Last night, I got a chance to have an early peek at the upcoming Fuji GFX Eterna cinema camera. Set to be released later this year, the camera puts a large format sensor in a cinema-focused body that promises to be a serious tool for high-quality filmmaking.
Now, to be clear, I haven’t tested the camera yet. The final release date of the camera is still yet to be set. But, following the development announcement late last year and what we learned at NAB this year, I was excited to get a chance to chat with the Fuji team last night to get an update and wanted to fill you in on some of the things you can expect.
Of course, there are a few things we’ve already known. For instance, the GFX Eterna cinema camera will be centered around the same sensor as is in the Fuji GFX 100 II medium format stills/hybrid body. So, while the company has not released lab tests for the new Eterna as of yet, we have some baseline in terms of image quality and dynamic range based on its predecessor.
One variable that will be thrown into the mix this time with the GFX Eterna is the introduction of a new log format, F-Log C. The new F-Log C will provide a wider color gamut, allowing for further color separation and density to get exactly the color renditions you have in mind. From owning the previous GFX hybrid models, I’ve always been impressed with the color accuracy, and it seems as though that will continue with the Eterna.
One of the questions I had when the development announcement was made was how the ergonomics of the camera would play out. Getting a hands-on look last night, I can confirm that the camera body has been well thought out with filmmakers in mind. The body is in box form, as you would expect. The camera comes with both SDI and HDMI connections. It has dedicated timecode and genlock.
The camera can run on external power while, internally, it will use NP-W235 compatibility, which enables hot swapping of external batteries/transition to DC input. The NP-W235 battery will also charge from an external power source automatically. One of the things I was very happy to see is the built-in V-mount plate on the back of the unit that should keep the camera powered for extended periods of time while allowing you to connect multiple accessories.
There is a traditional mic jack on the camera body itself. However, the product ships with an extension handle with XLR connections and a hot shoe for added audio capabilities and compatibility with accessories like the Tascam XLR Microphone Adapter.
In-camera codecs include Apple ProRes 422 HQ, 422, 422 LT, HEVC/H.265 (4:2:2 10-bit), all with Linear PCM stereo sound in 24-bit. You also have Apple ProRes Proxy and H.264 Proxy recording options. You can record 12-bit raw externally via the HDMI output. The unit records to one USB Type-B slot and one SD slot.
Unlike the GFX 100 II, the Eterna will have an optical low-pass filter. Due to the integrated nature of film production, where capturing a project with multiple different types of cameras simultaneously is common, having an OLPF allows you to more easily integrate your GFX Eterna footage with other popular cinema cameras during production.
Speaking of collaboration, the Eterna has built-in network interfaces (Wi-Fi/Ethernet) that will allow you to utilize camera-to-cloud workflows such as Frame.io.
Of course, the main selling point of the unit is the large sensor size. Once released, the Eterna will have the tallest sensor currently available on the market for filmmakers. Making use of the added real estate on the sensor, filmmakers have a bevy of formats to choose from, including GF 4:3 Open Gate (up to 48 fps), GF DCI, Premista DCI, 35mm DCI, 8K DCI, and Super 35mm DCI. You also have anamorphic options of 8K (8,192 × 2,968) and 4.6K (4,664 × 3,380). In-camera desqueeze formats at launch will be the same as the GFX 100 II. While shooting, you can customize your frame guides to ensure correct composition for a variety of aspect ratios.
Building on Fuji’s rich history of producing physical film, the GFX Eterna will come with a healthy choice of film simulations. Twenty are included at launch. You are also able to load up to 16 custom LUTs, either using the included Fuji LUTs as your base or importing your own show LUTs from another source. The company promises additional 3D LUTs and film simulations are on the way.
There will be a Remote Rec function allowing the camera to connect to other devices via a router. While the camera has a built-in timecode port, it can also connect via Bluetooth to accessories like the Atomos AirGlu UltraSync Blue for additional synchronization.
The unit comes with a 5-inch touchscreen with 2,000 nits and 6.22 million dots of resolution that is easy to reposition on an extension arm. There is also an onboard menu (on the First AC side) on a 3-inch touchscreen to adjust camera settings. Speaking of adjustments, the camera includes a built-in variable ND ranging from ND0.6 to ND2.1.
They have not yet stated what the price will be at launch.
As I mentioned, I haven’t gotten my hands on the unit yet to test. But we did get to see a bit of test footage last night that was genuinely impressive. Looking forward to putting the camera through its paces once the production models start shipping. But it seems as though they are headed in the right direction.
