Fujifilm recently announced its latest project: the GFX Eterna, a medium-format camera designed specifically for filmmakers. This model builds on the GFX still photography line, reimagined for video production to appeal to independent filmmakers and documentarians.
In the world of still photography, full-frame sensors are standard, with medium-format adding an extra level of detail. But for filmmakers, crop sensors remain the norm, while larger formats like Alexa 65 and IMAX are reserved for high-budget productions. Even with changes in the market—such as Blackmagic’s upcoming 17K 65mm model—super 35mm sensors are still the industry standard, as Roger Deakins proved with his work on Blade Runner 2049 using a 3.4K Alexa Mini. Yet, larger sensors draw attention from visual artists, making the GFX Eterna’s capabilities intriguing.
In a conversation with CineD, Fujifilm’s Product Planner Makoto-san suggested that the GFX Eterna might lean more toward the owner-operator market rather than large-scale productions. This approach could mean fewer high-end production features compared to cinema cameras like the Arri Alexa or Sony Venice. While the final design is still unknown, early images show the inclusion of internal neutral density (ND) filters and a new F-Log Gamma Curve. These additions could make it attractive to content creators looking for quality image capture without the bulk of a traditional cinema setup.
Image Quality and Dynamic Range
Fujifilm’s GFX100 offered some of the best image quality on the market, with impressive dynamic range. The GFX Eterna, using the same sensor as the GFX100 II, should deliver equally high standards. This medium-format sensor, along with the updated gamma curve, promises to retain Fujifilm’s quality edge in video production.
Connectivity and Recording Options
The mockup of the GFX Eterna suggests multiple ports for monitoring, although SDI compatibility and built-in timecode features are still uncertain. While the GFX100 II can record in 10-bit 4:2:2 DCI 4K, the filmmaking community would benefit from internal RAW recording or ProRes options for smoother post-production workflows. Compatibility with CFast Express Type B would also improve the camera’s media handling.
Lens Compatibility
Fujifilm’s GFX line already includes a selection of high-quality lenses, and the brand’s experience in cinema glass suggests additional options for video work. Although the development of a dedicated cinema lens lineup may take time, Fujifilm’s wide range of compatible lenses and adapters for cinema mounts like PL and LPL should cover most needs.
The GFX Eterna appears to extend Fujifilm’s ecosystem of tools designed for specific use cases. The new model will keep the GFX100 II’s sensor but adopt a filmmaker-focused form factor, with development continuing through 2025. Fujifilm has yet to reveal the price, but for filmmakers drawn to medium-format video, the GFX Eterna could be worth the investment.
What do you think? Could the GFX Eterna become your next camera choice?