X-T3: A Different Beyond Full Movie | FUJIFILM

“A Different Beyond” is a short sci-fi thriller action movie that showcases the cinematic abilities of the FUJIFILM X-T3 mirrorless camera, which is capable of DCI 4K 10bit 4:2:2 uncompressed output at up to 60 FPS.
Product information: www.fujifilm.eu/eu/products/digital-cameras/model/x-t3
The story centers around two young adults on the run from a mysterious cult leader. Cinematographer Matthew Libatique, ASC shot the movie in 2 days on location in Pomona, California as a co-production between Chromista and Protozoa Productions. This movie also marked Mr. Libatique’s debut as a director, and he utilized many Hollywood-style techniques and equipment rigs common to movie and television productions, including visual effects (both blue screen and CG).
The movie covers a wide range of lighting scenarios and lighting setups, from available daylight to midnight darkness. The X-T3 cameras were used on tripods and gimbals, handheld, flown on drones, and even on a vehicle-mounted “Russian Arm” crane. Although ambient temperatures were above 100 degrees F for much of the time, the cameras continued to operate normally, nor were they hindered by dust during the chase scenes.
“A Different Beyond” was lensed with FUJIFILM/FUJINON MKX cinema zoom lenses, FUJINON Premiere PL Cabrio zooms, and Zeiss Super Speed PL-mount primes in order to show the feasibility of using varied professional optics with the new FUJIFILM X-Trans 4 sensor. Most of the movie was recorded into the Fujifilm Log (“F-Log”) Rec2020 color space, both to internal SD cards and Atomos Ninja Inferno devices, and then professionally color graded. However, several of the scenes were recorded using FUJIFILM Film Simulations directly (ETERNA, Velvia and CLASSIC CHROME) to show their suitability for projects that don’t have time or budget for color grading.
Equipment rentals were provided by Radiant Images, Glendale, California and Chapman Leonard, Burbank, California. Editorial was at Whitehouse Post, Visual Effects were by Kevin VFX and color grade was done at Company 3.
Key personnel included Alessandro Marvelli (Production Designer), Michael Kowalczyk (DIT), John Holmes and Adam Kirschenoffer (First Assistant Camera), Brian Mundel (Gaffer) and James Coffin (Key Grip).
Lenses used: FUJINON MKX18-55mmT2.9 zoom FUJINON MKX50-135mmT2.9 zoom FUJINON Cabrio 85-300mmT2.9-4.0 PL mount zoom Zeiss Super Speed F1.3 PL mount: 18mm, 25mm, 35mm, 50mm, 65mm and 85mm

[@MattSolo]

i recently bought fuji XT3 after considering Panasonic GH5 and Canon eos R and i don't regret a second, cooler science is beautiful with great feeling to it and price, price it's so much more affordable than overpriced canon, thank you fuji for great piece of gear, i enjoyed the film by the way!

[@damiencesure2848]

Wooow ! Thank u for this feedback 😍 what lenses do u use ?

[@MockeryManor]

I mean....just incredible. If the XT3 could output 10-bit ProRes RAW, it would destroy all competition, and possibly even hold its own against a Sony FS-5.

[@BeierFilms]

I believe it can when connected to at Atmost Ninja V.

[@GaryHuff]

@@BeierFilms It cannot.

[@svbow6347]

The Nikon Z6 can do 12bit Raw to the Atomos Ninja V (soon).

[@NCTXVA]

HOnestly, the look of this is incredible. Just so happen to stumble across this and it's amazing. We can nit-pick banding, focus-pulling, blowouts and all of that on high budget 4k footage shot on mig budget cameras, shows on netflix and big screen. However, for fuji to pull this level of quality off is astounding. Great work guys (and gals).

[@51west75]

can you explain more?? thanks

[@Sotangy247]

Absolutely incredible . Well done all

[@brockb4452]

This is helping me decide between the x-t3 and the black magic pocket cinema 4k. man this is tough, but the fact this is a photography camera as well is just a 2 for 1 incredible punch. The biggest drawback to me that black magic has is the ability to record external RAW format and arguably has a slightly better dynamic range with their native ISO, but post-production compensates any minor differences there for the most part. I mean look at the brilliance of this film! but these were professionals, so this is still a concern for me. Nevertheless, the former reason is leaning me towards the x-3. the ability to have both a cinematic camera and a photography camera in one is the best portability I can ask. I cant tell you how many times i also want to take awesome pictures of what Im filming, which is where the black magic pocket cinema 4k definitely falls short. man, such a tough decision but you're winning so far fuji

[@KMLR2012]

I'm trying to decide as well. Tough decision.

[@brockb4452]

KMLR2012 since writing this comment, I chose the XT3 and I’m so glad I did

[@KMLR2012]

Thanks. I'll be deciding soon. Does your computer have any trouble with the H.265 codec files? I have a fairly powerful recent windows laptop. I use Davinci Resolve. The Fuji has a lot of pluses, but I was a little worried about the Fuji H.265 vs prores (or braw). I wasn't sure whether my computer could handle the H.265 well. I already have an X-T20 which I really like.

[@ChaconJairo]

@@KMLR2012 transcoding files to proxy is your best friend.

[@34OLD]

What did you all end up buying?

[@patrickantone1203]

just curious but why are almost all lines of spoken dialogue spoken by people off camera when we cant see their face unless its saying someone's name? was it easier to dub into other languages or was recording sync sound an issue?

[@TrenchfootSalvador]

Now what mbps was this shot in?

[@Loftikaz]

Uncompressed? Please elaborate

[@RotogripRocks]

Uncompressed video signal output externally to Atomos device.

[@darkspace165]

I think sound editing should be different And story ending can be changed

[@soulclaimed8536]

Most filmic looking footage I've seen on this camera but sadly still looks very video almost like an advert

[@orkunsevengil336]

Then go arri?

[@SalvadorCalaf]

Great short! I watch the movie in 4K on a 55" TV. In general, was good, but In some scene was artefacts and a sort of banding in the darkest scenes, especially in the beginning and in the institution corridors. Also, perhaps, the actor with a hat and black clothes was without to much detail in the shadows. I wonder if it is some KZbin compression problem. Any thoughts appreciated. I am also between X-T3 and Blackmagic Pocket.

[@KaceyBakerFilms]

It's a $1000 camera dude...

[@regiz1989]

@@KaceyBakerFilms With 40k$ lenses :D

[@ikestrom]

I saw in the Behind the Scenes video that they shot in 23.98 FPS. Just curious why not 24 FPS since this feels so filmic. Does anybody know why you would pick one over the other for such a project?

[@MoreThanLuck]

Nobody shoots straight 24, you shoot drop frame (23.976). There's a few reasons for this which you can find through googling.

[@ikestrom]

@@MoreThanLuck I've googled it and there is no canonical answer for this. There was some consensus a few years ago that 23.976 fps was preferable in the US because most post houses were set up for that workflow. But more recent discussions around 4K DCI seem to favor staying in 24 fps from capture to post and mastering.

[@MoreThanLuck]

@@ikestrom Hey, I work in film professionally. 23.98 was adopted as the NTSC TV standard and has stuck since. It's a lot more flexible to shoot 23.98 over 24, since that's what you'll be finishing in 99% of the time anyways. It works with more workflows and sound capture and is basically indistinguishable to the eye.

[@ikestrom]

@@MoreThanLuck OK. Thanks.

[@svbow6347]

@@MoreThanLuck Specs for TV are 29.93 fps for delivered content. Where do you get off saying 23.98 fps is what everyone will be finishing? We shoot 23.98 fps but our deliverables are not that.

[@AsparagusVideo]

The footage looks great, but I still feel Blackmagic has nailed the film look more w/ their Pocket 4K. The fuji footage looks... off a little bit like the 24 fps looks like it blurs inbetween frames or something.

[@KaceyBaker-go2cr]

VHS Nothing on the bmpcc series looks as filmic as this, or Momento of life. Even that recent 6k Sci fi trailer looks indie in my opinion. Many shots in this look like a full blown blockbuster.

[@Sjaubi-qf6wd]

UMMMM if you really want to impress buyers ......... Try creating a film using the kit lens not three - $5,000 lenses it defeats the purpose of the fujifilm camera price ??????????

[@bqgin]

image is great but sound is laughable

[@garbygarb31]

Any camera could produce results like this with 30,000 dollar lenses, the proper editing/color work and support. Big deal.

[@ANTHONYFERNANDO]

Literally not at all. These cine lenses don’t cost more because they look better, but because of their functionality. Going purely based on looks, plenty of Fuji’s other lenses would be able to pull this off. But having the functionality to fully integrate into a cinema rig is where Fujis cine lenses shine. The reason this looks so good is because of the 10-bit 4.2.2 and Fujis colour rendering, and being run by people who are really good at what they do. Also “the proper editing/colour work” is stuff anyone skilled can do with software available to the public, exception maybe being the CG, but that’s irrelevant

[@ANTHONYFERNANDO]

Blake Curry Like I said, because of the functionality they provide. The fact that they are par-focal, clean and integrate directly into cinema rigs is why film makers use them. The image quality is there, but it’s also in their photo lenses.