The Fujifilm GFX 100 II leans into video more than any previous medium format camera, with capabilities including full-width 4K capture for a series of lens formats, 8K capture from a cropped region, ProRes 422 capture to SSD and the inclusion of waveforms and vectorscopes. You can find out all the details in our initial review of the camera.
We knew it'd be a while until we could get the camera back to the studio, but couldn't resist seeing how practical it would be to document a quiet walk in Derbyshire's beautiful Peak District. The GFX can't read out its entire sensor for its 4K modes, so we wanted to see what the output looked like, using the largest region of the sensor we could: the UHD 4K mode for GF lenses.
Meanwhile, it seemed senseless to carry the new Fujifilm GF 30mm F5.6 T/S and Fujifilm GF 55mm F1.7R WR back from the launch in Stockholm and not use them, so, during the breaks in the rain, technical editor Richard Butler used both lenses to expand the GFX 100 II sample gallery. The images are mostly towards the end of the gallery and include images using both the tilt and shift functions of the 30mm lens, and the 55mm in less-than-perfect lighting.
Looks like the light was pretty bright and harsh in a lot of the shots, yet they still look really good. Digital has come a long way in the last 20 years.
"Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography." George Eastman.
My GFX-100II arrived a few days ago and I like what I see for stills, but I am a bit puzzled at the half baked focus on video.
With cameras like the Z8/Z9 offering in camera 12 bits raw footage of pristine quality leveraging the full sensor, a full line up of lenses designed from scratch for video (super low focus breathing, zero noise focusing,...), I fail to see the point of any non raw based video camera at this point in time.
I think that’s always been the way. You had cameras like Sony a7r that were high res, good for photo, not the greatest in video but competent. Or you could go other better camera for video.
But even the passable video cameras produce good video. I guess it depends on how stringent you are.
It looks like the dynamic range is vast and very clean, at least on my screen. Highlights holding up very well without scruffy, lifted shadows. It makes for a very natural looking video. Subtly excellent?
And you realized these from the video above? In general, overcast light is very flat resulting low dynamic range scenes. So this is not the right video to judge DR.
Like I said, subtle. Overcast skies produce flat light below but the clouds themselves can be very bright. They and what is below them have a very strong exposure difference which is hard to control naturally. Not hard in stills but tricky when you move around.
Speaking of 8k alone how is this comparing to the 8k from full frames? We use the R5 so limited to 30fps (R5C 60) but I understand the Fuji is using a reduction on the total sensor area to its native size. What is the change and what are the impacts? (Is this offering something the full frames are not?)
This diagram from the initial review shows the area being used, compared to the size of the 'full-frame' imaging circle. So it's a crop, by comparison to the likes of the Z8, a1 or R5.
Beautiful footage. But stopped down to f7 to 11, I'm not seeing what ten grand+ of GFX 4k will get me that $3500 in X mount 4k won't. (Thinking of camera and a lens, GFX and 55mm vs say, X-H2 and top tier 35mm prime). Besides a back ache ;-)
Not talking about stills, obviously there'd be no contest for the GFX.
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