{"id":65238,"date":"2022-09-14T10:01:08","date_gmt":"2022-09-14T01:01:08","guid":{"rendered":"https:\/\/fujifilmnxtc.wpenginepowered.com\/?post_type=xstories&p=4206844"},"modified":"2024-05-02T00:13:53","modified_gmt":"2024-05-01T15:13:53","slug":"capture-video-like-never-before-with-fujifilm-x-h2s","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/hu-hu\/stories\/capture-video-like-never-before-with-fujifilm-x-h2s\/","title":{"rendered":"Capture Video Like Never Before with FUJIFILM X-H2S"},"content":{"rendered":"

The X-H2S will open up a whole new world of video making creativity. Here are the key reasons why<\/h5>\n

FUJIFILM X Series cameras have always been able to record high-quality video, but our latest model \u2013 the X-H2S<\/a> \u2013 comes with powerful features that make it perfect for the serious videographer. If you\u2019ve gone beyond mastering the basics<\/a> of movie recording, this camera will help you push creative boundaries further, delivering high-quality, broadcast-ready content.<\/p>\n

At the heart of X-H2S is a fifth-generation X-Processor 5, 33-times quicker than the original X Series camera, and the 26.1-megapixel X-Trans CMOS 5 HS sensor with a high-speed stacked design. This combination allows faster frame rates and data-intensive codecs to be recorded, including 6.2K\/30p, 4K\/120p and 1080\/240p, all in up to 4:2:2 10-bit colour. How does 10-bit compare to standard 8-bit? Put simply, 8-bit records 256 colours per RGB channel, so it can record up to 16.7 million colours (256x256x256). That sounds a lot, until you consider 10-bit records 1024 colours per channel, which delivers over one billion colours (1024x1024x1024) for greater detail, smoother gradations and more.<\/p>\n<\/p>\n

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For greater flexibility in post-production, the camera also offers internal ProRes recording, plus ProResRAW and Blackmagic RAW, recorded externally via the full-size Type A HDMI socket. If you prefer not to roll up your editing sleeves too far, the more standard H.264 and H.265 codecs are available, with varying bit rates and compressions to choose from, depending on preferred output.<\/p>\n

Naturally, Film Simulation modes are also included on the X-H2S. Options include the vivid Velvia setting, a softer direction from ASTIA, several mono options and sepia, as well as Bleach Bypass and ETERNA. The latter provides a filmic, cinematic style, as it bakes in soft colours and rich shadow tones.<\/p>\n<\/p>\n

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Keeping it Steady<\/h2>\n

While the majority of video footage will be locked off on a solid support, X-H2S does provide the tools to work handheld as well. The camera\u2019s in-body image stabilisation can be combined with optical image stabilisation on compatible lenses, controlled via a dedicated menu that offers plenty of options. A boost setting combats shake even more, although there is a very slight crop on the image area.<\/p>\n

There are plenty of other overrides provided by the menu settings, including adjustable zebra patterns to highlight potential exposure issues and front\/rear tally lights to indicate when the camera is recording. But the trademark analogue X Series design is also present, so key functions are quickly accessed via dials or buttons, while other controls can be customised to your own preferred settings. Coupled with the Q Menu, you won\u2019t lose time looking for the feature you need.\u00a0\u00a0<\/p>\n

Audio recording can be automatic or manual for the internal mic, external mic via mic or line input, plus there are options to select low cut and wind noise filters, to help optimise sound quality. Headphone level is also controllable, and it\u2019s possible to activate four-channel recording if you pair X-H2S with the forthcoming XLR adapter. All this is on one menu, right next to the Timecode menu, which is another bonus for multi-camera projects and larger productions.<\/p>\n<\/p>\n

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Optical Options<\/h2>\n

Much of the look and feel of video output is governed by lens choice, and there\u2019s plenty to go at with the X-H2S. A versatile XF18-120mmF4 LM PZ WR was announced at the same time as the camera, which is perfect for those videographers looking for a one-lens solution. If you\u2019re happy to switch optics, the XF range is an obvious starting point, plus there are also the 18-55mm and 50-135mmT2.9 MK cinema zooms that communicate with the X-H2S electronically and transfer metadata for high-end workflows.<\/p>\n

Cinematographers wanting to use PL-mount lenses with the X-H2S can do so via a third party adapter, which opens up a vast range of choices. Traditional manual focus cine lenses also work well with X-H2S\u2019s viewing tools like focus peaking. But it also has a very fast, controllable autofocus system that uses AI\/Deep Learning algorithms and subject-detection AF. It can comfortably track faces and a range of moving subjects from planes to birds. For subtle and more cinematic effects, the rear touchscreen allows you to perform smooth focus pulls, specifying the speed of the AF and how \u2018sticky\u2019 it is.<\/p>\n

Ultimately, X-H2S is a camera to make productions of incredible quality, delivering stunning performance across a wide variety of applications. If you\u2019re looking to elevate the quality of your movie output, it\u2019s the perfect place to start.<\/p>\n<\/p>\n

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The X-H2S will open up a whole new world of video making creativity. Here are the key reasons why FUJIFILM X Series cameras have always been able to record high-quality video, but our latest model \u2013 the X-H2S \u2013 comes with powerful features that make it perfect for the serious videographer. If you\u2019ve gone beyond […]<\/p>\n","protected":false},"author":8,"featured_media":65239,"template":"","category":[2084,1006,1202,13039,3211,320,1986,565,7082],"post_tag":[],"b2b-solutions":[],"class_list":["post-65238","story","type-story","status-publish","has-post-thumbnail","hentry","category-be-inspired","category-cameras","category-category","category-mirrorless-digital-cameras","category-x-series-mirrorless","category-products","category-x-series","category-stories","category-x-h2s"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-07-31 13:22:01","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/story\/65238","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/users\/8"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/media\/65239"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/media?parent=65238"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/category?post=65238"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/post_tag?post=65238"},{"taxonomy":"b2b-solutions","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/hu-hu\/wp-json\/wp\/v2\/b2b-solutions?post=65238"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}