Fujifilm X-H2 Review

Performance starts with image quality, which is the criteria used as the foundation of our digital camera ratings. Ergonomic issues may get in the way, but in the end, image quality counts the most. For an ILC, image quality greatly depends on the lens used. While color, noise, exposure and dynamic-range are properties of a camera, distortion, vignetting and chromatic aberrations are properties of the lens. Sharpness and contrast depend on the weakest link. That is, a camera cannot capture more details than a lens lets through. Conversely, it is quite possible for a lens to transmit more details than a sensor can capture.

Image Noise & Details

The new 40 Megapixels APS-C sensor in the Fujifilm X-H2 has the highest resolution of any APS-C camera. This gives it the smallest pixel-pitch of any digital camera sensor, the equivalent of a hypothetical 100 MP Full-Frame sensor, even though sensors that size max out at 61 MP to date. With such tiny pixels, the noise level of this new sensor is truly impressive.

Even though the 40 MP X-Trans CMOS 5 HR boasts a resolution 50% higher than the previous generation 26 MP X-Trans CMOS 4, it manages to match its extremely low noise from ISO 64 to 200. This performance makes it possible to make clean 30" x 20" prints, previously only possible using a Full-Frame or larger sensor! The X-Trans CMOS 5 HR sensor captures a tremendous amount of detail without being affected by moire.

At ISO 400, there is absolutely minimal noise. It is just barely noticeable at 100% which still makes 30" x 20" prints look really good and 27" x 18" absolutely impeccable. So, while per-pixel noise is fractionally higher, this results in larger usable prints than 4th-generation sensors. Very fine details are rendered exceptionally well and contrast remains intact.

Image-noise starts becoming noticeable at ISO 800 when seen at full magnification. Its very fine noise pattern has a minimal impact on detail and only reduces maximum print sizes slightly. A large 24" x 16" print looks impeccable and stands up to close-inspection well. Contrast is unaffected by this little noise. At this ISO, the X-H2 is capable of capturing 400% the base dynamic-range - an extra 2-stops - which lets it maintain deep blacks even in the presence of noise.

ISO 1600 looks noisy upon close inspection. There is a slight noise-pattern which damages the finest details but it remains barely visible at anything less than maximum size. One can easily make a beautiful large moderately large print at this sensitivity. Image contrast diminishes slightly diminished and dynamic-range begins to be affected. Still, it drops by less than ½-stops, which is impressive.

Image quality drop notably at ISO 3200 which shows higher noise levels and stronger noise reduction. This causes details to soften, loss of contrast and lower dynamic-range. Still, given 40 megapixels of resolution, it is possible to obtain nice medium-size prints, up to 18" x 12" looks reasonable. Colors stay very consistent and noise only affects the luminance channel.

ISO 6400 brings a substantial loss of image-quality with details being obliterated by noise-reduction. Although it does a good job at hiding noise, potential print sizes are restricted nonetheless. Expect passable medium-size prints but nothing that stands up against close inspection. For online use and small prints, this sensitivity remains usable. It even manages to maintain colors and contrast highly consistent with lower ISO.

The last standard sensitivity of ISO 12800 is clearly at the limit of usability. At this level, noise is very apparent and all fine details are eaten away. Shrink to a small print or scaled down for online publication, ISO 12800 can work. With pixels this small, this is good performance. The expanded ISO 25600 and ISO 51200 settings are a step too far. It might be possible to use ISO 25600 for emergencies.

Sharpness can be controlled in 9 levels. The lowest -4 setting is extremely soft and the highest +4 is certainly over sharpened. The default setting of zero is on the soft side. By pushing sharpness to +2, images become much more crisp without any noticeable artifacts. The flexibility is nice to have and by reducing High ISO noise-reduction, it is possible to improve image-quality slightly.

Color & White Balance

Fujifilm colors are better than most. Accuracy is very good with mostly realistic hues. There is a tendency to shift towards red which can be corrected easily. To obtain optimal colors right in-camera, use the standard Provia film simulation with the Color parameter set to -2. Steps are quite fine, so -1 is very similar with slight over-saturation.

There are 3 Automatic White-Balance modes on the Fujifilm X-H2. The new White-Priority mode delivers neutral results under most conditions. It differs slightly in color temperature compared to standard AWD in the presence of artificial lighting. A third Ambiance AWB mode skews towards warm colors but very slightly, producing natural looking results with minimal effort from the photographer.

Under low-light, Automatic White-Balance modes, even the White Priority variant, starts leaving a yellow cast that gets more pronounced with artificial light sources. A WB Preset greatly improves the situation, while WB Fine-Tuning along 2-axis in 19 steps makes it possible to neutralize nearly any color-cast. Falling back to Custom White-Balance provides much more accurate colors in difficult situations.

Exposure & Dynamic-Range

The Multi-Segment metering system of the X-H2 is extremely reliable and very consistent. This system is tuned for a centered exposure which limits areas of both over and under exposure. Unless the scene dynamic-range exceeds the sensor latitude, exposure almost never off by more and 2/3 EV. It is important to know that Shutter-Priority mode, the preview is not Exposure-Priority cannot be relied upon to preview exposure.

Normally digital cameras with smaller pixels have a narrower dynamic range yet Fujifilm somehow managed to make the X-H2 capture an very wide dynamic range at low sensitivities. Maximum dynamic range is achieved at ISO 800 which can reliably capture scenes with 14-stops of dynamic-range when the camera is configured to 400% DR. From ISO 200 and 400, a fraction less than 14-stops can be captured. ISO 100 and 64 are Expanded ISO sensitivities which clip dynamic-range to 13-stops.

This extremely impressive dynamic-range ends above ISO 800 when it gradually decreases by ½-stops for each full-stop of sensitivity. At ISO 12800 and beyond, the drop off becomes more pronounced and exceeds one stop between consecutive ISO because additional image noise fills up dark pixels. Just like other high-resolution cameras for their sensor size, the X-H2 works better at low sensitivities where noise is low and dynamic-range is high.

The Fujifilm X-H2 offers a Dynamic-Range Priority mode. This can be turned off or set to weak or strong levels. In this mode, Dynamic Range, Shadow Tone and Highlight Tone settings are locked out and the camera takes into account feedback from the sensor to optimize all those settings. Generally though, tuning Highlight Tone to -1 delivers very good and consistent results.

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For scenes that exceed the dynamic-range of the Fujifilm X-H2, the camera offers builtin HDR. Each HDR frame is made by capturing 3 frames with exposure varying by 1, 2, 3 or 4 stops. The result is merged in-camera with a short lag, about one second. There is an option for the step-size to be decided by the camera and 4 selectable levels: 200% DR, 400% DR, 800% and 800%+.

A new Clarity image rendition parameter was added to the X-H2. This affects mid-tone contrast which provides the illusion of increased subject detail. Unfortunately, applying Clarity is resource intensive which introduces a notable camera lag at any Clarity setting other than the default of 0. This has improves substantially compared to the X-T4 yet it makes the X-H2 feel slow. Images with Clarity set to +2 look great without seeming unnatural.

Auto Focus

Fujifilm implemented a full hybrid autofocus system in the X-H2 by combining on-sensor Phase-Detect AF with the X Processor 5 trained using AI to recognize various scenes and subjects. The result is a 425-Point AF system that is sensitive down to -7 EV and can track moving subjects in real-time. This Phase-Detection system is extremely fast and shows excellent accuracy. Single-shot focus is decisive with no detectable back-and-forth movement.

A virtual focus area provides 6 area sizes around each of the 425 focus-points. For a coarser focus-selection, each cluster of 4 points can be joined into an area, leaving the user with 117 areas to select from. Autofocus is possible virtually anywhere in the frame which allows the Fujifilm X-H2 to track fast moving subjects and keep them in focus while reframing.

Tracking AF can detect faces, eyes and six types of subjects: animal, birds, cars, motorcycles, airplanes and trains. With Face-Detect enabled, it is possible to specific which eye to track or have the camera focus on the closest one. The camera track faces and animals well, even under difficult conditions such as shooting through water. Tracking fast-moving fish underwater resulted in more than 60% of frames in focus which is impressive considering the difficulty of this situation.

Autofocus is highly reliable and very quick. It locks focus on most subjects within a quarter-second even in low-light. It really takes a dark scene to slow down the X-H2. Unlike other mirrorless, this model focuses with the aperture wide-open which gives it a consistent focusing-speed regardless of the selected aperture. There are virtually no focus misses in single-shot AF mode.

Manual Focus is performed using a fly-by-wire focus ring on most Fujinon lenses to date. The sensor uses information gathered for autofocus to show where the camera is manually focused using its MF Assist modes. The standard Electronic Magnification mode works well at low to mid-level ISO sensitivities. Focus Peaking though does a good job at showing which edges are sharp as focus is adjusted and is very useful when focusing on subjects with fine detail.

Speed

Every control on the Fujifilm X-H2 receives an instant response. Navigating the menu, reviewing images and configuring settings also happens without delay. This superb speed even applies to the Eye-Start Sensor which switches between the EVF and LCD instantly. The soft shutter allows images to be captured without delay.

Focus happens instantly in good light and very quickly in dim lighting. Confirmation and feedback are shown instantly which makes manual focusing a breeze. When subject tracking is enabled, the tracking frame moves in sync with the subject. Continuous drive mode captures images at 13 FPS in full-resolution which is quite fast. When using a CF Express Type B card, the buffer clears extremely quickly, even after a long burst.

These measurements characterize the performance of the Fujifilm X-H2:

• Power-On: ¾s, without sensor-cleaning. Slower than the average high-end camera.
• Power-On to First-Shot: 1½ seconds. On the slow side of average.
• Autofocus: Below ¼s, even down to very low light. Class-leading.
• Shutter-lag: Instant without blackout. Spectacular.
• Shot-to-shot: 2/3s with AF. ½ with MF. Good.
• Playback: 2s to enter, 1s to exit. Very slow.
• Power-Off: Under 1s with sensor cleaning. Great.
• Video: Instant to start, immediate stop with 1s delay after. Better than average,

There are some huge swings between performance numbers. The most important metrics all show an excellent performance: shutter-lag, autofocus speed and responsiveness. Even Video which is often slow on some cameras, starts and stops immediately when the shutter is pressed. It takes a second after stopping recording to finalize the file but it records exactly what is intended.

Oddly, the X-H2 also turns in some of the slowest performance numbers in years. Switching into Playback mode is abysmally slow, even using some of the fastest memory cards available. Startup is on the slow side which is a delay that gets repeated each time the camera wakes up from sleep mode. The shot-to-shot speed is not slow but definitely not as fast as other modern flagship cameras.

The proprietary Lithium-Ion battery that powers this camera is said to deliver 540 shots per charge but this number appears to be highly optimistic. Expect around 300 of single-shot shooting with mid-level power consumption. Boost mode drains the batter significantly faster. Two extra batteries are a must for a full day of photography. Of course charging three batteries a day will be a logistic challenge since the X-H2 does not use a dedicated charger.

The revival of the X-H series, stalled for years after a single model, brings forth a new level of video features and performance. With the X-H2, Fujifilm has the only 8K capable APS-C camera on the market. Along with 8K comes 6.2K and 4K video capture modes with a variety of codecs. Even though 8K is the headline-grabbing specification of this camera, mainstream is at 4K which is covered first in this review.

Given that its full sensor area has 4X the resolution required by 4K video, the Fujifilm X-H2 can oversample from the entire frame to capture high-quality 4K video or use a crop to extract frames faster. In 4K HQ mode, standard 3840x2160 frames are captured between 24 and 30 FPS with 10-bit color-sampling. There are also 4K Ultra HD and Cinema 4K video modes that use a subsection of the sensor. Cinema 4K has a 4090x2160 resolution which gives it a wider 17:9 aspect-ratio. The X-H2 can record these streams at up to 60 FPS with 8-bit color.

The Fujifilm X-H2 offers extensive video quality options with bit-rates up to 720 Mbps. Quicktime files encoded with H.265 in All-Intra mode at 10-bits store the highest quality 4K video at 720 Mbps. Videos recorded in this mode show fine detail with incredible clarity and render motion smoothly with minimal artifacts. A smaller 360 Mbps bit-rate is available too. It produces high-quality video too yet it could show minor artifacts around fast moving elements. Colors and contrast are richly detailed with 10-bit encoding.

For a standard video format, this hybrid mirrorless can encode video using the H.264 codec in MPEG-4 format at bit-rates from 50 to 360 Mbps. Video quality is high at 360 or 200 Mbps with blocking artifacts only appearing in areas of fast motion. Lower bit-rates are usable but produce visible compression artifacts even in relatively static sequences. Unless space is limited, better stay with 360 Mbps to ensure that high-quality video is saved.

Unusual 6.2K video can be captured by the X-H2. This is the highest video resolution that the Fujifilm X-T5
Fujifilm X-T5 can record using the same sensor due to a lack of bandwidth and heat dissipation mechanism. 6.2K video is made of 62403510 frames scaled down from the full sensor width. This is recordable at 24-30 FPS in 10-bit color. There is no display that can natively show such video without scaling, so its use is limited to heavy processing that produces 4K via downscaling or cropping. Video captured in 6.2Kcan exceed the quality of 4K HQ when it is encoded at 720 Mbps. Otherwise, the 360 Mbps option simply trades color and motion for resolution which is pointless given that the extra resolution is unlikely to be shown.

8K is the ultimate video format. It provides an outstanding level of detail that the human eye can only distinguish one a huge screen that spans over a 120° field-of-view. In fact, this is beyond the resolution of all movies except IMAX. 8K TV are very expensive and there are virtually no sources of 8K video, so a camera like the X-H2 is necessary for the production of such high-resolution content.

Videos captured in 8K show an outstanding amount of detail. Colors and contrast are fine, similar to 4K. Motion is fairly smooth yet fast moving subjects start showing more artifacts. Since 8K has 4X the resolution of 4K but videos are encoded at most at twice the bit-rate, more compression is required to compress the video stream. This is a minor difference that should only be visible and really large displays.

The throughput requires to capture 8K video is enormous which requires good heat dissipation. Even so, using the X-H2 alone, recording of 8K video stops due to overheating after about 20 minutes, depending on ambient temperature. It is possible to switch to a higher power-off temperature and gain 10 or so extra minutes. To extend video capture to a maximum of 160 minutes Fujifilm sells an add-on cooling fan that attaches to the LCD cradle. This forces the user to leave the LCD in a precarious outward position and requires additional power, either externally via USB-C or using the optional VG-XH battery-grip.

6.2K and 4K HQ video are also limited by heat yet can go for longer. Switching to standard 4K video appears to remove the recording limit entirely, at least with the power-off temperature set to high. The camera takes a while to cool down, so multiple videos recorded back-to-back has a similar limit as a single long capture.

Audio is highly configurable with Auto, Manual or Disabled input. In Manual input mode, the audio level can be adjust from -30 to +6 dB. There is also an Audio Limiter, a Wind Filter and a Low-Cut Filter. The stereo input mini-jack supports microphone and line input.

Time Code is supported by this camera, a feature only normally found in serious video cameras. It can be displayed or not and the start time can be manually entered or taken from the internal clock. There is an option to include Time Code in the HDMI output too. The X-H2 is equipped with front and rear lights to indicate that the camera is recording. Settings include options to use the front, back, both or none in steady or blinking mode.

Hybrid Mirrorless Digital Cameras are a niche market with a huge potential. There are very few models and even fewer manufacturers that compete in this class which is the main reason why hybrid cameras get so much attention lately. These new cameras build video features using photography technology to deliver superior video compared to dedicated video cameras yet they must also handle compromises between photography and videography.

As the only APS-C camera capable of recording 8K video, the Fujifilm X-H2 is a unique offering. It is built around an impressive 40 megapixels X-Trans CMOS 5 HR sensor that produces high resolution images usable for huge prints at low to moderate sensitivities. This sensor also delivers the most detailed video of any APS-C cameras with rich color and smooth motion.

Image quality manages to exceed expectation with lower noise and 50% more resolution that the previous generation of APS-C sensors when using ISO 64-400. In good light, the X-H2 is in a league of its own. As soon as light levels require ISO 800 and beyond, the favor shifts towards the 26 megapixels X-Trans CMOS 4 sensor featured in the Fujifilm X-T4
Fujifilm X-T4 which is entirely understandable. What narrows the gap slight is a new 5-axis IBIS system that provides 7-stops of efficiency, edging out the 6½-stops of the X-T4.

Dynamic range follows the image noise curve closely. The X-H2 captures impressive dynamic-range at low sensitivities, peaking at ISO 800, before starting a steady decline. Again, this is a normal compromise between resolution and general image quality. The Multi-Segment metering system of this mirrorless digital camera is very reliable. Color, contrast and white-balance are also all very good.

The Fujifilm X-H2 is quick where it counts the most. Its autofocus system is extremely fast and very accurate. There is minimal shutter lag and every control of the camera is responsive. Even video recording has no starting lag. On the other hand, this mirrorless is very slow to switch into Playback mode and takes longer to start than its peers. Plus, it is very power-hungry, running down batteries that are charged internally quickly.

Ergonomically, this is a relatively heavy APS-C mirrorless which gets uncomfortable to hold after a while. While its controls are accessible and extremely configurable, they are prone to accidental activation, particularly the shutter-release with its indistinct halfway-point. The button layout is well designed and the traditional dial layout make it more accessible to new Fujifilm owners. Compared to X-T series cameras though, the X-H2 just does not handle as well.

Finding itself among a handful of digital cameras that capture 8K video is an achievement in itself. Those who plan producing 8K videos are well-served by the X-H2. Its a solid camera that delivers 8K video in the smallest and second-lightest body available. It can record for longer than more expensive cameras. Additionally, it has the fastest shutter of any digital camera ever made and is truly packed with features.

Video quality from the Fujifilm X-H2 is exceptional. Its High-Quality 4K mode delivers output that matches other flagship models. This mirrorless provides some of the most flexible video options around with various resolution, frame-rates, color-depth, bit-rates and codecs. Sound is also highly configurable with even 4 channel sound possible using an optional XLR adapter.

In the end, the Fujifilm X-H2 delivers a compelling performance for a specific market. This hybrid is dedicated to providing 8K video capabilities in a compact package that provides rich photography features and can make uniquely large prints for a cropped-sensor model. 8K is an emerging technology and so, if being among the first to produce 8K content is important, than this is definitely a hybrid mirrorless camera to consider.