New Fujifilm Eterna Cinema Cam.

[BTM_Pix]

Bit of an update..

Fujifilm have another stand with an equally perspex cased unit that doesn’t lend itself to being photographed but this one has the new lens attached.

[ND64]

Few more from Weibo

[MrSMW]

Is it pocketable?

[Django]

Looks expensive.. are Fuji not releasing specs yet??

 Hopefully this paves the way for a more budget S35 cine cam with something like the XH2S sensor. 
 

Exciting to have a new player in the market, Fuji nonetheless !

[zerocool22]

No footage?

[eatstoomuchjam]

 

cined interviewed the product planner.

There are internal ND's which is good.

Picture quality "basically the same" as the GFX 100 II, but "optimized more for filmmaking" with what I think he said would be f-log2c for cinema gamma. 

 

 

[eatstoomuchjam]

(submitted before I finished writing)

They will add "some features."

Rolling shutter will be the same.

Internal codecs not specified

12-bit A/D conversion, same as GFX 100 II

Capture formats "basically the same" as GFX 100 II

Shipping sometime in 2025, but he was pretty cagey about when - I suspect it'll be later in the year

[eatstoomuchjam]

So at least for now, I'm inclined to stick with my original take - you can go buy a GFX 100 II right now and have "basically the same" almost everything as the cine camera, but without pro I/O and without internal ND... but you will also have what is arguably the best sub-$10,000 stills camera that is available.

Although now that I've seen the size of that 32-90, unless you make some sort of cinerig for the GFX 100 II, it'd probably end up awfully front-heavy.  That thing is a monster.  Sheesh.

[Django]

What a useless interview, guy said nothing other than its the same IQ as GFX100II. I noticed a Japanese spec sheet on a monitor towards the end of the video that specifies ProRes HQ, ProRes 422 & ProRes LT so there's that. Anyways yeah I don't see much purpose in this cam versus a GFX 100 II. I'm betting it will be +$10K too. Page me when they stick the XH2S sensor in an affordable cine body. Speaking of rigged GFX 100 II Fuji USA posted this yesterday:

 

[Davide DB]

How much does it cost?

 

[eatstoomuchjam]

Price isn't released yet, but if I'm placing bets, I'm going to bet on "more than the GFX 100 II which is currently $7500"

[eatstoomuchjam]

51 minutes ago, Django said:

noticed a Japanese spec sheet on a monitor towards the end of the video that specifies ProRes HQ, ProRes 422 & ProRes LT

Those are all supported already in the GFX 100 II so it'd be a safe bet that they won't remove them from the cinema camera.  Internal ProRes 4444 would be nice - or raw, of course.

[Andrew Reid]

14 hours ago, BTM_Pix said:

Bit of an update..

Fujifilm have another stand with an equally perspex cased unit that doesn’t lend itself to being photographed but this one has the new lens attached.

Not a bad lens as well. Is that cable up to the top handle going towards some sort of XLR / mic socket? There's a control wheel up there too.

No chatter of RAW codecs I take it?

Have you spotted Kazuto Yamaki making the rounds yet?

[Ninpo33]

3 hours ago, Django said:

Page me when they stick the XH2S sensor in an affordable cine body.

The X-H2s is a beast. Going to finally build mine up this X-Mas into a mini Cine camera with a Cineback and some other goodies. X-H2s is $1,400 US now on the used market and it’s a lot of camera for that price. 
 

 

[BTM_Pix]

4 hours ago, Andrew Reid said:

Is that cable up to the top handle going towards some sort of XLR / mic socket? There's a control wheel up there too.

Not sure.

I’m guessing the wheel might be a mirror of the servo zoom control or assignable to focus.

Although, with the camera hidden inside a Perspex box and not exactly looking particularly finished, I could also equally speculate that it is the steam controller for an internal coffee machine hidden behind a secret cover!

5 hours ago, Andrew Reid said:

Have you spotted Kazuto Yamaki making the rounds yet?

No, I didn’t see him.

The Sigma booth was predominantly a very patient and polite man with a cart full of lenses putting them on cameras for people to test so I didn’t linger there long enough.

The Nikon booth was very busy though with them doing presentations about the RED lut stuff whilst the RED booth next to them was a lot about using their cameras in broadcast situations with box lenses etc

Nikon were showing their prototype servo zoom lens but also showing RED Kimodos with F Mount lenses.

I was quite intrigued by the latter at first glance thinking they’d produced some sort of adapter but they were just using a dumb 3rd party F-RF adapter.

You’d think that through the acquisition of RED they’d make their own smart adapter now they had both parts of the puzzle but who knows the legalities of the deal RED had with Canon that would prevent that.

I doubt it sits well with Nikon to have that situation last longer than necessary and I wonder whether we might see the inevitable Z mount version of the Komodo be a Nikon branded product.

 

 

[Caleb Genheimer]

The primary question in my mind is this: with extra attention to cooling, can they in any way get full sensor read-out at 24p? Rolling shutter will be what it will be, but if they can at least pull that off, it will have a sensor size leg-up on basically every digital cinema camera. If it’s still tapped out at the stills body’s readout options, it’s a bit underwhelming… unless the price is a surprise somewhere decently south of $10K. 
 

Either way, I have high hopes for a Fuji 44X33mm video mode in the next 2-3 years. I talked to a rep and was told “not this cycle” (aka the MKII,) but that they’re working on it. They know people want it. Peak cine camera for Fuji would undoubtedly be a 44X33mm full readout X-Trans sensor, but a lot of things would have to go correctly (first and foremost this Eterna) for that to ever happen.

 

I’m just glad they’re in the cine game. We need more players, and I like their ethos. Arri-esque in some ways, with their film stock background always influencing their image flavor. The same cannot be said for Red, BMD, Canon, Sony, or Panasonic. 

[Ninpo33]

7 minutes ago, Caleb Genheimer said:

I’m just glad they’re in the cine game. We need more players, and I like their ethos. Arri-esque in some ways, with their film stock background always influencing their image flavor. The same cannot be said for Red, BMD, Canon, Sony, or Panasonic. 

Same here, it’s good for us consumers and even if the cameras aren’t perfect it motivates the other cameras into action and forces them to compete. (Ideally)

Maybe this will help give us the full frame lumix EVA or a FX3 mk2 box camera from Sony. Just happy to see something in the pipeline announced that isn’t a small camera marketed for vertical shooting “creators”.

 

[Caleb Genheimer]

31 minutes ago, Ninpo33 said:

Same here, it’s good for us consumers and even if the cameras aren’t perfect it motivates the other cameras into action and forces them to compete. (Ideally)

Maybe this will help give us the full frame lumix EVA or a FX3 mk2 box camera from Sony. Just happy to see something in the pipeline announced that isn’t a small camera marketed for vertical shooting “creators”.

 

Yeah. I have a feeling the next gen of BMD stuff will begin making the “big dogs” like Arri and Red more than a little concerned. Even simple iterations on the Pyxis and the new RGBW LF Ursa will be devastating. 
 

I’m primarily eyeing the impact on classic-type Alexa pricing though! If I can snag one with open gate for around $4k I’ll be a happy camper. The bottom has to drop out eventually!

[ND64]

5 hours ago, Caleb Genheimer said:

If it’s still tapped out at the stills body’s readout options, it’s a bit underwhelming

Its not like gaming PC that you overclock a bit and gain some extra performance. The sensor should support that specific read out capacity. 

[Ninpo33]

5 hours ago, Caleb Genheimer said:

Yeah. I have a feeling the next gen of BMD stuff will begin making the “big dogs” like Arri and Red more than a little concerned. Even simple iterations on the Pyxis and the new RGBW LF Ursa will be devastating. 

While I agree to an extant for Red, Arri is in a whole separate universe and pretty much untouchable in my opinion. For large productions they don’t even bother looking at other cameras. There are just so many other factors at play when making a movie so a lot of times they don’t want to mess with any untested new stuff. Playing it safe and choosing the tried and true camera system that “everyone else uses” is the norm. Once in a while someone will get creative and use something interesting for a specific look or to achieve a particular effect. Alex Garland in Civil War for example and his choice of the Ronin 4D for some of the shots…