Fuji GFX 100 is first medium format camera to shoot 12bit ProRes RAW with Atomos Ninja V

Fuji GFX 100 ProRes RAW

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Today Fuji confirmed a big firmware update for all the GFX cameras, but the one that is especially interesting for filmmakers is the GFX 100 update. This adds a 4K 12bit RAW output via HDMI which the Atomos Ninja V is able to compress and record as ProRes RAW. This can be smoothly graded and edited in Final Cut Pro X with full GPU acceleration.

The GFX 100 will also receive the new Classic Negative Film Simulation and Color Chrome Blue, which together I found to be my go-to new look on the X-T4 and X-Pro 3. So I am very happy about this.

Read moreFuji GFX 100 is first medium format camera to shoot 12bit ProRes RAW with Atomos Ninja V

Surely this is the best £20 lens for the Fuji GFX 100

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Going beyond full frame with Fuji GFX cameras has many perks. However one of the drawbacks of medium format used to be the amount of money you would have to spend on the lenses – and the size of them, and the slow apertures. With the development of mirrorless medium format cameras with a mechanical focal plane shutter that’s all changed. I had no money left for lenses anyway, after I bought my Fuji GFX 100! So I set myself a challenge. What is the CHEAPEST lens I could use for great images on medium format?

Here I used my Fuji GFX 50R to shoot the photos you see below, but the same look applies to the GFX 100 in 4K as well.

Read moreSurely this is the best £20 lens for the Fuji GFX 100

Rumor: Fuji GFX 100 to get ProRes RAW – Internal recording? Or external?

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The Fuji GFX 100 along with the Panasonic S1H is the most advanced mirrorless camera for video on the market at the moment. There are reports today that Fujifilm are working on a big firmware update for the GFX 100, with ProRes RAW on the list of features.

Read moreRumor: Fuji GFX 100 to get ProRes RAW – Internal recording? Or external?

Preview – Anamorphic goes medium format with Fuji GFX 100 and a look at the Leica SL2 5K 4:3 mode

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This will be a short introduction before I get down to shooting with the beasts you see above.

On the left we have the Leica SL2, which features a 5K anamorphic mode (4:3 aspect ratio) that records in 10bit LOG format.

On the right we have the Fujifilm GFX 100 which is my first medium format camera that has been useful for cinema. However one ingredient has been missing with medium format and that is anamorphic!

Read morePreview – Anamorphic goes medium format with Fuji GFX 100 and a look at the Leica SL2 5K 4:3 mode

Fujifilm hint at 44×33 large format “GFX-H100” filmmaker’s camera / open gate 4K3K

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With Canon debuting the C500 II today, demand for a full frame in a C-series body is clearly there but Fujifilm is looking further into to the future. Their X-Trans IV sensor technology has already debuted in the GFX 100 and X-T3 but there is a slideshow which shows how Fujifilm might be taking the technology much further than we believed…

A large format 44×33 camera optimised for open gate 4K3K RGB (perfect for an anamorphic mode).

Read moreFujifilm hint at 44×33 large format “GFX-H100” filmmaker’s camera / open gate 4K3K

THEY DID IT! Fuji GFX 100 first to bring pro video specs to medium format with 10bit 4K at 400Mbit, F-LOG and IBIS

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The 100 megapixel monster announced at Photokina last year has landed.

The Fuji GFX 100 will be shipping from June 30th and it is far better from a video perspective than I imagined.

In fact in many ways, you are looking at the best studio and mirrorless camera ever made, as far as the specs sheet goes.

That larger-than-full frame 44 x 33mm sensor is going to cost you over the usual 36 x 24mm though…

Compared to a high-spec $2000 full frame camera the GFX 100 is $10,000. Even so, this smashes a barrier for medium format pricing compared to the first one to shoot 4K, the $28,000 Hasselblad H6D 100C.

Read moreTHEY DID IT! Fuji GFX 100 first to bring pro video specs to medium format with 10bit 4K at 400Mbit, F-LOG and IBIS