Camera by camera
Fujifilm X-H2S export settings.
From card to client link.
The X-H2S records ProRes, H.265 and H.264 in camera, and RAW to an external recorder. Here is which of those files a client can open, which ones stay in the suite, and the HEVC 10-bit export that holds up in a browser.
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By uncompressed.io · Updated September 2026
What the X-H2S records
Two containers,
three codecs in camera, RAW outside it.
Fujifilm lists MOV and MP4 containers, three families of in-camera codecs, and two external RAW routes over HDMI. The codec you pick on set decides what you can hand a colourist and what you can hand a client.
6240 x 4160
6.2K open gate
3:2 at 29.97p, 25p, 24p and 23.98p
120p
High-speed 4K
4K and DCI 4K at 120p and 100p
14+ stops
F-Log2
Fujifilm's stated dynamic range for F-Log2
1,877 Mbps
ProRes 422 HQ
Fujifilm's figure at DCI 4K 59.94p
Source: Fujifilm X-H2S specifications and product page, fujifilm-x.com, read 19 September 2026. Audio is Linear PCM stereo, 24-bit, 48 kHz. Fujifilm gives a bit-rate range of 50 Mbps to 2,754 Mbps across modes.
Source: Fujifilm X-H2S specifications, fujifilm-x.com, read 19 September 2026. Fujifilm's headline claim is open gate 6.2K/30P 4:2:2 10-bit.
Two numbers are worth keeping in mind before you plan a review. At Fujifilm’s stated 1,877 Mbps for ProRes 422 HQ at DCI 4K 59.94p, the camera writes about 235 MB every second, which works out to roughly 845 GB an hour (computed at 8 bits per byte). And Fujifilm says the body manages up to 240 minutes of continuous 4K/60P recording from a cool start. A long interview day in ProRes is a storage decision long before it is a review decision.
For the grading master, the choice that matters is 10-bit 4:2:2 in F-Log2: ProRes 422 HQ or 422, or H.265 All-Intra 4:2:2. The chroma difference is explained in 4:2:0 vs 4:2:2. None of those files is the one your client should watch in a browser, for the reasons below.
Who can open what
The browser,
the macOS app, or neither.
Browser playback uses your uploaded export without another platform re-encode. Codec, device and connection requirements still apply. That makes the file you upload the file your client sees, which is why the choice below matters.
Supported camera originals and Vault playback use the compatible macOS app; they are not universally playable in web browsers. App playback is hardware-dependent: test a short clip on the recipient's Mac.
ProRes originals. The X-H2S records ProRes 422 HQ, 422 and 422 LT, all inside the macOS app’s stated ProRes support of up to 8K 4:2:2 HQ at 60 fps. A client or colourist on a compatible Mac can review those files as recorded. No ProRes plays in a web browser through us; the longer explanation is in ProRes and browser playback.
The camera’s own HEVC. The X-H2S H.265 files are technically HEVC, the same codec family a browser plays. Two things still get in the way. A 4:2:2 HEVC file plays only on a device that decodes 4:2:2 HEVC, which is covered in HEVC 10-bit 4:2:2 in the browser. And a clip shot in F-Log or F-Log2 is a log image: a browser shows the file exactly as encoded, so the client sees a flat, desaturated picture and writes notes about the wrong thing.
External RAW. ProRes RAW recorded on an Atomos is not supported by the macOS app. Blackmagic RAW recorded on a Video Assist is, so an X-H2S rig feeding a Video Assist can be reviewed from the original BRAW on a compatible Mac, with playback that depends on that Mac’s hardware. The BRAW review guide covers that path in full.
The review export
HEVC Main10,
sized to what the X-H2S shot.
One file per film, graded, 10-bit, at a constant frame rate. There is no lower-quality rendition behind it, so a slow connection buffers rather than dropping resolution.
Our recommended review export: H.265 Main10 (10-bit), MP4 or MOV, constant frame rate, 2-pass VBR, AAC 320 kbps audio. H.264 is listed at 50 to 100 Mbps for 4K 24/30 and is not recommended for 4K 60.
Grade first. F-Log and F-Log2 footage gets its grade, or at least a transform to Rec.709, before the export. The browser will not do it for you. If you only need a fast approval pass, a plain Rec.709 transform on the timeline is enough; if the client is signing off on the look, export the real grade.
Match the frame rate. Export at the timeline rate, with constant frame rate switched on. High-speed 4K clips at 120p or 100p that you slowed down on a 24p or 30p timeline are a 4K 24/30 export, not a high-frame-rate one.
Pick the size. If the job finishes at 4K UHD or DCI 4K, use the 4K rows. If the deliverable really is the 6.2K open gate frame, the 6K to 8K row applies, and whether a given viewer’s device decodes that frame size is its own question, covered in can a browser play 6K video. If you want a single number, 80 Mbps HEVC 10-bit covers 1080p through 4K; calm interview frames sit well at 40 to 50, and busy frames such as rain, water, foliage, heavy grain or fast pans want 100 to 120.
Free export presets for DaVinci Resolve, Premiere Pro, Media Encoder and Compressor are on the NLE page, set to these targets. For the general version of this advice, see export settings for client review.
Card to client
From the X-H2S card
to notes in your timeline.
Six steps. The originals and the review export travel separately, because they serve different people.
Offload the card
Copy the ProRes or H.265 clips, and the BRAW or ProRes RAW files from the external recorder if you used one, into your project structure as usual.
Grade or transform
Take the F-Log or F-Log2 footage to Rec.709 on the timeline: the real grade for a look approval, a plain transform for a rough-cut pass.
Export HEVC Main10
10-bit, MP4 or MOV, constant frame rate, 2-pass VBR, AAC 320 kbps, at the bitrate for your frame size and rate from the table above.
Upload
Drag in the export, plus the ProRes or BRAW originals if someone will review them in the macOS app. Uploads are resumable, up to 5 TB per file within your plan's storage.
Share one link
The share link is the access and clients need no account. Add a password per video if you want one. Original-file downloads stay off until you switch them on.
Pull notes into the edit
Comments carry author and timecode with red or green status, drawings sit on the picture, and notes come back as markers through the Resolve script, the Premiere panel or the Final Cut bundle.
When the next cut is ready, replace the file: the link, views, embeds, settings, notes and approvals stay where they were, so the client never has to find a new URL. Approvals are red or green per version, which keeps sign-off attached to a specific cut.
When this is the wrong tool
Questions
Frequently asked
Should I record ProRes or H.265 on the X-H2S if the footage is going to a colourist?
For a grading master, record 10-bit 4:2:2 in F-Log2: either ProRes 422 HQ or 422 in a MOV, or H.265 All-Intra 10-bit 4:2:2. ProRes is the easier file to hand around a post house and it also opens natively in the uncompressed.io macOS app on a compatible Mac. Keep 8-bit 4:2:0 H.264 for material that will not be graded hard. Whatever you record, the client still judges the graded export.
Can my client play the X-H2S ProRes files in a web browser?
Not through uncompressed.io: no ProRes plays in a web browser through us. The camera's ProRes 422 HQ, 422 and 422 LT sit within the macOS app's stated ProRes ceiling of 4:2:2 HQ, so a client on a compatible Mac can review the originals there. Playback is hardware-dependent, so test a short clip on their Mac first. Everyone else gets the HEVC 10-bit export.
The X-H2S already records H.265 10-bit. Can I upload the camera file and skip the export?
You can upload it, but it is rarely the right review file. A 4:2:2 HEVC file only plays in a browser on a device that decodes 4:2:2 HEVC, and an ungraded F-Log or F-Log2 clip looks flat and grey in any browser because the browser shows the file as encoded. Grade or transform to Rec.709 and export HEVC Main10 instead.
What export settings suit X-H2S 4K 120p footage?
Export at your timeline frame rate. If the 120p or 100p clips are conformed to slow motion on a 24p or 30p timeline, the review file is a 4K 24/30 export: HEVC 10-bit at 40 to 80 Mbps, constant frame rate, 2-pass VBR. Our recommended export table stops at 60 fps.
Atomos ProRes RAW or a Blackmagic Video Assist: which RAW path is easier to review remotely?
Blackmagic RAW. The uncompressed.io macOS app plays BRAW natively on compatible Macs, so an X-H2S recorded to BRAW on a Video Assist can be reviewed as the original. ProRes RAW is not supported by the macOS app. Neither RAW format plays in a web browser, and playback in the app is hardware-dependent, so test a clip first.
Send the graded X-H2S cut, not a guess
Upload the HEVC 10-bit review export for browser clients and the ProRes or BRAW originals for anyone reviewing in the macOS app. The share link is the access; clients need no account.
Sources
- 1.Fujifilm X-H2S specifications (fujifilm-x.com) (recording formats, codecs, bit depth and chroma, resolutions and frame rates, bit-rate range, HDMI RAW output; read 19 September 2026)
- 2.Fujifilm X-H2S product page (fujifilm-x.com) (ProRes 422 Proxy, F-Log2 dynamic range, external ProRes RAW and Blackmagic RAW, continuous recording time; read 19 September 2026)