From the looks of the XE3 and XT-2, FujiFilm is not shy about throwing their mix into the video market.
Why should they since they don't have a camcorder range to cannibalise from unlike Sony, Canon and Panasonic.
In fact, if the XE3 had a flip LCD, I would have bought it in a heartbeat.
Like Canon, their touch AF in video mode is becoming very usable. But unlike Canon, FujiFilm is fully dedicated to professional grade APS-C glass and mirrorless 4K.
I would venture so far as to say that FujiFilm is the only brand that fully capitalises on the advantages of the APS-C format.
Their largest professional stills zoom - a Fujifilm XF 50-140mm f/2.8 R LM OIS WR is only about the size of Canon 70-300 4-5.6
Compare Fuji's 85mm (equi) set up with Sony's and Nikanon's and the size advantage becomes very obvious:
A future XT-3 will very likely combine the features of the XT-2 and the XE3 and that makes for one hell of a video camera. Imagine a GH5 that can autofocus. Imagine a A6500 with a headphone port, great glass and great skintones!
Why should they since they don't have a camcorder range to cannibalise from unlike Sony, Canon and Panasonic.
In fact, if the XE3 had a flip LCD, I would have bought it in a heartbeat.
Like Canon, their touch AF in video mode is becoming very usable. But unlike Canon, FujiFilm is fully dedicated to professional grade APS-C glass and mirrorless 4K.
I would venture so far as to say that FujiFilm is the only brand that fully capitalises on the advantages of the APS-C format.
Their largest professional stills zoom - a Fujifilm XF 50-140mm f/2.8 R LM OIS WR is only about the size of Canon 70-300 4-5.6
Compare Fuji's 85mm (equi) set up with Sony's and Nikanon's and the size advantage becomes very obvious:
A future XT-3 will very likely combine the features of the XT-2 and the XE3 and that makes for one hell of a video camera. Imagine a GH5 that can autofocus. Imagine a A6500 with a headphone port, great glass and great skintones!
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