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Hands-on with the Fuji GFX 100S


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For me, it’s the lenses that took me away from Fuji.

I’d have a 50mp version of this for stills in a heartbeat...as a body, but could only justify a single unit so would need a zoom and that would be the 45-100mm f4 and it’s massive/too big for me. And a teeny weeny bit too slow, even if it is medium format.

XH2 or at least my version of it, would be perfect for video...but even worse choice of single (zoom) lens, but could probably get away with the 16-55mm f2.8. Just.

I like Fuji a lot, but they just currently don’t make anything that suits my needs, so ‘other manufacturer’ full-frame is my sweetspot.

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I can’t imagine Sony being very afraid considering they make the sensor.

I’m a broken record at this point but the big sensor feels wasted when there’s no open gate video mode. If it had that, I’d be all over it at $6K. Unfortunately the S1H is still a much smarter buy in the LF video arena.

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7 hours ago, Caleb Genheimer said:

I can’t imagine Sony being very afraid considering they make the sensor.

I’m a broken record at this point but the big sensor feels wasted when there’s no open gate video mode. If it had that, I’d be all over it at $6K. Unfortunately the S1H is still a much smarter buy in the LF video arena.

You have an anamorphic that covers open gate medium format?!

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12 hours ago, Andrew Reid said:

You have an anamorphic that covers open gate medium format?!

The iscorama 54 is a good canditate.

Still waiting on the speedbooster + hasselblad lenses review.

Btw, Hasselblad stuff has skyrocket in the last year... no more bargains...

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The sensor is capable of 3 x 3 pixel-binned 3882 x 2912 at 30fps from full width and height of the sensor. Fujifilm simply did not implement this. Also it does not sound as enticing as "over-sampled 4K" in marketing.

Also because of the 3 x 3 pixel-binning, the image will be very soft.

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15 hours ago, Andrew Reid said:

You have an anamorphic that covers open gate medium format?!

Yeah, I have several. I have a Kowa Anamorphic-35 1.75X (a variant of what most call an “Inflight”,) which, while for 35mm gate size, is easily usable on MF (considering everyone and their mother uses 16mm gate scopes like the 16-H on full frame cameras without issue.) I also have plans to modify my B&L CinemaScope Attachment II, which is natively for projecting 70mm prints, and has an absolutely ginormous rear element. 

I honestly don’t care how much my rig weighs, or how big it ends up being. I’m gearing up to shoot narrative fiction, not a YouTube vlog. I’m after unique, immersive and impactful images that feel at home on a theater screen, that create their own world on the screen.

I love Nolan’s work on 70mm, especially Dunkirk and Interstellar. The Alexa 65 has also shot several films which really leverage the larger sensor to achieve a unique look: Bohemian Rhapsody, The Revenant, Rogue One...

I’m not saying smaller sensors can’t look great on the big screen, but a really big sensor leveraged the right way can’t help but look like it belongs on the big screen.

If prices drop on the S1H, I’ll very likely end up with that body, I’m just a bit bummed with Fuji (or perhaps Sony is imposing  limitations on the sensor,) because I REALLY like Fuji. I like their physical design philosophy, their color science, and their overall proclivity towards a “left-field” approach (like leapfrogging Full Frame straight from APSC to MF.)

I’m perfectly happy to wait out the market with my GH5S and Pocket 4K, they’re a great duo for getting the job done on contract work... but they’re not what I’m after from a personal creative perspective.

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On 4/11/2021 at 8:57 AM, androidlad said:

The sensor is capable of 3 x 3 pixel-binned 3882 x 2912 at 30fps from full width and height of the sensor. Fujifilm simply did not implement this. Also it does not sound as enticing as "over-sampled 4K" in marketing.

Also because of the 3 x 3 pixel-binning, the image will be very soft.

Define “very soft,” because I’ve seen my stuff on theater screens which have only ever been 2K, and it looked fantastic. 3883X2912 is very comfortably over sampled if delivering a 4096X1716 DCP, even if it’s “soft.”

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2 hours ago, Caleb Genheimer said:

Define “very soft,” because I’ve seen my stuff on theater screens which have only ever been 2K, and it looked fantastic. 3883X2912 is very comfortably over sampled if delivering a 4096X1716 DCP, even if it’s “soft.”

You misunderstood.

Pixel-binning has a strong anti-aliasing effect (blurring). Especially so for a 3 x 3 pattern.

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On 4/11/2021 at 2:30 PM, Nikkor said:

The iscorama 54 is a good canditate.

You'd be better off shooting a crop sensor format with that too.

I've tried anamorphic on medium format and it's tricky.

You need a very long focal length and the corners are a bit mushy.

On 4/11/2021 at 2:30 PM, Nikkor said:

Still waiting on the speedbooster + hasselblad lenses review.

Btw, Hasselblad stuff has skyrocket in the last year... no more bargains...

Check the Mamiya stuff.

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55 minutes ago, Andrew Reid said:

The pixel-binned image from the GFX 100 is very good. Not soft, and aliasing not too bad either. One of the best pixel binned images.

GFX100 and GFX100S do not use any pixel-binning. Horizontally it uses full readout of 11604 pixels (possible because of Sony sensors column-parallel ADC), vertically it line-skips 2/3 resulting in 4352 pixels. Then this 11604 x 4352 image is over-sampled to 4K.

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