Right now, Fujifilm has formally unveiled the FUJIFILM GFX ETERNA 55, the corporate’s first digital digicam devoted completely to skilled filmmaking. Constructed round their phenomenal GFX100II sensor, the GFX ETERNA 55 is a transparent assertion that Fujifilm is critical about advancing its wealthy legacy of colour and picture science to arm us with an unimaginable new device. I’ve had the privilege of watching this digicam’s improvement (at the very least as a member of the press) because it’s progressed by the previous couple years and it’s completely been certainly one of my most anticipated releases from any digicam firm.
The demand for this was virtually quick, as evidenced by our go to to Previous Quick Glass at NAB and seeing their “constructed/rehoused” GFX100II for cinema use. I additionally keep in mind going to the ASC Clubhouse for the GFX100II launch and everybody in attendance saying they liked it, however principally wished to see that sensor in a X100 physique and likewise in a cinema digicam. When the X100RF got here out, I knew what was coming and right here we’re. I’d additionally prefer to level out that I steered they name a possible cinema digicam the ETERNA 65, so I used to be solely 10 off!
When you don’t know, the sensor within the ETERNA 55 is the tallest digital filmmaking sensor ever obtainable for buy on the open market. It’s a local 4:3 Open Gate format that’s almost 1.7 instances bigger than 4-perf Tremendous 35mm. Cinematographer Oren Soffer, who shot The Creator in addition to the ETERNA launch movie OKAY says “GFX ETERNA 55’s sturdy colour science offers all of the vary I must craft lovely imagery that meets the intention behind my and the director’s artistic imaginative and prescient. The native 4:3 giant format sensor is a large and versatile canvas – implausible for something from landscapes to portraiture-style imagery and past.” A separate movie shot for the discharge titled Heritage could be discovered right here.
This immense sensor peak, a 102-megapixel giant format sensor (GFX 102MP CMOS II HS) measuring 54.8mm diagonally, opens up an enormous vary of format flexibility, coming in taller than even the Alexa 65. Whether or not you’re aiming for larger-than-Full Body photos with spherical lenses or need to obtain actually epic cinematic scale with anamorphic glass, this sensor delivers, increasing your discipline of view dramatically. When you’re the kind of one that believes in “a full body look” then that is the fullest-frame you may get, no speedbooster required.
The digicam helps filming in a 4:3 open gate format at as much as 48 frames per second, absolutely leveraging its huge picture circle and comes optimized with a four-point Optical Low-Move Filter to maintain optical anomalies at bay. You’ll additionally discover 5 primary codecs to play with: GF, Premista, 35mm, Anamorphic (35mm), and Super35, providing unimaginable versatility along with your selection of lenses.
If you realize Fujifilm you’re effectively conscious of their historical past of implausible colour straight out of the field, and the GFX ETERNA 55 carries that torch brilliantly together with 20 of their movie simulations in addition to common Flog2 & Flog2 C. That is implausible for initiatives with fast turnaround instances, making certain you get beautiful photos with intentional artistic seems with out intensive post-work.
F-Log2 and F-Log2 C (new to the ETERNA) web you a reported 14+ stops of complete dynamic vary, with CineD reporting that the GFX100II (I assume the efficiency is identical) will get you 12.8 stops at SNR=2, offering a couple of cease extra DR than the Sony FX collection of cameras, the identical efficiency because the RED V-Raptor X and Canon C70/C300mkIII, and simply barely lower than the Arri Alexa LF and Sony Venice 2 based mostly on their lab checks.
This provides you unimaginable flexibility in post-production, capturing wealthy tonal information distinctive to a large-format sensor that helps demanding manufacturing workflows and presents excessive modifying resilience. And right here’s one other workflow enhancer: the power to import and retailer as much as 16 completely different 3D LUTs in-camera. This contains 10 Movie Simulation conversion LUTs for Log footage, like ETERNA, ETERNA BLEACH BYPASS, PROVIA/Customary, Velvia, and ACROS, which you’ll be able to obtain from the net.
For these difficult lighting circumstances, the GFX ETERNA 55 incorporates DUAL-BASE ISO with two base sensitivities: ISO 800 and ISO 3200, which is sort of a requirement in at this time’s discipline. As somebody who virtually by no means shoots over 3200, that is good in my view. I’ll say my joke was at all times “why do you want 12,800, are you taking pictures within the desert at night time!?” till someday I did shoot within the desert at night time, however I did even have lights so I didn’t want all of that. In any case I’ve solely achieved that when in my life, so 3200 is nice for my use.
Fujifilm has clearly designed this digicam with the working filmmaker in thoughts, having collaborated with dozens of cinematographers together with ASC members and different high-end DPs on its improvement and it hits all of my checkboxes for what makes a “actual cinema digicam”. One of the sensible additions is an inside digital variable ND filter, which to me is sort of a non-negotiable in at this time’s world and as Sony followers know is a big life saver (I do desire “arduous cease” NDs however can simply see the worth within the variable ND, like doing ND pulls or adjusting them mid-shot). The physique itself is surprisingly compact and light-weight for a big format digicam, coming in at roughly 4.4 kilos (2.0 kg), making it a strong selection for even solo operators.
Operability can also be effectively thought out. There are 3-inch facet displays on either side, making certain each the digicam operator and assistant have full entry to the menu, no matter your rig setup. The entrance of the digicam and the included deal with characteristic a flexible multi-function dial that may management focus, iris, and zoom for FUJIFILM GF lenses, and when set to “ND,” it permits for advantageous adjustment of that inside variable ND filter density. Plus, the 2000-nit 5-inch LCD monitor is a godsend; it’s touch-enabled, presents a number of adjustable angles, and allows you to see your footage clearly even in brilliant outside daylight.
Energy options are equally spectacular. An inside slot for a high-capacity NP-W235 battery offers you as much as half-hour of filming with out exterior energy. Crucially, it helps “scorching swap” performance for exterior batteries, sporting an built-in V-Mount plate (and I consider Gold Mount sooner or later? Don’t quote me.) drawing energy from the inner NP-W235 through the swap so that you don’t need to restart the digicam, and topping it again up when the brand new cine battery will get connected. For media, it sports activities single CFexpress sort B and SD slots.
In an attention-grabbing however probably welcomed transfer, the ETERNA 55 helps Apple ProRes 422 HQ, Apple ProRes 422, and Apple ProRes 422 LT, and even presents proxy video recording like Apple ProRes 422 Proxy. This considerably reduces post-production workload and lowers the necessity for transcoding or format-mixing. For lighter-weight recording, H.265/HEVC can also be obtainable. And for many who demand the best high quality for exterior recording, you may output 4:2:2 10-bit uncompressed information and as much as 8K/30P 12-bit RAW video through HDMI.
Maybe probably the most thrilling workflow integrations is the Body.io Digicam to Cloud performance. This implies content material could be uploaded on to Body.io, expediting accessibility, enabling immediate overview and approval from the broader manufacturing group, and permitting editorial to begin working instantly with camera-created proxies. That’s a large leap in manufacturing effectivity, and one we’ve used earlier than right here at PVC. As my buddy Michael Cioni as soon as stated “it makes what was once a linear workflow, parallel”. Think about stakeholders or editors not having to be on set, however can nonetheless see clips as they’re shot and flag something that is likely to be incorrect earlier than you even wrap that setup!
Together with the ETERNA 55 is the launch of the GF32-90mm T3.5 OIS WR zoom. A chonky boi to make certain, however a stupendous lens I bought to briefly play with at Cinegear this 12 months, and the truth that it could each be zoomed by a rocker swap and contains OIS is insane. An ideal hybrid of conventional cinema glass and trendy comforts. I personally personal a 65mm f1.4 lens that I bought for my GFX50R and I’d like to see how that factor seems on this digicam. On my 50R, huge open, it actually seems virtually precisely like my RZ67proII with the 110mm lens at 2.8. Very cool.
Preliminary shipments of the FUJIFILM GFX ETERNA 55 are anticipated to start in October 2025, with a Producer’s Instructed Retail Worth of $16,499.95 USD. Choose sellers shall be accepting pre-orders beginning September 15, 2025, at 12:00 a.m.
When you’d prefer to get hands-on with the ETERNA 55, it’ll be obtainable on the following occasions:
1. September 28, 2025: Create With Us- Walker Artwork Heart, Minneapolis, MN
2. September 28-October 2, 2025: Jackson Wild- Jackson, WY
3. Oct 7–9, 2025: CAPER- Buenos Aires, Argentina
4. October 18-23, 2025: Semana AMC (AMC Week)- Mexico Metropolis, MX
5. October 22-23, 2025: NAB NY- New York, NY
6. November 5-6, 2025: ProFusion Expo- Toronto, Canada
7. Nov 4–6, 2025: Ampliar la Mirada- Santiago, Chile
8. November 15-22, 2025: Camerimage- Toruń, Poland
The GFX ETERNA 55 represents a daring step for Fujifilm, delivering wealthy tonal and true-to-life picture high quality throughout all genres, from characteristic movies and documentaries to commercials and music movies in a comparatively inexpensive bundle for the class. Whereas it could not have issues like 120fps highspeed mode or inside uncooked like some cameras, for 99.8% of filmmaking duties it looks as if an exceptional contender within the house. I do know for me it hits all of the notes I’d need (I might love a second CFexpress slot) however my work is primarily narrative and doc, so your mileage might fluctuate. It additionally stands to motive, and I’m utterly guessing right here, that since Fujifilm is infamous for his or her “kaizen” firmware updates, including main options to already-existing cameras, the GFX100II may find yourself inheriting a few of the ETERNA 55’s options making it an ideal B-cam for half the worth. I don’t understand how the onboard storage or processors work (I do know they usually say they will’t load new movie sims into older cameras as a result of there’s no room) however I’d like to see that occur sooner or later. What a combo that’d be.
All-in-all, I’m very excited to get this digicam in hand to try it out and I’ll be sure you get that overview up as quick as I’m in a position. I’m biased as a result of I do love all of Fujifilm’s choices, however I don’t assume I’m being hyperbolic by saying it is a actually thrilling addition to the cinema digicam house for high-end professionals and dealing cinematographers alike. Whereas I can’t converse to the response from most of the people, I’m assured this can at the very least be a consideration for a lot of when placing collectively their subsequent venture.
For detailed product specs, go to https://www.fujifilm-x.com/en-us/merchandise/cameras/gfx-ETERNA-55/.
For extra info and entry to GFX ETERNA 55 reference supplies, together with downloadable check footage, go to http://shopusa.fujifilm-x.com/gfx-ETERNA-55-filmmaking-camera-16969715.
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Right here’s the uncooked data for many who don’t need my editorialization:
Digicam Particulars
- Sensor: GFX 102MP CMOS II HS – Bayer Filter Array
- Full sensor dimensions: 43.8 x 33.9mm
- Processor: X-Processor 5
- Native Sensitivity: Twin-Base ISO: 800 & 3200
- Variable Digital ND Filter Specs
- ND Density: ND0.6 – ND2.1 (.015 F-Cease Increments)
- Inner NP-W235 battery energy supply
- NP-W235 permits for warm swapping exterior digicam energy supply with out
must energy down digicam physique – lowering potential for clip corruption on
unintentional energy loss.
- NP-W235 permits the potential for low-profile and agile digicam construct
- NP-W235 battery is routinely charged through exterior energy supply
- Inner Reminiscence Card Assist
- CF Specific Sort B and SD media
- Optical Lowpass Filter (OLPF)
- Dynamic Vary: 14+ Stops
- Autofocus for GF lenses
- Sort: Clever Hybrid AF (TTL distinction AF / TTL section detection AF)
- Topic Detection: Sure
(FACE/Animal/Hen/Car/Bike & Bike/Airplane/Practice)
- Assist for TASCAM XLR Microphone Adapter on scorching shoe of digicam Deal with
for expanded audio enter compatibility
- Assist for Adobe Body.io Digicam to Cloud
- GFX ETERNA 55 Out there Sensor Codecs* (*Topic to vary previous to gross sales
embargo)
GFX ETERNA 55 Sensor 43.8 x 32.9mm
- GF 4:3 Open Gate
- GF DCI
- Premista
- 35mm DCI
- 8K DCI, dot by dot
- Tremendous 35 DCI
- *Gadgets in daring are distinctive to GFX ETERNA 55
Format
Mode
Output Measurement (W x H)
Side Ratio
Max FPS
Picture Circle (mm)
GF
Open Gate
3840 × 2880
4:3
48fps
43.63 × 32.71
GF
DCI 8K / 8K
8192 × 4320 / 7680 × 4320
17:9 / 16:9
24 / 30fps
30.80 / 28.88 × 16.24
GF
Cine. 5.8K
5824 × 2436
2.39:1
30fps
43.80 × 18.32
GF
DCI 4K / 4K
4096 × 2160 / 3840 × 2160
17:9 / 16:9
60fps
43.63 × 23.01 / 24.55
GF
FHD
2048 × 1080 / 1920 × 1080
17:9 / 16:9
120fps
43.63 × 23.01 / 24.55
Premista
DCI 8K / 8K
8192 × 4320 / 7680 × 4320
17:9 / 16:9
24 / 30fps
30.80 / 28.88 × 16.24
Premista
5.4K
5440 × 2868
17:9
30fps
40.91 × 21.57
Premista
DCI 4K / 4K
4096 × 2160 / 3840 × 2160
17:9 / 16:9
60fps
40.27 × 21.23 / 22.65
Premista
FHD
2048 × 1080 / 1920 × 1080
17:9 / 16:9
120fps
40.27 × 21.25 / 22.65
35mm
DCI 8K / 8K
8192 × 4320 / 7680 × 4320
17:9 / 16:9
24 / 30fps
30.80 / 28.88 × 16.24
35mm
4.8K
4776 × 3184 / 4776 × 2688
3:2 / 16:9
30fps
35.92 × 23.94 / 20.21
35mm
DCI 4K / 4K
4096 × 2160 / 3840 × 2160
17:9 / 16:9
30fps
35.92 × 18.95 / 20.21
35mm
FHD
2048 × 1080 / 1920 × 1080
17:9 / 16:9
60fps
35.92 × 18.95 / 20.20
Anamorphic (35mm)
Anamorphic 8K 2x
8192 × 2968 / 8080 × 3380
2.76:1 / 2.39:1
24fps
35.07 / 30.38 × 25.42
Anamorphic (35mm)
Anamorphic 4.6K
4664 × 3380 / 4040 × 3380
1.38:1 / 1.20:1
24fps
35.07 / 30.38 × 25.42
Super35mm
6.3K
6382 × 3590
16:9
24fps
24.00 × 13.50
Super35mm
DCI 4K / 4K
4096 × 2160 / 3840 × 2160
17:9 / 16:9
30fps
24.00 × 12.66 / 13.50
Super35mm
FHD
2048 × 1080 / 1920 × 1080
17:9 / 16:9
60fps
24.00 × 12.63 / 13.49
- GFX ETERNA 55 In Digicam Codecs
GFX ETERNA 55 relies on the GFX100 II system that helps ProRes422, H.265 and H.264
In Digicam
- Apple ProRes 422 HQ, Linear PCM (Stereo sound 24-bit / 48KHz sampling)
- Apple ProRes 422, Linear PCM (Stereo sound 24-bit / 48KHz sampling)
- Apple ProRes 422 LT, Linear PCM (Stereo sound 24-bit / 48KHz sampling)
- HEVC/H.265 (4:2:2 10bit), Linear PCM (Stereo sound 24-bit / 48KHz sampling)
- Apple ProRes Proxy
- H.264 Proxy
HDMI (Exterior Recording)
- 4:2:2 10-bit Uncompressed
- 12-bit RAW
- I/O
- ø3.5mm,stereo mini connector (Microphone)
- ø3.5mm, stereo mini connector (Headphone)
- ø2.5mm,connector (Distant Launch )
- TC IN/TC OUT connector
- GenLock connector
- 12G SDI OUT connector – max 4K59.94p 12G/6G/3G
- LENS connector(12-pin) :Energy provide 14V-0.5A
- DC OUT 12V connector :12V 3A
- DC IN Lemo connector (FGJ.1B.304.CLLD)
- Movie Simulation
GFX ETERNA 55 helps 20 kinds of Movie Simulations.
- PROVIA/Customary
- Velvia/Vivid
- ASTIA/Smooth
- Traditional Chrome
- REALA ACE
- PRO Neg.Hello
- PRO Neg.Std
- Traditional Neg.
- Nostalgic Neg.
- ETERNA/Cinema
- ETERNA BLEACH BYPASSACROS
- ACROS + Ye Filter
- ACROS + R Filter
- ACROS + G Filter
- Black & White
- Black & White + Ye Filter
- Black & White + R Filter
- Black & White + G Filter
- Sepia
- Improvement of Movie Simulation 3D LUTs for F-Log2 / F-Log2 C
Fujifilm will develop new 3D LUTs for choose Movie Simulations for F-Log2 / F-Log2 C (with ITU-
R BT.709), that shall be downloadable from the net.
- ETERNA
- ETERNA BLEACH BYPASS
- PROVIA/Customary
- Velvia/Vivid
- ASTIA/Smooth
- REALA ACE
- Traditional Chrome
- Traditional Neg.
- ACROS
- Assist for 3D LUTs
GFX ETERNA 55 helps importing and storing as much as sixteen 3D LUTs
- Customized Framing Guides
GFX ETERNA 55 helps customizable Framing Guides.
Create customized guides and choose from body 1 / 2 / 3 setting.
Features
Customized
2.39:1
17:9
16:9
5:4
4:3
3:2
1:1
Scaling
1-100%
Colour
Black
White
Yellow
Magenta
Cyan
Line Width
1-4
- Distant Multi-Digicam Management
GFX ETERNA 55 helps an online browser-based Distant Management Software that runs domestically
on a Wired or Wi-fi community.
- Bluetooth Low Vitality (BLE) Assist (AirGlu ,TG-BT1)
GFX ETERNA 55 helps BLE reference to ATOMOS AirGlu and FUJIFILM TG-BT1.
Exterior Timecoe shall be supported through Timecode In/Out connector (BNC), Atomos
AirGlu , and through USB-C reference to Ambient gadgets.
- ATOMOS AirGlu UltraSync Blue
- Tripod Grip TG-BT1
- Sensible Telephone Browser Distant Rec FunctionTG-BT1
- LCD Monitor & On-Board Menu Show Specs
LCD Monitor Specs
- 5.00-inch Contact Display Colour LCD Monitor
- Brightness: Max. 2,000 nits
- Side : 16:9
- Dots: Approx. 6.22 million dots (1920x1080x3)
- Perform buttons 6 & 7
On-Board Menu Show Specs
- 3.0-inch LCD Colour Monitor
- Brightness: Max. 700 nits
- Side: 3:2
- Dots: Approx. 1.04 million dots (720x480x3)
- Networking
WiFi: IEEE802.11a/b/g/n/ac (normal wi-fi protocol)
Encryption: WPA2, WPA3
Entry Mode: Infrastructure
Terminal: RJ45 LAN – 1000BASE-T、100BASE-TX、10BASE-T
Bluetooth: v4.2 (Bluetooth Low Vitality)
– Working Frequency: 2402~2480MHz
- Bodily
- Dimensions: 110.8 x 138.2 x 176.8mm
- Weight: ~4.41 lbs. (excluding NP-W235 & media)
- Working Temperature: 14-104°F
- Working Humidity: 10%~80% (no condensation)
- Energy
Nominal energy consumption: 21W
Most energy consumption: 49W
DC Enter: 12-16V
V-Mount Enter: 11-16.8V
Accent Energy:
– x1 2-pin lemo 12V @ 3A
– 12-Pin Hirose Lens Connector 14V .5A
- Included With Buy
- Li-ion battery NP-W235
- AC energy adapter AC-15VS
- AC cable
- Physique cap
- Deal with
- LCD Monitor
- LCD Monitor hood
- LCD Mounting Bracket
- PL-Mount Adapter
Lens Particulars
- Lens Configuration: 25 components in 19 teams (Components: 3 aspherical & 3
ED)
- Focal Size: 32-90mm (Full Body equal: 25-71mm)
- Angle of View: 81.0°-33.8°
- Max. Aperture: T3.5
- Min. Aperture: T32
- Aperture Management: 13 blades – rounded diaphragm opening
- Minimal Focus Distance: .8M / 2’ 8”
- Dimensions: Φ114mm Entrance Diameter x 222.5mm/8.76” size
- Weight: 4.74 lbs.
- Filter Measurement: Φ111
