Uploaded November 2018 | Updated September 2026, 2 days ago
“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: https://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
“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: https://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
