Django

... 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:

@jonpais FYI those comments were directed towards this member, not you:

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..

Only thing clownish I'm seeing here is your comments I'm afraid.. Do you even have any experience with (latest gen) Fuji X system for video? or is it all based on silly JPG YT shootouts of fruits & charts?! Here is an ungraded video from an actual real-world DOP giving you the rundown on what i'd agree are some of the IQ highlights for video work:

https://www.eoshd.com/comments/topic/26299-fuji-x-h1-new-apsc-video-oriented-camera/ latest specs sound great! i remember that shootout.. so unscientific with different lenses on each body.. and such weird "test shots" .. brown foliage, a baby & fruit lol.. anyways Fuji came in 4th btw.. Pentax 8th.. it's all pretty subjective though (aside from iPhone lol) as a recent Fuji convert (XT2) after spending years on Canikon i must say i'm very satisfied with the Fuji X experience & results both in stills & video. what sets Fuji X apart are 2 things: X-trans sensor which eliminates chroma noise and gives a more filmic luma noise at high ISO & the film simulations which make use of Fuji's extensive knowledge in film color science. their AWB is also second to none, nailing even the most difficult mixed light situations.

Glad to hear they've sorted some issues and that ML on the 5D is working so good for others, but I'm afraid my experience has been tainted by having numerous lockups and a dead 5D on set (even if for 10mn only.. those were some long a$$ 10mn!). It's kind of like all the wonder stories about drug trips you hear and then there is that one out of a 100 risk of OD and well i'm not taking that chance even if odds are good! As far as BMD cameras.. i wasn't thinking of the pocket but rather the production or URSA's which i can rent for quite cheap the odd times clients really requires raw recording (which is much less than what people may think, even netflix DOPs reveal they favor Prores most of the time.. because who has time/space for raw these days?) it's definitely amazing though what ML have achieved and I only wish they could hack more recent models with beefier processors. the old 5D raw footage i've got still blows my socks off..