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Terrific content, and yup, I checked the price before you shared it so I did not fall over. Thanks for introducing me to Evoto as I'm reentering media creation to advance my training activities.
As ever it is a matter of a "use case". I was loaned a 50S II and a couple of lenses for a weekend, I do lanscapes quite a lot, still shoot medium format wetfilm in 120 from time to time and was keen to see how this would go... In practical terms I decided that it wasn't for me even ignoring the price tag because the kit is way too heavy to lug around with you, best left in the studio. Also and whilst this may be resolved by future technology, there is a problem with large megapixel cameras where the sheer amount of data that needs to be moved to a memory card will inevitably mean that the camera will never be that quick etc. Finally and at the time I owned a Canon 5DS which is a 50mpx camera but I couldn't see any real difference in terms of image quality which surprised me as I had expected the Fuji 50s II with its larger pixels to outgun a full frame camera significantly, I did shoot them side by side, same shot/conditions.
Good points. This is probably why Fuji GFX had failed in the market, i.e. always stayed stuck its tiny niche, never departed from that. Similar reasons, why also already Pentax' 33x44mm DSLR had failed in the DSLR market back then. Benefits prove to be irrelevant, whereas disadvantages prove to be striking.
I won't disagree with you except for one technical point: the Fuji has way better tonality and DR than the Canon you mentioned. The lenses are probably better, too. Resolution is but one part of the equation. Just my two cents.
Interesting, since I've seen many reviews that state the GFX is the clear winner. Makes me wonder. Did you make any prints? Sometimes its hard to make a real decision when our monitors are only 8 megapixel.
@@derekmacdougall9347 To be honest I don't go in for the 'brand war' nonsense but yes I did print off a couple of images at A3 and there wasn't a clear winner. However this may be down to the lens I was given with the GFX...who knows. However my main negative about the GFX concerned ergonomics and bulk. I am old but I'm not shy of hikinging with my 1DX -2 and a selection of heavy glass but the glass for the GFX is both heavy and bulky plus rather expensive. That doesn't mean that the GFX setup would not work for other people with different priorities.
Bought a few weeks ago and have yet to use it on a job with clients...just a test day here and there. The files are fantastic and great to retouch. The menu makes me want to jump out of a window. ps. Still have my Canon R5....but not sure I'll use more than as a backup system.
such a great video, i was resesarching and eyeing the fuji gfx series but I'll have to hold off for now. It'll be nice to get into digital medium format one day. As a canon shooter, i really hope canon comes out with digita medium format, but it'll probably cost 2x the price of fuji's gfx. can't wait to watch more of your videos!
@@MobiusCoin Sorry the difference is not as dramatic. Since I posted that question, I have reviewed raw samples of the GFX100 II versus the SL3, and they are much closer than you think, because the pixel pitch is very close between the two. Very close in low light and dynamic range. The real difference is in the ultra shallow depth of field on the MF.
A beast of a camera, for sure. I wish they would ratchet down the performance and drop one in the GFX50r form factor. You gotta try that Mitakon 65/1.4 on it if you get a chance. The look is out of this world.
@@SourPlanet You know the problem with Fujfilm GFX, it is the lacking of lenses from any other lens makers. There is also lack of really fast prime lenses, long focal length zooms and primes. In context to your post is this people who use Fujifilm GFX do use and adapt a wide array of full frame lenses to cover the lack of lenses. I have GFX-100S and have 3 native GF lenses, use other lenses to cover the other focal length that is lacking in Fuji GF lens line up.
@@SourPlanet You know the problem with Fujfilm GFX, it is the lacking of lenses from any other lens makers. There is also lack of really fast prime lenses, long focal length zooms and primes. In context to your post is this people who use Fujifilm GFX do use and adapt a wide array of full frame lenses to cover the lack of lenses. I have GFX-100S and have 3 native GF lenses, use other lenses to cover the other focal length that is lacking in Fuji GF lens line up.
I like the concept, but for me, full frame is still my favorite. Being able to pair my mirrorless with a new or vintage manual lens is such a rewarding photography experience. Since all the vintage glass I have my eyes on were designed for 35mm film, Full frame makes the most sense.
Hey Mark - hope you're good! It was too interesting not to give a try - I thought at least. It's clearly giving mixed opinions here in the comments section though, which is always interesting to read. It's a really great camera. Would I buy it? Even if I had the money, probably not. But like I said in the video, I'm excited to see where this technology is headed. 😁
@@TomCalton yeah, I should probably get a loaner first. Have been considering it for use with the NISI Athena lenses, using the vista-vision video format.
In the film days, photography school: if it fits on 127 film then it is small format (40mm wide film, 36mm usable). Starting on a bit under 4"*5" is large format and in between medium format. This huge format sensor is small format.
Any recommendations for a beginner looking to take panning formula 1 pics? Budget is between £1000-£1500 and dont want something gigantic. just want a body and zoom. Guidance on a comfortable strap would be appreciated as well.
You really don't have much of a budget. The issue is finding a good camera lens combination at that price. I would be tempted to look second hand. Maybe a Nikon D500 and 200mm - 500mm f/5.6. This is an older DSLR, but it is a decent 20mp APS-C sensor, which gives you a 1.5x crop, the D500 also shoots at 10fps and the AF is really good for a DSLR. You don't get all the bells and whistles of a mirrorless camera, but you are not spending new mirrorless money, and you are getting a very good camera and lens combination. The biggest negative is if you decide to upgrade you will have to go mirrorless, though you can get an adapter if you decided to get a Nikon. A Nikon D810 might also be an option, but it isn't the fastest camera but it does have a very good 36mp APS-C sensor. Personally, I like an Optech straps (I have a modified optech sling strap). I would also maybe look at getting a monopod and maybe a Speedigimble, which allows the camera to quickly be taken off.
It's temporarily a genius move tbf. Leica is considering joining them for the same reasons. If you can't keep up with the big boys in the full frame league leap frog them, and go bigger. I kind of wish Fujifilm would stop trying to compete with the full frame league with their XF cameras too - and just embrace the niche of high quality compact aps-c gear again. They have a tiny lens mount, so they could be putting out really small pocketable range finder style cameras with serviceable autofocus, rather than beefy full frame sized gear just to never even make the podium in that category.
Thank you for the content, it just so happened that I look back to my old 25iso 6x6 films and I am amazed how teck is changing I wonder how will be a real medium format digital camera 6x6 or 6x9cm camera, I wonder if with the new tech some producer may use the lessons learned back in time and a 6x6cm sensor camera qith fix lens that weights 850g (body + lens total weight) should be awesome to make old engeneers and new engeneer speaking, Me I just like photo and I am impressed at the actual results, but I wonder what will happen in 5-10 years :)
I guess it depends on the medium photos are seen. Are not most of them watched on smartphone screens? And therefore now with higher data speeds video centric apps are dominating the photographic ones when a computer was the medium to reach the world.
large sensor? Sure, but can I have it in 20Mpix MAX??? this megapixel frenzy is just dumb... My latest one is 50mpix and I am really tempted to sell the camera and go back to 10-16mpix cameras.
I can't buy and don't really want to buy. The only really cool and unique thing about it is the improved viewfinder size. Most top end cameras have a 0.5" viewfinder, this has a 0.64" one with x1.0 magnification which is quite impressive.
I just rewatched the whole thing and still can't believe he did that😮! Man... What if I was able to pull the EVF off my Sony A7IV and make it just as tall as my A7C? Well I guess if Sony let you do that it would be a A7CII and those @$$#0!€$ couldn't charge people another $2500 for virtually the same camera with less buttons!😮
@@Cthames123 That's easy to design on a GFX body because the body is large enough to have space for that extra connection. The point of it is also to use the EVF-TL1 tilt adapter. The APS-C cameras are so compact that it's much harder to incorporate this design.
That may be new for Fuji but it is available on a lesser known camera the Sigma L mount cameras that you have to add EVF as a separate component to the modular designed FP and FPL. MF camera from the Hasselblad that use the 102mp sensor (same as the older Fujifilm 100S and 100) has an internal 1TB storage, I hope the other camera makers can follow that or adopt a new cart type interface allow people to use standard NVE-m2 type SSD that people can buy off the shelf from a computer store.
Hey. A few others have had the same issue so I've chased Evoto and they told me that they've fixed the issue with the link and have topped up with accounts which have already signed up so that they now have 30 credits. If this hasn't worked for you, it might be worth notifying their customer support? Hopefully it's all sorted now though - sorry for the inconvience!
No, the GFX100II will not replace a full frame camera. There are a number of things you didn't mention. Firstly, the GFX100II goes down to 12 bit raw when shooting continuously. You did mention the rolling shutter, but the reason behind this is that the GFX100II sensor is not a new sensor, it is the same sensor as the GFX100/100s and Hasselblad X2D and until Sony decides to make a new sensor (Sony has announced a new medium forma sensor which could eventually filter down to the GFX, though that sensor is larger) there are going to be limitations to the read-out speed of the sensor. Also, the lenses are getting bigger than equivalent full frame sensors, and generally you do have a higher aperture. So the two fastest GFX lenses are the 55mm f/1.7 and 80mm f/1.7, which gives you an equivalent of a f/1.3 on a full frame camera, but this compares to a Nikon, Canon and even Sony having f/1.2 apertures. Another issues is the flash sync speed of the GFX100II, which is still only 1/125 of a second, which doesn't compare well to 1/250 of cameras like the R5, a7r5 and Nikon D850, even the Nikon Z9/Z8 1/200. It does even worse against the Sony a1 which has an incredible good 1/400. I am not suggesting the GFX100II is a bad camera, it really isn't, and I am in many ways a big fan of the camera. The AF is much improved, close to the X-H2 image quality is excellent. The GF lenses are great, with GF110mm f/2 is maybe the best lens I have ever used. The viewfinder is a big improvement of the GFX100s (which I have). I also love the camera in hand. But the GFX100II certainly isn't a replacement for a full frame camera, at this stage and a huge amount is going down to Sony upgrading the sensor, which does not happen very often when compared to full frame sensors.
I'm not planning on getting the GFX100II cause it has a ridiculous price tag and an unnecessary amount of pixels and features I'm not going to be using so I don't see the benefit. I am looking at upgrading my GFX 50R to a 50SII at some point next year and I'm also happy to say that it has replaced all of my full frame cameras actually. What I'm left with is a pocket friendly NEX6 setup and the 50R + a bunch of film medium format cameras. The bright lens availability issue is not an issue to me - plenty of vintage portrait lenses cover the GFX with ease and I'm used to manual focusing, haven't used AF lenses in years. Flash sync - don't care, haven't used studio lights in 10 years. Bigger viewfinder is a great real improvement and don't think any other camera has this yet. Think too many people debate every single feature in modern cameras as if the technology from 10 years ago was preventing us from getting great photography done.
one possible way it could replace full frame is if they do what they do with their other models and just cheap out on the body itself but keep the same sensor and remove some other specs to drop the price. If they found a way to make drop down the price to about 2-3k it would be a game changer
Photography measures resolution in a linear unit: linePairs per millimetre - and prints in a linear unit Dots per Inch or displays in Pixels per Inch - because that matches how human eye, brain's vision, perception works. MP are an area unit. To get double the quality from a sensor of X*Y=MP you need to linearly double: 2X*2Y=4MP So 100 MP is twice as good as 25 MP. But 4 times the file size and processing power/bandwidth.
I disagree with the logic that 100mp is only twice as good as 25mp, there is 4 times as much detail so it’s 4 times better. Also in which way are megapixels an area unit? It is just an expression of number of pixels.
@@definingslawek4731 That's not correct. To double the resolution, you need four times the pixels, because a photo has two dimensions, not just one. I'm not saying that you need 100Mpx. But going from 25Mpx to 50Mpx is only about a 25% increase in resolution.
@@Biosynchro to double the resolution you double the pixels. Starting with 12MP to double the resolution we double the pixels, we have 24MP. That is exactly double, it only took twice as many pixels and is double the resolution. I don't understand your way of thinking here. You're wrong. You may argue that you personally only FEEL a 25% increase in resolution from 25mp to 50 but it is OBJECTIVELY a 100% increase. You're totally wrong because the number of megapixels ALREADY represents the two dimensions. You're essentially saying a piece of paper of 200CM^2 is NOT TWICE THE SIZE / AREA OF a piece of paper of area 100CM^2.
@@definingslawek4731 24Mpx is double the pixels of 12Mpx, but not double the resolution. As I said, it's more like 25%. Likewise, HD720 is half the resolution of HD1080, and HD1080 is half the resolution of UHD.
@@Biosynchro resolution is number of pixels, explain your logic in a way it makes sense if you still think you’re right. You mean that 10x10 is 100 but 20x20 is 400?
Evoto have just replied to me and said they've fixed the issue with the link and have topped up any account that signed up using it so that they have 30 credits. If this hasn't worked, give their customer support a quick message and they'll put it right for you.
$7,500 is a pretty penny but it seems Fuji is offering a fair amount with this nieche high end camera. Can we expect better dynamic range, low light performance, and color reproduction with the larger sensor? How about overheating in video, (a problem plaguing many modern full frame sensor cameras). The camera is one cost, what about the lenses? Who makes them and can you get one you like at a decent price?
Yes, a larger sensor has better ISO and dynamic range. Just like FF is about one stop better than APS-C, MF is further almost one stop better than FF in the same regard.
The difference from a full frame to APS-C is much greater than from an MF to a full frame in terms of image quality. In general, a Full frame is better than MF in speed and focus.
Medium Format...lite is what it is. When referring to crop equations, please include aperture and ISO in those equations. I encounter a LOT of photographers that do not understand it. Camera manufacturers' marketing departments...lie by omission. Be nice if someone out there threw out a reminder now and again.
We don't have to refer to 120 format film, we can always use 127 format film as a reference, and then the 44x33mm sensors become actually medium format. It's just that most people don't remember (or know) that 135 format and 120 format aren't the only ones that existed. They're just the ones that were most popular in recent history. I also disagree with any calculations. He made a mistake there anyway. The focal length stays the same regardless of the sensor size. The aperture stays the same as well, so does depth of field. What changes is the effective angle of view.
I've never understood how you can release a new sensor size and call it "medium" format when it's obviously and notibly smaller than every other existing "medium" format sensor. Help me make it make sense.
Hi Tom hope you are fine. I’m not a photographer, neither amateur photographer, but I’m working on it. One thing I’ve always think about is this: why camera brands don’t think that the left handed are a niche market? I mean, for most of us holding the lens with the left hand and pick the camera body with the right one, feels natural, like shooting with a rifle. But I imagine myself filming with a camera mirrored vertically and it would be rather weird. Don´t you think that this is what left handed feel like?
The factories would have to double the entire production process which would make everything more expensive. Also being right or left handed doesn't mean it's impossible to learn a specific thing with the other hand.
@@fotografalexandernikolis Sure. So why don’t we switch things like cameras, scissors, soup ladles or skil saws around and make left-handed standard. Then you’d know what you’re talking about. Yes, of course we can relearn most of the things. Right-handed Scissors for example are really hard for us to use as our normal gripping movement pushes the blades apart instead of together. Skil saws are hard to use with the left hand as the controls and guides are hard to use/see.
@@GerritADHS "Then you’d know what you’re talking about" I work in a factory where I regularly have to use tools with my left hand despite being right-handed. In many cases I'm so used to using them in my left hand that it feels weird to do with my right hand. That's what I mean when saying it's possible to learn a specific task with one specific hand, regardless of which general handedness you have. So yeah, it would be great if there also were left-handed cameras, but they would be much more expensive because the demand is lower. It's not an easy thing to do compared to e.g scissors. I also can't remember left-handed cars being common.
Come on PENTAX!! rise from the dead! Go mirrorless and update the 645Z. Only Fuji and Hasselblad are in the list of contending Medium formats! Although I'll never get or need medium format but I want Pentax to not be dead and succeed. I used to be Pentax guy before going Sony but always loved the Pentax shutter sound and their bodies are good
I love my 100s. It’s fine for most things, but I don’t think it’ll ever replace my Sony. Def can’t afford the ii😂. I tell anyone making the move to mf….it takes months to get used to the quirks. You have to be diligent and not get discouraged…which is easy to do when you see the images when they nail focus. I’ve found using a camera stand or monopod makes a huge difference for af…continuous works great is you monitor it closely, give it a powerful modeling light and wait for it to find target. It’s not like like a Sony where it’s always on target. Takes a sec. I always explain to my model, it makes it easier on finding our rhythm. Also the different boost modes help af, I just the stand af boost and it does make a difference. But having my a7rv is key. I always have it on hand with the 50 ready to go. But it just doesn’t hit that beautiful iq that the fuj has.
It does not. For video, I would argue that you should have one. But for photos, you can get away with not having one, especially with higher photosite densities.
@@Biosynchro - "It does not" answers my question, thank you. For readers who don't fully understand the point, here's the TLDR. The OLPF was introduced as hardware help to make "raw processing/conversion" easier. The raw image consists of monochrome data elements and each needs to be converted in an RGB one. Your 14 bits raw may become 3*8=24 RGB JPEG (lossy compression) and in the case of non-raw movie, this gets lossy compressed across frames again. Which may happen in camera with most movie formats. Adobe Camera Raw converts the 14 bits into 3*16=48 bits in ProPhoto colour space, when it hands over that result into Lightroom Classic's (ACR is the Develop Tab in ACR) internal workspace. Hence high memory use by LrC. But LrC depicts it as 3*8=24 through Windows and GPU driver layers to your 3*8=24 display/monitor. Some printers can actually render more than your display and I would take the image into Photoshop (Ps) to work with that. In today's Ps you can upsample the image's 3*16 to 3*32=96, and even on your 3*8=24 display will see a difference in gradation depiction - it looks better to me. Hardware help to reduce the requirement for image processing power already, e.g., was applied in the 1970s by developers of the Scanning Tunneling Electron Microscope (STEM). What is critical here, is how big, heavy, energy consuming, and expensive processing power is. Your 1990 supercomputer "Cray One" was about as powerful as two NVIDIA GTX 1080ti GPU cards of some years ago. That power today may fit in a camera's processor. Two of these 1080ti GPU cards easily fit in your workstation PC, bu the Cray One may have had its own building, direct to AC grid connection, and a support team with office staff. Its processing cycles per second would be charged that way to the user. That difference in price, power, size, energy requirement, is all the effect of Moore's Law. This "Law" also applies to the processors in cameras that combine CPU, GPU and other functions and have special instructions to do important tasks faster. In 1990, "computer vision" (a branch of fundamental AI that simply put wants to tell us what is in an image) was in its infancy in terms of AI algorithms. Some, like convolution, have seeped through in post processing, starting some 10 years ago, IIRC, when cross bleeding between differently coloured bordering blobs in images began to disappear. As per Moore's Law, Nvidia added "ray tracing" to their GTX processors, hence RTX, and this facilitates real time rendering of generated (i.e. not pre-recorded as in video games) virtual worlds. An early example of this approach was in a game called Assassin's Creed (first version). In the later 1990s you would need a very powerful mini (between supercomputer and micro aka PC) to render a 3D CAD movie to a 2D display showing a small car drive around a parking lot of a car manufacturer - with almost realistic ray tracing rendering of reflections in the car's shiny lacquer or windows. But, processors in digital cameras, that can do LiveView or are Mirrorless, have become a lot more powerful, so the question is if and why we still need the OLPF. Keeping an eVF updated at 120 fps in a mirrorless 45MP camera without OLPF deals with movie raw conversion all the time, even when we only shoot stills, just for the viewfinder. With increasing resolution, the OLPF gets in the way of increasing image quality and that's why Nikon released in 2012 the D800E version that had its OLPF Eliminated and was otherwise (ceteris paribus) identical to the D800 - both 36MP at full frame. You want to see hard data? Check in DxO Mark with the sharpest F-mount lens what the difference between these two cameras (D800 v D800E) is for this lens's sharpness. Next compare a 24MP D to the 36MP D800 (both with OLPF) and you see that the increase in sharpness is much less than you anticipate (because MP are an area unit and "we" need a linear unit like LinePairs per millimetre to have a predictable increase relevant to our brain's vision). To linearly double an X*Y=MP sensor you get 2X*2Y=4MP. In order to verify that the "bad" increase from 24 to 36 is not in the OLPF, also compare that lens on the D800E to on the D850 (36 to 45 and both without OLPF) and you'll see a relatively similar picture as between 24 and 36 "with". To me the raw image is 100% Bayer noise and what remains of that in a raw processed image is still Bayer noise (most people think it is colour noise or luminance noise and blame the sensor or not enough photons or both, when it merely is a case of the raw processing software not living up to the implied social contract in the Bayer paradigm (- conspiracy?) ). The Mudbricks only addressed this in ACR with the addition of the optional "Enhance AI Denoise" last year - 11 years later than 2012, where they dealt with noise, but still can do better in demosaicking. It's, bottom line, a matter of photosite density. A Nikon D500 ("DX" or APS-C format) camera with 20MP has no OLPF, and hence people thinking that there's not a lot of difference between APS-C and full frame are deluded. The 20MP without OLPF can be significantly sharper than a 24MP FF with OLPF. Comparing these two while ignoring the OLPF presence, is a violation of "ceteris paribus" in the comparison. But, in line of my point about "linear" resolution and magnification comparisons, the difference between APS-C and full frame, in size, the latter is only 50% more than APS-C, linearly (44% diagonally from 24mm*18mm original 35mm movie format to originally called double frame stills 36mm*24mm). At 4K and even 6K you are far below Nikon's switch point from OLPF to no OLPF. But at "8K raw" with 8,256*4,644 (16:9) you have 38.3MP and have crossed the line. In film based movie, you need to go to Todd-AO 70mm format and hope you can get your hands on a 100LP/mm emulsion - generally from 120 confection and its perforated 70mm sibling, emulsion resolution drops to 80 LP/mm. By the way, without audio tracks, Todd-AO would fit on 35mm film running horizontally. Imagine a red filtered photosite. In the Bayer paradigm, it has 8 direct neighbours, 4 of which are blue and 4 are green, that each at the hardware level infuse a bit of their light in that single red one. "Cons" of the OLPF as it disperses light travelling to photosite [x,y] so a fraction also hits the direct neighbours: - reduces contour sharpness and through that optical resolution or sharpness; - reduces low light sensitivity; - reduces dynamic range (DR); - reduces contrast envelope (DR available in one frame/shot); - reduces colour space; - introduces the risk of total (colour cast) reflection between the back of the OLPF and the front of the sensor (forget removal in post). The OLPF makes extremely dumb raw processing ("deBayerisation") easier - extrapolation of missing two colours from [x,y] by weighted interpolation with direct and indirect neighbours of [x,y] - thus introducing mosaicking: colour cross bleeding, crinkly lines, Moiré. With increasing sensor resolution, mosaicking became more visible and so the dumb deBayerisation was amended by "demosaicking" - so the strategy was to screw up first and repair later. With better AI built into deBayerisation you might be able to prevent that. This AI however must "know" what subject it is dealing with. Having suffered from total reflection colour cast, I migrated to a camera without OLPF. When I see some grain in the blurry image zones, darker image zones, and low contrast image zones, the I think "ah, Bayer noise" and curse the Mudbricks. But up to A3 print size it isn't noticeable enough. Until the total reflection hit my 24MP camera, I would argue that 24 is enough and I can upsample that to 32,000 on the long side (683MP for 3:2) - gives beautiful A2 prints. The move to mirrorless was driven by the need for "recognition AI AF" and so I arrived at 45MP mirrorless.
I can do good street photography with old school manual focus camera. No need for fancy autofocus for street photography. To really see if it has good autofocus is to go and try and shoot sports or birds in flight.
@@TomCalton Isn't this camera a bit overkill then? You could do about the same then but apply the profile in post way cheaper and get a smaller, lighter camera at the same time.
@@mofotose i know you didn't ask me but many people including myself don't always want to fiddle in post and would rather have a good looking image straight out of camera. I'm a Nikon user and will stay with this platform probably forever but I won't deny that Fujifilm jpegs look stellar sooc.
@@mofotose some people have the money to blow on expensive gear and as already mentioned it's just one less step they have to do in order to get the results they want... especially nice if that fujifilm color aesthetic is what they're after.
Hi Tom! I am Aryan from India 🇮🇳. I really love your content and a great fan it. As from India we have a very limited source for mirrorless cameras, it would be very kind of you if you help me out to choose a perfect travel mirrorless camera available in India. And yeah lots of love from 🇮🇳
नमस्ते आर्यन जी। I recently came back from a holiday in the US and I took two Fujifilm cameras with lenses in my backpack. The small camera was the X-E3 with the 18-55mm kit lens and the other camera was the X-S20 with the 70-300mm lens and the matched 1.4X teleconverter. Each camera with lens was in a small camera bag and the two cameras in their bags fitted into the backpack. The backpack fits into an overhead locker on the aeroplanes and it is possible to walk for miles carrying both cameras. The picture quality from the cameras is very good. They are probably not the best cameras but it is a solution that works for me.
I hate ff cameras for heavy optics. For medium format same specs lenses are even heavier! For casual shooters, travel and street photo crop cameras are much more comfortable
It is funny how we have moved up in terms of resolution so much that modern full frame digital sensors rival or surpass what analog medium format could do and crop sensors still out resolve full frame film, but all that is not enough and we are searching for the next bigger thing because that will surely be the thing to fill the void.
I'm happy with my GFX 50R. Mostly cause of the ergonomics, it had the viewfinder to the side so I don't have to squish my nose against the camera while focusing. Otherwise it's already an overkill camera, I'll never need 50mpix for any of my work realistically. I do enjoy a bigger than FF sensor cause I can use some FF lenses beyond their official potential.
And why not? The more resolution and fidelity an image has, the bigger you can enlarge it. Admittedly, this almost never happens. But once in a blue moon, if it does, you'll be glad you went the extra mile. Just IMHO. YMMV.
Maybe in 10, 15 or 20 years, cameras will have higher advances IA features about focus, ISO... you name it. Also, someone will notice DSLR pros, and they will be back. Imagine 5D mark V with future focus tec.
Off topic, I know there are multiple ways to pronounce it, but having grown up hearing it pronounced ‘Nye-kon’ my whole life, hearing ‘Nih-kon’ weirdly keeps throwing me for a loop. Considering the Japanese pronunciation is ‘Nee-kon’, it shouldn’t, and other British vs American word pronunciations only catch me off once then fade almost immediately. Dunno why this specific one doesn’t fade in my head like the rest. It’s not like Tom is doing anything wrong, he’s not and he’s fantastic. And, it’s not like the British version is mispronounced, it’s not, Nikon officially recognizes all three as correct. Oh well, my brain is weird, lol.
Haha! I'm always really concious about saying Nikon on camera for this exact reason. Another word I get people picking me up on is "bokeh". Here in the UK we have a habbit of putting "r's" in words where there isn't one. Bokeh is a word that fall in to this trap and I always end up saing "bow-ker". Accents are weird. 🤷🏻
Too many people focused on technology bells and whistles too much, and not enough on creating good photography. This is no revolution, the original GFX was a revolution, it actually did what no other camera did at its time. This is just adding more features. Also please stop saying that the sensor is huge, the sensor is still 44x33mm, it just has more pixels. I do really like the ergonomics of the body and am looking at the prices of GFX 50II going down so I can "upgrade" my GFX 50R, but I really wish the sensor was actually LARGER, not more pixel dense.
@@TomCalton hahaha of course good weird! It’s always fun to watch you. And you take wonderful photographs unlike others. Would love to see more Karl Taylor style in the studio reviews working with the camera.
I will agree with Chris Niccoll from PetaPixel that the full frame cameras today are so good that there is often no reason for the smaller medium format cameras, such as those from Fuji and Hasselblad, because there are also some weaknesses in compared to full frame cameras .....
I know the weaknesses on these medium format cameras. Slow autofocus and tracking, poor autofocus at lower light environment slow burst rate, not as good as a hybrid camera that can take care of both video and photo but there are also advantages you can shoot at higher ISO, you can shoot at faster shutter speed, higher resolution than full frame, the medium format has that cinematic look that you can't actually recreate with a full frame camera. I have the Sony A7RIV and Fujifilm GFX I know that from a personal experience.
2:54 "the equivalent focal length" - the focal length stays THE SAME. you're not changing the focal length by using a lens on a different sized sensor. you're changing the ANGLE of view you register
People generally know that. Equivalent focal length is just a way to communicate the angle change using units which most photographers are familiar with. The longer way to say the same thing is "this 55mm lens when mounted on the Fuji provides the same field of view as a 44mm lens on a full frame sensor."
Why make a larger sensor, and mainly make it larger in height - we all have 16/9 displays, or wider? And the 8K crop means it's 16/9 is 'only' full frame basically?
16:9 is a garbage marketing gimmick that was pushed by TV and film brands. Photography mostly uses golden ratio which is closer to 16:10 or 3:2, or in the GFX case 4:3 which is perfect for vertical art. But yes, the 8K crop is a bit too big.
4:3 is very different from 3:2. Everyone uses 16:9 monitors, and if the picture is cropped at 3:2, then at 4:3 it is cropped very much. This format is unrealistic and will not be successful. Photographers will have to come to terms with the industry's concessions.
Yes, indeed it will: As far as resolution and image quality go ... Fuji is king because it's medium format. But you can't expect such a camera to replace full frame cameras, even a 40 MP camera, for things like sports photography and photojournalism simply because physically, the camera handling is a clunker. It's slow, heavy, and somewhat unwieldy. But it's what you use when you need something like a mini bug Volkswagen to compete with a semi truck, and do it successfully. The only camera on the same image quality plane is a Phase One, which costs beyond ten times as much money.
Interesting idea. Olympus, or OM, is under resourced so there basically is only Panasonic to compete against. The question is, how many photographers want to use M43 gear? The M43 users are vocal (I’m a M43 & APSC user) but are relatively small in numbers compared to larger sensor users. Could Fuji battle in three sensor size markets? No manufacturer has attempted this feat. If there was a profitable way to do this, wouldn’t a company like Sony try to do this? Three sensor manufacturing may be too expensive to attempt. Mask On Nurse Marty(Ret)
Other than being excited about it as tech, I mean it's cool, I don't see what's groundbreaking about this. Why is it the future? A lot of people are clearly going smaller and lighter, and your whole channel is built on showcasing small, cheap, quirky, fun cameras. I cannot imagine someone wanting to take this out for street photography or to shoot video, 😂 just on size and weight alone. People who wanted 100mp images already had it with the earlier model. People who need speed, accuracy, or more bokeh have plenty of options at a much much lower price. Any noise performance benefit is now solved by AI tools easily. I don't get it 🤷🏻♂️ I guess Fujifilm is just having fun.
@@iarosnapsthe photo part, of course totally agree but it was possible with the first GFX100. A landscape photographer obviously will really love this. I can see this as an excellent tool for professionals selling those massive glossy prints in luxury mall galleries. I only mentioned street photography because Tom did (btw if you want to see some hilarious stills, check out photos taken by the GFX in e-shutter mode). It adds nothing to the table for video, though. The X-H2 already does it all when staying in-brand and with way less crop factor mess at different settings. Others include Sony A1, A7RV, Canon ___, Nikon ___. All high res, smaller, cheaper, lighter, better tracking and reliability, lenses better designed for video, more optical reach, faster readouts, easier to mount to gimbals... It remains a landscape-centric camera no matter the generation because that is its strong suit, and there's nothing groundbreaking or insane about that. Now it just has the perks of recording video if necessary. Cool.
i get what you are saying. The tech is awesome, but the title is totally for engagement and hype. Why would this be specifically the future of mirrorless? i’ve learned to take the titles for what they are there days - strictly to get us to click.
It won’t replace full frame. Glass is heavy and expensive enough already and it’s not getting cheaper. Also, video is getting more a more important feature for selling hybrid cameras now.
It replaced all of my full frame cameras. And I'm talking about the GFX 50R, not even the new ones. Most of my glass is the same, cause lots of FF lenses cover the GFX sensor with no issue.
Great informative video, really like your content. Just a comment about your model...those 'eyebrows', lol, so fake, they're not even located on the brow ridge where they should be...
The model, Alice is a beautiful female specimen. She's gorgeous! Admittedly I'm a little biased, I am a man who loves women. "But like most things in life, it's whats on the inside that counts"
No it won't. The future for mirrorless cameras is small, lighter bodies with huge processing power for AI technologies and smaller lenses. The continued drive for innovation and sensor technology improvements will mean that these 100 MP cameras will no longer be required. AI and software such as DXO, Photoshop/Lightroom and Topaz will render these cameras obsolete.
I don't believe any of this. Fujifilm is still like 5 years behind Sony in autofocus, Fujifilm could barely get autofocus working on their APS-C cameras, let alone Medium format.
I'm sorry 13 seconds in this video and i had to stop this already. I have the Fuji gfx 100s , and it's a beautiful camera, amazing ! but it's not the best medium format camera in the world, not even close. The phase one iq4 150 and hasselblad h6d 100c are way ahead. best 44x33mm sensor baby medium format camera.. sure.
@@Juventinos He just uses the same shortcut expression as modern digital photographers - "huge (amount of pixels on the) sensor" - you just need to add the words in yourself :) But he makes many technical errors like multiplying the equivalent focal length of lenses.
@@KNURKonesur modern youtube influencers you mean, not digital photographers. it's a shame he does make these mistakes, he's cheap camera videos are for the most part great
lmao complaining about it being heavy.. it's not heavier than any Nikon Canon or even Sony DLSR.. you get a medium format system in a nikon d850 body. that's about it. what can be better than that?
Thanks again to Evoto AI for supporting the channel by sponsoring this video. Remember, new users can sign up using the link below for FREE to recieve 30 export credits.
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Terrific content, and yup, I checked the price before you shared it so I did not fall over. Thanks for introducing me to Evoto as I'm reentering media creation to advance my training activities.
Im glad you kept this in 4:03 shows you keep it real in this place ;)
🤜🏻🤛🏻
😂😂😂✊🍆💦
That was a wry giggle - ‘right forearm strength’. Big smile!
As ever it is a matter of a "use case". I was loaned a 50S II and a couple of lenses for a weekend, I do lanscapes quite a lot, still shoot medium format wetfilm in 120 from time to time and was keen to see how this would go... In practical terms I decided that it wasn't for me even ignoring the price tag because the kit is way too heavy to lug around with you, best left in the studio. Also and whilst this may be resolved by future technology, there is a problem with large megapixel cameras where the sheer amount of data that needs to be moved to a memory card will inevitably mean that the camera will never be that quick etc. Finally and at the time I owned a Canon 5DS which is a 50mpx camera but I couldn't see any real difference in terms of image quality which surprised me as I had expected the Fuji 50s II with its larger pixels to outgun a full frame camera significantly, I did shoot them side by side, same shot/conditions.
Good points. This is probably why Fuji GFX had failed in the market, i.e. always stayed stuck its tiny niche, never departed from that. Similar reasons, why also already Pentax' 33x44mm DSLR had failed in the DSLR market back then. Benefits prove to be irrelevant, whereas disadvantages prove to be striking.
I won't disagree with you except for one technical point: the Fuji has way better tonality and DR than the Canon you mentioned. The lenses are probably better, too. Resolution is but one part of the equation. Just my two cents.
Interesting, since I've seen many reviews that state the GFX is the clear winner. Makes me wonder. Did you make any prints? Sometimes its hard to make a real decision when our monitors are only 8 megapixel.
@@tubularificationed GFX failed?
@@derekmacdougall9347 To be honest I don't go in for the 'brand war' nonsense but yes I did print off a couple of images at A3 and there wasn't a clear winner. However this may be down to the lens I was given with the GFX...who knows. However my main negative about the GFX concerned ergonomics and bulk. I am old but I'm not shy of hikinging with my 1DX -2 and a selection of heavy glass but the glass for the GFX is both heavy and bulky plus rather expensive. That doesn't mean that the GFX setup would not work for other people with different priorities.
Off topic but I just wanted to comment say that I love how your videos fill my ultrawide monitor.
Thanks, glad you appreciate it! People seem to either love it or hate it 🤷🏻♂️😅
thanks for telling us, rich boy.
Mine too!
@@firstletterofthealphabet7308 my ultrawide was 300 quid new 6 years ago. not really high end any more buddy
Bought a few weeks ago and have yet to use it on a job with clients...just a test day here and there. The files are fantastic and great to retouch. The menu makes me want to jump out of a window. ps. Still have my Canon R5....but not sure I'll use more than as a backup system.
such a great video, i was resesarching and eyeing the fuji gfx series but I'll have to hold off for now. It'll be nice to get into digital medium format one day. As a canon shooter, i really hope canon comes out with digita medium format, but it'll probably cost 2x the price of fuji's gfx. can't wait to watch more of your videos!
How does the low light high ISO and dynamic range image quality compare to current generation 60mp sensor (Sony A7RV, Leica SL3)?
It’s going to be better due to bigger photo sites.
Check out the Dpreview test chart.
How is m4/3 compared to APS-C? How good is APS-C vs full frame? Extrapolate.
@@MobiusCoin Sorry the difference is not as dramatic. Since I posted that question, I have reviewed raw samples of the GFX100 II versus the SL3, and they are much closer than you think, because the pixel pitch is very close between the two. Very close in low light and dynamic range. The real difference is in the ultra shallow depth of field on the MF.
A beast of a camera, for sure. I wish they would ratchet down the performance and drop one in the GFX50r form factor.
You gotta try that Mitakon 65/1.4 on it if you get a chance. The look is out of this world.
I think it's only a matter of time before that happens tbf
A lot of full frame lenses work with Fujifilm GFX, 105mm F1.4 Sigma and 135mm F1.8 Sigma also work well with GFX.
@@jliang70 Yes, I'm aware. I'm not sure the context of the response though.
@@SourPlanet You know the problem with Fujfilm GFX, it is the lacking of lenses from any other lens makers. There is also lack of really fast prime lenses, long focal length zooms and primes. In context to your post is this people who use Fujifilm GFX do use and adapt a wide array of full frame lenses to cover the lack of lenses. I have GFX-100S and have 3 native GF lenses, use other lenses to cover the other focal length that is lacking in Fuji GF lens line up.
@@SourPlanet You know the problem with Fujfilm GFX, it is the lacking of lenses from any other lens makers. There is also lack of really fast prime lenses, long focal length zooms and primes. In context to your post is this people who use Fujifilm GFX do use and adapt a wide array of full frame lenses to cover the lack of lenses. I have GFX-100S and have 3 native GF lenses, use other lenses to cover the other focal length that is lacking in Fuji GF lens line up.
I like the concept, but for me, full frame is still my favorite. Being able to pair my mirrorless with a new or vintage manual lens is such a rewarding photography experience. Since all the vintage glass I have my eyes on were designed for 35mm film, Full frame makes the most sense.
How is the focus breathing on video?... thank you 😊
Not a video I expected to see on your channel, but excited to see it! I have been soo close to buying this camera.
Hey Mark - hope you're good!
It was too interesting not to give a try - I thought at least. It's clearly giving mixed opinions here in the comments section though, which is always interesting to read.
It's a really great camera. Would I buy it? Even if I had the money, probably not. But like I said in the video, I'm excited to see where this technology is headed. 😁
@@TomCalton yeah, I should probably get a loaner first. Have been considering it for use with the NISI Athena lenses, using the vista-vision video format.
Videos like this are making me want a medium format camera on top of all my other cameras😅
In the film days, photography school: if it fits on 127 film then it is small format (40mm wide film, 36mm usable). Starting on a bit under 4"*5" is large format and in between medium format.
This huge format sensor is small format.
He uses the same shortcut expression as everyone else - "huge (amount of pixels on the) sensor"
Any recommendations for a beginner looking to take panning formula 1 pics? Budget is between £1000-£1500 and dont want something gigantic. just want a body and zoom.
Guidance on a comfortable strap would be appreciated as well.
Canon R8
@@michelecintramika8482 what lens?
You really don't have much of a budget. The issue is finding a good camera lens combination at that price. I would be tempted to look second hand. Maybe a Nikon D500 and 200mm - 500mm f/5.6. This is an older DSLR, but it is a decent 20mp APS-C sensor, which gives you a 1.5x crop, the D500 also shoots at 10fps and the AF is really good for a DSLR. You don't get all the bells and whistles of a mirrorless camera, but you are not spending new mirrorless money, and you are getting a very good camera and lens combination. The biggest negative is if you decide to upgrade you will have to go mirrorless, though you can get an adapter if you decided to get a Nikon. A Nikon D810 might also be an option, but it isn't the fastest camera but it does have a very good 36mp APS-C sensor.
Personally, I like an Optech straps (I have a modified optech sling strap). I would also maybe look at getting a monopod and maybe a Speedigimble, which allows the camera to quickly be taken off.
Olympus E-M1 II and either the 40-150/4 or the 40-150/2.8.
Fujifilm xt30ii
It's temporarily a genius move tbf. Leica is considering joining them for the same reasons. If you can't keep up with the big boys in the full frame league leap frog them, and go bigger.
I kind of wish Fujifilm would stop trying to compete with the full frame league with their XF cameras too - and just embrace the niche of high quality compact aps-c gear again. They have a tiny lens mount, so they could be putting out really small pocketable range finder style cameras with serviceable autofocus, rather than beefy full frame sized gear just to never even make the podium in that category.
Love the channel!
Thanks! 😊
Hey Tom, have you ever tried Nikon Z?
Only the Z7II and Zfc. But I'll be looking at the Zf in a few weeks, which I'm very excited about!
Thank you for the content, it just so happened that I look back to my old 25iso 6x6 films and I am amazed how teck is changing I wonder how will be a real medium format digital camera 6x6 or 6x9cm camera, I wonder if with the new tech some producer may use the lessons learned back in time and a 6x6cm sensor camera qith fix lens that weights 850g (body + lens total weight) should be awesome to make old engeneers and new engeneer speaking, Me I just like photo and I am impressed at the actual results, but I wonder what will happen in 5-10 years :)
I guess it depends on the medium photos are seen. Are not most of them watched on smartphone screens? And therefore now with higher data speeds video centric apps are dominating the photographic ones when a computer was the medium to reach the world.
large sensor? Sure, but can I have it in 20Mpix MAX??? this megapixel frenzy is just dumb... My latest one is 50mpix and I am really tempted to sell the camera and go back to 10-16mpix cameras.
Oh boy another camera I can’t buy
Exactly 😂😂😂😂
I can't buy and don't really want to buy. The only really cool and unique thing about it is the improved viewfinder size. Most top end cameras have a 0.5" viewfinder, this has a 0.64" one with x1.0 magnification which is quite impressive.
5:33 What?!😮. Never seen that before! He pulled the EVF clean off the camera!
I just rewatched the whole thing and still can't believe he did that😮! Man... What if I was able to pull the EVF off my Sony A7IV and make it just as tall as my A7C? Well I guess if Sony let you do that it would be a A7CII and those @$$#0!€$ couldn't charge people another $2500 for virtually the same camera with less buttons!😮
11:25 yeah let's see how much of this technology and newer design elements rolls down to the other newer APSC cameras in their line.
@@Cthames123 That's easy to design on a GFX body because the body is large enough to have space for that extra connection. The point of it is also to use the EVF-TL1 tilt adapter. The APS-C cameras are so compact that it's much harder to incorporate this design.
That may be new for Fuji but it is available on a lesser known camera the Sigma L mount cameras that you have to add EVF as a separate component to the modular designed FP and FPL. MF camera from the Hasselblad that use the 102mp sensor (same as the older Fujifilm 100S and 100) has an internal 1TB storage, I hope the other camera makers can follow that or adopt a new cart type interface allow people to use standard NVE-m2 type SSD that people can buy off the shelf from a computer store.
Difficult conversation with my wife incoming, when I tell her I need this
Hi Tom, love your videos! I only got 5 credits when using the link you posted - Can I rectify this somehow?
Hey. A few others have had the same issue so I've chased Evoto and they told me that they've fixed the issue with the link and have topped up with accounts which have already signed up so that they now have 30 credits. If this hasn't worked for you, it might be worth notifying their customer support? Hopefully it's all sorted now though - sorry for the inconvience!
@@TomCalton IT WORKED! Thank you for sorting 📸😀
No, the GFX100II will not replace a full frame camera.
There are a number of things you didn't mention. Firstly, the GFX100II goes down to 12 bit raw when shooting continuously. You did mention the rolling shutter, but the reason behind this is that the GFX100II sensor is not a new sensor, it is the same sensor as the GFX100/100s and Hasselblad X2D and until Sony decides to make a new sensor (Sony has announced a new medium forma sensor which could eventually filter down to the GFX, though that sensor is larger) there are going to be limitations to the read-out speed of the sensor.
Also, the lenses are getting bigger than equivalent full frame sensors, and generally you do have a higher aperture. So the two fastest GFX lenses are the 55mm f/1.7 and 80mm f/1.7, which gives you an equivalent of a f/1.3 on a full frame camera, but this compares to a Nikon, Canon and even Sony having f/1.2 apertures.
Another issues is the flash sync speed of the GFX100II, which is still only 1/125 of a second, which doesn't compare well to 1/250 of cameras like the R5, a7r5 and Nikon D850, even the Nikon Z9/Z8 1/200. It does even worse against the Sony a1 which has an incredible good 1/400.
I am not suggesting the GFX100II is a bad camera, it really isn't, and I am in many ways a big fan of the camera. The AF is much improved, close to the X-H2 image quality is excellent. The GF lenses are great, with GF110mm f/2 is maybe the best lens I have ever used. The viewfinder is a big improvement of the GFX100s (which I have). I also love the camera in hand. But the GFX100II certainly isn't a replacement for a full frame camera, at this stage and a huge amount is going down to Sony upgrading the sensor, which does not happen very often when compared to full frame sensors.
I'm not planning on getting the GFX100II cause it has a ridiculous price tag and an unnecessary amount of pixels and features I'm not going to be using so I don't see the benefit. I am looking at upgrading my GFX 50R to a 50SII at some point next year and I'm also happy to say that it has replaced all of my full frame cameras actually. What I'm left with is a pocket friendly NEX6 setup and the 50R + a bunch of film medium format cameras.
The bright lens availability issue is not an issue to me - plenty of vintage portrait lenses cover the GFX with ease and I'm used to manual focusing, haven't used AF lenses in years. Flash sync - don't care, haven't used studio lights in 10 years.
Bigger viewfinder is a great real improvement and don't think any other camera has this yet. Think too many people debate every single feature in modern cameras as if the technology from 10 years ago was preventing us from getting great photography done.
one possible way it could replace full frame is if they do what they do with their other models and just cheap out on the body itself but keep the same sensor and remove some other specs to drop the price. If they found a way to make drop down the price to about 2-3k it would be a game changer
Photography measures resolution in a linear unit: linePairs per millimetre - and prints in a linear unit Dots per Inch or displays in Pixels per Inch - because that matches how human eye, brain's vision, perception works. MP are an area unit.
To get double the quality from a sensor of X*Y=MP you need to linearly double: 2X*2Y=4MP
So 100 MP is twice as good as 25 MP. But 4 times the file size and processing power/bandwidth.
I disagree with the logic that 100mp is only twice as good as 25mp, there is 4 times as much detail so it’s 4 times better.
Also in which way are megapixels an area unit? It is just an expression of number of pixels.
@@definingslawek4731 That's not correct. To double the resolution, you need four times the pixels, because a photo has two dimensions, not just one. I'm not saying that you need 100Mpx. But going from 25Mpx to 50Mpx is only about a 25% increase in resolution.
@@Biosynchro to double the resolution you double the pixels.
Starting with 12MP to double the resolution we double the pixels, we have 24MP. That is exactly double, it only took twice as many pixels and is double the resolution.
I don't understand your way of thinking here.
You're wrong. You may argue that you personally only FEEL a 25% increase in resolution from 25mp to 50 but it is OBJECTIVELY a 100% increase.
You're totally wrong because the number of megapixels ALREADY represents the two dimensions.
You're essentially saying a piece of paper of 200CM^2 is NOT TWICE THE SIZE / AREA OF a piece of paper of area 100CM^2.
@@definingslawek4731 24Mpx is double the pixels of 12Mpx, but not double the resolution. As I said, it's more like 25%.
Likewise, HD720 is half the resolution of HD1080, and HD1080 is half the resolution of UHD.
@@Biosynchro resolution is number of pixels, explain your logic in a way it makes sense if you still think you’re right.
You mean that 10x10 is 100 but 20x20 is 400?
I'm planning to shoot corn, this looks perfect for it, I will need a macro lens for those up close shots!
@Tom Calton the link you provided doesn’t work. They only gave 5 credits. You may want to talk to them as this feels very misleading.
Thanks for letting me know! I'll email them asap and get back to you. Sorry about that 👌🏻
Evoto have just replied to me and said they've fixed the issue with the link and have topped up any account that signed up using it so that they have 30 credits. If this hasn't worked, give their customer support a quick message and they'll put it right for you.
$7,500 is a pretty penny but it seems Fuji is offering a fair amount with this nieche high end camera. Can we expect better dynamic range, low light performance, and color reproduction with the larger sensor? How about overheating in video, (a problem plaguing many modern full frame sensor cameras). The camera is one cost, what about the lenses? Who makes them and can you get one you like at a decent price?
Yes, a larger sensor has better ISO and dynamic range. Just like FF is about one stop better than APS-C, MF is further almost one stop better than FF in the same regard.
The difference from a full frame to APS-C is much greater than from an MF to a full frame in terms of image quality. In general, a Full frame is better than MF in speed and focus.
Medium Format...lite is what it is. When referring to crop equations, please include aperture and ISO in those equations. I encounter a LOT of photographers that do not understand it. Camera manufacturers' marketing departments...lie by omission. Be nice if someone out there threw out a reminder now and again.
We don't have to refer to 120 format film, we can always use 127 format film as a reference, and then the 44x33mm sensors become actually medium format. It's just that most people don't remember (or know) that 135 format and 120 format aren't the only ones that existed. They're just the ones that were most popular in recent history.
I also disagree with any calculations. He made a mistake there anyway. The focal length stays the same regardless of the sensor size. The aperture stays the same as well, so does depth of field. What changes is the effective angle of view.
I've never understood how you can release a new sensor size and call it "medium" format when it's obviously and notibly smaller than every other existing "medium" format sensor. Help me make it make sense.
Hi Tom hope you are fine. I’m not a photographer, neither amateur photographer, but I’m working on it. One thing I’ve always think about is this: why camera brands don’t think that the left handed are a niche market? I mean, for most of us holding the lens with the left hand and pick the camera body with the right one, feels natural, like shooting with a rifle. But I imagine myself filming with a camera mirrored vertically and it would be rather weird. Don´t you think that this is what left handed feel like?
Yes, we do 😉
The factories would have to double the entire production process which would make everything more expensive. Also being right or left handed doesn't mean it's impossible to learn a specific thing with the other hand.
@@fotografalexandernikolis Sure. So why don’t we switch things like cameras, scissors, soup ladles or skil saws around and make left-handed standard. Then you’d know what you’re talking about.
Yes, of course we can relearn most of the things. Right-handed Scissors for example are really hard for us to use as our normal gripping movement pushes the blades apart instead of together.
Skil saws are hard to use with the left hand as the controls and guides are hard to use/see.
@@GerritADHS "Then you’d know what you’re talking about" I work in a factory where I regularly have to use tools with my left hand despite being right-handed. In many cases I'm so used to using them in my left hand that it feels weird to do with my right hand. That's what I mean when saying it's possible to learn a specific task with one specific hand, regardless of which general handedness you have.
So yeah, it would be great if there also were left-handed cameras, but they would be much more expensive because the demand is lower. It's not an easy thing to do compared to e.g scissors. I also can't remember left-handed cars being common.
@@fotografalexandernikolis I guess we can agree on that. And now you’ve triggered my research gene… left-handed cars? Wow!
Definitely I feel like this medium format is overkill. Is great but I miss the fullframe sensors in Fujifilm ecosystem.
Come on PENTAX!! rise from the dead! Go mirrorless and update the 645Z. Only Fuji and Hasselblad are in the list of contending Medium formats! Although I'll never get or need medium format but I want Pentax to not be dead and succeed.
I used to be Pentax guy before going Sony but always loved the Pentax shutter sound and their bodies are good
I still pick up my Pentax 6x7 every once in a while just to listen to the mirror slap sound :)
I love my 100s. It’s fine for most things, but I don’t think it’ll ever replace my Sony. Def can’t afford the ii😂.
I tell anyone making the move to mf….it takes months to get used to the quirks. You have to be diligent and not get discouraged…which is easy to do when you see the images when they nail focus.
I’ve found using a camera stand or monopod makes a huge difference for af…continuous works great is you monitor it closely, give it a powerful modeling light and wait for it to find target. It’s not like like a Sony where it’s always on target. Takes a sec. I always explain to my model, it makes it easier on finding our rhythm. Also the different boost modes help af, I just the stand af boost and it does make a difference.
But having my a7rv is key. I always have it on hand with the 50 ready to go. But it just doesn’t hit that beautiful iq that the fuj has.
Does this camera have an OLPF?
It does not. For video, I would argue that you should have one. But for photos, you can get away with not having one, especially with higher photosite densities.
@@Biosynchro - "It does not" answers my question, thank you. For readers who don't fully understand the point, here's the TLDR.
The OLPF was introduced as hardware help to make "raw processing/conversion" easier. The raw image consists of monochrome data elements and each needs to be converted in an RGB one. Your 14 bits raw may become 3*8=24 RGB JPEG (lossy compression) and in the case of non-raw movie, this gets lossy compressed across frames again. Which may happen in camera with most movie formats.
Adobe Camera Raw converts the 14 bits into 3*16=48 bits in ProPhoto colour space, when it hands over that result into Lightroom Classic's (ACR is the Develop Tab in ACR) internal workspace. Hence high memory use by LrC.
But LrC depicts it as 3*8=24 through Windows and GPU driver layers to your 3*8=24 display/monitor. Some printers can actually render more than your display and I would take the image into Photoshop (Ps) to work with that. In today's Ps you can upsample the image's 3*16 to 3*32=96, and even on your 3*8=24 display will see a difference in gradation depiction - it looks better to me.
Hardware help to reduce the requirement for image processing power already, e.g., was applied in the 1970s by developers of the Scanning Tunneling Electron Microscope (STEM).
What is critical here, is how big, heavy, energy consuming, and expensive processing power is. Your 1990 supercomputer "Cray One" was about as powerful as two NVIDIA GTX 1080ti GPU cards of some years ago. That power today may fit in a camera's processor.
Two of these 1080ti GPU cards easily fit in your workstation PC, bu the Cray One may have had its own building, direct to AC grid connection, and a support team with office staff. Its processing cycles per second would be charged that way to the user.
That difference in price, power, size, energy requirement, is all the effect of Moore's Law.
This "Law" also applies to the processors in cameras that combine CPU, GPU and other functions and have special instructions to do important tasks faster.
In 1990, "computer vision" (a branch of fundamental AI that simply put wants to tell us what is in an image) was in its infancy in terms of AI algorithms. Some, like convolution, have seeped through in post processing, starting some 10 years ago, IIRC, when cross bleeding between differently coloured bordering blobs in images began to disappear.
As per Moore's Law, Nvidia added "ray tracing" to their GTX processors, hence RTX, and this facilitates real time rendering of generated (i.e. not pre-recorded as in video games) virtual worlds. An early example of this approach was in a game called Assassin's Creed (first version). In the later 1990s you would need a very powerful mini (between
supercomputer and micro aka PC) to render a 3D CAD movie to a 2D display showing a small car drive around a parking lot of a car manufacturer - with almost realistic ray tracing rendering of reflections in the car's shiny lacquer or windows.
But, processors in digital cameras, that can do LiveView or are Mirrorless, have become a lot more powerful, so the question is if and why we still need the OLPF. Keeping an eVF updated at 120 fps in a mirrorless 45MP camera without OLPF deals with movie raw conversion all the time, even when we only shoot stills, just for the viewfinder.
With increasing resolution, the OLPF gets in the way of increasing image quality and that's why Nikon released in 2012 the D800E version that had its OLPF Eliminated and was otherwise (ceteris paribus) identical to the D800 - both 36MP at full frame.
You want to see hard data?
Check in DxO Mark with the sharpest F-mount lens what the difference between these two cameras (D800 v D800E) is for this lens's sharpness. Next compare a 24MP D to the 36MP D800 (both with OLPF) and you see that the increase in sharpness is much less than you anticipate (because MP are an area unit and "we" need a linear unit like LinePairs per millimetre to have a predictable increase relevant to our brain's vision).
To linearly double an X*Y=MP sensor you get 2X*2Y=4MP.
In order to verify that the "bad" increase from 24 to 36 is not in the OLPF, also compare that lens on the D800E to on the D850 (36 to 45 and both without OLPF) and you'll see a relatively similar picture as between 24 and 36 "with".
To me the raw image is 100% Bayer noise and what remains of that in a raw processed image is still Bayer noise (most people think it is colour noise or luminance noise and blame the sensor or not enough photons or both, when it merely is a case of the raw processing software not living up to the implied social contract in the Bayer paradigm (- conspiracy?) ).
The Mudbricks only addressed this in ACR with the addition of the optional "Enhance AI Denoise" last year - 11 years later than 2012, where they dealt with noise, but still can do better in demosaicking.
It's, bottom line, a matter of photosite density. A Nikon D500 ("DX" or APS-C format) camera with 20MP has no OLPF, and hence people thinking that there's not a lot of difference between APS-C and full frame are deluded. The 20MP without OLPF can be significantly sharper than a 24MP FF with OLPF. Comparing these two while ignoring the OLPF presence, is a violation of "ceteris paribus" in the comparison.
But, in line of my point about "linear" resolution and magnification comparisons, the difference between APS-C and full frame, in size, the latter is only 50% more than APS-C, linearly (44% diagonally from 24mm*18mm original 35mm movie format to originally called double frame stills 36mm*24mm).
At 4K and even 6K you are far below Nikon's switch point from OLPF to no OLPF. But at "8K raw" with 8,256*4,644 (16:9) you have 38.3MP and have crossed the line. In film based movie, you need to go to Todd-AO 70mm format and hope you can get your hands on a 100LP/mm emulsion - generally from 120 confection and its perforated 70mm sibling, emulsion resolution drops to 80 LP/mm. By the way, without audio tracks, Todd-AO would fit on 35mm film running horizontally.
Imagine a red filtered photosite. In the Bayer paradigm, it has 8 direct neighbours, 4 of which are blue and 4 are green, that each at the hardware level infuse a bit of their light in that single red one.
"Cons" of the OLPF as it disperses light travelling to photosite [x,y] so a fraction also hits the direct neighbours:
- reduces contour sharpness and through that optical resolution or sharpness;
- reduces low light sensitivity;
- reduces dynamic range (DR);
- reduces contrast envelope (DR available in one frame/shot);
- reduces colour space;
- introduces the risk of total (colour cast) reflection between the back of the OLPF and the front of the sensor (forget removal in post).
The OLPF makes extremely dumb raw processing ("deBayerisation") easier - extrapolation of missing two colours from [x,y] by weighted interpolation with direct and indirect neighbours of [x,y] - thus introducing mosaicking: colour cross bleeding, crinkly lines, Moiré. With increasing sensor resolution, mosaicking became more visible and so the dumb deBayerisation was amended by "demosaicking" - so the strategy was to screw up first and repair later. With better AI built into deBayerisation you might be able to prevent that. This AI however must "know" what subject it is dealing with.
Having suffered from total reflection colour cast, I migrated to a camera without OLPF. When I see some grain in the blurry image zones, darker image zones, and low contrast image zones, the I think "ah, Bayer noise" and curse the Mudbricks. But up to A3 print size it isn't noticeable enough. Until the total reflection hit my 24MP camera, I would argue that 24 is enough and I can upsample that to 32,000 on the long side (683MP for 3:2) - gives beautiful A2 prints.
The move to mirrorless was driven by the need for "recognition AI AF" and so I arrived at 45MP mirrorless.
The spec of dust was on my screen and not the sensor… I cleaned it right away of course 😊
I can do good street photography with old school manual focus camera. No need for fancy autofocus for street photography. To really see if it has good autofocus is to go and try and shoot sports or birds in flight.
I come here mostly for your jokes 🤣🤣🤣
Thanks. I'm glad someone finds me amusing 😅
I just hope sony or someone else makes a medium format 3:2 camera sys with their latest 247mp 3:2 huge true medium format sensor.
Cool.
Why is the film simulation modes highlighted in every review of this camera? Does people buy it and shoot JPEGs without post processing?
Yep. It's actually very popular. Particularly for those who like the act of taking photos but don't want the hassle of editing.
@@TomCalton Isn't this camera a bit overkill then? You could do about the same then but apply the profile in post way cheaper and get a smaller, lighter camera at the same time.
@@mofotose i know you didn't ask me but many people including myself don't always want to fiddle in post and would rather have a good looking image straight out of camera. I'm a Nikon user and will stay with this platform probably forever but I won't deny that Fujifilm jpegs look stellar sooc.
@@astromoosie So people buys gear for 10k but don't want to "fiddle in post"? Well, with 100mpix you don't need longer lenses neither - just crop :-)
@@mofotose some people have the money to blow on expensive gear and as already mentioned it's just one less step they have to do in order to get the results they want... especially nice if that fujifilm color aesthetic is what they're after.
Hi Tom! I am Aryan from India 🇮🇳. I really love your content and a great fan it. As from India we have a very limited source for mirrorless cameras, it would be very kind of you if you help me out to choose a perfect travel mirrorless camera available in India. And yeah lots of love from 🇮🇳
Canon R8
नमस्ते आर्यन जी। I recently came back from a holiday in the US and I took two Fujifilm cameras with lenses in my backpack. The small camera was the X-E3 with the 18-55mm kit lens and the other camera was the X-S20 with the 70-300mm lens and the matched 1.4X teleconverter. Each camera with lens was in a small camera bag and the two cameras in their bags fitted into the backpack.
The backpack fits into an overhead locker on the aeroplanes and it is possible to walk for miles carrying both cameras. The picture quality from the cameras is very good.
They are probably not the best cameras but it is a solution that works for me.
I hate ff cameras for heavy optics. For medium format same specs lenses are even heavier! For casual shooters, travel and street photo crop cameras are much more comfortable
It is funny how we have moved up in terms of resolution so much that modern full frame digital sensors rival or surpass what analog medium format could do and crop sensors still out resolve full frame film, but all that is not enough and we are searching for the next bigger thing because that will surely be the thing to fill the void.
I'm happy with my GFX 50R. Mostly cause of the ergonomics, it had the viewfinder to the side so I don't have to squish my nose against the camera while focusing. Otherwise it's already an overkill camera, I'll never need 50mpix for any of my work realistically. I do enjoy a bigger than FF sensor cause I can use some FF lenses beyond their official potential.
And why not? The more resolution and fidelity an image has, the bigger you can enlarge it. Admittedly, this almost never happens. But once in a blue moon, if it does, you'll be glad you went the extra mile. Just IMHO. YMMV.
Maybe in 10, 15 or 20 years, cameras will have higher advances IA features about focus, ISO... you name it. Also, someone will notice DSLR pros, and they will be back. Imagine 5D mark V with future focus tec.
Would be good to recognize that the Leica SL3 is used by professionals too.
Tom's ability to carry the GFX 100-II makes his forearms a large as Popeye's.
That along with other reasons...
I fact checked this. It's all entirely true.
It feels good and the quality is superb, but ...
It's very expensive and full frame is good already.
👍🏼✅ Greetings from Houston. Excellent job. Loved the future forecasting thoughts. And cameras with SSDs, security codes , and Apple tracker too. ✅👍🏼.
Why is your video audio off sync?
It's not for me bud. Anyone else having the same issue as this guy?
Audio is bang on for me.
Off topic, I know there are multiple ways to pronounce it, but having grown up hearing it pronounced ‘Nye-kon’ my whole life, hearing ‘Nih-kon’ weirdly keeps throwing me for a loop. Considering the Japanese pronunciation is ‘Nee-kon’, it shouldn’t, and other British vs American word pronunciations only catch me off once then fade almost immediately. Dunno why this specific one doesn’t fade in my head like the rest. It’s not like Tom is doing anything wrong, he’s not and he’s fantastic. And, it’s not like the British version is mispronounced, it’s not, Nikon officially recognizes all three as correct. Oh well, my brain is weird, lol.
Haha! I'm always really concious about saying Nikon on camera for this exact reason. Another word I get people picking me up on is "bokeh". Here in the UK we have a habbit of putting "r's" in words where there isn't one. Bokeh is a word that fall in to this trap and I always end up saing "bow-ker".
Accents are weird. 🤷🏻
Me watching with not enough money to even buy into an APS-C system with those affordable viltrox lenses 😂😂
I WISH OM SYSTEMS WOULD ENTER MEDIUM FORMAT !
Snipping I tool: « Am I a joke to you? »
On topic, I dream of having a Fujifilm GFX camera one day. For this camera…. _drool_
Now to go look into what the going rate is for arms and legs….
Sexual innuendos are tacky and degrading. You have a wonderful channel; please don’t stain it with immature comments.
Did you forget Hasselblad ?
Too many people focused on technology bells and whistles too much, and not enough on creating good photography. This is no revolution, the original GFX was a revolution, it actually did what no other camera did at its time. This is just adding more features. Also please stop saying that the sensor is huge, the sensor is still 44x33mm, it just has more pixels.
I do really like the ergonomics of the body and am looking at the prices of GFX 50II going down so I can "upgrade" my GFX 50R, but I really wish the sensor was actually LARGER, not more pixel dense.
It will never replace ff cuz medium format is too expensive not the regular consumer can afford it
I am so used to watching your shorts that a longer duration video is kind of weird.
Good weird or bad weird?
@@TomCalton hahaha of course good weird! It’s always fun to watch you. And you take wonderful photographs unlike others. Would love to see more Karl Taylor style in the studio reviews working with the camera.
Why does it look like the camera body was 3D printed?
I will agree with Chris Niccoll from PetaPixel that the full frame cameras today are so good that there is often no reason for the smaller medium format cameras, such as those from Fuji and Hasselblad, because there are also some weaknesses in compared to full frame cameras .....
I know the weaknesses on these medium format cameras. Slow autofocus and tracking, poor autofocus at lower light environment slow burst rate, not as good as a hybrid camera that can take care of both video and photo but there are also advantages you can shoot at higher ISO, you can shoot at faster shutter speed, higher resolution than full frame, the medium format has that cinematic look that you can't actually recreate with a full frame camera. I have the Sony A7RIV and Fujifilm GFX I know that from a personal experience.
@@jliang70 There is no speciel medium format look, it's all just math and sensor size 😉
@@JessDemant there is just like there is a difference between fullframe and apsc.
2:54 "the equivalent focal length" - the focal length stays THE SAME. you're not changing the focal length by using a lens on a different sized sensor. you're changing the ANGLE of view you register
People generally know that. Equivalent focal length is just a way to communicate the angle change using units which most photographers are familiar with. The longer way to say the same thing is "this 55mm lens when mounted on the Fuji provides the same field of view as a 44mm lens on a full frame sensor."
Why make a larger sensor, and mainly make it larger in height - we all have 16/9 displays, or wider? And the 8K crop means it's 16/9 is 'only' full frame basically?
It's a photo camera first, not video
16:9 is a garbage marketing gimmick that was pushed by TV and film brands. Photography mostly uses golden ratio which is closer to 16:10 or 3:2, or in the GFX case 4:3 which is perfect for vertical art. But yes, the 8K crop is a bit too big.
4:3 is very different from 3:2. Everyone uses 16:9 monitors, and if the picture is cropped at 3:2, then at 4:3 it is cropped very much. This format is unrealistic and will not be successful. Photographers will have to come to terms with the industry's concessions.
Forearm strength 😂
24y wow
Did you say LARGE hard drives !
No, thanks, I‘ll stick to my cellphone for making photos!😂
As the Spitfire was perfected before the arrival of jet fighters so cameras are now perfect before AI will remove any need for them.
DSLRs are getting outdated, really🙈
200mb image file size 💀💀💀💀
Can it shoot jpeg😊
Yep 😊
But can it automatically upload to IG? That would be an actual upgrade
What's the size of JPEGs?
I have not shot with this camera but Jpeg on the older 100S and 100 varies between about 40MB to 68MB.
Yes, indeed it will: As far as resolution and image quality go ... Fuji is king because it's medium format. But you can't expect such a camera to replace full frame cameras, even a 40 MP camera, for things like sports photography and photojournalism simply because physically, the camera handling is a clunker. It's slow, heavy, and somewhat unwieldy. But it's what you use when you need something like a mini bug Volkswagen to compete with a semi truck, and do it successfully. The only camera on the same image quality plane is a Phase One, which costs beyond ten times as much money.
Fujifilm should hop on M43
Interesting idea. Olympus, or OM, is under resourced so there basically is only Panasonic to compete against. The question is, how many photographers want to use M43 gear? The M43 users are vocal (I’m a M43 & APSC user) but are relatively small in numbers compared to larger sensor users.
Could Fuji battle in three sensor size markets? No manufacturer has attempted this feat. If there was a profitable way to do this, wouldn’t a company like Sony try to do this? Three sensor manufacturing may be too expensive to attempt.
Mask On Nurse Marty(Ret)
I think they should hop on 645 instead
I don't mind blemishes, freckles, wrinkles, it's part of reality 😊
Other than being excited about it as tech, I mean it's cool, I don't see what's groundbreaking about this. Why is it the future? A lot of people are clearly going smaller and lighter, and your whole channel is built on showcasing small, cheap, quirky, fun cameras. I cannot imagine someone wanting to take this out for street photography or to shoot video, 😂 just on size and weight alone. People who wanted 100mp images already had it with the earlier model. People who need speed, accuracy, or more bokeh have plenty of options at a much much lower price. Any noise performance benefit is now solved by AI tools easily. I don't get it 🤷🏻♂️ I guess Fujifilm is just having fun.
How about you make a response video about it on your dead ass channel and actually DO something with your knowledge instead of talk shit.
It's insane for video and high resolution photos. I mean each camera has its own purpose, it's obviously not for every day life and street photography
@@iarosnapsthe photo part, of course totally agree but it was possible with the first GFX100. A landscape photographer obviously will really love this. I can see this as an excellent tool for professionals selling those massive glossy prints in luxury mall galleries. I only mentioned street photography because Tom did (btw if you want to see some hilarious stills, check out photos taken by the GFX in e-shutter mode).
It adds nothing to the table for video, though. The X-H2 already does it all when staying in-brand and with way less crop factor mess at different settings. Others include Sony A1, A7RV, Canon ___, Nikon ___. All high res, smaller, cheaper, lighter, better tracking and reliability, lenses better designed for video, more optical reach, faster readouts, easier to mount to gimbals...
It remains a landscape-centric camera no matter the generation because that is its strong suit, and there's nothing groundbreaking or insane about that. Now it just has the perks of recording video if necessary. Cool.
i get what you are saying. The tech is awesome, but the title is totally for engagement and hype. Why would this be specifically the future of mirrorless? i’ve learned to take the titles for what they are there days - strictly to get us to click.
@@ardie3523the 4.3 . format is what it makes worth it for me alone. I hate the cramped 3.2 format. The much better image quality does not hurt either.
It won’t replace full frame. Glass is heavy and expensive enough already and it’s not getting cheaper. Also, video is getting more a more important feature for selling hybrid cameras now.
It replaced all of my full frame cameras. And I'm talking about the GFX 50R, not even the new ones. Most of my glass is the same, cause lots of FF lenses cover the GFX sensor with no issue.
And camera screen design is still not Fujifilm strong side😮
Great informative video, really like your content. Just a comment about your model...those 'eyebrows', lol, so fake, they're not even located on the brow ridge where they should be...
The model, Alice is a beautiful female specimen. She's gorgeous! Admittedly I'm a little biased, I am a man who loves women. "But like most things in life, it's whats on the inside that counts"
no NEXT QUESTION
MF film cameras never took off 35mm
FF has the right size.
Though I loved 690 fujis 😋
Remove freckles? BLASPHEMY!
wait, 7k for a device incapable of 4k120 in 2024?
without even watching: no it wont
It won’t replace FF.
Already replaced all of my FF cameras :)
But it’s so expensive
So is Leica. The right tool for the right job.
Mask On Nurse Marty(Ret)
Which only means that the 50S, 50R and 50SII are going to go down in price ;)
No it won't. The future for mirrorless cameras is small, lighter bodies with huge processing power for AI technologies and smaller lenses. The continued drive for innovation and sensor technology improvements will mean that these 100 MP cameras will no longer be required. AI and software such as DXO, Photoshop/Lightroom and Topaz will render these cameras obsolete.
I don't believe any of this.
Fujifilm is still like 5 years behind Sony in autofocus, Fujifilm could barely get autofocus working on their APS-C cameras, let alone Medium format.
X pro1 x ever
I'm sorry 13 seconds in this video and i had to stop this already.
I have the Fuji gfx 100s , and it's a beautiful camera, amazing ! but it's not the best medium format camera in the world, not even close.
The phase one iq4 150 and hasselblad h6d 100c are way ahead. best 44x33mm sensor baby medium format camera.. sure.
This video isn't about the GFX 100s - it's about the new GFX 100 II
@@TomCaltonow so the 100ii magically has a 54 x 40.5mm sensor, instead of the 44x33mm one? i must of missed that point.
@@Juventinos He just uses the same shortcut expression as modern digital photographers - "huge (amount of pixels on the) sensor" - you just need to add the words in yourself :) But he makes many technical errors like multiplying the equivalent focal length of lenses.
@@KNURKonesur modern youtube influencers you mean, not digital photographers.
it's a shame he does make these mistakes, he's cheap camera videos are for the most part great
Hmm, 102MP raw uncompressed files I'll need to upgrade my Mac, No thanks
lmao complaining about it being heavy.. it's not heavier than any Nikon Canon or even Sony DLSR.. you get a medium format system in a nikon d850 body. that's about it. what can be better than that?
At what point was I complaining about it? I was merely mentioning the weight difference as it's quite significant.
How about a mirrorless Nikon D850? A DM850?
Mask On Nurse Marty (Ret)
Hasselblad hands down better
Sony will always be ahead - they make ALL the sensors 🤷🏼
Answer ... NO
I love the 4.3 format so only mft and medium format cameras exist for me
Large format also :)
Can you explain why? Is it convenient for you to use when the picture occupies 50% of the monitor area? Almost all monitors have a 16:9 aspect ratio.