FUJIFILM IS AS KEEN TO TARGET
videographers with the GFX 100 as still photographers, and in this market the value proposition is again hard to ignore. This sensor size is still relatively new territory for video-makers (where it’s being confusingly called “large format”), but full-35mm pro-level cameras such as the RED Monstro and Sony Venice are already popular (but both are significantly more expensive, by the way) so Fujifilm is aiming to offer something more… that and a massive 102 megapixels resolution, of course.
Bigger sensors are appealing to video-makers because of the pictorial qualities, including a shallower depth-of-field and better low-light performance. The GFX 100 is also attractive because of its in-body image stabilisation and its faster continuous autofocusing via phasedetection pixels with close to full-frame coverage. Being able to detach the EVF is also advantageous in some video rig situations, especially if you’re using an external monitor.
The GFX 100 records 4K video using the full sensor width with 10-bit 4:2:0 colour recording in either the
DCI or UHD resolutions at 30, 25 or 24 fps; and 10-bit 4:2:2 colour to an external recorder via the HDMI port. This is using the more efficient HEVC H.265 compression codec, but H.264 compression is available too, along with switching between the All-Intra (intraframe) and Long GOP (interframe) processing regimes. The highest bit rate is 400 Mbps, and you also have the
17:9 and 16:9 aspect ratios for both 4K and 2K FHD. Better still, there’s no restrictive limits on clip durations which are 60 minutes for 4K and 80 minutes for 2K. Importantly too, F-Log and HLG gamma profiles are available to enable easier contrast control and colour grading in post-production. Of course, the Eterna/Cinema ‘Film Simulation’ profile is also available for a flatter colour rendering which optimises the dynamic range. All the other ‘Film Simulation’ profiles are available too, along with the adjustable picture parameters (including the warm-to-cool ‘B&W Adjustment’), noise reduction (including interframe NR for 4K recording), dynamic range expansion processing and correction for lens vignetting. Other video features include zebra patterns (with adjustable thresholds), time-coding, focus peaking displays for MF assist and movie silent control via the touchscreen.
On the audio side, the GFX 100 has built-in stereo microphones with auto/ manual level control, a wind-cut filter, a low-cut filter and an attenuator. Both a stereo audio input and output are provided, and are the standard 3.5 mm minijack connections.
While hybrid cameras are very different animals to dedicated video camcorders designed specifically for cinematographers, the GFX 100 is like nothing anybody has seen before, and it’s going to be too hard to ignore… for both video-makers and photographers alike.