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Fujifilm hits the big time The new GFX100 II might be compact and lightweight, but it offers a huge sensor and heavyweight filmmaking spec
W hen seriously good cameras chosen most often are the ones with the largest sensors. That’s because of the extremely narrow depth-of-field that can be achieved, granting the definitive cinematic aesthetic. If you want to give your films this signature perspective, there is simply no other way of doing it. However, for the vast majority of creatives, this is out of scope in terms of budget – even as a rental option. That’s no longer the case, though, thanks to Fujifilm’s new GFX100 II. It may be the sixth model in the company’s large format GFX System, but it’s the first to offer the high-end moviemaking spec that makes it a viable option for indie production companies. The video functionality has been reimagined from the ground up to make this the first affordable, super-sized-sensor camera ideal for even modest productions. cinematographers get the call to shoot a mega-budget film, it’s no surprise the
At the heart of the GFX100 II is the newly developed, 102-megapixel CMOS II sensor. This measures 43.8x32.9mm, offering a 55mm diagonal to deliver a huge variety of lens options for ultimate quality. Fujifilm offers an increasingly large range of its own native GF Mount lenses, which take advantage of the advanced autofocus capability of the GFX100 II. But industry- standard PL, LPL and many other lens mounts can be used via adapter thanks to the camera’s shallow flange depth. Different aspect ratios can be selected in camera to suit, including 35mm and Fujifilm’s legendary Premista. And there is also an anamorphic setting with a choice of in-camera de-squeeze monitoring options. A wide choice of recording resolution options can be found, too – ranging from Raw output for ultimate control in post to camera-to-cloud integration for instant, speedy workflows. To squeeze every bit of quality from the camera, the GFX100 II enables 4K/60p in 4:2:2 10-bit to be captured internally at almost full sensor
width (43.63mm). If you need higher resolution, there is also 8K/30p and, for super slow-motion, Full HD in 120p is possible. Irrespective of resolution, an improved readout speed from the sensor minimises rolling shutter effect to avoid any skewed verticals while panning. Using the GFX100 II’s low sensitivity of ISO 100 gives incredible quality and low noise, and footage can be recorded internally to a CFexpress card, externally direct to an SSD via the USB-C port, or to other devices via the full-sized HDMI port. This allows formats including Raw to be recorded externally on compatible devices such as an Atomos monitor/recorder, saving the footage in 12-bit Apple ProRes Raw up to 8K/29.97p or 12-bit Blackmagic Raw with the Blackmagic Video Assist 12G HDR device. Internal codecs include the three most popular Apple ProRes options: HQ, 422 and LT. ProRes 422 Proxy is also available for a fast workflow option in post. Both All-Intra and Long GOP compressions are provided, with a large range of bit rates offering further versatility. When it comes to the look of the footage produced, not all cameras are created equal. Fujifilm prides itself on its colour science, making some of the best-known film stocks, and this mastery of colour carries over into its digital cameras. SIZE-MIC SHIFT The enormous sensor in the FUJIFILM GFX100 II brings unique perspectives and classically cinematic looks to indie filmmakers as well as high- end production houses
“Internal codecs include the three most popular Apple ProRes options: HQ, 422 and LT”
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