Worth the wait. Fuji made some of the most coveted cinema zoom lenses and filmstocks. They had film-grain emulation in-camera way back with the xt2. The extra dynamic range from the 14 bit readout, the minimal rolling shutter, compatibility with Davinci resolve, they deliver on everything that filmmakers care about. I think they’ll have something good on their hands if it’s not made of plastic.
Pricing will seriously make or break this camera. I'm honestly baffled yet happy Fujifilm's taking the video/cine camera market seriously, but unfortunately I'm willing to bet that Fuji will be pricing the eterna somewhere around $25,000. I love Fujifilm, but I kinda know them. They'll think their GFX Eterna could tango with the big boys and completely misread the market, pricing it somewhere really awkward.
$25 would be too much for this camera. That would put it in the price range of a RED V Raptor. Which would walk circles around this camera most likely. That’s where Sony went wrong with the Burano. That camera should have been around $15k at the most. I love Fuji so I hope they don’t go crazy with the pricing.
What we have been told is that it will have the components of the GFX 100 II housed in a video camera cube. Video production people want the connectors straight out of the gate to take it more serious. I believe they will offset the cost of being able to already do photo and video with the GFX 100II with the added video features. The price will be $7-$10 K. Now if they better utilize the full sensor then we are talking about a more expensive camera. I do not think they will release a film studio camera right off the bat because of the harder sale and limited number of buyers.
Or they could make it much cheaper, like they did when first GFX launched back in the years, making MF(ish) sensor "affordable" and competing with 35mm FF.
Whatever the specs, I am all for this trend considering i own around 10 medium format vintage lenses from Hassleblad and Mamiya. Guess I'm gonna be one of those legendary grandpas who leaves behind retro gear worth $200K 😅
@@guptageneralstores5243 Nice! You’re all set, feel like there is going to be a bit of a rush to get more Medium format glass to market if this trend does continue… and the vintage prices will no doubt begin to climb.
Very good run down. My guess that the cinema style body with a built in fan and more robust electronics will allow them to run the X Processor 5 harder than they are currently in the GFX 100ii. So I would expect slightly improved performance and potentially unlock open gate / higher frame rates than currently offered. Would be handy to get sight of the processor spec sheet to see what it’s capable of maxed out. As a wild aside, I also wondered if they could use dual X Processor 5’s but that’s maybe a fantasy!
My best guess is this: they put a GFX100 II in a better-for-filmmaking body, thrown out the IBIS for proper sensor cooling for basically whole day shooting. If they still have the same rolling shutter it's going to be hard for them to charge more than 10grand. If they have reasonably low rolling shutter I guess more like 15grand. *Maybe* they will introduce features that the their stills cameras have only for stills: color chrome modes, different grain simulations. I would wish for digital halation, it's all the rage in dehancer, filmbox, davincis look creator...if they put something like this into their in-camera-baked-look, I guess some filmmakers would love that. Remember that ARRI went for something similar in the Alexa35...having a finished look straight out of camera might appeal to people. Maybe that works with dual stream recording? One F-Log2C master file and an SOOC graded file for "dailies"... I don't think anybody needs another FX3 or FX6 clone in 44x33mm, so I hope they make something cool out of this.
Yeah, agreed. But at present, we only know what Fuji have communicated in this pre-announcement. It’s not impossible that they’re cooking up an S35 version too 🤞
I think Fuji is trying to differentiate itself, andas good as the XH-2 is, that doesn't stand out in any way in the current market. Not that that lowers the quality of the camera any, but for a new entry it has to have something to entice people to give it a serious shot or it won't even be noticed.
@ Yeah, you could be right. And it could well be a solid way to enter the market, with a more unique sensor size, and then unveiling an S35 version a few months down the line. Come out with the Ferrari, and then unveil the every day SUV once the dust has settled.
@@charles_wren_films That seems like a side effect of Fuji's choice to completely avoid the middle of the road "full frame" market, sticking to APS-C and medium format instead. It's going to be an interesting camera for sure; Fuji has done an excellent job on the video side of things in its most recent cameras, so let's hope that it keeps it up!
Handle? Not really. I would think of it as a bumper to protect the SDI and other connections. And we are definitely looking at the AC side of the camera with probably a menu only screen for the AC to adjust settings. Also, I don’t know the price of the BM in Pounds but it’s $14,000 in the US, and with a lightning fast sensor. This Fuji will have to come in around $10k if it’s even to be considered. I’m sure they were cursing when the BM Ursa Cine was announced.
Now you say it the handle does remind me a bit of the rialto unit on the Venice with the handles protecting the connection. The pricing of the URSA 17k is £28,996 this is the more compatible version as it has the ‘imax / medium format sensor’. The URSA 12k Cine is £15,394 but with a ‘smaller sensor’
@ So many uncertainties with the Fujifilm, but keep in mind the 17k is a wide format (traditional 65mm film size) sensor which loses a lot of pixels if you switch into a 4:3 anamorphic mode. Head to head the 12k is much closer apart from the smaller image circle, except that the BM sensor will absolutely blow the doors off the 102 megapixel sensor for frame rates, readout speeds, and most importantly…dynamic range. One plus I can give the Fujifilm is a very clean industrial design (at lease what we can see of it) compared with the over the top look of the Ursa Cine. The Fuji does have the look of a Venice 2, and if they are chasing Burano buyers with this design, they might be able to close a few deals since that camera is $25k and has a slow sensor. Time will tell.
@ Well I’m mostly a solo operator, so I don’t see myself needing a sensor so large perhaps ever. Rather I’m far more curious to find out how a replacement FX9 will be designed. That’s probably my next cine purchase if Sony doesn’t take too long rolling it out.
There are a lot of unanswered questions about it that should cause concern. First off their 102 mega pixel ~12k x ~9k sensor, while comparable in resolution to Blackmagic's URSA Cine line, will use a traditional bayer pattern, which is not able to be scaled in RAW without either binning or line skipping to lower resolutions to obtain higher sensor readout speeds. Given it sounds like they are using both the same processor and sensor as in the GFX100II that leans towards it having a similar full readout speed of 30ms. While not impossible to use, that's certainly a situational shooters refresh rate. This also raises questions about what file formats they will use. It would be foolish for them to not include both ProRes and some H.265 variants, but what are they going to use for RAW? My understanding is ProResRAW is limited to 8k, meaning they would have to either bin or line skip if they go that route, and I don't think any of Blackmagics external recorders support 12k. They could try TicoRAW, like Nikon did, and then wait and see if Nikon/RED attempts to try and sick the patent lawyers on them. Another issue is that weird handle on the side. At first I thought it was at the front of the camera, but then realized that if the images circulating are not flipped that the handle is on the rear of the AC side of the camera, and not only that but so are what appear to be the operators controls. What I did like is that the operators panel looks almost identical to an Alexa, with the buttons at the top and bottom of the operators screen... er AC's screen, but if that is the for the AC then in theory it should also give a quality video feed, kind of like the Pyxis. I mean the Pyxis monitor does break the convention of having the AC on camera right, and put the AC in front of they operator; however, if one wanted the AC on the correct side they could simply add another monitor to the empty plate area, but for this camera there is no way to fix that right side, unless the side view is a goof up. Anyhow, it's all just odd and seems very concept to me, and the fact they expect this to be in peoples hands by next year just makes me worry they're rushing it. Edit changed the x-tans to bayer so people will stop commenting on that. I personally never owned or used the GFX100 or GFX100II so wasn't aware they were bayer sensors.
Let me correct you here. The GFX sensors are NOT X-Trans. None of them was and also the sensor of the GFX 100 II - which will be used in the ETERNA has the 'classic Bayer-pattern'. All the X-series cameras come with X-Trans ...
The GFX 100II has internal ProRes with a Fuji log curve, plus Braw and ProResRaw via HDMI and an appropriate recorder. Fuji has excellent color science. Fuji has been figuring out its video functionality for quite some time now, it's gotten pretty robust. I haven't had a chance to try video recording with the GFX line, but the video recording quality on the XH-2 is very good. I don't know for sure, but I've heard that Fuji is targeting $10K for this, which would be a good price point for it if it's well executed, which it probably will be. IMO if the price is much higher than $10K it will drive people to the already familiar Black Magic Ursa Mini line and the Sony FX line, because of the known quantity factor.
Considering the sensor size of Arri's Alexa 65 (54 x 25.6 mm) and Red's V-Raptor (41 x 21.6 mm), the GFX Eterna (which will use the 44 x 33 mm medium-format sensor found in its GFX 100 II and 100S II cameras) could be compelling. Fujifilm has a long history with cinema and filmmaking, through its many years of Fujinon lens design and, of course, film development. Fujifilm’s GFX Eterna camera makes sense. Looking forward to seeing real-world footage.
When I first saw your headline I was tempted to think that April 1st had snuck up on me somehow, but the calendar and the Fujifilm press release tell me otherwise. Odd that they only show two sides of the body, and odd that it has a locking GF mount, and odd to have multi pin (Hirose?) port on the AC side, etc. As the saying goes, “I have questions!” And I suppose 8 months or so we will have a testable product to view. In the meantime the best I can come up with is “interesting.”
"odd to have multi pin (Hirose?) port on the AC side". It's exactly where it should be. Well, a bit too high in my opinion, but that's a decent spot for it.
The most common source of confusion in this subject is mixing photo and cinema categories. In stills, large format starts at 4x5 but in cinema everything beyond super 35 used to be considered large format. That's why what people call full frame in stills is what arri calls large format in their alexa line. It doesn't make sense to say medium format in cinema cameras, it doesn't really exist as a category
Hello, You also have the RED Raptor at 40.96 mm x 21.60 mm (Diagonal: 46.31 mm). I think they could target the 15000$ - 25000$ market.I don't know if their sensor is based on the GFX 100 II sensor wich is at 7500$
@@patricktrench8783 apparently it is the same sensor, just remains to be seen what premium is placed on the form factor and any additional mods they make…
I have ONE concern that could make or break this for all of us. Many people have referred to the GFX100ii as the ALMOST cinema camera. In one sentence, the reason being - big cropping for different frame rates. If they improve those capabilities for the Eterna, it's worth getting. If not, I would save my money and hope they make that improvement down the line.. which will be years later
Would be interesting to see a professional production that takes advantage of the film simulations like how film makers back in the analog days chose specific film types
I’m excited that Fuji will be releasing a larger sensor top of the line cine camera but…I was hoping a crop / S35 box camera would have been released. There is already 3 existing cine X mount lenses and they are affordable. The internal zoom lens really surprised me and is a great little lens for run and gun and small crew documentary projects. A X mount would open up sales to a larger existing market that loves the FUJI look and shoots S35 at a lower price point.
According to an interview I saw in Cinednews, it's going to have a F-Log2C codec. Aside from that they didn't say much more but it would be great to have internal Raw.
the xh2s was a stunning camera and probably my second favourite camera to use ever, if its anything like that sensor i have no doubt there will be interest, though as you said the pricing is going to be a huge factor on where it sits in peoples mind. i have no idea what it'll be priced at though for that large of a sensor i imagine it'll be up there
Lots of great comments! As a FUJINON lens owner (Cabrios and Premiers) I can attest to the company's high standards of design, manufacturing and service. They have always understood the market and aim high with their products. In this case, I think it's really a matter of leveraging the success that they are having with the Medium Format photo market and the booming "creator" world, so my best guess is with many others on the $8-10K range or $15K with the native mount zoom. They'll be creating a new class of affordable short DOF cinecentric camera for TH-camrs and other new world media makers, beating Nikon/Red to the punch with what inevitably will be their competing version. I understand the rolling shutter issue, but for talking heads that shouldn't be a deal breaker.
You mentioned so many cameras/brands which resembles this fuji however, in reality its almost an identical layout of a red v-raptor in terms of buttons and general layout
Introduce a 10-20MP medium-format sensor cine-body camera and I would be all over that. If it's just a rehoused GFX100ii at a near $30,000 cost which is what I imagine, then I'm not really interested.
100% unnecessary. A rigged cinema camera will have so much stuff hanging off it, that handle will do nothing but get in the way. The LEAST they could have done was fill it with 1/4-20 and 3/8-16 Arri locking connections.
Bit of a weird one. Not as big or advanced a sensor as other 65mm eq cameras, probably cheaper but doesn't matter much when you'd have to rent LPL glass alongside it which is very expensive. For people who care a lot about cost its massively undercut by the Fuji mirrorless with the same sensor. Then in the middle it doesn't have the readout speed, lowlight capability or lens selection to go up against full frame cameras like a c400 or fx6. Might have been better if they put one of their s35 sensors in the same body. Now this just gives Sony very little incentive to produce medium format sensors for Fuji
Sony's sensor business is totally separate from their camera business, and ultimately, Fujifilm are not a rival to Sony. Plus the sensors are developed for industrial application, which means Fujifilm doesn't have to buy directly from Sony (though they currently do).
The readout speed is 15ms in 4k, that’s faster than a lot of FF cameras. Lowlight capability is a bit overrated to me. Sony lowlight capability comes from tons of in-camera noise reduction & sharpening that can’t be turned off. I’d rather have the control of doing NR myself in post.
15ms is still higher than its competition and that's only in a line skipped 4k, if you want oversampling it jumps to 26 which is very high. Then if you want actual pixel to pixel readout with the possibility of raw you have to crop in to full frame, which defeats the whole point of the sensor. Sony does apply lots of internal NR which isn't great, but more importantly has much higher sensitivity gain circuits.
Not to be picky BUT technically Arri LogC3 is essentially Cineon Log, invented by Kodak… Would it mean that Kodak has also made a digital cinema camera by proxy ? (Also : for what it’s worth the Digital Bolex D16 used a Kodak sensor) I am so pumped by that Fujifilm camera. Yes I know rolling shutter and other bits and bobs performance-wise might be lukewarm (since we already know how that sensor/processor combo works for video) BUT 1/is the Sony BURANO really that much better ? And 2/sensor and processor is just one part of the performance story. Everything else inside the camera might make it better (or worse) than the GFX100II.
Thanks a lot for your thoughts and insight, Dale. As a film maker who started shooting with a PL-mount rigged X-H2s (feel free to check out my ongoing project 'Cine Expansion kit' for that camera (and Sony F-X3(0) very soon. I call these cameras 'sensors' at that point. And it's more than useful to be able to use the sensor of your liking for specific projects) and since quite some time also with the GFX 100 II (also with PL-mount glass) I can assure you that the image quality coming out of these is amazing, together with great dynamic range. Since a short time now also Davinci Resolve fully supports FLog2. So to go to the next level next year is very good news :-) I would like to see a price around 15k€ for the Eterna. What do you think ??
I have not seen any medium format sensor that does not have a slow refresh rate, and thus a horrible rolling shutter effect. Maybe Sony has a new sensor and that is the reason Hasselblad is investing so much money in marketing the X2D these days, they know something special is coming. Hasselblad and Fuji use the same Sony MF sensors, for those that don't know.
Manufactures will usually publish the image circle of their lenses, so for example the DZO Arles 50mm lens has an image circle that basically covers this sensor… but with some vignetting it would seem. Cooke have just announced a line of lenses the Panchro 65/i series. But in terms of dedicated cinema glasses not stills glass it does tend to be at the more expensive end of the spectrum… though you may find some full frame lenses at certain focal lengths do cover the sensor to a acceptable degree…
@@Dale_Campbell Thanks ... potentially also opening up new market for Fuji to make cine mods of their own medium format lenses, although my guess is that users that are buying into such an ecosystem and getting new glass for it are going to have high demands on focus breathing, etc...
Honestly they might be dropping a bomb , like you said they processed film Im sure the sensor going go craxy but this they first camera on the cinema side Im sure it’ll be 10-15k and go down to 6-7
Most youtubers get the side monitor discussion wrong. It's not that we are not aware that there are second camera operators. I think for most it's exactly like Fuji stated in that release that most productions require an inexpensive crew hence one camera operator. The worst of all worlds is the Pyxis which has a sidescreen that you COULD use to monitor but now any single operator CANT.
@@KevKlopper I think that is the challenge with Blackmagic - they made it too good and few of the people getting the Pyxis are using it within the context of a department. I have to admit the idea of the minimalist Komodo rigs that used medium format viewfinders was sort of fascinating.
No. It's a 4:3 sensor as in the GFX 100 II (43.8mm×32.9mm GFX 102MP CMOS II HS to be precise ...). So it has a 55mm diagonal which covers Vista Vision ...
And the main question is do they they have a solid visually lossless compressed RAW codec like BRAW or R3D ? Answer is No so first let them develop a codec !
Fujifilm has seen the demand for the GFX in professional cinema shooting scenarios, and is making a cinema centric camera with the same sensor. Given the price of GFX, this new camera should be priced at around 10K$ give or take. Lenses are going to be a b&& to acquire if you don't already own medium format glass.
@@andersistbesser Subsequent cameras that may rival Burano and Venice will be. But for essentially a GFX in a cinema body 10K$ is already more than the base price of the GFX. I at least think it’s logical and reasonable.
@kinoromantic you cant compare a gfx foro camera with a cinema camera. You can get the sony fx6 sensor for 2000 in a zv body but you pay over 6000 in a fx6 body. A camera is more than its sensor. A gfx cinema camera will be very expensive. There is not much competition for a camera with such a big sensor. It competes with the biggest, most expensive arri cameras not wit a canon c400 or something.
@ It won’t compete with ARRI simply because ALEXA 65 is not even the camera that’s easy to rent in most places in the world, let alone buy and operate, so it’s beyond reach for most people. BM 17K stands for 30K, and if Fuji can come even close to half’ing that, they have a compelling entry cinema camera offer. FX6 performs rather close to A7SIII and they and the Canon C400 are full frame cameras so why even bring them in here?
So is there some business deal Fuji made with someone over full frame? Why can’t Fuji make a full frame camera. And if they’re making a cinema camera seems like it would make more sense to make it full frame
Fujifilm has always cared about medium format, which is why many of their medium format film cameras are still highly sought after. Fujifilm seems to want to compete with digital full frame by offering something no other digital full frame manufacturer can: most of the features and capabilities of full frame with all the benefits of a medium format sensor, all at a highly competitive cost. Their goal was not to compete with digital full frame by outrunning it; rather, they wanted to redefine the entire race, and it seems like that goal is going well.
Let's stop saying "large format" unless we're actually referring to large format; these sensors while larger than 35mm (full frame) are not large format. Large format is the next step above medium format (which is larger than 24 mm × 36 mm but smaller than 100 mm × 130 mm [4 in × 5 in]).
If this camera is competitively priced to its piers, I can only start to imagine this one paired with an DZO Arles Prime and a PL Mount. If this one has internal NDs, internal BRAW, global shutter, or at least no problems with rolling shutter which is usually a problem with large sensors, then I'm sold.
@@askandreasbjrshol3118 looks like the 50mm Arles does just cover the GFX sensor, with some vignette. Also there is an interesting knob/dial on the front of the Eterna that could potentially be an ND dial?
@ the braw format is currently starting to make its way into other manufacturers camera systems - Sony for example. Fuji have some compatibility with braw to external recorders on the GFX line… and as a format it feels like Blackmagic are encouraging some degree of wider adoption. So if a manufacturer is looking for a format that has been developed with very high resolutions in mind and isn’t as guarded as red raw for example.
@@Dale_Campbell Agree here. Unless someone want's to roll their own or do CineformRAW, BRAW makes the most sense. But any form of wavelet codec would be just fine as long as they can get it adpoted into the various NLEs. Also smart to use partially debayered so as not to run afoul of RED (Nikon's) patent. No need to fight that right now.
@@jalensimmons2608 what do you mean? Why shouldn’t it have braw, it’s already possible with Fuji to external, so why not internal? Or why shouldn’t it have internal nds? Globals shutter is a dream, but at least a high readout speed to minimize rolling shutter, as mentioned. The difference between the full frame and super 35 Blackmagicis tremendous and is pretty much why I won’t buy the Bmpcc6k pro.
@@abhishekgokak3333 What would be your use case for the 3:2 sensor? Would you want to capture natively in that aspect ratio for the frame it gives you OR would it be to offer flexibility in post to reframe to different aspect ratios?
Camera makes absolutely zip zero sense. A massive physical sensor without global shutter makes it blogger-worthy, but a cinema camera? Never. The rolling shutter is atrocious on all the GFXs. But the biggest problem is the low-light noise issue that made the original 100 unusable, which hasn’t gotten better with any iteration in ‘film’ mode since either. Perhaps Fuji will understand that a 50 mpix version of their current sensor (Or better, lower) will at least give their tech a fighting chance to create a more ‘cinema’ worthy version. But something tells me ‘features’ will be more important than function. Finally, the mount… It seems to sport a lock style, but seems just as flimsy as all their cameras making the use of followfocus frightening, as the lens does its focus wobble each time you attempt it… But who knows…in the world of autonomous cars, maybe Fuji’s idea of a cinema camera is a camera that uses autofocus…
The Rolf Harris of camera reviewers. Weird?! Dude its body is modelled obviously on a Venice and the side screen is for navigation not viewing. It’s a gfx in a box. Stop talking about the price. The gfx is £7k. It’s not rocket science. That’s the benchmark. It will be way below the bm offering and obviously an Alexa 65. Do you know anything about fuji cameras?? Presumably not. The gfx has a stabilised sensor and it’s already been noted that it’s that same sensor being used here. Why do people make these videos with nothing more than uninformed conjecture and little or no insight. Having spoke with people from fuji they are keen to move into cinema given how much the gfx range and x-h2s has been popularised recently and how that sensor has been likely used by kinefinity in the mavo s35. Done.
I think this is a huge misstep. Fuji has absolutely zero experience in this market. And they've stepped right into the pointy end. In my view they should have spent some time trying their hand competing against the likes of the Pyxis or Komodo. Show industry professionals that you have what it takes to compete at that "B" cam level before trying to release a flagship. Let's be generous and say they bring this in somewhere between the Komodo X and the Burano in cost. And that's generous. But you are asking someone to part with maybe $15k-$20k for an unknown camera in a space where peoples mortgages are being paid with their camera. There is NO room for teething pains on that kind of set. It has to work, and work well every time. That's a tall order for a company who's done nothing but stills cameras and hybrids. Looking at the camera I can already see a number of missing elements for working at that level of production. There isn't a single place on this body to mount ANYTHING. I see one power port on the front. No connectors for lens data. Nothing audio related. There is a dedicated "grab stills" button? Why? The announcement raised my eyebrow when they mentioned they were developing 2 power zoom lenses to accompany this. Why? No one uses that in cinema work. It's entirely the wrong tone and path. They NEEDED to say they are developing a set of reasonably priced LPL lenses, and then that might have gotten someone's attention. What flavor of RAW is it shooting? Because not having a solid RAW codec at this price point is a non-starter. You are competing against the best cameras from the best brands in the world who've got over decade head start on you. RED is the newest name in this space and they've been at this since 2007 and are on Generation 4. This thing had better be absolutely EXCEPTIONAL or no one is going to pay any attention to it. Had they come out with something remarkable in the Pyxis or Komodo space, I think they would have been able to make some waves. I see this going over as well as the digital Bolex.
Worth the wait. Fuji made some of the most coveted cinema zoom lenses and filmstocks. They had film-grain emulation in-camera way back with the xt2. The extra dynamic range from the 14 bit readout, the minimal rolling shutter, compatibility with Davinci resolve, they deliver on everything that filmmakers care about.
I think they’ll have something good on their hands if it’s not made of plastic.
Pricing will seriously make or break this camera. I'm honestly baffled yet happy Fujifilm's taking the video/cine camera market seriously, but unfortunately I'm willing to bet that Fuji will be pricing the eterna somewhere around $25,000. I love Fujifilm, but I kinda know them. They'll think their GFX Eterna could tango with the big boys and completely misread the market, pricing it somewhere really awkward.
$25 would be too much for this camera. That would put it in the price range of a RED V Raptor. Which would walk circles around this camera most likely. That’s where Sony went wrong with the Burano. That camera should have been around $15k at the most. I love Fuji so I hope they don’t go crazy with the pricing.
If thats the case, its doomed to the fate if the VariCam
It has to be over 15k or it would really disrupt other medium format cameras. Damn this is going to suck for Alexa 😂
What we have been told is that it will have the components of the GFX 100 II housed in a video camera cube. Video production people want the connectors straight out of the gate to take it more serious. I believe they will offset the cost of being able to already do photo and video with the GFX 100II with the added video features. The price will be $7-$10 K. Now if they better utilize the full sensor then we are talking about a more expensive camera. I do not think they will release a film studio camera right off the bat because of the harder sale and limited number of buyers.
Or they could make it much cheaper, like they did when first GFX launched back in the years, making MF(ish) sensor "affordable" and competing with 35mm FF.
Whatever the specs, I am all for this trend considering i own around 10 medium format vintage lenses from Hassleblad and Mamiya. Guess I'm gonna be one of those legendary grandpas who leaves behind retro gear worth $200K 😅
@@guptageneralstores5243 Nice! You’re all set, feel like there is going to be a bit of a rush to get more Medium format glass to market if this trend does continue… and the vintage prices will no doubt begin to climb.
Fire this bad boy up with the 110 f/2 😂
Very good run down. My guess that the cinema style body with a built in fan and more robust electronics will allow them to run the X Processor 5 harder than they are currently in the GFX 100ii. So I would expect slightly improved performance and potentially unlock open gate / higher frame rates than currently offered.
Would be handy to get sight of the processor spec sheet to see what it’s capable of maxed out.
As a wild aside, I also wondered if they could use dual X Processor 5’s but that’s maybe a fantasy!
@@lombardy3274 I’d hope they have something cooking for making the performance a bit better than is currently possible in the stills bodies….
I’m imagining $10K-$15K if it’s largely just the GFX100II rehoused
Same. More than that would be suicidal.
My best guess is this: they put a GFX100 II in a better-for-filmmaking body, thrown out the IBIS for proper sensor cooling for basically whole day shooting. If they still have the same rolling shutter it's going to be hard for them to charge more than 10grand. If they have reasonably low rolling shutter I guess more like 15grand.
*Maybe* they will introduce features that the their stills cameras have only for stills: color chrome modes, different grain simulations. I would wish for digital halation, it's all the rage in dehancer, filmbox, davincis look creator...if they put something like this into their in-camera-baked-look, I guess some filmmakers would love that. Remember that ARRI went for something similar in the Alexa35...having a finished look straight out of camera might appeal to people. Maybe that works with dual stream recording? One F-Log2C master file and an SOOC graded file for "dailies"...
I don't think anybody needs another FX3 or FX6 clone in 44x33mm, so I hope they make something cool out of this.
i think it's a mistake from them to not just use the XH2s sensor instead
Yeah, agreed. But at present, we only know what Fuji have communicated in this pre-announcement. It’s not impossible that they’re cooking up an S35 version too 🤞
I think Fuji is trying to differentiate itself, andas good as the XH-2 is, that doesn't stand out in any way in the current market.
Not that that lowers the quality of the camera any, but for a new entry it has to have something to entice people to give it a serious shot or it won't even be noticed.
@ Yeah, you could be right. And it could well be a solid way to enter the market, with a more unique sensor size, and then unveiling an S35 version a few months down the line.
Come out with the Ferrari, and then unveil the every day SUV once the dust has settled.
@@charles_wren_films That seems like a side effect of Fuji's choice to completely avoid the middle of the road "full frame" market, sticking to APS-C and medium format instead.
It's going to be an interesting camera for sure; Fuji has done an excellent job on the video side of things in its most recent cameras, so let's hope that it keeps it up!
Handle? Not really. I would think of it as a bumper to protect the SDI and other connections. And we are definitely looking at the AC side of the camera with probably a menu only screen for the AC to adjust settings. Also, I don’t know the price of the BM in Pounds but it’s $14,000 in the US, and with a lightning fast sensor. This Fuji will have to come in around $10k if it’s even to be considered. I’m sure they were cursing when the BM Ursa Cine was announced.
Now you say it the handle does remind me a bit of the rialto unit on the Venice with the handles protecting the connection.
The pricing of the URSA 17k is £28,996 this is the more compatible version as it has the ‘imax / medium format sensor’. The URSA 12k Cine is £15,394 but with a ‘smaller sensor’
@ So many uncertainties with the Fujifilm, but keep in mind the 17k is a wide format (traditional 65mm film size) sensor which loses a lot of pixels if you switch into a 4:3 anamorphic mode. Head to head the 12k is much closer apart from the smaller image circle, except that the BM sensor will absolutely blow the doors off the 102 megapixel sensor for frame rates, readout speeds, and most importantly…dynamic range. One plus I can give the Fujifilm is a very clean industrial design (at lease what we can see of it) compared with the over the top look of the Ursa Cine. The Fuji does have the look of a Venice 2, and if they are chasing Burano buyers with this design, they might be able to close a few deals since that camera is $25k and has a slow sensor. Time will tell.
@ in general at this size of sensor anamorphic lenses aren’t used. So in some respects the aspect ratio advantage of the sensor is a moot point.
@ Well I’m mostly a solo operator, so I don’t see myself needing a sensor so large perhaps ever. Rather I’m far more curious to find out how a replacement FX9 will be designed. That’s probably my next cine purchase if Sony doesn’t take too long rolling it out.
@@Dale_CampbellI’ve seen folks using anamorphic glass on this sensor - Joshua Martin (cinedailies) for one
There are a lot of unanswered questions about it that should cause concern. First off their 102 mega pixel ~12k x ~9k sensor, while comparable in resolution to Blackmagic's URSA Cine line, will use a traditional bayer pattern, which is not able to be scaled in RAW without either binning or line skipping to lower resolutions to obtain higher sensor readout speeds. Given it sounds like they are using both the same processor and sensor as in the GFX100II that leans towards it having a similar full readout speed of 30ms. While not impossible to use, that's certainly a situational shooters refresh rate. This also raises questions about what file formats they will use. It would be foolish for them to not include both ProRes and some H.265 variants, but what are they going to use for RAW? My understanding is ProResRAW is limited to 8k, meaning they would have to either bin or line skip if they go that route, and I don't think any of Blackmagics external recorders support 12k. They could try TicoRAW, like Nikon did, and then wait and see if Nikon/RED attempts to try and sick the patent lawyers on them. Another issue is that weird handle on the side. At first I thought it was at the front of the camera, but then realized that if the images circulating are not flipped that the handle is on the rear of the AC side of the camera, and not only that but so are what appear to be the operators controls. What I did like is that the operators panel looks almost identical to an Alexa, with the buttons at the top and bottom of the operators screen... er AC's screen, but if that is the for the AC then in theory it should also give a quality video feed, kind of like the Pyxis. I mean the Pyxis monitor does break the convention of having the AC on camera right, and put the AC in front of they operator; however, if one wanted the AC on the correct side they could simply add another monitor to the empty plate area, but for this camera there is no way to fix that right side, unless the side view is a goof up. Anyhow, it's all just odd and seems very concept to me, and the fact they expect this to be in peoples hands by next year just makes me worry they're rushing it.
Edit changed the x-tans to bayer so people will stop commenting on that. I personally never owned or used the GFX100 or GFX100II so wasn't aware they were bayer sensors.
Let me correct you here. The GFX sensors are NOT X-Trans. None of them was and also the sensor of the GFX 100 II - which will be used in the ETERNA has the 'classic Bayer-pattern'. All the X-series cameras come with X-Trans ...
@@fauland_photography okay, it's still same issue with needing to either pixel bin or line skip if the issue mentioned exist.
These are Bayer pattern sensors, though Fujifilm has said this camera manages a 14-15ms readout rate via line-skipping.
Finally!!!!!!!!!
It's been overdue for some time now 😭 that last GFX 100 was so damn close
The GFX 100II has internal ProRes with a Fuji log curve, plus Braw and ProResRaw via HDMI and an appropriate recorder. Fuji has excellent color science. Fuji has been figuring out its video functionality for quite some time now, it's gotten pretty robust. I haven't had a chance to try video recording with the GFX line, but the video recording quality on the XH-2 is very good.
I don't know for sure, but I've heard that Fuji is targeting $10K for this, which would be a good price point for it if it's well executed, which it probably will be.
IMO if the price is much higher than $10K it will drive people to the already familiar Black Magic Ursa Mini line and the Sony FX line, because of the known quantity factor.
I'm really interested in how it will handle rolling shutter with this huge sensor
CineD just released video with small interview with Fuji's Product Planner and they confirmed that rolling shutter is the same as in GFX 100 II 😭
I hope they're build and setting up lowest-highest
ISO 64-125-160-250-400-500 like original film Fuji.
Considering the sensor size of Arri's Alexa 65 (54 x 25.6 mm) and Red's V-Raptor (41 x 21.6 mm), the GFX Eterna (which will use the 44 x 33 mm medium-format sensor found in its GFX 100 II and 100S II cameras) could be compelling.
Fujifilm has a long history with cinema and filmmaking, through its many years of Fujinon lens design and, of course, film development. Fujifilm’s GFX Eterna camera makes sense.
Looking forward to seeing real-world footage.
When I first saw your headline I was tempted to think that April 1st had snuck up on me somehow, but the calendar and the Fujifilm press release tell me otherwise. Odd that they only show two sides of the body, and odd that it has a locking GF mount, and odd to have multi pin (Hirose?) port on the AC side, etc. As the saying goes, “I have questions!” And I suppose 8 months or so we will have a testable product to view. In the meantime the best I can come up with is “interesting.”
Yep! We may get lucky and see a preproduction model at one of the trade shows……
It has a locking mount because GF lenses are heavy! I know as I own several of the beasties!
@@RealCelticGamer they are lighter than typical cinema glass.
"odd to have multi pin (Hirose?) port on the AC side". It's exactly where it should be. Well, a bit too high in my opinion, but that's a decent spot for it.
@@PerroneFord To connect what?
The most common source of confusion in this subject is mixing photo and cinema categories. In stills, large format starts at 4x5 but in cinema everything beyond super 35 used to be considered large format. That's why what people call full frame in stills is what arri calls large format in their alexa line. It doesn't make sense to say medium format in cinema cameras, it doesn't really exist as a category
Im wondering if they would use some type of RAW codec.
@@mark12345697 it's DOA if it doesn't.
Hello, You also have the RED Raptor at 40.96 mm x 21.60 mm (Diagonal: 46.31 mm). I think they could target the 15000$ - 25000$ market.I don't know if their sensor is based on the GFX 100 II sensor wich is at 7500$
@@patricktrench8783 apparently it is the same sensor, just remains to be seen what premium is placed on the form factor and any additional mods they make…
I have ONE concern that could make or break this for all of us. Many people have referred to the GFX100ii as the ALMOST cinema camera. In one sentence, the reason being - big cropping for different frame rates. If they improve those capabilities for the Eterna, it's worth getting. If not, I would save my money and hope they make that improvement down the line.. which will be years later
Xh2s sensor would be better off because its the only sensor could actuslly read 14 bit read out snd dr and fast rolling shutter
Would be interesting to see a professional production that takes advantage of the film simulations like how film makers back in the analog days chose specific film types
I’m excited that Fuji will be releasing a larger sensor top of the line cine camera but…I was hoping a crop / S35 box camera would have been released. There is already 3 existing cine X mount lenses and they are affordable.
The internal zoom lens really surprised me and is a great little lens for run and gun and small crew documentary projects. A X mount would open up sales to a larger existing market that loves the FUJI look and shoots S35 at a lower price point.
According to an interview I saw in Cinednews, it's going to have a F-Log2C codec. Aside from that they didn't say much more but it would be great to have internal Raw.
They need a new faster readout 8K 14 bit sensor and internal RAW.
Slow stills sensor is a compromise and compromises may pass with cheap cameras.
the xh2s was a stunning camera and probably my second favourite camera to use ever, if its anything like that sensor i have no doubt there will be interest, though as you said the pricing is going to be a huge factor on where it sits in peoples mind. i have no idea what it'll be priced at though for that large of a sensor i imagine it'll be up there
Hopefully it is quite far along already and they manage to keep up the momentum and interest into 2025 🤞
Lots of great comments! As a FUJINON lens owner (Cabrios and Premiers) I can attest to the company's high standards of design, manufacturing and service. They have always understood the market and aim high with their products. In this case, I think it's really a matter of leveraging the success that they are having with the Medium Format photo market and the booming "creator" world, so my best guess is with many others on the $8-10K range or $15K with the native mount zoom. They'll be creating a new class of affordable short DOF cinecentric camera for TH-camrs and other new world media makers, beating Nikon/Red to the punch with what inevitably will be their competing version. I understand the rolling shutter issue, but for talking heads that shouldn't be a deal breaker.
You mentioned so many cameras/brands which resembles this fuji however, in reality its almost an identical layout of a red v-raptor in terms of buttons and general layout
Price wise since the gfx 100 m2 costs 7500$, I guess it's in the 10-15 thousands dollar rang.
The competition is heating up next we’ll hear Nikon dropping something new great time to be a filmmaker ❤🔥🎥🎬
If Fuji can price it under $15k, then it'd be more competitive against Ursa 12K, Burano, V-Raptor 8K.
Introduce a 10-20MP medium-format sensor cine-body camera and I would be all over that. If it's just a rehoused GFX100ii at a near $30,000 cost which is what I imagine, then I'm not really interested.
@@GrainOnTheGo photo sites do big you could fall into them 😂
What thought to be a handle is a I/O protection cover.
@@digi8902 I think you’re right!
100% unnecessary. A rigged cinema camera will have so much stuff hanging off it, that handle will do nothing but get in the way. The LEAST they could have done was fill it with 1/4-20 and 3/8-16 Arri locking connections.
Bit of a weird one. Not as big or advanced a sensor as other 65mm eq cameras, probably cheaper but doesn't matter much when you'd have to rent LPL glass alongside it which is very expensive. For people who care a lot about cost its massively undercut by the Fuji mirrorless with the same sensor. Then in the middle it doesn't have the readout speed, lowlight capability or lens selection to go up against full frame cameras like a c400 or fx6.
Might have been better if they put one of their s35 sensors in the same body. Now this just gives Sony very little incentive to produce medium format sensors for Fuji
Sony's sensor business is totally separate from their camera business, and ultimately, Fujifilm are not a rival to Sony. Plus the sensors are developed for industrial application, which means Fujifilm doesn't have to buy directly from Sony (though they currently do).
The readout speed is 15ms in 4k, that’s faster than a lot of FF cameras. Lowlight capability is a bit overrated to me. Sony lowlight capability comes from tons of in-camera noise reduction & sharpening that can’t be turned off. I’d rather have the control of doing NR myself in post.
It's a larger area than those 65mm cameras, if it allows you to shoot open gate of course.
15ms is still higher than its competition and that's only in a line skipped 4k, if you want oversampling it jumps to 26 which is very high. Then if you want actual pixel to pixel readout with the possibility of raw you have to crop in to full frame, which defeats the whole point of the sensor.
Sony does apply lots of internal NR which isn't great, but more importantly has much higher sensitivity gain circuits.
@ it’s competition is also twice the price at least, with the next camera up being $30,000. I hear you though ✅! Fair points
Not to be picky BUT technically Arri LogC3 is essentially Cineon Log, invented by Kodak… Would it mean that Kodak has also made a digital cinema camera by proxy ?
(Also : for what it’s worth the Digital Bolex D16 used a Kodak sensor)
I am so pumped by that Fujifilm camera. Yes I know rolling shutter and other bits and bobs performance-wise might be lukewarm (since we already know how that sensor/processor combo works for video) BUT 1/is the Sony BURANO really that much better ? And 2/sensor and processor is just one part of the performance story. Everything else inside the camera might make it better (or worse) than the GFX100II.
Excited to see how this product shapes up!
Absolutely, didn’t see it coming at all!
It needs to at least equal what the Black Magic pocket full frame is doing. Then we look at price comparison.
Thanks a lot for your thoughts and insight, Dale. As a film maker who started shooting with a PL-mount rigged X-H2s (feel free to check out my ongoing project 'Cine Expansion kit' for that camera (and Sony F-X3(0) very soon. I call these cameras 'sensors' at that point. And it's more than useful to be able to use the sensor of your liking for specific projects) and since quite some time also with the GFX 100 II (also with PL-mount glass) I can assure you that the image quality coming out of these is amazing, together with great dynamic range. Since a short time now also Davinci Resolve fully supports FLog2. So to go to the next level next year is very good news :-) I would like to see a price around 15k€ for the Eterna. What do you think ??
I have not seen any medium format sensor that does not have a slow refresh rate, and thus a horrible rolling shutter effect. Maybe Sony has a new sensor and that is the reason Hasselblad is investing so much money in marketing the X2D these days, they know something special is coming. Hasselblad and Fuji use the same Sony MF sensors, for those that don't know.
What cinema lenses would work on this?
Manufactures will usually publish the image circle of their lenses, so for example the DZO Arles 50mm lens has an image circle that basically covers this sensor… but with some vignetting it would seem. Cooke have just announced a line of lenses the Panchro 65/i series. But in terms of dedicated cinema glasses not stills glass it does tend to be at the more expensive end of the spectrum… though you may find some full frame lenses at certain focal lengths do cover the sensor to a acceptable degree…
@@Dale_Campbell Thanks ... potentially also opening up new market for Fuji to make cine mods of their own medium format lenses, although my guess is that users that are buying into such an ecosystem and getting new glass for it are going to have high demands on focus breathing, etc...
Sold. Sold. Looking to buy a Komodo X, and sometime after that this Fuji.
Honestly they might be dropping a bomb , like you said they processed film Im sure the sensor going go craxy but this they first camera on the cinema side Im sure it’ll be 10-15k and go down to 6-7
TH-cam in 6 years ‘I brought this old cinema camera for $500’
@@Dale_Campbell LMAO "this old cinema camera is still a beast "
@ yep 😂
oh screens on the sides... any complaints yet?😅
😂
I'm gonna go ahead and guess that this will be around $9,000-$10,000 given what we know about the hardware and Fujifilm's history.
Most youtubers get the side monitor discussion wrong. It's not that we are not aware that there are second camera operators. I think for most it's exactly like Fuji stated in that release that most productions require an inexpensive crew hence one camera operator. The worst of all worlds is the Pyxis which has a sidescreen that you COULD use to monitor but now any single operator CANT.
@@KevKlopper I think that is the challenge with Blackmagic - they made it too good and few of the people getting the Pyxis are using it within the context of a department.
I have to admit the idea of the minimalist Komodo rigs that used medium format viewfinders was sort of fascinating.
Yes the Pyxis is Blackmagic not daring to go all in on a box camera but rather make a more mini Ursa.
The Pyxis, any single operator can buy a monitor and still be below the price of a Komodo OG body; problem solved.
@@buddyfx7026you can buy 3 monitors and use them all but that was not the point I was making.
What I see, it's a 3:2 sensor, and that is a better ratio than a wide sensor like the URSA 17K and the RED cameras with VV
@@ArmandoDagoDP thats an interesting point, though how much demand there is for anamorphic on sensors this size?
No. It's a 4:3 sensor as in the GFX 100 II (43.8mm×32.9mm GFX 102MP CMOS II HS to be precise ...). So it has a 55mm diagonal which covers Vista Vision ...
And the main question is do they they have a solid visually lossless compressed RAW codec like BRAW or R3D ? Answer is No so first let them develop a codec !
it should come in about $8k - $9k ... if they are in competition with Sony and Canon
Fujifilm has seen the demand for the GFX in professional cinema shooting scenarios, and is making a cinema centric camera with the same sensor. Given the price of GFX, this new camera should be priced at around 10K$ give or take. Lenses are going to be a b&& to acquire if you don't already own medium format glass.
hahaha no way it will be much much more expensive
@@andersistbesser Subsequent cameras that may rival Burano and Venice will be. But for essentially a GFX in a cinema body 10K$ is already more than the base price of the GFX. I at least think it’s logical and reasonable.
@kinoromantic you cant compare a gfx foro camera with a cinema camera. You can get the sony fx6 sensor for 2000 in a zv body but you pay over 6000 in a fx6 body. A camera is more than its sensor. A gfx cinema camera will be very expensive. There is not much competition for a camera with such a big sensor. It competes with the biggest, most expensive arri cameras not wit a canon c400 or something.
@ It won’t compete with ARRI simply because ALEXA 65 is not even the camera that’s easy to rent in most places in the world, let alone buy and operate, so it’s beyond reach for most people. BM 17K stands for 30K, and if Fuji can come even close to half’ing that, they have a compelling entry cinema camera offer. FX6 performs rather close to A7SIII and they and the Canon C400 are full frame cameras so why even bring them in here?
some Arri style buttons
So is there some business deal Fuji made with someone over full frame? Why can’t Fuji make a full frame camera. And if they’re making a cinema camera seems like it would make more sense to make it full frame
@@shadowcultur True… but then to some extent the medium format / iMax digital niche is there to win right now….
Fujifilm has always cared about medium format, which is why many of their medium format film cameras are still highly sought after.
Fujifilm seems to want to compete with digital full frame by offering something no other digital full frame manufacturer can: most of the features and capabilities of full frame with all the benefits of a medium format sensor, all at a highly competitive cost. Their goal was not to compete with digital full frame by outrunning it; rather, they wanted to redefine the entire race, and it seems like that goal is going well.
Timecode?
No obvious port, but maybe the genlock does double duty….
@@Dale_Campbell here's to hoping so!
Fujifilm stupid decision to ignore 35mm sensor... What can I say?
They're not ignoring the 35mm sensor, they're firing shots across it's bow.
Let's stop saying "large format" unless we're actually referring to large format; these sensors while larger than 35mm (full frame) are not large format. Large format is the next step above medium format (which is larger than 24 mm × 36 mm but smaller than 100 mm × 130 mm [4 in × 5 in]).
@@RealCelticGamer I blame Arri
I blame photographers who've never shot on actual large format, plus Arri and Fujifilm 🤣
@ 😂 yeah for me the mini LF muddied the terminology waters…
If this camera is competitively priced to its piers, I can only start to imagine this one paired with an DZO Arles Prime and a PL Mount. If this one has internal NDs, internal BRAW, global shutter, or at least no problems with rolling shutter which is usually a problem with large sensors, then I'm sold.
@@askandreasbjrshol3118 looks like the 50mm Arles does just cover the GFX sensor, with some vignette.
Also there is an interesting knob/dial on the front of the Eterna that could potentially be an ND dial?
Why would have braw? I’m curious why it would have a few things you mentioned, but we can start there.
@ the braw format is currently starting to make its way into other manufacturers camera systems - Sony for example.
Fuji have some compatibility with braw to external recorders on the GFX line… and as a format it feels like Blackmagic are encouraging some degree of wider adoption. So if a manufacturer is looking for a format that has been developed with very high resolutions in mind and isn’t as guarded as red raw for example.
@@Dale_Campbell Agree here. Unless someone want's to roll their own or do CineformRAW, BRAW makes the most sense. But any form of wavelet codec would be just fine as long as they can get it adpoted into the various NLEs. Also smart to use partially debayered so as not to run afoul of RED (Nikon's) patent. No need to fight that right now.
@@jalensimmons2608 what do you mean? Why shouldn’t it have braw, it’s already possible with Fuji to external, so why not internal? Or why shouldn’t it have internal nds? Globals shutter is a dream, but at least a high readout speed to minimize rolling shutter, as mentioned. The difference between the full frame and super 35 Blackmagicis tremendous and is pretty much why I won’t buy the Bmpcc6k pro.
The rolling shutter on the GFX is horrible. I can't see how this will work in a cine cam, unless they go global shutter
@@apachewolf6460 you’d hope they can improve that with better thermals and more processing power in the bigger body….
Improve Dynamic Range and color science
65mm, 80mm and 95mm sensor
3:2 aspect ratio
@@abhishekgokak3333 What would be your use case for the 3:2 sensor? Would you want to capture natively in that aspect ratio for the frame it gives you OR would it be to offer flexibility in post to reframe to different aspect ratios?
Nice 👍
i dont why but it remind me of Canon C700
@@meranlee1911 nah it’s at least 2ft shorter 😅😂
@@Dale_Campbell also hoping the fate not be the same as c700
@@meranlee1911 🤞
Sorry, but I think he meant to say it look like a red v raptor.
@@digi8902 it’s a Rorschach camera
it's a rendering, very fews specs, no price, possible timeline. Once thing camera actual appears then we can talk until then, fuji fix your autofocus!
@@stoolin9706 😂 they may be showing more over the next few days at inter BEE 2024
Camera makes absolutely zip zero sense. A massive physical sensor without global shutter makes it blogger-worthy, but a cinema camera? Never. The rolling shutter is atrocious on all the GFXs. But the biggest problem is the low-light noise issue that made the original 100 unusable, which hasn’t gotten better with any iteration in ‘film’ mode since either. Perhaps Fuji will understand that a 50 mpix version of their current sensor (Or better, lower) will at least give their tech a fighting chance to create a more ‘cinema’ worthy version. But something tells me ‘features’ will be more important than function. Finally, the mount… It seems to sport a lock style, but seems just as flimsy as all their cameras making the use of followfocus frightening, as the lens does its focus wobble each time you attempt it… But who knows…in the world of autonomous cars, maybe Fuji’s idea of a cinema camera is a camera that uses autofocus…
@@jornhaagen Certainly a lot to prove for Fuji, and it does feel like the leap is a little large from a stills centric body to this in one generation.
I BET $50K
@@digi8902 that’s pretty heavy! Can’t wait to see some images from it maybe that will be worth it if it looks amazing
6000
The Rolf Harris of camera reviewers. Weird?! Dude its body is modelled obviously on a Venice and the side screen is for navigation not viewing. It’s a gfx in a box. Stop talking about the price. The gfx is £7k. It’s not rocket science. That’s the benchmark. It will be way below the bm offering and obviously an Alexa 65. Do you know anything about fuji cameras?? Presumably not. The gfx has a stabilised sensor and it’s already been noted that it’s that same sensor being used here. Why do people make these videos with nothing more than uninformed conjecture and little or no insight. Having spoke with people from fuji they are keen to move into cinema given how much the gfx range and x-h2s has been popularised recently and how that sensor has been likely used by kinefinity in the mavo s35. Done.
Just to annoy you is why people make them. 😅 why you watch them is the real question 🙌
I think this is a huge misstep. Fuji has absolutely zero experience in this market. And they've stepped right into the pointy end. In my view they should have spent some time trying their hand competing against the likes of the Pyxis or Komodo. Show industry professionals that you have what it takes to compete at that "B" cam level before trying to release a flagship.
Let's be generous and say they bring this in somewhere between the Komodo X and the Burano in cost. And that's generous. But you are asking someone to part with maybe $15k-$20k for an unknown camera in a space where peoples mortgages are being paid with their camera. There is NO room for teething pains on that kind of set. It has to work, and work well every time. That's a tall order for a company who's done nothing but stills cameras and hybrids. Looking at the camera I can already see a number of missing elements for working at that level of production. There isn't a single place on this body to mount ANYTHING. I see one power port on the front. No connectors for lens data. Nothing audio related. There is a dedicated "grab stills" button? Why?
The announcement raised my eyebrow when they mentioned they were developing 2 power zoom lenses to accompany this. Why? No one uses that in cinema work. It's entirely the wrong tone and path. They NEEDED to say they are developing a set of reasonably priced LPL lenses, and then that might have gotten someone's attention.
What flavor of RAW is it shooting? Because not having a solid RAW codec at this price point is a non-starter. You are competing against the best cameras from the best brands in the world who've got over decade head start on you. RED is the newest name in this space and they've been at this since 2007 and are on Generation 4. This thing had better be absolutely EXCEPTIONAL or no one is going to pay any attention to it. Had they come out with something remarkable in the Pyxis or Komodo space, I think they would have been able to make some waves. I see this going over as well as the digital Bolex.