GEAR FUJIFILM GFX ETERNA 55
20 internal Film Simulations in addition to downloadable Film Simulation LUTs, so you can quickly convert
which reduces the colour data slightly, but is a solid codec for real-world use. In our tests, we shot a selection of formats up to ProRes 422 HQ using a variety of gamma settings including Log. Fujifilm is pushing colour and tonal flexibility hard, with F-Log2 C for wide dynamic range capture of more than 14 stops. There is lots of meat on the bones, even when going extreme in the grade. The colours are natural and organic and you can play with them to make something as wild as you like. No complaints at all there, and the reality is that the vast majority of filmmakers will be more than happy with the files. Unlike the GFX100 II, the Eterna has an optical low-pass filter which combats moiré and manages to soften any overly digital looks. Combined with some cool lenses, the look from the Eterna is just gorgeous. If you would like a selection of edit-ready codecs, Fujifilm offers
this price. Even Nikon’s ZR mirrorless camera has a selection of different Raw internal capture modes and you could buy six of them for the price of one GFX Eterna 55. But a cinema camera is a different animal, and if you must have Raw for the ultimate in quality and grading you can export 4:3 open gate 4K Raw up to 48fps over HDMI, or 30p over SDI, to an Atomos monitor-recorder. In fairness, the footage still looks excellent without internal Raw – especially if you’re recording robust ProRes and exposing carefully. However, this omission may well be a dealbreaker for some productions, particularly those building a workflow around Raw as standard. Some may at least expect ProRes 4444 as standard for such a pricey camera. This is full colour resolution for every pixel and would make it ideal for VFX or high-end virtual work. But the Eterna tops out at ProRes 442, A massive sensor calls for a large bit of glass to fill it, and Fujifilm has a growing range of native lenses to fit the GFX Eterna 55, including the 32-64mm AF zoom we used in our test. As well as exotics like the 30mm f/5.6 T/S and 110mm f/5.6 T/S Macro, which are perspective correction lenses, there is a new GF 32-90mm T3.5 power zoom. This lens is purpose-built for filmmaking with image stabilisation and weather sealing.
CONTROL EXCELLENCE The screen is a joy and there
are two ND controllers
F-Log2 to one of these looks in post. It’s a clear
emphasis on Fujifilm’s legacy colour as a storytelling tool, not just marketing garnish. Only using the internal, baked-in Film Simulations provides excellent results, certainly in selections like the natural-looking Eterna cinema style or standard Provia. But more extreme settings like Velvia or the black & white Acros may be a bit much. It’s better to shoot in Log, then apply a simulation in post so you can adjust its strength. Dual base ISO and light levels The Eterna offers dual base ISO of 800 and 3200. That’s not unusual on
LENS CHOICE GETS WIDER But the addition of a PL adapter with
every GFX Eterna 55 opens up a huge array of genuine cinema lenses – ranging from vintage glass to anamorphics and the very latest optics built for the new crop of large- sensor cameras. We managed to get hold of a brand- new Sigma 40mm T1.3 LF Aizu prime to try out on the GFX Eterna 55, and were hugely impressed. Compared to the f/4 zoom, the huge speed increase of the £6999/$8299
Aizu allowed for wafer-thin depth-of- field – something that called for the GFX’s internal NDs to cut enough light down. Featuring a Zeiss eXtended Data port, the 40mm lens had no breathing issues and was distortion-free, producing a sharp yet still organic look that suits cinema-style shooting beautifully. Focusing as close at 38cm/15in, you can get in close yet still create a wonderfully soft, shallow depth-of-field thanks to the T1.3 aperture. And, of course, it’s great for low light. It’s built to last with superb materials and engineering, and will be a stunning new flagship for the Sigma cine range.
GLASS ACT If you love AF, Fujifilm has you covered (above), while the new PL-fit Sigma Aizu primes are made for big sensors (left)
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