GEAR FUJIFILM X-H2
So here’s the rub. If you must have the ultimate resolution, the 8K X-H2 obviously edges the 6.2K S model, no question. However, the majority of filmmakers will want the more useful 4K settings, where there are far more frame rate, codec and compression options. And here, you’d think the higher-resolution X-H2 would have the edge. But it doesn’t, especially if you shoot in 60p for slow motion capabilities. The X-H2 offers 4K/30p in high-quality (HQ) mode that uses oversampled footage from the 8K sensor – and it’s excellent. This is set in the menus, and is nothing to do with ProRes HQ mode. But once you go up to 60p, there’s a slight crop and it’s not oversampled any more. So the image quality reduces, as does the dynamic range, which appears to crush the shadows. As well as no crop in 4K/60p, the X-H2S has oversampling for better quality and dynamic range, too. It also shoots in 4K/120p, while the X-H2 can only go to superfast speeds in HD. So if you want incredible quality in 4K/60p or faster, the X-H2S has the upper hand. If you need 8K, and only want to shoot 4K in up to 30p, then the X-H2 makes sense. The X-H2’s slower readout makes its rolling shutter worse than the very good performance on the X-H2S. If you use your camera locked down on a tripod and want top-quality 4K or even 8K at up to 30p, the X-H2 is perfect. For anything faster, the X-H2S rules. The X-H2 does offer a great digital zoom in oversampled HQ mode, which lets you zoom in up to 2x by reducing the resolution you are oversampling from. This is a fantastic option and a unique feature, but of course there is no oversampling in 4K/60p and so no slow motion option. The rest of the camera is very much like the X-H2S. Both record
PRETTY COOL A rear LCD screen
pivots to expose threads that accept the cooling fan (above). Raw output to a monitor/recorder gives the ultimate in quality (right)
ON THE MENU Making changes to
settings is easy, as the Fujifilm user interface is well-organised and informative (below)
highly detailed files, with robust codecs at high bit rates that are ideal for grading with plenty of dynamic range, especially if you shoot in one of the two F-Log gammas. Standard colours are saturated and a little bit high-contrast, but these settings may be altered. For complete control, F-Log is the way to go. But beware, the X-H2 uses different Fujifilm-supplied LUTs than the X-H2S. Again, we do love the ProRes settings which produce natural colours straight out of camera. The Film Simulation colours include vivid Velvia, a softer Astia, several mono options, Bleach Bypass and an Eterna Cinema look, which we liked best. In terms of AF, the X-H2 has 3.33m phase detection AF points – more than the X-H2S with 2.16m – but its performance is not quite
“For full control, F-Log is the way to go. But beware, the X-H2 uses different Fujifilm-supplied LUTs than the X-H2S”
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PRO MOVIEMAKER
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