FUJIFILM X-T3 Review – Mirrorless with 10-Bit, All Intra, 400Mbps Video

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Hot on the heels of Canon’s EOS R announcement, FUJIFILM have just announced their new camera, the X-T3. If I’m not mistaken, it is the first APS-C sensor size mirrorless camera that records in 10-Bit internally. We were lucky enough to get our hands on a production model to check its video capabilities. If you are short of time, let me start with my conclusion. The X-T3 is the BEST camera FUJIFILM have ever presented, when it comes to video performance. Interested in finding out more? 

A bit of History

If you’ve been following the development of FUJIFILM’s cameras, I’m sure you have noticed that something very interesting is happening. From the moment the company has noticed that shooting video with large sensor mirrorless cameras is much in demand, they responded by fulfilling that demand and since then haven’t stopped refining their products. The X-T2 was their first camera to include 4K recording and F-Log picture profile (Externally first and then internally via a firmware update). Then, the X-H1 came and brought even more possibilities for the creative video shooter: In-Body Stabilisation System, Internal F-Log recording and the ETERNA film simulation picture profile, just to name a few. (See my FUJIFILM X-H1 review here).

An easy way to identify what codec you are using by looking at the LCD


FUJIFILM X-T3 at ISO 8000. On top and bottom of the picture, an ungraded parts

FUJIFILM X-T3, What is new (in no particular order)

Now, there is a new kid in the block, one that – in my humble opinion – surpasses both, the X-T2 and X-H1 in terms of video performance. FUJIFILM have listened carefully to feedback given by filmmakers and created their best ever video orientated mirrorless camera. Including a completely new sensor and the processor behind it, led to some fundamental progress. So what is there to be so excited about? Here is a complete list of enhancements – some to be found for the first time inside any of FUJIFILM’s cameras:

  • (Besides the H264 codec), the camera is now equipped with a new H265 codec (When a manufacturer decides on implementing 10-Bit internal recording and yet at the same time stick to a modestly priced recording media, H265 is the obvious choice)
  • A choice between two different types of compressions. Long GOP/ALL Inter
  • 4K, 10-Bit, ALL Intra, 4:2:0, 400Mbps internal recording (Up to 30p)
  • 4K/60p (in H264 mode), up to 200Mbps
  • External 4:2:2 10-Bit recording via HDMI
  • Excellent autofocus system (Working well in lowlight conditions and slow-motion too). In addition, “Eye detection/Face detection” focusing method is functioning in video mode too
  • Zebra pattern
  • Simultaneous support for 4K/60P 4:2:2 10-Bit HDMI output and 4K/60P 4:2:0 10-Bit internal SD card recording
  • The headphone jack is now built into the camera body itself, no need to purchase the camera grip for that purpose
  • Good Rolling Shutter performance. We have measured 9ms in 4K/25p recording mode, placing the camera above FUJIFILM’s own X-T2
  • Good Dynamic Range. With 11.2 stops of DR, this little camera is doing rather well against its competitors.
  • High Frame Rate Recording. The camera can do up to 120 frames per second in Full HD mode. Due to some internal changes made by FUJIFILM, the result when shooting slow-motion is better than what can be found in the X-T2 or X-H1. Mind you that the only downside when comparing that feature to the other two cameras is the greater crop factor . (1.29X vs 1.17X  )
  • Improved lowlight capabilities. FUJIFILM worked their magic on that front too and one can shoot comfortably up to ISO 8000. In some conditions, ISO 12,800 can be used too. 
  • Full HD now supports double the data rate of the X-T2 and X-H1 (200Mbps vs 100Mbps)
  • No sensor crop factor when shooting in 4K mode up to 30p. When Shooting 4K/50/60p the crop factor is 1.18X
  • New and improved noise reduction processing
  • Future firmware update will bring HLG HDR picture profile (BT2100)
  • New EVF diopter lock. Small thing but very useful…
  • Not new but worth mentioning, as so many other manufacturers are struggling to get it right: In video mode, all the related photo functions in the menu are greyed out, making it easy to concentrate on the video menu items
  • Front tally light (A useful feature that can be found with the X-H1. Nice to see that it migrated to the X-T3).

Dynamic Range Comparison


Rolling shutter chart. The X-T3 is doing well!

What Could be Improved: 

While there is an overall improvement in regards to the camera specifications and performance, it suffers from the absence of the following:

  • No internal body stabilisation system. Obviously, a  smaller camera body has to accommodate a smaller IBIS mechanism which apparently was not available at the time of releasing the camera. (If I may guess, some extra functionality is needed to be reserved for the future X-H family of cameras).
  • As with all other FUJIFILM cameras in this category, the LCD screen cannot be swivelled. (Tilted only). If you think that this type of feature should be found at lower end cameras only, think twice. This is the age of mobility and “selfies”. With such a great autofocus system, a camera with a swivelled LCD screen could have appealed to a greater number of users.
  • Camera start time (In video mode) is too slow
  • Some of the menu quirks that were found in the X-T2 and X-H1 were inherited by the new camera. For example, by pressing an assigned button to digitally “zoom in” for easier focusing confirmation, when starting to record, the enlarged portion of the picture will NOT “jump” back in to the actual recording perspective. The result – especially when shooting “documentary style” – can be disturbing…
  • In long recording sessions, be prepared to have many short video clips. With such a high data rate, ALL intra, 10-Bit recording, a single video file will reach its 4GB FAT32 limit quickly
  • 20 minutes recording time limit when shooting in 4K/50-60p but the good news is, when shooting  4K/24/25/30p the actual recording time has been increased to 29:59 min WITHOUT the grip, as opposed to only 10 mins on the X-T2″

Man at work during lousy weather with the X-T3. Photo credit: Arturs Slosbergs

In the Field:

By now I can say that I’ve collected enough X-T3 hours in order to share that this is a well thought through camera that has one major limitation, the exclusion of an Internal Body Stabilization System.  Once you work with such a feature you actually don’t want to look back. Other than that, this is a very easy camera to work with. Please allow me to highlight some of my favourite features:

  • In manual focus mode, the ability to tap on the screen and instantly get an accurate focus
  • The autofocus is simply incredible. It is fast and accurate. I’ve challenged it with fast moving airplanes and 95% of the time it worked very well.
  • I love the ETERNA film simulation picture profile. If you need to deliver nice looking results fast, don’t hesitate using this profile. The only thing that prevented me from using it during the video above, is its reduced Dynamic Range. (We’ve measured 9 stops of DR vs. 11.2 stops when using F-Log). On such a cloudy day, I needed every extra stop so the decision was easy….
  • Sound quality. In the above video, I did not use the internal audio recording option as my system was wireless and suffered from some interferences, but overall, the sound quality coming out of this little camera is impressive.
  • There are enough buttons to assign different purposes to. On top, the LCD screen can serve as 4 “additional buttons”. Just assign a movement to it (Up, down, left, right) and there you go with additional functionality.
  • The current slow motion option is truly nice. (1080 up to 120fps). I was surprised to see how well it was upscaling into my 4K timeline.
  • The native camera ISO is 640. In case you are stuck outdoor with no ND filter around, there is a way to lower the ISO all the way down to 160 (at the expense of DR)

I’m sure that many of you are wondering if I had any overheating issues. Well, during my work I did not encounter such a problem, but saying that, only time can tell if this issue actually exists.

FUJIFILM X-T3. Photo credit:Arturs Slosbergs


It is no secret that FUJIFILM is heavily invested in making affordable cinema lenses for E (Sony) and X (FUJIFILM) mounts (MK and MKX series of lenses). In my opinion, this is guaranteeing us that FUJIFILM will not stop here. Further more, by introducing the first ever APS-C sensor size camera that can shoot 10-Bit video internally, FUJIFILM is positioning itself at the forefront and becoming a serious candidate to consider when thinking of shooting video on a mirrorless camera. It is one of those companies that have no higher video market share to protect and as such, they are free to move forward as fast as their R&D capabilities and budget allows. This particular camera should get some love and attention from the filmmakers community. For the users who are heavily invested in lenses from other brands, I can only hope that some sort of a program can be established by FUJIFILM or alternatively, some other solution can be found in order to make people actually try it. We hear a lot about the love for a particular  “color science”. This camera can easily produce “analogue looking” images and further more, if you take photos with it, in my opinion, it is the one that looks less digital.

FUJIFILM X-T3 Movie Recording Modes (Updated)

About the Above Video

The shooting conditions at Radom airshow were FAR from being perfect. Rain, clouds and lots of noise made it challenging to execute, but all in all the camera performed well. On a few occasions, the camera froze and I had to turn it off and on again in order to revive it, but I could not isolate the problem. (It happened during shooting in different frame rates and resolutions). I want to believe that using a non-final firmware version was the issue. (It will be useful to hear about that from other users, in case they face a similar problem after getting the camera with the final firmware version installed). 

Camera Settings

F-Log picture profile. Sharpness and Noise Reduction turned down to -4, Mainly H265, ALL Intra 400Mbps DCI 4K/25p. (At times I’ve used H264 codec, 4K50p, 1080/100p). Grading is a very subjective thing… I chose FilmConvert for this job. (FJ Prov 100). Some shots were stabilized in post. You can Download an ungraded version of this video for you to explore and grade by clicking hereEdited on Adobe Premiere CC latest edition. 

Lenses/Filter used

FUJINON XF 100-400mm 4.5-5.6 R LM OIS, FUJIFNON XC 15-45mm f/3.5-5.6 OIS PZ,  FUJINON XF 16-55mm f/2.8 R LM WR,  FUJINON XF 10-24mm f/4 R OIS, FUJINON XF 8-16mm f/2.8 R LM WR, Heliopan 82mm Variable Gray ND Filter (This filter tends to soften the image a bit, but I like it as it kills the “video harshness”)

The music used in the video above is courtesy of Music Vine. Get 25% off with code C5D25 (valid for one use per customer). Music tracks: “a new tomorrow” by Clemens Ruh, “Blood and sand” by Monobox, “Discovery” by ak, “Fires on the horizon” by This patch of sky, “Skyride” by Josh Stewart

The Baltic Bees Jet team – Photo credit: Arturs Slosbergs

A special thanks to the entire Baltic Bees team (Pilots, technicians, Arturs and Laura). Without their support it wouldn’t have been possible to complete this project. Head to www.balticbees.com to learn about their activities. By the way, if you are a pilot and looking to join an aerobatic team, drop me a line and I’ll connect you to the guys.

What do you think about the new FUJIFILM X-T3 camera. Do you find it interesting enough for shooting video? Share with us your thoughts in the comment section below. 

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JohnJohnnie BehiriIsaac SnowhiteAdam FioritoHernando Recent comment authors
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Chris Gibbs

Great piece Johnnie! How on earth did you get such fantastic access? You should put together a tutorial on your “concept to creation” workflow, it’d make for a fantastic “How to” article (I’d pay for that too). BTW, your interviews are always superb, that’s serious skill most new to video have yet to master!


James Alexander Barnett

Very good bit rate for a small mirrorless camera!

Matthew Hartman
Matthew Hartman

Meh. It’s a camera spec’d so amazingly similar to everything else on the market. Where the hell is the innovation? Sorry, Nikon, Canon, Sony, Panasonic and Fuji. It’s really splitting hairs at this point. The image coming out of these cameras is more the same than different. I’m sorry if this offends anyone, but I find all of this boring at best.

Now, the BMDPCC 4K, that’s innovation in terms of the IMAGE you get for the price. Innovation in the context of bringing a filmic image into such an affordable bracket that more and more people can participate in filmmaking and get a nice image. It may not have all the fancy features these 2018 cameras have, but the image is on the money.

I still own and yes operate my NX1 for filmmaking, it still holds up well the 4 years I’ve owned it. But like the other mirrorless hybrid systems, even in 2018, the image they produce is thin, too sharp (along with the new Canon and Nikon) and “digital”, like a proper digital broadcast video camera, even at 24fps. Something about the motion cadence is wrong. Hard to put into words but you see it when you see it. THAT is NOT the filmic look. Super if you’re a videographer. For me, as a narrative filmmaker, not so much.

All this noise about the advantage of 10bit as a feature itself is nullified as soon as you talk writing to a 4:2:0 h.264 internal container. You would have to shoot at 400Mbps to fully take advantage of that. Why not h.265, which can be written at half that rate and still walk away with a prores like codec? What is this cock hold on an old technology like h.264 when h.625 has received so much industry support by now and is so much better on storage?

Meh. I feel like these manufactures are all about the gimmicks and features and less about the quality of the image, and I’m not talking about megapixels and resolution. And you all fall for it every time. Keeping up with the Jones syndrome I suppose. I’m sure I’m probably talking out of my ass to most of you here. But there you have it anyway. Color me uninterested. Sorry Johnnie, no camera sale for me today buddy. Review the BMDPCC 4K and I’ll perk up.

 Ian Hunter

Yes yes and yes ^ ^ ^

These are ultimately still DSLRs, not film cams.
And the innovation you speak of [outside the big brands] is in dire need. It’s a challenge, since they’ve all got such deep heritage and keep improving incrementally, but it’s coming.

Keep an eye out for Vision. And a revolutionary ergonomic upgrade that actually works with the human physique, not against it.


 Derek Doublin
Derek Doublin

Yeah, but the BMPCC 4K is micro 4/3 and the sensor they’re using is the same sensor that’s in the Panasonic GH5. None of the recent demo footage released from the BMPCC 4k looks cinematic to me (like the old Blackmagic cameras did) and that micro 4/3 sensor kills it for narrative work in my opinion. I want an APS-C sensor at a minimum.

The GH5 and the new BMPCC 4K only achieve the specs they’re getting in such a small form factor is because of that reduced sensor size. Not because of “true innovation”. The REAL challenge is to make a 4k, 4:2:2, 10 Bit image that shoots 60FPS in an editing friendly codec, on an APS-C or Full Frame sensor, inside a small DSLR/mirrorless body without having the internal components catch on fire. Heat has been the primary roadblock for these small cameras all these years. Pushing and working with that much data off a large sensor has proven to be extremely difficult inside such tiny encolsures without implementing noisy fans (which there really isn’t any space for anyway). That is the reason that in all these cameras there is generally one part of every spec that has to give. It shoots 4k, but only up to 30p. It shoots 10 bit but only 4:2:0. It shoots 4k 60p but only in 8 bit. It shoots 10 bit, 4:2:2 but only on a micro 4/3 sensor. See a pattern? No one has been able to beat the thermal roadblock yet. The first company to solve the heat issue will rule the industry.

 Ian Hunter

Doesn’t really matter, because people will always find something to btch about. Webs already reached a level of quality that would have had our jaws on the floor a decade ago, and even when we arrived at the holy grail of camera tech [which we’ll always be chasing] we’ll still be unhappy.

 Larry Tee
Larry Tee

Your ranting is a little misinformed. The h.265 codec isn’t just software. It requires a compatible sensor (Samsung got that down, and appears to be the sensor provider for Fuji here.) It also requires custom processors, licensing, and making sure all the important edit suites will support your h.265 flavor when you release it. And that’s just your quibble about HVEC.

Rolling shutter performance on this camera is incredible. But you brush that off like it’s nothing.

Recording internally *and* to an external source is no given, but Fuji have done it. Same with integrating improved audio, film emulations, many more codec options than I can remember in a mirrorless camera. Having h.264 still available is really important. As is the 50mb/s broadcast compliant codec.

Sony won’t release anything in APS-C that’ll touch this— and they are pretty progressive with new tech. Canon? You lump Canon in here as if they’re one and the same, but they’re just pissing into the wind, to put it kindly.

Nikon had made great strides with their D850. And their Z6 looks quite promising for video. The EOS R looks like a total waste of time.

Blackmagic has always been an outlier in every way. I still own 3 BMPCC’s, and I still really enjoy them. But BMD also has it’s quirks that any longtime user will tell you are sometimes severe, and also rarely found in the bigger manufacturers’s cameras.

Not sure what this motion cadence is that you rest the remainder of your argument on. It sounds like one of those instangibles, like the “Leica glow” you get from their $11,000 50mm prime. Play with shutter speed and FPS, idk, but I’ve never heard this criticism from anyone else. There are also plenty of things in Resolve that can make video look more “filmic.”

Nothing is ever good enough in the Internet. Fuji delivered an unreal camera with specs that have no peer until you hit something like an FS5. The MFT cameras can be great, but to get all if this from Fuji with an S35 size sensor is amazing. Sorry to impinge on your cynical celebration of all that’s mediocre, bland and identical.

Matthew Hartman
Matthew Hartman

Well, Larry, buy the camera then. Have a great time, if it works for you go for it. That doesn’t affect me at all. I won’t be shooting with it. Nor a lot of other cameras. I put more stock into other aspects of filmmaking (narrative) than merely a camera and it’s specs. If 10 bit floats the proverbial boat than sail on into the sunset.

To me, the camera seems boring. That’s not to say its not a remarkable piece of kit in and of itself, but it’s unremarkable in the sense that it doesn’t seem or feel that revoluntionary in today’s current lineup of usual suspects. Regardless if it’s a Samsung sensor or not. This coming from a NX1 user since 2014 to present.

I’m one of the few individuals on the planet that have seen 16 bit RAW footage from that 6k sensor. Had Samsung not crippled that HDMI port out with 8bit 4:2:0, RED would have been quaking in their boots in 2014 and possibly today. But that isn’t the point. When the NX1 came out, that was an exciting prospect. It gave us things we didn’t see before at a certain price point. Things that still hold true in 2018. Things that all the other manufactures have adopted in their modern lineups. That’s revoluntionary. That’s a statement.

It’s not so much about the specs. It’s about a company making a bold statement and not purposely holding back the tech. This Fuji, to Fuji owners may be inspiring because it’s a evolution within the line, but compared to its competitors, it’s merely the same old incrementalism we’ve all just sort of accepted wholesale. Why are we doing this? Why are we accepting this and pretending mediocracy is good enough? I refuse to throw money at this. Throw your money at it if you want. That doesnt affect me in any way.

The new BDM Pocket 4k may or may not live up to it’s reputation and promises on paper. Which doesn’t seem to be the case so far. But thats not the exciting part. The exciting part is that BMD is saying a quality image doesn’t have to cost you a fortune, and we as a company are not going to hold our technology back and we’re not going to hold creativity back either. And now with BM RAW coming to a Pocket 4k near you, well, that just sweetens the deal, doesn’t it?

We can debate each other’s opinions all day long, eventually I’m going to get really bored of that. I’m not sure if opinions are even debatable?

Dude, seriously. Again, if you like this camera just buy the damn thing and go out and shoot some stuff.

Adam Fiorito
Adam Fiorito

You work for Black magic lol, You just said WE AS A COMPANY ARE NOT GOING TO HOLD BACK TECHNOLOGY…wow Trolling other cameras huh? Real classy BM….as in Bowel movement camera 4k

 Matt Edwards-Davies

I know this was only one of your points, but the XT-3 *does* support h.265 internally…

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