GEAR FUJIFILM GFX ETERNA 55
The Fujifilm GFX Eterna 55 is bold because it’s not trying to be the same camera everyone else is making. Its tall large format sensor, open gate flexibility and anamorphic friendliness create genuine creative options that don’t exist on most mainstream cinema camera bodies. Pair that with serious I/O options, internal variable ND, strong monitoring and Fujifilm’s colour pedigree, and you have a camera that feels designed to fit around the realities of modern production. The frustration is – at this price – the lack of internal Raw, which will raise eyebrows. But if your priority is the format and the look, and you are searching for a cinematic tool that will encourage different framing decisions rather than just different menu options, the Eterna 55 is one of the most distinctive cameras to hit the market in years. will love it, as will those who want Fujifilm’s signature rendering. Who might be better served elsewhere are people who need internal Raw as a non-negotiable, handheld-heavy solo shooters who rely on strong IBIS and buyers who should really get a lighter hybrid- that-can-do-cinema rather than a cinema-first build. And if you own a bagful of matching lenses, it makes it much easier to make the change. THE VERDICT
REAL RANGE There’s loads of dynamic range, even holding sky detail on very overcast days
connectivity, with proper cine input/ output options. The port selection is far more production-friendly than most hybrids as it has SDI and HDMI out, 3.5mm mic in and headphone out, 2.5mm remote record start/stop, timecode and genlock via BNC, a locking DC power input Lemo-style, USB-C for external SSD recording, RJ45 LAN plus Wi-Fi and Bluetooth. But there are no XLR inputs. To use high-end XLR mics, you can plug an adapter directly into the top handle’s interface port. It’s a neat solution, but means more kit to buy and carry. Who should consider the Eterna? This camera makes perfect sense for any narrative filmmakers who want a large format look that offers a taller open gate canvas, or for productions mixing widescreen cinema delivery with vertical or other social media deliverables. If you want incredible Cinemascope work with anamorphic lenses in modern squeeze ratios, the Eterna is for you. Crews who benefit from timecode, genlock, SDI and proper on-set I/O
control over. That’s useful in run- and-gun configurations where you’re juggling multiple exposure decisions. The Eterna uses a single CFexpress Type B card as the main recording medium, with room for an SD card for proxies, firmware updates and support tasks. You can also record to an external SSD via USB-C. The camera houses Fujifilm’s small NP-W235 internally, which acts as a failsafe and can be charged by the external power source. On the internal battery alone, you can expect approximately 30 minutes depending on your use. In reality, this is designed around external power on-set, either plug-in via the included AC mains lead or via a V-Mount battery. The internal battery means you can hot- swap external sources or survive brief power interruptions without killing the take. This is your typical cinema camera philosophy and means the internal battery isn’t the main fuel tank, it’s the safety net. Another nod to real-world cinematography is found in the Eterna’s modern networking and
FIN-TASTIC FOCUS The AF picks up the human subject and keeps the eyes sharp with jaw-dropping accuracy
More information
fujifilm-x.com
HOW IT RATES
Features: 8 Lots of codecs but no internal Raw, XLR inputs or IBIS Performance: 9 The footage is stunning with an organic feel Handling: 9 It’s a well-thought-out cinema camera package Value for money: 8 Accessible relative to the large format, 65mm world OVERALL RATING: 9/10 A stunning large format camera for unique footage Pros: Large-sensor filmmaking, good AF Cons: No internal Raw or IBIS
66
PRO MOVIEMAKER
Powered by FlippingBook