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Bought a Fuji GFX 100


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A good deal on an open box one came up so I snaffled it. Before I am officially bankrupt and have to sell EOSHD to Cinema5D, at least I get to shoot some medium format 4K Here is the plan...

Don't make a gofundme for me, I'll just spend it on more cameras!

I'm more like one of his enablers.

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I picked up a GFX-100 last week ... returned it this week.

The stills were unbelievably good ... better that I can describe.

AF is a mixed bag in video ... AF-S unusable in that if you push AF on to move the point of focus in video the lens opens

fully to focus then closes to the set aperture ... even in Manual mode. AF-C has a distinct shudder in the background at times

when the camera hunts ... other times it looks good.

My biggest concern for the camera ... I was shooting to an external recorder as ProRes HQ in 10Bit 4:2:2 in FLog .... the color balance had

a magenta tint in spite of custom white balance and white bal correction with a Video Passport Checker in Davinci Resolve. The

Fuji LUTS made it worse ... skin tones really pink ... not tanned .... I tried a bunch of other LUTS ... moved to ACES ... and rendered

the same 20 minute video 5 times ... the last without a LUT and a bunch of RGB individual curve corrections. Skin tones correct but the

background bordering on cyan ... pick one or the other as I was not willing to mask each of 4 persons in the video.

Ten to twelve hours for something that normally takes me 2 hours.

If I were not shooting interviews and just outside ... might have not been an issue ... as the landscapes I tested looked good.

No crop in 4K DCI Full Sensor read ... UHD probably trims the sides.

Very robust build ... so close.

 

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Yes that's where I saw it.

Maybe it is just a comparison of sensor size and not trying to imply the GFX 100 records DCI 4K in full frame and super 35mm crop modes.

Maybe as @androidlad says the FF mode is only for 60MP stills.

Firmware update request going into Fuji if true.

:)

 

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1 minute ago, docmoore said:

My biggest concern for the camera ... I was shooting to an external recorder as ProRes HQ in 10Bit 4:2:2 in FLog .... the color balance had a magenta tint in spite of custom white balance and white bal correction with a Video Passport Checker in Davinci Resolve. The Fuji LUTS made it worse ... skin tones really pink ... not tanned .... I tried a bunch of other LUTS ... moved to ACES ... and rendered the same 20 minute video 5 times ... the last without a LUT and a bunch of RGB individual curve corrections. Skin tones correct but the background bordering on cyan ... pick one or the other as I was not willing to mask each of 4 persons in the video. Ten to twelve hours for something that normally takes me 2 hours.

Did you find the same with the internal 10bit F-LOG or not tried?

I dislike external recorders so I will only be using the internal 10bit 4K.

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I don't think the final specs changed or brochure is wrong, it is merely demonstrating how massive the sensor is compared to normal DCI full frame 4K.

But definitely something for Fuji to consider in a firmware update if sensor allows it. A7R IV 4K bins nicely from 60MP.

I will see whats up with F-LOG. Nothing that a good LUT or in-camera settings change can't fix :)

Eterna is an option.

Did it have Hybrid LOG Gamma?

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Its a bit confusing ... now that the camera is on its way back to the store I have the PDF manual to consult.

P158 suggest that FLog and HLG are available when using a HDMI connected external recorder but can be mirrored

on the internal cards. It is available at ISO 1250 to ISO 12800. Having been recently burned with HLG on the small Sony

I did not try it.

Speaking of Sony :>( I just fried the A6600 that I was using as a temporary bridge until I find the final camera solution for

my needs (wants really ...). Connected a battery insert to a DTap Gold mount battery and Voila ... doorstop she be.

So I now am discovering what I can do with an A9 .... no SLOG ... but the majority of my pro bono work is in very

controlled conditions. Hope that is my saving grace.

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4 hours ago, docmoore said:

Its a bit confusing ... now that the camera is on its way back to the store I have the PDF manual to consult.

P158 suggest that FLog and HLG are available when using a HDMI connected external recorder but can be mirrored

on the internal cards. It is available at ISO 1250 to ISO 12800. Having been recently burned with HLG on the small Sony

I did not try it.

Speaking of Sony :>( I just fried the A6600 that I was using as a temporary bridge until I find the final camera solution for

my needs (wants really ...). Connected a battery insert to a DTap Gold mount battery and Voila ... doorstop she be.

So I now am discovering what I can do with an A9 .... no SLOG ... but the majority of my pro bono work is in very

controlled conditions. Hope that is my saving grace.

I think you should’ve put that camera through every test while you had it. 

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Can confirm there is no 4K recording in full frame 35mm crop mode, it's medium format only. Not that I mind.

Punch in magnification during recording works.

It's not too heavy and I like the ergonomics.

ALL-I H.265 10bit at 400Mbit.

Remind me did X-T3 have ALL-I mode in H.265 or Long GOP only? A while since I shot with it.

This doesn't feel like a big X-T3.

Feels more in the X-H1 mould. Which is a good thing. They got rid of the hipster dials for ISO and shutter speed (GFX 50S also had those) and it's more like a DSLR.

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Remember this?

fuji-44x33-4k-binning.jpg

Didn't that refer to X-Trans IV / GFX 100?

Or, as I speculated at the time - a medium format cine cam GFX H100?

https://www.eoshd.com/news/fujifilm-hint-at-44x33-large-format-gfx-h100-filmmakers-camera-open-gate-4k3k/

In terms of the image in 4K on the GFX 100 I am impressed by it and I wouldn't say heavy moire or aliasing... More like barely noticeable and very detailed, especially with real world (of course you can always see some zoomed in on a chart).

I heard the GFX100 reads every pixel horizontally as well, in 4K.

Not sure about the line-skipping. Does it tell us in the Sony data sheet?

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Edit:

It's right there in the data sheet...

https://www.sony-semicon.co.jp/products/common/pdf/IMX461ALR_AQR_Flyer.pdf

See readout mode 5 at up to 30fps 12bit. Resolution is exactly 3882 x 2912.

So if the GFX100 sensor can bin like that, why would it heavily line skip instead?

gfx100 imx461 sensor drive mode.jpg

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2 minutes ago, Andrew Reid said:

Edit:

It's right there in the data sheet...

https://www.sony-semicon.co.jp/products/common/pdf/IMX461ALR_AQR_Flyer.pdf

See readout mode 5 at up to 30fps 12bit. Resolution is exactly 3882 x 2912.

So if the GFX100 sensor can bin like that, why would it heavily line skip instead?

If it bins like that, it doesn't sound good in marketing material.

GFX100 reads the full width of the sensor at 11604 pixel, and vertically 2/3 subsamples from 6528 to 4352. The downsamples to 4K. So technically it oversamples.

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1 hour ago, Andrew Reid said:

Remind me did X-T3 have ALL-I mode in H.265 or Long GOP only? A while since I shot with it.

It does, but only at 400Mbps and up to 29.97p (DCI and UHD) - I say only because you can't select a lower Mbps and a higher frame-rate like you can with Long GOP.

DCI24p 400Mbps All-I is nothing to sniff at.

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On close inspection there is aliasing and some jaggies on high contrast edges, some moire, a bit like an A7R IV or D850, but it's more or less under control for the most part. Certainly helps to turn the sharpness down in-camera.

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