Fujifilm X-M5 Initial Review: a camera for the content age

Product Photos by Mitchell Clark/Dale Baskin

The Fujifilm X-M5 is the company’s latest APS-C mirrorless camera and comes in as the lowest-end entry in its current lineup. It uses the company’s last-generation 26MP X-Trans sensor, the same one found in cameras like the X-T4 and X-100V, but comes equipped with its latest processor, giving it access to Fujifilm’s AI-powered subject detection autofocus.

Key features:

• 26MP X-Trans BSI CMOS sensor
• X-Processor 5 with AI-powered subject detection AF
• On-sensor phase detection
• Fully articulated 3″, 1.04M-dot LCD
• 20 Film Simulation modes, including Reala ACE
• Continuous shooting up to 8fps (30fps with E-shutter and 1.25x crop)
• 6.2K 3:2 video up to 30p, 4K up to 60p with crop
• External mic and 3.5mm headphone socket
• Single UHS-I card slot
• Battery life rated up to 330 frames (440 frames in Eco) per charge

The X-M5 will be available in November at a body-only price of $799. At launch, it’ll be available in the silver color seen in the product photos here, but a black version is coming in April 2025.

Fujifilm is also selling a kit with the X-M5 and its XC15-45mmF3.5-5.6 OIS PZ lens for $899. Optically, it’s not our favorite lens, but its size and price make it an obvious pairing with this camera.

Index:

• What’s new?
• How it compares
• Body and controls
• Initial impressions
• Sample gallery
• Specifications
• Press release

What’s new

It’s been a very long time since we’ve seen a camera with the X-M label: the last, the X-M1, was announced in 2013 and was only the third camera to feature the then-new X-mount. It obviously wouldn’t make sense to compare the X-M5 to that model, but it’s also a bit tricky to find a direct predecessor in Fujifilm’s modern lineup.

It has the same sensor/processor combination as the X-S20 and the same focus on vlogging. However, that’s a substantially higher-end camera with a stabilized sensor and electronic viewfinder. The X-T30 II’s viewfinder is also indicative of the fact that it started life as a higher-end and more photography-focused camera, though its age – exemplified by its last-gen processor – puts it at a similar price point as the X-M5. The newer camera does still bring some things to the table that you won’t find in Fujifilm’s prior models, though.

A tiny design

The X-M5 is very lightweight and compact – even with the power zoom kit lens attached it comes in under 500g (17.6oz) and is small enough to fit in most purses, belly bags, or jacket pockets. Anyone who buys one will be hard-pressed to come up with an excuse not to take it with them when they leave the house.

It also helps that, subjectively, it’s a very good-looking camera; Fujifilm’s retro aesthetic with modern functionality continues to serve it well. More on that later.

The camera also features the film simulation dial found on the X-T50, which lets users play around with Fujifilm’s color profiles to get the look they want without requiring them to dive into the menu. It may seem like a small thing given that film simulations have long been one of Fujifilm’s main selling points, but putting them front and center like this strongly encourages people to experiment with them, even if they’re averse to spending too much time in the menus.

4K LP video

The Fujifilm X-M5 has 4K and 1080p ‘Long Play’ modes that crop in on the sensor, letting you record for longer before the camera overheats. The 4K LP mode has a 1.18x crop and is available in 23.98p, 24p, 25p, and 30p. The HD LP mode, meanwhile, is only available in 50p and 60p and comes with a 1.29x crop. The company says you can record for over an hour at 4K when using the LP mode in temperatures of 25°C (77°F) and around 20 minutes at 40°C (104°F).

The X-M5 also has two new low-bitrate options, letting you capture footage at 25Mbps and 8Mbps. This lets you sacrifice image quality for small file sizes in scenarios when you want to get footage out quickly and will only be using it on social media, where it’ll already be heavily compressed.

If you want to shoot with heavier codecs, the X-M5 is compatible with Fujifilm’s optional cooling fan, which can help extend record times without giving up quality or cropping in.

Three-microphone system

Fujifilm has added an extra microphone to the camera to help distinguish between the audio you’re trying to capture and ambient noise. Its UI lets you select whether you want it to let everything in, focus on audio from in front of the camera, behind the camera, or both. The last option could be useful if you’re filming someone and talking to them from behind the camera.

The company also says the camera has improved wind reduction and a new “Steady-State noise reduction” mode meant to make constant noises like air conditioners less noticable.

If you’d rather plug in an external microphone, the X-M5 has cleverly placed the 3.5mm mic jack on the back of the camera, so the plug and cable won’t block the screen when you’re vlogging with it. The jack’s cover is connected to the camera’s body, so you don’t have to keep track of a tiny piece of rubber when you’re on the go.

Updated vlogging UI

Vlog mode isn’t entirely new to Fujifilm’s lineup: it appeared on the X-S20 as well, but the company has updated it for the X-M5, making it even easier to control the most important settings via the touchscreen.

Vlog mode has its own UI separate from the standard video recording interface. When you’ve selected Vlog on the control dial, the camera puts relatively large buttons on the touchscreen that allow you to control focus, access playback mode and start and stop recording.

The vlog mode UI has a clean layout with easy-to-press buttons for the most important functions.

There’s also a menu button that brings up controls for other settings, letting you control eye autofocus, electronic image stabilization, ‘Portrait Enhancer’ mode, background defocus mode, product priority mode, and more without flipping the camera around. It also lets you put the camera into the new 9:16 short movie mode, which lets you record a vertical video without physically rotating the camera; in vlog mode, you can choose between recording 15, 30, and 60-second clips.

Pressing the Menu button gives you access to most of the options you’d need to control while vlogging. From left to right: Top: Shooting mode, focus mode, image stabilization mode, Face/Eye Detection setting, Portrait enhancer Bottom: Background defocus mode, Product priority mode, high-speed recording, self-timer, 9:16 short movie mode

While you’ll still have to use the physical buttons on the back of the camera to change things like which codec or resolution you’re recording in, vlog mode does a good job of putting most of the controls, you’ll need on the touchscreen without being overwhelming to newcomers.

9:16 short video mode

We touched on the 9:16 short video mode in the previous section, but it’s worth diving into a bit on its own. It achieves vertical video by taking a 1080 x 1920 crop from the middle of the frame, instead of requiring you to physically turn the camera into portrait orientation. When you’re shooting in this mode, the display will show you the full 16:9 image but darkens the frame outside what’s being recorded.

9:16 short video mode shows you the entire preview, which could help if you want to move the camera while recording.

The resulting videos will be small and quick to transfer to your phone for posting; by default the camera records them at an 8Mbps bitrate, though you can bump this up to 25Mbps. File sizes will vary depending on what you’re filming, but you can expect 60 second second clips shot at 8Mbps to usually be under 100 megabytes, or under 250MB if you shoot at 25Mbps.

The 15, 30 and 60-second record limits are upper boundaries, but you can stop recording before you hit the time limit; it’s easy to imagine a worse version of this mode locking up your camera until the timer hits zero. If you want to record for longer than 60 seconds, you’ll have to dig into the menus to switch to the 9:16 resolution mode, which also gives you control over codec and bitrate.

USB-to-smartphone transfer

Fujiifilm also says you’ll be able to use XApp transfer files from the X-M5 to your phone using a USB cable, which should be appreciably faster and more reliable than Wi-Fi. It’s another signal about who this camera is for: people who want to be able to capture something and then post it right away.

How it compares

The X-M5 is far from the first small interchangeable lens camera pitched as a hybrid vlogging and photography tool. This time, Fujifilm is using size, price, and convenience to make its offering more appealing to people who are used to shooting on their phones.

While it’s certainly bigger than a modern smartphone, it costs about as much as buying the latest iPhone outright, even with the kit lens. Its background defocus and product priority modes make it easier to get professional-looking video, even for those who don’t know what aperture or subject tracking are. It’s also worth pointing out that, for those used to shooting on a smartphone, the lack of an EVF won’t feel like as much of a downside as they’re already used to doing everything using a screen.

Fujifilm’s also leaning on design; it’s a safe bet that many creators know what its cameras look like now, ever since the X100V went viral. From its film simulation dial to the mic jack that’s apparently inspired by the look of tiny viewfinders on vintage cameras, the X-M5’s design screams, “this is a camera you want to be seen with.”

The Sony ZV-E10 II is the most similar competitor to the X-M5. It, too, features a three-capsule microphone (though it comes with a handy wind cover for it), has background defocus and product showcase modes, and a microphone and headphone jack. It’s also just as focused on video, with 10-bit internal recording and 4K/60p recording – though that focus comes at a cost for photography, as it lacks an EVF just like the X-M5, though Fujifilm’s offering does at least include a mechanical shutter. The most interesting area of comparison will be in autofocus performance; traditionally, Sony has held the crown here, and so far, Fujifilm’s latest-gen cameras haven’t threatened to take it away. We’ll also have to see if the X-M5 can match the ZV-E10 II’s commendable rolling shutter performance

Sony’s a6100 can’t quite match the X-M5’s video specs, given its lack of a headphone port, 8-bit video, and crop in 4K/30p mode. However, its EVF will make it more enticing to people who want photography capabilities first and video second.

It’s much the same story with the Fujifilm X-T30 II and the Canon EOS R50, though the latter distinguishes itself by being notably cheaper than the rest of the cameras in this lineup and by having the nicest display.

Body and handling

The X-M5 is a very compact camera; compared to the Sony ZV-E10 II, it feels smaller than the minor differences in its dimensions would suggest. Part of that can likely be chalked up to its much shallower grip, but the grip the Fujifilm does have is confidence-inspiring, especially when using the relatively small lenses that most people will likely pair with this camera.

While the camera is almost entirely plastic, it doesn’t feel especially cheap. There are no creaks or squeaks when you’re using it, the buttons are satisfyingly clicky, and the dials and hinges are reassuringly stiff.

Another nice touch is the inclusion of two top-plate control dials, which let you easily adjust your exposure settings without having to change your grip on the camera or switch to using the touchscreen. Of course, the target audience of vloggers and beginners may not be in the habit of manually adjusting exposure parameters, but it does at least offer those users some room to grow.

You need good aim to hit the Q button.

The Q button is less ideal. It’s recessed and on the top of the camera rather than the back, which makes it a little difficult to access, especially when you’re trying to change settings quickly. Also not helping matters are its small size and the fact that it’s nestled between two large dials.

Given the camera’s focus on video, it’s also a bit disappointing that the slower UHS-I SD card slot is in the battery compartment on the bottom, which could make it difficult if you have a tripod plate installed. It’s understandable why it isn’t on the sides, which are mostly taken up by the headphone jack, USB-C port and micro-HDMI connecter, but it’s still a bummer.

Another potential downside is the lack of a directional pad, as Fujifilm has opted to include a joystick instead. That makes it so you’re not reliant on the touchscreen to set focus, but it also means you don’t have the four quick settings shortcuts d-pads usually provide. Like with many other Fujifilm cameras, you can swipe in different directions on the touchscreen to bring up menus, but doing so is decidedly less ergonomic than using buttons.

If you’re willing to spend some time diving into the menus to customize the camera, you may be able to work around some of those issues via the four custom settings on the mode selector dial. For instance, switching between human subject detection and other subject detection modes on Fujifilms has historically been a bit of a pain; they’re two separate items, so disengaging one will put you back into standard autofocus tracking, not whatever subject tracking you were using before.

However, you could set C1 up to use eye detection, C2 to be another subject detection mode, and C3 to be standard autofocus, letting you easily switch between them without ever touching the menu. Of course, you only have four custom settings on the mode dial, so you’ll have to decide what’s important to you. You can also choose whether each custom slot will be a photo or video mode.

A few other quick notes about the mode selector dial. It includes an Auto mode, which should be helpful for anyone who’s new to the world of dedicated cameras, as well as a ‘Filter’ setting that activates the toy camera mode, which will be less useful to most people. Anyone wanting to play around with the look of their image should probably reach for the film simulation dial instead, as its adjustments are generally more subtle and pleasing.

The mode dial also lets you switch the camera into video mode and vlog mode, which are two separate beasts. We’ve already covered the vlog-specific UI, but it’s also worth noting that vlog mode and movie mode have separate settings, letting you quickly switch between entirely different modes of shooting.

Battery

The X-M5 uses Fujifilm’s 8.7 Wh NP-W126s battery, which has been around since the days of the original X-M1 and persists in modern cameras like the X-T50 – Fujifilm’s higher-end, physically larger cameras have moved on to a new, higher-capacity model. It’s rated to last around 330 shots or 440 if you’re using eco mode. That’ll likely be good for a day or so of shooting or a weekend of sporadic photography, though it’s far from one of the best batteries in its class.

The camera has a USB-C port, which it can charge with even while in use.

Initial Impressions

By Mitchell Clark

Let’s get one thing out of the way: the X-M5 is not a new photography-focused X-E camera. While plenty about it will likely appeal to photographers, such as its inclusion of a mechanical shutter and twin control dials, Fujifilm very clearly made this camera for people who shoot just as many videos as they do photos and who are “camera curious,” as Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions for Fujifilm North America put it.

If you’re considering this as a secondary photography camera – who could blame you, given the price tag? – it’s very much worth taking a step back and considering what this camera is rather than what you probably want it to be.

That’s absolutely not to say that the X-M5 isn’t an exciting new option. To be candid, we had almost given up on seeing a new camera at this price point, so it’s nice to see that sub-$1,000 kits aren’t dead yet.

It feels like Fujifilm actually spent some time figuring out what modern-day vloggers and content creators need in a camera. Despite its small size, it still has a microphone and headphone jack, which are critical for getting good audio in-camera. Vlogging mode and the suite of tools that come with it also strike me as well-suited for people trying to film themselves, and while the short vertical clip mode is easy to scoff at, I can see it truly being a big time saver for some creators. And, of course, the film simulation dial makes it easy to choose an aesthetic without messing around with LUTs in post – though the inclusion of F-Log means you can do that if you want.

The X-M5 does come with some notable downsides, though. Like the Sony ZV-E10 II, it lacks a stabilized sensor, which will be a concern if you like to walk and talk to your camera. Fujifilm says its latest iteration of digital image stabilization should help deal with that and even correct for rolling shutter, but it comes with a hefty 1.32x crop. Shooting at 60fps in 4K also comes with an additional crop. If you stack them all together, you end up with a 1.44x crop, which may require a substantially wider lens – or longer arms – if you want to film yourself with sensible framing.

Fujifilm’s autofocus tracking system, while improved from previous models, is still decidedly second-tier compared to systems from Sony, Nikon and Canon. The screen can also be difficult to see in direct sunlight, making it annoying to shoot in harsh conditions.

Still, shooting stills and videos with it has been quite enjoyable, and its price may make it worth those trade-offs for someone who’s just getting into the hobby. The size and weight have made it very easy to carry around, and the ergonomics of shooting with it are about as good as they can be on a camera without an EVF.

The X-M5’s stills mode is among the most competent out of all the vlogging-focused cameras I’ve tested

I’ll again reiterate that this is not a camera for professional or enthusiast photographers. Still, its stills mode is among the most competent out of all the vlogging-focused cameras I’ve tested, at least from a controls standpoint. While I doubt many – or any – X-M5 users will actually attach a flash to its hot shoe, the mechanical shutter makes the act of taking a picture feel and sound substantially more satisfying than doing so on a phone. The joystick also greatly helps when selecting an autofocus point or moving through menus.

We’ll have to spend some time vlogging with a production unit to really put it through its paces, but so far, it seems like Fujifilm has struck a good balance with this camera. While some people will wish the company had added extra features or capabilities, those also would’ve come at the expense of the size and cost that make this camera so attractive in the first place.

Sample Gallery

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