I had the pleasure of spending a day and a half filming and testing FUJIFILM’s first dedicated cinema camera on a UK racing track with an early release version of the firmware. The GFX ETERNA 55 delivers distinctive large-format imagery through its 102MP 43.6 x 32.7mm sensor with dual native ISO 800/3200, variable electronic ND filter, and 4K 4:3 open-gate recording up to 48fps. But at $16,500 for the camera body and supplied accessories, will it appeal to many customers and become successful? This camera does very well what it is intended to do, and we have already seen some beautiful images coming out of it when deployed in large-scale productions. However, I wanted to see how easy it is (or is not) to operate in a one-man-band situation and to find its strengths alongside its weaknesses, especially in such a competitive camera market. Let’s dive into it!
This review documents real-world shooting conditions rather than controlled lab testing. FUJIFILM Europe kindly provided me with the camera on location in the UK, allowing me to evaluate the GFX ETERNA 55’s practical viability for documentary and one-man-band operations. The test scenario involved capturing fast-moving drift racing alongside the daily life routine of Malcolm Williams (Steadicam operator, filmmaker, model, consultant to some leading companies in our industry) and Amber Jones (Formula One presenter). This dedicated and passionate power couple is building their own drift car, and I was fortunate enough to follow them for a day and hear their personal story.
Upon my arrival, I encountered typical UK winter conditions, which, of course, were a bit unfortunate. “Monochromatic shots” are not my favorite, but as the saying goes, “it is what it is”.
My preferred working mode: Image format: GF and 4K 4:3. Credit: CineD
Credit: CineD
Knowing what I was after and bearing in mind the ongoing conversation about the camera’s possible rolling shutter performance, I deliberately pushed it into situations where rolling shutter might be immediately noticeable. How did it perform? Just keep reading. I also wanted to see whether I would miss internal RAW recording and, just as importantly, film with anamorphic lenses to make full use of the 4K, 4:3 open-gate recording. And in this regard, I chose to work with the very affordable SIRUI IronStar T1.9, 1.5x, 35, and 60mm anamorphic lenses – priced between $959 to $999 each. But more on that, later.
Anamorphic (35mm) mode was helpful for me while filming. Credit: DineD
Recording Formats and Resolutions Table and Camera settings for RAW output (ATOMOS RAW, Blackmagic RAW). Highlighted the formats I worked with. Credit: FUJIFILM
Working in 4:3 Open Gate mode
The GFX ETERNA 55 centers on a 102-megapixel GFX CMOS II HS Bayer sensor measuring 43.6 x 32.7mm, marketed as a 55mm format in reference to its image diagonal of the full Open Gate image format. FUJIFILM positions it as one of the tallest commercially available cinema sensors. While the camera can record up to 8K resolution, FUJIFILM recommends filming in 4K Open Gate (3840 x 2880) for the best possible image quality. The native 4:3 aspect ratio provides substantial vertical information for Open Gate recording, particularly useful when working with anamorphic lenses, as it allows the full sensor height to be utilized without cropping. FUJIFILM also offers a helpful demonstration of how desqueezing images appear with different squeeze ratios and desired aspect ratios. Check out this link and look for “Anamorphic Squeeze”.
1.5x anamorphic lens, 4:3 Open Gate recording. Credit: FUJIFILM
That said, the Open Gate recording delivers fantastic post-production flexibility. You can extract multiple aspect ratios from a single master recording, which is brilliant. The generous vertical height gives you plenty of room for reframing into social media vertical formats, standard theatrical 2.39:1 presentations, and everything in between without the usual resolution penalties that come from cropped sensors. It also opens the door to creative storytelling, such as filming in a 4:3 aspect ratio and anamorphic within the same project, allowing different stories to emerge within the main narrative.
In the current early firmware version, desqueezing the image for previewing purposes is only possible in Anamorphic (35mm) mode. Credit: CineD
I decided to shoot exclusively in 4:3 Open Gate mode, which provides maximum flexibility for reframing in post while also serving as the perfect canvas for anamorphic work. As mentioned earlier, I paired the camera with two SIRUI IronStar 1.5x squeeze anamorphic lenses – 35mm and 60mm. While these lenses are marketed as full-frame lenses, they cover the entire image circle of the GFX ETERNA 55. To be precise, the 60mm and 45mm lenses are completely “safe” to use, but the 35mm will show a bit of vignetting (as expected). There are two ways to address this vignetting: The first, and preferred method, is to shoot with a 2:39:1 aspect ratio instead of 2:1 and desqueeze the entire sensor image. This crops about 17% from the top and bottom, eliminating most while also allowing room to reframe the anamorphic image if needed. The second option (not much to my liking) is to crop into the image until the vignetting disappears.
After desqueezing, the aspect ratio is 2:1. Credit: FUJIFILM
Desqueezing to a 2:39.1 aspect ratio for greater post-production flexibility. Credit: FUJIFILM
Now, here’s where things got a bit tricky. The camera’s dedicated GF Open Gate mode works, but one phenomenon to keep in mind is that, with the current early firmware, the camera can NOT output a de-squeezed image to the supplied 5-inch LCD screen or EVF. For this reason, I relied on my Kinefinity Eagle EVF, connected via HDMI, to handle de-squeezing the image.
4:3 Open Gate recording. Credit: CineD
Anamorphic recording. Cropping into the sensor for an additional simulated focal length. Credit: CineD
The camera also offers a second anamorphic shooting option. While this mode doesn’t record the full sensor area, it allowed me to “zoom in” when I felt that a tighter focal length was needed. Mind you that 25p is currently not supported in this mode, which meant I was forced to shoot the entire production at 24fps to maintain consistency (not ideal for a country using a 25p/PAL broadcast system).
Frame rate limitations in practice
The GFX ETERNA 55’s frame rate ceiling highlights a significant limitation for modern cinema camera expectations. High-frame-rate capture tops out at 120fps, but only in Full HD resolution. In my opinion, for a camera priced at $16,500 and aimed at professional cinematography workflows, the inability to record 4K at 120fps represents a notable omission. This limitation became immediately apparent during the racing track shoot, where capturing drift car action in slow motion would have greatly enhanced the visual storytelling. So in the end, I had to choose between maintaining 4K resolution or accessing higher frame rates, ultimately prioritizing resolution over slow-motion capabilities. While the camera can handle 60fps in 4K Open Gate mode, this is still insufficient for truly dramatic slow-motion shots.
The restriction reflects the challenges of reading out data from such a large sensor at high speeds. However, competing cameras in similar price brackets often offer 4K high-frame-rate options, making this a comparative disadvantage rather than an absolute technical limitation across the industry.
From the timeline: car driving at high speed, and the background still looks good! Credit: CineD
Rolling shutter performance
One primary objective of this hands-on evaluation was to assess rolling shutter performance under real-world motion scenarios. Fast-panning shots following drift cars provided ideal conditions to reveal any sensor readout limitations, such as image skew or wobble.
In my subjective observation, the shoot showed no immediately concerning rolling shutter artifacts to the naked eye (see the frame grab above taken from the timeline). Even during aggressive pans to track moving vehicles, the footage maintained acceptable geometric stability. FUJIFILM has optimized the readout speeds, positioning the camera competitively against dedicated cinema bodies rather than photo-hybrid sensors, which often exhibit more pronounced rolling shutter.
This practical performance counters concerns raised during some discussions we had with FUJIFILM’s engineers regarding potential rolling shutter issues inherited from the GFX100 II stills camera foundation. While our upcoming lab testing with precise measurements will provide definitive quantification, the hands-on experience suggests the GFX ETERNA 55 handles motion capture adequately for both documentary and narrative work.
One of the two multifunction dials for controlling the electronic ND filter. Credit: CineD
Dual native ISO and exposure control
The GFX ETERNA 55 features dual native ISO at 800 and 3200, providing clean image capture across a range of lighting conditions without excessive noise penalties. Throughout my shoot, keeping exposure within these base ISO values was straightforward, with the camera delivering its cleanest output when adhering to these sensitivity settings.
The integrated variable electronic ND filter ranges from ND 0.6 to ND 2.1, providing a practical range of two to seven stops in visually near-stepless 0.015 increments. The dual control implementation allows operators to adjust ND values from two different multifunction dials, accommodate various shooting positions, and grip configurations.
This electronic ND system eliminates the need for external filters, which proved very practical when working with the SIRUI IronStar lenses. With a 92mm front diameter, these lenses would otherwise require SIRUI’s own variable ND filter or matte box (which I don’t usually use).
Somehow confusing film simulation menu. Credit: CineD
Credit: CineD
Film simulations and the menu challenge
FUJIFILM’s renowned film simulations are integrated throughout the GFX ETERNA 55, offering 20 built-in looks inspired by the company’s photographic film stocks. However, the early version of firmware revealed what I found to be a somewhat confusing menu structure that requires careful attention to avoid unintended consequences.
Navigating film simulations involves three separate menu locations: one to enable or disable flat picture profile recording, another to determine whether the simulation is applied to the recorded image or only for monitoring, and a third to select the specific simulation. This fragmented setup raises genuine concern about accidentally embedding a film simulation into the actual footage rather than limiting it to monitoring.
Being on the safe side and keeping all film simulations “clean”. Credit: CineD
Once configured correctly, the workflow proved reliable; however, the initial setup required careful verification to ensure flat log recording to media while keeping a film simulation active on the external EVF for easier focusing and composition assessment.
FUJIFILM acknowledges this is early-stage release firmware, and menu refinements are expected before widespread customer delivery. The company has shown responsiveness to user feedback throughout the camera’s development cycle, suggesting that final shipping units may address these navigation concerns.
Which is which? Headphone jack next to the 3.5mm mic input. Credit: CineD
Audio connectivity limitations
Professional cinema cameras typically offer limited audio input options, and the GFX ETERNA 55 follows this trend, arriving without built-in XLR connectivity. The camera provides a 3.5mm jack for both microphone input and headphone monitoring only.
TASCAM CA-XLR2d-F XLR Microphone Adapter Kit. Credit: Tascam
For larger productions with dedicated sound departments, this omission carries less weight, as audio is typically recorded on separate systems. However, for documentary filmmakers and one-man-band operators who rely on direct camera audio recording, the lack of XLR inputs represents a workflow compromize. FUJIFILM supports the TASCAM CA-XLR2d-F XLR Microphone Adapter Kit, which mounts to the camera’s hot shoe and provides professional audio connectivity as an optional accessory rather than an integrated feature. Speaking of which, MID49 offers a solution for mounting the TASCAM Microphone Adapter Kit to the BACK of the supplied handle, making it a practical option for those who want to work with two-channel balanced audio. More information can be found here.
An additional cold shoe at the back of the handle would have been appreciated! Credit: CineD
The supplied top handle includes a front hot shoe for mounting accessories. However, this placement creates cable-routing challenges when attempting to connect wireless audio receivers to the rear-mounted 3.5mm input. The cables supplied with typical wireless systems are often too short to reach comfortably from front-mounted receivers to the rear inputs, requiring either longer cables or alternative mounting solutions.
Ergonomics and physical design
The GFX ETERNA 55’s magnesium alloy body balances durability with manageable weight, though it is larger than typical hybrid mirrorless cameras. Multiple 3/8-16 and 1/4-20 threaded mounting points on both the camera body and included handle provide extensive rigging flexibility without requiring external cage systems for basic accessory attachment.
One standout design feature is the dual 3-inch LCD menu screens positioned on both sides of the camera body. Both screens display identical information, including recording status, exposure parameters, audio levels, and format settings. This mirrored setup allows both the primary operator and an assistant to monitor critical camera data simultaneously, regardless of shooting position, supporting collaborative workflows without crowding around a single display.
The “big-six button layout” is present on both camera sides. Credit: CineD
GFX ETERNA 55, right-hand side. Credit: CineD
The camera also features six programmable shortcut buttons accessible from either side, providing quick access to frequently adjusted parameters. This “big-six” button layout (sorry, Sony, I had to use this term here) speeds up on-set adjustments without diving into menus.
The included 5-inch touchscreen LCD monitor on a flexible arm offers 2,000 nits of maximum brightness with 1920×1080 resolution across 6.22 million dots. This articulating display provides adequate daylight visibility and touch-based menu navigation. FUJIFILM has already confirmed that they are developing a dedicated EVF for the camera, and we have seen a prototype in circulation.
The FUJIFILM GFX ETERNA 55 Electronic Viewfinder prototype. Credit: CineD
Autofocus capability
The GFX ETERNA 55 is among the few large-format cinema cameras offering autofocus functionality. When paired with compatible FUJIFILM GF lenses, it delivers intelligent hybrid autofocus, combining contrast detection and phase detection with subject tracking capabilities, including face, eye, animal, vehicle, and aircraft recognition.
Due to my choice of lenses (SIRUI IronStar anamorphic), I was not able to test the autofocus performance firsthand. However, I can genuinely recommend taking a close look at the new FUJIFILM GF 32-90mm T3.5 lens. This lens features power zoom, autofocus, and built-in optical image stabilization. In my opinion, at $6,000, it’s the best run-and-gun GF lens currently available.
FUJINON 32-90mm lens on the GFX ETERNA 55 cinema camera. Image credit: CineD
To summarize, unlike the GFX100 II, the GFX ETERNA 55 body lacks internal sensor stabilization. However, when using compatible GF lenses with built-in stabilization, such as the FUJINON GF 32-90mm, the lens communicates directly with the camera body to provide optimized stabilization tailored to the specific focal length and shooting conditions.
Current recording formats: Credit: CineD
No internal RAW recording
Perhaps the most significant workflow limitation involves the absence of internal RAW recording. None of FUJIFILM’s cameras, including the GFX100 II hybrid or the GFX ETERNA 55, offer internal RAW video capture. For professional cinematographers working on high-end productions with robust post-production support, this omission may carry less weight, as dedicated color and editorial teams can typically handle compressed formats efficiently. However, I strongly advocate for internal RAW recording, especially for independent filmmakers working without extensive crew support. RAW recording serves as a critical “safety net”, allowing adjustments to white balance, exposure, and color decisions in post-production. This flexibility provides insurance against challenging lighting conditions or fast-paced shooting scenarios where precise in-camera settings are difficult to achieve.
Possible external RAW recording with Blackmagic or Atomos external recorders. Credit: CineD
The GFX ETERNA 55 addresses this limitation through external RAW output via SDI/HDMI to compatible recorders, like Atomos devices, which adds cost and complexity to the camera setup. This workflow requires additional investment in external recorders, mounting solutions, cables, and media, while also increasing the overall system weight and power consumption. Recent firmware updates have enabled RAW recording to Atomos Ninja TX and Ninja TX GO devices at up to 48fps in 4:3 Open Gate over HDMI and up to 29.97fps over SDI.
SIRUI IronStar 35mm and 60mm anamorphic lenses. Credit: CineD
Lens considerations and workflow – SIRUI IronStar
The SIRUI IronStar T1.9 Anamorphic 1.5x lenses performed exceptionally well on set, though their minimum focus distance (35/45mm-0.65m, 60mm-0.78m) occasionally limited framing options when working close to subjects. The lenses delivered subtle, “non-exaggerated” anamorphic characteristics, meaning, no over-the-top flares or image distortion (I used the “Neutral flar option”). It is worth mentioning that SIRUI plans to complete the IronStar set with three additional focal lengths: 75mm, 100mm, and 135mm. One extremely noticeable characteristic is the anamorphic pincushion distortion that those lenses have, particularly with the 35mm lens. In general, when shootingin Open ate mode, I highly recommend using 40mm anamorphic lenses or longer to minimize the distortion and reduce the risk of strong vignetting.
While FUJIFILM provides both a native G-mount and an included ARRI PL-mount adapter in the camera package, these were not available to me, so I brought our own SIRUI GF-to-PL adapter. From previous experience, I already knew that earlier SIRUI IronStar lenses are very particular about adapters, so I made sure to have their official adapter with me. For the latest batch of these lenses, SIRUI has updated the lens mount for better compatibility with many adapters.
One thing to note is that the SIRUI adapter has a detachable support fit. Due to the front camera placement of the camera’s multifunction dial, this support has to be removed; otherwise, the lens adaptercannot be securely locked to the camera body itself.
The internal FUJIFILM NP-W235 battery and recording cards compartment. Credit: CineD
Power and battery management
The GFX ETERNA 55 features a well-designed power system with a rear-mounted V-mount battery plate that accepts third-party adapters for Gold mount configurations.
Powering back up options are coming in two flavours. Credit: CineD
One clever implementation is the internal NP-W235 battery slot, which provides power during V-mount battery changes. When swapping batteries, the camera enters a low-power state, stopping recording until the external power source is replaced. This hot-swap capability is especially essential for documentary work. The camera can run on the internal NP-W235 battery alone for about 22 minutes, or it can simply serve as a backup power source while changing the V-mount battery.
To elaborate a bit more, when powering the camera solely from an NP-W235, it enters W235 mode, where certain outputs and functions are disabled, but recording can continue. Once any DC power source is supplied (either an onboard battery or via the DC input), the camera exits W235 mode and restores full functionality. In this way, the NP-W235 acts as a true battery backup, preventing the camera from fully shutting down during swaps.
All in all, the camera’s lower power consumption is incredible. I was able to finish a very long working day with two K&F CONCEPT 99Wh batteries. A note on this specific battery model: I really like traveling as it is airline-friendly, has multiple outputs, and performs reliably (see our review here).
International travel and customs considerations
An unexpected practical consideration emerged when traveling internationally with equipment of this value. Transporting a $16,500 camera across borders, particularly between EU and non-EU territories like the UK, can introduce customs complications. Equipment at this price point may require a carnet, essentially a “passport” for professional gear that documents its origin and prevents customs authorities from charging duty fees upon return.
For this exact reason, I asked FUJIFILM to kindly deliver the camera within the UK rather than risk customs issues by shipping it from Austria. This avoided potential delays or unexpected fees but highlights a real-world consideration for owner-operators working internationally. Smaller, less expensive cameras typically avoid these bureaucratic requirements, making them more practical for frequent border crossings and international production work.
The GFX ETERNA 55 is capable of filming in various formats. Credit: FUJIFILM
The challenging market positioning
The GFX ETERNA 55 faces a challenging competitive landscape at its $16,500 price point. In my opinion, three factors don’t fully align: the camera’s price, its specifications, and its intended target market. For independent filmmakers accustomed to highly capable full-frame cameras with internal RAW recording available at significantly lower price points, the GFX ETERNA 55 requires justification beyond sensor size alone.
While the camera is positioned at the higher end of the market based on pricing, it lacks certain features that professional cinematographers might expect at this tier. The absence of internal RAW and the limitations of 120fps only in Full HD create specification gaps that competing systems address. For comparison, the RED V-RAPTOR XE 8K VV is priced similarly but offers internal RAW and comprehensive high-frame-rate options, while the Blackmagic URSA Cine 12K LF provides internal BRAW recording at much less money.
The GFX ETERNA 55 ultimately appeals to a specific type of cinematographer: professionals who prioritize FUJIFILM’s color science, value the unique spatial rendering of a tall, large-format sensor for anamorphic work, and can accommodate workflow limitations with external recorders and accessory investments. Narrative cinematographers shooting dialogue-driven content, where extreme slow motion and internal RAW prove less critical, may find the camera’s image quality compelling enough to justify its use.
Commercial and advertising cinematographers working with controlled lighting setups and professional crews can leverage the sensor’s shallow depth of field and film simulation aesthetics to deliver distinctive looks for clients.
For rental houses, the key consideration is setting realistic daily or weekly rates that justify the camera’s acquisition cost while remaining competitive with established ARRI, RED, and Sony cinema camera ecosystems. Rental market viability will likely remain uncertain until the camera builds a track record and awareness among production coordinators and producers responsible for equipment decisions.
Owner-operators facean even tougher choice. The $16,500 investment requires confidence that the camera’s unique attributes translate into a tangible competitive advantage, whether through aesthetic differentiation, client preference for the FUJIFILM look, or specific project requirements that favor large-format capture. For documentary filmmakers and small production companies, alternative cameras often offer compelling feature sets at lower entry prices.
At the race track with the FUJIFILM GFX ETERNA 55. Credit: Malcolm Williams.
Conclusion
The question becomes whether FUJIFILM’s color science and the distinctive 4:3 large sensor format justify the premium over alternative options. For those prioritizing maximum technical specifications per dollar, the GFX ETERNA 55 occupies a challenging middle ground.
What could FUJIFILM do differently?
The cinematography community has expressed interest in alternative product approaches. A smaller, more affordable version of this camera in the $8,000-$10,000 price range would compete directly with full-frame hybrid cameras while retaining the large-format sensor advantage. Alternatively, updating the existing GFX100 II hybrid camera with enhanced video firmware could provide a more accessible entry point into FUJIFILM’s large-format ecosystem, accepting the hybrid form factor in exchange for a lower price.
Many cinematographers hoped FUJIFILM might introduce a Super35 cinema camera similar in form and features to Canon’s EOS C50, Sony’s FX3, or Nikon’s ZR. This approach could leverage FUJIFILM’s color science and build quality while targeting a different market segment entirely, potentially offering internal RAW and comprehensive professional features at a more accessible price point.
On the positive side, FUJIFILM has gained substantial experience through developing the GFX ETERNA 55, from building a cinema-specific menu system to implementing professional connectivity and workflow features. This knowledge positions the company to iterate on future products, potentially addressing market segments or feature requirements that the first-generation GFX ETERNA 55 leaves unaddressed.
Acknowledgments: Many thanks to Amber Jones and Malcolm Williams for their hospitality. Drift Limites UK, and The Peasants’ Revolt, first Brentwood’s Micropub. Color: Phantom LUTs. Get 15% off when using the code CINED15. I also encourage you to download the camera Technical Guide – white paper from here, and read more about the SIRUI IronStar lenses here.
What do you think about the new FUJIFILM GFX ETERNA 55 camera? Will you be considering buying it? Share your thoughts with us in the comment section below.