Fujifilm launches new mirrorless digital camera “FUJIFILM X-T3” | Fujifilm Global (http://www.fujifilm.com/news/n180906.html)

FUJIFILM Corporation (President: Kenji Sukeno) will launch “FUJIFILM X-T3” (X-T3) as the latest model in the X Series known for superior image quality with proprietary color reproduction technology. The camera will be launched on September 20, 2018.

Compact and lightweight X-T3 packs newly-developed back-illuminated 26.1MP X-Trans™ CMOS 4 sensor and the X-Processor 4 image processing engine, which boasts the processing speed approx. 3 times faster than that of current models, to achieve the highest level of image quality and AF accuracy in the history of the X Series. The ability to track a moving subject has also been improved with blackout-free burst-mode capability. Its extended video recording capability meets the needs of professional videographers, supporting 4K/60fps 10-bit video recording for the first time in the world with rich and smooth tonality.

10 bit 4:2:0 at 60fps internal 4K is kinda a big deal. Also, APS-C sensor with 4K 10bit 4:2:2 HDMI out at 60p! With HLG coming in a firmware update before the end of the year. It also supports both H.264 and HEVC.

So far, the only BIG advantage the GH5 and GH5s have left is no 30min record limit internally out of the box.

As usual for these announcements, they're already listed on B&H: https://www.bhphotovideo.com/c/buy/items/ci/40338/cat.html/BI/2855/KBID/3801

Not sure if I'd pick the Fuji over a GH5/GH5S or a Nikon Z6, but Fuji has trumped the Canon mirrorless in appeal!

Very impressive for a company who only a couple of years ago we'd never consider Fuji for filming with

I wouldn't go for one unless you have an Atomos recorder to work with F-log.

The big thing is Panasonic has ditched the 30min limit, but everyone else hasn't ditched it.

The GH5 still has a couple advantages, IBIS, 6K anamorphic and the fully articulated LCD screen. The 30 minute limit remains important for me as a wedding/corporate/event shooter.

The Fujifilm XT-3 has better color science, to my eye, than the GH5 or A7. Not sure about the EOS R but that crop rules it out as a B/travel/stock footage camera for me. I have shot quite a bit with the XT-2 and played with the XH-1 at the press rollout. Fuji is killing it in color science as far as I'm concerned and their AF, while not as good as Canon's DAF, is getting better each generation so the XT-3 might work better than the XH-1 does.

The only thing holding me back is having to buy Fujinon lenses. They are very good but not cheap and I am deep in Canon glass for my C200. I'm sure there is an adapter, but you probably lose all or most of the Canon glass functionality and the Fuji lenses are optimized for their cameras. Out of the Class of 2018 mirrorless, this is the best of the bunch, I don't care for FF and I like the GH5s, had one to play with for a couple of months and it's good but overall, I would buy the XT-3 over either the Panasonic, Sony or the Canon. I wouldn't go back to Nikon, I dumped all of my Nikon stuff last year since I have so much Canon also. Nikon's never really been wholeheartedly into video like Fuji is becoming.

I moved over to Fujifilm some time ago now, sold all my Sony, Canon and Panasonic cameras to do this.
I have owed the X-E3, X-T2, and the X-H1, I returned the X-H1after a few issues with 3 bodies and grip, I still own and use the X-E3, X-T2 on gigs.

If I was going down the Fujifilm path I would grab the X-T3 body and no need for the battery grip.
Fuji glass is sharp, cost effect and light/small, you'll be surprised how small your kit will be compared to Sony or Canon.

The Eternal Film Simulation is fantastic and this was a big reason for me getting the X-H1, sadly both the X-E3, X-T2 don't have Eterna, maybe this will come in a firmware update, fingers crossed.

Using these cameras on gigs, I find them intuitive and easy to use, their Film Simulations are great, although I find the blacks crush and the highlights blow out quick, ProNeg STD is probably the best all round with Shadows at minus 1.

For stills, their is no better choice for me, for video the Fujis are great, just be aware of limitations, Fujifilm have only been serious for the past few years with video and it's a credit to them how far video has come.

Have a look on my Youtube page for stacks of Fujifilm stuff.

I got to play with the XH-1 with the Fuji MK 18-55 and the 50-135 lenses, sweet setup. I really like the way Fuji is headed in video/cinema and look forward to when they are just done with the pretense that they only make mirrorless and they make a true video camera to go head to head with cams like the C200, FS-7 and BMD UMP.

I really like the mirrorless Fujis but my work requires things like XLRs, a more video like form factor, built-in NDs. I think Fuji is building the know-how to make a killer video/digital cinema camera and I hope it comes soon. I received hints at the XH-1 rollout that that may be in their future. Besides, there is little reason to release the MK lenses in X mount. Few people will buy $4k lenses to put on a $1500.00 camera but many would to mount on an $8k digital cinema camera.

I'm surprised that Fujifilm have not made a XLR audio unit that connects to the shoe like Sony and Panasonic, if they did this with the X-T3 what a killer combo.

I have moved back to video cameras again, Sony Z90 etc... these are just easier to use in an all in one kit, mirrorless systems are fantastic, however I find many bits are required to get the kit up and running.

I got to play with the XH-1 with the Fuji MK 18-55 and the 50-135 lenses, sweet setup. I really like the way Fuji is headed in video/cinema and look forward to when they are just done with the pretense that they only make mirrorless and they make a true video camera to go head to head with cams like the C200, FS-7 and BMD UMP.

I really like the mirrorless Fujis but my work requires things like XLRs, a more video like form factor, built-in NDs. I think Fuji is building the know-how to make a killer video/digital cinema camera and I hope it comes soon. I received hints at the XH-1 rollout that that may be in their future. Besides, there is little reason to release the MK lenses in X mount. Few people will buy $4k lenses to put on a $1500.00 camera but many would to mount on an $8k digital cinema camera.

Personally I'd rather put more expensive glass on a cheaper camera than the other way round

As long as it does what you need in low light, who can argue with the choice? For wedding work, I bring at least 3 separate audio recorders, all of them support timecode and backup safety tracks at -6 to -12 db. Plug into DJ sound board, Groom's lavalier mic, and the live musicians or venue PA system. My audio needs to record even when camera footage is not rolling. Cameras consume memory and battery power at faster rate than audio recorders so not as practical to leave them rolling continuously. And if you do leave footage rolling when you pick up and change angles, you've got embarrassing shaky footage to hand over to client. At one of my events, the second shooter used a PXW-Z150, got admonished by the client after his footage was reviewed. I didn't see how it looked, but I remember at the time he was marveling at the viewfinder of my GH5s during the reception which was dark. Same for the send-off which was outside with sparklers. He told me his footage was good but later said the client pulled him off the schedule because he wasn't satisfied with his low light work. But, his Z150 was convenient to shoot with! :-)

I bring lights, it's always better with them, but the GH5s is one of those cameras that can manage impressive footage even when the lights are way down, or outside. The 2nd shooter needs them more than I do but it helps both shooters and I'm glad to help.

The Fuji X-T3 would be great in low light too.

Personally I'd rather put more expensive glass on a cheaper camera than the other way round

Me too but I think looking at the market objectively, there would be little reason to make those lenses in the X-Mount unless they were going to make a video camera move. It may take a while, who knows?

Had a chance to do a few shoots with the X-T3, what a superb camera! I liked most things about it. Battery life is lousy so plan on buying the grip and a pile of batteries or at least a pile of batteries. I am now looking for a high quality adapter to mount my Canon 70-200 2.8 IS II and retain electronic control and IS. There is a guy in China making one supposedly (Steelrings?) but that whole thing looks and feels sketchy.

I have not bought the X-T3 yet, waiting for finances to spend on the X-T3, 18-55 kit, 10-24 F4 OS and a new gimbal to use it on but as far as the camera, I'm sold, leaves the Sonys and the GH5/5S in the dust in image quality/color science as far as I'm concerned. Fuji is killing it.

The Fujifilm X-T3 certainly got my attention as a possibly top notch hybrid camera. I was about to make the purchase but happened to read a review that gave me pause wherein the reviewer claimed exposure stepping when shooting run ‘n gun resulted in the clips being ugly. Furthermore, he said, the auto-focus while very good is no match for the Sony A7III.

I am not big into run ‘n gun however auto-focus is for me a critical need.

A picture (video clip) is worth a thousand words, they say, and in this instance I totally agree. Anyone want to offer their 2c worth on these points. One thousand words would certainly be most appreciated while a clip or two, ungraded shot at 4k 60p and available online for downloading would be hugely preferred.

Many thanks...

I've been using Fujifilm cameras long before they were considered worthy of video production, it's not the tool it's how one applies the tool to the situation.

Exposure stepping, yep all Fujifilm cameras do this, it's a different system to Sony, Canon, Panasonic, does it bother me... nope. I tend to shoot manual on the Fujis and if I need smooth exposure, lets say moving from outside into a cave I'll use a suitable camera that does this.

I think the issue is with Fuji glass and how it changes f stops that produces the stepping issue, I could be wrong though.

When I moved over to Fujifilm everyone else was wrapped up in the latest Sony cameras or Canon etc.... I discovered Fuji and was sold for many reasons, pict quality, glass, size, weight and I love the APSC sensor.

I still use my X-T2 and E-X3 on all my shoots along with my Sony Z90.

I'm just adding, the auto focus on the X-T3 is really great and one that you can rely on, however I would not use auto focus from any camera on a paid gig just incase and this includes my Sony Z90 which has amazing auto focus.

first class footage. But it needs lots of work and stuff mainly because of the limitations imposed by the oligopoly of this industry (they want us to buy a camcorder for the run&gun onemanband video stuff): 30minutes time limit. non articulated screen. no servo lenses. What I don't get is why Fujifilm needs to obey to those marketing limitations since they don't sell camcorders (only broadcast lenses, mainly servo lenses LOL). Anyway it needs an external recorder with a screen and a wireless servo like the pdmovie or tilta nucleus and of course a cage or frankenrig. After that the cost will become high. So the limitations do work . That's why the oligopoly imposed them long time ago.

Thanks Simon, I certainly agree with you regarding the concept of applying tools in video productions according to their functionality. The more I cogitate the less concerned I am about the exposure stepping functional reality of the Fuji cameras. Furthermore I’m not a run ‘n gunner and I have a Lumix G9 which has a remarkable stabilization capability plus much more should the need arise even as it is not perfect when it comes to auto-focus.

While I do agree with your sentiments regarding auto-focus in general there are times when shooting wildlife using auto-focus is the only option as by the time the focus is set manually the bird has flown.

I wait and keep an eye out for well shot footage.

Thanks again. Cheers…

All good mate, the auto focus on the Sony Z90 is fantastic and would use this for wildlife etc...the X-T3 auto focus is the best they have at the moment and it's very good.

When I move camera systems as I have done heaps (and for the last time), it's not so much the bodies, it's the glass that becomes costly and when I moved to Fuji years ago I started collecting Fuji glass with hope that Fuji will become leaders in the small form mirrorless video/stills game, man they are really listening to customers and producing some great gear.

Cheers, S

Just rented the X-T3 and the 18-55 and 10-24 lenses for a project, I'm in love. Great camera and love the color science. I will be buying it soon. Still a mirrorless so you have to deal with it not being a video camera but if you can live with no internal NDs, no real audio, etc. the images are pretty nice.

Yeah Dan, another Fujifilm camera op, love it. I've been singing the praises of Fujifilm for years.

Yeah Dan, another Fujifilm camera op, love it. I've been singing the praises of Fujifilm for years.

I've been a Canon shooter the past few years because I hate Sony colors, they make people look like corpses and while I like Panasonic color science (I had the DVX-100A, HVX-200, HPX-170, HPX-300), I liked Canon a little better. But now, as a C200 owner and I shoot with the C300 MKII rentals a lot, I think Fuji has better color science, the images are just breathtaking. Not sure if you saw the spec piece Matthew Libatique shot but the colors in it are astoundingly good, although I am sure that it went through someone like Company 3 or the like for the finish. But still, this is a $1,500.00 camera! Very Arri-like images.

X-T3: A Different Beyond Full Movie | FUJIFILM - YouTube

FWIW, picked up the Zhiyun Crane 2, X-T3, 18-55mm f/2.8-40, 16mm f/1.4 and the Fringer Fuji-X adapter so I can still use my Canon lenses that I own for the C200. Doing my second client shoot today with it, did a shoot earlier this week. It's not perfect but it's very, very good. Focus on the gimbal can be a bit challenging, still have some focus fine tuning to do but overall, very detailed, nice looking images that grade easily.

I am producing a second documentary that we have already shot a year and a half on, we will probably transition that film over to shooting on the X-T3 because it involves a lot of traveling and having a small camera would also help with the subject matter. Thinking about pairing it with the Sound Devices Mix Pre 3 for interviews.

FWIW, picked up the Zhiyun Crane 2, X-T3, 18-55mm f/2.8-40, 16mm f/1.4 and the Fringer Fuji-X adapter so I can still use my Canon lenses that I own for the C200... Thinking about pairing it with the Sound Devices Mix Pre 3 for interviews.
What do you think your interview lens will be?

I’ve reluctantly come to the conclusion that my 17-50mm on Canon crop cameras is almost but not quite long enough when I want to punch in for an ECU. (Though I do love the wides and that lens is a great walkaround.) Maybe a 24-70 would best match for my interview style. What’s your experience?

What do you think your interview lens will be?

I’ve reluctantly come to the conclusion that my 17-50mm on Canon crop cameras is almost but not quite long enough when I want to punch in for an ECU. (Though I do love the wides and that lens is a great walkaround.) Maybe a 24-70 would best match for my interview style. What’s your experience?

It's funny you ask. I recently shot a documentary on Brazilian composer Sergio Mendes and the director and producer specifically wanted the camera on sticks for all interviews, no slider, no movement for interviews, but what was interesting was they only wanted relatively wide shots for the interviews. Their reasoning was, "CUs and ECUs look like television or YouTube, wider interviews show the environment that the person is in and are much more cinematic." After shooting on this documentary for two years, I am inclined to agree, the long lens, super shallow DOF for a lot of my work, is played out. I too, on my own two current documentaries have resorted to wider frames for interviews. I find lately my favored focal length is between 28 and 35mm on an S35 imager with subject about 8' away. With the C200, I mostly used the Canon 17-55 2.8 IS but I found that the EF-S Canon lenses vignette and the you can see the round edge of the lens and see the IS working when shooting DCI 4K (17:9) on my camera so I am selling off all of the my EF-S lenses and replaced them with the EF 24-15 f/4.0 IS II, which I have been using. It's full frame so no corner vignetting and it's sharper than the 17-55 2.8 IS or at least my copies are.

But to mix things up even more, I am going to be trying to shoot interviews for one of the documentaries with the a lot of flying and traveling with the X-T3, I am buying the battery grip and a Sound Devices MixPre 3 for the audio. I purchased the 18-55mm f/2.8-4.0 OIS and the 16mm f/4.0 with the Fuji. But I also purchased the Fringer adapter so I can use any of my Canon lenses. So maybe I won't sell of the EF-S lenses as I can mount them to the Fuji? I will probably mostly use the 18-55 for interviews, that would work fine for how I am shooting interviews these days, more environmental portraiture kind of look than traditional tightly framed CUs and ECUs.Or I could use my Canon primes, the 28mm 1.8 or 50mm 1.8 if I need the speed.

I found that the EF-S Canon lenses vignette and the you can see the round edge of the lens and see the IS working when shooting DCI 4K (17:9)

Did you have Peripheral Illumination Correction turned on? I would think that would take care of it, though I haven't used that in conjunction with DCI.

For wide shallow DOF interviews, I don't feel like you can really beat the Sigma 18-35 1.8.

That's the funny thing, yes, turned on the PIC/EF-S compensation. I should clarify, you don't see just vignetting, you actually see the edge of the lens tube in DCI 17:9. Like, black silhouette and you can see the internal lens tube clunk around when the IS is engaged.

It does this on all of my EF-S lenses to some extent, some are worse than others. The worst offender is the EF-S 18-135 f/3.5-5.6 STM IS. The 17-55 f/2.8 IS shows it also but not as much. The EF-S 10-18mm f/4.5-5.6 IS barely shows it, which is weird since it is by far the widest EF-S lens I have.

Don't see it at all, of course, on the 24-105 f/4.0 IS II or the 70-200 f/2.8 IS II.

I don't really care about shallow DOF for most of these interviews. Just some slight blurring of the background elements is fine. Mostly been around f/3.5-f/4.5.
I think for myself and a lot of our clients, they just don't care about super blurred BGs anymore. Slightly blurred, just enough to make talent separate but no soft blobs as is in vogue.