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SPECIFICATIONS Sensor type: GFX 102MP CMOS II HS Sensor size : 43.8x32.9mm Processor: X-Processor 5 Sensitivity: ISO 100 to 12,800, extendable to 25,600 Exposure compensation : +/-2 stops Bit rates: 50-720Mbps Resolution : 8K (17:9, 16:9, 2.76:1), 5.8K (2.35:1), 5.4K (17:9), 4.8K (3:2, 16:9, 1.38:1), DCI 4K (17:9), 4K (16:9), Full HD (17:9, 16:9) File formats : MOV: Apple ProRes 422 HQ, 422, 422 LT, HEVC/H.265, MPEG-4 AVC/H.264. MP4: MPEG-4 AVC/H.264, AAC Compression : All-Intra, Long GOP Viewfinder : 9.44m-dot EVF with 1.0x magnification LCD monitor : 3.2in three-way tilting touchscreen, 2.36m dots Connectivity : HDMI Type A, USB-C, Ethernet, 3.5mm microphone, 3.5mm headphone Media : Slot 1: CFexpress Type B. Slot 2: SD/SDHC/SDXC UHS-II Dimensions (wxhxd) : 152.4x117.4x98.6mm Weight : 1030g (body with battery, card, EVF) as well as a lens roadmap that includes the first tilt-shift optics for digital medium format, an ultra-telephoto prime and a standard powerzoom, the brand is gearing up for a bright future in filmmaking. “Fujifilm is taking filmmakers incredibly seriously. You can really tell, as the GFX100 II has so many professional features – and some of these are unique to Fujifilm cameras,” says Marks. “What I’ve always liked is that Fujifilm leads in terms of design and features. But the proof is in what the picture looks like, and how easy the camera is to use. And on both of those fronts, the GFX100 II does great. “I love the flexibility of using different glass on that big sensor. Whether it’s with anamorphic or spherical lenses, it opens up the world so cinematographers or content creators can really choose their look. And, ultimately, the GFX100 II is the camera that can do just that.”
colour, and what the Film Simulations do is provide a shortcut to looks based on the old film emulsions.” One of Marks’ favourite ways to use the camera is to attach the GF55mm f/1.7 R WR because of the incredibly shallow depth-of-field it produces. “When I’ve got a sensor that big, it’s all about showing the character in the environment.” Keeping a subject sharp with such a fast lens would normally be a challenge, but the GFX100 II makes it easy thanks to advanced AI autofocus and eye tracking. “The eye tracking is wonderful. You could just stick on the 55mm lens with a variable ND on the front, and shoot away,” Marks tells us, safe in the knowledge the subject will be in focus. The improved tracking AF function keeps a wide range of subjects sharp, regardless of other objects in the frame. Simply select the subject in the frame via the 3.2in, three-way tilting touchscreen – and the camera stays locked on. “You can alter the speed and sensitivity of the focusing. If I was to compare it to previous cameras, it’s night and day ahead in terms of speed and accuracy.” Featuring an Ethernet port and full integration with Frame.io Camera to Cloud, MOVIE STAR The GFX100 II is a compact mirrorless unit at just 1030g, meaning it can be rigged up with all the essential moviemaking accessories (above), not to mention that its 102-megapixel sensor offers significant optical versatility
stops, the GFX100 II also has the brand’s famous Film Simulation modes built in. These offer a massive range of stunning looks right out of camera – without the need for excessive work in the grade. “The new one is Reala Ace, which is a really nice, punchy, everyday kind of look,” states Marks. “But, importantly, you can go into menus and change it – knock the sharpening back, take the noise reduction down and tweak the saturation to get what you want. “If I’m going to do some serious colour grading, then I absolutely shoot in F-Log2. But if I’m turning something around fast for web or social jobs, or there isn’t the budget for a colourist, Film Simulations are an option. Everyone loves Fujifilm
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