Fujifilm’s first-ever dedicated filmmaking camera is called the GFX EternaRelease date planned for 2025It will feature the same 102MP medium-format sensor as the GFX100 II
Fujifilm has announced the development of its first-ever cinema camera, the Fujifilm GFX Eterna, which is slated for a 2025 release.
Fujifilm’s official statement does not provide much information, but it does contain enough to give us a picture of what to expect and to get excited about. It even includes the very first images of the medium-format beast, which you can see below.
It’ll use exactly the same 102MP medium-format CMOS II HS sensor and X-Processor 5 engine as the five-star-rated GFX100 II. This costly mirrorless camera leans more heavily toward video than the watered-down GFX100S II. However, the new GFX Eterna will go one further than the hybrid GFX100 II – which, in addition to 8K video skills, is also an excellent stills camera – as a fully-fledged filmmaking tool.
Its name, Eterna, is an obvious nod to one of Fujifilm’s most popular Film Simulations, a color profile that Fujifilm describes as “Based on ETERNA, a film designed for motion pictures, this Film Simulation mode minimises saturation to ensure that none of the colors stand out. It provides an extremely soft tonal gradation in highlights and deep shadows to prevent clipping, to reproduce a cinematic look.”
Alongside announcing the GFX Eterna, Fujifilm is developing a 32-90mm power-zoom cinema lens and a GF to PL mount adapter – the latter is an industry-standard lens mount. We don’t know the GFX Eterna’s list price yet, nor that of the lens, although to give you a rough ballpark, the GFX100 II was launched at $7,499 / £6,999 / AU$12,599.
(Image credit: Fujifilm )
A filmmaking industry shake-up?
Like Nikon with its RED camera takeover, Fujifilm is looking to disrupt the indie filmmaking market with an altogether different offering. Its larger medium-format sensor is a clear selling point over industry staples such as the RED Digital Camera Komodo and the Blackmagic Ursa-series. However, its infancy in the market could leave filmmaking stalwarts unconvinced.
On the other hand, Nikon is surely leveraging the RED name and the filmmaking tech it has owned since acquiring RED for its future video-focused cameras, including coveted color profiles developed by RED. Fujifilm is coming in new, utilizing its own sensor tech, which could be enough to tempt pros to give it a whirl. While its widely recognized Film Simulations could eventually win acclaim in this part of the industry that’s historically closed off to newcomers.
To be one of the best video cameras in this professional realm, Fujifilm needs to develop the Eterna hardware wisely. It will, of course, need the inputs demanded by pros, including an XLR input for serious audio equipment and built-in ND filters, which are likely a must. There’s also work to be done in creating cine lenses for the GF-mount, which are currently all photography-first lenses by design.
However, regarding the GFX Eterna, I’d have every confidence in Fujifilm making something pretty special at the first time of asking.
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