Unleash your creativity with the FUJIFILM GFX ETERNA 55! This powerful camera offers an extensive range of features, and today we're diving into its project setting menu, a crucial aspect for any filmmaker or photographer.
The GFX ETERNA 55's Project Setting Menu: Unlocking Creative Possibilities
In this hands-on video tutorial, FUJIFILM North America's Michael guides us through the camera's project setting menu, a gateway to customizing your shooting experience. But here's where it gets controversial: should menu organization be simple and straightforward, or offer extensive customization? Let's explore!
Image Format: Sensor Area and Lens Compatibility
The IMAGE FORMAT setting is your first step, determining the active sensor area for capture. Options include GF (full sensor width), Premista (optimized for FUJINON Premista zoom lenses), 35mm, anamorphic (35mm), and Super 35. Matching the image format to your lens coverage is key for optimal performance.
Resolution and Frame Rate: Impact on Video Quality
Under IMAGE FORMAT, you'll find RESOLUTION, which dynamically adjusts based on your chosen format. Options range from 4K [4:3] open gate for GF to 16:9, 17:9, HD, and extended resolutions like 5.8K. The PROJECT FPS setting determines the timeline frame rate for editing and distribution, which may differ from the recording frame rate. For slow-motion effects, you might set a PROJECT FPS of 24 while recording at 48 or 60 fps.
Tone Curves, Dynamic Range, and Color Science
The F-Log/HLG/RAW setting controls tone curves and dynamic range. FILM SIMULATION keeps recordings in the Rec.709 color space, offering 20 built-in FUJIFILM film simulations for pre-graded looks without log-based color correction. For log workflows, F-Log2 and F-Log2 C share the same tone curve and dynamic range but differ in color gamut. F-Log2 uses F-gamut (equivalent to Rec.2020), while F-Log2 C covers approximately 80% of the theoretical ACES color space, delivering improved color accuracy and reproduction in post. HLG combines a Rec.709-like rendering in shadows with a logarithmic response in midtones and highlights.
Recording Media and Codec Options
The MEDIA REC section handles recording destinations. Slot one accepts CFexpress Type B cards, slot two takes SD cards, and additional options include BACKUP, SEQUENTIAL, and SSD recording. The camera's USB-C port automatically detects connected solid-state drives, but formatting and initializing the SSD must be done within the camera.
FILE FORMAT offers MXF (supporting extensive metadata) and MOV (widely compatible). Under MEDIA REC SETTING, codec choices include H.265 4:2:2 (ALL-Intra and Long GOP), ProRes HQ, ProRes 422, and ProRes LT. Proxy recording is available with H.264 and ProRes Proxy formats, stored in a dedicated folder on the CFexpress Type B card.
Clip Settings and Camera Identification
The CLIP SETTING section allows you to assign a CAMERA ID, following the standard motion picture convention of lettering cameras A, B, C, D, etc. The selected letter becomes the first character in every recorded file name. The REEL NO setting maintains organized and traceable media management, incrementing sequentially as new memory cards are inserted.
The FUJIFILM GFX ETERNA 55 is available for $16,499.95 / €13,285.30. Check out the camera's spec sheet and FUJIFILM's website for more details.
What are your thoughts on FUJIFILM's approach to menu organization and codec options? Share your insights in the comments! We'd love to hear your opinions and experiences with this camera.
