- Fujifilm’s first cinema camera packs a 44x33mm 102MP sensor
- It can shoot 8K video in a range of formats, including anamorphic
- The pro model costs $16,499 (UK and Australia pricing TBC)
It’s been a long time coming, but Fujifilm has finally fully unveiled its first-ever cinema camera, the GFX Eterna 55, following its soft announcement last year.
As its name suggests, the pricey professional cinema camera utilizes the same ‘medium-format’ sensor tech as Fujifilm’s flagship stills-oriented camera, the five-star GFX100 II, but packages it into a high-end dedicated cine body.
We get the same second-gen 102MP 44x33mm sensor which is much larger than full-frame (coloquially known as ‘medium-format’, but not true medium-format as photographers know it), and which unleashes a wide range of cinematic formats and resolutions, including 8K anamorphic.
Make no mistake though, this is no hybrid model like Fujifilm’s flagship, or compact cinema camera like the recent Canon EOS C50, but a beastly (and pricey) pro model – at $16,499.95 it’s over twice the price of the GFX100 II (UK and Australia pricing TBC).
Alongside the camera, Fujifilm unveiled new GF 32-90mm T3.5 PZ OIS WR lens ($5,999.95, UK and AU pricing TBC), a dedicated cine lens with 25-71mm full-frame equivalent focal length, which is designed to pair with the GFX Eterna 55.
With established players like RED, it’s no easy task to break into the professional cinema camera space, but the GFX Eterna 55 looks like it has the tools – and lenses – to do just that. Let’s run through the highlight features.
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A new player in the pro cinema camera space
Many of the GFX Eterna 55 internals are the same as the GFX100 II – including that rival-beating 102MP 44×33 sensor, video recording up to 8K and Fujifilm’s full range of film simulation color profiles.
Other similarities include the various video codecs, with internal Apple ProPres 422 HQ, proxy, and external 12-bit RAW through HDMI with a dual base ISO (800 & 3200) and dynamic range exceeding 14EV.
The cameras also use the same W235 battery and record onto CFExpress Type B and SD cards. Pair the GFX Eterna 55 with an autofocus-equipped GF lens, and it supports subject detection and tracking autofocus, too.
We’ve had a taste of the Eterna 55’s video capabilities already through the GFX100 II. What’s totally new, though, is the camera’s design, shooting experience and dedicated video features.
Weighing 4.41lbs / 2kg and measuring up at 110.8 x 138.2 x 176.8mm, the GFX Eterna 55 isn’t your handheld cinema camera, but one designed for a tripod or full-scale rig or gimbal, especially once a bulky cine lens, eyepiece and accessories are attached (see above).
You get twin displays; an on-board 3-inch 1.04m dot and a removable 5-inch 6.22m-dot type with 2,000nit brightness (hood supplied). There’s also a built-in variable electronic ND filter, with a 2-7EV range that’s changeable in half-stop increments, plus a selection of pro-grade connection ports.
Fujifilm is entering a notoriously tough market to break with the GFX Eterna 55. However, it has the specs to impress. It surely hopes that a short called Okay by director/writer Andrew Kightlinger and cinematographer Oren Soffer, which showcases the camera’s skills (coming soon), will help to do just that.
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