streamlined workflow. Both All-Intra and Long GOP are on tap, with a wide range of bit rates offering further versatility as and when needed. Fujifilm prides itself on colour science, making some of the best-known film stocks, and this mastery has carried into digital. A range of baked-in Film Simulations, including the new Reala Ace, are available for those who want great footage straight out of camera. ETERNA, with its soft tonality and low saturation, is another favourite among videographers. Greater flexibility is offered by two F-Log settings – F-Log and F-Log2. The latter is seen for the first time in a GFX camera and provides an impressive 14+ stops of dynamic range when the D Range Priority mode is selected. The colour out of the camera intercuts well with footage from other camera systems, and GFX100 II also features IDT for integration into an ACES workflow. While we’ve focused on the enhanced moviemaking capabilities delivered by the camera’s sensor, the GFX100 II’s credentials don’t end there. Filmmakers using the camera with native GF lenses, for example, will be able to take advantage of the improved tracking AF function to keep subjects in focus, regardless of other objects in the frame. Simply select the subject in the frame via the 3.2-inch three-way tilting
THE SENSOR OFFERS A 55mm diagonal FOR A HUGE VARIETY OF OPTICAL OPTIONS”
touchscreen and, with AF-C and Wide/ Tracking AF mode selected, the camera will stay locked on – ideal for run-and- gun set-ups. For those who prefer manual focus, a new Focus Map function overlays a series of coloured squares on the frame which change depending on whether the area is in focus or not. Waveform and vectorscope displays have been added to the pre-existing zebra option to provide instant feedback, while the camera also supports timecode sync with the Atomos AirGlu Ultrasync Blue device. GFX100 II is also the first Fujifilm camera to offer native integration with Frame.io camera-to- cloud technology. Connect the camera wirelessly or via Ethernet cable and footage is uploaded straight into Frame.io, ready for collaboration. While it’s rare for handheld footage to be recorded without any support,
GFX100 II does offer powerful in-body image stabilisation. For stills, the system provides up to eight stops of shake correction, while for video, an IS Boost option is provided. The camera’s physical size makes it possible to confidently use handheld with a lightweight rig attached. The body weighs just over 1kg with battery, card and detachable 9.44m-dot EVF on board; it could be the basis of the lightweight setup you’ve been looking for. These specs confirm why GFX100 II is a serious contender for filmmaking duties. It’s also an incredible stills camera, giving it potential dual purpose on set. Perhaps most impressive is that it delivers the second largest imaging sensor in the world of cine cameras for the price it would cost to hire an ALEXA 35 body for a couple of weeks. Worth thinking about.
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