CineD: FUJIFILM X-H2 Review – Are We Looking at the APS-C Mirrorless Camera of the Year? – Commentary

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https://www.cined.com/fujifilm-x-h2-review-are-we-looking-at-the-aps-c-mirrorless-camera-of-the-year/

“The FUJIFILM X-H2 camera has just been announced and let me tell you, FUJIFILM did a great job in balancing camera specifications/performance and price. Makes me wonder, are we looking at the APS-C mirrorless camera of the year?…

… So the bottom line is, after filming with both, the X-H2S and X-H2, the latter is my preferred option. Not because I don’t appreciate Open Gate, High Frame-Rate recording, or fast sensor capability, but I can simply live with those shortcomings and in exchange earn greater recording flexibility and good IBIS performance (which is essential for my documentary work).”

Commentary

When the rumours of Fujifilm’s X-H2 and its 40 megapixels sensor began leaking the impression was created that it would be mostly for stills photography but with the ability to record 8K video.

Johnnie Behiri of CineD has tried a pre-production copy of the X-H2 for documentary video production and has come to the conclusion that, provided one can do without some of the more advanced features of the X-H2S, the X-H2 may be a much better alternative.

We were originally interested in the X-H2 as the high resolution stills photography companion to the more videocentric X-H2S but that might be the wrong way to look at both cameras.

We’re looking forward to production copies of the X-H2 finding their way into the hands of professional documentary video makers like Mr Behiri and will report about their findings here in due course.

We’re also very interested in learning more about the Fujinon XF 18-120mm f/4.0 LM PZ WR “stills+movie” zoom lens and its performance with the X-H2 and X-H2S.

It’s a given that zoom lenses must by their very nature compromise somewhere in their optical and mechanical design and manufacturing in order to accomodate so many focal lengths.

However, those optics and build quality compromises can be justified so long as the former can be corrected in raw processing software, that any optical flaws are not too obvious in video, and that the lens proves to be a great all-rounder for its intended purposes.

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