DBounce

Sure, for one thing the build quality is much better... magnesium alloy vs plastic. Weather sealed body. Dual SD slots that can act redundantly. OIS supported correctly. Works 100% with many gimbals with full control of focus, rec/start stop etc... Full remote app support. 3 year warranty. Multiple still shooting modes. Support for battery grip. Flip out screen. Flash support. Wireless and NFC support. 10.2 MP stills with usable AF in stills mode. 12 fps burst rate. Not to mention a ton of monitoring tools. And much much more... Now, other than codecs what does the P4K bring to the party that the GH5s doesn't and how reliable will it be with its plastic build? And don't get me started on the ridiculous crop in high frame rates.

The future is electronic. A sensor only has a couple of millimeters it can possibly physically move.

The strength of the C200 really become apparent in post. Highlight recovery, shadow detail, these are two areas where the 12 bit codec and superior dynamic range really come into play. As a tool to acquire video the C200 is clearly at an advantage. But that said the 1DXMk2 produces a stunning image. It looked polished straight out of camera. It matches well to the C200. AF is better on the 1DXMk2, though both are excellent. It's very much a love hate relationship with Canon... you know they could crush the competition if they really wanted to deliver the goods. But they always hold something back.

I did, they said they would get back to me... they never did.

Indeed, I set all my setting so they don't shift around. And I do this with all my cameras when shooting video.

Canon 1DXMK2: I've had my 1DXMk2 from launch. The reason I keep it is because it's a fantastic solidly built hybrid shooter. It's the camera I go to when the mission is strictly about taking top notch photos. It's my sports shooter. It's great that it can also do video, but that is not its primary function. At least not in my usage. Canon C200: This bad boy is my main video camera. It's wonderful... just wonderful. Only some unexpected breakthrough would make me feel a need to sell this awesome camera. The footage is flexible, with great dynamic range. The RawLite requires nothing more than a Lut for the magic to shine though. Samsung NX1: It took some time for me to learn to shoot well with the Samy... but once I did it delivered some very satisfying imagery. I think the reason I sold it was underwhelming DR. Also, the motion cadence was not to my liking. Sony A7 series: We still shoot Sony, though only for stills at this point. They are good cameras, but the colors need some work in post. I cannot recall every being pleased with any image straight out of a Sony body. I've left out a lot... but I guess at this point I'm not chasing anything... not image quality wise. Let's put it this way, I go to the movies and sit there soaking up whatever story is being portrayed... every once in a while (when you fall out of the story) I consider the image quality... camera angles, movement, lighting... and the reason for them. I have to say... for the most part what separates any of the top mirrorless hybrid contenders from those pro cinema cameras is very little... if anything. It has much more to do with the other elements at this point. Problem solving: My most recent purchase... the X-T3, solved the problem of desiring a light weight, unassuming travel camera, that could take beautiful stills, while also acting as a mobile video solution. I'm satisfied with it in this role. The pocket camera has nice image quality for sure... but for the most part so do the competition. It's a niche camera. Compromised in many ways. I'm certain a GH5 is a smarter choice for 95% of would be buyers. I see the P4K as a cost effective B-cam to an Ursa Mini/Pro. I think we collectively should be more focused on the other elements that go into making a great image. I know that's an area of the art that my focus has shifted to.

I think the X-T3 has something those other cameras lack, in that it is an amazing stills camera in it's own right. You will find yourself taking more stills. I know I take a lot more stills than I did prior to owning the X-T3. Even when new big boys from Sony and Panasonic are released, the Fuji will still have a very special image. I think it will rightly own a place in many a camera bag. While I look forward to both the offering from Sony and Panasonic, I do so with some trepidation. I suspect Sony will hold back a lot from the A7S3 to protect their dedicated video cameras. With Panasonic I really believe they might try to give us an amazing product. But I can tell you, if it lacks the organic sensor and it's ability to selectively control sensitive on a pixel level, I will likely pass. On the flip side, it they add that sensor I am preordering. That said, it will not replace my Fuji, I love the colors, size and nostalgia of it. It's just a uber cool camera.

@thebrothersthre3 congratulations on the new camera. I know you will love it as much as I do. I believe you will also find you are taking a lot more stills. Few cameras inspire me as much as this Fuji.

Flaws?... no. It looks great. And it’s clean without being clinical and soulless.

Fuji really doesn’t make a bad lens. The 23mm F2 is a lovely lens and has lots of character. AF is quick and quiet. I did recently order the 56mm F1.2 and will replace the 50mm F2 with this lens. I shoot a fair bit of stills with this focal length, so favor the wider aperture.

If I had to pick one ... it would be the Fuji X-T3... I like it more every day?

I have been using DaVinci Resolve for a bit now. When I shoot in anamorphic I will often choose an academy scope aspect ratio. However, I have noticed that if I do this, and then go in to Fusion to add some film grain that when I return to the Edit tab, my footage will be cropped on the left and right with black bars on either side, constraining it to a 16x9 aspect ratio. Nothing seems to restore the original aspect ratio. If I zoom, it merely zoom without expand to fill the frame. The left and right black bars remain. Does anyone know why this should be?

I believe the GH5 series can send in 16-235 color space, but automatically switches to 0-255 when sending VLogL to the HDMI port. So the problem would only occur when using log.

Just got a call from Atomos... Seems this is the first they have heard of this issue. In any case the tech I spoke with recommended that a support ticket be entered so that they can look into the matter. I would suggest anyone that is thinking about purchasing, or who may already purchased any Atomos recorders put in a ticket with the title "0-255 color space displayed incorrectly" Perhaps if enough people hammer them they will finally look into fixing this issue? Here is a link to Atomos Support.

I set the GH5 upper ISO limit to 1600. After that it gets noisy. The GH5S is much better in low light. The X-T3 is at least as good. I'll do a side by side test soon.

I will definitely test this. Hopefully Atomos will issue a fix post haste.

Lenses are subjective. From what I have seen most favor the 16mm F.14. A quick peak at BHPhoto website will reveal 145 positive reviews and a 5 star rating for the 16mm F1.4 vs only 88 positive reviews for the 90mm F2. While on Amazon we see 127 reviews and just under 5 stars vs zero reviews for the 90mm F2. Thus, I stand by my original statement,"Reported by many to be the best lens that Fuji makes" You don't have to agree... but most seem to feel the 16mm is the best that Fuji offers.

I'll be testing this out shortly. Just waiting for the Ninja V.

This camera has potential.

Sure, share away!

If you have the budget for the GH5S, you may as well spring for the Atomos Ninja V... it's the same money as the GH5S for both. As for lenses I have the 16mm F1.4... it's awesome. A very special lens. Reported by many to be the best lens that Fuji makes. I also have the 23mm F2, 35mm F2 and 50mm F2. I'm leaning towards returning the 50mm and replacing it with the 56mm F1.2. I think at the 50-56mm (85mm ish ) focal length, for me it will see a lot of stills use. That said, I would prefer the shallower depth of field of the 56mm F1.2. I considered the 16-55 zoom. But without image stabilization, and a maximum aperture of F2.8 on a crop sensor, I was not thrilled with the DOF. The lens I am eagerly awaiting is the soon to be released 8-16mm. Can't wait to add that puppy to the mix. If you want a fast 35mm prime... and don't mind manual focus, perhaps the Mitakon Zhongyi Speedmaster 35mm f/0.95 Mark II? While I do not own this lens, I have heard good things about it.

I’ve shot in hot weather with the Fuji, and no problems with overheating. That’s a Sony thing. And likely due to the small bodies they use for those full frame sensors. APSC might be the sweet spot when it comes to a balance of size vs performance. Though, I would have taken a larger battery. With the addition of the battery grip that concern is largely diminished. The lockup’s with the GH5 were caused by aftermarket batteries. I was pleasantly surprised with how well the X-T3 performs with stills. So much so, that I’m taking pictures again. It’s really great.

Looking at both side by side, I can’t say I agree that the GH5 is any more durable in build. Both feel pretty dam solid. And both sport magnesium alloy bodies. Granted they take different approaches. Lens wise the Fuji lenses feel decidedly more solid as they have metal bodies vs plastic for the Panasonic lenses (Leica lenses are metal). Yes the camera gets warm, but not uncomfortably so. You need to keep in mind it’s sensor is considerably larger while it’s body is vastly smaller. So far I have had no lockup’s with the X-T3. I believe the issue was fixed with the firmware update that Fuji released shortly after launch. Conversely, I did experience several ugly lockup’s with my GH5 and GH5S’s. The issue was caused by using certain aftermarket batteries. The camera would fire the shutter rapidly and would not stop until the battery was physically removed. You would then have to hold down the power button for 10 seconds to reset it. Build quality is good on both bodies. If shooting 4K for long periods continuously, you will need an external recorder with the Fuji, as it has the 29 minutes recording limit. For this scenario the GH5 family has a definitive edge. Post production: the H.264 ALL-i files of the GH5 camera are easily consumed by moderate CPUs. The same cannot be said of the H.265 files of the X-T3. It’s a more efficient format, but requires proxies in post. You can use an external recorder, but that increases the gear you need to carry. Cost is a wash, as a X-T3 with external recorder sells for about the same as a GH5S body only. If stills are important get the Fuji and don’t look back. It’s a wonderful stills camera. My confidence of getting great shots approaches (but falls just short) the level of confidence I feel when shooting with my 1DXMK2... which is so mighty it’s technically cheating. In short the X-T3 is a joy to work with as a stills camera. I cannot praise the GH5 series in this way. Yes, you can get great images with them... but you will never feel like it’s making you look better than you are. You will need to work for every shot. Let me put it this way... you can get great shots in spite of the camera.

Yes, I believe this is the case. They should add an option to switch it on when connected to an external recorder.

Not sure, but I have Ninja V arriving Thursday. I'll share what I find. I can tell you, I was unable to find a manual for the Ninja V on Atomos's website.