FUJIFILM X-T2 Review – Real World Video Samples and First Impressions

August 9th, 2016

FUJIFILM, a respected company well-known for making high quality stills cameras, photo lenses and professional video and cinema lenses, is now taking its first steps towards implementing proper 4K video recording into their new X-T2 mirrorless camera. If you take a moment to look at the interview we recently conducted with Jun Watanabe, a manager at FUJIFILM corporation, you will hear how serious they are in planning to develop and enhance the video capabilities of that camera, and establish their name as a company that listens to their customers by supplying them with the right tool for their work. 

Fujifilm X-T2 (1 of 7)

Tokyo, July 2016. The heat and humidity are almost unbearable. I guess the only person who really doesn’t care about it is me. After all, I just got the X-T2 for a short test ride, and learning its ins and outs completely distracts me from that heat wave. As the camera is still on a beta stage and the installed firmware is not final, I have to be very cautious with what I write. I know for sure that some of the key limitations I found while working with it are now being reviewed by FUJIFILM, and some if not most of them will be addressed in the final firmware release (or the one after). Before I continue, I must confess that during my meeting at FUJIFILM, I had the pleasure of meeting humble yet determined and professional people who really gave me the feeling of talking to a company that is willing to listen to customers. If the demand for a certain feature is there, they will do their best to fulfil those wishes and implement them as long as the hardware used allows for it.

In order to achieve maximum picture quality, FUJIFILM provided me with the X-T2 mirrorless camera and the Fujifilm XF 16-55mm f/2.8 lens. I had in my hands an APS-C mirrorless camera which uses the H.264 compressing method with a data rate of around 100 Mbit/s in 4K mode. I’ll write up front that this combination is not suited for the occasional documentary shooter, as neither the camera nor the lens have any kind of built-in stabilisation, and micro shakes become very noticeable. For my next test, I will be using the less expensive yet equally capable Fujifilm XF 18-55mm f/2.8-4. This lens has a built-in OIS, so I expect to have a different user experience.. (Note that buying the X-T2 together with that lens will save you $300 over buying those two items separately).

Fujifilm X-T2 (6 of 7)


Here is a summary of what I found while working with the beta X-T2 camera. 

Fujifilm X-T2 Pros: (in no particular order)

  • World camera. UHD video in 25p and 24p, plus a variety of frame rates (up to 60p) in HD mode.
  • F-log 4:2:2 (8 bit) through HDMI and external recording. For many, the 8 bit figure won’t cut, but with the current hardware being used, we have to be realistic.
  • EVF is truly high quality!
  • LCD screen is good and can be tilted.
  • No dedicated video REC button. The photo shutter release button is used to start video recording. For people like me who are not interested in taking photos while shooting video, this is a plus as the button is located very logically. But for others, it might be a big obstacle, one that can result in skipping purchasing that camera all together. I’ve put this point in the Pros section because it works well for me.
  • Testing during a relatively long interview, the camera did not get warm to the point of shutting off. I will experiment more when the final version is here.
  • Rolling shutter looks well controlled in full HD 50/60p, but average in 4K 24p. To be checked in our lab test soon.
  • Audio quality is well above what we are use to having in such small cameras when connecting an external microphone.
  • Good battery life. Having 3 of those batteries (one in camera and 2 in the handgrip) helped me to shoot throughout the whole working day without a problem.
  • The VPB-XT2 handgrip can serve as a very fast battery charger.

Fujifilm X-T2 Cons: (in no particular order)

  • The camera together with a standard lens can only accommodate a very short photo tripod plate. Recommendation: use the additional VPB-XT2 handgrip to overcome that problem.
  • Using the X-T2 together with the XF 16-55mm f/2,8 and VPB-XT2 handgrip, proved to heavily lean to the left side. On my next test, I will be using the Fujifilm XF 18-55mm f/2.8-4 and hope to have a different experience.
  • Eyecup is hard and not replaceable. Not so easy to judge exposure during daylight.
  • The headphones plastic cover on the VPB-XT2 handgrip is extremely hard to open. Patience is the keyword…. 

  • The default setting for the ISO and SHUTTER wheels is “rotation free”. If you push the center lock button, THEN you can’t twist them anymore. To my opinion, the default should have been LOCKED and when pressing the center lock button, then be able to twist the wheels freely.
  • Currently “punch-in zoom” in order to verify manual focus is not possible.
  • Currently changing ISO values while recording is not possible.
  • Currently changing WB while recording is not possible.
  • Noticeable aliasing/moiré in some situations while shooting in 4K. In full HD/60p, it is more evident.
  • LCD/EVF are locked at the last viewing position. In other words, if one starts an interview looking at the picture in the viewfinder and then move away from the camera, the LCD will not turn on. 

  • Microphone and headphone jacks are located separately, one on the camera body, the other is on the handgrip. One will be forced to buy additional equipment in order to have total control over audio.
  • Currently, waveform is not available in video mode
  • In the beta camera I had, I could not monitor some of the changes I made in WB or film simulation. I know those are not possible to observe while in the Q menu mode, but I will repeat this test when I get the camera again and see why I couldn’t change it.
  • One of my biggest concerns is the highlight roll-off when using the different film simulation modes. It is very easy to over expose the picture. FUJIFILM assured me that the highlight tone / shadow tone is based on a film simulation mode which was previously available only in photo mode, but that will now be available for video. This will help with addressing this phenomenon.
  • At times, it felt like it takes longer then usual to write the data onto the SD card after stopping the recording, despite the very fast card I had.

  • No screen layouts to help with simulating 2,35:1 or any other ratio but 16:9
  • Not all photo-related functions in the menu are greyed out. It can be confusing when judging what is available for video mode.
  • Although the autofocus algorithm is totally the same, it is rather slow and inconsistent in 24p (as opposed to 60p).
  • Dual SD slots are relevant for photo mode only. It would have been nice to see FUJIFILM using both for video too.
  • Camera charger shows green light when charging. A bit confusing for the crowd who is used to translate green light as “charged”. As FUJIFILM is following its “illumination one color rules”, maybe the chosen color should be red instead of green (color on meaning charging, color off is battery fully charged, and blinking means battery fault).


Fujifilm X-T2 (2 of 7)


For now, I will avoid giving a solid conclusion as the camera I worked with is still in its beta stage. The final version should be on our desk towards the end of August. What I would like to emphasize is that the potential is clearly there, and it is up to FUJIFILM to decide in which direction to go. Also, I do hope that FUJIFILM will decide to implement an in-camera F-log function, although it will be 4:2:0 8 bit only. I’m truly looking forward testing the X-T2 in its final form. Last but not least, as the competition gets tougher and the anticipation for newer models from Panasonic (GH5?) and Canon (EOS 5D mark IV?) gets real, I can only conclude this article with 3 words: “interesting times ahead!”.

Settings for the above video: 4k/24p, Film Simulation– “Pro Neg. Std”. Edited in Adobe Premiere CC latest edition. No color correction was done, but there was a minor change in exposure in a few shots. Audio with Machico-san was recorded in camera.

Music supplied by:  Art-list –  The East Mother by Alon Ohana – Nova Beat, Audiojungle –  The Love AngelTravelling Japan

Many thanks to Machico-san an her beautiful family.


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May 15th, 2017

Stop masking everything in super wide!!

August 18th, 2016

Thank you Johnnie for another great article. It is so refreshing and informative to read the views on a camera in this price/size class from someone that obviously have real experience using cameras for broadcast use.

I particulary like that you take time to comment on performance in the 50/60p 1080 modes of a camera since these frame rates most times are needed for practical broadcast use (news/sport/documentary).

4k/24/25/30fps quality are covered on most websites with not even a little mention of the quality in 50/60p HD video.

Me and more and more of my cameraman coworkers are shifting away from smaller sensor pro shouldercams to larger sensor/smaller form factor cameras because they have much nicer image quality and more creative possibilities.

For us 4k/25p is a nice thing to have for hobby projects and sometimes in special projects at work like shooting commercials/drama now and then. But 1080p50 is our bread and butter. And cinema5d is my only reliable source for information on the quality of these cameras in the modes that I need to have good enough quality.

Great to also hear about the quality of the audio recording which no one else seem to care about, but is just as important in broadcast as the video quality. My only other option would have been to buy one and find out myself if it was usable for sound.

Aldo nice that you mention the problem with lack of image stabilization in the f/2.8 lens for video. Sadly the tempo of production required from the press today will not allow me to use a tripod most of the time. So non stabilized lenses for video is something that I just cant use on cameras that are not stabilized by being huge and heavy and shouldermounted.

The 18-55mm lens with IS would be a compromise I would be willing to live with for zoom lenses. But I would sometime like to be able to shoot with less depth of field than a f2.8-4 zoom on an aps-c sensor would allow. A fast prime lens would be OK. But with no sensor stabilization and not a single stabilized prime lens under 100mm in the whole fuji lineup I am sad to say that I just can not use any of the Fuji cameras for video because of this no matter how good they are.

If they offered at least one 50mm equivalent stabilized fast prime I could have lived with the lens situation. But until that happens Fuji is just not an option for video shooters like me. For the same reason Canon is not an option as well. Only Sony/Panasonic/Olympus seem to offer stabilized primes and/or stabilized sensors for video. So for now I am stuck with Sony cameras for sensors larger than m43. I hope Fuji follow their example now that they take video more seriously since I find the X-T2 a very interesting camera.

Look forward to the review of the retail version. I think Fuji will work out many of the problems with the camera through firmware updates. So if they one day make a stabilized prime I might try it out.

Keep up the great work cinema5d.

Kepano Kekuewa
Kepano Kekuewa
August 18th, 2016
Reply to  Tommy Rørvik

Valid points. Send Fuji your feedback. That said, the 18-55mm is quite a nice lens.

 Danny Rojas
Danny Rojas
August 15th, 2016

I’m curious to know why are the highlight and shadow adjustments disabled in the Xpro 2 in video mode? I know this is a XT2 conversation but Fuji, if your reading this, could this be adjusted PLEASE in a future firmware update?

I know I left a comment already on this forum a few days ago, but I echo everyone’s sentiments regarding this camera. For it to be a serious competitor in this market, it needs to be as good or if not better then the competition. By way of comparison, something that I’ve always appreciated from the Panasonic GH4 is the adjustability it offers: Master Pedestal, Vlog L, up to 96fps, True 4k, Zebras, Choice of Bit Rate, 10bit 442 via HDMI out… the list goes on and on. Panasonic allowed the user to access almost anything he or she would want! Why I did I go with Fuji instead of waiting for a Canon 5d Mark 4, or purchase a Sony a7 series? Fuji’s Color Science. The image is simply beautiful!!

I guess what I’m saying is… if I’m going to give Fujifilm over $2000 of my hard earned cash for the XT2 and Grip, I’m going to want to reach the full potential of the sensor, similar to what Panasonic allowed the user to do. But I’m also realistic, were not talking about an Arri Amira here! Some options are just not possible in a little camera. But hey, if Panasonic was able to do so much with their GH4, could Fuji have a similar approach? This is going to be interesting :)

Sorry for just blabbing away, this is my last post… promise!

August 15th, 2016
Reply to  Danny Rojas

Why they’re disabled on the Xpro2 is anyone’s guess, but they are, and there is no mention of that being added in the October FW update, which of course could change. I would encourage you to email Fuji at their global website and request those be added to the Xpro2. I was told by Fuji N.J. that makes a big difference in what’s added in FW by the number of requests.

Kepano Kekuewa
Kepano Kekuewa
August 15th, 2016

Is there a link you’d recommend? Hitting the contact link on the Fujifilm global site sends you to a country selector page. In my brief search, I didn’t see a way to submit comments to Fujifilm Global.

Kepano Kekuewa
Kepano Kekuewa
August 16th, 2016


 Andreas Paleologos
Andreas Paleologos
August 14th, 2016

Hi Johnnie and Fujifilm.
What a great real life introduction to the X-T2! I’m following this with great interest. I don’t know if I’m the typical profile for a Fujifilm shooter, but someone wrote that some Fujifilm reps had said “Sony is for professionals. Fujifilm is for artists.” In that case, perhaps Fujifilm would be interested in what I have to say..

I’m a freelance artist working in many fields. My main gig is as animation director, but also interactive visuals, and an electronic musician. Photography is part of my life, but professionally I’m more into shooting documentaries, synthesiser performances, synth tutorials and live visualisation.
In my work with video I’m using two Blackmagic Pockets. They’re great, small, they have a film like response curve, great dynamic range, and shoot forever. I need to shoot forever because in documentaries and interviews you never know, and in tutorials I usually shoot 45min-2 hours.

The Blackmagic colours are useless unless you grade them though. I like ProRes. It’s fast and looks great. I have to buy fast and big cards. No big deal. It’s a great investment anyway.

But shooting in h.264 would be totally ok if the colours look great to start with. Log has its place with professional use, but if Fujifilm lets us shoot beautiful dynamic footage to start with, I would ditch Log any time, and save so much time in the post process.

I’m eager to see the implementation of the shadow highlight settings for video! A necessity, if you ask me. Particularly with all the footage I’ve seen so far from the X-T2, the shadows are almost crushed, and the highlights are blown. It looks very digital. Like a style designed for shooting objects. I think a part of what’s so beautiful with Fujifilm is that you can capture the air, the ambience, and the environment in a shot. I think how the colours are represented in the shadows and highlights has a lot to do with this. So for shooting emotionally loaded, film like shots, we need control over dynamic range, and beautiful colours in the shadows.

Another thing I’ve noticed with footage emerging, is a sort of lack of grain and texture. There is a softness and cleanness that I find hard to fully get my head around. Is it the codec the that is a bit soft? The HDMI out Flog footage has a more natural grain in it.. Is it somehow lost in the h.264 codec? Or is it youtubers compressing and compressing again by YouTube that somehow breaks it down?

For video centric use, an in body stabiliser would of course solve a lot of shakiness. It’s not needed for stills, but for video it’ll do wonders. Especially for a one handed, one man show, where I’m handling the camera with one hand, mic with another hand, trying to ask interesting questions at a synth nerd event. Would be great in a future camera.

If the X-T2 shot HD forever (until the battery dies), without the grip, it would save me sooo much time in my documentary work and interviews. I don’t care about tax rules for video camera. If an iPhone shoots forever, why shouldn’t a Fujifilm camera? On the road now I shot a synth jam with the iPhone camera, a few days ago. A 45 minute take. Great. I had my old, buts till great X-E1 begging to be used, but I knew I would keep going over 30 minutes.. So I had to choose the iPhone.

In short.
X-T2 looks promising. Me personally, I need a pretty light body, that can shoot dynamic Fujifilm colours forever, without a heavy battery grip. In body stabiliser would solve a lot of stuff. I don’t need 4K, but I will use it here and there. Perhaps for tutorials 4K is great? For documentary and interviews, HD is just fine.

Sorry, didn’t mean to write a whole book here.
It’s all in the spirit of contributing. I love Fujifilm!


August 14th, 2016

Interesting comments!

It’s a known fact the Fuji Xpro2 shoots crushed video black levels, that has been confirmed by a Fuji rep I spoke with in N.J. I was curious if the X-T2 had the same issue, however, based upon what you’ve seen, that could be the way the shooter had this setup in the highlights and shadow tones, which BTW, on the Xpro2 are disabled during video record. I would be curious to see clips from the X-T2 with all image tweaks set to zero. Even shooting documentaries, if you had the drive space, I would definitely shoot 4k. There’s just way to much of an advantage shooting that aspect ratio over HD. Of course you can still deliver in 1080p with the added advantage 4K brings to the edit!

 Andreas Paleologos
Andreas Paleologos
August 14th, 2016

I find 4K really interesting. But the crop and rolling shutter, and potentially softer image due to the same bit rate as HD, is making me approach it with care, especially for handheld video. The current X-T2 preproduction firmware doesn’t support shadow hightlight settings in video yet. So all footage look the same, more or less. But Fujifilm reps have said that it will be featured in the final firmware. And thus possibly in the revised X-Pro2 firmware as well, one can hope? When going hand held, weight wnd the “intimidating impact factor” is important. I guess it’s possible to keep an external recorder tucked away in a pocket though. But I find that all these extra gadgets is making it a less optimal experience.

 Andreas Paleologos
Andreas Paleologos
October 16th, 2016
Reply to  Johnnie Behiri

Hello again Johnnie and Fujifilm,
Here’s a little post-release follow up.

I’ve now tested the x-t2 in store, and ordered it. I was super pleased with the colours and dynamic range, and the build quality etc. Very nice! It has now arrived in the store, but actually I’m not sure if I should collect it, or call it off.

It cooks down to my core use: I want a video camera that shoots lovely colours, without a time limit.
The x-t2 shoots lovely colours for 30 minutes. This means I can’t press REC and forget about it. I have to always be worried about the 30 minute limit happening at a bad time. Or worst case, even forgetting about it, and ending up with half a show recorded. If I’m shooting a performance or an interview (handheld or tripod, all the same) I need to constantly keep this in mind, and restart the recording at a time where it doesn’t hurt that much.

All in all, at the x-t2 price range, I believe not many would care to pay that extra tax for endless recording. Most professional customers would probably get that tax returned anyway. If I could pay for endless recording as a software update, to sort out the tax issue for only users that care about it, I would be glad to.

I’m now shooting endless recordings in Log, with a Blackmagic pocket. It requires grading skills and render time. To put it in perspective, the amount of money for an x-t2 with a kit lens and battery grip, is about the same as to buy a brand new, powerful laptop that can handle realtime full resolution grading with ease later this year. Perhaps that’s where I’ll put my money this time around.

Painful to admit, but I think I won’t be buying an x-t2 after all.
Love u Fujifilm! Eventually I’ll update my Fujifilm camera to a modern one! Just not this time.

 Jonny Henson
Jonny Henson
August 13th, 2016

Hi Johnnie. Great review thanks a lot. Basically just echoing what people have said. Absolutely brilliant image but the inability to change iso, WB, no waveform in video mode and no punch in zoom are MAJOR features that we need when shooting video regularly.

Not being able to see change in WB or film simulation on screen sounds like a firmware bug so hopefully that will get fixed along with adding the highlight/shadow tone in video mode. Fuji PLEASE add the rest of the above though! PLEASE. The image is to good and without these it would kill the camera for me, at least for video.

 Danny Rojas
Danny Rojas
August 12th, 2016

Thank Johnnie!

Thank you Fuji for reading our comments! This is why I choose to invest into your product as apposed to other companies, you listen to the consumer and respond accordingly!

Thank you so much for the review Johnnie, well done and much appreciated!! I happy to know that Fuji will analyze your comments in this review and take into consideration your “cons” and turn them into “pros”. (Please Fuji, Johnnie knows what he’s talking about!!!)

To be honest, I hope the XT2 will be on par or better than what Sony offers in this category (Slog3, 120fps, and 14 stops of DR amongst other things). After investing in a new XPro 2 and 5 Fuji Primes, I REALLY hope the XT2 will be a competitor agains the likes of Panasonic, Sony, Black Magic, and what Canon may offer in there upcoming 5D Mark IV.

Thanks Johnnie!

Gene Nemetz
August 10th, 2016

Gorgeous color! :-) It will have the 30 minute record limit, so I can’t buy it. Wish they’d evolve it to not have a 30 minute limit, or, make a camcorder. Won’t get either, I suppose. But I’d buy one if they did and it had this color and image characteristics.

August 10th, 2016

IDK, everything I’ve seen from this X-T2 doesn’t look as good as the 1080p out of the Xpro2, of course that’s my opinion, and it’s not biased on the fact I own the Xpro2! It really isn’t! I’m sure that opinion will change with the final version, but so far, I can safely say, the discontinued XXX camera that I own, that only starts arguments when mentioned, is superior over the present X-T2 video image.

Peter Kent
August 10th, 2016

Thanks Johnnie, quite in depth for a pre-production with lots of pros and cons, I can’t wait for the Lab test with the release model.

I found your following cons to be my highest concerns:

1. “Currently changing ISO values while recording is not possible.”
-This one is very important and could be a deal killer for me; does this apply to Auto ISO while recording as well?

2. “Currently changing WB while recording is not possible.”
-This is also something that I would need but not as often as ISO while recording

3. “Noticeable aliasing/moiré in some situations while shooting in 4K. In full HD/60p, it is more evident.”
-This is a concern, especially in 60fps for me. In YOUR OPINION how does it compare to other cameras like tha a6300 or the 6D? Honestly I didn’t see any in the download of that video you posted.

4. “Currently ‘punch-in zoom’ in order to verify manual focus is not possible.”
-That is a shame because it may be my most used function on other cameras.

5. “… if one starts an interview looking at the picture in the viewfinder and then move away from the camera, the LCD will not turn on.”
-This would be VERY ANNOYING, any idea on how it would work with an external monitor?

5.”Eyecup is hard and not replaceable.”
-Yeah the a6300 has a horrible eyecup too, hurts after a few minutes of use.

Other than that could you expand on the following issues you had:

“…I could not monitor some of the changes I made in WB or film simulation.”
-I don’t understand, you couldn’t see the change on the lcd before hitting record? Or was it you wanted to see a preview before confirming the change?

“…highlight roll-off when using the different film simulation modes. It is very easy to over expose the picture. FUJIFILM assured me that the highlight tone / shadow tone…”
-I did see what seemed to be some extreme clipping, you’re say it couldn’t be recovered and this highlight/shadow feature should give us more dynamic range in camera? Is it similar to panasonic’s Highlight/Shadow adjustments?

Thanks Johnnie, and thank you very much for mentioning the lack of a record button even though you found you didn’t need it for your use.

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