Thoughts on The FUJIFILM GFX Eterna Filmmaking Camera Development Announcement

This week, Fujifilm announced the development of a new camera designed with filmmakers in mind, the Fujifilm GFX Eterna. The camera builds on Fuji’s GFX line of medium format still cameras but will be focused on video capture and is aimed at independent filmmakers and documentarians.

This development notice wasn’t one that was top of my mind, yet it is one that makes a lot of sense. While in the still world, shooting full frame is considered standard, and medium format is even another step up, in the filmmaking world, crop sensors still rule the roost, with full frame sensors only coming into vogue in recent years. Larger format sensors like Alexa 65, IMAX, etc., which can offer the ultimate in clarity and image quality, are mostly only within reach of the most successful filmmakers. I’m talking to you, Christopher Nolan. Yet, even that is changing with cameras such as Blackmagic’s forthcoming 17K 65mm camera set to shake up the market even more.

Of course, sensor size isn’t everything. Need I remind you that super 35mm crop sensors are still the industry standard for most video cameras, and if Roger Deakins can shoot Blade Runner 2049 with the super 35mm 3.4K Alexa Mini, you darn sure don’t “need” an 87K camera to make your masterpiece short film. But to seek the best image quality is a built-in characteristic of a visual artist, and a video camera built on similar sensor technology to the GFX 100 system has a lot of possibilities.

In a recent conversation with CineD, Product Planner Makoto-san suggested the camera would be a “filmmaking” camera as opposed to a “cinema” camera. Trying to parse the quote, it seems to suggest the camera may be more aimed at the owner-operator/content creator side rather than a large-scale production model and might not come with all the production convenience bells and whistles you might find on a camera like an Arri Alexa or Sony Venice. Of course, that is all conjecture as the product is still in development, and I have no idea what will or will not be on the camera body.

Makoto-san said the camera will have internal NDs. The sensor is the same as in the GFX100 II but will arrive alongside a newly developed F-Log Gamma Curve that will further enhance performance. Features such as rolling shutter performance should be identical. But, since the camera is still in development, I thought I’d throw my two cents in on what I’d love to see as part of the potential GFX Eterna camera that I think would help it lift off within the filmmaking community.

Image Quality and Dynamic Range

I’ll put this first, as it is both the most obvious and the one I am least concerned about. I owned the original GFX100, which I used primarily for stills. I’ve written about that camera several times before. Long story short, some aspects of the camera made it not the right fit for my particular shooting style and needs as a commercial photographer based on my specific use case. But one thing was clear: the GFX 100 had, by far, the best image quality I had ever shot with for photography. That sensor was downright amazing. And while I haven’t yet shot with the more recent GFX100 II body, I can only imagine that they’ve improved the product even more since I last used it. So, I am not at all in doubt that the image and dynamic range from this camera will be top-notch.

Connectivity

From the images I’ve seen of the mockup of the future camera, it appears as though it will definitely have ports for monitoring. I wasn’t able to ascertain from the few shots I’ve seen whether the camera has SDI compatibility as well. I also am not sure whether or not the camera will have built-in Timecode and Genlock ports. But there does appear to be lots of connectivity to the camera from the limited images I’ve seen.

Recording Modes

The GFX100 II, which shares the same sensor as this potential camera, can record up to H.265 10-bit 4:2:2 DCI 4K up to 30 fps (and up to 60 fps at 2K). It can record 4K RAW video externally via HDMI.

With the GFX Eterna being a filmmaking-first body, I’d love to be able to record raw internally. I’d also love to be able to record ProRes 4:2:2 or 4:4:4 internally as an option. It’s been a couple of years since I owned Fuji bodies (both the GFX and X lines), but I do remember editing the H.265 footage wasn’t always my favorite. So having a ProRes option might improve the post process. And, while I’m guessing that since this is the same sensor, it may not be capable of recording raw video internally, that’s something I’d love to be wrong about.

Media

The GFX100 II records to SD cards, which may also limit certain shooting speeds. I’m hoping the GFX 100II comes with CFast Express Type B. Selfishly, this would save me money on buying cards. But, practically, I find that the CFast Express format performs better when dealing with larger files.

Lens Compatibility

Fujifilm has a long history of producing amazing glass for film and video production. So I don’t doubt their ability to create some beautiful lenses optimized for the GFX system. There are already some great choices that will cover the sensor already on the market. But, as the GFX cinema lens lineup would necessarily take some time to develop, I’ll be curious to see the solutions that enter the market for adapting existing cinema lenses to the GFX Eterna. Especially considering the large format sensor, the available high-quality lenses that will cover it tend to come at a pretty hefty price tag. One can always rent, mind you. But I’m curious to see, straight out of the gate, what solutions will be available for PL and LPL mount especially, and which glass performs best with the new system.

From the company’s description, this camera seems to line up with Fujifilm’s tradition of crafting complete ecosystems with options for different use cases. The X line, for instance, always has the same sensor across the same generation within the line, and what differentiates the products is the form factor that fits your use case. With the GFX Eterna, it sounds like the company is applying the same idea to the GFX line. The sensor itself is the same as in the GFX100 II. But the form factor of the camera itself will be designed with filmmakers in mind. A good step. I’m looking forward to seeing (with development estimated to run through 2025) what the end result will be.

What are your thoughts? What are you looking forward to seeing from the GFX Eterna? They have not yet released pricing information for the camera, but does this camera seem like something that could be your next investment?