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I love fuji and am biased in their favour. I had my cash ready excited to preorder this camera, but I just can't do it. For me, these more consumer cameras are good for getting a good image quickly in scenarios where you don't get a second take and where using my cinema camera would be impractical. If you are going to do long set-up times and many takes, then a cinema camera is better for that type of work. Those are my criteria, yours may be different, so my judgment is based only these factors: can it take a quick shot? does it have good iq? For me, it has good ergonomics and ibis, both ticks, but it is missing one crucial factor, and that is good face detect autofocus. What I am hearing from the videos is that it works on occasion. Even if it was at the level of the a6500 I would be fine with that as the ibis implementation is very good. But it seems to me a step behind the a6500. I just don't know at this stage if I can rely on it to get the image. I may be proven wrong but this is a consideration for me. The second issue I have is with the image quality. Don't get me wrong the colours are great - it's the other factors that have me miffed. Firstly, there appears to be a great degree of digital sharpness that makes the images look videoy. I note the diffusion they used in the professional japanese production to limit this effect. Moreover, the motion cadence is just off and it may have to do, like Andrew said, with the omission of the ALL-I codec. It doesn't look natural to me like for instance a canon or gh5. So I have decided to pass in this instance and see what canon has in store with their new mirrorless which if the rumours are true shall be 4k, will have ibis and will have autofcus face detect - the holy trinity. And nice colour science that you won't need to grade too much with the crappy 8bit codec they will no doubt give you. I don't mind the eos-m mount as the ef lenses are easily adapted.

Blown away by the codec... This shot had some serious underexposure going on. At least 3 stops head-room in the highlights. Brought the shadows up in Premiere and remapped to 16-235 (Fast Color Corrector) There's almost zero signs of compression in the shadows!! Which came up from invisible.

This is video. At the same file size of a Sony, too. Rather than shooting ProRes externally, this is much more convenient. Just a shadow push in Lumetri (Premiere CC 2018)

Taping up a Samsung logo in a Samsung advert by Samsung PR team. Interesting. They must not want Galaxy users to get any ideas about getting a proper camera

2500 euro? From actual tempo of rising prices, in my purple dream I imagine that at 2020. new GHx will be 3500e

Yes. But sadly, I don't think Kickstarter pre-orders are in Samsung's business plan With their eye on the next trillion dollar shipment of smartphones, and tanks Here's another gem... Make sure Fast Color Corrector to 16-235 is first in the effects chain. Or use 16-235 in NX1 menus (0-255 in menus with correction in post gives you slightly better colour though).

I got me two sets of D-Mounts. Three Kern Paillards and two Yashicas. They cost me €12 + €6 + shipping for all of them and included two cameras as rear caps. If someone wonders about the specs compared to a modern Canon or Panasonic equivalent they are smaller, cheaper and better built with loads of character. So better speced indeed Here is a sample of the Kern 13mm f1.8 Here the Kern and Yashica 13mm goes head to head. Yashica Kern Paillard

Hell yeah.... theCameraStoreTV really brought it this time.

No, I'm afraid... not even theoretically... it seems to me that we are frogs in the pot, pushed to accomodate every year to more 500 $/Euro degree...

The whiteboard and diagrams put me off watching it but I think I've got the gist of what's going on. The GX80/85 doesn't have the shutter angle control but that might not be a dead end. The two ways to possibly do it would be the usual trick to fake the message coming from Panasonic's app and hope the GX accepts it but this would rely on it being available in the app in the first place so if someone with a GH5 could confirm that then that would be a start. The other option potentially would be to send it shutter speeds that were 'in the cracks' and see what happens. The shutter speed commands are formulated in a particular way with the shutter speed as you would recognise it (50,125,250) etc combined with another number that is sequential but reduces by 8 (or something, I havent got my laptop to hand) between each step. Maybe, there is some mileage in seeing if changing the second number to something less than a difference of 8 is a way to set it between the cracks. So, in summary, the answer is a hesitant maybe but I haven't got a GH5 and I can't look at the other method until I'm back off this trip next week.

This sensor is not meant for consumer cameras. There is a large market for machine vision cameras that need the sensitivity of backlit CMOS sensors with no rolling shutter artifact at all. There have been many Sony CMOS sensors with global shutter. IMX249 & IMX174 are two examples that offer very good dynamic range ~75db as well. I have been using these for years now but with machine vision cameras. For consumers, there is no real need for an actual global shutter. A fast readout is more than enough. Even film has a rolling shutter, just a fast one ~5ms. And consumer digital cameras are already close to that. Take Sony A9 with its stacked sensor for example in stills mode, the readout time is ~6ms, and there is no perceivable artifact in most cases. The A7rIII in 1080p mode has 6ms. GH5s in C4K has about ~11ms. These are excellent numbers. I find anything above 20ms hard to use. For example on the other end of the spectrum, you have the jello 4K cameras such as Sony A6*** * A7s*, X-T2, NX1. http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue!

In a future GHx it might not make sense to have a built in ND, but in a GHxS model which is almost exclusively targeted at video shooters? Would be excellent!

Did you search for "Bolex" in the camera category or did you search "banged up old camera, don't know name, seems broken" under antiques?

It is not about having extra batteries or not. It is how much time you get with each, for example, people routinely complain about battery performance of Sony cameras. The biggest problem is that Fuji had spent years and years arguing about the size advantage relative to FF, now they offer a camera that has almost the same crop as the top end m4/3, it is almost as big & heavy as the Sony FF equivalent with ~1/3 of the battery performance for video. Add the battery grip and now it is larger and heavier than a FF camera. Why do people always want to defend cameras until death? There are advantages & disadvantages with any camera. Let's be realistic about it so people can choose a bit wisely. Battery performance with X-H1 looks to be crap. No reason to argue against this.

Seen "Inland Empire"? "28 Days Later"? "Pi"? The thing with ambitious film directors is that they go places for their stories without strictures. Automatically assuming that a film is "less" based on IQ is unfortunate understanding of the craft, imho. I'm going to go out in a limb and guess that the storytelling in Soderbergh's film might have a little more emotional heft than whatever y'all did back in the day.

Samsung is releasing a teaser for their new phone but they featured an NX Lens and a funky looking NX-1ish camera.... Its like your x-girlfriend sending you an invitation to her wedding. https://www.techradar.com/news/samsung-galaxy-s9-teaser-video-hints-at-what-to-expect-from-the-camera

https://***URL removed***/news/1945724359/sensor-breakthrough-sony-has-developed-a-backlit-cmos-sensor-with-global-shutter Sounds nice. One of the biggest reasons I loved the BMPC4K, other than it being 4K raw when 4K wasn't event that available was the GS. On the Bolex it was a key feature as well. And we are many that has shot with the a6300/6500 with mixed feelings due to the jello. There might be light at the end of the tunnel.

8K is good for VFX/360º only, but we will probably see it in wedding videos and porn too!

I'm sure I'm wrong, but Behind the Scene to me looks better than Actual Scene - which actors flow in greenish/tinish (jazzish?) spleen, perhaps stylistic decision.

I'm not blown away with the first footage to come from this camera. Considering the codec is 200Mbit, seems to look quite thin, with poor tonality. Not sure the motion cadence is right either. X-T2 had an issue there. I wonder if people are driving it too flat for 8bit, maybe F-LOG and poor grading is to blame. Fuji's colour usually impresses me a lot more. People often say the NX1 has a weak codec. When it came out, the criticism was justifiable. Now however... full 360 turn-around. NX1 H.265 is now hardware accelerated in MacOS High Sierra, playback is flawless even on a laptop. Spacebar to preview works in Finder and even the thumbnails. With the hack installed and H.265 set to 120Mbit, it's reliable as fuck to a decent SD card. Half the file sizes of H.264 or double the quality at the same bitrate as H.264. Effectively I am shooting with a 240Mbit codec, from 6K readout, on one of the most responsive and ergonomic cameras ever made. Fuji are going to have to do better than the X-H1 to win me over fully... And nobody has mentioned the rolling shutter yet. If it is anything like the A6500 then that's a major advantage to the GH5! I will try one out though and do the review. I get mixed results from Fuji in terms of colour and dynamic range. I prefer the colour of the Samsung NX1 to Fuji in fact, which is surprising. I do like classic chrome and the film simulations but the NX1 on standard colour just has a spark... very electric, Canon-like.

That's right, the result of using GHa LogC is a stand in for Alexa LogC. Going from there, it may be treated as LogC from an Alexa (it can accept Arri's Rec 709 or other transforms intended for LogC). GHa Main and Soft are alternatives to Arri's Rec709; they all handle saturation in a way that is reminiscent of film (and is not in Alexa LogC natively), but place overall saturation and contrast differently as a grade base: Main - Most Saturation, Middle Contrast (Mostly linear) Soft - Middle Saturation, Lowest Contrast (Mostly linear) Arri's Rec709 - Least Saturation, Most Contrast (S-emphasized)

valid observations but let's keep in mind the original scene was shot on 35mm film using Panavision Primo primes costing around 6-digit figures.. vs. a $3K f2.9 zoom on a 4K sensor.. so apple & raisin bran imo i think most interesting is to see here how this 8-bit 200mbps FLOG holds up in grading and like the colorist said how good the highlight roll-off is.. these are typically things you won't get from reading a specs sheet.

@Sage Am I right in understanding that your lut converts GH5 VGamut to Alexa Wide gamut? If so, the "correct" way to use your luts would be to use GHa LogC with an Alexa Wide Gamut to Alexa X-2 conversion. When I do this, colours look more correct - not too saturated and skintones are not too magenta. Here's a comparison with actual X-Rite colorchecker values from BabelColor in the centre as a reference. I've added a curve to each to match to the chart's gamma. (VLog to GHa LogC) + (LogC Gamma & Alexa Wide Gamut to Alexa-X-2 Gamma & Alexa-X-2 Gamut) BEST MATCH (VLog to GHa Main) - too saturated (VLog to Varicam V709) - better, but not as good as the first one So as far as I can see, the colours that GHa gives should (technically) be transformed by using them with a LUT that expects Alexa Wide Gamut. So I'm curious as to what you see is the role of GHa Main and Soft? I understand your reasoning for the curves you chose for each, but what about the colour?

Many thanks for chiming in and the fantastic feedback!

@jonpais Yes, that's exactly what I'll do. I'll adapt the 18-35mm for now. There seems to be no clear replacement on MFT at the moment. I would be surprised if no manufacturer, maybe even Sigma, came up with such a lens for MFT in the near future.

Most of the videos so far don't really show off Fuji's IQ I must admit. I think it's because most of the footage put out is from that Eterna profile, which is a not a very interesting or impressive profile. However, having shot with many cameras under the $3000 range (from a Nikon d5200 to a Canon C100 II and many in between) I can attest to Fuji having the most pleasent image of them all. I mean just look at this. Shot with the XT2 with 35mm f1.4 and classic chrome

Welcome back, master!!! Hope everything was OK and nice to see you again !!!

@Frank5 Put your subject with his/her back 6 meters away from a black (dark), non-illuminated background. Apply to your subject a three point lighting with a strong backlight. And voilà, you will get a separation, even with MFT and f4 at 80-100mm. OK, I have to admit, there are much more comfortable possibilities to get there, but...it's still possible. @Kisaha A separartion is possible, yes. But "tremendous" ? Physics is not about opinions or taste. Physics is a science...

Vlogging implies a greater degree of movement which generally would benefit from a fully articulating screen so you can compose your shot on the fly wherever you are.

Philip The Bloom is on it...4k @ 100 Fps!

Heh. I'd sell everything I own for an affordable, ergonomic camera with global shutter and raw recording., especially if it had all the other features of a modern hybrid. Edit: Apart from my lenses and my Olympus OM1.

@User stuffwhitepeoplelike

This , I suppose, can't be enough stressed. Two 4k focal length possibilities. There's also and third for HD, multiplication is x2.7 and with GH5 we can shoot with All-I amazing 200Mb HD codec - if final delivery format is HD, and if you can go under 800 ISO value, with one fast prime you indeed have some sort of zoom. For example, with Voigtlander 17.5 there are 17.5/25/47.25 = 35/50/95mm full frame equivalent options for HD, or 35/50 full frame eq. in 4k. As everybody here knows - even in work circumstances, shooting is mostly some sort of loving process. If you love your lens(es), you'll find a way to make the best out of it. So, I dare to quote here Little Prince as shooting guru - “It's the time you spent on your rose that makes your rose so important..." (Saying that, just to add - shooting with m43 electronically controlled lenses, for getting mellower cine-image it is usually "the-must" usage of some a-la-mist filter for taming oversharply contrast. From my experience - although I didn't try last Oly pro f1.2 primes - just two of them could be left without filter cloth - one of two is Olympus 75mm on Panasonic, and I don't know why. It is not only that its true detail-discerning capability closely match that of, say, Canon's L 1.2, but also and in color rendition and grading flexibility...)

The X-H1 is an interesting camera for video. I have mixed feeling about it. On the one hand I do like the body, handling, at least from what I have seen so far. But if falls short in serval key areas... I would have loved this to have been a 10 bit camera. I believe that is where the industry is heading. Also 4k 60p would have been a nice addition. Not that I shoot a lot of slow-mo, but it is nice to have the option. That said, I did not mind the footage coming out of this camera. So here is my takeaway... I like it, but not enough to buy it. My GH5, GH5s and 1DXMk2 are enough to handle my needs for now. With the addition of the Tilta Nucleus-M, I am no longer worried about AF on the GH cameras... I simply won't use it. If did not own any other cameras and was building a kit from the ground up, I think in this price range I would opt for the GH5. That is if video was my focus. Other than that the Fuji is an interesting option.

I prefer the f1.4's over the WR versions. The 35mm in particular has a really nice characterful flare. Terrible focus ring though.

I still think this X-H1 is two years late. It reminds me my a6300 (bought almost two years ago) with IBIS. No zebra, 15mn limits (no way I'm gonna add a grip for a mirorless camera), AF doesn't seem as good as the A6300, no 4k50p (The GH5 has been released one year ago), 4:2:0 8bit and no 10bit externally, Video recorded in fat32 (seriously ? in 2018 ?), and a sensor at its end of life. Ok Fuji lens are good (as expensive), but I can't see any good reason for a T2/T20 owner to upgrade for this X-H1. My co-worker from my Youtube Channel has been waiting for it and was really excited about buying this as soon as available (So am I). That was before the official announcement. Now I'm wainting the ASIII annoucement

I have 4 batteries among my 2 NX1 cameras since almost 3 years now (the first 2 had lost a little bit of their charge). When we go for work with Sony cameras, or even the new GH5 (it consumes a lot more than GH4 in my experience) we take 6 batteries for each camera, and definitely we will charge during the day. a6xxx cameras especially are power hogs and people (friends and co-workers) using them with power banks attached on monopods or tripods with velcro or gaffer tape. A7rIII is a much more complete camera with the bigger grip (for full frame lenses, do not forget) and the bigger battery. This is a mature camera, a camera to be taken seriously for advanced users.

Any comment not based on actual use is not worth anything imo. So any observation of motion or what ever is still pure speculation so far. But... if what I've seen so far is acurate. If the specs are as I understand them. And adding to that my experience with earlier models as well as Fujis tradition of firmware updates that puts all the others to shame. If all this is true... ..Then this, imo, is the new benchmark to beat for hybrid cameras. For my usage it seems to be at the absolute frontier. But until I use it its just speculation. And that will be a while since Im on a break from mirrorless all together. Also @webrunner5 recently convinced me to try a different system. But sooner or later I might give into temptation.

Don’t get me wrong I love the Fuji system and have no gripe against the current lineup. I can even understand to some extent that the reasonably small X-T2 has a booster grip that adds headphone jack and extended record time. But when they release a larger body camera that is clearly targeted at video shooters they should have been able to include those features in the body.

Been playing around with the GH5s and hope to have some samples up soon. I will say one thing about VLogL. The vast majority of people aren't properly converting V Log into a proper Rec709 color space. Using a LUT in Premiere just doesn't fully cut it. If you go to Resolve and set your input gamma to V Gamut, and output to Rec709 Gamma 2.4, luminance mapping to 500 nits, and saturation mapping ON (min 0.9, max 1.0) you get a full range of DR to manipulate contrast/saturation in Rec709.

Working on something now that I think you're going to like ; )