instilled more trust and confidence because of their experience with the U12KP. This is similar to a prospective client's trust and confidence when looking at a portfolio with the same work they desire instead of looking at an awesome portfolio that contains different work. i.e., weddings and corporate videos.
Hmmm, point is valid. But watch yourself going over to that terrain and then feeling how this Fujifilm was a much better piece of equipment than whatever else you bought. What happened to you was something that even though you had the camera experience, some other factors might have applied. I can assure you, it was not you… it was them.
Thanks for the thoughts. Yeah could have been any number of other factors at play as well, that one just seemed the most apparent in the communication between me and the client. Appreciate the encouragement :)
As opposed to you, i just bought an X-H2s. I shoot mainly alone, sometimes with an assistant and a boom operator, i truly believe the workflow of shooting with minimal crew and gear enables for much faster shooting times. It simplifies everything and you end up with a more controlled set, less stress, less things to worry about, and just get straight to the point. I'm a director, but also do the cinematography, soundtrack, sound mixing, editing, coloring, and scripts for my personal projects. I do sometimes hire a producer to help get the funding for the project and deal with all the boring production stuff, depending on the dimension of it.
Oh man, yes totally! Love that! That is primarily how I have used this camera as well and hoped to speak to how well it works in those environments in my long term review! Hopefully you didn't hear me say that I am unhappy with the camera and that I am looking to get rid of it. I am just speaking to down the line why I will choose to eventually get something different. Love that you are getting such great use out of the XH2S and appreciate you chiming in with that perspective!
@@blasepivovar Not at all, i totally understand your reason for selling it. But i think you'll miss how compact and easy it is to shoot with the X-H2s and other cameras with this form factor, the possibilities are endless. You could also look into a BMPCC6k as your A camera. It's kind like a half way between a hybrid and full sized cinema camera. There's also rumours about blackmagic releasing a new compact camera this year with a different design from their previous BMPCC's. That being said, your choice to rent a blackmagic URSA is a good way to have experience with the camera for future gigs, also do rent other camera brands if you can. If i were you I'd keep my X-H2s and rent other cinema cameras to familiarize yourself with them. Keep in mind most top DP's only have experience with rented cameras, they usually don't own any.
@@hyperborean2576 Yeah totally know there will be some annoying trade offs that come with moving to a different camera. Definitely not set on anything out there, especially the ursa. Like I said towards the end, I am going to wait and see what cameras come out and also see how that affects the current used camera market. Really appreciate the thoroughnes in your replies :)
This video earned a sub it shows a very real side to the industry im hoping to get into which is filmmaking and photography. Thanks for the vulnerability. Although I wouldve told them I have experience using the camera (and silenty rent one beforehand lol )
Hey, at least they got back to you. I have been ghosted by many potential employers in the past that it almost seems normal in this business. Good on you for being honest. Fakery easily shows when asked to perform.
I advocate owning a cinema camera but keep in mind, there will always be a company that asks that you use or have experience with a camera that you don’t have or haven’t used. There another great DP here on youtube named Gian Carlo, he used to own the Ursa Mini and he had had to sell and upgrade to the Sony Venus because productions looked down on him for have an Ursa Mini, many not even knowing what it was. So, things change depending on the production and what they ask for - I wouldn’t get too caught up on it, but that’s just me. I think keeping the Fuji and saving up for a dedicated Cine-Cam as your main body would work out for you in the long run. Whether it’s (the xh2s) used as a Bcam, or the cam that you use for smaller things like weddings.
I definitely respect that you made the decision you did, even though the client didn't go with you, it's what I would have done too about telling them I don't have the experience but would be willing to learn it. I think you did the right thing 👍 As others have said I wouldn't sweat it too much. Renting and gaining experience with the "proper" cinema cameras is probably a good route like others have said, or who knows what new cinema cameras will be out in a few years 🤔 I hear you about how clients sometimes want a certain camera, unfortunately there's really not much we all can do about those clients, it seems that it's just a reality with that part of the industry, not that it's necessarily bad but it definitely can impact a lot of good filmmakers. I'm sure you could make a product just as good if not better than what they got with either your XH2S, or even just quickly learning the cinema camera. In a sense it's their loss 👍 If money permits, I think down the line getting a higher end cinema camera wouldn't be a bad idea, but I'd hang onto the XH2S too (then again I tend to be very sentimental with some of my gear personally lol). Or switch the Lumix like I did :D lol that might be more of a lateral move from the XH2S to something like an S5II but who knows, maybe they'll release an awesome cinema-camera level update in the next few years that offers great value like the S5II(X) did when it released.
appreciate that! yeah good learning / growth moment for sure. want to be candid with those here on this channel! nothing else out on the market is grabbing my attention at the moment but we’ll see :)
I think your Fuji videos are among the best out there. While I hate seeing you dump Fuji down the road, I'm sure whatever camera you buy. Next, you will do it justice.
Thanks so much! That is a big encouragement for sure. Didn’t necessarily say I would dump Fuji! I see myself owning one of their cams for the long haul :) I guess a better / less clickable title could have been: “Why i will stop using the XH2S as my primary A cam down the road” as that is mainly what i was speaking too
I hear you. But, you also find yourself say after investing in a Sony FX6 that they need someone with Red experience or if you bought a Red they will need someone with C500II experience. You can’t take every job. Some you will have to say no too or lose due to your camera package that you own. So, just rent these cameras and create some spec projects with them to show that you have the experience working with them. I have the XH2S and C70 but also have BM camera experience, Komodo experience, FX3 and FX6 experience…so don’t let the industry dictate the system you love to shoot on. Good luck out there man!
I am the owner of X-H2s, GFX50SII, and Sony FX6. I really have photo gear, video gear, and hybrid gear. Carrying cinema gear every time is very tiring. Sometimes When I need to go out and shoot video but want to carry less weight, the X-H2s come in. For reliability, interviews, full-length films, yeah, that's when you want to use cinema body. I wish Fujifilm made cinema body because it has the "color science" that everyone love.
If this is your only Acam, and you mainly shoot films and docs(you are serious and professional, you know what functions you need and why you need them), you will find it has a wonderful sensor but alot of quirks in its system and ergo deisgn, it lacks a lot customizable buttoms, it doen't have waveform or shutter degree, and its fan is not built in(quite stupid to use it right now, but you need for reliability), lcd is hard to work with hdmi cables, etc, its still a hybrid still camera overall, with a beautiful sensor though. Going or a c70 / RED Komodo or Ursa gives you fluent workflow and all functions you need, and they are easier to handle with a cine set or easyrig that kind of setup. However, owning a Komodo and S1H right now, I am selling my S1H and get back XH2S, becasue I love the texture of video from this sensor, and I love fuji cameras for taking stills. In the future I will be runing a Komodo, a C70, a XH2S, and maybe a X100 VI, since I have a cinema camera, I just expect XH2S to be a Bcam and travel cam, and it works brilliently as a hybrid cam that has wonderful color and look and feels like a ture camera rather than a broing tool (sony, canon, nikon, panasonic, etc). I totally argree with your choice, and I wish you give fuji a chance for bcam or your stills for future.
thanks so much! not sure if you saw my long term review, but I do indeed love this camera! sensor and image quality are amazing. i will be keeping a fuji for sure, just not sure if it will be the xh2s long term. for sure not as an A cam and that was the main thing I was speaking to here. would love to be in a position someday where i can own a komodo, c70, xh2s and x100v! sounds so fun. thanks for the encouragement and engaging in the conversation!! :)
@@blasepivovar I jumped in the field with a X-T3 rigged up and was fortunate to raise money to eventually have my sets, that's why I have a love and hate relationship with fuji, and eventually sold my xt for s1h as both more cine features (efficiency, redundancy) and field recognitions, eventually after I got my a cam I would love to bring my fuji back for stills, bcam, and fun, hopefully Fujifilm will listen to us and make improvements/recognitions, their fujinon cine lenses are well known，and something like bmpcc6k has great market potentials. Good luck man, love your camera language, your color grade, and your honesty！ Wish Fujifilm will not make us such a difficult decision in the future
Blase, take a look at the Kinefinity MAVO mark2 6K S35. I think you'll like it and won't need to sell both of the X-H2s maybe just one. Cause this MAVO shares either the same sensor or a very similar one that pairs nicely with the Fuji. Love your channel, and the direction you've taken over the year. Lmk your thoughts once you research. Blessings.
For some clients the 'LOOK' of being professional or simplicity of saying they are using 'Certain Cinema Brand' to people paying the big bucks, is just important. Sad to say. Doesn't mean the XH2S isn't a phenomenal camera and CAN produce the same results, it's just the unknown for the execs. If you are making films for yourself, for RUclips, for indie stuff or just self publishing, ANY decent 2023 camera can get amazing results and be fully sufficient. But when someone else is paying your wage, they can have that 'PROFESSIONAL CINEMA CAMERA' idea in their head, whether it truly matters or not. Either way, keep creating and have fun :)
Thanks Paul! Appreciate your thoughts here. Yeah that is what I was hoping people would hear me say and hope that came across in my review + this follow up video :)
Sadly, optics and equipment will affect many jobs you come across. A company I used to freelance for was interested in the FX9 upgrading from the FS7, and I tried to convince them to go with the FX6 since it does everything they needed it to do and they could save six grand and cut down on weight. They opted for the FX9 because they wanted a bigger camera because clients are more impressed by a larger size camera which i think is absolutely ridiculous but I totally understand because it's a truth of the industry. I too just recently sold my XH2S, but I did it because my career started transitioning more towards photography and I needed higher resolution so I upgraded to the GFX system. I really hate that I didn't get to use my XH2S enough, because I absolutely loved it, but in the end I never used it because every time I got hired for a job they either wanted a specific video camera or I needed to rent a high resolution photo camera for my photo jobs of which I was getting a lot more of. Don't sweat it, and hang in there. You'll keep getting work and I think the more you make with that camera and the more you can show clients what that camera looks like, the easier will be to convince them that you should have them hire you. After all, it is you they're hiring, not the camera.
Thanks so much. Appreciate you taking the time to share. Feel that for sure! Yeah gear is just going to change as we grow and as the jobs we get change. Glad my heart in the video made sense to you :)
Hey Blase, it's a shame you didn't get that gig. You are a talented DP, I like your footage and lighting. Blackmagic lent me the UMP 12K when it first came out to review for a website I was writing for at the time and I shot with it for a month. You would have had no problems operating the camera with just a day or two to familiarize yourself. I totally get why you were honest with the client and I commend you for that honesty but they really missed out by not hiring you. Oh well, their loss. The UMP 12K is one of the simplest and most basic of all of the cinema cameras as far as buttons, menus and operation. Arri and the UMP are super simple and straightforward without too many weird quirks that would sting you. Coincidentally, B&H has had the UMP 12K on sale the past week and a half for BILD Expo for $5,125. Makes the camera even more of a steal than it already is at it's regular price. I think you would actually find the XH-2S more complex to set up and operate than the UMP 12K. The Venice and REDs are a lot less straightforward to operate and their menus are more complex than the Arri or BMD UMP 12K. I would encourage you to keep your XH-2S even if you purchase a cinema camera, it's always handy to have a gimbal or B camera that is small and light.
Hi Blase, absolutely love your videos. I have an advise to ask for. So currently I use xt3 with Sigma 18-35 for all video projects. I mostly do weddings, music videos and occasional web commercials, but I also do a lot of portrait session for couples and families with my Mitakon and viltrox primes. But now I am thinking to upgrade to either Xh2s or Canon r6 mark ii. I absolutely love Fuji colors but I often struggle with auto focus with my 4 year old xt3. So my question is should I upgrade to Xh2s or go for canon R6 mark ii. But i am really worried that I would be spending a lot of money even if I wanna buy adapted EF lenses or I would regret later seeing Viltrox Pro lenses coming for Fuji which would be great for Portrait sessions. Also if I buy Canon I would not have any money for a second camera like EOSR for back up. I mainly want to focus on wedding videos and Portrait sessions for next 2 years and some occasional music videos and web commercials. What do you suggest should I buy ? I really appreciate your time to read my long comment. Means a lot. Been watching all your videos.
Hey man! Thanks so much. Can try and give some advice but is always so hard not knowing your exact situation as there are so many variables at play. I can only offer advice from a video first perspective so here are some things that come to mind: I have no personal experience with the Canon but in my use cases I was really happy with the AF performance with my XT3 and Sigma 18-35 with the Fringer EF-FX PRO II Adapter. I ran my freelance business with that camera for 3 years and a majority of the work in my portfolio was made with that camera using autofocus. When it comes to AF in the XH2S, it has only gotten better but I know for some, it is still not as good as Canon/Sony AF in more demanding/complicated situations. I actively am filming weddings, music videos, doc style projects with the XH2S and it is amazing for those use cases. Super happy with it. If you are filming weddings I think having a backup camera is pretty essential. When it comes to photo, not a ton of advice there. Some people swear by the full frame look / bokeh. Others like me don’t really care too much either way. Last thought might not be what you want to hear, but you could keep your XT3, and keep pushing the most out of it. I still own 2 XT3s and regularly shoot them alongside my XH2S. I would still feel completely confident filming in a professional environment with one. this video from my friend John might also be helpful: ruclips.net/video/8muIXr_wZVM/видео.html
Even with Mirrorless cameras if you don't shoot Sony or Canon you can often be looked down upon. I have a Fuji XT3 and a Sony A73, everyone knows Sony but my Fuji turns heads, but more in a 'what the hell is that camera' way. I also was an early adopter on the Samsung NX1 and even though Samsung abandoned it quickly it still produces a very nice 4K image so I use it as a backup camera, but boy does that start a conversation when I set it up.
And after that, you'll discover many people find Blackmagic design cameras aren't cinema cameras and will ask you to have a Red. And then somewhat, some client tell you Red is just a fancy thing and that you need an Arri. And then anoter client will tell you he only wants a Sony because he wantd to math the color science of his Brother's A7r... and so on ! A client should not buy a camera a result but the style of a Filmmaker or DOP. Period ! They want YOUR style or not, is the only point that matters. And in case, you can rent some cameras. But don't sell the gear you're comfy with. ;)
Well said. Definitely a reality that can't be completely avoided for sure. No camera is going to prevent this scenario from happening in the future as there are so many variables at play with each job. Speaking to other close friends a few steps a head of me in the industry, they have spoken to the unfortunate reality of clients thinking 'big camera = better work.' Something we know as filmmakers is not true, hence there is some reality to 'playing the game.' At the end of the day, I mainly was just wanting to share that I won't own this camera forever and will upgrade as I progress in my career! Appreciate you joining the conversation and sharing that perspective!
As far as buying a new camera, just make sure it makes sens financialy in your area. Here in Paris / France, blackmagic & canon just don't rent that much. It's either Sony / Arri / Red (Sony covering huge chunk of the market). Owner of a URSA G2, it doesn't get any more love.
The key moment here is they went with a DP who knew cinema CAMERAs (plural). It had nothing to do with you being a hybrid user. So sure sell your Fuji and get a single cinema camera, you will lose the next job cause the client doesn't use that brand.
I see what you are saying but in this specific scenario as I said in the video, they actually wanted someone who specifically knew the Ursa. I know the director decently well as we have lots of mutual friends and that is what it came down to for this job. Again, not the biggest deal and just wanted to share with my audience 🙏🏽
For them it didn't sound technical, rather a preference to work with the files in post for edit, color, etc and also closely match their other projects. But yes I agree and imagine the image in the end wouldn't look crazy different.
i thniks most of the dp-s not owned cinema cameras like , red , alexa or sony venice .... not thtas made some one dp to own one ... i always choose cameras for the practical job what I get , and that not means anything what cameras you ownd to your personal art work ...
true. especially more expensive cameras like the alexa. most dp's in my area do own their own gear and bring it on set with an added rental rate. in an ideal world, yes would love be able to use whatever camera is best for the job. until then, just will be upgrading as i go along :)
Me watching this after just getting mine🤣🤣💀💀 EDIT AFTER WATCHING: Wow, I did not realise the camera would cost you a job just like that. But sadly, it does makes sense. The media world of today expects high grade cine cams like BMs, Sonys, Canon C lines, Arris and Reds on set, and anything below that is looked at like a smartphone. In fact I know from my X-H2s and Fuji system (looking to get an X-T4 and or X-S10/20 for B & C Cam), my next step is going cinema camera like FX6 or R5C (love the hybrid ability of that one), but I feel for us newer freelancers and smaller production filmmakers, X-H2s is an absolute killer, with amazing features and versatility for such a little crop sensor mirrorless body. And most of the current gen of mirrorless cameras really are epic, and in some ways FAR better than cinema cameras (autofocus, IBIS, portability, hybrid use, compatibility, ease of use, sometimes dynamic range etc). But once you wish to get to the next level, you need cinema features, functionality and performance, and everybody wants full frame in this game it seems. Thank you so much for opening to us about this! Cannot wait to see what you get and create next!
Thanks so much for your thoughts! Haha... Yeah I intentionally did not include this in my long term review as it is very situationally specific. I think for most people, the XH2S will be all they ever need in a camera. I am definitely very happy with it and have no plans of selling it anytime soon. Was more just speaking to down the road as I continue to grow. Appreciate your input in the conversation!
Imho the fact that clients (no matter if the end client or production crew hiring you) always look at the gear made few of my fellow photographers sell their gear. While I still shoot on my XT3 I really feel the pressure on the set. Size matters and its sad :D I think you should stay with the XH2 and as others say just rent the cinema gear when needed.
Heya, FIrst of all I’m sorry to hear you missed out on a gig because of a “technicality” so to speak. I’ve been there before a few times over the past 10 years I have been working as a DP (especially early on). And I still sometimes get the call that I didn’t get a gig because there is someone out there who took it and brings a full cinema package on board (probably within his day rate, undercutting the market). Chances are they hired for convenience, not vision. So, where am I getting with this? SUre I would say it is good and important as a DP to be aware of and comfortable with all the going camera models at the time. Would I go ahead and sell the camera I own and use a lot of projects and exploration? No. Because the reality is there are different tools for different projects, different scopes. I owned a BMD Ursa Mini Pro, I owned a Red, I shoot a lot of Arri and yet I am currently putting together a small FUji X-H2S kit for myself. Why? Because it fits it my backpack, and allows me to shoot on my own. Cinema Cameras are great for many things but they are not convenient for single shooters.. purely the amount of batteries you need to get through a day is
thanks so much. yeah i really appreciate that perspective! a better, less clickable way to title the video could have been ‘why the xh2s won’t be my A cam forever’ as that was the main thing i was getting at. But for sure, yeah i will always keep something as a lil personal cam even if i decide to get a larger camera package down the road! Appreciate your wisdom!
3:37 The Ursa doesn’t have auto focus, Ibis, is a crop, doesn’t have global shutter, and only can be repaired by licensed blackmagic techs which is a massive issue if you need repairs. Allowing insecurity to make you spend 1000’s because some jackass is a brand whore for a job and a candidate who is more suited for the job being wild is WILD. When you get this Ursa they’re going to tell you they prefer someone in the Sony FX line for another job, and when you get that camera they’ll tell you they want RED. It’s a cycle as no camera is for every one or every project. Bro you are going to cry yourself to sleep at night when you realize the problems to price ratio of these cinema cameras especially Blackmagic which is even on the cheaper side of things 😂😂
Thanks for your thoughts! Hopefully it was clear in the video that I am not buying an Ursa. That was just the camera related to this specific production. Totally am aware not all cinema cameras have the same features which is why I said towards the end that I am not sure yet what I will buy next. But yes, I think you and some others said it correct that there will always be the dynamic of someone preferring a different line over what you own. Feel that.
@@blasepivovarthanks for the reply, to me watching it seemed like you were pivoting to the Ursa. Appreciate the videos on this camera it’s the reason I sold my 6k.
The lesson learned is YES you've been ejected by not knowing the camera. I would have lied and check the camera before hands. If you been shooting for a few years, a camera is a camera : iso, iris, shutter. The rest is codec, framerates and I/O and depending on jobs, you have an AC to take care of it. Don't fear any camera, but don't let clients thinks you are afraid of it. Fake it, especialy for cameras, it's just an easy tool !
feel that. cameras are def not the most complicated of things. totally understand others are going to have different ways of going about things and appreciate you letting me know :)
If they want someone that has experience with a specific camera outside of arri, red, sony, then most people applying for the job is probly lying to them anyway 🙈
I think you said it yourself “proper dp”. Im afraid to say that using a mirrorless camera by definition makes you NOT a proper dp. Use of cinema cameras is so misunderstood by most mirrorless users and youtubers interested in making films. The rental idea is a great shout but it’s prohibitively expensive to do it well and for it to be a truly useful experience that would change the outcome of your first issue about losing the job. Unfortunately producers in professional jobs want an easy and risk free life and as people move away from filming personal projects they will be faced by producers often exactly like this ringing around for a replacement when a valued member of a crew they know and like drops out last minute. These are the rare opportunities that come along to step up to the next level and i am afraid to say that you approached the honesty dilemma like an amateur. A professional would know that learning almost any professional camera package and how to shoot would take maybe 2 hours at most with any camera. The fact that you dont know that means that you made the right decision eventually because you are not ready not technically but mentally. Experience dps are problem solvers and that means that they accept the challenge of the problem. The answer here was probably to say yes to the job and say that you are totally comfortable with the ursa 12k and in the meantime make sure that you become comfortable. So rent it as soon as you put the phone down and learn it. Put that rental fee down to experience. Having the confidence to know that the ursa can be operated by a nutless monkey is part of the experience that you lack. The same would be shooting on an alexa lf. You couldnt get two simpler cameras to use and operate. Of course there are things to know and things to not know and knowing what to stress about and what not to is what makes a dp or any creatively talented person a professional in their field. Being able to make beautiful images on personal projects or low stakes jobs is not really being a professional. Being able to work with any camera and any lens from scratch or any lighting or grip for that matter in a matter of minutes is. Re moving forward, try and get a job in a rental house or do a placement there for free. You will learn so much. What pros use and what they dont. The biggest issue you will have is that you are practicing ever day your faults when you use a mirrorless camera. Like a tennis coach who doesnt address the key fundamentals when trying to get a rec player to have a modern pronating serve, letting them practice their mistakes between lessons is a sure way to improve nothing. Address the fundamentals of being a professional dp. That has nothing to do with getting a great image. That is a given. Its about understanding working with camera systems that are power hungry, heavy, require an ac to focus. And need a tonne of peripherals to sync sound or send feeds to client monitors or a focus puller. Dont rent until you can use at least the 5 most popular netflix approved cine cameras. Then if your next project is a client who wants to shoot on an arri alex min lf with k35s you’ll say sure no problem. And trust me apart from knowing the basics of lens coverage you’ll know how to approach it and problem solve as you go. Its not rocket science and only those that dont know that dont know that. Thanks again for a very honest video.
Hey Ken! Thanks for taking the time to write such a thorough response to the video. While that wasn't really the point I was trying to get into in this video, I think those are some great ideas and appreciate you sharing them in detail. My point was simply that I will eventually sell the XH2S to progress in my career, which it sounds like we both agree on. Everyone has different goals for filmmaking and I can't say that all of mine align with becoming a proper 'cinematographer.' I am definitely figuring it out as I go and simply documenting my experience along the way here on youtube. If you ever wanted to make a video about the topic or something adjacently related to it, I would genuinely be interested hearing more as you seem to have a lot of professional experience that people in my shoes me could learn from :)
@@blasepivovar thanks Blase for your response. I hope i didnt sound overly critical. Clearly you are talented and anyone making a youtube channel is motivated and without sounding and meaning to sound patronising you seem to have the most important quality to be successful as a filmmaker in that you seem genuinely a nice person. Talent and a winning personality do not always go hand in hand. As a filmmaker its really not complicated. For sure it’s probably time I commented less and put some content out for discussion to show that. Check out blaise westropp for some of the best content out there who shows how simple it all is. Take care.
haha good ideas for sure. I personally would opt for keeping my xt3 over the xh2s for long term personal stuff as I am leaning other camera systems. Just don't have the space to own a bunch of cameras so will eventually sell the xh2s whenever I am wanting a new primary A cam
You may want to head in that direction , then rather hire or go out fine sombody who has the camera and do some work probonno and learn , just because one job required you to to use the BM camera you have the feeling or dought , what happens if you are asked to shoot with a red or arri etc ....... , there is alway a reason why you dont get the work , it was not ment to be . Understanding that you somhow have to recoup the money in any new investment . If you start going down the rabbit hole that never ending , it becomes a drug and very addictive. rethink before to do something as next year there is a new model new cost etc . you have a very good camera .
If you are aiming for producing your own content and making a living from it, then you can use what you want. Wouldn’t that be more attractive than making shit other people want you to make? Ideally of course.
@@blasepivovar well clearly there was a line there, you were sad not to get the offer, and its that line you need to be careful with. Outside of your own direction of passion is where the ego can get quite a kick-in, which can really kill your source of creativity all together. Happens all the time.
dude.... you need to get rid of that dumb honesty men.... it has it time and place. many times and places in fact. just not when it comes to money. That was the lesson you learned. the game IS still in place. even though mirrorless can match bigger cinema camera's in image quality, the age old 'status' symbols and 'professional playbook rules' are still key to persuading people with money to hire you. Especially if they know the business and the skills, because then they are aware of the playbooks and 'the rules' and just lean into them to try and 'own' the profession more to the people THEY need to sell themselves to.
thanks for the suggestions. everyone has different values at the end of the day and ways of going about things. i’d rather lose out on a job being honest, than strive to make things happen by lying. losing this job, wasn’t a big hit to me professionally or personally - it simply happened and thought I would share the experience. going back, i don’t think i would do it differently 🙏🏽
@@blasepivovar What a relief 😮💨, also I just got my XH2S and I wanna say thanks for all your content, it’s been so helpful to me since this is my first professional camera and your content really makes understanding using this camera so much easier
haha again, like i said in other comments, a better, less clickable title for this video could have been ‘why the xh2s won’t be my a cam forever’ - totally aware of the incredible capabilities of these small mirrorless cameras and so dope they also are finding places on large projects like the creator.
@@blasepivovarSome people just can't stand the idea of anyone jumping brands. It's depressing, because in a sense, they've never followed you to start with, they were in for Fujifilm. Or Canon, Sony, Nikon... As if you deciding against THEIR brand inherently question the validity of their own purchases. It's kinda sad but any unsubscribe isn't on you. Don't sweat it.
Seriously ... at what point in time does a particular camera suddenly not have what it takes? There most assuredly comes a point of diminishing returns. After a while, just about the only "improvement" possible is the capacity to take the fastest memory card ever made, and to have an internal memory buffer which won't drop dead until your camera battery drops dead. And so many cameras are in many respects nothing more than toys. They might be built like a Sherman tank, and be water proof to 500 feet, but they're still toys.I I worked professionally. I had damn good cameras. But I hardly needed the Ferrari version of everything when the Nissan version still had 90% of the same features but at a price 70% less.
in the first place what makes you think clients will ever consider u as a PRO D.P if u still shoot with all these little camera. or what makes you think ur a. Pro D.P if u can not operate any cinema cameras?
I'm a DP for around 10 Years now and let me tell you this: don't stress about this too much. Cinema cameras are all very similar, If you know one you can operate other ones with almost no problems. So it definitely is a good choice to get used to it.
But there are so many different cameras on the market and while the operation is quite similar, you still have to get used to the menu system etc. Especially because "time is money" and nobody wants to wait on set. But I think most DPs know the feeling, for example I worked a lot with Red in my early days and then had my first shoot on an ARRI, I felt a bit anxious about it, but for every camera there are for example walkthroughs for the menu system, base ISO etc. If I have a Job with a Camera I don't know, I just watch those 2-3 Times, read the Manual etc. until I'm comfortable with it. Renting one prior to the shoot is the best option of course, but it's almost impossible to do that with a Alexa35 for example, because you can't just pay 1500$ to test things out.
But to round this up: most DP's don't know all the camera systems that are out there and even if you buy the URSA, you maybe will get the same situation again with a different camera. But it's not rocket science and if you follow the steps above, you will be fine :)
This is wisdom. Thank u for sharing
I think this comment wins. Appreciate your wisdom and experience. The way you worded this is very helpful / encouraging. Thanks so much for sharing!
and for the example of arri, I am pretty sure there is a dedicated website or even app where you can "play" with the menu of ARRI cams
@@ShangleLPthis ^
Wisdom still holds up
I wouldn't sell up because of this. Rent a cine camera a few times, make some short films on it, use those to promote your experience and invest in something more like that when the time is right. That's what I'm thinking of doing. Like others have said, you get used to a BM and the next call you get will want you to have had experience on an FX6!
Yeah i feel that. You and others make a great point about how others preferences will always be changing. I have no plans to sell anytime soon just speaking to down the road. Glad to hear you are thinking about doing something similar.
Fam, it's not the camera. Yes the xh2s has it's down falls and yes it's not a production camera. But to think the xh2s was going to get you big budget jobs is a little naïve. On the other side, it sounds like the client didn't fully understand the roll of a DP. The visual execution is more important than any camera you put on set. So they missed out on your creative approach to execute the job.
But all the best to your journey bro!
Hey Josh! Opened up my comments and was honestly so surprised to see that this video made its way to your feed as you are someone I definitely respect in the video / filmmaking / youtube world! Genuinely love your videos and find them super helpful! The vast majority of my youtube content revolves around getting the most out of what you already own and encouraging people that they don't need to buy the next thing. Was hoping to just add a little nuance to that conversation by sharing an experience that seems to contradict that. Appreciate you watching, adding to the conversation and also speaking to the client side as well :)
@@blasepivovar haha I've been a subscriber to your channel for months now! Always great content from you bro and a relaxing to watch.
But I totally understand. I didn't mean to come off as bashing 😅 (sorry if I did) but I do look forward to see where this takes you next.
@@CineDailies thanks bro! wow had no idea you were a subscriber. happy to have you here and glad you enjoy the style of vids. still trying to figure this youtube thing out :)
By far the best image on XH2S on RUclips, totally understand the reality of the situation. You're a real one for sharing this one, my man!!
Thanks John but realizing I forgot to swing my mic... Next time
I think that employer missed out on a great opportunity with you. Man keep being you. You’ve given a lot of great knowledge on the Fuji xh2s. Thanks
thanks for the encouragement! glad some of my vids have been helpful
I've shot a lot with the red one, red epic, ursa 12k, ursa 4.5k and I've always noticed how much a cinema camera limits the creative process. If i did a test and pitted my Fujifilm XH2S against the cameras just mentioned, I'm pretty sure I could get more creative shots in less time with the Fujifilm XH2S than with any cinema camera. The weight and handling of a cinema body are simply points where each shot takes longer. It's just great to have a small camera with which you can quickly try out creative angles and ideas without having to rebuild the setup. I shot a whole film with the XH2s last year - in the heat, in the rain, in the snow - I wouldn't have dared to do all that with my red epic.
Love this. So cool hearing that perspective. Thanks so much for sharing! Helpful for sure
If i may say something, Blase
Rent " a proper cinema camera" Shoot some personal, authoral projects with it, make some youtube videos with it,compare it with your XH2s and make some money from youtube while gaining experience.
Then, keep your faithfull XH2s and, from time to time, rent a red, an ursa, an Arri and make youtube videos with it; This way you can practice and gain confidence with those cameras, while profiting from youtube.
I would love to watch these videos and i am loving watching your content!
Please do keep up the good work!
Fujis XH2S is a great camera and i would love to see it being compared to cameras like the Red Komodo, Arri Alexas, the Ursa 12k and Canon C line up.
I would love to see a series where Compare Cinema Cameras to yours Fuji XH2S!
sounds like a great idea. will definitely keep that idea in mind! thanks so much for the kind words :)
if someone has a way to get some of those cameras in my hands that would be awesome
Hey man, one of the DP's in my area has only ever owned a pocket 4k. Over the past couple of years I've seen this dude grind his brain out and is now shooting with the alexa 35, lf, venice 2... etc etc. He's now one of the 'go-to' guys for multiple directors and production companies in this area. And guess what, he still has only ever owned a pocket 4k! I found that super inspiring and just wanted to share that with you. There will always be jobs that you lose to others but that could just be due to finances on the productions side of things!
Love that. Thank you for the encouragement!
I’ve been fired from companies which now no longer exist.
Just because a DP has experience operating a camera doesn’t make them the perfect candidate.
That’s 100% true but it also makes perfect sense that they would prefer someone who has experience with the camera they are using. It’s about confidence on set and workflows. Blase is a talented creator and I’m sure he’s a skilled DP, but if you are trying to fit someone into a production pipeline, consistency in the equipment (and having people who are experienced in using said equipment) matters. I’m sure Blase could have figured it out and done a great job, but their reasons for having some hesitation are legitimate.
Totally fair
Thanks Jordan. Yeah its definitely a nuanced situation / conversation for sure. Appreciate your input
Praise God!! As I am starting my career as a 🎥 🎞 film maker. I had the budget for an x-s20. I ordered it last week. It will arrive on Saturday. I thank you for this perspective. I don't feel lesser than.< I am at the beginning with a beginner's budget. I hope to grow and get to the camera you currently have after getting client work. Thank you for all you share and proper perspective. 🙏
Thanks so much for the kind reply and encouragement! Glad that it was a helpful thing to hear even if you find yourself in a different spot in your career. Appreciate your input in the conversation!
I think you nailed the 'issue' right on the head- it is perceptions more than reality when one compares most currently available cameras at this point. The technology has gotten so good that almost any camera you pick up can compete image-wise with the original Arri Alexa in terms of resolution (Arri wasn't 2.7K)/ dynamic range/ gradeability - and it was and is still used on many major productions (The Last of Us this year being one example...) While the newest Arri and Venice are definitely a huge step-up at $70K price -points the difference between a $2K and a $20K camera nowadays are usually minimal at best practically. FYI - as a budget option the Sony FX30 is a great choice- gets on into the Sony Cine line (and menus/setup) without breaking the bank- I am loving mine!
Thanks so much for your thoughts. Such a great point and yeah camera technology is actively still getting better / more affordable. Appreciate your encouragement and glad to hear you are loving the FX30!
Honestly I own a RED Komodo and I have two XH2S. If it weren't for the brand name of RED cameras I wouldn't really care all that much, so I feel your sentiments. I too thought owning a bigger brand name or cinema camera would help me get clients. Honestly, it's a nice selling point but at this point my 12 years of experience matters more than what camera I'm using. When I show clients the side by side comparison they are astonished to know the XH2S can keep up. It's the wizard not the wand. The fuji is perfect for social media, small music videos, photos, or sneaking documentary shots. There's a right camera for the right job. Sure a cinema camera might be down the line for you, but it's not necessarily gonna get you more jobs. Take more jobs for free with the cameras you want that experience with and then when that moment comes you'll have that experience not at the expense of your clients. My AC did that and now she gets a ton of jobs working with ARRIs because she has the proper experience. Knowledge is the true goal.
Feel that. Really appreciate the advice. Yeah there definitely is a balance as gear is not everything, but at the same time it is something. While the XH2S is an amazing camera for so many jobs (social media, small music videos, photos, docs), my hope here was to speak to why i'm not attached to it long term as a primary A cam if I am seeking out some higher level projects. Hence the situation where you own a Komodo and the XH2S! I think what you are saying is great and totally agree with those suggestions! Hopefully that makes sense but I think we are pretty much on the same page :)
This one is definitely a new style of video for this channel as I am opening up what I knew would be a slightly controversial ‘can of worms’ - not for the sake of controversy but just to open a conversation that i haven’t seen many speak to on youtube. I currently have no active plans to sell my Fujifilm cameras. A more wordy and less clickable title for this could have been: 'Why I Will Stop Using the XH2S as my Primary A Cam Down The Road' :)
Great 👍🏾 way to do it..
Rent a "proper cinema camera", shoot some videos for youtube, make a video comparing said cinema camera to your Fuji. Profit while having fun and learning a new camera !😃 😉
As an aspiring filmmaker just starting out in my career, I think your videos are, and have been, so helpful in keeping that core idea of great things don't have the be made with the most sophisticated or expensive gear, it's what you do with what you have being the thing that counts. I use an XT4 personally, and with a handle, 1 zoom lens, and a cheap mic, you've been an inspiration to me and I've come to create some cool things.
Hey Sean! That is so cool to hear. So glad that my videos have been helpful to you in some way. No plans of stopping making videos about using budget friendly gear even if I ever were to upgrade my camera. Thanks for letting me know :)
That’s part of business… having access and experience with currently desired tools. When we work for ourselves, he camera choice is purely personal and does not carry much weight. When we work for production companies, we are fitting into their existing workflow.
I had the exact same situation, I was beyond happy with my c70 but was continually requested to fit in a Sony workflow. So I made the jump and now am acquiring all of those jobs. It was a great investment to go with the fx6.
And now I can take projects that require knowledge of either system.
I really liked this video, man. Looking forward to the next one. I also make blogs detailing my switch in case you are interested to see the ROI.
that is dope to hear that switch has gone well for you! glad you like the video and appreciate you letting me know :)
Thanks for being vulnerable and sharing your experience, Blase.
I want to add that trust and confidence are vital to relationships. This isn't about cameras but trust and confidence.
The other DP that was hired instilled more trust and confidence because of their experience with the U12KP.
This is similar to a prospective client's trust and confidence when looking at a portfolio with the same work they desire instead of looking at an awesome portfolio that contains different work. i.e., weddings and corporate videos.
Good point. Feel that
Hmmm, point is valid. But watch yourself going over to that terrain and then feeling how this Fujifilm was a much better piece of equipment than whatever else you bought. What happened to you was something that even though you had the camera experience, some other factors might have applied. I can assure you, it was not you… it was them.
Thanks for the thoughts. Yeah could have been any number of other factors at play as well, that one just seemed the most apparent in the communication between me and the client. Appreciate the encouragement :)
One major positive for the xh2s that no one seems to mention is that it's weather sealed. Very useful in the rain!
Indeed 🤘🏼
As opposed to you, i just bought an X-H2s. I shoot mainly alone, sometimes with an assistant and a boom operator, i truly believe the workflow of shooting with minimal crew and gear enables for much faster shooting times. It simplifies everything and you end up with a more controlled set, less stress, less things to worry about, and just get straight to the point. I'm a director, but also do the cinematography, soundtrack, sound mixing, editing, coloring, and scripts for my personal projects. I do sometimes hire a producer to help get the funding for the project and deal with all the boring production stuff, depending on the dimension of it.
Oh man, yes totally! Love that! That is primarily how I have used this camera as well and hoped to speak to how well it works in those environments in my long term review! Hopefully you didn't hear me say that I am unhappy with the camera and that I am looking to get rid of it. I am just speaking to down the line why I will choose to eventually get something different. Love that you are getting such great use out of the XH2S and appreciate you chiming in with that perspective!
@@blasepivovar Not at all, i totally understand your reason for selling it. But i think you'll miss how compact and easy it is to shoot with the X-H2s and other cameras with this form factor, the possibilities are endless. You could also look into a BMPCC6k as your A camera. It's kind like a half way between a hybrid and full sized cinema camera. There's also rumours about blackmagic releasing a new compact camera this year with a different design from their previous BMPCC's. That being said, your choice to rent a blackmagic URSA is a good way to have experience with the camera for future gigs, also do rent other camera brands if you can. If i were you I'd keep my X-H2s and rent other cinema cameras to familiarize yourself with them. Keep in mind most top DP's only have experience with rented cameras, they usually don't own any.
@@hyperborean2576 Yeah totally know there will be some annoying trade offs that come with moving to a different camera. Definitely not set on anything out there, especially the ursa. Like I said towards the end, I am going to wait and see what cameras come out and also see how that affects the current used camera market. Really appreciate the thoroughnes in your replies :)
This video earned a sub it shows a very real side to the industry im hoping to get into which is filmmaking and photography. Thanks for the vulnerability. Although I wouldve told them I have experience using the camera (and silenty rent one beforehand lol )
happy to have you here. thanks for the encouragement!
Hey, at least they got back to you. I have been ghosted by many potential employers in the past that it almost seems normal in this business. Good on you for being honest. Fakery easily shows when asked to perform.
true. i would much rather be told no than get ghosted. thanks for the encouragement
I advocate owning a cinema camera but keep in mind, there will always be a company that asks that you use or have experience with a camera that you don’t have or haven’t used.
There another great DP here on youtube named Gian Carlo, he used to own the Ursa Mini and he had had to sell and upgrade to the Sony Venus because productions looked down on him for have an Ursa Mini, many not even knowing what it was. So, things change depending on the production and what they ask for - I wouldn’t get too caught up on it, but that’s just me. I think keeping the Fuji and saving up for a dedicated Cine-Cam as your main body would work out for you in the long run. Whether it’s (the xh2s) used as a Bcam, or the cam that you use for smaller things like weddings.
great point. yeah will def be keeping at least one of my fuji cameras for the long haul
I definitely respect that you made the decision you did, even though the client didn't go with you, it's what I would have done too about telling them I don't have the experience but would be willing to learn it. I think you did the right thing 👍 As others have said I wouldn't sweat it too much. Renting and gaining experience with the "proper" cinema cameras is probably a good route like others have said, or who knows what new cinema cameras will be out in a few years 🤔
I hear you about how clients sometimes want a certain camera, unfortunately there's really not much we all can do about those clients, it seems that it's just a reality with that part of the industry, not that it's necessarily bad but it definitely can impact a lot of good filmmakers. I'm sure you could make a product just as good if not better than what they got with either your XH2S, or even just quickly learning the cinema camera. In a sense it's their loss 👍 If money permits, I think down the line getting a higher end cinema camera wouldn't be a bad idea, but I'd hang onto the XH2S too (then again I tend to be very sentimental with some of my gear personally lol). Or switch the Lumix like I did :D lol that might be more of a lateral move from the XH2S to something like an S5II but who knows, maybe they'll release an awesome cinema-camera level update in the next few years that offers great value like the S5II(X) did when it released.
appreciate that! yeah good learning / growth moment for sure. want to be candid with those here on this channel! nothing else out on the market is grabbing my attention at the moment but we’ll see :)
I think your Fuji videos are among the best out there. While I hate seeing you dump Fuji down the road, I'm sure whatever camera you buy. Next, you will do it justice.
Thanks so much! That is a big encouragement for sure. Didn’t necessarily say I would dump Fuji! I see myself owning one of their cams for the long haul :)
I guess a better / less clickable title could have been: “Why i will stop using the XH2S as my primary A cam down the road” as that is mainly what i was speaking too
I hear you. But, you also find yourself say after investing in a Sony FX6 that they need someone with Red experience or if you bought a Red they will need someone with C500II experience. You can’t take every job. Some you will have to say no too or lose due to your camera package that you own. So, just rent these cameras and create some spec projects with them to show that you have the experience working with them. I have the XH2S and C70 but also have BM camera experience, Komodo experience, FX3 and FX6 experience…so don’t let the industry dictate the system you love to shoot on. Good luck out there man!
Yeah some others have said the same thing. Still a dynamic for sure. Cool you have experience with so many different systems!
I am the owner of X-H2s, GFX50SII, and Sony FX6. I really have photo gear, video gear, and hybrid gear. Carrying cinema gear every time is very tiring. Sometimes When I need to go out and shoot video but want to carry less weight, the X-H2s come in. For reliability, interviews, full-length films, yeah, that's when you want to use cinema body. I wish Fujifilm made cinema body because it has the "color science" that everyone love.
If Fuji had a Cinema line up, it would be one of the best around. Gotta love them Fuji colors!
So true. Cmon Fuji
If this is your only Acam, and you mainly shoot films and docs(you are serious and professional, you know what functions you need and why you need them), you will find it has a wonderful sensor but alot of quirks in its system and ergo deisgn, it lacks a lot customizable buttoms, it doen't have waveform or shutter degree, and its fan is not built in(quite stupid to use it right now, but you need for reliability), lcd is hard to work with hdmi cables, etc, its still a hybrid still camera overall, with a beautiful sensor though. Going or a c70 / RED Komodo or Ursa gives you fluent workflow and all functions you need, and they are easier to handle with a cine set or easyrig that kind of setup. However, owning a Komodo and S1H right now, I am selling my S1H and get back XH2S, becasue I love the texture of video from this sensor, and I love fuji cameras for taking stills. In the future I will be runing a Komodo, a C70, a XH2S, and maybe a X100 VI, since I have a cinema camera, I just expect XH2S to be a Bcam and travel cam, and it works brilliently as a hybrid cam that has wonderful color and look and feels like a ture camera rather than a broing tool (sony, canon, nikon, panasonic, etc). I totally argree with your choice, and I wish you give fuji a chance for bcam or your stills for future.
thanks so much! not sure if you saw my long term review, but I do indeed love this camera! sensor and image quality are amazing. i will be keeping a fuji for sure, just not sure if it will be the xh2s long term. for sure not as an A cam and that was the main thing I was speaking to here. would love to be in a position someday where i can own a komodo, c70, xh2s and x100v! sounds so fun. thanks for the encouragement and engaging in the conversation!! :)
@@blasepivovar I jumped in the field with a X-T3 rigged up and was fortunate to raise money to eventually have my sets, that's why I have a love and hate relationship with fuji, and eventually sold my xt for s1h as both more cine features (efficiency, redundancy) and field recognitions, eventually after I got my a cam I would love to bring my fuji back for stills, bcam, and fun, hopefully Fujifilm will listen to us and make improvements/recognitions, their fujinon cine lenses are well known，and something like bmpcc6k has great market potentials. Good luck man, love your camera language, your color grade, and your honesty！ Wish Fujifilm will not make us such a difficult decision in the future
Blase, take a look at the Kinefinity MAVO mark2 6K S35. I think you'll like it and won't need to sell both of the X-H2s maybe just one. Cause this MAVO shares either the same sensor or a very similar one that pairs nicely with the Fuji. Love your channel, and the direction you've taken over the year. Lmk your thoughts once you research. Blessings.
Will def check it out! I've seen it around youtube some but would love to know more! Thanks man. Appreciate the encouragement and suggestion!!
Do what you think is best to help you progress in your career 👍
thanks!
For some clients the 'LOOK' of being professional or simplicity of saying they are using 'Certain Cinema Brand' to people paying the big bucks, is just important. Sad to say.
Doesn't mean the XH2S isn't a phenomenal camera and CAN produce the same results, it's just the unknown for the execs.
If you are making films for yourself, for RUclips, for indie stuff or just self publishing, ANY decent 2023 camera can get amazing results and be fully sufficient.
But when someone else is paying your wage, they can have that 'PROFESSIONAL CINEMA CAMERA' idea in their head, whether it truly matters or not.
Either way, keep creating and have fun :)
Thanks Paul! Appreciate your thoughts here. Yeah that is what I was hoping people would hear me say and hope that came across in my review + this follow up video :)
Love those plants, Blase.
Haha thank you 🙏🏽
Sadly, optics and equipment will affect many jobs you come across. A company I used to freelance for was interested in the FX9 upgrading from the FS7, and I tried to convince them to go with the FX6 since it does everything they needed it to do and they could save six grand and cut down on weight. They opted for the FX9 because they wanted a bigger camera because clients are more impressed by a larger size camera which i think is absolutely ridiculous but I totally understand because it's a truth of the industry.
I too just recently sold my XH2S, but I did it because my career started transitioning more towards photography and I needed higher resolution so I upgraded to the GFX system. I really hate that I didn't get to use my XH2S enough, because I absolutely loved it, but in the end I never used it because every time I got hired for a job they either wanted a specific video camera or I needed to rent a high resolution photo camera for my photo jobs of which I was getting a lot more of.
Don't sweat it, and hang in there. You'll keep getting work and I think the more you make with that camera and the more you can show clients what that camera looks like, the easier will be to convince them that you should have them hire you. After all, it is you they're hiring, not the camera.
Thanks so much. Appreciate you taking the time to share. Feel that for sure! Yeah gear is just going to change as we grow and as the jobs we get change. Glad my heart in the video made sense to you :)
Hey Blase, it's a shame you didn't get that gig. You are a talented DP, I like your footage and lighting. Blackmagic lent me the UMP 12K when it first came out to review for a website I was writing for at the time and I shot with it for a month. You would have had no problems operating the camera with just a day or two to familiarize yourself. I totally get why you were honest with the client and I commend you for that honesty but they really missed out by not hiring you. Oh well, their loss.
The UMP 12K is one of the simplest and most basic of all of the cinema cameras as far as buttons, menus and operation. Arri and the UMP are super simple and straightforward without too many weird quirks that would sting you. Coincidentally, B&H has had the UMP 12K on sale the past week and a half for BILD Expo for $5,125. Makes the camera even more of a steal than it already is at it's regular price. I think you would actually find the XH-2S more complex to set up and operate than the UMP 12K. The Venice and REDs are a lot less straightforward to operate and their menus are more complex than the Arri or BMD UMP 12K.
I would encourage you to keep your XH-2S even if you purchase a cinema camera, it's always handy to have a gimbal or B camera that is small and light.
That is good to know! Appreciate it!
Hi Blase, absolutely love your videos. I have an advise to ask for. So currently I use xt3 with Sigma 18-35 for all video projects. I mostly do weddings, music videos and occasional web commercials, but I also do a lot of portrait session for couples and families with my Mitakon and viltrox primes. But now I am thinking to upgrade to either Xh2s or Canon r6 mark ii. I absolutely love Fuji colors but I often struggle with auto focus with my 4 year old xt3. So my question is should I upgrade to Xh2s or go for canon R6 mark ii. But i am really worried that I would be spending a lot of money even if I wanna buy adapted EF lenses or I would regret later seeing Viltrox Pro lenses coming for Fuji which would be great for Portrait sessions. Also if I buy Canon I would not have any money for a second camera like EOSR for back up. I mainly want to focus on wedding videos and Portrait sessions for next 2 years and some occasional music videos and web commercials. What do you suggest should I buy ?
I really appreciate your time to read my long comment.
Means a lot. Been watching all your videos.
Hey man! Thanks so much. Can try and give some advice but is always so hard not knowing your exact situation as there are so many variables at play. I can only offer advice from a video first perspective so here are some things that come to mind:
I have no personal experience with the Canon but in my use cases I was really happy with the AF performance with my XT3 and Sigma 18-35 with the Fringer EF-FX PRO II Adapter. I ran my freelance business with that camera for 3 years and a majority of the work in my portfolio was made with that camera using autofocus. When it comes to AF in the XH2S, it has only gotten better but I know for some, it is still not as good as Canon/Sony AF in more demanding/complicated situations.
I actively am filming weddings, music videos, doc style projects with the XH2S and it is amazing for those use cases. Super happy with it. If you are filming weddings I think having a backup camera is pretty essential.
When it comes to photo, not a ton of advice there. Some people swear by the full frame look / bokeh. Others like me don’t really care too much either way.
Last thought might not be what you want to hear, but you could keep your XT3, and keep pushing the most out of it. I still own 2 XT3s and regularly shoot them alongside my XH2S. I would still feel completely confident filming in a professional environment with one.
this video from my friend John might also be helpful: ruclips.net/video/8muIXr_wZVM/видео.html
I’d keep it. I have old cine cameras like a Sony f3, bmpcc og and an older red. But I also have Fuji system as well. I rent out most of my gear too.
feel that. we'll see down the road what makes the most sense
Even with Mirrorless cameras if you don't shoot Sony or Canon you can often be looked down upon. I have a Fuji XT3 and a Sony A73, everyone knows Sony but my Fuji turns heads, but more in a 'what the hell is that camera' way. I also was an early adopter on the Samsung NX1 and even though Samsung abandoned it quickly it still produces a very nice 4K image so I use it as a backup camera, but boy does that start a conversation when I set it up.
I have a friend who has shoot for Forbes, Ford, Nissan and some other big brands, with an XT3. His work is nothing short from amazing! @vitor_huggs
@@apenasgui6612the T3 is a great camera, even for todays standart. @vitor_huggs is amazing!
this would be a good video to send those folks by my buddy John. Fuji is just not for everyone :) ruclips.net/video/8muIXr_wZVM/видео.html
And after that, you'll discover many people find Blackmagic design cameras aren't cinema cameras and will ask you to have a Red. And then somewhat, some client tell you Red is just a fancy thing and that you need an Arri. And then anoter client will tell you he only wants a Sony because he wantd to math the color science of his Brother's A7r... and so on !
A client should not buy a camera a result but the style of a Filmmaker or DOP. Period !
They want YOUR style or not, is the only point that matters.
And in case, you can rent some cameras.
But don't sell the gear you're comfy with. ;)
Well said. Definitely a reality that can't be completely avoided for sure. No camera is going to prevent this scenario from happening in the future as there are so many variables at play with each job. Speaking to other close friends a few steps a head of me in the industry, they have spoken to the unfortunate reality of clients thinking 'big camera = better work.' Something we know as filmmakers is not true, hence there is some reality to 'playing the game.' At the end of the day, I mainly was just wanting to share that I won't own this camera forever and will upgrade as I progress in my career! Appreciate you joining the conversation and sharing that perspective!
Appreciate your perspective. And amen to you opinion on debt!
thanks cody! always encouraging me out here
As far as buying a new camera, just make sure it makes sens financialy in your area.
Here in Paris / France, blackmagic & canon just don't rent that much. It's either Sony / Arri / Red (Sony covering huge chunk of the market).
Owner of a URSA G2, it doesn't get any more love.
Yeah that is a great point. The rental market in Kansas City is not super saturated but will definitely see how things progress
The key moment here is they went with a DP who knew cinema CAMERAs (plural). It had nothing to do with you being a hybrid user. So sure sell your Fuji and get a single cinema camera, you will lose the next job cause the client doesn't use that brand.
I see what you are saying but in this specific scenario as I said in the video, they actually wanted someone who specifically knew the Ursa. I know the director decently well as we have lots of mutual friends and that is what it came down to for this job. Again, not the biggest deal and just wanted to share with my audience 🙏🏽
for me is not all about camera equipment is all about skills.
feel that
What is the genuine difference in the end result between that cine camera and the Fuji? 1 more stop of DR?
For them it didn't sound technical, rather a preference to work with the files in post for edit, color, etc and also closely match their other projects. But yes I agree and imagine the image in the end wouldn't look crazy different.
i thniks most of the dp-s not owned cinema cameras like , red , alexa or sony venice .... not thtas made some one dp to own one ... i always choose cameras for the practical job what I get , and that not means anything what cameras you ownd to your personal art work ...
true. especially more expensive cameras like the alexa. most dp's in my area do own their own gear and bring it on set with an added rental rate. in an ideal world, yes would love be able to use whatever camera is best for the job. until then, just will be upgrading as i go along :)
Me watching this after just getting mine🤣🤣💀💀
EDIT AFTER WATCHING: Wow, I did not realise the camera would cost you a job just like that. But sadly, it does makes sense. The media world of today expects high grade cine cams like BMs, Sonys, Canon C lines, Arris and Reds on set, and anything below that is looked at like a smartphone. In fact I know from my X-H2s and Fuji system (looking to get an X-T4 and or X-S10/20 for B & C Cam), my next step is going cinema camera like FX6 or R5C (love the hybrid ability of that one), but I feel for us newer freelancers and smaller production filmmakers, X-H2s is an absolute killer, with amazing features and versatility for such a little crop sensor mirrorless body. And most of the current gen of mirrorless cameras really are epic, and in some ways FAR better than cinema cameras (autofocus, IBIS, portability, hybrid use, compatibility, ease of use, sometimes dynamic range etc). But once you wish to get to the next level, you need cinema features, functionality and performance, and everybody wants full frame in this game it seems.
Thank you so much for opening to us about this! Cannot wait to see what you get and create next!
Thanks so much for your thoughts! Haha... Yeah I intentionally did not include this in my long term review as it is very situationally specific. I think for most people, the XH2S will be all they ever need in a camera. I am definitely very happy with it and have no plans of selling it anytime soon. Was more just speaking to down the road as I continue to grow. Appreciate your input in the conversation!
Imho the fact that clients (no matter if the end client or production crew hiring you) always look at the gear made few of my fellow photographers sell their gear. While I still shoot on my XT3 I really feel the pressure on the set. Size matters and its sad :D I think you should stay with the XH2 and as others say just rent the cinema gear when needed.
Feel that. Thanks for the suggestion! It probs won't be my A cam forever but we will see
Heya, FIrst of all I’m sorry to hear you missed out on a gig because of a “technicality” so to speak. I’ve been there before a few times over the past 10 years I have been working as a DP (especially early on). And I still sometimes get the call that I didn’t get a gig because there is someone out there who took it and brings a full cinema package on board (probably within his day rate, undercutting the market). Chances are they hired for convenience, not vision.
So, where am I getting with this? SUre I would say it is good and important as a DP to be aware of and comfortable with all the going camera models at the time. Would I go ahead and sell the camera I own and use a lot of projects and exploration? No. Because the reality is there are different tools for different projects, different scopes. I owned a BMD Ursa Mini Pro, I owned a Red, I shoot a lot of Arri and yet I am currently putting together a small FUji X-H2S kit for myself. Why? Because it fits it my backpack, and allows me to shoot on my own. Cinema Cameras are great for many things but they are not convenient for single shooters.. purely the amount of batteries you need to get through a day is
Sorry was half way through my comment and then hit post :D Not YT doesn’t allow me to edit it :D
thanks so much. yeah i really appreciate that perspective! a better, less clickable way to title the video could have been ‘why the xh2s won’t be my A cam forever’ as that was the main thing i was getting at. But for sure, yeah i will always keep something as a lil personal cam even if i decide to get a larger camera package down the road! Appreciate your wisdom!
If you believe it’s best for business, than you should do it.
We'll see! Appreciate ya!
@@blasepivovar you’re more than welcome
cuz there is fuji xs-20 x2 less
xs20 looks solid for sure
How about spending some time on doing spec work just to show people what quality you could offer with your gear
yep
3:37 The Ursa doesn’t have auto focus, Ibis, is a crop, doesn’t have global shutter, and only can be repaired by licensed blackmagic techs which is a massive issue if you need repairs. Allowing insecurity to make you spend 1000’s because some jackass is a brand whore for a job and a candidate who is more suited for the job being wild is WILD. When you get this Ursa they’re going to tell you they prefer someone in the Sony FX line for another job, and when you get that camera they’ll tell you they want RED. It’s a cycle as no camera is for every one or every project.
Bro you are going to cry yourself to sleep at night when you realize the problems to price ratio of these cinema cameras especially Blackmagic which is even on the cheaper side of things 😂😂
Thanks for your thoughts! Hopefully it was clear in the video that I am not buying an Ursa. That was just the camera related to this specific production. Totally am aware not all cinema cameras have the same features which is why I said towards the end that I am not sure yet what I will buy next. But yes, I think you and some others said it correct that there will always be the dynamic of someone preferring a different line over what you own. Feel that.
@@blasepivovarthanks for the reply, to me watching it seemed like you were pivoting to the Ursa. Appreciate the videos on this camera it’s the reason I sold my 6k.
The lesson learned is YES you've been ejected by not knowing the camera. I would have lied and check the camera before hands.
If you been shooting for a few years, a camera is a camera : iso, iris, shutter. The rest is codec, framerates and I/O and depending on jobs, you have an AC to take care of it.
Don't fear any camera, but don't let clients thinks you are afraid of it.
Fake it, especialy for cameras, it's just an easy tool !
feel that. cameras are def not the most complicated of things. totally understand others are going to have different ways of going about things and appreciate you letting me know :)
If they want someone that has experience with a specific camera outside of arri, red, sony, then most people applying for the job is probly lying to them anyway 🙈
Fair. Totally could be the case 🤷
I think you said it yourself “proper dp”. Im afraid to say that using a mirrorless camera by definition makes you NOT a proper dp. Use of cinema cameras is so misunderstood by most mirrorless users and youtubers interested in making films. The rental idea is a great shout but it’s prohibitively expensive to do it well and for it to be a truly useful experience that would change the outcome of your first issue about losing the job. Unfortunately producers in professional jobs want an easy and risk free life and as people move away from filming personal projects they will be faced by producers often exactly like this ringing around for a replacement when a valued member of a crew they know and like drops out last minute. These are the rare opportunities that come along to step up to the next level and i am afraid to say that you approached the honesty dilemma like an amateur. A professional would know that learning almost any professional camera package and how to shoot would take maybe 2 hours at most with any camera. The fact that you dont know that means that you made the right decision eventually because you are not ready not technically but mentally. Experience dps are problem solvers and that means that they accept the challenge of the problem. The answer here was probably to say yes to the job and say that you are totally comfortable with the ursa 12k and in the meantime make sure that you become comfortable. So rent it as soon as you put the phone down and learn it. Put that rental fee down to experience. Having the confidence to know that the ursa can be operated by a nutless monkey is part of the experience that you lack. The same would be shooting on an alexa lf. You couldnt get two simpler cameras to use and operate. Of course there are things to know and things to not know and knowing what to stress about and what not to is what makes a dp or any creatively talented person a professional in their field. Being able to make beautiful images on personal projects or low stakes jobs is not really being a professional. Being able to work with any camera and any lens from scratch or any lighting or grip for that matter in a matter of minutes is. Re moving forward, try and get a job in a rental house or do a placement there for free. You will learn so much. What pros use and what they dont. The biggest issue you will have is that you are practicing ever day your faults when you use a mirrorless camera. Like a tennis coach who doesnt address the key fundamentals when trying to get a rec player to have a modern pronating serve, letting them practice their mistakes between lessons is a sure way to improve nothing. Address the fundamentals of being a professional dp. That has nothing to do with getting a great image. That is a given. Its about understanding working with camera systems that are power hungry, heavy, require an ac to focus. And need a tonne of peripherals to sync sound or send feeds to client monitors or a focus puller. Dont rent until you can use at least the 5 most popular netflix approved cine cameras. Then if your next project is a client who wants to shoot on an arri alex min lf with k35s you’ll say sure no problem. And trust me apart from knowing the basics of lens coverage you’ll know how to approach it and problem solve as you go. Its not rocket science and only those that dont know that dont know that. Thanks again for a very honest video.
Hey Ken! Thanks for taking the time to write such a thorough response to the video. While that wasn't really the point I was trying to get into in this video, I think those are some great ideas and appreciate you sharing them in detail. My point was simply that I will eventually sell the XH2S to progress in my career, which it sounds like we both agree on. Everyone has different goals for filmmaking and I can't say that all of mine align with becoming a proper 'cinematographer.' I am definitely figuring it out as I go and simply documenting my experience along the way here on youtube. If you ever wanted to make a video about the topic or something adjacently related to it, I would genuinely be interested hearing more as you seem to have a lot of professional experience that people in my shoes me could learn from :)
@@blasepivovar thanks Blase for your response. I hope i didnt sound overly critical. Clearly you are talented and anyone making a youtube channel is motivated and without sounding and meaning to sound patronising you seem to have the most important quality to be successful as a filmmaker in that you seem genuinely a nice person. Talent and a winning personality do not always go hand in hand. As a filmmaker its really not complicated. For sure it’s probably time I commented less and put some content out for discussion to show that. Check out blaise westropp for some of the best content out there who shows how simple it all is. Take care.
Why sell the Fuji? Just learn how to use a proper cinema camera, or fake it until you make it lol. Welcome to the real world
Bingo
haha good ideas for sure. I personally would opt for keeping my xt3 over the xh2s for long term personal stuff as I am leaning other camera systems. Just don't have the space to own a bunch of cameras so will eventually sell the xh2s whenever I am wanting a new primary A cam
You may want to head in that direction , then rather hire or go out fine sombody who has the camera and do some work probonno and learn , just because one job required you to to use the BM camera you have the feeling or dought , what happens if you are asked to shoot with a red or arri etc ....... , there is alway a reason why you dont get the work , it was not ment to be . Understanding that you somhow have to recoup the money in any new investment . If you start going down the rabbit hole that never ending , it becomes a drug and very addictive. rethink before to do something as next year there is a new model new cost etc . you have a very good camera .
Appreciate the suggestions 🙏🏽
If you are aiming for producing your own content and making a living from it, then you can use what you want. Wouldn’t that be more attractive than making shit other people want you to make? Ideally of course.
i am currently enjoying doing both
@@blasepivovar well clearly there was a line there, you were sad not to get the offer, and its that line you need to be careful with. Outside of your own direction of passion is where the ego can get quite a kick-in, which can really kill your source of creativity all together. Happens all the time.
Ursa 12k is not pro camera, arri and red - pro cameras
what about nikon
@@blasepivovar do you want to up to new level? Then photo cameras is not for you.
Should’ve just lied and watched some tutorials big dawg 🤷🏾♂️
Was an option for sure! Not really my vibe / with this particular client I can’t say that would have gone over well
@@blasepivovar understandable👍🏾.. on another note LOVE your channel bro keep up the good work🔥🔥🙏🏾
we one a RED Komodo and i used Red raven and dragon etc .. but i own my X-H2s and never sell it ... just learn how to sell your talent
feel that. would love to own all of those cameras for sure!
Good think the didn’t as for an alexa
i guess we will never know
Nooooo don’t leeeave 😢 lol
not leaving :)
dude.... you need to get rid of that dumb honesty men....
it has it time and place. many times and places in fact. just not when it comes to money. That was the lesson you learned.
the game IS still in place. even though mirrorless can match bigger cinema camera's in image quality, the age old 'status' symbols and 'professional playbook rules' are still key to persuading people with money to hire you. Especially if they know the business and the skills, because then they are aware of the playbooks and 'the rules' and just lean into them to try and 'own' the profession more to the people THEY need to sell themselves to.
thanks for the suggestions. everyone has different values at the end of the day and ways of going about things. i’d rather lose out on a job being honest, than strive to make things happen by lying. losing this job, wasn’t a big hit to me professionally or personally - it simply happened and thought I would share the experience. going back, i don’t think i would do it differently 🙏🏽
😮😮😮 Say it’s not so 😭
not selling anytime soon. eventually tho :)
@@blasepivovar What a relief 😮💨, also I just got my XH2S and I wanna say thanks for all your content, it’s been so helpful to me since this is my first professional camera and your content really makes understanding using this camera so much easier
@@ramonmurray_ Ah man love that! Thanks so much for sharing!! Lots more XH2S vids planned :)
The Creator
Watch that 🍿 movie
Learn how it was shot and will see how silly this video is
haha again, like i said in other comments, a better, less clickable title for this video could have been ‘why the xh2s won’t be my a cam forever’ - totally aware of the incredible capabilities of these small mirrorless cameras and so dope they also are finding places on large projects like the creator.
why I will unsubscribe this chanel.
was it something i said
@@blasepivovarSome people just can't stand the idea of anyone jumping brands.
It's depressing, because in a sense, they've never followed you to start with, they were in for Fujifilm.
Or Canon, Sony, Nikon...
As if you deciding against THEIR brand inherently question the validity of their own purchases. It's kinda sad but any unsubscribe isn't on you.
Don't sweat it.
@@PawFromTheBroons no problem with jump the brand. The problem are videos like this one. Just that.
@@Carlos-mw5rw whats wrong with his video?
It would have made sense to ask them beforehand if they had any camera preferences
Yeah that was a part of the initial convo but was still up in the air
Seriously ... at what point in time does a particular camera suddenly not have what it takes?
There most assuredly comes a point of diminishing returns. After a while, just about the only "improvement" possible is the capacity to take the fastest memory card ever made, and to have an internal memory buffer which won't drop dead until your camera battery drops dead.
And so many cameras are in many respects nothing more than toys.
They might be built like a Sherman tank, and be water proof to 500 feet, but they're still toys.I
I worked professionally. I had damn good cameras. But I hardly needed the Ferrari version of everything when the Nissan version still had 90% of the same features but at a price 70% less.
Thank you for sharing. Not exactly sure what you mean but sounds like we more or less agree? I really like this camera but won't own it forever.
@@blasepivovar - Yes, I think we more or less agree. No question -
in the first place what makes you think clients will ever consider u as a PRO D.P if u still shoot with all these little camera. or what makes you think ur a. Pro D.P if u can not operate any cinema cameras?
Who said pro? Haha