The X-T3 is Fujifilm's flagship hybrid camera, offering a powerful feature set for both stills and video imaging. Weather-sealed and equipped with an advanced autofocus system, the X-T3 is just as comfortable shooting fast action at 20fps as it is portraiture and landscapes. For video shooters, the X-T3 is perhaps Fujifilm's most interesting mirrorless camera yet, offering 10-bit 4K/60 footage, and a range of useful video-focused features including focus peaking and adjustable zebra warnings.

We put the X-T3 to the test shooting speeding stock cars, and the petrol-heads that work on (and in) them.

For this video, we wanted to try out the X-T3's complete feature set, from 4K/60 to high-resolution stills and fast frame-rate action. Starting at the Evergreen Speedway in Monroe, Washington, we put the X-T3 to task, shooting speeding stock cars and the petrol-heads that work on (and in) them. After Carey and Barney got a feel for what it means to throw a stripped-down Acura around a track, 13 year-old driver Haley Constance showed us how it's really done.

So how does the Fujifilm X-T3 stack up as a 'do everything' camera? We asked our director, Lou Karsen for his thoughts on how it performed.


Lou Karsen, director

Lou Karsen has directed several of our long-form videos, and for this shoot he used the Fujifilm X-T3 with a range of lenses, in a custom shoulder rig.

For the past several years I have worked as a cinematographer with DPReview, taking new cameras into the field. We began these videos focused on camera performance and specs, but have increasingly shifted our focus to storytelling. I think in many ways this is a truer test of the viability of these tools, especially with an increased focus on video performance.

For this story with the Fujifilm X-T3 we began with the idea of two DPReview editors, Barney and Carey, learning how to race 'hornet' cars, which are stripped down Acura Integras. We filmed them training and competing in time trials for a day, and had a lot of fun, but left feeling that we didn't really have a complete story. As luck would have it, one of the drivers who worked with us at the track mentioned that he coaches a group of youth racers, and in particular, he was working with a 13 year-old girl who was the cream of the crop, and we should meet her. As is often the case in filmmaking, this chance encounter led us to the story of Haley Constance.

Essential for me is a system that is user friendly, which gives good results, reliably, without throwing me any curveballs

As DP, my goal for this project was to shoot the entire video on the X-T3. My expectations were somewhat tempered heading in because I knew the X-T3 was designed primarily for stills, with the X-H1 as Fujifilm's flagship camera for video. The interesting thing about DPing these shoots is we are constantly being thrown in at the deep end with new camera systems. Essential for me is a system that is user friendly, which gives good results, reliably, without throwing me any curveballs. It is not uncommon for me to pick up gear for the very first time just before a shoot - it's all part of the fun.

For this kind of run n' gun, doc-style shoot I need a clean 4k image with good dynamic range, an editing-friendly codec, solid lenses, stabilization, and audio outs. I record to an Atomos when possible, so good HDMI out is key. Having shot on the X-H1, I knew I'd have access to great lenses and the Fuji picture profiles.

I started off shooting with the XF 16-55mm F2.8 WR thinking it would be my primary lens. That quickly went out of the window when I realized it wasn't stabilized. I was wary of the 18-55mm F2.8-4 because of the variable aperture, but it worked really well. Fujifilm's optical stabilization is great. You can even handhold the 18-135mm all the way zoomed in and get a decently stabilized image. I am also a big fan of Fujifilm's picture profiles. I shot this story with the Eterna profile, which gave it a punchy, cinematic look without being overly stylized. And we didn't have to grade much in post.

I used the two Fujinon cine lenses for some locked off shots at the racetrack, but run n' gun-style work, chasing people around, I really just ended up reaching for the 18-55mm most of the time.

Overall, I was very pleased with how the X-T3 performed. This is a legitimate video camera.

Overall, I was very pleased with how the X-T3 performed. It was also cool to mount the X-T3 to both the inside and outside of the cars. With a fairly inexpensive suction mount, and the Fuji 10-24mm wide-angle, we got an action cam look. It helps that the camera is small and lightweight, and it withstood the fast and bumpy ride pretty well.

This is a legitimate video camera. A bigger battery would be nice, but I'm not sure I'd want that at the cost of a bigger body. In all, I probably shot about five full days with this rig, and it didn't take long for me to get the hang of it. I was able to focus in on capturing Haley's story, confident that the camera was getting great footage.

Learn more about the Fujifilm X-T3


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