Aussie Ash

The weight translates into the way motion is rendered in Dunkirk. The physical effort of the camera operators when handling the cameras and mechanical requirements put on the rigging of such cameras has more of an aesthetic impact than the format size, lenses and film stock combined. Dunkirk and The Hateful Eight both felt significantly lower resolution than contemporary movies shot on Red and Alexa but had a physical movement quality that made them feel like real movies rather than a string of 0's and 1's. Film schools should be teaching people information like this

I just bought the X-H1 in Barcelona whilst I'm taking a break, and I am more impressed with it so far than I thought I would be.
I'd say it is a genuine alternative to the GH5 and A7 III, given the similar prices of all 3.
It does things the Panasonic and Sony don't do as well, or differently enough to make you have a strong personal preference for one or the other.
First of all, the small things... You can assign 1/48 shutter for 180 deg to "T" on the shutter mode dial. Instantly go from auto to 1/48 in the blink of an eye. Very useful.
The e-ink top-display is very useful and something the GH5 and Sonys lack!
One of the bigger things is the quality of the stabilisation.
It's insane. I actually think it might even be better than Oly/Pana. Steady handheld shots are almost completely locked-down as if on a tripod. Even walking glides are perfectly doable. Slider-style moves with your arm come out well.
This is one area where it is FAR superior to the Sony cameras, and it has a larger sensor than GH5 yet possibly even better 5 axis.... THAT is unique.
F-LOG and Eterna seem superb... I am not missing 10bit. Skintones, codec, all very good especially at 200Mbit which is insanely high for an IPB codec. Would be nice to have an ALL-I option but I have a feeling Fuji will do a BIG firmware update in future.
The EVF I think is superior to the Panasonic and Sony side.
I dare say the AF is better than the GH5 too, though not as good as A7 III / A7R III.
The tiny Fuji primes are wonderful, esp. 23mm F2 WR and the 35mm F1.4.
It is very responsive... recording start / stop doesn't have any lag or weirdness.
I still dislike that movie-mode is on the drive mode lever, it should be a single button press to toggle between movie and stills mode. Firmware?
Stills side is stronger than GH5. The mechanical shutter is the best I have ever had in anything. So quiet and dampened. Mega satisfying! Of course, larger sensor than GH5 and better JPEG colours (Fuji film simulations).
I wish the further X-T2 style crop in 4K was not a thing... but it's no biggie, and there's Speed Booster for X-Mount.
I wish the quality of the 1080/120fps was a little better... but it's a very nice creative tool. Plus you can access it instantly through a func. button.
On paper, A7 III and GH5 are better.
In reality.... it's game on.

Warning the following review may be too positive for some, you have been warned:
 

Casey is ok, but i do not watch him 99% of the time
there are a few filmmakers/photographers are doing great jobs in youtube sharing free tips and tutorials in under 2-3 minutes
i'm very interested in those clips because there are so many youtubers day by day i wouldn't watch a daily vlog for 10+ mins anymore

Many you"tubers" have this problem, ten minutes of "talking head"to say something that could have been summirized in 60 seconds.

I think many times it's "worse" rather than silky smooth 240p!
Yeah, and you know what 'streaming' is and why it's becoming so popular right?  It's making videos without the editing.  Or, as I like to call it, "you save 4 hours editing and 100,000 people waste 30 minutes watching crap you should have edited out - creating a total waste of 50,000 hours minus the 4 you saved yourself".  Or shorter - "selfish and worse".
Of course, some you tubers had already worked out that not editing anything saved them time before streaming became a thing.
In case any YouTubers are reading this, please drink deeply from the following statement...   IF YOU DON'T HAVE A PRE-WRITTEN SHOW WITH MULTIPLE PRESENTERS AND AT LEAST ONE PERSON PRODUCING THEN YOU ARE WASTING THOUSANDS OF HOURS (OR MORE) OF HUMANITIES TIME.  IF YOU'RE NOT A PRO AND CAN'T DEVOTE THAT KIND OF TIME THEN DON'T STREAM, AND IF YOU ARE A PRO AND YOU'RE NOT DOING THIS THEN DO YOUR F**KING JOB AND KEEP IT INTERESTING FOR THE WHOLE F**KING SHOW.
I know I don't have to watch, and I'm optimistic that eventually everyone else will work this out, but in the meantime the person whose time you wasted might have done something that helped cured cancer instead of watching you read the comments section without saying anything useful.
Ok, rant over.

The reason is Canon NEVER intentionally sparked DSLR filmmaking, they stumbled onto having the crown of the #1 choice for DSLR filmmaking entirely by chance it sometimes seem. 

Remember how the Canon 50D was a whisker away from having video in it. But was only thanks to Nikon introducing video in the Nikon D90 that Canon felt that they had to respond with their own HDSLR camera. (because Canon and Nikon watch each other like a hawk)
 

That crop is waaaaaaaaaay worse! As the 5Dmk4 has no way to easily handle this crop, as the EF mount means no access to native mount lenses designed with that crop in mind, and also no focal reducers can be used. 
 
 
Canons (unlike Panasonic) have historically been known to overheat.
 
 

"only"



NO thank you!! 

Definitely, some heavy duty IBIS with that rig.
 
Looks like they forgot the cage with a Rode and shoe mounts!   /s
 
Jeez!  That's as massive than a Mitchell BNC or a Dalsa Origin.

Look at how robust ARRI workflow choices are :
http://www.arri.com/camera/alexa/workflow/
As far as affordable 4k cameras under Aus $4,000 Canon and Sony are giving us the thinnest codecs they can get away with.

I've yet to see 4k that, per pixel, is as sharp as 1080p downscaled from a 4k source. But stills I've seen from TOTL dSLRs certinly show that potential... the 8K Reds might provide meaningfully more resolution, I haven't seen raw footage from one. Early Red footage was SUPER soft. Now we're seeing 4k that's meaningfully sharper to the eye than 2k/1080p...
On what display is the question. Even on IMAX, 2k Alexa looks good to me. And the C100MkII is just as sharp (worse in other respects, of course). Both are way sharper than 35mm film (as projected, but even look at blu ray stills from film and see how surprisingly soft they are).
But on a 5k iMac, I notice a bigger difference since I sit so close to it. Even there, the difference isn't huge between 4k and 5k, though. It is with UI elements, not so much with video. And the difference between 4k cameras will be even way less significant. For me, 2k is enough for video. For most, I think 4k will be.
For now...
I think the only substantive shift (beyond already significant meaningful aesthetic differences between cameras and lenses) will be when HDR takes off. And HDR imo is going to evolve in a different direction entirely, even more naturalistic, maybe HFR, etc. maybe even integrating with VR. The C300 Mk II and Alexa (and in practice the F65 and new Reds and Venice probably) all meet that standard of 15+ stops 10 bit rec2020 etc.,
But HDR is changing fast so I wouldn't even sweat it unless HDR delivery is important to you.
Of course, I don't know if by "reasonably affordable" you mean an A7S or an F55. I think there's already a rather big difference there, though the two can be seamlessly intercut if you're careful to mitigate the A7S' weaknesses.
 

Last year I posted a short highlight reel of Watkins Glen Vintage racing footage. This is an extended cut with no music, only engine sounds. Enjoy:
all GH5 with mostly the sir magic 25mm .95 A few wide shots with the Olympus 12mm.

I knew I hadn't imagined this.
It was an LX100 and he just soldered a mic input to the ribbon where the internal mics connected.
 

I've read that too, many times! Crazy

What they don't realise is: good video = sells more cameras. 

More cameras sold = more cameras to spread fixed costs over. 

Lower fixed costs = lower priced cameras for everyone! (including "pure" photographers)

One guy wanted a discount on a new camera if they would disable the video features !

still trying to figure out, if @jonpais has a personal problem with Fujifilm or is just trolling.
Anyway, the thread got absolutely useless through input of people just repeating what they heard somewhere and not trying the camera. There is no gain for me visiting this thread, so if anyone has any questions about the camera (I own it for nearly 2 weeks now, so have a bit of experience) feel free to ask. But link me or pm me, because I don't think I will visit the thread anymore.  

Sorry but Tony Northrup is a sell-out and has been called out for his once again ridiculous claims..
the other Vegas youtubers have also been called out for flat out lies:
don't believe the hype!

Which Sony 1080p cameras have gotten 4K in firmware updates.. oh thats right, none. Ok which Sony cameras have gotten useful features added... oh..
Ok, I got one. Which Sony cameras have had regular issues and bugs fixed...?... hmm..

8 months vs Eternity
I own a Sony and zero Fuji cameras. And Ive bought at least ten times as many Sonys vs any other brand over the years.
They are nice. But one thing they really suck absolute balls at imo. That is Firmware Updates.
Fuji on the other hand is leading the pack there. 

And given that this is a Fuji thread I will say that the A7iii can go suck it. I would never say that in a Sony thread, but here I can say it.
Im am so under impressed about the A7iii that I find it almost comical that people are so extremely excited. Its a cool camera but the hype is so massive. I mean are there even any good reviews on the Sony out yet?
(no, the Vegas reviews do not count at all. Thats just promo material. Im talking user reviews.)

This could be interesting.
https://www.facebook.com/events/1544566642516956/
https://vimeo.com/255468760
 
 

I also believe that an A7iii would work great for FF 4K with AF. A7rII could work as well, but I would avoid it since you might go into moire issues with fabrics in FF mode. 
From metabones:
 

An indie film will try hard to push down that ratio to say 10:1 or less. 

Pretty eye opening quote!
"A 2-hour feature film might easily have a 50:1 shooting ratio (capturing 50x as much footage as ends up in the final film), which means 6,000 minutes of recorded footage. Using our bitrate formulas, we can quickly calculate the space required."
 

Here are the budgets,workflows etc
https://blog.frame.io/2018/03/05/oscar-2018-workflows/
(This link has a couple of pop ups)

Sony NEX5N or NEX5R or NEX5T all make very nice pictures and are priced at around 150eur for a body. Screen flips and can accept a loupe too. Tech heads will moan about the avchd codec but it's the same codec they gave c100 and fs100 users for in body recording. Add a focal reducer adaptor and he will have an extra stop of light and will gain full frame field of view from your lenses meaning a basic 35mm/2.8 russian lens will become a 25mm/2 lens.   
Focal reducer: https://www.ebay.es/itm/Focal-Reducer-Speed-Booster-Canon-EOS-mount-Lens-to-Sony-E-Adapter-NEX-7-5-A6500/351338788897?hash=item51cd6c7821:g:SFoAAOSwBahU~~~G     That's quite a bit under budget and will allow a nice variable nd, some spare ex-pro batteries and will work with even the cheapest sd cards.
edit~~ Additionally all of the above cameras shoot up to 50p in full hd. Slow mo is a nice addition

Here are the budgets,workflows etc
https://blog.frame.io/2018/03/05/oscar-2018-workflows/
(This link has a couple of pop ups)