The X-T3 will begin shipping 20th September for $1500. We won’t have to wait long to get your hands on one. There is still no dedicated movie record button (WTF) and the movie mode is hidden away on the fiddly drive mode lever (far left shoulder… again WTF). Also, not much of the body ergonomics have changed to facilitate the fantastic video mode. That’s a real shame. Not may of the Fuji lenses have optical image stabilisation. Like the X-H1 the manual focus ring on Fuji X-mount lenses can be toggled to a predictable and repeatable linear movement, compatible with a follow focus and even the focus direction changed between clockwise and anti-clockwise. Also the X-H1 movie film mode “Eterna” is present on the X-T3.Īt this point you are probably wondering – why get an X-H1? Well, the X-T3 goes without 5 axis in-body stabilisation. You can magnify during 4K recording to check manual focus, which is quite rare and something the GH5 doesn’t do. It is a huge 0.75x magnification, with 3.69m dot resolution, comfortably beating Sony’s EVF on the A7 III. The X-T3 provides one of the best EVF on the market. AF in 4K/60p video mode promises to be right up there with the latest Sony mirrorless cameras (possibly even better). In addition we now get over 2 million phase-detect AF points on-chip. It has a 0.3 second start-up time, compared to 1 second for the laggy Canon EOS R with its old processor technology. In every way the X-T3 is an extremely responsive camera, promising a DSLR-like level of speed. The X-H1 used a pixel binned full width readout of lower resolution and then upscaled to 1080p. It does however come from a 1.29x crop of the sensor, to maintain the better detail levels. Slow-mo 1080/120p mode is said to have improved detail levels (TBC in real world testing) and can now be recorded at super-high bitrates in H.265 10bit at 200Mbit. The new X-Trans 26MP sensor has a 1.5x faster readout than the X-T2’s chip, which was already a very fast sensor and the quad-core image processor is a full 3x faster than even the most recent X-H1! Seriously impressive silicon. There is only a very small and wobbly micro HDMI socket though, not the full size one found on the GH5. That said, the HDMI output is 4:2:2 in 10bit all the way up to DCI 4K 60p. I’ll have to find out if this is improved. However one thing I do think Fuji need to work on is their slightly ‘off’ 24p motion cadence. The 17ms rolling shutter compares well to the class-leading 13ms GH5. It’ll be interesting to do a comparison to see the difference. One thing to note however is that the X-T3’s 10bit internal codec is 4:2:0 whereas on the GH5 it is 4:2:2. We get 400Mbit in ALL-I at 4K 60p (10bit H.265) as well as a 200Mbit Long GOP (IPB) mode. The codec is where the X-T3 makes a HUGE leap even over the X-H1 (which I really enjoy shooting with right now). However it comes back in the 4K 60p mode to enable the even faster readout and 17ms rolling shutter. Gone is the small 1.17x crop in 4K at 24/25/30p, as seen on the X-H1 and X-T2. The sensor has a new 6K full pixel readout in 4K. In addition we now have DCI 4K at 4096 x 2160. There are big improvements to the sensor, to speed up the rolling shutter to 17ms in 4K/60p which puts it in the realm of dedicated pro movie cameras. Film Simulation goes 10bit for the first time on the X-T3, along with F-LOG (internal) and a future firmware update later in the year will add Hybrid LOG Gamma and BT.2020 colour. Video on the new X-T3 is quite a surprise and shows how seriously Fuji are taking filmmaking, even on their most photographer-orientated cameras.
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