Until recent years, Fujifilm’s mirrorless products were viewed as incredible tools for photographers, but left something to be desired in the filmmaking department. Their cameras – like the first Fujifilm X100T I owned – offer incredible color science, gorgeous film simulation modes, beautiful designs and stunning still image quality… but just don’t Has the video capabilities needed to compete with Canon, Panasonic, or Sony.
Video always seems to be an afterthought for Fujifilm, and while many of their cameras can actually record 1080p video files, they don’t do it particularly well. Or at least that was the case for a while.
Finally, Fujifilm decided to take action (film-wise) and launched cameras like the X-T1, X-T2, and X-Pro2, each designed with the needs of filmmakers in mind.
That said, these cameras are hybrids in many ways, leaning more toward stills than film. They’re capable of producing gorgeous video footage, but despite this, they still feel like they were designed with the photographer in mind first. This isn’t necessarily a deal breaker for many filmmakers (myself included) as these cameras can outperform many cameras from Sony and Panasonic in key areas, namely Color Science. But at the same time it’s undeniable that they just didn’t have as many professional bells and whistles…until now.
Fujifilm X-H1 is here.
Fujifilm has launched a mirrorless camera for the first time (albeit still a hybrid), but it’s more focused on video than stills. Just as the Lumix GH5S is clearly aimed at video shooters, the X-H1 seems to be too. That’s not to say it doesn’t come with incredible stills, but for the first time, video is at the forefront.
Just take a look at some of the specs of the X-H1 –
- 24.3MP APS-C X-Trans CMOS III sensor
- X-Processor Pro engine
- 5-axis in-body image stabilization
- Internal DCI 4K video and F-Log gamma
- 4K @ 200Mb/s
- New Timeless Film Simulation Mode
- 0.75x 3.69m dot electronic viewing window
- 3-inch 1.04m dot three-way tilting LCD touch screen
- 325-point intelligent hybrid autofocus system
- 1080p, 120 fps; flicker reduction mode
- 1.28-inch secondary LCD top screen
- Weather-sealed body; 2 UHS-II SD slots
- $1899
Notable highlights include internal F-Log, 5-axis in-body stabilization, and the ability to record 4K at 200 Mb/s. All three of these new additions may convince more filmmakers to switch to Fujifilm, as this could be a deal-breaker for many.
The X-H1 still records in 8-bit 4:2:0 rather than 10-bit like the GH5, which is worth noting as the extra bit depth will certainly be important to some. That said, I can say from first-hand information X-T2 experience (I love it and have had it for a while), I rarely find myself shooting where the limitations of 8-bit recording are obvious.
Not to sound like a broken record, as I’ve said it many times before on this blog, but the best thing about Fuji cameras is their color science. This is why photographers have become so passionate about their cameras over the years, and why I myself switched to Fuji after shooting with Panasonic, Sony and Canon for varying lengths of time.
No single camera can do it all, and there are always trade-offs you need to make when making a purchase. Take the recently released GH5S, for example. It’s an incredible camera in many ways, but it won’t necessarily replace the original GH5 because it lacks some key features, such as in-body stabilization.
I always try to explain to filmmakers (when asked what camera they should buy) to focus on their needs, not the specs. for me, Color is the main requirement. I’m a bit obsessed with color grading and the impact that stunning colors have on a viewer’s perception, so I really like Fujifilm’s cameras despite the fact that they don’t always have as many features as cameras like the A7S III or GH5.
But now with the X-H1, there are a lot less things to sacrifice than before. Really, the biggest drawback is that the camera can’t shoot 10-bit – but does that really matter if you can’t see the difference in the final image? Any day, I would choose an 8-bit camera with excellent color science over a 10-bit camera with poor camera science. It’s not that the Lumix cameras are bad at color science, but in my opinion they’re just not up to the level of the Fuji… and neither are the Sonys, which are even further behind.
As I mentioned in my article Preliminary review of the X-T2one of the things I look for when buying a new camera now is brand intent. In other words, I asked myself if this brand was moving in a direction that I could buy because I wanted to invest in not just one camera, but multiple cameras from the same manufacturer over time.
This is why I invested in the X-T2. It may not be perfect in every way, but in the areas that matter to me, it’s improved by leaps and bounds. Most importantly, it convinces me that Fujifilm is committed to pushing the boundaries of its video capabilities over the long term. The X-H1 certainly reinforces that hunch, as it tells me that Fujifilm is committed to remaining a major player in the mirrorless video market.
The icing on the cake is Fujifilm’s latest cinema lenses, now available in X-mount: MKX18-55mm T2.9 and MKX50-135mm T2.9
These gorgeous parfocal lenses are the antidote to many filmmakers’ complaints about some of Fuji’s older X lenses, which were notoriously difficult to focus. These pro zooms clearly address the issue of true theater housing, and I’m sure we’ll continue to see the lens lineup expand in the near future.
But most importantly for me, these shots once again show the direction Fuji is headed. They told me that Fujifilm is creating a powerful filmmaking ecosystem where their camera bodies and cine lenses work harmoniously together. For this reason alone, I can see myself sticking with Fuji for the foreseeable future – at least for my mirrorless needs.
Will I keep my X-T2? perhaps. At least for now… it’s still an incredible camera and I don’t see any reason to sell it as stable/internal logs have never been a deal breaker for me – if they were, I would have Won’t buy this camera! That said, when a project comes along that calls for an X-H1, I won’t hesitate to consider upgrading.
And you? What are your thoughts on the X-H1 and where is Fujifilm going?
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