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?  FUJIFILM X-T3 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 Conclusion  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 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 here. Edited 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 20% off with code C5D20 (valid until 31st March 2019). 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. 

FUJIFILM is in the process of significantly expanding its range of interchangeable lenses for mirrorless cameras. Next up is the FUJINON XF 8-16mm f/2.8 zoom lens. It is due in November, but some specifications have already been published. Let’s take a quick look at it! The new FUJINON XF lens seems to be a pretty impressive ultra-wide zoom with a consistent f/2.8 aperture throughout its zoom range. Apart from this lens there’s another yet to be released lens: The FUJINON XF 200mm f/2 along with a new 1.4x teleconverter. FUJINON XF 8-16mm f/2.8 This  lens is not quite ready for shipping, yet. But, and that’s part of this post’s purpose: We have a prototype of the lens at the office and certainly will put it through its paces. Until then, let’s look at the specs of this upcoming ultra-wide zoom. First up, this lens sports a FUJIFILM X-mount, obviously. If we want to convert the focal length range to the “normal” 35mm equivalent, we have a zoom range of 12mm to 24mm. The FUJINON XF 8-16mm f/2.8 zoom consists of 20 elements in 13 groups and that includes 4 Aspherical elements, 3 ED (Extra-low Dispersion) elements and 3 super ED elements. The whole thing weights 805g and is 121.5mm long while the lens diameter measures 88mm. Lens elements and rubber weather sealings (shown in green). The iris is made out of 9 rounded blades which can be adjusted in 1/3 EV steps. Minimum focus distance is 25cm, measured from the film plane, so don’t expect a macro lens here. Auto focus is also available, of course and, according to FUJIFILM, it’s high-speed and quiet. Let’s hope it is! There’s also a decent amount of weather sealing going in in this lens, so it seems to be a perfect companion for some serious outdoor shooting. FUJIFILM claims it will be fully operational down to -10°C/+14°F. Pricing This lens is already listed on B&H and as we approach this years November you can get the FUJINON XF 8-16mm zoom for about $2.000. The other new lens, the FUJINON XF 200mm f/2.0, a 200mm prime with an impressive f/2 aperture will be available in November, too. The kit with the lens and the 1.4x teleconverter won’t be cheap: almost $6.000 need to be spend. If you are into video shooting, the perfect companion for these lenses, the FUJIFILM X-H1 mirrorless camera, sells for about $1,650. Links: FUJIFILM Blog | Lens Roadmap Are you a FUJIFILM shooter? Let us know what you think about the addition of this new wide angle lens in the comments below!

The New SLR Magic Anamorphot 1.33x-65 Anamorphic Adapter was just announced during this year’s Cine Gear, enabling simple conversion of a broader range of traditional spherical lenses into 1.33x anamorphic. SLR Magic Anamorphot 1.33x-65 Anamorphic Adapter and FUJIFILM’s MK 50-135mm lens Anamorphic conversion is widely popular and the name SLR Magic regularly gets mentioned when discussing this subject. Their SLR Magic Anamorphot 1,33x–40 adapter has been out for some time. This adapter offers a simple solution for converting small still lenses into anamorphic lenses (we reviewed it here). The new SLR Magic Anamorphot 1.33x-65 is bigger, adapting to more widely used lenses, and as stated by SLR Magic, was optimised to work with FUJINON’s MK range of zoom lenses. SLR Magic Anamorphot 1.33x-65 Anamorphic Adapter in a Nutshell This screw on anamorphic adapter that is meant for existing spherical lenses was developed to fit and work well with FUJIFILM’s MK series and SLR Magic’s own micro primes (Just to name a few).  It accepts bigger lenses than the already existing SLR Magic adapter. (82mm front thread, up to 65mm front diameter). The Adapter has a 112mm screw front with 114m clamp on the front for universal mattebox compatibility and a front thread that will alternatively allow the use of screw in filters and diopters. The adapter has a separate focus ring, so dual focus operation is required. SLR Magic Anamorphot 1.33x-65 Anamorphic Adapter How Does it Work? For those who don’t know how an anamorphic adapter works: the SLR Magic Anamorphot 1.33x-65 is a lens adapter that screws directly onto the front of your existing lens (the receiving lens). The receiving lens needs two meet two reuirements  for compatibility – It has to have a 82mm front diameter thread and the front glass element should have a diameter which is no greater than 65mm. The adapter then converts your image by a factor of 1.33x – which, when coupled with a 16:9 plane, equates to the popular 2.35:1 aspect ratio. 1.33x versus 2x What is good about a 1.33x anamorphic adapter is that it works on 16:9 sensors – it is therefore much more compatible. 2x anamorphic needs a 4:3 sensor to work ‘properly’ (there’s a way to work around, but in general, this is the requirement). 2x is more traditional and applies more stretch to the image; therefore some aesthetics related to anamorphic (such as oval out of focus detail) is more apparent. Focus Ring Similar to some other anamorphic adapters, the SLR Magic Anamorphot 1.33x-65 has its own focus ring. Whilst the Anamorphot 1.33x-40 only had a two-setting ring  (general use and macro), this one requires constant focus adjustment like a normal lens, meaning you have to adjust the focus on both the anamorphic adapter and the receiving lens, making it possibly tricky to track focus during takes. For anyone familiar with anamorphic adapters, dual focus rings aren’t uncommon. Like with many cost-effective solutions, there are often drawbacks, but we were told by SLR Magic that they worked hard to improve focus adjustments on the adapter itself, with calibrated and accurate focus markings, minimizing the need to “guess” where the optimal focus position is in correspondence with the taking lens. FUJINON Collaboration Naturally, SLR Magic state that their new Micro Primes are the perfect match for the SLR Magic Anamorphot 1.33x-65 anamorphic adapter, but rather surprising, is the additional collaboration with the lens manufacturer FUJINON. “We are proud to announce that we have collaborated with FUJIFILM, and optimised this new adapter for their ever so popular MK range of zooms, namely, the Fujinon MK 50-135mm T2.9… When mounted on a FUJINON MK 50-135mm, the integration of the adapter to lens appears like a singular unit.” Specification SLR Magic Anamorphot 1.33x – 65 Lens Type: Anamorphic adapter Front thread will allow the use of screw in filters and diopters Front diameter for Matte Box: Φ114 Objective front filter thread: Φ112 Objective rear filter thread: Φ82 Lens Coating: Multi Coated Close Focus: dependent on receiving lens compatibility (4 feet when using the FUJINON MK lenses) Weight (oz./g): 780g I’m very keen on trying this new product. I have a decent amount of experience with SLR Magic’s anamorphic products and by collaborating with FUJINON I am hoping to see a matured, high quality adapter that can produce great looking images. Pricing and availability The Anamorphot 1.33x-65 anamorphic adapter will cost $1,499 and be available at the end of June. SLR Magic special offer for Cine Gear 2018 SLR Magic is currently offering a trade-in price program for SLR Magic Anamorphot customers and early adopters for a limited time only. You can email them directly for more details and eligibility. Nino is currently in L.A , covering Cine Gear, so expect a short hands-on review here at cinema5D soon. A more in depth review featuring the new SLR Magic adapter together with a FUJINON MK lens will be published towards the end of June. What are your thoughts about the new Anamorphot 1.33x-65 anamorphic adapter. Will you consider buying it together with a FUJIFILM MK lens and a Sony a7X camera in order to create an affordable anamorphic working solution? Share your thoughts with us in the comment section below.  

UPDATE, May 17th: FUJIFILM has pulled down their newly released 4.0 firmware due to malfunction. None of the discovered problems are video related. For more information head to the full press release here: http://www.fujifilm.com/news/n180517.html FUJIFILM has just announced a firmware update for its popular X-T2 camera. The update contains the much anticipated internal F-Log recording, 120fps in full HD mode and more! Man at work It is nice to see that FUJIFILM has listened to their customers, who requested internal F-Log recording in order to upgrade the quality of their work, especially after including that features in the newer FUJIFILM X-H1. If you have been following our recent FUJIFILM coverage, you know that we’ve already hinted towards the arrival of an internal F-Log recording for the X-T2 back in November 2017 when interviewing Watanabe-san of FUJIFILM. I’ve already tested and reviewed the X-T2 back in 2016, so although this is not a full X-T2 review, I’ve decided to take it for a spin and see how well (Or not) it behaves with the new firmware update and check if it can match with the newer X-H1 performance, when it comes to shooting video. The advantage of using F-Log (Taken from the timeline. Click to enlarge) Why would we want record in “F-Log” log-gamma mode? In a nutshell, the are two main reasons as to why to shoot in this mode. The first one is to get the best available dynamic range the camera can provide. This will allow for the opportunity of recovering highlights and seeing details in the darker areas of the image in a better way. The second reason is the possibility to paint the footage and color correct the recorded flat images to your liking. Look at the above slide taken from the timeline and see the highlights in the background. This shows the difference between an image with  “backed color” (Left) and one that a LUT was applied to (Right). It’s easy to spot where the highlights are preserved in a better way.   Dive into the FUJIFILM X-T2 menu, in VIDEO MODE FUJIFILM X-T2 in the filed (New firmware related observation): If you are familiar with FUJIFILM’s camera menu, then setting up the X-T2 won’t be a problem although one might find it challenging to locate the new F-Log settings. Unlike with the X-H1, this option is buried in a sub menu (4K MOVIE OUTPUT) and not on the front MOVIE SETTING page. I can suspect that due to a hardware limitation, this option could not be brought to the front menu page. When it comes to grading the F-Log footage itself, I’ve gotten a bit of a mixed bag results, especially when referring to skin tones. (I can relate what I see to 8bit color sampling limitation). As the firmware is now available to download I’m actually very curious to hear and see what people will come up with. (I’ll update this post with my observation after double checking the footage I’ve got). One more thing to be aware of is the possibility to get “turn off and on again” error note. I got this message multiple times during my shooting day and I could not determine why it is happening. On the positive side, the new 1080/120fps setting really looks good! (The footage in my video is all upscaled to 4K in order to match the rest of the timeline setting). Last but not least, the ability to enlarge and customize the location of indicators or information in the viewfinder and/or LCD monitor is a superb thing. I guess you have to be over a certain age in order to appreciate such a feature….. FUJIFILM X-T2 vs. X-H1 (Video mode): Although the bridge between the cameras has just been narrowed, to my opinion the upper hand still goes to the X-H1. With its higher data rate recording, Internal body stabilization, the possibility to shoot in ETERNA film simulation mode out of the box and touchscreen autofocus (Just to name a few), the X-H1 certainly has the lead. FUJIFILM Firmware Ver. 4.00 Update – Key Features: Internal F-log to SD card recording function. Addition of 1080p 120 frames per second mode. Compatibility with the newly developed FUJINON MKX18-55mmT2.9 and FUJINON MKX50-135mmT2.9 cinema lenses. Aperture information can be displayed on the monitor. The upgrade allows users to select T-stop or F-stop. The upgrade allows users to check the focus distance with the distance indicator shown in the monitor. Automatically corrects the distortion and the color/brightness shading. Camera automatically calculates the White Balance based on the lens position and delivers the color expressions with Film Simulation modes. Ability to enlarge and customize the location of indicators or information in the viewfinder and/or LCD monitor (this feature is newly available for all cameras that get the firmware update). Conclusion: FUJIFILM did well in listening to their customers by giving “new life” to one of their most popular cameras. All in all, this is a capable video shooting device that can perform well when treated right. (Don’t forget to take a stabilized lens or a tripod with you when out and about). I also have to highlight the camera’s sound quality! To my opinion, FUJIFILM is doing exceptionally well when it comes to sound recording in the X-T2 and X-H1 compare to other stills cameras manufactures.   The “caffe latte” part of the above video was shot on FUJIFILM X-T2, F-Log enabled and was edited in Adobe Premiere latest edition. Color graded with FilmConvert (X-T2 F-Log profile). Downloads:  FUJIFILM X-T2 firmware Ver 4.00. ETERNA LUT for F-log, Ungraded version of the video to play with. (Then press the download button). Many thanks to Dinah, her family and the staff at caffe latte. Find out more about the place by clicking here. Music by Art-List Tracks: Clear Skies by Rex Banner and DuDa by Gran Torino What do you think of the new FUJIFILM Firmware update? Are there any X-T2 users who are welcoming the F-log feature? Let us know in the comments below.

The FUJIFILM X-H1 flagship camera is now shipping and it is nice to see that FUJIFILM has kept its promise to deliver an ETERNA LUT in time for its F-Log gamma picture profile.  ETERNA – The new film simulation by FUJIFILM In my FUJIFILM X-H1 review you could see some sample footage taken with the included ETERNA film simulation picture profile, which – to my eyes – was very pleasant to look at. Now, shortly after hitting the market, FUJIFILM is offering three free LUTs for downloading. One of them is the ETERNA LUT, which will bring your F-Log “flat” image to look as if it it was shot with the original ETERNA film simulation picture profile (some visual differences may occur depending on the filming environment). It is worth mentioning that the FUJIFILM X-T2 does not have the ETERNA film simulation picture profile built-in, although it can record in F-Log mode when connected to an external recorder. So if you are after the ETERNA look when filming with the FUJIFILM X-T2, this is a nice solution for you. Speaking of the which: if you had a chance to look at the interview I did with Jun Watanabe-san form FUJIFILM, it is encouraging to know that they are seriously considering adding an internal F-Log to the X-T2 camera. Let me add that I wish that the ETERNA film simulation picture profile should be considered too… For more information, please head to FUJIFILM’s download page. If you already had a chance to use the new ETERNA film simulation picture profile in your project, share your opinion with us!

At CP+ 2018 in Japan, Chinese manufacturer Kipon revealed three new autofocus lens adapters for FUJIFILM mirrorless cameras, which can accommodate a variety of Canon EF lenses. The KIPON Autofocus Lens Adapters are currently undergoing testing and fine tuning to work well with popular Canon lenses. KIPON Autofocus Lens Adapters In the short interview above, I chose to skip the introduction of one of the adapters (Canon EF to FUJIFILM’s  GFX50S medium format camera) and concentrate on the other two which are made for cameras like FUJIFILM’s X-T2 and X-H1 (among others). These new KIPON Autofocus Lens Adapters come in two flavors: with and without an optical element. For me personally, out of the two, the latter is the more interesting as it acts as a focal reducer (à la Speedbooster), helping to reduce focal length and increase the lens speed by an average of a stop. Kipon Baveyes EF-FX 0.7x Prices for the new KIPON Autofocus Lens Adapters will be $298 and $450 respectively, and delivery is expected towards the end of March 2018.

FUJIFILM has just announced its new flagship APS-C sensor size, X mount video-oriented mirrorless photo camera, the X-H1. It’s safe to say that while developing this camera, FUJIFILM had us – the filmmaking community – in mind.  FUJIFILM X-H1 The race to capturing the hearts of filmmakers has just become tougher with the introduction of the new FUJIFILM X-H1. Built on the heritage of the successful FUJIFILM X-T2, this new top-tier camera is rolling out with included additional features that are likely to appeal to many: the 5-axis in-body stabilization system, included F-log and the newly-developed ETERNA film simulation picture profile, just to name a few. The new AF-ON button for fast focusing experience FUJIFILM X-H1 next to the VPB-XH1 Vertical Power Booster Grip Ergonomics The new camera felt very robust in my hands and operating it was very similar to using the older X-T2, except for the new AF-ON button – very useful when shooting in manual focus mode and using the EVF: just press this button and get your desired point instantly in focus. The new X-H1 uses a new vertical power booster grip, which I personally like to work with as it adds more stability when holding the camera. Speaking of which: the booster grip also adds additional benefits, like being able to monitor sound via the included headphone socket, support for 3 batteries for longer shooting periods and, last but not least, doubling the total length of the recording time when shooting in 4K, for a total of 30 minutes instead of 15.   Photo menu is totally greyed out. Perfect! Most camera video features are now under one roof FUJIFILM X-H1 Menu On the menu front, FUJIFILM has done a great job by eliminating (greying out) most if not all of the unnecessary photo-related menu entries when in video mode. As far as I’m concerned, there is just one point that can be improved: When wanting to re-adjust a parameter after fiddling with whatever function in the “SET UP” menu, the camera will take you back to the general video menu. This is a bit of an uncomfortable and time-consuming procedure as, at times, one will want to adjust that exact parameter again without starting all over from the main menu. ETERNA – The new film simulation by FUJIFILM Finally, built in F-Log FUJIFILM X-H1 Video Features This is the place to mention that the new camera uses the same sensor and processor as the FUJIFILM X-T2 but, as the top camera model and in order to differ from the current X-T2, FUJIFILM has added some significant beneficial improvements to the new X-H1. The most notable are: 5-axis in-body stabilization system, which worked wonderfully with the tested FUJIFILM XF 16-55mm f2.8 R LM WR lens. The inclusion of a built-in F-Log gamma option. This much-anticipated feature will help many with their creative filming and post production work. For those who would like to have instant “cinematic” colorful results, FUJIFILM is introducing its newly-developed ETERNA film simulation picture profile. I’ve tried it, I like it, and I’ll be using it whenever there is no time to experiment or go through the process of a color correction session. On top of the above, it is worth mentioning the Dual SD slots with relay recording functionality, front and rear tally option, the ability to record 120fps in full HD mode, DCI 4K setting (24p only), silent video operation mode (see detailed explanation below in the “Pros” section), good low-light performance and a high data rate recording of up to 200Mbps. This is also the place to mention a video feature that is not yet functional, but will be next month. I’m talking about the launch of the FUJINON  X mount MK lenses. These high-quality, lightweight and compact lenses will be a perfect match for the new camera and besides of benefiting from the 5-axis in-body stabilization system, I’m eagerly waiting to see what else this combo will bring. New Low Cut Filter for enhanced audio quality Picture and Sound Quality This is where this new camera shines. There is something very cinematic in the look and feel of the picture, and even the noise in high ISO settings (like 5000) is not really disturbing, looking at times like film grain. On the downside, it is truly a pity that FUJIFILM did not implement 4K 50/60p recording and, when it comes to the recorded bit depth and color sampling, apparently the current sensor/processor combination is not able to record in the much-desired 4:2:2, 10-bit specification environment. When it comes to audio, the built-in microphones will capture sound in 24bit / 48KHz quality but, most importantly, the external audio sound recording quality is very impressive. One reason for this might be due to FUJIFILM adding the possibility to disable the low cut filter in camera. This can obviously give a richer sound to any interview, for example. I haven’t seen this feature being implemented internally in other mirrorless cameras. Nice touch. Front Tally User Experience Its current firmware is where the camera scores the lowest for me. The three main obstacles are a somewhat inconsistent continuous autofocus performance in video mode, an issue with manual focus and inconsistent sound performance. Continuous autofocus performance: I’m yet to solve this mystery… At times, this camera’s autofocus works like a treat, and no matter what I’m pointing it at, it will achieve perfect focus. In other filming situations, the autofocus will hesitate or simply not work well. Bottom line: either I’m doing something completely wrong with my settings or the autofocus performance needs to be improved. I’ll keep exploring this and update my article if needed. Manual focus performance: it is great to have the ability to zoom-in while checking focus manually (the camera will automatically enlarge a part of the picture when in standby or recording mode). BUT, after being done with adjusting focus, the picture will not resize back to the original framing perspective. Try to imagine working handheld during a documentary situation, focusing on a subject and then trying to blindly find the Disp/Back button at the back of the camera in order to go back to your original framing. It’s almost impossible to do so without adding shaky camera movements. Inconsistent sound performance: while the recorded sound quality is truly exceptional for this type of camera, there are three issues with sound. The monitored audio sounds distorted At times, when using an external microphone and switching the audio menu to “Off”, audio can still be heard At times, when using an external microphone and adjusting the audio levels, the sound can be cut off, become muted and the camera will freeze   FUJIFILM X-H1 Pros (in no particular order) Truly nice 4K (DCI 4K) video quality! High-speed video recording in Full HD at 120 frames per second World camera (NTSC/PAL) Newly-developed ETERNA film stock simulation Dual SD slots with relay recording functionality Silent video operation mode: allows you to control settings such as aperture, shutter speed, ISO sensitivity and white balance with silent touch-panel operations on the rear monitor, preventing the camera from picking up operation noise from buttons and dials during video recording Front and rear Tally light indicators (can be controlled via the menu) High recording video data rate of up to 200Mbps Touch screen autofocus Good low-light performance. ISO 3200 is very usable 5 axis in-camera body stabilization High dynamic range F-Log gamma option Focus lever for pointing at desired focus points Accurate focus peaking In manual focus mode, touch screen focus can override In manual focus mode, distance chart is available Easy way to spot how much recording time is left on the SD card Good EVF makes manual focusing easy Enhanced audio recording quality with the built-in microphone (24bit / 48KHz) Audio levels can be adjusted during recording Audio quality is well above what we are used to having in such small cameras when connecting an external microphone Plenty of customisable FN buttons, including a way to assign four functions to the LCD screen and execute those commands by swiping the screen to any of the four directions Histogram Good battery life. Having three batteries (one in camera and 2 in the handgrip) helped me to shoot throughout the whole working day without a problem. DCI 4K in up to 200Mbps FUJIFILM X-H1 Cons (in no particular order) No 4K 50/60p 4:2:0 8bit recording internally & 4:2:2 externally Lack of fully articulated screen No screen layouts to help with simulating 2.35:1 or any other ratio but 16:9 Lacks a headphone socket for monitoring audio when using the the X-H1 camera body only. The additional Vertical power booster grip is needed in order to monitor sound, as the headphone socket is located in it 15 min recording time limit in DCI 4K (30 min in full HD and somewhere in between when choosing other resolutions), UNLESS you get the additional Vertical power booster grip. Then the limit is extended to 30 min in DCI 4K Long 4K video recordings are split into 2:40 minutes segments (FAT32 4GB limitation) Inconsistent autofocus performance When ending a recording take, it takes the camera an extra second to store the clip Average rolling shutter performance No Zebra Pattern for helping with exposure 120fps in full HD Issues that FUJIFILM can hopefully take into consideration and check if fixing them is possible (in no particular order):  Touch screen mode is set to AF. Camera is in manual focus mode. When tapping twice on the LCD screen (Or turning the lens focus ring), the picture will be zoomed in for easier focusing judgment (which is fine) BUT, when tapping on the LCD on a point to focus, the camera will start recording instead of focusing In manual focus mode. When in stand-by mode, turning the lens focus ring. The picture will “jump in” for easier focusing judgment BUT it will NOT “jump out” for the actual framing when pressing the record button. The same applies when already recording. Touch the focus ring, picture will zoom-in, but will stay like this and won’t go back to the original framing after a second or two “Natural Live View” is nice when using it in combination with F-Log as it will allow you to see and monitor how the picture will look like with a certain LUT on it. Unfortunately, this feature is also active in other film simulation modes, making it easy to mistake the look you are after Dynamic range is stated in percentages (400%, 200%). For us filmmakers who talk in “stops”, this piece of information is a bit useless. I understood from FUJIFILM that different shooting modes result in different dynamic range values, so how about pre-setting the camera to give the best possible dynamic range at any setting without the possibility to choose to lower it in the menu? Audio monitoring is somehow distorted with the headphones I used At times, when external microphone is used, when adjusting the audio menu to “Off”, audio can still be heard At times, when external microphone is used, when adjusting the audio levels, sound can be cut off, become muted and camera will freeze The overall picture size and menu layout structure in the EVF will change when switching between the manual focus mode and one of the other autofocus modes. Very distracting The X-H1 equipped with the FUJIFILM XF 16-55mm f2.8 R LM WR lens   The lens used in this FUJIFILM X-H1 review was the FUJIFILM XF 16-55mm f2.8 R LM WR. It is one of FUJINON’s flagship zoom lenses with a Full Frame focal length equivalent to 24mm – 84mm and a constant f/2.8 aperture throughout the range. Here is a quick list of the Pros and Cons I found while combining it with the X-H1: Pros: Excellent sharpness throughout the zoom range Manual aperture ring Constant f/2.8 aperture Weather-sealed design Speedy focus motor Cons: No optical stabilization (now less problematic with the newX-H1 5 axis in-body stabilization system) Constant f/2.8 aperture yes, but when zooming in it looks as if the aperture changes Heavy FUJIFILM X-H1 with the vertical booster power grip Conclusion: With the introduction of the new X-H1 camera, FUJIFILM is slowly but surely closing the gap between its video-oriented mirrorless photo cameras and its rivals. It is also very clear that FUJIFILM is very determined to listen and cater to the needs of the filmmaking community. The thing is, my above statement is relevant for the present time and, while this camera is nice to work with, it will have to go through one or two firmware update cycles in order to fix some of the glitches mentioned in my review and fulfil its true potential. Additionally, current models from other respected manufacturers with enhanced functionality – be it 4K50/60p frame rate, 10-bit recording, better color sampling or higher low-light sensitivity – are aiming to capture that exact same crowd. So, in short, does this camera offer enough to make one jump on the FUJIFILM bandwagon? Time will tell, but the direction is extremely positive. A still taken from my timeline Camera settings used for most of the inserts in my review: When on F-Log: Sharpness -4, NR -4. When on ETERNA film Simulation: Sharpness -4, NR -4,  Shadow Tone 0, Highlight Tone 0. All was shot on DCI 4K 24p, 200Mbps. Edited on Adobe Premiere Pro latest edition. Color corrected with FilmConvert X-T2 preset. No sharpening added to the final video. Many thanks to Sakiko Takahashi and Natalie Behiri. What is your take on the FUJIFILM X-H1. Are you impressed with what this camera has to offer and can you see yourself updating your current gear with it? Share your opinion with us in the comment section below. 

The first step in our One Minute Film Competition is now over, and there is no better way and time to expose our audience to the “behind the scenes” of making some of the valuable prizes that we and FUJIFILM/FUJINON will be presenting to the winners.  One Minute Competition update: First things first. It is with A LOT of appreciation that we would like to thank all the participants in our first ever film competition. The overwhelming response and engagement of the filming community in the event convinced us to continue and initiate future competitions like this one. 233 eligible films from 56 countries were submitted during the course of the competition (!) and now Nino and I are facing the long, responsible work of viewing all those creations and deciding the winners. We will live-stream the announcement of winners during Friday, February 9th at 7pm CET (6pm GMT/12pm EST/9am PST).  FUJIFILM/FUJINON Factory visit: Now, FUJIFILM was kind enough to privately host and guide me through one of its lens and camera factories located in Sendai, northern Japan. This factory is responsible for making the FUJINON MK lenses, X-T2 camera and GFX 50S camera and lenses. It was a great chance to see how some of our prizes are made and although it was a short visit, it was hard not to be impressed by the process of making these products literally by hand. I hope you will enjoy this short video and, like me, take one thing from watching it: regardless of our purchasing decisions, there are always hard-working, dedicated people behind the design and manufacturing of the equipment we use on a daily basis. Maybe it is a good chance to salute them all.  Music for the above video is taken from art-list. Theme: Oliver Michael – One Moment – Me and You and Firefly Are you curious enough and want to see more factory visits in facilities related to our industry? If so, which ones? Let us know in the comments section below!