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I dont think it is designed to compete with a GH5. I think it is a genuine 'hybrid' camera (for those that shoot 60%+ stills). By that I mean it is a no compromise stills camera (as good as the XT-2) that shoots excellent video. It competes with the a6500 or a7riii rather than an A7sii/iii in the Sony world. The GH5 isnt a true 'hybrid' camera in my world view (and the GH5s far less) on the basis that it is oversized compared to its sensor and overpriced compared to its sensor for stills - it is bigger and heavier than an A7riii that has a 4x larger sensor. Dont get me wrong. The GH5 is probably the best videocentric ILC on the market but it isnt really a 'hybrid'. How does it stack up against the A6500?

For me, -photo quality in good light: huge advantage Fuji. -video quality: tomato tomato in most scenarios. -grip: haven't held the Fuji. Where did you try it? @etidona -controls: Fuji wins -connectivity: dont even care but in my experience Fuji have a better track record. -recording time, overheating, continuous rec: GH5. -lenses: Fuji kills it. -extreme low light and autofocus are also segments where the Fuji might come up ahead. But none of us know yet. That seem like a great attemp to compete. Time will tell.

I shot 30,000+ stills last year and many hours of video with the XT2 and the a7r2. The XT2 is a brilliant hybrid. I'm anticipating the XH1 to be even better now that my 16-55/2.8, 23/1,4 and 56/1.2 are going to be stabilized. Stills is where m43 falls short. Despite what some claim, the DR of the larger sensors is better. Its easy to see when you start lifting shadows when shooting sunsets and such. So I don't consider the GH5 to be a competitive hybrid because it fast short in comparison with stills and especially the AF. The XH1 looks a lot a (spec-wise) like a a6500 in a proper chassis, with Fuji's colors. I tried to like the a6500 as a backup to my a7r2, but I just didn't jive with it, so I bought the XT2. Fuji has its quirks, but FW updates improved video shooting significantly and addressed some other issues. With a better spec EVF, touchscreen and face detect in 4k, I'm really looking forward to shooting with the XH1. At some point I'm getting a speed booster for my Nikon 28-70/2.8 lens too, that's been my workhorse video lens on the a7s2.

Transforming a ordinary farm horse into a racehorse will not work, even if you put him on a diet. That's true. But the crucial question is, if the audience outside of a cinema theatre and the 200% punch-in obsessed gear heads universe, would even notice the difference between the two animals. Probably not. There are people out there, very sad about the fact, that the IQ of an expensive production/cinema camera doesn't differ so much as it should from much cheaper "prosumer" cameras, when it comes to what you see nowadays on ordinary PC-displays, TVs, smartphones, etc. No need to justify horrendous expenses for ordinary (=non Hollywood) footage delivery. It's fine. But it is NOT a necessity. Disclaimer: If heavy keying, VFX, extreme grading etc. needed, there would be a completely different matter.

Use HLG. Better.

Sure 8 bit will fit in 10 bit and, 10 bit in 12 bit, on and on. Is 8 bit better than 10 bit, no. And the graph below shows why more bits counts. Can we afford high bit rate cameras, well hell no, not a lot of us LoL. We might rent one, operate one, but.. Rec. 509 fit into Rec. 709, and it still does on old re runs on TV shot 40 years ago. But 509 ain't 709, and 8 bit ain't Rec. 2020. But you are right Kid it will all look better even though it is not true 2020. It doesn't make great output from 8 bit cameras bad. Fuji seems to have figured it out moving colors around. It is what we have been using for years. Until the GH5 it is all most of us ever have and can afford like I said.. Who the hell even heard of HDR a year ago, or thought we could ever shoot it. Now we can see it on a Cellphone. And sure you can have a wider color gamut, all kinds of gamuts. Hell look how many are in Photoshop, Premier, etc. but it can Only have 256 colors in them in 8 bit. You can bend them to endless configs, but not like 10 bit or up. 10 bit is a Hell of a jump in color possibility's. And 16 bit, well shit.

Worse DR isn't exactly true. It depends on the ISO. Again, right tool for the job. Price is relative. A photographer that can't get great shots with this camera should focus on skills, not gear. And what the DSLR video thing is about isnt relevant. A still camera manufacturer cant take responsibility for what a few people would like to use their cameras for. 99% of their customers thinks the video is adequate for what they do. And most of them never touch it. This is a stills camera. And therefore I cant say it sucks just because the video isn't better than an FS7. But I've said this already. Ps. A dedicated video camera is smaller, not bigger.

Since we first had S-LOG and advanced Cine picture profiles from Sony there has been a restriction that they can't be enabled in Silent Mode, which uses an electronic shutter. This got me thinking - the A9 makes a big deal about it's electronic shutter - and low and behold has no picture profiles. Do you think Sony left them out as they conflict with the electronic shutter somehow - maybe they were afraid sports photographers would be confused about why their max FPS just dropped from 20fps to 5fps, because they had PP1 selected. I think that's it. Of course, this is a stupid decision by Sony. First basic solution I just plucked out of my ass...make the damn profiles work with an electronic shutter! How hard can it be! Second basic answer... make the picture profiles work only when video mode is selected on the mode dial. Avoids confusion. Third point is this - how can Sony have the BEST full frame 4K picture, even more detailed than the A6500 on their FLAGSHIP and MOST EXPENSIVE camera and NOT put S-LOG or Hybrid LOG Gamma on it?! The A7R III and D850 full frame 4K both fall short of the resolution and almost zero-moire achieved by the A9. So they have the most capable full frame mirrorless camera on the market for shooting 4K... with the least number of picture profile options. Well done Sony! Thing is getting down to £3k used now, so actually cheaper than the A7R III with all the same nice things, but better 4K, bigger buffer, extra dial, faster continuous shooting, better electronic shutter and yet... no S-LOG!

I think there is a bit of confusion here. I am arguing for the xh-1 over other consumer cameras like the gh5 and the a6500 on the basis that people who are purchasing these products will experience no discernible difference between the 8 bit and 10 bit codec, which is something you appear to be confirming. I didn't say 8 bit is not enough, but if you are going to produce a movie and if you have a decent amount of financial backing, then there is no discernible reason to choose an 8 bit camera, short of aesthetics, and certainly none for high-paying client work, which is more exacting. For the purposes these cameras will be used, which does not mean they are not good enough for cinema, the 8 bit or 10 bit is really irrelevant. In fact, if I have great Fuji color SOC then why would I need 10 bit to get it to the same end point, except for some unique situations where I have missed exposure. More important is autofocus and good color. That's partly why canon outsells anyone. 8 bit cameras can be used in cinema but in practicality they won't be. Tangerine was shot on an iphone. But the director has just followed it up with Florida Project, which had a bigger production value and was shot on an Arri. Last year, the winner of the Golden Lion at Venice, the woman who left, was shot on a as7ii and in 2012 the winner pieta was shot on a 5d mark ii. It is possible in indie narrative work, but given the choice people will pick the raw cinema camera, because there are distinct advantages and it does look better. There is no question about it, and it isn't just that one is raw and the other is 8 bit - there are many more factors as you know. So I am saying at this level the xh-1 is the most appealing, and will be more appealing to a wider audience than the gh5 or a6500 if the color and the autofocus are as good as the rumours are saying. Face detect autofocus coupled with ibis - it's the only camera on market that would do that. Think about the possibilities with that combo and with the fuji colors. 10 bit on a small m4/3 camera pales in comparison. If I am using my cinema camera I don't need this, but for these types of cameras and for their intended use, the fuji wins hands down, and I think this will be reflected in the sales numbers if they can market it properly.

Had a go with the 3.5K: You basically have to shoot blind, and hitting focus is up to the camera gods... The only thing about using Resolve over ACR is there's no "remove chromatic aberration" button and you can see it would have been useful for this.

Just to be clear here guys.... And Im sure everyone agrees...that 10 bit 4:2:2 is definitely better than 8 bit 4:2:2, which in turn is better than 8 bit 4:2:0. That is without a question. I think what most is arguing is that you can still work with 8 bit 4:2:0.... As we have before the GH5 came along.

Thanks! Between this and the MLVApp, it’s almost impossible for even me to mess up this footage... lol. I recently processed this through the MLVApp as LogC. Even though it’s in B&W, I used a LogC to Rec709 LUT and an S-Curve before desaturating it.... I love my Nikkor 35mm 1.4...

Yes, it's amazing! You should just change the naming scheme to Davinci Resolve. Everything else, leave it as is.

Why am i all of a sudden searching ebay for voigtländer lenses, hmm.. Looking really good @kidzrevil !

Man, wrong camera thread... "@#%

Well there are products like this one: NP-F Battery to V-Mount Battery Converter Adapter: https://www.amazon.com/ILEDGear-Battery-V-Mount-Converter-Adapter/dp/B00E0CEDIE But a word of caution, when I first bought my Pixapro, not owning any v-mounts, I bought a similar converter hoping for an easy, affordable solution, but the F-type batteries unfortunately did not provide enough current to power the light. But I suspect for a smaller LED than mine, something like that might work.

No. They are ok, but focus by wire isn't ideal in general. Most zooms breath, the primes are fine. Optical quality is very nice and they all offer a similar look. But Fuji will also release two cine lenses, the mk 18-55mm t/2.9 and the 50-135mm t/2.9 both of which are more or less parfocal with no focus breathing and offer a few other nice features. And of course there are a lot of manual lenses you can use. And there are also Canon EF smartadapters as well as a EF smart speedbooster coming in the near future so I would say there are more than enough lenses available.

i always find it quite amusing that some people may think a camera that doesn't shoot 10-bit, record in 4K or have IBIS is obsolete/worthless for pro work. FWIW i've shot professional work for clients listed on the NYSE with 5D3, D750, C100, A7S & XT2.. all 8-bit cameras. I can assure none of those clients have probably ever heard of 8bit/10bit/420/422/Rec709/Rec2020 etc.. only in these specialized forums are they relevant and up for debate.. i'll also add i've been shooting professionally across the globe with the XT2 for over a year and never have my clients given me so much praise on IQ. Now the XT2 is far from perfect, and i'll still rent BMDs, FS7s & REDs for bigger projects but it's an amazing little camera and imo the best SOOC image. GH5/GH5S is certainly best bang for buck right now but M43 sensors don't fit my aesthetic and i much prefer the native lens selection from Fuji. I'm now very excited about X-H1, will definitely upgrade to it.. The booster grip is an absolute requirement for XT2.. it gives you the audio input & boosts recording time and EVF refresh rate etc.. Now concerning the display information/icons being too small, XH1 will indeed make things a lot better thanks to its top "sub monitor" that will include a customizable movie mode allowing clear/fast top view of all crucial information including remaining recording time etc..

Sucks that he had to add a request in all caps not to plagiarize his work in both the title and the description. I'm looking at you, Peter Gregg. EDIT - What's worse about Peter Gregg's plagiarized video is that he has gone through and deleted every comment from anybody pointing out the fact that he's presenting someone else's work as his own. What a prick.

@Emanuel Yep, also the girl he was "chasing" for 2 years, she is getting married! I have met a few Chinese students back at Uni, and I did a couple of documentaries with Chinese, They have a different approach than us! Total respect to their attitude and nation. It seems like he has a DJI connection, maybe not employee per se, but definitely he is close to the company. @Robert CollinsI like what he is saying about the Mavic Pro II, too! I hold my horses for a couple of years now. The Mavic Pro form factor is just brilliant, but the camera is not. I hope this year we will have it all. 1" camera and the smaller form factor.

I seem to remember this guy has a pretty good track record in terms of predictions... More to the point, I like what he is saying about the Mavic Pro ii, so I am happy to believe him. Basically a P4P camera in a Mavic (slightly heavier and more expensive.) Sounds great in my opinion. Actually the Mavic Pro is pretty much perfect for me apart from the camera (by which I mean sensor.) Easily the best toy I have bought since the original iphone.

Gulp!

No need Jon, you've already beat me with your previous post! ;-)

I think from what I have seen the GH5s does seem would I would call having a Sony A7s look to it. The original one. A more gnarly, grungy look than the GH5. I think it is a whole different look, which is not surprising that it is a whole new sensor, and has less MP's. I like the color science of it. I think is has great potential. And being 10 bit I don't see how it can be ignored for serious work. Yeah a 1DC and a Canon Kiss comes to mind.

Depends what you're using them for. For documentary production... you're right 8-bit is totally workable. But for anything "cinematic", anything with VFX... ect. Yes, all those cameras are crap. And trust me, I used to think people like me were a**hole trollers... I used to roll my eyes at all that "client-facing" or "professional" talk... but damn, I was wrong. I had to eat my words when I started working on some of these productions. Sometimes these people want a crazy stylized look to the footage... but a certain paint, or fabric, whatever, needs to be isolated and colored to advertised specifications... and the image cannot lose fidelity. You simply cannot grade 4:2:0 8-bit footage in any real sense or use it for VFX (where I mainly work). I've tried... I've had colorists try... it always ruins the image and cannot be presented outside of "crash-cam" or "spectator" footage. But to say something somewhat constructive... I will say the detail looks very good in that video though. I've been wanting to get a GH5 or GH5s... and I just cannot find a video that looks like it even resolves a 2K image. I guess I had never looked at the footage that closely... but something is ruining the images from those cams... even the "camera originals" people offer for download. There must be heavy noise-processing that cannot be turned down all the way. Everything has that "digital-gause" that ruins fine details and textures. Even the older Blackmagic 2.5k camera appears to resolve more detail than the GH5. So, anyways... the Fuji does look allot better in this department!

True. However while our raw files are 14 bit which is great for editing and manipulating them - nearly all output is 8 bit jpeg with sRGB (a narrow) colorspace.

Yeah on the Photo side most cameras now are 14 bit. Very true.

Here are some video samples. I shot in 4k30 in various modes (check the file names). Basically a first test in normal video mode (standard, not cinelikeD) then I tried cinelike-D with everything set to 0 (sharpness, saturation, contrast), finally Cinelike-D with Sharpness 0 and saturation and contrast at -3. https://we.tl/vKlDNaYV61 The rest of the files are to compare the crop modes. 2.7k/60 does crop, same for 1080/60 which is strange. The 1080/120 (conformed in camera to 30fps) is garbage, that was to be expected. Check the video sample, I left the drone in a static position and changed the resolutions. Regarding the image, I found the image a bit on the soft side but nothing bad, actually it's better than the usual DJI razor sharp look. It must be because of the "plastic" lens but I don't mind. Add a bit of sharpness in post. However, I still noticed this noise in the shadow, especially in Cinelike-D when the contrast is lowered (eg -3). That's the limit of the dynamic and ISO on this type of sensor I guess. The noise is less obvious in standard baked mode. Overall I think this drone is well made, the range and radio link quality suck but the features are good in terms of value and size. You can't expect Inspire image quality from a 1 pound drone at $800.

Well we can use ProRes I guess, but in the output part of it what are people going to be looking at it with. Unfortunately most will see it in Rec. 709. https://support.apple.com/en-us/HT202410 I am afraid we are in a transition period, and a lot of us if we are lucky will have TV that see Rec. 2020, have HDR specs from hell. We will have 12 bit cameras that are easy to use. Most Raw cameras are pretty much a pain to use or turn into usable stuff to output. Way beyond my thought process to how it will all end up down the road. But I would imagine if a person had some money you will be able to buy stuff we could have only dreamed of, for not a hell of a lot in not a hell of a long time from now..

The only reason I am not buying the A9, is the lack of picture profiles. The only reason I am not buying the A7rIII, is that I am hoping A7sIII has the same electronic shutter as A9. In the end, Sony will get less of my money. Makes no sense.

It's not only GH5, people are forgetting there is also the GH5s option. I would rather go for that right now. Depending of the use of course, but when you do video, for semi pro or pro work, you need a lot of recording time. The bulk of our job is to record something, be it a live performance, a sports performance, reality TV, long documentary takes etc. Even the NX1, a 4 years camera can do 78min continuous take. If I was in the market, and split between the a6500 and this, then definitely this camera wins, I would go for that 11 out of 10, but if anyone wants a workhorse video camera, the GH5 and S are so far ahead that it isn't even close. There is also the option of the A7Sii, it seems it is coming down in price while it will go further down when the III comes. I do not see a lot of people buying this, mostly Fuji users that do a little bit of video, I am not sure how big of a market share that is, maybe something like 0,5% of total ILC sales. The good thing, is that it maybe pushes Sony to make a real PRO APS-C camera.

Hmm rolling shutter is pretty good in video mode on the A9 though, isn't it? Not zero, but still very good. And I can't understand why they'd want us to buy an A7S III or A7R III instead for video, when these have more rolling shutter, and most importantly for Sony - when these are cheaper and actually the A9 has a bigger profit margin for Sony. There are people who actually want to buy one for video right now and who find lack of S-LOG a major roadblock to Sony earning a tasty $4.5k sale. Daft!

Found this video of bloom Talking about it Figured you'd Dig it.

So I must start using still cameras as video cameras and not voice my opinion or go around calling people I don't know "frauds" for not agreeing with me? I have a third option I want to run by you. What if I use what ever I feel like and dont judge others for having other preferences? That way I can focus on what I actually know, my needs and preferences. And not waste energy arguing about others needs and preferences which I just like you know absolutely nothing about

Seems like a great camera. For me personally a Fuji is a usable stills option in all scenarios I can think of. It rivals FF. Ive shot sports, portraits, doc, you name it with a X-Pro2 or X-T20. So the stills department is in the bag. Not as a compromise but top notch imo. If the intended usage of video is 50% or lower it is a great camera and I would probably love it. For something like 70% video I guess a GH5 would make more sense but anything higher than that and I rather have two cameras, one dedicated for video. But that's just me.

Nice!! some beautiful shots in there, and the old sound clips add some philosophy as well as vintage texture..

I guess they need protect their Venice camera lol Or maybe save it for A9S?

It's true the video quality on this thing is laughable and yet they are marketing it towards the YouTube crowd. Reminds me of the episode of the IT crowd where Jen was tricked into showing the internet-in-a-box to shareholders... But because they were fucking clueless too, they lapped it up!

True! I also said that they have "decency"! Fuji is a well respected company with a lot of passionate people working there. I follow them closely and always read interviews and their opinions. They have the will, they just don't have the resources. Unfortunately for Fuji, in this race there are other horses too, and no one will wait for them to reach 2018 specs, a couple of years later. Edit: I would buy this instead of the a6500 any day. That's not even close in my opinion.

https://www.eoshd.com/2018/02/fuji-x-h1-cinema-4k-200mbit-hybrid-camera-ibis-rival-gh5/ A Fuji "A6500" basically, but in a bigger body. However it does have Fuji's colour science and ergonomics. And the A6500 was already pretty cool. Then there are the lenses - they're better as well. I think it's not to be sniffed at... But it falls short of the GH5 and GH5S in terms of overall feature-set and codec. Should have had 10bit.

Thank you Dave. Canon really does need to be called out for being the laziest camera company on the market. Like you, I am a long time Canon owner, and love my 1DC. Over the years I have owned the c300, c100, xc10 and various 5D iterations. I spent huge amounts of money trying to chase Canon's differentiation strategy...this camera for stills, this one for good video, this one for compact portability, etc. When in truth all I wanted was a Sony A7r/s or GH5 with Canon color (and I have owned Sony, Samsung and Olympus as well). No more. I am done with Canon. I am tired of a company that so aggressively handicaps its products...5D IV's crop and no IBIS, fixed screen, 6D Mark II's 1080p (forget 4k) which is more like 720p and lack of dynamic range, the C200's lack of middle ground codec below RAW at that price point. I still love my 1DC, but it is 2018 and I want good 4k with IBIS, good video focus, touch screen and a smaller form factor. Sony, Panasonic and Olympus actually seem like they try to make good products for their customers, I just don't like their color science (I know others feel differently and they are getting better). I have been slowly selling off my Canon gear. If the Fuji XH1 is what it is rumored to be I am pretty sure I will finally have the camera I want: 4k, log, IBIS, good focus, touch screen, reasonable form factor and great color science. I could wait for the rumored mirrorless option from Canon, but I think its safe to assume with metaphysical certitude that Canon will do something to handicap the camera (weak codec, no ibis, weird lens adapter for EF...something). That is their thing, it is in the very DNA of the company at this point. I am sure they will remain #1 in sales, but they won't be doing it with my money anymore. I will give it to a company that is actually trying to compete and not just rest on the halo of their brand from previous eras. I am definitely going to be tracking the XH1 announcement next week.

@Aussie Ash 4K/15m, 1920/20min, 120 or 100p 6minutes. Also I can not see a headphone jack on the camera. That means, like the previous top Fuji camera, the grip is a necessity for most video uses, adding size/weight. Also, the one battery will be problematic. Of course I could be wrong, but this is what I make from that. Sorry, but I can't resist to comment that this try is rather pathetic. Fuji is at least a couple of years behind all the rest. Every manufacturer will have a better video camera soon (or already have).

Means a lot, coming from you as sort of a Canon enthusiast. Already wondered why anyone would be all about it. But it really is as simple as: does it have a front-facing screen? Yes. Does it have Canon's DualPixel C-AF? Yes. Does it take a microphone input? Yes. In vlogger county, that's all that matters. Most of their videos load up on smartphones and crappy connections request for 360p, rather than anything Hi Def. These aren't cameras for cinematographers. These are for the casual crowd that don't (want to) know any better. That have fallen for the myth of Canon skintones and such. That care more for quick uploads than footage gradability. In true Canon fashion they know everyone and their neighbour's dog shoots a Canon and will recommend shooting a Canon, so they don't feel the pressure to really innovate and push the boundaries. And if I were Canon... and had it that easy, that I wouldn't need to lift a finger either and still sell cameras... I probably would too. Though I've got the feeling, that someday in the not too distant future, that's going to come back to haunt them...

@webrunner5 I don't own a Fujifilm camera (mainly because they don't offer dedicated video cameras at the moment), but I worked some days with a X-T2 and compared with my Sony and Nikon hybrid cameras. More than that, end of 2017 I've done some polls on German language Social Media sites to find out more about colour preferences of my audience. The results were for me - as a NON-Fuji-owner - quite astonishing: About 64% of the 16-25 years old spectators say, thy prefer Fuji-Colors (not graded, out of the camera color science) by far more than Nikon, Sony or even Canon. Period. The 25-40 years old German spectators prefer mostly more neutral / cool colors out of a Sony or Nikon. Then Fuji, and Canon is on last place (lol)... The 50-65 years old spectators prefer with 58% the Fuji color science... Plus exceptional build quality + a very good customer care and (repair) service (speaking for Germany) + a nice and affordable lens collection. Fujifilm is miles ahead from the crappy Sony hybrid playticky cameras image capturing devices - which I own and shoot (mainly because of their dedicated video cameras offerings and insane low light capabilities of their A7R / A7S xyz line). Last but not least: It's a pleasure (for me) to shoot a X-T2. Unlike holding the Sony hybrid shit in my hands...But as I need their dedicated video devices and beeing in the Sony lens universe, I will have to keep shooting crappy Sony hybrids...

My understanding is that they sent him one for review and he loved it so much he bought one. He's produced some beautiful stuff with it - for a cinematographer he's a pretty tasty stills photographer! But seriously, @webrunner5 - film is dead? Fujifilm cameras are crap? Did someone steal your car this morning or something? There are no rules when it comes to creative endeavour. People will use whatever realises their creative vision the best - for them. There's really no need to shout people down and disrespect their creative choices.

It just seems strange you'd take Philip Bloom at face value when he makes a statement about say the GH5S, but you won't if he says the same about the Terra 4K Very unequal! He is still the same person.

So you're saying only gigantic companies get the benefit of the doubt? And the smaller ones get looked down at because.... they're small?

I'm holding off a little rather than being premature, let's wait to see what is the result once these ship and get used? Yes, apparently the input only is used to take the TC input *once* and then it relies upon the internal clock instead!! (until you again, manually align them up again) Which is a dumb as fuck way to do this! Yes, even without the issue when the GH5S goes to sleep, it is still an extraordinarily dumb idea to rely upon a camera's TC clock itself rather than an accurate external source. It shouldn't be updated "every few seconds", it should be continuously taking TC from the external source. And yes, I'd be very hopefully a firmware update is on its way (might even already have happened! Panasonic might have always intended to have this work right before the GH5S started shipping, even before extrashot pointed it out).