Fujifilm's 'Focus on Glass' event demonstrates how companies can successfully integrate consumer feedback into product development by presenting multiple lens concepts and allowing users to vote on their preferences. The event received over 40 lens proposals, with the 16-80mm f/2.8 zoom lens receiving the most votes, followed by the 18-50mm f/1.4 and the innovative dual-focal 'travel mini' lens. This approach provides valuable market intelligence while creating excitement and engagement among photography enthusiasts, ultimately helping manufacturers identify gaps in their product lineup and prioritize development efforts based on actual user demand.
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Sony's AI Debacle + Fujifilm Has Over 40 New Lens Ideas! | The PetaPixel PodcastAñadido:
Hey everybody, it is another episode of the Pedapixel podcast. It's Jordan Drake here and we're all in the same room. So just over to my left here, I got Jiren Schneider. How you doing, Jiren?
>> Hi.
>> I'm good, thank you.
>> And even further left, oh, it's Chris Nichols.
>> It's the leftist Chris Nichols.
>> And not only are we all together this week, but we're mixing things up a little bit different because we're in Tokyo.
>> Yes.
>> We're here with Fuji.
>> Yes. Look at all the Fuji cameras behind us. Fujifilm museum >> and the two in front of me. Please >> point this out. You have your TX1 here.
You got your X1006 Limited. Is what do the kids call this? Is this aura farming or something? What is this? I don't know what what you young people say.
>> I I refuse to answer that question because to answer that question would make me feel old.
>> Okay. So, okay. All right. Well, I mean congratulations.
But uh yeah, this is cool. I mean we are here to do a very interesting project with Fujifilm uh in the area and also of course we get to podcast out of the offices which is really neat. We have never seen the Fujifilm offices and we have a special guest on the podcast actually.
>> Yeah, Eugan is going to be joining us here a little bit later but also last week was crazy. We have some follow-up news from last week. Uh some other stuff has happened as well. So we're going to get to things pretty quickly. But uh before we get started I always like to kick things off with a question.
>> And gentlemen, there is a giant wall of cameras behind us.
>> Mhm. Do you have any specific memories with any of the models back there? Any experiences? Anytime you were surprised by one or when you were looking back there just be like, "Oh man, I totally didn't remember that something happened there." Jiren's off. He's investigating.
>> I kind of didn't know that uh Fuji Film made binoculars, but I mean that's that's about it. No, I mean Well, I mean, and the TLR is crazy. The Fuja Flex is crazy, but yeah. I don't know. I mean, specific experiences. A lot of our customers at the camera store bring in all of their medium format Fujifilm cameras, which was uh always uh jealousy inducing. Um and uh yeah, >> on medium format, I've never seen a 645 AF in person before. So, that's pretty cool.
Oh, sorry. I forgot who I was talking to.
>> I mean, I'm Chris Nichols. I've seen them all, but I've never owned them. Uh never owned a Fujika, you know, SLR, but beautiful little cameras. Yeah. So, over in this corner over here, you can't see it. It's off camera, but there's a small cubby full of fine pix cameras. And if you've listened to this podcast before, you may remember that I said that my first camera that I digital camera that I ever had was a point and shoot that my mom bought and then I sort of just like absorbed cuz she wasn't using it as much. And it was a Fujifilm Fix. And that camera came with me to Japan for the first time in my life when I was a 15.
>> Yeah. So, I took lots of pictures on that camera. I still have that camera.
It's actually in the I found it recently again.
>> I bet you the battery is toast.
>> Uh the battery stayed in there. It was a battery and so it it corroded out the inside. So I don't think this camera works anymore, but it is a lovely uh momento of my past here. So uh yes, I do actually have a memory tied to a camera that's at least of the line. I don't see the actual model over here, but of >> but you just wanted to see that fine pix badge cuz we don't see it very much anymore. Uh, I got to say the standout one for me is um the S5 Pro. The last time I saw an S5 Pro cuz we actually gave it away after we tested it. But um the last time we used it uh we were shooting a review and we decided to take some photos with strobes of my son and he took his first steps into Chris Nichols arms and that is a crushing moment. Wait, is that real? That really happened.
>> That is an act. It is on camera. You can hear me say in the sound mix. I think I'm like no not him.
You stole his son's first step.
>> No, no, no, no. Your your child was was standing up and wobbling and I may have been like, "Oh," and he did.
>> So, yes.
>> But I mean, no, I mean, >> so anyways, no, it it's profound mixed emotions looking at that back there.
But, uh, some warmans as well. Oh, look.
It's the 3D.
>> The cameras don't remind me of that stuff. I just remember the joy in your baby's eyes as he walked towards me.
That's all I remember. And it was very a beautiful moment.
>> Well, well, I try to process this. Let's have an opening animation and we'll get to the news.
New perk. New what?
>> New perk.
>> Really?
>> So, if you are >> There's already so many. If you're a Pedapixel member, you may have realized that because we started partnering with Harper Finch, we gave everyone the same discount that we got for Pedapixel members, which was 25% off the merch store. We effectively do that for everyone now because it was just easier to do it that way. And it felt wrong, >> wrong, Chris, for me to take something away from Pedapixel members and not give it back in some way.
>> I have good news. New perk. New perk.
You now get 10%.
>> Stop punching the table. Our microphones are on. you ogre.
>> Well, I wanted like the uh you know the the effect. At any rate, if you are a pedapixel member, you now also can get a code for 10% off WCOT lighting from the WCOT store. So now to go over all the perks that we have, you get no ads on the website. You get a access to our sample galleries where you can download JPEGs and RAWs from all of the new cameras and lenses that we test.
>> Oh, don't forget the Moment store.
>> I'm not there yet. $25 off. $15 off. $15 off the store, sorry.
>> Which is more than half of your yearly membership, which is only $3 a month or $30 a year.
>> Correct. You also get 5% off KH, which more than covers your taxes and or shipping depending on what's >> suppose you were to buy anything back there. You're going to get your membership back.
>> Uh what I'm missing another one. There's one more, right? Oh, well, besides the WCOT one, or is that is the final one?
>> 10% off WCOT. So, that is a laundry list of perks for those of you who choose to support us for a poultry. $3 a month or $30 a year. And that really helps us.
Chris likes to say it helps us do special projects. It also helps us pay all of the wonderful people that make the stuff that we do possible.
>> I also want to say that Jiren doesn't tell us about these perks until right on the podcast. I had no idea it was in the text chain.
>> Tell us. Was it in the text chain?
>> You've got a lot going on. It was a busy week last week in case you missed it.
Uh, but if for those of you who pay attention to every second of every video we make, if you spotted the new perk at the end of the Lumix L10 video, give yourself a pat on the back, >> you maniac, >> cuz it was there. Yeah. So, if you saw it, thumbs up to you.
>> Wow.
>> Uh, so thank you to those of you who are members. Right now, the Harper Finch collab that we had, that drop has ended.
So, you know, it was very successful.
Thank you so much for those of you who purchased a shirt. The number one shirt was Bill Hunter >> as it should be.
>> Please send us photos of yourself in the wild Bill hunting with your Bill Hunter garments.
>> Uh right now you can still get the just plain Pedapixel branded stuff if you want it. The hoodie uh and two shirts, but we are evaluating how that went. We think it went well. I can say we'll probably see more drops from them soon.
>> I've got some depraved shirt ideas, guys. I'm going to pitch to you after this. definitely hasn't shared those with me yet. I don't love him to share those with me.
>> That's a late night in a smoky Tokyo bar kind of conversation. The kind of stuff I've got percolating.
>> Wow.
>> Well, that sounds exciting. And by excitingly frightening. Anyway, thank you all for supporting us with their Pedopixel memberships. And if you haven't joined, really, we'd really appreciate it if you did. Plus, >> it just makes such good fiscal sense.
If you had like studio lighting and a used camera from KH and a filter wallet, you've saved hundreds of dollars with that little tiny pedapixel membership investment.
>> That's an important thing to point out.
You help us, which we really need. Uh publishing is not what it used to be.
So, we could use your support. And with that, >> to the news >> to the news, of which there was quite a bit. So, uh first story we're going to talk about today is a fun one. I wanted to start out kind of loose and fun.
>> Sure. Oh, don't tell me this is going downhill. Uh, are we bringing back the tariff drum?
>> So, there aren't any. No DIY. We wrote had a story last week where a person created the CAD files that you need to build your own one of these is a DIY project to turn a Panasonic GF3. I want you to tell me about this camera shortly. And a Soviet Fed 5 into a digital rangefinder at home. Chris, I don't know anything about a Panasonic GF3. Please tell me about Oh, the GF3 was like a very sort of basic uh micro four/ thirds camera, 16 megapixels, no EVF, so destroy them.
>> It was super tiny. I think that's the appeal for this project. Like the lens mount was quite a bit taller than the camera itself. So, it kind of had a weird like bump on the top that was almost like a prism, but not quite.
>> Now, of course, you know, 3D printing cameras has become quite a thing now.
Jiren is a purveyor of many 3D printed cameras. Yeah. because he loves his weird ultrawide format pano. Waste all your money on film cameras. And uh but you know, but that's easy cuz you're basically making a box. This is something a little bit different. So the whole idea of this is the creators of this of this printing project wanted to create a digital rangefinder that would be more affordable than Yeah.
Admittedly, look at this rangefinder. We don't even need to talk about how much it cost you. It was ridiculous. but they're expensive and so not everybody has an opportunity to get into that. So basically though what this entails is taking a Russian Fed 3 uh sorry Fed 5 old school rangefinder which will have a shutter mechanism. It has to be working like has to be functional. Then you take a also perfectly functional Panasonic GF3. You then destroy both cameras and use the 3D printed chassis to mish mash them in a Frankenstein manner together.
That sounds awesome. Uh, and then with an adapter, you can even then mount like, let's say like M rangefinder lenses or something like that. And then I, you know, every time you take a shot, it will trigger the GF3. And, you know, I assume you rip the lens off this thing. Like, I it's it's, it's, it's, it's, it's, it's, it's, it's, it's, it's, it's wild. I don't know. It's crazy. But, um, there you go. If you don't mind destroying two perfectly good cameras to create a Frankenstein camera of dubious quality, this is the >> sounds like what people like these days, of dubious quality is a is a plus. Let's not forget there's a lot of mm mount glass that really supports a four3 side sensor as well. That two times crop might be a sticky wicket with a rangefinder, but not >> get out of here with your logic in your in your >> but it's going to have a crop factor. I mean, you know, is it going to really Yeah. Is it fun?
>> It's a fun idea. Stop it.
>> Anyway, from there, we're going to talk about another This is a weird one. So, last week speculators >> It's a rumor. This is a rumor. We're rumor. We're spreading rumors right now.
Not it's like not even the normal rumors. The speculators have >> come out and believe that Nikon is entertaining the idea of selling to SLR Luxodica.
>> Yes. One of the gigantic um crazy companies that owns so many optical brands. Lots of sunglasses.
>> Yeah. They're mainly known for sunglasses. So, if you go to prescription eyewear, >> you go to Target in uh any in the US, Target's optical center are is an SLR lxodica.
>> Yeah. If you own sunglasses, there's like a one in three chance you've got lxodica.
>> Well, since I live in Portland, actually, all of my glasses and my insurance and my eyeglass place are all independent. So, I don't have to deal with >> that's very Portland of us. Uh but most people do in fact have to deal with us.
At any rate, Nikon the just the news, the whisper of a rumor of a thought that this might happen sent Nikon's stock to the moon last week.
>> So there's I mean I think we should address that there's been there have been thoughts for years and years that Nikon is having issues fiscally and stuff and that's been debunked or it's been you know like it's been all over the place >> there they they do keep losing money but if you look at their financials carefully it's actually the imaging division is the only division that's doing well.
>> Right. Right. Exactly. But they I believe uh Luxotica Esler has a part ownership you know.
>> They are an investor because Nikon makes glasses >> and I believe they also did the collaboration for the Nikon sunglasses and eyewear that that they came out with as a line which makes sense.
>> That's what I said.
>> No, no, but you also ownership of the product owners ownership of the stock but also a collaboration with the actual products. You know, like they've made products together is what I'm getting.
>> I believe we've covered this in the past how much they own. you know, there's there's obvious it's not just like pulled out of thin air. There's there's precedent that it could be possible, but rumors.
>> So, last September, we reported that SLR looks considering doubling its investment in Nikon, uh, which would take it from a 5.1% stake to a 10 or 11 10.2 to 11% stake. So, this is this feels related to that. Maybe they looked into it and decided, well, why would we just double our ownership stake if we could just take it? Now, here's the thing. I'm going to go ahead and put a little bit up.
>> I mean, Nikon Imaging now, they've acquired Red. Like, that's that does make them a very uh important piece.
>> I do not like SL or Luxica. I do not like their business strategy. I don't like that they are a uh vertically integrated uh in eyewear from the insurance to the place where you get your eyes checked to the people that sell you the glasses. I think that uh allows them to price fix and they've also been known to bully brands into that they want into selling to them. I believe they did that with Oakley. The story with Oakley, you should look this up if you're listening to this. The story I believe it's Oakley >> and then they'd have Red back.
>> Think about this. This is all a mad conspiracy to have Oakley and Red together under the same brand again.
>> Oh man. So anyway, take this with a grain of salt. Um >> that's the hot scoop. I believe Nikon is majority owned by Mitsubishi if I'm recall.
>> I believe that's right.
>> So >> there'd be a lot of hoops to jump through. Everyone would have to agree to it. I would think that if there's any of this that is true, I believe SL Exotic will probably just buy the glasses segment. That's what I think.
>> Who knows? But it's an interesting it's an interesting thought process for sure.
>> Yeah. I mean, it's tricky for us because we've seen the last few years Nikon really rebounding in terms of the quality of their product. So, it's difficult to keep hearing about like financial struggles and things like that. But, yeah, I do think it's a good point Jiren made to emphasize like the imaging is profitable at this point. So, the work that what would be more disappointing is if all the work they're doing wasn't paying off in terms of sales. Uh, but it seems like that's not the case specifically in the photo side.
>> So, this is an interesting story.
>> Well, no, I mean it's interesting. So, first of all, what's what's actually interesting is that Sony is still making smartphones. That blows my mind. The Xperia line of smartphones. Uh, they have created their latest uh um iteration of this. And you know what? I I actually am kind of a proponent of Sony. I had an old Xperia. I really liked it.
>> Did you bend it?
>> It was very thin. Well, yeah. I I would put it in my back pocket.
>> You just said it was very thin. That's very rest of the story. And I like the form factor and I would carry it in my pants pocket and it, you know, I don't know if you guys know this, but I have like a perfectly curved bum. Like it's beautiful. Yeah. Yeah. Yeah. And the phone basically I coign.
>> Thank you. And the phone basically conformed itself perfectly to the shape of my bum. And I >> It still worked, but >> kind of you you could plug in the USBA port, but it wouldn't quite connect to the power. So you'd then have to fold it over the screen. Oh, I remember this.
And then you'd have to put like a chair or a table leg on top of that pressing down and then I think the contacts actually snapped and if you folded them back down they would just like and then it would charge. So you >> I believe you were calling me an Apple sheep bowl with my iPhone the whole time you were putting your hair >> you're balancing.
>> Just because I've joined the cult does not mean that we belong to a cult. I mean of course we do. So >> So that long intro tangent about Sony Xperia is Sony >> Oh yeah. Right. There's a new story.
They put it out on social. Here's the act the text of the tweet. The new AI camera assistant with Xperia intelligence brings stories to life using subject scene and weather. It suggests expressive options with adjustments of color, exposure, bouquet, and lens for breathtaking photos.
>> Yeah. Asterisk.
>> Well, there's two asterisks in here. But here's the thing. These photos that it supposedly made better are all worse.
Like objectively worse.
>> Yeah. I I mean, I don't know. The flower and the vase, I I'll give it a pass, but like it's like >> the sandwich. This is terrible. This is >> unacceptably terrible.
>> A poor girl in the field. Promise me this will be on screen for people.
>> I will I will I will put the sandwich on there. This is This is obviously this is bad.
>> Yeah.
>> And Sony got absolutely shredded online for this.
>> I'm shocked that they even released these photos. Like like >> this is a very funny this is a very funny example. I'll put this on screen too. This is a this is an exaggeration, but it's very funny. Look, all the company, all the smartphone companies have these AI or, you know, machine learn whatever assistance and they try to improve your photos. This is not only changing exposure, contrast, color, it is actually doing some generative AI as well, which we hate. Um, like the the the picture of the flower in the vase, not only does it deepen the saturation and improve richness richness, but it gets rid of like a bright window in the background and basically paints it in with an out of focus wall. Fine. But I mean, I don't like it. But that's that's what you know, like a lot of >> So, not only does it look bad, but it's fake.
>> It's Yeah, exactly. Fakey, Jordan. But most of the time, it just raises the exposure about a stop and a half saturation. Yeah.
>> So, it's washed out.
>> Like I I keep looking at these and like, oh, I think I know how to process that back to usable. But that's my inclination having >> If anybody has shot log in video and said, I prefer it ungraded, you're going to love this. This is perfect for you.
This is exactly.
>> But you overexpose to protect the shadows while shooting.
>> Well, that's what they apparently are doing.
>> Cuz all your photos come out overexposed.
>> And this flower one, it like deletes a window and >> that's what I'm saying. It deletes a window in a chair leg and and it it puts a >> This one's very funny to me. How do we like we This is just not a good not the the model was perfectly exposed >> and then they ruined it.
>> And then they ruined it. Anyways, I mean, look, these things can be updated and >> How did this get approved? What? Yeah, that's what I'm concerned by is like what we're really saying is how did Sony let this get out?
>> Yeah.
>> With any sort of thought process that it would be received well >> like four examples and one of them if you want to be argumentative you could say was an improvement but >> which the rest of them are all >> the sandwich one is by far the worst.
>> Disquingly bad.
>> Disquing a very good word. Yeah, that's I don't know how this got out there.
Sony sent like they tweeted us like a follow-up later clearly aware of the controversy and attempted to show that it's not actually doing that. But the fact that they had to like address the problem publicly because it was so bad says a lot.
>> If the if the after photo was the before photo, then I'd be like, okay, >> advertising.
>> Anyways, uh they're getting ripped apart. We're ripping them apart. It's sad because the Sony Xperia isn't it's I think it's just amazing that they're still making those phones. I'm sure their market share is very small, but obviously Sony is a powerful company.
They've got great sensor technology.
They've got well good color now. I Well, okay. I don't know about that, but >> I'm looking at this article.
>> Yeah, you you didn't love the magenta caster, >> right? I just I've learned to live with it. And sometimes when you learn to live with something, that is a form of love.
Uh we're going to talk about this with uh Eugisan. I really want to know what he thinks about this next story. But um we get a lot. So here's the thing. Some might wonder why we report on how sales are going in Japan uh for any camera product at any point. And the answer to that is because it's a large market for the Japanese companies that they're physically in and they pay attention to what's happening in their country when they do their focus groups and decide what they're going to make next.
>> Yeah. there's actually information, right? As opposed to North America. So, yeah, we're going to lean on the country that reports things.
>> Yeah. Yeah. So, that's the other thing.
We don't get any information really out of any of the other dealers in North America or even Europe.
>> Well, sometimes we have the owner of the camera store on to talk about numbers and then he gets in trouble and he's not on our show anymore.
>> Apparently not allowed to do. But in Japan, the these companies are very very open about what sells well and what doesn't. So, this information is valuable. So, I think it's important to be out there as long as you understand the context. But to blatantly say it's not useful is uh well, it's missing the point and choosing to miss that point.
At any rate, in this story, Fujifilm's uh old XF351.4 is a very hot item, >> their oldest XF lens. Talk about that.
>> Can you tell me about this lens, Jordan?
I've never used it.
>> Uh it's legendary. It was launched alongside the XPro 1 along with the 18 the and the 60 mm macro. Uh but those were all the first lenses for this mount and it has developed a reputation as like a legendary if you want a vintage aesthetic but you still want autofocus.
So many people are clamoring for this because it did have some optical deficiencies. That's why they later released a 33 mil 14. Fixed all those.
But this is still so popular and it seems like if you're buying a Fujif film because you're into >> a more retro look, this is the first lens that absolutely everyone buys. So I think that's why it's so hot. You get an XC5, you're running out. You're getting yourself a 3514. Um popular.
>> Yeah. Even with these latest bodies here, it does still I think largely it's a reputation of just having a magical aesthetic to it.
>> Even I like it because of course obviously it's a 15mm fullframe field of view equivalent when you put on a Fujifilm camera. Uh yeah, like at 1.4 if I recall is like, you know, kind of like vintage glass that a lot of companies now are trying to replicate. It was a little bit glowy at 1.4. Uh little bit of flare perhaps. Like yeah, it's it's a cool lens. But um Chris, you said to me, not it's not it's not in your review of the 100 to 400, >> uh which might be out, might not be out.
>> The Sony Sony the new one.
>> Depends how editing goes this 4.5.
>> Yeah, it depends on when we're we're going to be able to publish this podcast. Um, you mentioned that of like I think your exact words were, "Oh, it's great. Of course, it's sharp." But then you also said, "But I'm kind of bored by sharp." And I think you also said >> I didn't say, "I'm bored by >> Did you say in the last podcast that you would look forward to bad glass or something like that?" Because >> I don't think I said that, which means I probably did, but I don't think I said that. I don't find No, sharp glass is great. I I said we're spoiled for sure.
Like, you know, it's hard not to make a sharp lens now. It's become elementary.
>> That's exactly. So, I was listening to that on the bus this morning. So, Chris would be very excited to review a lens that wasn't sharp. And I think it was in terms of that we keep cutting to, you know, a big part of our lens reviews or we zoom into the sharpness chart and a lot of the first party lenses were like center's great, corners are great. You zoom it in, center's great, stop it down, corner great, wide open, good.
>> Yeah. I think I was I was a lot lately.
Yeah. I think I was implying that I'd be like shocked and amazed.
>> It would break up your daily routine to lenses.
>> We we do endeavor to I use the I endeavor we do endeavor uh to use uh and review lenses now that are being made with more character. And so I mean the light lens labs are a great example of that. The Omnar Bartellis are a good example of that. like these lenses that have flaws on purpose or or keep them and maintain them because it's historically accurate to the original formulas uh even to the point of using the same glass and stuff like that. You know, we have another review coming out which will be similar in that regard. So yeah, like it is fun to sometimes play with lenses that are not surgically precise and absolutely stone cold protected from flare and you know incredibly sharp all the way to the corners and all. Yeah, it's nice to have that. Uh if you read the article here, it's actually a fun list. Um you can see like man 50 and 35 are still the kings.
>> Um and it's great for me to see after uh I said the Sony 55 mil is a totally overrated lens. Great to see that right at the top there. So I can continue to be hated for holding this opinion.
>> Sony Sonar Tar 55 F18ZA. Is that the one?
>> That's the one. Yeah. You know what?
It's a sharp lens, but otherwise I don't like it.
>> Yeah.
>> Okay. Wait, why don't you like it? Um, some of the worst loca I've seen on a small like it it ruins photographs.
>> Just shoot black and white.
>> Um, weird flare patterns. I just don't like that lens very much.
>> Just shoot black and white.
>> That's the solution.
>> Okay. Uh, kind of leaning on the Sony side of that. Let's talk about a news that broke. Gosh, before we before we left for Osaka, but after we recorded the last podcast.
>> I call that the before times.
>> Yeah.
>> Yeah. you were you were telling me about this on the train on the way to OMIA and I was like what's a TSMC is >> okay so here's the news Sony has uh is on the early stages of a strategic partnership with TSMC which is a large Chinese uh not censored typically they'd usually do chip fabric >> I'm going to try and come up with an abbreviation for this before the story is done okay I'm going to check out for a little while I'm going to try and come up with something >> uh they're going to develop nextg image sensors in a newly built built fabricator facility that will be located in Kyushu, Japan. Um, this >> totally solid microchips.
>> I'm sure they'd actually be okay with that. Uh, they they uh the thing is Sony is kind of shifting its business. This is the second move that it's done in the last several months where they're moving away from manufacturing things and being more focused on the technology and the intellectual property. The first thing they did uh is they took the Bravia line of televisions and are now manufacturing them with TCL. Um TCL is a fantastic television manufacturer by the way. Now like their facilities are topof the line. So they're that's a was a great partner choice. Um but Sony's not making them themselves anymore. Now what this looks like is they're probably not going to make their sensors or at least some of them themselves anymore either.
They're going to work with TSMC. So Sony's going to be doing they take on a lot of the burden of the investment, but they are only doing really the IP and the design while TSMC fabricates and manages that. But it's also going to be based in Japan. So that's kind of good for the country continuing for people to have work here.
>> It's just an interesting move for Sony.
And I don't know that TSMC currently fabs sensors. They might, but it's not like their biggest business. TSMC makes chips for like phones and computers.
>> Yeah, you're saying processing units.
Totally solid microchips.
>> Yeah, they make totally solid microchips. Jordan, >> um I don't know if I have anything to add to this. I just think it's interesting. Uh the they're not quite done finalizing the agreement. They need to get funding. Um this the country of Japan will also provide funding for this too because they're bringing work into the country. So that's neat. Uh I just it's interesting to see Sony's business choices.
>> I want to go see the factory cuz I've always wanted to go to Kyushu and I haven't been to Kyushu. So that's >> very warm.
>> Oh, all of Japan is very warm to be honest with you at this time of year. I don't know if there's anywhere that's not.
>> So there you go. So what uh Sony's chief executive officer uh Hioki Totoki said was the joint venture with TSMC will be our first step to becoming Fab Light.
Until now, we've handled everything in house from R&D into manufacturing. But going forward, we hope to advance manufacturing not only on our own, but also by bringing in partners. And so this will probably be the just the second of many more steps of Sony's shift in uh reducing the burden of manufacturing.
>> Let's talk Lumix L10. Chris and I talked about that camera a whole heck of a lot.
In fact, for 35 minutes.
>> Yeah.
>> Jordan, >> yes.
>> Would you like to talk about the L10?
Well, I it's been a roller coaster for me this week, Jiren, because uh going way back like early in on the podcast, I was like, why don't they just do an LX100? They don't have to develop anything new. Just do all the stuff that they've developed in the last like 8 years since that camera came out.
They've got phase detect now. They've got better batteries now. Um, you know, the displays on them. They've got this 25 megapixel sensor that would be fantastic. Um, all of those things have come out. Uh, and then we saw the Deluxe 8, which kind of made me think like, oh, it's definitely not happening because it was Leica's recycling of the LX1002. And I was just like, if there's something coming around the corner shortly, >> they're not going to release this right before. But they did. They did release an LX1002 right before essentially an LX1003 came out. Um, and just looking at the features on it, I was like, "Oh, this is exactly what I've been asking for for the longest time." Um, >> on the L10.
>> On the L10, >> cuz Yeah. The deluxe 8 was largely a remake, right? A very minor update.
Point that out.
>> So that we see this question a lot in the comments and I purposely I'm not answering them because I'm hoping people will go and actually find out why we didn't compare this to the Dux 8. It's because we did compare it to the Dux 8 because the DX8 is an LX100 Mark II.
There's no reason to separate those.
It's the same camera.
>> Basically the same chassis, the same lens assembly, all that same camera.
>> It's a different menu interface. So, it's more like a Q or some of the modern bodies. But other than that, in terms of the overall camera, >> I don't know why I'm saying it on the podcast. All of you listen to the podcast already know that. You guys are the ones who pay attention. It's the It's the other ones who are like, "Why didn't you compare?"
>> Well, that's why you got to get your friends to listen to this podcast.
>> That's right. Damn it. Tell them when someone says, "Why didn't they compare to the DX8?" You say, "Because they did."
>> Well, it's not an LX100 3. Like, you know, if they named it that, I feel like it would be inappropriate. When they when they first came out and they were like, "Oh, the L10 is going to be the new name." You're like, "Yeah, okay, whatever." But it is actually uh in a lot of ways a very different camera. And I think we have to establish the body size specifically.
>> Yeah. And and so the body size has gotten significantly larger. And I think the important thing to understand about that uh it's necessary because the new chip, the new 20, you know, 25 megapixel sensor in there. Great sensor, but it has higher power demands and you've also got a new processing engine. So to power all that, you need a new battery, right?
Like you can't just use the old guts from the LX100. nor would we want them to. New EVF design, right? Like, >> and that OLED does have a power draw%.
>> It's the combination of the processor, the OLED viewfinder, and the sensor. The voltage of the last battery was too low.
It mainly the sensor really needed more voltage. Uh they confirmed that to us.
So, like that's that's why that battery is in there.
>> That's also why the battery in the A7R6 got bigger because that sensor's voltage requirements increased.
>> Yeah, exactly. It's not that you've been getting much better battery life. you just need the extra power to make everything work. And so that's a big part of why this camera has physically become larger. But what is basically barred from it is a very similar front end lens assembly. Effectively the same lens. Again, they said they've updated it. They do they do recognize that they had issues with dust and stuff.
>> I want to I want to shoot the two side by side even though the review is out. I think that would be really interesting to see if the lens actually is improved on it.
>> Who knows? I mean, yeah. Yeah. like you are getting more megapixels out of it.
So, it makes sense that you would have to have the lens maybe be updated or maybe when they say updated they mean not have so much dust and and schmutz get in there and white flakes come off and stuff.
>> It's so hard for us to test that.
>> Yeah. I'm not going to rub it in the dirt or anything to find out. But >> it's really you just have to ask people after it comes out. Yeah.
>> Put it in your pocket a lot. Let the lint get all over.
>> There's a reason for forums. It turns out >> great. You just said put it in your pocket a lot. I >> Well, you can't put it in your pocket.
Sort of challenge you to do that. I mean, maybe >> your pants right now. You could put in your cargo your cargo shorts, no problem.
>> Yeah. I I told you we shouldn't have had the table here so people can see what pants are.
>> I like the I don't mind the larger size.
And I get that the LX100 is a cool camera cuz it's small, but I think, you know, there's reasons why they had to go bigger, but I don't mind the larger size. It does make it feel very sort of X100ish. It makes it feel, you know, um yeah, like like a like a over your shoulder travel companion camera. And I like the control surfaces. I find the camera very customizable. They made quite a few changes to the actual control scheme over the LX100. So, it's it's it's a different camera that just happens to be using the same gimmick as the LX100, >> right? But it serves the same function as the LX100. And that's premium compact camera.
>> This is why I touched on my roller coaster ride because I didn't know what it was going to be. They announced it. I said like, "Hot damn, that sounds like the best thing ever. Everyone's going to watch that video." I was right about that. Um, then I watched Chris's video and I was like, "Oh man, maybe is does this this bum me out? Is this actually not what I want?" And then I thought about it a little bit and most of the concerns that Chris had about it aren't going to personally affect the things that excite me about this camera. Like, yes, it is physically larger, but you know what drove me crazy with the previous version was the >> your giant hands, >> the terrible EVF. Um, >> yeah, the field's question.
>> Like, would I trade that for a bigger camera? Yeah, unquestionably. The battery life wasn't very good. You know what? I'll take a little bigger body.
Yeah. For excellent battery life.
>> The battery life is very good.
>> Um, and then the other big thing that drove me crazy when it came out, I was like, this would be the perfect B-roll camera, but it's got this huge crop in 4K mode that makes it basically unusable, that combined with the lens based only stabilization. still lens based only, but having the full width of the sensor, all the record modes, log recording, like, no, it doesn't have a headphone jack, but I would just use this for capturing images. Like, this makes so much sense for me. It still has a filter thread. I think the LX1002 is probably one of the best time-lapse cameras ever made. This is still going to let you shoot full raw time-lapses, build them in camera for you, and you can set them up with a fully articulating screen. This thing rules. I want this thing. Uh, so I'm looking forward to playing with it. I'm the only person at this table who hasn't used one yet. Uh but I think like yeah, this seems like a camera that would bring me endless bountiful joy. So that's where I'm at.
>> I don't know. And and and I'm not saying you wouldn't. I feel though like there's something about it that you that might not I don't know.
>> I mean, I'm not wild about the power zoom, but there's really unless you beef this lens up a lot, really not an alternative. So I understand that compromise. Other than that, uh it just seems like uh a lot of decisions that we've like we've been saying, why won't someone make a camera like this? Um they made a camera like this. So now I feel like we should just shoot off confetti into the sky.
>> The obvious draw I think with the L10.
Um and I think it does make sense. You know, they're reusing a lens assembly and the sort of the whole gimmick about that. But what is interesting about this is now we have a platform built. It's a nice body. It handles well. It's got a bigger battery in it. It's got a new processor in it. So really, you know, and it's got a good chip in it. It's got the GH7 sensor right there. So what this really and an EVF. So what it really makes you think is, well, okay, well then the next version just remove this lens assembly and give us a micro four/ thirds lens mount because then that would make tons of sense, right? Um, it would kind of be GX9ish, you know, it'd be this like larger than a G.
>> If that viewfinder tilts a little bit like the GX, you're not going to make the viewfinder tilt. Please make a tilt.
>> I never cared about the tilt anyways.
But that could be cool because that's I mean what's strange is the demand worldwide for Panasonic or Olympus or home system. Sorry. To make a compact interchangeable lens camera, that demand is so huge. That's a reason why the L10 is getting as much attention as it is right now, even though it's not an interchangeable lens. And uh yeah, it it from an engineering standpoint, I can't see it being very difficult to just take that lens assembly out and give us a microphone. So, there is something I want to point out that might actually make that difficult. And I don't know if Lumix is willing to make the compromises that they would in order to do this, which makes this camera all the the more impressive to me. This I'm holding an X1006.
This body, I was told, would need to get thicker to accommodate inbody image stabilization.
>> Sure.
>> Which Lumix is not going to not do.
They're gonna put image.
>> Oh, if it's interchangeable lenses, it would have to.
>> So, but the thing is then I feel like they feel as though they'll run out of room >> maybe. But look, they >> just they put the viewfinder on there and then they've got that in there and then it'll be thicker. So, like when we look at the S9 that has IBIS in it, >> Sure.
>> but it didn't have the viewfinder. And I'm wondering if that's because they ran out of room.
>> Yeah. They said it was packed all to the nines, >> right? Which is why this existing again I'm holding the X1006 that should continue to impress you.
>> Yeah, >> because it has it and it has a viewfinder and then the XC5 does the same thing.
>> Yeah.
>> So, how come Lumix can't?
>> I mean, honestly, I think Fujifilm should have put an EVF in the XC5 and that would have been an amazing camera and it would have been super happy.
>> Is there not an EVF on there? Oh, >> sorry. I'm not sorry. XM5 on the XM5.
XM5. XC5 is great. Um, I, you know, yeah, IBIS would be great.
Obviously, I love having IBIS. It makes >> They're not going to release a camera without it.
>> Well, it's not as big a deal to photographers as long as you have image stabilization in the lenses, right? The greatest camera of all time is the Panasonic GM5.
It does not have IBIS. It's all based on lens image stabilization. And a lot of micro fourers lenses happen to have image stabilizer.
>> I'm telling you, I agree with you. I'm saying this would be great for video users, but video users >> Lumix won't do it. I'm telling you that Lumix would feel like they would they they would be feel like that's something they can't do is release an interchangeable lens camera without IBIS.
>> We don't know >> because you're already seeing >> it's been a decade >> since they did that.
>> Since they did that.
>> Yeah. And I think that they feel as though they would not be holding true to what people expect of them if they don't put IBIS and they don't put the >> maybe this slightly larger body that still has a small 4/3 sensor assembly can then support IBIS and just take off the front of the lens. Maybe maybe it's possible.
>> I I would go ahead and say the monkeykey's paw curls and says yes, but the EVF disappears.
>> You better not anyway. I mean >> but then that's just the S9.
>> Yeah, exactly. I mean, again, I mean, this also makes you think, oh, is the S92 whenever it comes out going to have an EVF? That would be great. Who knows?
>> That would be very great. And maybe a functioning shoe as well, right? A hot shoe.
>> Yeah. I I think Panasonic has learned their lesson that cold shoe is a bad idea and everybody hate it and they probably won't do that again until they realize that it's too expensive to do it again. But who knows? What do I know?
But anyways, like Yeah. Um, so just a couple things I do want to say like it is great to have now a test bed for the small camera with a lot of the modern features that we've been asking for.
>> I really hope that the excitement that we saw online for this, the number of people watching videos, reading reviews, all that kind of stuff does translate into some success for Panasonic because I know it's been a rough stretch for them. If this does well, that gives them a like, oh, we should really look at doing some photography first stuff again or emphasize some compact things. Like this is a great way to actually send a message after years of being like, Panasonic, you're on the wrong track.
You're just catering to videographers.
>> Exactly.
>> Yeah. Yeah. It's nice they listen >> like the Sony their like enthusiast camera our bread and like the people who watch this show like that is a camera they should be losing their minds over just got absolutely the A7R6 got steamrololled in terms of views by this compact Panasonic because there is just a der of cameras like that out there. So hopefully this leads to some change in the industry where everybody's like oh yeah maybe we should try doing something like that.
>> I'm sure this camera will do very well.
everybody who's used it. I mean, we I feel like we did a pretty objective review on it. But still, it's like uh despite some of its flaws, it's still a really enjoyable camera. I really like using it. And so, I think Panasonic is probably going to do really well with this.
>> So, one last thing I want to mention, and I feel like maybe some people don't know why they did it this way. This um special edition version, the uh >> this is China.
>> Champagne.
>> Champagne. It is champagne. the it has stuff on there that you're just >> getting in the grave before I call it titanium gold.
>> It is nice that these things are on here. So, for the extra hundred bucks, the auto cap is great. Oh, yeah. I The the gold menu is actually my favorite feature. I think it's way prettier.
>> The gold menu is hot. Really, it's really nice. Uh threaded shutter for >> The threaded shutter for soft release is fine. Uh people want that.
>> I I have the strap.
>> The strap can burn in hell. I don't care. But >> I'm not super into the strap. I like straps personally. Uh, this one's okay.
Whatever.
>> Small rigs already made an additional grip and thumb.
>> I want to make it clear that the grip and the thumb rest don't come. You have to buy that separately. But all this aside, you can only get this directly from Lumix.
>> Dealers only get the other ones that nobody's actually seen because every single person who's got this camera got the champagne.
>> Yeah. So I then when you're saying you think >> of a slap in the face for dealers. Yeah.
>> Yeah. That Lumix wants to hold on to as much of the profit margin as they can as a business. Totally get it. But dealers probably are not happy. Not super happy >> because they're going to sell a bunch of these. It's not limited. It's a special edition. So they're going to keep making it. It'll be ready. It'll be available forever. So, like if you're willing to wait a little bit longer maybe because they might not have as many and like they're going to sell out of them constantly, $100 premium is so small.
>> Unless you really like black or you really like silver or you don't care about like an auto cap. Not I don't I mean I don't love the auto cap.
>> Let's forget North Americans only buy black cameras so they're going to be fine.
>> Yeah. Yeah. Yeah. And maybe you don't want a threaded shutter. Yeah.
>> So, who cares?
>> You don't like a beauty, fellow North Americans, >> but you're just not saving that much money.
>> Yeah. Jordan, so when I in my very short video section where I did my best impression of you. Yeah.
>> My conclusion where you would want to use it the same way you use an X1006 as a >> B-roll camera. Yeah. I would never say >> exactly. Yeah. I'd never use it as a primary camera, but to have full vlog so it'll match perfectly with my big old cameras >> um with a zoom lens on it. Yeah.
Something really small like that. I mean, this is just a phenomenal little B-roll camera. It can still shoot like 60 and 120 frames. You can just run around, shoot birds just flying around in slow motion without a crop at 75 at 75.
>> Incredible camera we should all be losing our minds for and lining up for pre-orders right now. This thing is hot, people.
>> No, dude.
>> Yeah, I feel like you're going to have to get one because I don't know if I'm You don't want mine. I offered and you're you're like, "No, no, I want my own."
>> No, I don't I don't want to be No, I don't want to take your camera from you, but this does seem like something that would rock the house.
>> Great. All right, so we're gonna transition to an interview with Yuji Eigorashi of Fujifilm. We're going to bring him in and chitchat with him and then we'll come back and do a feelood story of the week. So we'll see you in just a second.
>> All right, so now we are joined by Yuji Igarashisa and uh this is a wonderful opportunity. Thank you so much for joining us.
>> Thank you.
>> Yuji is going to explain um a lot about Fujifilm's sort of thought process and design process when it comes to lenses and optics. And so yeah, thank you again for joining us.
>> What is it? What is your title here so everyone knows what you do here at Fujifilm?
>> Okay. Um I'm Yuji Garashi. Hi everyone.
Um my title is general manager of uh professional imaging products of the imaging solutions division. Quite long >> so very important.
>> So we we really want to talk to you about the amazing optics behind Fujifilm. I would just get sorted right into it and and uh >> also about just how you're handling dealing with the the the viewers and the fans and the people that are using your products. I think it's really important.
So we want to cover that too. But so let's talk about an event actually the rec the recent focus on glass event.
This is relatively unusual. You don't see this very often in the industry. Can you explain Fujifilm's thought process behind this event? Uh whether you think that it worked out well. Is it something that you would do again?
>> All right. Yeah. Thanks thanks for the question. Uh the first question. Um so yes um you know about the lens uh we proud ourselves in uh manufacturing lenses we've done that for over 80 years but I think uh lens is quite difficult because many features you cannot really quantify right so you have uh you have like um the bright f number and you have resolution you have but you have also like a chromatic aberration you have many things distortion you have to think about and it's difficult ult to convey how we care about our lens is our philosophy behind it. So we thought we should you know try something new uh to uh communicate to our users and so this is uh why we came up with a focus uh on lens idea. Yeah. And uh we your second question that we whether we do it again.
>> Yeah. Um I think we we could uh with maybe with a lens or with other products because I think the feedback was uh very helpful for us and it was very exciting for us as well.
>> Fantastic. Would you consider it a success? Would you say like that event was successful?
>> I think so considering that we've never done it in the past and you know we didn't know whether people would provide us feedback and and asking for vote and if we didn't get any vote that would have been >> quite sad. I think it's useful to maybe give a little context in case people don't have a background on this. So essentially >> Fujifilm just said here are a variety of like lens proposals essentially. What of these do you think are the most exciting? Um which is definitely a completely different way of um kind of promoting and then also getting feedback from the photography users. I just want to make sure that the listeners know what's going on.
>> That's what Focus on Glass was. What was the one that got the most votes? So that was uh you know the ones which we kind of thought it was going to get the most votes because it was the you know the 16 uh to 80 mm f/2.8 throughout >> right >> and so you know we already have our popular 16 to 55mm f/2.8 and basically that's an extension of that with the same aperture right so we thought it was going to be quite popular.
>> I thought it was great. I think that was the one I was hoping you would uh make the most as well. I as a side question on that, when you saw the results, were you surprised by them or did you sort of do an internal vote as well to see what uh what the engineers thought would be ideal?
>> Yeah, some were surprising, some were not. Like you know the lens I just mentioned that wasn't a surprise.
>> Uh nor was like the let's say 18 to 50 mm f1.4. That's also like a bright lens and we thought it was going to be popular.
>> Yeah. Really ambitious attention. Yes.
So the one thing which surprised us was uh the dual focal lens lens which you know which was uh which came from this um idea from the the compact camera.
>> Yeah.
>> You know which which had like a dual focal lens which is a 28 mm and 45 mm uh called travel mini. And so uh Yukitaka who's a a product planner of uh the optical u lenses he uh knew about this camera and so he thought it would be interesting to do a similar thing with a lens and so we thought it was interesting but we didn't expect that to come into third place.
>> Right.
>> Yeah. I was just playing with a um trielmar uh like an M mount where you could click between it and it's a very different experience having primes that you're cycling through on the one optic.
So I can see there so much of this it's a balancing act I'm sure between photographers saying what was something I would use the most as opposed to what's something I still haven't experienced yet. I think it's a fun balancing act between those.
>> Yeah. You know it's interesting too you don't often get to hear from the optical engineers. So this is a neat event. They actually got to have this feedback. So how did you even come up with this idea and how excited were the optical engineers? I mean as you say Takish and Yumauchi, how how did you get them to participate? How were they excited to participate in this event?
>> So we thought about um having a communication with the end users when we talk about the lens. We thought it would be great to get you know feedback from them and we usually don't. So uh we thought about it internally and uh we thought how about proposing our lens idea for the future then this might trigger people to communicate to us you know back back to us and so that's how we came up with this idea and uh both of yukitaka and yuma uh they're actually product on the product planning team uh so R&D and product planning team they're like two separate teams although they you know communicate a lot uh but uh they were really excited because uh you probably seen our uh many of our videos and uh you know uh we try to put a face on each product. So when we talk about new lenses we have our engineers talk about it. When we talk about marketing we have our marketing people talk about it. Uh so uh you know they're kind of used to explaining about the lens which are being announced but they've never expressed themselves talking about their dream lenses. So they were really excited that is this really happening.
So yeah, that was great.
>> Very very cool. Given that all the concepts had at least some details including potential size, weight ranges for these lenses, uh it seems that some serious thought went into these ideas.
You know, they weren't just sort of a dream idea, but that actually there was some planning involved and and and how you're going to realistically do this.
Can you share more about the behind-the-scenes process for creating these concepts and these ideas?
>> How many people were involved? Did it take a long time?
So of course we didn't like think you know just made didn't make up these lenses we usually communicate quite a lot. So uh the R&D team and product planning team uh we talk all the time and so we already had a lot of ideas. So for us it was actually more difficult to narrow down >> the numbers. So we had initially we had over 40 lenses for zero and they were like okay this is too many we're never going to go through this right >> everything is going to get like five to six% >> so let's narrow down it'll be diverse enough so that that was actually the the difficult part >> so there's plenty of opportunity to do this again it sounds like in the future yeah >> oh very interesting um it's also interesting that Fujifilm opened up voting for its fans to share the voices on the proposed lens concepts of course we thought that was really cool never seen really that before We really enjoyed seeing all the different lenses.
Um, you know, all we all had our own ideas of what we thought would be exciting. Um, everyone on the team was sort of thinking about their favorites and it was interesting to see the difference. You know, some are similar, but we all kind of went our own directions. Uh, yeah. Like was there any concept that that you had that surprised you or is that your personal favorite uh idea that's come through?
>> Yeah. So, the travel mini concept like I mentioned that was uh surprising but also very interesting. Uh the reason why it was interesting is because um we you know we have a product planning team for both lenses and the cameras and u this idea even though this came from the lens group from Yukaka's team but we actually had a similar idea from the camera side as well. So we were like oh this same similar idea came up from the camera team and the lens team. So I thought it was really interesting although this this program was specifically you know talking about lens so we didn't mention about you know the camera side but that's actually you know that this kind of idea came up from both sides.
>> Do you have a personal favorite out of the list that you want to see come true?
>> Yeah I would like love to see see the duo focal lens.
>> So you were surprised that it was popular but it was also one that you like.
>> Yes I like it but I didn't >> like an underdog.
>> Yeah. I didn't think it was going to be like you know the choice. Well, it was the third choice, but >> yeah, I thought it was going to be maybe like the sixth or seventh.
>> Yeah.
>> I'm curious because there was some really cutting edge optics in there alongside very traditional like brass or manual focus and stuff like that.
>> Would you say that there was kind of a split in terms of which groups were interested in going more traditional versus more modern? Were there lens engineers who are more fixated on the past or the future respectively?
>> Uh yes. Uh I think that's uh the very good question. Uh there are many people you know involved and so there are a lot of favorites uh you know depending on who we talk to. So yeah uh for me manual manual you know lens is also very interesting >> and so yeah it's I think it depends and I I'm very happy that we have this you know diverse ideas.
>> You've made spectacular manual lenses before I >> Yeah. Uh, >> for those the inside here, I've talked to Eugisan about this camera at least three times and he's the look I'm getting is like, "Yes, I know you like >> Jared talks Jared talks to everybody about the TS1. Every every single person he sees on the screen, >> I want to see it again."
>> Now, of course, here here's a difficult question. You know, I mean, this is a very exciting project. You know, you're you're you're getting all this feedback, but then that puts pressure on >> do we then go forward to make it? I know you can't talk too much about you know how real these things are or if they will happen or when they will happen really but the winning idea 16 to80 f2.8 seems very popular seems very maybe from a from a layman standpoint possible realistic you know uh so um and it seems like a generally good idea so I know you can't comment on too much but is there anything you can share to us about a concept like that 6880 fg 2.8 whether this is something Fujif will be interested in exploring. Could it be a possible reality?
>> Um yes, I think it it is possible. You you know if you look at uh the the candidate, I think we mentioned the the weight will be around between like 400 to 500, right? So uh we already have the same focal lens but with f4 >> and that is 440 g. So we so the reason why we had the weight specifically in there is so that people can imagine that lens size is going to be similar to you know the lens we already have and so I think that's the the difficult part you know can we make it small enough right >> right so we can make the lens bright uh but then you know would people buy into it if it's too big so I think technically it's possible >> uh have we come to you know a level where where we can launch immediately probably not but you I think it's a matter of time because you know the lens are getting brighter and we have more technology. So I think uh hopefully we'll see that >> right one day.
>> So I kind of have a follow-up on that then. So when you launched the X1006 >> at the event in Tokyo >> like when everything was done or whatever we had this there was a section off to the side like okay we got some ideas. Do you guys like these ideas? So to me that felt like kind of like a like a similar event to what you did with focus on glass but smaller to just the the Fujifilm people and media.
>> And the discussion was like do you want a lens like this interchangeable >> and everyone was like yeah we really want that. So obviously that came with the XC5.
>> Had you already sort of decided you were going to make that or did you only start working on it after the response was so overwhelmingly positive at that event?
If you can't answer that question, I understand, but I want to ask it.
>> Yeah, sure. That's your job. So, that's all right.
>> It wasn't on the list of questions that we originally had.
>> I know. So, I will say it was uh among one, you know, the candidates >> and for us it was a matter of priority because we knew we had more opportunity with the pancake lenses and so we thought it would be a good idea and then we also wanted to, you know, check check that. Yep.
>> Okay, that actually was a very telling answer. Appreciate it.
>> So, of course, we've discussed how this new travel mini concept would be very popular. The public liked it. You personally like the idea. Um, so that sounds like a great target to go for.
>> What do you think would be some of the challenges specifically in making something like that come true? H yeah, I think this also it's a matter of size and also image quality because I think this travel mini uh the 28 mil lens was a good image good quality but 45 was probably not.
>> Yeah. And so uh to make sure you know both focal lens have a good image quality >> and uh also the right size. I think that's very important. So I think if you want to come up with this kind of a compact camera with like a really gimmicky you know function I think it's possible because if you don't care about the quality itself you know I think it you can do it.
>> Yeah. So I think it's a matter of uh providing value to the end users whether it's you know really going to be attractive enough for people who want to carry the camera and they have to rely on two focal lens and you know would that satisfy those people that's yeah that's important thing >> I think on the topic of the twin lens um it's interesting um because Fujifilm is one of the companies where the lens is actually a really important part of a lot of the other cameras there are fixed lens cameras the X1 100 is very famous, then the GFX, the X half. Um, when you hear people's excitement for some of these optics, are the camera people also maybe just checking in and seeing if there's any interest in seeing some of those built onto a fixed lens compact or larger camera, anything like that?
>> Yes. Uh, of course, developers uh are different, but product uh planning team is one and marketing is one as well. So we all talk to each other and we're both interested. We have to be interested in both to come up with a complete system.
So >> just camera with that twins lens would be hot.
>> Yes, I think that's uh that's that would be exciting. I think >> well that kind of leads me to the next question because you know there were so many different ideas presented in this event. Mango focus lenses, brass finish lenses, twin lenses, uh ultra bright lenses. you know, it really covered a lot. In your opinion, you know, going forward with the product planning, what do you think would be kind of the most needed lens right now in the X lineup?
Where do you think is a is a gap that that needs to be filled?
>> I think uh we have uh more space to grow for on the telephoto side.
>> Uh we started with three primes for XPro one and we've built uh a lot of primes which we're proud of. And also we have you know started with a rangefinder style camera and so that's the direction we went initially and then we went into centerfinder style with more telephoto with a bigger grip.
>> So I think that's still there there areas which we can grow on the telephoto side.
>> I mean I I guess if we open it up to so telephoto lenses maybe even camera design where do you think your weakest link is uh and and and what do you think Fujifilm does the strongest right now?
Uh, so you're talking about the lens or >> lens or body interested in either one.
Yeah.
>> Yeah. So I I guess that's the same thing, right? The more on the telephoto side is what we have we still have room to grow, I think. Yeah. So that's that's the weakest I would say.
>> What do you think Fujifilm is doing strongest right now?
>> Strongest is uh with a maybe the combination of uh the rangefinder style with the primes. That's Yeah, for sure.
probably uh what people when people think about Fujifilm that's maybe what they would imagine. It's an interesting family. The the X series uh it spans now 15 years. It's been around for quite a long time now. Um that's not necessarily the longest time, but in the photo industry, it's changed so much in that period, right? We've seen so much growth. What do you think are the biggest changes in the industry since say the XPro 1 in 2012? You know, how has that really changed? How has that really, you know, affected the business?
How does Fujifilm's latest X series lenses reflect those changing market demands? and how do you think the current generation of photographers are going to capture photo and video now >> right so so many questions so I don't know answering everything but yeah let's one by one but yes uh the biggest change is XPro one is a mirrorless camera >> at that time DSLR was the mainstream so probably that time 80% of the cameras shipped were still DSLRs now 90% is mirrorless >> yeah So that change is probably the biggest and that it's not only you know the difference between mirrorless and DSLR but it's more about the technology.
So it once it became a mirrorless camera it became an electronic product which means you know that's this led to a camera becoming a like video recorder as well right so now we have a hybrid system mo most of the cameras take shoot stills and video and like hybrid setting and that's because I think you know it's shifted to mirrorless so that's the biggest change which has happened and so also our lenses. Now, uh when we make like a version two for the lenses or the new lenses, we all make sure that it's also good for video shooting as well.
So, that's how the industry has changed and how our lenses has shifted as well.
>> Um, if I can piggyback on the video side of things, then I'm really curious because historically when you're looking at cinema lenses or broadcast lenses, they've been a unique mount, right?
they're going on PL mount or they're going on ENG cameras, things like that.
But recently, we've started to see those designed natively in Fujifilm's own lens mounts like we have now. Uh the GF, I think it's a 3290, uh was the latest one, and then the MK series, which I adore, one of which is actually filming us right now, the 18 to 55. Um, is there a collaboration between the like consumer imaging, the camera manufacturers and the people making XF lenses and the cinema division or is that cinema designing it and just putting it in an available Fujifilm mount?
>> Uh, so to answer your question, uh, it is one team.
>> Okay. So the professional uh imaging group which I oversee that includes both digital cameras and cinema lenses and broadcast lenses >> and so but uh in the past we did not have a camera the eternal to go with it. So when we were building lenses, it was more broadcast lenses was for the broadcasting industry and we focus on producing lenses and now we have of course we have MKs and Pistas and other lenses but we were thinking about lenses first but now we can think about what can we add to Eterna what can we you know put not only Eternal but also including GFX that is also become like a hybrid them. So the more cameras uh shooting videos we have >> we you know we have to and we are thinking about lens together with the camera >> right >> so and uh also the industry between cinema and broadcast is also there's an overlap more and more now that broadcast industry also wants to shoot more like a cinematic footage and those uh businesses also not combining, you know, exactly, but there a lot of overlap.
>> Could you see something like that expanding in the XF mount? Because currently those MK lenses are they're gorgeous, but they're manual focus lenses. They feel very much like a classic one where when we looked at the latest GF stuff, you know, it's got autofocus. Uh it's got a little mechanical coupler. Are we going to keep seeing these lenses designed with more of that emphasis on being able to tackle two tasks?
>> Yes. So, uh yes, uh definitely. And uh we can't be specific about what, but >> of course.
>> Yes. But you're right. Uh we need uh ideally that you know each each mount and maybe including the PLS and everything would work together and so that there will be you know cho more choices which lenses and which camera system to use.
So, you know, I guess that would lead me to a question then that I'd love to ask you personally is just you you've seen this change in the market. Mirrorless has taken over. Video has become a very important thing for a lot of your users. I feel of course you're always going to have the the user who loves a compact stylish camera. I mean that is you say a strength of the company >> and GFX we have now as well. Where do you think now with all this feedback that's come back from your users and lenses and directions they want to go?
Where do you think users want to see Fujifilm grow from here?
>> Yes. Well actually your final questions al also triggered me to uh mention one more thing that while um the cameras became more hybrid I think I have to also mention that because of that many people also became more interested in photocentric camera as well >> right so that's another you know stream so I wouldn't say everybody you know moved to to hybrid yeah >> so that's also very important So I don't think there's like a one straight direction we want to go. We we want to continue to develop evolve in this industry. Uh and there are many ways to do that and we don't want to forget about our heritage >> of knowing photography. So that's also very important thing. And so how can we make people excited about photography?
That's a very big theme for Fujifilm >> and also the develop you know like the video side and stills th those kind of like a you know technological development that's that's very important but also not forgetting about our heritage about photography the culture how to preserve that or to expand it that's also very important as well >> well as a photographer I find that answer very exciting >> yeah there are a lot of folks that read pedapixel who watch our channel who care about our reviews that say they would >> they want cameras to focus on being just photo cameras. Like not every camera needs to be a hybrid camera. Uh, and that was something that like we tried to express to like Nikon because when they >> did the Z63, they didn't bring the Z7 with it and because that higher resolution, I guess they decided it would be either redundant with the Z8 or they just didn't want to make a photo ccentric camera perhaps because they didn't think that people would want to buy it. But I think that many people should reconsider. Um, even though you can shoot video with an X100, this is my photo camera and I reach for this to take pictures. I don't think I've I've personally I know you like it for video on occasion, but I don't think I've ever turned the video function on this camera on and I don't think I have any intention to. Uh I think it's okay for cameras to specialize. I we went to this whole kind of like Swiss Army knife idea with every camera needed to do everything and I think that people were competing a lot trying to make every camera do everything.
>> Uh I never got that sense from Fujifilm.
I think you guys stayed the course on making cameras for specific tasks or better at specific tasks. Is that fair to say that you're you think things that way or am I off?
>> No, I think you're right. Uh that's why we have a different series for you know the X series as well you know the cameras like um X E series or you know the XTS and yeah XPros and yeah things like that. Yeah. Yeah.
>> I think it's a it's a good philosophy and I think there are a lot of people who appreciate that. They are some of them are under the misinformed idea that you could take video features out and it would make the camera cheaper.
>> It doesn't really work that way, but at least creating a camera experience that caters to a photographer is nice.
>> Well, thank you so much for giving us your time. Yeah, we really appreciate you. Yeah, thank you.
>> Thanks for having me.
>> Thank you.
>> Thanks to Yugji for sitting with us and chithatting. We don't really get to talk to him very much on camera and it was nice to talk about lenses as well, especially since it seems like that's something that's really important to them right now. So, >> we appreciate his insight. I still wish we had time to do tech support. Am I the only one that cares about tech support?
>> No, I care about tech support, but in this case, we don't have the time for it. So, what we're going to do is go into the feelood story of the week. Uh, this is a camera rig that we >> feel good. This is a feel badass story of the week.
>> Feel badass. This is a wild camera ring that turns you into a robo photographer.
Jordan, do you need this?
>> So, one of the punchlines uh about like 15 years ago when we made a stupid commercial uh for the camera store, which was a war scene using cameras, the very end of it, a dude walked out wearing a glide cam X10 rig with a camera and a super telephoto on it.
>> And I'm feeling a little nostalgic right now.
>> Yeah. Like like a giant like a giant I mean, we did this first. We did this first a long time ago, but hey, it's cool.
>> But did you wear sunglasses and mount it to football pads?
>> He was wearing sunglasses, I believe, cuz we were going for Terminator.
>> You know, he's South African and he's, you know, he's a bigger dude.
>> It was Brent Taylor. He's on >> Brent Taylor. He's he's a sweetheart, but you know, he looked like he looked like somebody out of a Stallone movie. A villain out of a Stallone movie. He did a great job. I mean, but you also have the camera on the shoulder like this is kind is it it's not Robocop. Is it is it Colonial Space Marine? It's kind of It's kind of giving me Predator vibes. Like this is a pornographer.
>> I love that he's got like the rig on the side, >> the stabilizing. Yeah. Again, just like that X10.
>> Yeah.
>> Incredible.
>> With an exoskeleton of some sort.
>> It's so awesome and stupid. I love it.
So, there you go.
>> There you go. This is the future, people. I'm sorry.
>> It will make you undatable.
>> Thank you for joining us on the Pedixel podcast this week. Thanks to Fujifilm for letting us sit in this uh studio and do this and uh giving us a chance to talk to Yugji. And uh thank you to those of you who are supporting us with the Pedapixel membership. We appreciate it.
Again, new perk. New perk. New perk.
Appreciate it to Wescott for giving everyone who's a member access to that.
And yeah, so we will be back on our regular schedule next week hopefully.
Fingers crossed. I don't think there's anything on the schedule that would hurt that. I think >> No, we're going to do our job regular next week. We'll see.
>> Normal schedule next week. So, we will see you then. Have a good one.
>> Bye. See you.
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