currensheldon

Since the XT3 and XT4 are so good, they should just go all out with the X-H2 and make it first and foremost a video camera. Make it an XC-15 style camera (or a smaller C100), with modular XLR adapter,  internal NDs, all the video codecs, timecode, etc etc - plus the things people don't believe belong in a cinema camera - like IBIS. 
Go right up against the lower end ($2,500 - $4,000) cinema lineup that Sony, Canon, and Panasonic have abandoned (other than the S1H, which is still a hybrid mirrorless photo camera). 
Finally give the X-Mount a reason for their beautiful X-Mount cinema zooms and great mini primes. Make the ultimate doc/journalist/one-man-band camera. 

I am pumped for this camera. IBIS + a bigger battery were definitely the two biggest reasons I was holding on to my GH5 as my take anywhere, traveling video production camera. But Fuji strikes the perfect balance of small, compact, lightweight (lenses especially), high-quality, large sensor, great image, great color, good AF, etc etc. Full-frame is great, but lenses do get big and expensive FAST. And MFT suffers from low light performance and not good AF - and the high-end lenses are more expensive than the Fujis. 
Not to mention the Fujis are much better photography cameras.
Love the XT3, but the lack of IBIS and dismal battery life always held me back. Looks like both of those are fixed. Can't wait to sang the XT4 as my travel, small production video camera. Hope it gets true 10-bit 422 (rather than 420) and some sort of 4k 120fps burst mode. 

I am pumped for this camera. IBIS + a bigger battery were definitely the two biggest reasons I was holding on to my GH5 as my take anywhere, traveling video production camera. But Fuji strikes the perfect balance of small, compact, lightweight (lenses especially), high-quality, large sensor, great image, great color, good AF, etc etc. Full-frame is great, but lenses do get big and expensive FAST. And MFT suffers from low light performance and not good AF - and the high-end lenses are more expensive than the Fujis. 
Not to mention the Fujis are much better photography cameras.
Love the XT3, but the lack of IBIS and dismal battery life always held me back. Looks like both of those are fixed. Can't wait to sang the XT4 as my travel, small production video camera. Hope it gets true 10-bit 422 (rather than 420) and some sort of 4k 120fps burst mode. 

I have a feeling this giant countdown clock to the announcement of the Fuji XT4 on the official Fuji website is a good indication it will indeed be the XT4: https://fujifilm-x.com/en-us/lp/x-t4-teaser/
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I'm pumped to see what this camera is. Totally agree that 6k isn't necessary. IBIS, much better battery life, maybe one-stop better ISO performance, and more professional codec options is way more important than 6k.
120fps in 4k would be sweet though.

The whole trend around 8k seems very superficial imho. More cpu, more hard drive and we have yet to get 10 bit internal on any ff camera... this direction seems guided by economic interest (Olympic games, 8k TVs) more than content creators. Most people can’t even tell the difference between FHD and 4K. We need better codecs / color bit depth, maybe more options in terms of frame rates and vitrâtes. Not more useless resolution only to boast about on forums and forcing us to buy new computers. 

From the press text: "The EOS R5 will be the first Canon camera equipped with IBIS (In Body Image Stabilization) and when used in conjunction with the extremely effective in-lens stabilization (IS), will allow photographers to handhold the camera in light levels not previously imagined."
It is confirmed that it is real, mechanical IBIS. So, no need to worry there.
Also, 8-bit 420 8k (likely) is not even close to being better than 6k 12-bit, 422 raw (C500II), so this camera does not really tread on any toes. 
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I do think Canon has now realized that there are a lot of people who like having the same manufacturer from A-Cam to B-Cam to C-Cam that can achieve similar specs and IQ. So the C500 II (and future C300 III) will only gain from a strong Canon mirrorless lineup. I've been using Panasonic (and not Canon) for the past 2-3 years because I needed 10-bit 4k for both A-Cam and gimbal cam (EVA-1 and GH5). But, prefer Canon, so once they get an RF-mount cinema camera out and THIS camera, I'll be back.
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What the R5 MUST have is 10-bit 422 4k internally up to 60fps. The S1H does it, the A7sIII will do it, the GH6 will do much more. If it doesn't have a solid 10-bit 422 codec in 4K with NO CROP, then all the 8k is for naught and I'd rather have an S1H or Fuji XT3/XT4. 

10-bit 422 internally is a must from now on for any higher end mirrorless body. I’d much rather have that than 5.5k raw. 
 
 

10-bit 422 internally is a must from now on for any higher end mirrorless body. I’d much rather have that than 5.5k raw. 
 
 

10-bit 422 internally is a must from now on for any higher end mirrorless body. I’d much rather have that than 5.5k raw. 
 
 

10-bit 422 internally is a must from now on for any higher end mirrorless body. I’d much rather have that than 5.5k raw. 
 
 

10-bit 422 internally is a must from now on for any higher end mirrorless body. I’d much rather have that than 5.5k raw. 
 
 

I think it would be a misstep to go back to 8-bit after showing the goods in the 1DX III.
 

That's a good idea as well. I like Fuji continuing to offering something different than the competition in those two fields, and video is one of the best ways to differentiate itself.
Super35/APS-C: Packed full of features, high frame rates, IBIS, great AF, etc
Fuji Cine LF: Medium format sensor for dreamy cinema. Basically the GFX100 specs in a compact (FS5-ish) cinema body. Or a EZ-Cam/Red Komodo like box.
That'd be sweet. 

I like to think that Sony has trained its customers into always needing the newest and latest tech, so they are constantly upgrading and selling every 6-12 months. Whereas Canon and Fuji users seem to use their cameras more specifically for the joy in using them. But, I'm not a Sony fan at all, so my bias is really showing through here. 
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As stated on another thread, all of these specs would be very welcome in a small FS5-ish style cinema camera from Fuji. 
But as long as this has
1. IBIS
2. A much better battery - at least double the record time as the previous model
3. AF improvements to bring it close to Canon and Sony
I think it will be a big hit.
I'd love to add in 10-bit 422 instead of 10-bit 420, 4k in 120fps, and ProRes Raw out via the HDMI. But those would all be icing. 

Top used cameras is an interesting chart, as it both illustrates owners getting rid of cameras, and users wanting cameras!

Not sure how to read anything into that??

A medium format video camera from Fuji would shut the game down. Even though, it would be a pretty impractical format with limited lens choice compared to Super 35 or full frame, cinematographers think with their hearts as well as their brains, and getting the opportunity to shoot on a nearly IMAX-sized sensor would override a lot of other considerations.
Do it, Fuji. DO IT.

That's a good idea as well. I like Fuji continuing to offering something different than the competition in those two fields, and video is one of the best ways to differentiate itself.
Super35/APS-C: Packed full of features, high frame rates, IBIS, great AF, etc
Fuji Cine LF: Medium format sensor for dreamy cinema. Basically the GFX100 specs in a compact (FS5-ish) cinema body. Or a EZ-Cam/Red Komodo like box.
That'd be sweet. 

Yeah, Fujifilm lacks a great vlogging camera. Just give us both a screen that you can see *and* a mic input at the same time. (bonus of course if it has IBIS and great AF! Dumb things like only 8bit and 15 minute limits won't even matter if it has everything else I just mentioned)

As much as we might look down on vloggers, they do have a huge huge influence on future sales. (and those baby vloggers do later on grow up and buy a "real camera" for "real work", and who will they choose? The company they learned on, let's hope that is Fuji!)

 
Exactly what I've been saying! S35 X Mount cinema camera.
 

Yes, agreed that Fuji should fully embrace their APS-C/Super35 sensor size and go all in on the things that are harder for full-frame to do: make affordable cinema and video cameras that are compact and travel well that are packed full of features 2-3 years before they make it into full-frame cameras. The GH5 did this 2-3 years before the S1H came out. Still nobody has topped it for 10-bit 422 internal 4K outside of Panasonic itself and the $6500 1DX III. 
I LOVE the Super35 sensor size as long as there are lenses that are made specifically for it. Fuji has tons of those.  The Canon EF mount is frustrating because if you want a stabilized 24-70mm f2.8 for doc work, the only lens that is close is their 17-55mm and it vignettes in DCI 4k and 2k. Sony has some, but underwhelming in general.
Definitely think Fuji needs to get into the video game big time in some way. Why not a Canon XC-15-esque model with 2 mini-xlrs and inernal NDs and an X-Mount? Or a Fuji X-H2 that has all the features of the S1H but with great AF and internal NDs? And then an FS5-like video camera for doc-oriented projects with IBIS and 12-bit codecs.
They definitely have an opportunity to continue to do what they are doing and offer something different, rather than just go full-frame like everyone else. 

I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. 
I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.

I think 1917 did a great job of keeping the film exciting, but it is not "action-packed" like most action/war movies. It feels very realistic. It's more stressful and tense than high-flying action. And, like in real life, any fights are messy and realistic. I really think they toed the line very well of action and reality. 

I've used it quite a bit, yes, and totally agree with you. I even said that I think the C300 II produces a MUCH better image than the FS7. What I mean by "blew it" is really the price compared to what else it offered besides a beautiful image. That's my main concern, which is why after using a Sony for a bit, I went back to using Canon and/or Panasonic, but for a lot of people, the FS7 offered more (4k 60fps, 180fps in HD, ability to speedboost it, high bit rates, etc) for about half the price. I'd still take the tradeoffs for a better looking image at 24p (which is 85% of my work), but there are plenty of people who need all the other stuff the FS7 offered or wanted to save $8k.
As an actual image-making device, it's a fantastic camera. Just released at a weird time at a pretty insane price.

Shooting with it yesterday on a C300 II and I had the same thought - really wanted it to be longer. It's just too limiting, but the f1.8 aperture is too good to pass up. 16-55 f2 would be amazing, but I'd take an 18-50mm f2 in a heartbeat. 

I've used it quite a bit, yes, and totally agree with you. I even said that I think the C300 II produces a MUCH better image than the FS7. What I mean by "blew it" is really the price compared to what else it offered besides a beautiful image. That's my main concern, which is why after using a Sony for a bit, I went back to using Canon and/or Panasonic, but for a lot of people, the FS7 offered more (4k 60fps, 180fps in HD, ability to speedboost it, high bit rates, etc) for about half the price. I'd still take the tradeoffs for a better looking image at 24p (which is 85% of my work), but there are plenty of people who need all the other stuff the FS7 offered or wanted to save $8k.
As an actual image-making device, it's a fantastic camera. Just released at a weird time at a pretty insane price.