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cameras, and the fact that Fujifilm chose a removable internal battery, rather than a sealed unit that would degrade over time, is a smart design decision. The camera provides a single 2-pin power output on the front of the body, which is convenient for powering a monitor but can lead to less tidy cable runs given the rear-mounted SDI output. In practice, most productions will rely on additional power distribution for accessories regardless. Large control LCDs on both sides of the camera reinforce its hybrid design, allowing operators and assistants quick access to settings. The menu system is logically laid out and familiar to anyone experienced with cinema cameras, while dual native ISO switching occurs automatically once ISO 1600 is exceeded. When paired with a G Mount autofocus zoom, the multifunction dial offers an intuitive way to pull focus, and the on-screen focus scale is a nice touch. However, during our testing, the onboard monitor flickered a little when adjusting focus via the wheel, which made critical focus harder to judge. Fujifilm has since released a firmware update that includes improvements to monitor behaviour, which may address this issue. The Film Simulations – drawing on Fujifilm’s stills ecosystem – are nice to have and will be a big plus for some DOPs, but we found them to be a mixed bag for cinema use. Best for us were the ETERNA and ETERNA Bleach Bypass simulations, which nodded most meaningfully toward cinema stocks. We were surprised by how indirect the Rec. 709 monitoring experience feels. While the SDI and HDMI outputs can be configured to display Rec. 709, Film Simulations form the basis of the camera’s default monitoring looks, which makes it harder to evaluate Fujifilm’s colour science on neutral terms in day-to-day use. Compounding this, when recording in F-Log there is no simple way to apply Film Simulations to monitoring without loading LUTs into the camera, which somewhat undermines the immediacy of having so-called ‘built-in’ Film Simulations for lots of Log- based workflows. In post-production, the camera’s claimed 14 stops of dynamic range become apparent, particularly in its clean
A WELL-OILED MACHINE Given the size of the Eterna 55’s sensor, it comes in a surprisingly compact form factor with a pleasantly lightweight feel
focus that the sensor size makes possible, but for cinematographers the expanded canvas invites exploration of medium format glass, as well as rediscovery of familiar lenses through previously unseen edges of their image circles. In this world of huge sensors, there is little competition, especially at more accessible price points. The ALEXA 65 and 265 are probably out of reach for anyone not on a Marvel movie, leaving the Blackmagic URSA 17K as its closest rival. Even then, the Blackmagic costs roughly 50% more, placing it in a bracket of its own. As a filmmaking tool, the Eterna 55 offers genuine, IMAX-certified large format credibility with its huge sensor, and when exposed and shot carefully it can make for some truly spectacular images that are difficult to achieve with smaller formats. We can imagine strong uptake among filmmakers seeking a distinctive, large format look without the cost of other true 65mm systems.
high-ISO performance. However, highlight handling proves more challenging, with roll-off into clipped whites that can be difficult to manage in more contrasty settings. When pushing grades creatively, these limitations are more apparent while working with the camera’s internal 10-bit recording, particularly in subtle colour gradients. Although, the option for external 12-bit RAW capture does provide additional latitude for workflows that require it. That said, much of the excitement surrounding this camera bypasses these technical considerations entirely, and for good reason. People are here for its 4:3 medium format sensor, and that is where the Eterna 55 genuinely stands apart from the Super 35 and full-frame incumbents. A surprising number of lenses (whether intended to or not) cover the GFX sensor, and the extra real estate provides a new playground of looks. Focus pullers will sweat at the likely upcoming trends of extreme shallow
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