Fujifilm surprises the world of cinema with its “giant” sensor camera

Doing nothing like the others: the mantra that Fujifilm has adopted in photo is also worth video. While all the actors (or almost), swear by the 24 x 36 mm sensor from argentic decades, Fujifilm today announces its “giant” sensor camera: 44 x 33 mm. Or more specifically, his first film camera.

Derived from its GFX cameras with large format sensors (also called “medium-format” by the ancients), the GFX Eterna 55 is a separate camera, since it can both play it big artillery with its GFX optics, but also shoot in more classic modes of the 24×36 mm type and super 35 (a kind of APS-C video), without any loss of image resolution.

Better still, in order to avoid the “sharp” rendering of the photo sensors, the version of this sensor benefits from a new low-low-low filter. Optimized for video, it has the mission not only to reduce the moiré and the appearance of false colors, but it also officiates as a guardian of the sweetness of image. Indeed, thanks to its giant sensor, it can more or less receive all types of optics – for an adaptation ring. Or how to do everything with a single camera.

The color asset

With its GFX Eterna 55, Fujifilm intends to capitalize on a number of technologies for which the company is renowned in the photo segment. First of all, the color and its famous “film simulation” modes should be noted.

Indeed, if the camera is obviously compatible with the log spaces of the log type (F-LOG2 and F-LOG2 C) as well as the luts-some of which are also based on known films of Fuji-the GFX ETERNA 55 also and especially the 20 modes of film simulation that is found on the X and GFX boxes.

Film simulations that could seduce directors and other productions whose pace of work is such that the passage through colors is too time -consuming. With a dynamic range of 14 diaphs and ready -made film simulations, it therefore promises the rapid production of sequences with character. As for the zealots of calibration, its giant sensor has no less giant photosites capable of producing sequences full of information.

Electronic variable density neutral filter

The success of the Video on SLR and then hybrid is largely due to a rendering which was so far the almost prerogative of the cinema: blurred backgrounds. Very difficult to make with small video sensors (less long focal lengths), this effect is now at hand at any APS-C or 24×36 camera.

But in the world of video where shooting at the ISO native value (here 800 or 3200 ISO) is the must in terms of gain (the digital noise of videographers), this effect often requires having recourse to physical filters. These neutral density filters or variable neutral density involve additional purchases or manipulations, and sometimes even small colorimetric bidouilles. It is here that the variable neutral density electronic filter comes into play. This technology offers seven levels of attenuation of the amount of light recorded from ND 0.6 to ND 2.1.

High -end ergonomics

This 2 kg camera block is a beautiful baby. But it is mainly thought of to provide the best videographers’ best services. As such, the Eterna 55 incorporates a large 5 -inch lcd touch screen of 6.22 Mpix for framing. A high -end slab since with its 2000 cd/m² (or nits), the sun should not be a concern.

In the screens category, it’s not one, but two 3 -inch LCD screens on each side of the camera body display the technical information. An ergonomic bonus that will prevent potential operators from having to change aside to intervene or check an adjustment. Still in terms of ergonomics, a multifunction wheel finds its place in the upper handle, allowing to play in real time on the ND filter, the opening of the optics (Iris in empties), the zoom and the focus.

On the energy side, perhaps to ensure filiation with GFX cameras, in addition to the classic V-Mount battery interface, the camera can use the NP-W235 battery of its photo cousins. This gives him a 30 -minute backup backup video.
On the recording support side, internally we are entitled to a double location see express B and SD card. The camera also supports SSD discs.

Formats and codecs

As we have seen, this professional camera has its major sensor as a major asset which can accommodate many optical frames.

In terms of framing, the full sensor mode called GF Open Gate 4K (3840 x 2880) displays an interesting 4/3 type ratio, to which you have to add a GF 16/9th 4K DCI, several 8K modes (still in crop) as well as a prementa mode, a 35 mm mode (24×36 mm) and a super35 close to the APS-C.
Internally, the camera can shoot in Apple Prores 422 HQ, 422, 422 LT as well as HEVC/H.265 and H.264. On an external support, a non -compressed HDMI signal takes out 4: 2: 2 10 bits and RAW up to 8K/30p 12 bits.

However, the fine mouths can lift some missing specifications or not completely at the forefront. The 14 dynamic beach stops are now exceeded by the sensors in 15 or even 15+ diaphs, there is no RAW 16 -bit mode no more than pro -mode 444. A camera being more than the sum of its pure technical specifications, it is the videographers that will judge not only of its image quality, but also of its operability.

First GFX optics dedicated to video

If it is the first professional video camera of Fujifilm, the Japanese company is already a giant of the professional video optics with its Fujinon division. Its X cameras already had two professional zooms with APS-C cover, but for this extraordinary camera Fujifilm gave birth to a small monster: the GF 32-90 mm T3.5 Pz Ois Wr.

Equivalent to a 25-71 mm in 24×36 mm, this beautiful 2kg baby therefore produces an image circle capable of covering the large format sensor of the device. Little jewel of optics containing no less than 25 lenses (including one stabilization) divided into 19 groups, it incorporates three rings: one for the opening, one for the focus and one for the zoom. A zoom which can therefore be controlled in a mechanically, but also electronic way. The PZ mention in the name indeed refers to two electrical commands which allow you to zoom in/de -zoom as on camcorders thanks to integrated engines.

In terms of background blur, given its large image circle format, the Bokeh should be equivalent to that of an optics opening at f/2.8 in 24×36 mm. But with probably softer transitions thanks to its diaphragm with 13 strips.

For his entry into the world of professional video, Fujifilm therefore released heavy in technical terms. But also in terms of price.

Prices

The Fujifilm GFX Eterna 55 is indeed displayed at € 15,999. As for the GF 32-90 mm T3.5 Pz Ois WR zoom becomes the most expensive GFX optics at € 5,299.

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