Django

I beg to disagree.. while every camera will handle things differently, the XT2 is the first camera that consistently nails just about any artificial/mixed lighting i've thrown at it.. inversely, Sony's tend to always have this ugly yellow cast (A7S was greenish) that requires fixing in post. it's no secret and as you know Andrew has made extensive examples displaying zombie skin tones and such in his EOS profile promos.. i don't know another camera brand with such wacked out SOOC color science..

That's the thing though, many times when run & gunning you don't have time to manually set WB or use color checker or dive in to change settings for every changing scene. This is when AWB & accurate color science becomes vital and where my experience with Sony has been poor..

@Don Kotlos You're entitled your opinion of course but I'd have to say you are in the vast minority if not the first person i've ever heard claim Sony to have the best color science!

All of those shots are done outdoors in daylight conditions, where Sony struggles is in artificial/mixed lighting. Trust me i've spent years on all systems. I guess in between Canikon it could be somewhat subjective but for sure Sony always lags behind in this department...

@Arikhan thanks as an ex-sony shooter i'm well aware of these fixes. fact remains that with Canikon/Fuji the skin tones look right SOOC. it really baffles me that after so many camera releases Sony still haven't perfected their overall color science and AWB (although indeed i hear A7R3 improves on this). it's the one hang-up i got with Sony. otherwise solid specs for the price.

... you guys sound surprised as if Canon was really going to give DPAF, 4K, no-crop & manageable codec in a sub-$1K body when it hasn't even done so on their flagship 1DX2 / 5D4 / 6D2!! watching that unbox video though i gotta say the 1080p looked cleaner/sharper than i've ever seen a non-cinema Canon camera produce and if you forget the crop & dual pixel absence in 4K, the IQ remains pretty strong with those pleasing Canon skin tones. so my verdict is if you're on a tight budget doing 1080p interviews or vlogs with the occasional macro 4K product shot, this might not be as bad as it seems. and of course this paves the way for upcoming better spec'd higher-end models ( i still want to see c-log, peaking & zebras in non-cinema line).

FS5 is due for a Mark 2 update.. SOOC the latest Sonys (A9, A7R3, A73, A6500) already have a better 4K IQ. but they are throwing in the RAW update and it can do 240fps in RAW (with external recorder). It still remains a pro camera, you're paying for ergonomics, XLRs, SDI, variable ND etc.. anyways i don't think they'll hold 10-bit on A7S3 as there wouldn't be much incentive left to buy one after this announcement (it appears A73 beats A7S2 in lowlight)

+ no crop 120fps, nice quality APS-C/super35 mode - worst RS, still that ugly yellow cast on skin tones

Impressive, including ISO performance (which Jason says beats A7S2 ?!). i think this almost guarantees 10-bit / 4K 60p for the A7S3! 2018 going to be a strong year for cameras..

my point exactly, however, i am not sure the list was that constructive at all... as yet again he berates Fuji ergonomics even going as far as "to encourage photographers to think about whether an aperture ring is really more efficient than a thumbwheel" which indeed should be perceived as flaming since the aperture ring (and ISO/SS dials which he also likes to complain about) are inherent core elements of the Fuji X system. the list also suggests "Fuji might have made better use of the LCD screen real estate" as I believe the LCD icons are too small for his eyesight (?), yet he disregards H1 addressing that with the new top sub-monitor giving clear settings info (even when the camera is off!) and allowing the back LCD to be clutter-free. the rest of the list "reminds", "speculates" & "alerts"... anyways, I just find it all reeks of negative bias, and has all been stated over & over which is why i called him out on that.. must agree this thread is definitely a dead-end mess. SMH

@jonpais a crime no. but stating the above repeatedly over & over is excessive and reeks of negative bias. you've made these points clear pages ago, why not give it a rest and move on? camera clearly isn't for you.. me personally none of what you list there is even close to being a deal breaker and aperture ring control (along the ISO/SS top dials) is what drew me to Fuji in the first place.. different strokes for different folks

@Kisaha i wasn't referring the GH5 as low ranking but the GH5S (currently at #59) as it is also a recently announced flagship camera. the GH5 is doing good of course (#18) as are other "older" cameras and low budget ones too. here is the link (rankings get updated hourly): https://www.amazon.com/Best-Sellers-Electronics-Mirrorless-Cameras/zgbs/electronics/3109924011#1 of course it's to be taken with a grain of salt as it only represents sales from a single outlet/region yet i was surprised to find the H1 ranking so high up considering it's not even released. i think Fuji has struck a really good price/feature/design ratio. @anonim .. it's kind of obvious a flame war gets started when people from various competing systems step in just to berate a camera/system. it's happened here, trust me. as an outsider though this may give you several perspectives as there is no perfect camera for everyone.

really? come on now just about every single post of yours in this thread has been about the H1's shortcomings and how vastly superior the GH5 is to your eyes (including multiple H1 vs GH5 screenshots) ? also how do you explain several people in this thread stating their desire to switch systems from GH5 to H1, if they aren't competing? i'm sorry but it certainly feels like some of the posters here are eager to put down this not even released product in an effort to justify their own gear purchases.. meanwhile, in the real world, the H1 reached top 10 position on amazon's best mirrorless sellers on pre-orders alone (while GH5S bottoms at +50th): i'm pretty sure Fuji have a hit on their hands, no matter what the so-called pundits in here may want to make people believe..

No. Personally, i find tricky shooting log on small 8-bit cameras with 3" displays and no proper exposure tools. Also certain types of jobs (interviews, run & gun etc) just don't warrant the time/budget or even necessity for extensive color grading. Not to mention not everyone has got years of color grading skills/experience despite the tools basically being free today.. This is when great color science, white balance, highlight roll-off and Fuji's film simulations & image settings come in useful for getting deliverable SOOC footage. Do keep in mind people shooting on ARRI, RED, BMDs etc most often have expensive cine glass, lighting and DOP skills than the sub-$3K camera shooters. Then you gotta factor in shooting Raw or ProRes on an optimized Super35 sensor at ideal base range ISOs. Having intra-frame compression vs inter like on most sub-$3K cameras also helps leagues in motion. This is where 1DC,1DX2,5D4 shine imo.

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.

a single (extra) battery is enough to power grip, get audio input and break time limit.

keep in mind they are using pre-production units (with the goal of exposing such bugs) XT2 had some broken things pre-release. hopefully Fuji are listening..

the headphone jack, 15mn limit & battery life are dealt with the mandatory booster grip. it's still a hybrid camera, so nice to be able to make it lighter when just shooting stills. edit: BTM_Pix beat me to it! the extra crop is only when shooting 4K and is x1.17. you can add a $100 kipon speedbooster/focal reducer, slap on some EF/Nikon glass and get close to FF look.. speaking of kipon, they're soon releasing smart adapters with AF for EF: https://www.fujirumors.com/kipon-announces-3-canon-ef-fujifilm-fx-gfx-autofocus-adapters/

@BTM_Pix fyi XT2 doesn't shoot DCI 4K, 200mbps codec, 120Fps or has got Eterna film simulation. Besides i can see couple gimbal shots which may have IBIS on.. @Kisaha i've switched from Canon (5D3/C100) and Sony (A7S2) to Fuji. Haven't really looked back..

yes i know.. but people were complaining earlier about XH1 footage being shot by still shooters/video amateurs.. always good to see the other end of the spectrum.

..the full X-H1 short shot in eterna with the fuji mk cine lenses:

personally, find zebras a nuisance on 3" displays... use a proper external monitor/recorder (shogun, smallhd 702) for accurate exposure tools/focus assistance..

@mkabi yes i sure do! the BMCC 2.5K definitely had that mojo.. i still often shoot DCI 2K whenever on the Ursa Minis 4.6K, strikes a good balance between files size / IQ imo..

I'd say Fuji is reacting pretty quickly considering this is only going to be their second serious attempt towards videographers on a hybrid camera and that they don't even have high-end pro video departments like Canon, Sony, Panasonic etc.. I'm particularly looking forward to DCI 4K & 2K at 200mbps (which btw is something even Sony's current flagship mirrorless aren't offering).

For those curious about Fuji's abilities for more filmic work.. here are 2 shorts shot on XT2 with speedboosters & cine glass: