jpleong

I mostly lurk here but I got the X-H2S about a month ago. Because I got it together with the Tascam XLR adapter, my order was delayed significantly so I missed the chance to use it on most of the gigs I had lined-up originally.
 
The one time I've used it for video, it was the Wide of a three-camera interview setup (with R5Cs as the CUs) feeding an ATEM Mini ISO. Lens was the XF 23mm f/2 (set to f/4) with AF-C / Face Detect-on. The R5Cs were set to 4K/S35 mode and one had an EF 24-70mm f/2.8L II (set to f/4) while the other had an RF 24-105mm f/4.
The Good:
Color: The X-H2S was set to Astia and the R5Cs were set to EOS Standard Profile and their footage was relatively interchangeable (this I already knew from my previous experience mixing Canon and Fujifilm cameras).
Video autofocus: The X-H2S autofocus is significantly better than my previous X-T3 -I didn't notice any focus hunting during the multi-hour shoot which is something I can't say for my previous X-series bodies in similar setups.
Keeps going: It records for longer than 29.99 minutes! That's all I want in my hybrid cameras since my main moneymaker is long form documentary.
Formats: ProRes! h.265! h.264! I've always appreciated the level of control Fujifilm gives the operator over file output. Anyone who's used a BMPCC will know the frustration of being format-limited by resolution and vice-versa.
CF-Express -as much as I hate that I'm back to cameras that have non-matched dual card slots, at least they're the same type as what I use in my R5Cs. And GB for GB, CF-Express is cheaper than SDXC UHS-II. But holy hell do they get hot.
The Bad:
The button and dial layout is significantly different from my other X-series cameras and it drives me nuts. One of the main reasons I skipped the X-T4 was specifically because they altered the layout and this has the same problem. I can re-map some of the functionality to standardize with my other X-series bodies but there are wholly deleted buttons and switches (the drive-mode and exposure-mode are two glaring examples) that is going to force me to change mindset whenever using the X-H2S with another of my X-series cameras. I might have to sell all my older bodies and just get another X-H2S (or the 40MP model) so that I don't get annoyed.
The fan works and I'm glad I have it. The problem is, as I type this... I can't remember where I put it. It can only be attached when you're using the camera, as it prevents the screen from closing/cannot remain attached permanently. It also has two sets of rubber covers that are easily lost if you're frequently attaching/detaching it. It's a very dumb implementation and is probably going to get lost and re-purchased. I wish they had just gone the route that Canon did and elegantly integrated into the body.
No anamorphic view. I have three Sirui anamorphics for XF-mount and I still have to use my Atomos Ninja Inferno.
No Waveform - I come from a "traditional" video production background so I was so excited to get these back into my workflow on my R5Cs when I don't want to attach a larger monitor. At least the Zebras on the X-H2S are still well implemented...
HDMI frame stuttering -this is something that happens on my X-T3 frequently, and I haven't had a chance to really figure out why it happens (is it thermal? is it a framerate mismatch? etc...). I noticed it happening to the feed coming from X-H2S but, again, I've only used it once so I can't rule out user error here, either.

The Jury is still out:
Photos: My other money maker is photography. One of my main clients is a symphony and so I'm constantly shooting in fast-moving, high contrast scenarios using electronic shutter. The X-series cameras I own (T2, H1, T3) have been as-good-as the R5C in all aspects except resolution, autofocus and extreme high-ISO. Previously, choosing a body has been a trade-off between auto-focus performance vs rolling shutter artifacts. I'm hoping that the X-H2S solves both those issues but I know there's a shadow recovery penalty with the new stacked sensor. The new season starts in about a month so only time will tell if it's actually going to be problematic.

Video autofocus: I haven't had a real-world opportunity to test the X-H2S's video autofocus against the R5C's. Hopefully, it'll be as good as the R5C -which is a low standard :-). Honestly, I was surprised by how inferior the Canon cinema implementation of DPAF is compared to the non-cinema version. Tracking moves I could do with robotic automation on the 70D/80D/5D4 I wasn't able to do with the R5C. It's made food documentary and product video capture more... annoying than it should be.
Conclusion:
I'm still stuck in the value-conscious mindset I was in a few years ago -when it would definitely have been an either/or situation- so, I'm kind of torn on whether I wasted $3000 USD on the X-H2S or $5000 USD on the R5C. If only one or the other existed, I'd probably be happy but since they both exist and they both have respective strengths and weaknesses... it's weirdly still a toss-up. I am happy that I have enough work to justify owning both.

After re-reading what I wrote above (and how non-committal I still am), I will say this: the X-H2S is what I wished the BMPCC 6K Pro would have been. It is definitely more expensive when kitted-out equivalently but it does almost everything better.
If $5000 USD is within your budget and rolling-shutter isn't a big deal, the Canon R5C is the better tool versus the X-H2.
But at $3000 USD (base+TASCAM audio unit) the X-H2S is the only hybrid camera that does all the things it does, and does them well.

JP

I mostly lurk here but I got the X-H2S about a month ago. Because I got it together with the Tascam XLR adapter, my order was delayed significantly so I missed the chance to use it on most of the gigs I had lined-up originally.
 
The one time I've used it for video, it was the Wide of a three-camera interview setup (with R5Cs as the CUs) feeding an ATEM Mini ISO. Lens was the XF 23mm f/2 (set to f/4) with AF-C / Face Detect-on. The R5Cs were set to 4K/S35 mode and one had an EF 24-70mm f/2.8L II (set to f/4) while the other had an RF 24-105mm f/4.
The Good:
Color: The X-H2S was set to Astia and the R5Cs were set to EOS Standard Profile and their footage was relatively interchangeable (this I already knew from my previous experience mixing Canon and Fujifilm cameras).
Video autofocus: The X-H2S autofocus is significantly better than my previous X-T3 -I didn't notice any focus hunting during the multi-hour shoot which is something I can't say for my previous X-series bodies in similar setups.
Keeps going: It records for longer than 29.99 minutes! That's all I want in my hybrid cameras since my main moneymaker is long form documentary.
Formats: ProRes! h.265! h.264! I've always appreciated the level of control Fujifilm gives the operator over file output. Anyone who's used a BMPCC will know the frustration of being format-limited by resolution and vice-versa.
CF-Express -as much as I hate that I'm back to cameras that have non-matched dual card slots, at least they're the same type as what I use in my R5Cs. And GB for GB, CF-Express is cheaper than SDXC UHS-II. But holy hell do they get hot.
The Bad:
The button and dial layout is significantly different from my other X-series cameras and it drives me nuts. One of the main reasons I skipped the X-T4 was specifically because they altered the layout and this has the same problem. I can re-map some of the functionality to standardize with my other X-series bodies but there are wholly deleted buttons and switches (the drive-mode and exposure-mode are two glaring examples) that is going to force me to change mindset whenever using the X-H2S with another of my X-series cameras. I might have to sell all my older bodies and just get another X-H2S (or the 40MP model) so that I don't get annoyed.
The fan works and I'm glad I have it. The problem is, as I type this... I can't remember where I put it. It can only be attached when you're using the camera, as it prevents the screen from closing/cannot remain attached permanently. It also has two sets of rubber covers that are easily lost if you're frequently attaching/detaching it. It's a very dumb implementation and is probably going to get lost and re-purchased. I wish they had just gone the route that Canon did and elegantly integrated into the body.
No anamorphic view. I have three Sirui anamorphics for XF-mount and I still have to use my Atomos Ninja Inferno.
No Waveform - I come from a "traditional" video production background so I was so excited to get these back into my workflow on my R5Cs when I don't want to attach a larger monitor. At least the Zebras on the X-H2S are still well implemented...
HDMI frame stuttering -this is something that happens on my X-T3 frequently, and I haven't had a chance to really figure out why it happens (is it thermal? is it a framerate mismatch? etc...). I noticed it happening to the feed coming from X-H2S but, again, I've only used it once so I can't rule out user error here, either.

The Jury is still out:
Photos: My other money maker is photography. One of my main clients is a symphony and so I'm constantly shooting in fast-moving, high contrast scenarios using electronic shutter. The X-series cameras I own (T2, H1, T3) have been as-good-as the R5C in all aspects except resolution, autofocus and extreme high-ISO. Previously, choosing a body has been a trade-off between auto-focus performance vs rolling shutter artifacts. I'm hoping that the X-H2S solves both those issues but I know there's a shadow recovery penalty with the new stacked sensor. The new season starts in about a month so only time will tell if it's actually going to be problematic.

Video autofocus: I haven't had a real-world opportunity to test the X-H2S's video autofocus against the R5C's. Hopefully, it'll be as good as the R5C -which is a low standard :-). Honestly, I was surprised by how inferior the Canon cinema implementation of DPAF is compared to the non-cinema version. Tracking moves I could do with robotic automation on the 70D/80D/5D4 I wasn't able to do with the R5C. It's made food documentary and product video capture more... annoying than it should be.
Conclusion:
I'm still stuck in the value-conscious mindset I was in a few years ago -when it would definitely have been an either/or situation- so, I'm kind of torn on whether I wasted $3000 USD on the X-H2S or $5000 USD on the R5C. If only one or the other existed, I'd probably be happy but since they both exist and they both have respective strengths and weaknesses... it's weirdly still a toss-up. I am happy that I have enough work to justify owning both.

After re-reading what I wrote above (and how non-committal I still am), I will say this: the X-H2S is what I wished the BMPCC 6K Pro would have been. It is definitely more expensive when kitted-out equivalently but it does almost everything better.
If $5000 USD is within your budget and rolling-shutter isn't a big deal, the Canon R5C is the better tool versus the X-H2.
But at $3000 USD (base+TASCAM audio unit) the X-H2S is the only hybrid camera that does all the things it does, and does them well.

JP

I mostly lurk here but I got the X-H2S about a month ago. Because I got it together with the Tascam XLR adapter, my order was delayed significantly so I missed the chance to use it on most of the gigs I had lined-up originally.
 
The one time I've used it for video, it was the Wide of a three-camera interview setup (with R5Cs as the CUs) feeding an ATEM Mini ISO. Lens was the XF 23mm f/2 (set to f/4) with AF-C / Face Detect-on. The R5Cs were set to 4K/S35 mode and one had an EF 24-70mm f/2.8L II (set to f/4) while the other had an RF 24-105mm f/4.
The Good:
Color: The X-H2S was set to Astia and the R5Cs were set to EOS Standard Profile and their footage was relatively interchangeable (this I already knew from my previous experience mixing Canon and Fujifilm cameras).
Video autofocus: The X-H2S autofocus is significantly better than my previous X-T3 -I didn't notice any focus hunting during the multi-hour shoot which is something I can't say for my previous X-series bodies in similar setups.
Keeps going: It records for longer than 29.99 minutes! That's all I want in my hybrid cameras since my main moneymaker is long form documentary.
Formats: ProRes! h.265! h.264! I've always appreciated the level of control Fujifilm gives the operator over file output. Anyone who's used a BMPCC will know the frustration of being format-limited by resolution and vice-versa.
CF-Express -as much as I hate that I'm back to cameras that have non-matched dual card slots, at least they're the same type as what I use in my R5Cs. And GB for GB, CF-Express is cheaper than SDXC UHS-II. But holy hell do they get hot.
The Bad:
The button and dial layout is significantly different from my other X-series cameras and it drives me nuts. One of the main reasons I skipped the X-T4 was specifically because they altered the layout and this has the same problem. I can re-map some of the functionality to standardize with my other X-series bodies but there are wholly deleted buttons and switches (the drive-mode and exposure-mode are two glaring examples) that is going to force me to change mindset whenever using the X-H2S with another of my X-series cameras. I might have to sell all my older bodies and just get another X-H2S (or the 40MP model) so that I don't get annoyed.
The fan works and I'm glad I have it. The problem is, as I type this... I can't remember where I put it. It can only be attached when you're using the camera, as it prevents the screen from closing/cannot remain attached permanently. It also has two sets of rubber covers that are easily lost if you're frequently attaching/detaching it. It's a very dumb implementation and is probably going to get lost and re-purchased. I wish they had just gone the route that Canon did and elegantly integrated into the body.
No anamorphic view. I have three Sirui anamorphics for XF-mount and I still have to use my Atomos Ninja Inferno.
No Waveform - I come from a "traditional" video production background so I was so excited to get these back into my workflow on my R5Cs when I don't want to attach a larger monitor. At least the Zebras on the X-H2S are still well implemented...
HDMI frame stuttering -this is something that happens on my X-T3 frequently, and I haven't had a chance to really figure out why it happens (is it thermal? is it a framerate mismatch? etc...). I noticed it happening to the feed coming from X-H2S but, again, I've only used it once so I can't rule out user error here, either.

The Jury is still out:
Photos: My other money maker is photography. One of my main clients is a symphony and so I'm constantly shooting in fast-moving, high contrast scenarios using electronic shutter. The X-series cameras I own (T2, H1, T3) have been as-good-as the R5C in all aspects except resolution, autofocus and extreme high-ISO. Previously, choosing a body has been a trade-off between auto-focus performance vs rolling shutter artifacts. I'm hoping that the X-H2S solves both those issues but I know there's a shadow recovery penalty with the new stacked sensor. The new season starts in about a month so only time will tell if it's actually going to be problematic.

Video autofocus: I haven't had a real-world opportunity to test the X-H2S's video autofocus against the R5C's. Hopefully, it'll be as good as the R5C -which is a low standard :-). Honestly, I was surprised by how inferior the Canon cinema implementation of DPAF is compared to the non-cinema version. Tracking moves I could do with robotic automation on the 70D/80D/5D4 I wasn't able to do with the R5C. It's made food documentary and product video capture more... annoying than it should be.
Conclusion:
I'm still stuck in the value-conscious mindset I was in a few years ago -when it would definitely have been an either/or situation- so, I'm kind of torn on whether I wasted $3000 USD on the X-H2S or $5000 USD on the R5C. If only one or the other existed, I'd probably be happy but since they both exist and they both have respective strengths and weaknesses... it's weirdly still a toss-up. I am happy that I have enough work to justify owning both.

After re-reading what I wrote above (and how non-committal I still am), I will say this: the X-H2S is what I wished the BMPCC 6K Pro would have been. It is definitely more expensive when kitted-out equivalently but it does almost everything better.
If $5000 USD is within your budget and rolling-shutter isn't a big deal, the Canon R5C is the better tool versus the X-H2.
But at $3000 USD (base+TASCAM audio unit) the X-H2S is the only hybrid camera that does all the things it does, and does them well.

JP

I mostly lurk here but I got the X-H2S about a month ago. Because I got it together with the Tascam XLR adapter, my order was delayed significantly so I missed the chance to use it on most of the gigs I had lined-up originally.
 
The one time I've used it for video, it was the Wide of a three-camera interview setup (with R5Cs as the CUs) feeding an ATEM Mini ISO. Lens was the XF 23mm f/2 (set to f/4) with AF-C / Face Detect-on. The R5Cs were set to 4K/S35 mode and one had an EF 24-70mm f/2.8L II (set to f/4) while the other had an RF 24-105mm f/4.
The Good:
Color: The X-H2S was set to Astia and the R5Cs were set to EOS Standard Profile and their footage was relatively interchangeable (this I already knew from my previous experience mixing Canon and Fujifilm cameras).
Video autofocus: The X-H2S autofocus is significantly better than my previous X-T3 -I didn't notice any focus hunting during the multi-hour shoot which is something I can't say for my previous X-series bodies in similar setups.
Keeps going: It records for longer than 29.99 minutes! That's all I want in my hybrid cameras since my main moneymaker is long form documentary.
Formats: ProRes! h.265! h.264! I've always appreciated the level of control Fujifilm gives the operator over file output. Anyone who's used a BMPCC will know the frustration of being format-limited by resolution and vice-versa.
CF-Express -as much as I hate that I'm back to cameras that have non-matched dual card slots, at least they're the same type as what I use in my R5Cs. And GB for GB, CF-Express is cheaper than SDXC UHS-II. But holy hell do they get hot.
The Bad:
The button and dial layout is significantly different from my other X-series cameras and it drives me nuts. One of the main reasons I skipped the X-T4 was specifically because they altered the layout and this has the same problem. I can re-map some of the functionality to standardize with my other X-series bodies but there are wholly deleted buttons and switches (the drive-mode and exposure-mode are two glaring examples) that is going to force me to change mindset whenever using the X-H2S with another of my X-series cameras. I might have to sell all my older bodies and just get another X-H2S (or the 40MP model) so that I don't get annoyed.
The fan works and I'm glad I have it. The problem is, as I type this... I can't remember where I put it. It can only be attached when you're using the camera, as it prevents the screen from closing/cannot remain attached permanently. It also has two sets of rubber covers that are easily lost if you're frequently attaching/detaching it. It's a very dumb implementation and is probably going to get lost and re-purchased. I wish they had just gone the route that Canon did and elegantly integrated into the body.
No anamorphic view. I have three Sirui anamorphics for XF-mount and I still have to use my Atomos Ninja Inferno.
No Waveform - I come from a "traditional" video production background so I was so excited to get these back into my workflow on my R5Cs when I don't want to attach a larger monitor. At least the Zebras on the X-H2S are still well implemented...
HDMI frame stuttering -this is something that happens on my X-T3 frequently, and I haven't had a chance to really figure out why it happens (is it thermal? is it a framerate mismatch? etc...). I noticed it happening to the feed coming from X-H2S but, again, I've only used it once so I can't rule out user error here, either.

The Jury is still out:
Photos: My other money maker is photography. One of my main clients is a symphony and so I'm constantly shooting in fast-moving, high contrast scenarios using electronic shutter. The X-series cameras I own (T2, H1, T3) have been as-good-as the R5C in all aspects except resolution, autofocus and extreme high-ISO. Previously, choosing a body has been a trade-off between auto-focus performance vs rolling shutter artifacts. I'm hoping that the X-H2S solves both those issues but I know there's a shadow recovery penalty with the new stacked sensor. The new season starts in about a month so only time will tell if it's actually going to be problematic.

Video autofocus: I haven't had a real-world opportunity to test the X-H2S's video autofocus against the R5C's. Hopefully, it'll be as good as the R5C -which is a low standard :-). Honestly, I was surprised by how inferior the Canon cinema implementation of DPAF is compared to the non-cinema version. Tracking moves I could do with robotic automation on the 70D/80D/5D4 I wasn't able to do with the R5C. It's made food documentary and product video capture more... annoying than it should be.
Conclusion:
I'm still stuck in the value-conscious mindset I was in a few years ago -when it would definitely have been an either/or situation- so, I'm kind of torn on whether I wasted $3000 USD on the X-H2S or $5000 USD on the R5C. If only one or the other existed, I'd probably be happy but since they both exist and they both have respective strengths and weaknesses... it's weirdly still a toss-up. I am happy that I have enough work to justify owning both.

After re-reading what I wrote above (and how non-committal I still am), I will say this: the X-H2S is what I wished the BMPCC 6K Pro would have been. It is definitely more expensive when kitted-out equivalently but it does almost everything better.
If $5000 USD is within your budget and rolling-shutter isn't a big deal, the Canon R5C is the better tool versus the X-H2.
But at $3000 USD (base+TASCAM audio unit) the X-H2S is the only hybrid camera that does all the things it does, and does them well.

JP

I mostly lurk here but I got the X-H2S about a month ago. Because I got it together with the Tascam XLR adapter, my order was delayed significantly so I missed the chance to use it on most of the gigs I had lined-up originally.
 
The one time I've used it for video, it was the Wide of a three-camera interview setup (with R5Cs as the CUs) feeding an ATEM Mini ISO. Lens was the XF 23mm f/2 (set to f/4) with AF-C / Face Detect-on. The R5Cs were set to 4K/S35 mode and one had an EF 24-70mm f/2.8L II (set to f/4) while the other had an RF 24-105mm f/4.
The Good:
Color: The X-H2S was set to Astia and the R5Cs were set to EOS Standard Profile and their footage was relatively interchangeable (this I already knew from my previous experience mixing Canon and Fujifilm cameras).
Video autofocus: The X-H2S autofocus is significantly better than my previous X-T3 -I didn't notice any focus hunting during the multi-hour shoot which is something I can't say for my previous X-series bodies in similar setups.
Keeps going: It records for longer than 29.99 minutes! That's all I want in my hybrid cameras since my main moneymaker is long form documentary.
Formats: ProRes! h.265! h.264! I've always appreciated the level of control Fujifilm gives the operator over file output. Anyone who's used a BMPCC will know the frustration of being format-limited by resolution and vice-versa.
CF-Express -as much as I hate that I'm back to cameras that have non-matched dual card slots, at least they're the same type as what I use in my R5Cs. And GB for GB, CF-Express is cheaper than SDXC UHS-II. But holy hell do they get hot.
The Bad:
The button and dial layout is significantly different from my other X-series cameras and it drives me nuts. One of the main reasons I skipped the X-T4 was specifically because they altered the layout and this has the same problem. I can re-map some of the functionality to standardize with my other X-series bodies but there are wholly deleted buttons and switches (the drive-mode and exposure-mode are two glaring examples) that is going to force me to change mindset whenever using the X-H2S with another of my X-series cameras. I might have to sell all my older bodies and just get another X-H2S (or the 40MP model) so that I don't get annoyed.
The fan works and I'm glad I have it. The problem is, as I type this... I can't remember where I put it. It can only be attached when you're using the camera, as it prevents the screen from closing/cannot remain attached permanently. It also has two sets of rubber covers that are easily lost if you're frequently attaching/detaching it. It's a very dumb implementation and is probably going to get lost and re-purchased. I wish they had just gone the route that Canon did and elegantly integrated into the body.
No anamorphic view. I have three Sirui anamorphics for XF-mount and I still have to use my Atomos Ninja Inferno.
No Waveform - I come from a "traditional" video production background so I was so excited to get these back into my workflow on my R5Cs when I don't want to attach a larger monitor. At least the Zebras on the X-H2S are still well implemented...
HDMI frame stuttering -this is something that happens on my X-T3 frequently, and I haven't had a chance to really figure out why it happens (is it thermal? is it a framerate mismatch? etc...). I noticed it happening to the feed coming from X-H2S but, again, I've only used it once so I can't rule out user error here, either.

The Jury is still out:
Photos: My other money maker is photography. One of my main clients is a symphony and so I'm constantly shooting in fast-moving, high contrast scenarios using electronic shutter. The X-series cameras I own (T2, H1, T3) have been as-good-as the R5C in all aspects except resolution, autofocus and extreme high-ISO. Previously, choosing a body has been a trade-off between auto-focus performance vs rolling shutter artifacts. I'm hoping that the X-H2S solves both those issues but I know there's a shadow recovery penalty with the new stacked sensor. The new season starts in about a month so only time will tell if it's actually going to be problematic.

Video autofocus: I haven't had a real-world opportunity to test the X-H2S's video autofocus against the R5C's. Hopefully, it'll be as good as the R5C -which is a low standard :-). Honestly, I was surprised by how inferior the Canon cinema implementation of DPAF is compared to the non-cinema version. Tracking moves I could do with robotic automation on the 70D/80D/5D4 I wasn't able to do with the R5C. It's made food documentary and product video capture more... annoying than it should be.
Conclusion:
I'm still stuck in the value-conscious mindset I was in a few years ago -when it would definitely have been an either/or situation- so, I'm kind of torn on whether I wasted $3000 USD on the X-H2S or $5000 USD on the R5C. If only one or the other existed, I'd probably be happy but since they both exist and they both have respective strengths and weaknesses... it's weirdly still a toss-up. I am happy that I have enough work to justify owning both.

After re-reading what I wrote above (and how non-committal I still am), I will say this: the X-H2S is what I wished the BMPCC 6K Pro would have been. It is definitely more expensive when kitted-out equivalently but it does almost everything better.
If $5000 USD is within your budget and rolling-shutter isn't a big deal, the Canon R5C is the better tool versus the X-H2.
But at $3000 USD (base+TASCAM audio unit) the X-H2S is the only hybrid camera that does all the things it does, and does them well.

JP

I mostly lurk here but I got the X-H2S about a month ago. Because I got it together with the Tascam XLR adapter, my order was delayed significantly so I missed the chance to use it on most of the gigs I had lined-up originally.
 
The one time I've used it for video, it was the Wide of a three-camera interview setup (with R5Cs as the CUs) feeding an ATEM Mini ISO. Lens was the XF 23mm f/2 (set to f/4) with AF-C / Face Detect-on. The R5Cs were set to 4K/S35 mode and one had an EF 24-70mm f/2.8L II (set to f/4) while the other had an RF 24-105mm f/4.
The Good:
Color: The X-H2S was set to Astia and the R5Cs were set to EOS Standard Profile and their footage was relatively interchangeable (this I already knew from my previous experience mixing Canon and Fujifilm cameras).
Video autofocus: The X-H2S autofocus is significantly better than my previous X-T3 -I didn't notice any focus hunting during the multi-hour shoot which is something I can't say for my previous X-series bodies in similar setups.
Keeps going: It records for longer than 29.99 minutes! That's all I want in my hybrid cameras since my main moneymaker is long form documentary.
Formats: ProRes! h.265! h.264! I've always appreciated the level of control Fujifilm gives the operator over file output. Anyone who's used a BMPCC will know the frustration of being format-limited by resolution and vice-versa.
CF-Express -as much as I hate that I'm back to cameras that have non-matched dual card slots, at least they're the same type as what I use in my R5Cs. And GB for GB, CF-Express is cheaper than SDXC UHS-II. But holy hell do they get hot.
The Bad:
The button and dial layout is significantly different from my other X-series cameras and it drives me nuts. One of the main reasons I skipped the X-T4 was specifically because they altered the layout and this has the same problem. I can re-map some of the functionality to standardize with my other X-series bodies but there are wholly deleted buttons and switches (the drive-mode and exposure-mode are two glaring examples) that is going to force me to change mindset whenever using the X-H2S with another of my X-series cameras. I might have to sell all my older bodies and just get another X-H2S (or the 40MP model) so that I don't get annoyed.
The fan works and I'm glad I have it. The problem is, as I type this... I can't remember where I put it. It can only be attached when you're using the camera, as it prevents the screen from closing/cannot remain attached permanently. It also has two sets of rubber covers that are easily lost if you're frequently attaching/detaching it. It's a very dumb implementation and is probably going to get lost and re-purchased. I wish they had just gone the route that Canon did and elegantly integrated into the body.
No anamorphic view. I have three Sirui anamorphics for XF-mount and I still have to use my Atomos Ninja Inferno.
No Waveform - I come from a "traditional" video production background so I was so excited to get these back into my workflow on my R5Cs when I don't want to attach a larger monitor. At least the Zebras on the X-H2S are still well implemented...
HDMI frame stuttering -this is something that happens on my X-T3 frequently, and I haven't had a chance to really figure out why it happens (is it thermal? is it a framerate mismatch? etc...). I noticed it happening to the feed coming from X-H2S but, again, I've only used it once so I can't rule out user error here, either.

The Jury is still out:
Photos: My other money maker is photography. One of my main clients is a symphony and so I'm constantly shooting in fast-moving, high contrast scenarios using electronic shutter. The X-series cameras I own (T2, H1, T3) have been as-good-as the R5C in all aspects except resolution, autofocus and extreme high-ISO. Previously, choosing a body has been a trade-off between auto-focus performance vs rolling shutter artifacts. I'm hoping that the X-H2S solves both those issues but I know there's a shadow recovery penalty with the new stacked sensor. The new season starts in about a month so only time will tell if it's actually going to be problematic.

Video autofocus: I haven't had a real-world opportunity to test the X-H2S's video autofocus against the R5C's. Hopefully, it'll be as good as the R5C -which is a low standard :-). Honestly, I was surprised by how inferior the Canon cinema implementation of DPAF is compared to the non-cinema version. Tracking moves I could do with robotic automation on the 70D/80D/5D4 I wasn't able to do with the R5C. It's made food documentary and product video capture more... annoying than it should be.
Conclusion:
I'm still stuck in the value-conscious mindset I was in a few years ago -when it would definitely have been an either/or situation- so, I'm kind of torn on whether I wasted $3000 USD on the X-H2S or $5000 USD on the R5C. If only one or the other existed, I'd probably be happy but since they both exist and they both have respective strengths and weaknesses... it's weirdly still a toss-up. I am happy that I have enough work to justify owning both.

After re-reading what I wrote above (and how non-committal I still am), I will say this: the X-H2S is what I wished the BMPCC 6K Pro would have been. It is definitely more expensive when kitted-out equivalently but it does almost everything better.
If $5000 USD is within your budget and rolling-shutter isn't a big deal, the Canon R5C is the better tool versus the X-H2.
But at $3000 USD (base+TASCAM audio unit) the X-H2S is the only hybrid camera that does all the things it does, and does them well.

JP

I mostly lurk here but I got the X-H2S about a month ago. Because I got it together with the Tascam XLR adapter, my order was delayed significantly so I missed the chance to use it on most of the gigs I had lined-up originally.
 
The one time I've used it for video, it was the Wide of a three-camera interview setup (with R5Cs as the CUs) feeding an ATEM Mini ISO. Lens was the XF 23mm f/2 (set to f/4) with AF-C / Face Detect-on. The R5Cs were set to 4K/S35 mode and one had an EF 24-70mm f/2.8L II (set to f/4) while the other had an RF 24-105mm f/4.
The Good:
Color: The X-H2S was set to Astia and the R5Cs were set to EOS Standard Profile and their footage was relatively interchangeable (this I already knew from my previous experience mixing Canon and Fujifilm cameras).
Video autofocus: The X-H2S autofocus is significantly better than my previous X-T3 -I didn't notice any focus hunting during the multi-hour shoot which is something I can't say for my previous X-series bodies in similar setups.
Keeps going: It records for longer than 29.99 minutes! That's all I want in my hybrid cameras since my main moneymaker is long form documentary.
Formats: ProRes! h.265! h.264! I've always appreciated the level of control Fujifilm gives the operator over file output. Anyone who's used a BMPCC will know the frustration of being format-limited by resolution and vice-versa.
CF-Express -as much as I hate that I'm back to cameras that have non-matched dual card slots, at least they're the same type as what I use in my R5Cs. And GB for GB, CF-Express is cheaper than SDXC UHS-II. But holy hell do they get hot.
The Bad:
The button and dial layout is significantly different from my other X-series cameras and it drives me nuts. One of the main reasons I skipped the X-T4 was specifically because they altered the layout and this has the same problem. I can re-map some of the functionality to standardize with my other X-series bodies but there are wholly deleted buttons and switches (the drive-mode and exposure-mode are two glaring examples) that is going to force me to change mindset whenever using the X-H2S with another of my X-series cameras. I might have to sell all my older bodies and just get another X-H2S (or the 40MP model) so that I don't get annoyed.
The fan works and I'm glad I have it. The problem is, as I type this... I can't remember where I put it. It can only be attached when you're using the camera, as it prevents the screen from closing/cannot remain attached permanently. It also has two sets of rubber covers that are easily lost if you're frequently attaching/detaching it. It's a very dumb implementation and is probably going to get lost and re-purchased. I wish they had just gone the route that Canon did and elegantly integrated into the body.
No anamorphic view. I have three Sirui anamorphics for XF-mount and I still have to use my Atomos Ninja Inferno.
No Waveform - I come from a "traditional" video production background so I was so excited to get these back into my workflow on my R5Cs when I don't want to attach a larger monitor. At least the Zebras on the X-H2S are still well implemented...
HDMI frame stuttering -this is something that happens on my X-T3 frequently, and I haven't had a chance to really figure out why it happens (is it thermal? is it a framerate mismatch? etc...). I noticed it happening to the feed coming from X-H2S but, again, I've only used it once so I can't rule out user error here, either.

The Jury is still out:
Photos: My other money maker is photography. One of my main clients is a symphony and so I'm constantly shooting in fast-moving, high contrast scenarios using electronic shutter. The X-series cameras I own (T2, H1, T3) have been as-good-as the R5C in all aspects except resolution, autofocus and extreme high-ISO. Previously, choosing a body has been a trade-off between auto-focus performance vs rolling shutter artifacts. I'm hoping that the X-H2S solves both those issues but I know there's a shadow recovery penalty with the new stacked sensor. The new season starts in about a month so only time will tell if it's actually going to be problematic.

Video autofocus: I haven't had a real-world opportunity to test the X-H2S's video autofocus against the R5C's. Hopefully, it'll be as good as the R5C -which is a low standard :-). Honestly, I was surprised by how inferior the Canon cinema implementation of DPAF is compared to the non-cinema version. Tracking moves I could do with robotic automation on the 70D/80D/5D4 I wasn't able to do with the R5C. It's made food documentary and product video capture more... annoying than it should be.
Conclusion:
I'm still stuck in the value-conscious mindset I was in a few years ago -when it would definitely have been an either/or situation- so, I'm kind of torn on whether I wasted $3000 USD on the X-H2S or $5000 USD on the R5C. If only one or the other existed, I'd probably be happy but since they both exist and they both have respective strengths and weaknesses... it's weirdly still a toss-up. I am happy that I have enough work to justify owning both.

After re-reading what I wrote above (and how non-committal I still am), I will say this: the X-H2S is what I wished the BMPCC 6K Pro would have been. It is definitely more expensive when kitted-out equivalently but it does almost everything better.
If $5000 USD is within your budget and rolling-shutter isn't a big deal, the Canon R5C is the better tool versus the X-H2.
But at $3000 USD (base+TASCAM audio unit) the X-H2S is the only hybrid camera that does all the things it does, and does them well.

JP

Well sure IPS is the way to go with led backlight, but he would be limited to 2K, I know of no 4K for the money he is talking. If he is content with 2k sure. I would rather have a newer BenQ EW3270U with a VA panel than an older monitor even if IPS with the older CFL backlight. They are bad when you look at them at sharp angles also. Plus, the bulb gets weaker with age. No free lunch sad to say.

I don't think I saw this mentioned in the thread, so far:
The panel type is *critical*. Most LCD/LED monitors are TN or VA which have very high (good) contrast ratios. However, they have very narrow viewing angles which is very, very bad when you're evaluating colors. The ideal panel for editing photos and video are IPS (inline plane switching) which trade high color accuracy for lower contrast ratios. Almost all professional monitors are IPS.

LED backlights are (theoretically) superior overall to the older CFL backlight method for LCDs. They *should* last longer, use less energy, and retain consistency of backlight color/accuracy longer. CFL backlights change with age and use. Which leads me to say that the age of a monitor only really matters if you're trying to match a pair -in which case you want to get the same exact monitor with as-closely-matching serial numbers as possible.

I don't think I saw this mentioned in the thread, so far:
The panel type is *critical*. Most LCD/LED monitors are TN or VA which have very high (good) contrast ratios. However, they have very narrow viewing angles which is very, very bad when you're evaluating colors. The ideal panel for editing photos and video are IPS (inline plane switching) which trade high color accuracy for lower contrast ratios. Almost all professional monitors are IPS.

LED backlights are (theoretically) superior overall to the older CFL backlight method for LCDs. They *should* last longer, use less energy, and retain consistency of backlight color/accuracy longer. CFL backlights change with age and use. Which leads me to say that the age of a monitor only really matters if you're trying to match a pair -in which case you want to get the same exact monitor with as-closely-matching serial numbers as possible.

Hello,
This is the official topic for all Colorizer products.
My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras.
The following formats are supported at the moment, click the links for videos and details:
Fujifilm X-T3/X-T4 F-Log
Sony S-Log2/S-Gamut3.cine
Panasonic V-Log L & HLG
I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve:
- Fujifilm F-Log/F-Gamut
- Nikon N-Log/BT.2020
- Sony S-Log2/S-Gamut3.cine
- Z Cam ZLog2
- GoPro Protune
These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well.
I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user.
As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net.
Thank you for your attention,
Attila

Doesn't sound as good.
I started with a NTG2, then I "upgraded" (it wasn't!) to a ME66, then I got a Sanken CS3e / CS1e (and many others since!). Should've just skipped those first two and gone to something decent.

Can you help me understand your experience a bit when you say "awkward focal lengths on Super35"? Like, under what conditions are you shooting?
The filmmakers I studied under using Super 35, its equivalent sensor size, or a 4/3rds sensor always used focal lengths that were readily compatible with common "full frame" lenses. For doc interviews, I was taught 50mm/35mm (Super 35 and 4/3rds, respectively) for A Cam, 35mm/24mm for B Cam with wider-than ~50º field of view kind-of a niche thing because of perspective distortion. Because of that experience, I've always been happy shooting APS-C with 16-35mm, 24-70mm, and 70-200/300mm L zooms in my bag (I also have a 10-18mm STM but I never use it for doc work).

I'm not saying that I... ugh. What I mean is... hmm... lol.
@kye knows what I mean.
I'm an audio-engineer, first, by training. I have multiple DACs, interfaces, passive and active monitor switchers, three sets of mixing monitors, etc.... I used to use my old HP workstation laptop for referencing, then my 17" MBP, but don't on my 15" MBP. When I see Apple and Microsoft ads showcasing their hardware with someone doing critical recording or mixing work without all the accoutrements, I cry a little.
Still like what I hear coming out of those MBP speakers -I just don't trust what's coming out of them.
That's all.

That statement is not only ahistorical and incorrect, it’s downright disgusting.

I have the Voigtlander 40mm f1.2 LM as taking lens mounted with dumb LM-FX adapter on the X-T3. After that the Anamorphot Bolex 16/32/1.5x and Rectilux HCDNA for focussing. I filmed this during a photoshoot, not really intend to make a short commercial like film. The Voigtlander 40mm/f1.2 works pretty well. All shots filmed wide open, mixed light and with variable ND filter.
 
 

Check out Attila's work: http://colorizer.net/

After using the Ninja V on a concert shoot this weekend, I'm feeling the pain of the micro HDMI connection. I had used the monitor a day or two before for a corporate shoot at an acupuncturist's office, and didn't have any problems with it locked down on sticks or with a bit of handheld to get b-roll. 
The first evening of a two-day concert event I got booked for, the mini HDMI end of the cable came out multiple times and the metal male insert ended up bending. I think a big part of the problem the 90 degree bend in the Atomos cable. It bends in such a way that it exerts pressure on the connection and basically "wants" to break it. And is so thick that the recommended SmallRig cable clamp for my cage doesn't fit it. I can't find a clamp that will work. 
Luckily, I didn't pay for the damn cable, I found a package deal from Adorama on Amazon that bundled the cable with the monitor for the normal price. I'm definitely going to ask Adorama to warranty the cable. Can anyone recommend a legit to mini HDMI cable with a straight emd that will record 4k 60 and isn't 10 feet long?
 

Wait for the blackmagic if you value audio. Preamps in the Ninja V are reportedly terrible.

I couldn't get mine to work in 4k so sent it back.
Tried 3 of the highest quality cables I could find.
Software may have been updated since however as it was 6+ months ago?
 

I haven't used the Ninja enough to get any connections problems yet. I got a package deal from Adorama that included the Atomos cable with the 90 degree micro HDMI cable end and I do worry that the bend is in the wrong direction and may cause problems with a connection down the line. I picked up the HDMI cable clamp that SmallRig recommends for their X-T3 cage, but it doesn't work with the Atomos cable because of the bend. I definitely want to find one that works.
 

Both are reliable systems. The Blackmagic's are brighter, Ninja V is more affordable though and seems plenty bright. 

Haven't had any issues on my Ninja 2, the thing I am more worried about is the micro HDMI connection on my fuji. But yeah its pretty solid. 

I just received the Ninja this weekend and started playing with it. Used it on a commercial gig tonight. It's pretty user friendly and easy to set up. The touch screen can be a tiny bit wonky at times and there are no physical buttons. It's nice to have 4K files that my computer doesn't hack up like hairballs.
The biggest surprise for me is how noisy the fan can be. Even recording audio off camera with a hypercardioid mic I'm having to get room tone and scrub the noise in Audition.
A lot of people think the new Blackmagic Video Assist 12G HDR  will be better, buI got the Ninja instead of waiting for because I might have a job this weekend that calls for unlimited recording and because it can do DCI 4k 60. For some reason, the 12G HDR won't do more than 4k 30p in DCI. The Ninja and a 1T WD Blue SSD is still less than the Blackmagic 5 inch with no storage
The 12G HDR does take both UHS-II cards and USB-C flash disks like the Samsung T-5 though, both of which almost everyone has in their kit already. Honestly, if the BM comes into stock in the next few weeks and people can confirm it's not as noisy as the Ninja, I might return the Atomos and try out the Blackmagic. 

You've already seen some stills; here is the video.
Constructive criticism welcome!