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I think the main reason to scan film at a super high resolution is to see the individual grain particles. It once was a thing to try to avoid but now it's a cool thing to have (and there's all this interest in fake film grain plug ins). When shooting digital for narrative cinema, 2K is plenty (if the camera is good in other ways.) Shooting at a higher resolution in order to punch in of course is useful.

It remains to be seen how much money is burning a hole in the pocket of the cinema market after the torrid last few years. You are right that the sensor is a bit on the slow side for a cinema camera, rolling shutter might be a dealbreaker especially in the 8K modes. But it makes sense in many other ways... GFX looks very different to full frame, it's cinematic as hell. And like you say we don't know how they have implemented the sensor, it could be running much faster with the extra cooling available. I agree with you on that, it doesn't really need 12K worth of unused pixels, and a native 8K sensor would have been a better fit but one doesn't seem to exist in GFX format, and making a new sensor for one new camera would make it all a bit economically unviable. If the ETERNA is a success maybe Fuji should give Blackmagic's sensor manufacturer a call for future cameras?

Bold, maybe, but "new" is really what I was objecting to. Nothing in the announcement is "new." Otherwise, that's cool that Customs 65 is doing well. I'm glad that OFG are having some success with it. Though it's not necessarily the case that the success of a niche camera in LA is predictive of the success/desire for the same camera in every market. I can say that in my market, the lower end for narrative production is pretty full of Black Magic and the higher end is skewed toward Sony and Red. When I've shown up places with the GFX 100, people see "Fuji" and make some comment about how they prefer FF to S35. 😆 (Dude, I know the GFX 100 II is smaller than the original, but does it really look like an S35 body to you, especially with the big chonky GF lens on the front?) I'll definitely look forward to hearing from BTM_Pix about what info can be gleaned on the show floor, especially if it's possible to put hands on the camera. I'd be genuinely excited if my prediction that it's "GFX 100 II in a box with better I/O" is wrong and it's able to merge the low RS mode and the high DR modes, even at 4K. Even more excited if it included a faster readout version of my beloved 5.8k widescreen mode.

Yeah digital's been able to easily match and/or exceed that of film stocks here for a while.

Interesting - though it might be a situation where one year is a pretty long time in which the market might change dramatically. But definetely a sign that fuji is growing/ investing in new products which might be great for Camera tech anyway.

Rolling shutter and bit depth will be the big question for this. As far at the 17K, I’m sure it will be similar to the new 12k which CineD just tested and seems pretty impressive. https://www.cined.com/blackmagic-ursa-cine-12k-lf-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

Risky is what’s needed compared to the Alexa 65, you have a much wider choice of lenses on this. The GFX ETERNA is 102 megapixel, and the drawbacks of that have already been made clear… however that actually has the upside of making all those crop modes available even Super 35. I don’t know much about the rumoured 1” camera but if they target the typical Instax customer with something like that it will be a big seller. I think Fuji will target videographers / Sony FX users not just Netflix and ARRI with the ETERNA. Price could be as low as 6k Either way it will certainly be a lot less cost than the closest alternative - 65mm film or an ARRI LF! And as a GFX 100 user with my full frame lens adapters it makes me proud that Fuji feels this format is ready to step into cinema officially, in a big way. The image is spectacular… even with a 50 quid 1970s lens on the front. i love the GFX format overall

Does anybody make the argument that film has higher resolution than digital? In full frame 35mm photo terms, I thought it was generally accepted that 24 megapixels or so was equal to (or greater than) the resolution of most film. That means 6k is closer to Vista Vision. There are a few exceptions that people will cherry pick to show it - but if using a high-quality film scanner with around 4,000dpi resolution (4000x6000 - 24 megapixels) - and if using a glass carrier to keep the negative perfectly flat, the grain on almost any film stock is easily visible at 100%. If using ISO 400 or above, it's even more obvious. With that in mind, the actual resolution of even a very modern 35mm film stock (academy) is about 8 megapixels at 4,000 dpi - so 4k. But even with a fully digital pipeline, I'll choose my C70 (4K S35) over my EOS R5 (8K FF) almost every time. Resolution is far from the most important quality of an image and there are plenty of reasons (including much better highlight rolloff) that people shoot on film. Plus if we're talking cinema, it might surprise you how many theaters are still using 2K projectors, rendering the capture resolution even more moot. 😄

Is suspect the reasons for leaving out IBIS (other than the Mk 1 didn't have it) are cost and weight e.g. the Sony ZV-10 ii doesn't have it either. But it's still larger and heavier than the A6700 and X-S20 (which have IBIS), and has the worst battery life out of the three. Nikon seem to be targeting the ZV-10 ii & X-M5 market price area but with the EVF as added value (in exchange for heavily cropped 4k60p, a larger & heavier body and less extensive moderately priced lens choices). Prices from Wex in the UK: Size/weight/battery life spec extracts from dpreview.com: Z50 ii: A6700: X-S20:

I’m going to Inter BEE tomorrow so I’m looking forward to seeing this in the flesh.

So reading between the lines, YouTube/Google smashed Vimeo and the operators of YouTube/Google are the CIA who as everyone knows, are funded by aliens? If so, that's cleared that one up. What about TikTok? Who is responsible for that shite?

Hi, Hank, Here is the independent encoder unit, which can be rail mounted on the side to record rotational information of the focus ring. I also provide two controller packages for order, package A & package B. package B is the one without the motor unit, and it's part 0009 at http://www.rapidotechnology.com/home I can modify the controller parameter to work with your Berkey motor, I can also provide an additional motor cable connector, which you can wire it to your Berkeley motor. Thanks. Jim Rapido