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We've certainly come a long way in performance terms in 13 years - 6.2K/30p (& 4K/60p) 4:2:2 10-bit internal recording, with IBIS & APS-C sensor, in a body as small as a GH2!

Good find - I hadn't scrolled down that page far enough to see the main 'Movie Specification' table (see below). It's interesting that it offers DCI2K (2048 x 1080) as well as DCI4K. Also the 4k 50/60p crop is apparently lower with DIS ON than with DIS OFF (1.1x vs. 1.18x).

From the Fuji website: 6240 x 4160 = 26Mp, which is the full sensor area and the same size as the largest still image - "[L]〈3:2〉6240 x 4160". So I can't confirm it for sure, but it looks like 'no crop' to me. AFAIK the 50/60p DCI and UHD modes are cropped - 1.18 I think, same as on the X-T4 (which has the same sensor).

I know what you mean - I've got two M4/3 PZ lenses that behave like that...

Popped into my local dealer (Wex), had a quick play with an X-S10 to remind myself of what it's like to hold etc. then pre-ordered an X-S20 - my first ever Fuji camera and the first time I've pre-ordered a camera... Thanks - deciding on lenses is going to be the next thing. I've ordered the camera with the 15-45mm PZ lens - was only £100 more as a kit - just so I've got something to test it with.

Yes, I thought that too... The APS-C video sector is certainly getting very interesting & competitive, with the recent Canon RF-S launches and (I suspect) Sony perhaps soon refreshing the high-end of their APS-C hybrid line with the sensor and processing from the FX30 maybe?

See https://www.dpreview.com/reviews/fujifilm-x-s20-initial-review and https://petapixel.com/2023/05/24/the-new-fujifilm-x-s20-camera-is-faster-and-more-powerful-for-1299/ From DPReview: As I'm very interested in this (mostly because it has 4k60p in a relatively small & light body with IBIS) but never used Fuji before, which are the best Fuji lenses for video i.e. with smooth focus transitions and smooth exposure changes?

You're certainly not the only one - isn't that what makes it an interesting challenge? 🙂 But on the other side on the coin, it's everyone's different choice of compromises that gives their productions a personal 'look' - the world of the 'moving image' would be a very boring place if everyone used the same 'look' and style...

There was an update posted on DPReview a few days ago: This part - "while there is nothing to share right now, we will continue to keep you informed as there are updates to share" - suggests to me that discussions are happening behind the scenes about possibly keeping it going in some form.

But that's only a 1" sensor, weighs 2Kg, measures 168 x 173 x 333 mm and costs more than £4000 in the UK. Probably just the thing for some people (it's well loaded with potentially useful pro features, like SDI output), but it's not hard to see why higher-end camcorders have become a niche product especially if you're a video + stills person. I'm only an amateur, but what drove me to switch from camcorders to 'stills cameras with video' was the manufacturers removing viewfinders from all but the higher-end consumer camcorders, and them getting almost too small and lightweight to hold in both hands (for stability) - I find the traditional camera shape much better to hold two-handed.

I'll try again with the video as I can't edit the previous post:

A video that tries to compare the XT3, XT4, XT5, XH2 and XH2s for stills and video: https://youtu.be/4JPoTzoXrNw http://<iframe width="1244" height="700" src="https://www.youtube.com/embed/4JPoTzoXrNw" title="Which Fujifilm Camera To Get (XT3, XT4, XT5, XH2 or XH2s)" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>

I thought you were moving to 3 x S5ii/S5iix - all flip-out/swivel screens?

I don't know if Fuji offers it in your country, but in the UK it runs a free loan scheme (currently for X-H2, X-H2s and X-T5 plus various lenses) so you could try an X-T5 for 48 hours - you just pay a refundable deposit. You keep saying that Fuji AF is bad - maybe if you said what you need the AF to do, someone might be able to suggest which cameras work best in that situation? (e.g. for me, I almost never film people as main subjects, so human face tracking etc. is almost irrelevant to me, but bird and train subject detection and tracking is really useful as that covers probably 90% of what I film and photograph).

To add to what Django has said, there is a fair amount of comment about the X-T5 video capabilities versus the competition and other Fuji cameras in the dpreview review - https://www.dpreview.com/reviews/fujifilm-x-t5-in-depth-review Also, you should listen carefully to Jordan Drake's comments on video rolling shutter, crop factors and SD card stability (for video) in the video review (skip to 6:19 for the video section) - https://youtu.be/y0YSjBiKb0A?t=379

Aren't most Sony APS-C cameras (including the ZV-E10, but not the FX30) well known for having high levels of rolling shutter distortion in 4k? A quote from dpreview's review of the ZV-E10 (which is still online at the moment): Not a problem if you shoot video content which doesn't show it up (or stills with mechanical shutter), but it's certainly one of the main reasons their APS-C cameras have never been on my shopping list (as I often shoot content which really is badly affected by it).

...and also don't/can't possibly remember the sometimes scratched, fuzzy, grainy, cue-dotted n-th generation distribution prints (with mono sound and worn sprocket holes) that played in the average neighborhood cinema... while at university I sometimes projected 16mm prints for the film society and they were decidedly 'well used' at times. I guess they think the pristine 'digitally restored' old movies they see today are what they really looked like to the average cinema customer 'back in the day' 🙂.

Yep! (...still enjoy reading about the 'better' cameras though - GAS addiction? 😉🙂)

Yes, I very well know that - it's the main reason I use micro-4/3 cameras and long telephoto lenses for wildlife video and stills. Full-frame lenses of equivalent 'reach' are far to large and heavy for me to want to carry around, so I accept some picture quality compromises instead e.g. low-light performance. If you want to keep the lenses small, then use 'cropped' sensors e.g. APS-C or micro-4/3 (or maybe use 'APS-C' lenses on full-frame sensor cameras - I think Sony and Panasonic support that at least, maybe Canon and Nikon too). You just have to decide which set of compromises you can live with... I agree. Whenever I look back at video I shot in the past on VHS-C, DV and HDV tape, plus a variety of small-sensor cameras (like HX9V and FZ100), and compare it to 1080p let alone 4k from my Pana G9, I'm reminded how much video consumer/prosumer quality has dramatically improved over time...(as have camera stabilisation and the displays we view it on).

Have you tried using https://camerasize.com/compact/ to compare the size and weight of various camera and lens combinations? It's a great tool for quick visual size comparisons of the top, front and back views (and hovering the mouse pointer over a camera or lens picture will pop up dimensions and weight info). For example, this is a comparison of A7c, FX30, A7 IV, R8 and X-T4 - https://camerasize.com/compact/#858,895,883,903,841,ha,b

An inner foam layer with a 'furry' that fits over it works quite well e.g. below is what Boya supply with the BY-PVM50: (In that case you have to put the foam inside the furry first, then slide the whole thing over the mic barrel - it's really hard to pull the furry over the foam when it's already on the barrel !)

Yes - this is an 'exploded' view of it all (the foam is a trimmed-down cheap vocal mic pop shield): ...and it all fitted on the TM-2x: I've bought a few windmuffs from 'windcutuk' on Ebay over the years- they seem decently well made and work OK, and they do one for the TM-2x - https://www.ebay.co.uk/itm/165305982845?hash=item267d011f7d:g:7wIAAOSwks5ghLpY This is their windmuff on my Tascam DR-05 recorder:

Yes, it's 'OK-but-not-great'. I use an old Rycote fur 'windjammer' (which I owned before I bought the TM-2x) over a foam windshield. The windjammer is large enough to cover most of the mic plus foam, not just the capsule part like the Tascam one does. If you want to keep it small and it's not too windy, try using just a reasonably thick foam windshield (from memory, the included foam one is a bit thin).

I've sent you a PM with a link to a video file of mine (just trimmed, no EQ or other processing and with plenty of bass) using a TM-2x, in case it might help. (I'm afraid it's 50 FPS though, as I'm firmly on that side of the FPS divide....😉 🙂)

I'm only an amateur, but I fully agree. I my case I just don't want to carry lots of (or large) gear around and I mostly shoot handheld, so the mics I mentioned are (for me) a sensible compromise between sound quality and size.