Nearly a year after FUJIFILM first announced the GFX ETERNA 55 cinema camera, we’re finally learning the internal specs, recording formats, Film Simulations, and more, as well as details on the 32-90mm T3.5 Power Zoom lens. The GFX ETERNA 55 will utilize a massive 43.8 x 32.9mm 102MP CMOS II HS sensor and an X-Processor 5 to capture footage in five primary formats—GF, Premista, 35mm, Anamorphic 35mm, and Super35mm—in resolutions up to DCI 8K. Codecs include ProRes 422, H.265, and H.264. The camera also supports twenty different Film Simulation modes.
The GFX ETERNA 55 is FUJIFILM’s first-ever “filmmaking” camera, taking the large format sensor of the GFX100 II and adding in a ton of video-first features like an internal variable neutral density filter (ND0.6 – ND2.1), Adobe Frame.io Camera to Cloud support, an optical low-pass filter, and greatly expanded I/O. We had already seen the body of the camera, but the internals had been a bit of a mystery. Now, FUJIFILM has spelled out exactly what the ETERNA can do.
The primary “Sensor Formats” are GF 4K 4:3 Open Gate at 48p, as well as GF 8K DCI, Premista 8K DCI, 35mm 8K DCI, Anamorphic 2x Squeeze 8K, and Super35mm 6.3K, all of which max out at 24p or 30p. Most can go up to 60p when dropped down to DCI 4K resolution, as well as 120p in FHD. Having a native 4:3 open gate mode in a digital cinema camera is hugely exciting for users wanting to capture the full image circle of large format lenses, as well as those who want greater freedom to crop and reframe in post.
One lens built to work well with the sensor and ergonomics of the GFX ETERNA 55 is FUJIFILM’s own soon-to-be-released 32-90mm T3.5 power zoom lens, available in G-mount. Covering a large and utilitarian focal range, this cinema zoom is designed to handle the high resolving needs of the ETERNA, as well as other medium and large format sensors, and includes internal servo motors. The 32-90mm has manual aperture, focus, and zoom rings, plus a zoom rocker and dials on the side for changing lens settings.
As far as codecs go, the GFX ETERNA 55 supports Apple ProRes 422 in HQ, regular, or LT, with linear PCM 24-bit stereo audio. The camera also has HEVC/H.265 recording in 4:2:2 10-bit, as well as ProRes Proxy and H.264 proxy options. You can use the HDMI output to get a 4:2:2 10-bit uncompressed feed or 12-bit RAW with a compatible external recorder. While internal raw would’ve been nice to have, ProRes should be sufficient for many users.
Being a FUJIFILM camera, Film Simulations were expected, but the GFX ETERNA 55 is here to over deliver, with twenty types at launch, including PROVIA, Velvia, ASTIA, Classic Chrome, REALA ACE, PRO Neg., Classic Neg., Nostalgic Neg., Sepia, multiple flavors of ETERNA, ACROS, Black & White, and more. These will be burnt into your recorded image, but if you want additional flexibility, the camera can store and display 16 custom 3D LUTs. FUJIFILM is also developing new 3D LUTs for applying their most popular Film Simulations to F-Log2 or F-Log2 C footage.
Another feature that will make filmmakers very happy is customizable framing guides, available in a bunch of different colors, scales, widths, and aspect ratios. The camera has remote recording functions via a browser-based application, and will support Bluetooth connections via ATOMOS AirGlu or FUJIFILM’s own TG-BT1 remote grip. FUJIFILM also confirmed compatibility with Tascam XLR Microphone Adapter handles.
The camera uses NP-W235 batteries but has an external DC input that can power the camera and charge the battery. There’s a CFexpress Type B slot for higher data rate recordings, and an SD card slot for lower ones. The 16x9 5” external LCD monitor sports an impressive 2000 nits of brightness and 6.22 million dots, while the 3:2 3” on-board display taps out at 700 nits and 1.04 million dots.
For more information about FUJIFILM’s GFX ETERNA 55 cinema camera, including features, specs, and highlights, be sure to check out the detailed product pages.
