GEAR
FUJIFILM X-H2S
EXTRAS GALORE!
“A Super 35 sensor means it is ideal for PL mount lenses via a third-party adapter”
Fujifilm has revealed some unique accessories for the X-H2S that increase its standing as a supremely capable filmmaking camera. The first is an optional fan that fixes on to the back-plate, to prevent the sensor from overheating. It takes power from the camera. Adjust the fan speed manually or leave it on auto, but in full power there’s some noise. We found that, unless you are shooting in very hot temperatures, you probably won’t need it. We filmed 6.2K indoors at 20°C with no fan, and the recording stopped at 24 minutes. In 4K/60p at 25°C, the camera lasts around 90 minutes – that’s when the battery gives up. There’s no time limit on recordings, and we had no overheating problems. In 40°C at 4K/60p, the bare camera records for 16 minutes until it gets too hot. With the fan, it reaches around 51 minutes. So it’s a decent accessory if you shoot in high temperatures often, but not essential for everyone. A choice of battery grips are available. The basic model offers space for two additional batteries and has extra controls for vertical shooting. The second looks almost identical with the same features, but is also a file transmitter device with Ethernet port and built-in antenna for reliable Wi-Fi. This turns the X-H2S into a connected tool, ideal for wired or wireless live streaming, or as part of a multicam set-up. It allows connection to an FTP server and can be factored into a camera-to-cloud workflow via a 5G connection, meaning remote control from a web browser is feasible. It takes a very capable camera and makes it a video production device for broadcast and live workflows.
have plugged in. All-new five-axis in-body image stabilisation offers up to a seven-stop advantage when combined with a suitable lens – and this also works exceedingly well. An IS boost setting makes things even smoother, but the image is then cropped slightly. For this, you need a matching X Mount lens that supports OIS. Plenty of these can be found from third-party manufacturers or Fujifilm themselves. For a more traditional feel, Fujifilm’s MK cinema zooms – the 18-55mm and 50-135mm T2.9 optics – would make a great combination. Both communicate with the X-H2S electronically and will transfer metadata for high-end workflows. A Super 35 sensor means the camera is ideal for fitting PL mount lenses via a third-party adapter. So you could deploy anything from vintage glass to anamorphics and still focus manually. For audio, set auto or manual for the internal or external mic via mic
or line input, plus the usual low- cut and wind noise filter options. Activate four-channel recording by pairing the camera with a forthcoming XLR adapter. Down to the details The highest-resolution shooting at 6.2K is limited to 30p, but creates very detailed footage – although the 4:3 aspect ratio isn’t ideal for widescreen. You’ll end up cropping to 16:9 or 17:9 and losing resolution. Like many high-quality codecs, it takes up a lot of storage and large CFexpress cards will be a must. It’s draining on the battery, so make sure to bring a few spares for a full
day of shooting – or charge with a large USB-C power bank if needed. In more useful DCI 4K or 4K settings, there are more frame rate, codec and compression alternatives. All produce incredibly detailed files, and high bit rates provide plenty of information for grading. Dynamic range is plentiful, especially in one of the two F-Log gammas. Standard colours emulate Provia film stock, so are saturated and high-contrast rather than cinematic. It’s best to dial back the settings, but for information overload and maximum dynamic range, F-Log is the way to go. F-Log1 sets the minimum ISO to 640, while the flatter F-Log2 puts it at 1250 and gives maximum dynamic range up to 14 stops. Even at this setting, there is a remarkable lack of noise straight out of camera. Noise is barely noticeable in all permutations up to 6400 ISO. Success was found using a Fujifilm LUT for an X-T4 F-Log to Eterna for Rec. 709, and manual colour correction was quite simple. It’s a quality sensor and signal processing pipeline, for sure. We also loved ProRes settings, which produced natural colours
SPEED DEMON Fan and grip are optional extras (top),
while the small screen (left) gives a great view of settings. The camera is built for action (below)
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