FUJIFILM GFX Medium Format Mirrorless Camera for Video – Everything You Wanted to Know

Up until recently, thinking about an affordable medium format mirrorless camera with video capabilities was only a dream. With the introduction of the Hasselblad x1d  and the FUJIFILM GFX 50S, not only is this dream fast becoming a reality – it could also indicate the emergence of a pattern to the point of déjà-vu from the time when the Canon 5D Mark II was released and we started cinema5D.

FUJIFILM GFX

FUJIFILM GFX 50S – Credit: FUJIFILM

During my recent trip to Japan, I had a chance to visit the FUJIFILM headquarters and talk to Takashi Ueno-san, a manager at FUJIFILM and a key member of the team behind the new GFX 50S. The main reason for this interview was to establish whether this new camera had a chance of becoming a valid working tool in the arsenal of aspiring filmmakers. In addition, I wanted to understand the technical challenges that manufacturers have to face when designing and manufacturing a camera with such a large sensor.

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As you can see in the interview above, the new GFX 50S can only shoot video in full HD quality. However, what’s important to take from my chat with FUJIFILM is that this is only the beginning of a journey – one that will be very much dictated by the public response and acceptance of Medium Format for video work. 

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Takashi Ueno-san – FUJIFILM corporation

Here is a rundown of the questions asked in this interview:

  • 00:23 – What is the reason for FUJIFILM to introduce a medium format camera?
  • 01:30 – Are video users considered target users?
  • 02:56 – What is the unique advantage of the FUJIFILM GFX?
  • 04:08 – How are the video functions positioned in terms of priority?
  • 06:01 – What is the merit for shooting HD video?
  • 07:21 – What’s the reason for not implementing 4K video?
  • 08:03 – X-T2 and GFX – which is recommended for HD shooting
  • 09:00 – What are your plans for expanding the lens line-up?
  • 10:59 – Can medium format be a good solution for 8K?
  • 12:21 – What is the vision for the video function of medium format in the future?
  • 14:35 – What about pricing and availability?

Rest assured that we will test the new camera as soon as a final sample becomes available to us. In the meantime, I hope you guys will take a minute (or 15), to watch the interview and let us know in the comments section below if such a camera might be interesting for you.

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 Ian Hunter Oscar Stegland Beebee LestrJohnnie BehiriFujifilm GFX Successor to have 100 Megapixel Sensor: Fujifilm Manager Takashi Ueno Recent comment authors
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 Thomas Diehl
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Thomas Diehl

I would be interested to hear what you think about this

https://www.dpreview.com/articles/6113651777/kipon-to-launch-reducer-to-mount-medium-format-lenses-on-full-frame-cameras

Kipon to launch reducer to mount medium format lenses on full frame cameras

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[…] Source: Cinema5D […]

 Beebee Lestr
Member

Large format = Good. It’s about art. Traditional smaller-format video cameras focus on having a long zoom range in a compact design. That’s why they have tiny sensors. But that is not art. Having the tools to make images into art means having control of your lens focal length. Traditional S35 video cameras can’t effectively do wide angle. They just cut off any ability to get ultra-wide shots. This is why the Arri Alexa 65 camera is suddenly becoming sort after. The top cinematographers want to work on large format cameras. The imagery they get sets them apart from the… Read more »

 Ian Hunter
Member

Only in today’s hyper-quality saturated world would we call full frame 35 sensors “tiny.”

 Oscar Stegland
Member

Seriously, what? With the exception of the fact that large format gives a unique look with a shorter depth of field, I’m hard pressed to find anything in your post that isn’t pure bullshit. Stop focusing so much on what you’re shooting on and you’ll learn to see art in anywhere. Is Ed Lachman’s work on Carol not art because he shot on S16? Did he choose S16 because of the zoom ranges available? Fuck no, he shot it on S16 and mostly on primes because he felt that that was the best way to tell the story. Art in… Read more »

 Ian Hunter
Member

Although Deakins is probably experimenting more than at any other time with Blade Runner, considering the content.

 Oscar Stegland
Member

He’s shooting Blade Runner on Alexa XT and Master Primes just like his past several films, so not really…

 Beebee Lestr
Member

Oscar, let yourself feel secure about the work you do. If someone wants to set themselves apart from the masses by using different gear, it shouldn’t offend anyone else. In fact, it’s a good goal for everyone to set themselves apart, using whatever tools or methods they deem appropriate. I’m just pointing out there is increasing demand for larger format video cameras. If you don’t see any use in them, that’s perfectly fine. But there’s a movement going on from people who do believe there is a beautiful look achieved with a larger sensor. I think it’s just a matter… Read more »

 Oscar Stegland
Member

I feel fine about the work I do. I’m still up and coming and none of what I shoot looks like Deakins’ work. Again, that’s fine and well. I’m not saying there’s not a push for large format cinematography. There absolutely is, and it’s great. If I can shoot digital 65mm in a decade with cameras that are less than $10k, I’d be super happy. Still, it wouldn’t make mine or anybody else’s work stand out. Your work should stand out because of your talent and your choices as a DP, which is exactly how it works today. The Revenant… Read more »

 Ian Hunter
Member

Speaking of 16, “Jackie” was a beautiful example of the talent you speak of.

 Ian Hunter
Member

What gets me is the lost opportunity with the new cams/sensors to market them effectively. It seems whenever a new professional tool comes along, it’s some company rep or generic video shoot that introduces it. Instead of filming leafs and Japanese portraitures, bring in some A-List film makers to debut the new tech. All too often it’s much later down the road that it ends up in the hands real auteurs.

 Ian Hunter
Member

And The difference between full frame and MF/Format is….

 Beebee Lestr
Member

Full-Frame stills format has a 36mm wide sensor. You have to crop some pixels top and bottom to achieve a 16:9 aspect image.

Fujifilm’s medium format camera has a sensor that’s almost 44mm wide.

Super35 video cameras have an image sensor around 22mm wide, which is less than a quarter the size of Fujifilm’s sensor

 Ian Hunter
Member

So, basically it’s like the IMAX of still photography.