Fujifilm’s GFX mirrorless cameras have helped revolutionise digital medium format photography and, with their hybrid capabilities, brought the benefits of a larger format sensor and the legendary Film Simulation profiles to video makers too. Now these attributes – and much more – have been incorporated into a dedicated cinema camera that brings the Fujifilm ‘look’ to the world of cinematography.
The new GFX Eterna 55 cinema camera takes its name from the popular Fujifilm Eterna line of cine film stocks – it means ‘eternal’ – and the ‘55’ refers to its huge 55mm sensor, making it approximately 1.7x times larger than a 36 x 24 mm full frame.
Capable of capturing at up to 8K DCI at 30fps across a wide range of frame shapes and sizes at various bitrates and speeds, the Eterna 55's ultra-high resolution delivers exceptional levels of detailing as well as super smooth tonal gradations, promising to create a visual richness which has both impact and subtlety.
Award-winning Australian documentary filmmaker Anthony Gordon recently put the new cinema camera through its paces in a whirlwind 48 hour test – and you can find his thoughts – and see the final results for yourself – below.
Getting hands on
I recently had the chance to test one of the first Fujifilm GFX Eterna 55 units in Australia, paired with the 32-90mm lens with built-in image stabilisation. With only 48 hours available and Sydney offering nothing but rain, wind and dull summer light, this became a genuine field test rather than a controlled studio session.
After 25 years in documentary filmmaking, there was one key question I wanted answered: Could this camera justify an upgrade at twice the price of the everyday workhorses I rely on?
I had very little time to dig into menus and advanced features, and many of the high-end specifications don’t apply to my style of work, so what mattered to me most was how the camera behaved in difficult conditions, on the move, with no fuss and no second chances.
Setup & first impressions
To get set up, I mounted a top zoom mic, formatted the cards, selected the ProRes HQ internal codec and chose to shoot in standard HD resolution – I rarely go to 4K or 8K unless a project demands it.
Straight out of the box, the menu system impressed me. It was clean, intuitive and logical. I only needed to look up a couple of items. My only real frustration was that the menu doesn’t mirror onto the LCD, meaning any on-the-fly changes require you to look at the side of the camera instead of staying focused on your subject.
Fujifilm’s Film Simulations remain a highlight, with Velvia in particular delivering a look that closely matches the rich colour of the original film stock that many of us grew up shooting.
Build & handling
The body feels beautifully engineered, but the rear V-mount style battery block does mean it's better suited for use on film sets rather than broadcast. If you're after a camera for travel and field agility, the V-mount is arguably unnecessary, and moreover, adds some undesirable weight. Fujifilm does include two internal batteries – a main and a backup, with the latter able to power the camera independently for up to 30 minutes while you swap over the main one, and this is a very smart feature.
The 32-90mm lens delivered excellent optics, although the stabilisation felt a little modest for handheld documentary work. The iris and ND controls are functional, but I found required a little patience. If you have time to compose, the system is excellent. If you need to move quickly, it becomes a little fiddly.
The test: From city to surf
For my testing, I created a simple plan. First, I’d film Sydney’s CBD at dusk and into the night – one of the toughest environments for any camera. Then, I’d follow up the next day at Narrabeen Beach in harsh winds and shifting light.
Nothing was staged, there were no tripods and no rigs, and everything was handheld and shot in the type of conditions that documentary filmmakers often face.
Here's the result, and my thoughts on some specific elements.
Low light & colour performance
This is where the GFX Eterna 55 truly impressed me. Even at high ISO settings in difficult night scenes, the noise profile remained low and organic. I compared the results to one of my trusted low-light cameras and the Eterna held its own.
Dynamic range in ProRes HQ was also very strong. Colour responded well in the grade, with plenty of room to shape the image. Shooting 4:2:2 internally in HD is something many competitors cannot do, and this saved me a considerable amount of workflow time.
Frame rates & limitations
HD recording theoretically tops out at 120fps, although I was oddly only able to shoot in HD at a maximum of 50fps at the time of testing. However, Fujifilm has since confirmed that this issue does not occur after a recent firmware update, so prospective buyers shouldn't have any trouble shooting at different frame rates.
LCD, media & general workflow
The LCD is sharp and colour accurate, although like most cameras, it does become difficult to view in bright outdoor conditions without a shade. Focus assist (including face/eye and subject detection) certainly helps with this, but didn’t fully solve the problem in my testing.
CFast cards worked perfectly and, while they are expensive, they are consistent with the level of investment required for this type of camera.
Would I switch?
So, based on my real-world time with the GFX Eterna 55, am I tempted to switch? Surprisingly, yes.
The body is exceptional. The colour science is world class. Dynamic range is strong. Workflow is efficient. At this price point, it offers genuine value compared to many cinema cameras.
There are caveats. Fujifilm needs more native full-frame medium format lenses with stronger stabilisation. Some ergonomics need refinement around battery design and menu presentation. ND and iris control could be faster for run and gun work.
Even with these caveats, however, I walked away impressed. After only 48 hours in poor weather, I would have no hesitation taking this camera onto a commercial job tomorrow.
Final word
The Fujifilm GFX Eterna 55 is an outstanding piece of equipment. I did not expect to like it. I did not expect to want it. Yet it handled difficult environments with confidence, produced beautiful images, and delivered a workflow that genuinely suits real world filmmaking.
If Fujifilm continues to expand the lens range and refine usability, the GFX Eterna 55 becomes more than a competitor. It becomes a genuine bridge between documentary practicality and cinema-level imaging – a rare achievement at any price.
For more information on the GFX Eterna 55 visit the official Fujifilm Australia website.
