Fujifilm GFX 100 II for Video Production - Overview and Q&A with Jim Marks

[@GabrielScindian]

I would LOVE an EVF cable

[@CarlosPerezFilms]

Thanks for making this amazing interview. So sad I missed this live so I could ask the question. The GFX100s (which I own) I tried recording externally raw through BM Assist as well as with NinjaV and the delay was unlike I have ever seen, practically useless, a bit more than a second if I recall. How is the delay of the GFX100ii when sending 12bit RAW to an external recorder, as well as a normal HDMI monitor. I have come to believe the issue persist because no-one seems to talk about it. I mean 12bit BM raw is definitely better than probes 10bit in my personal opinion and the fact that this is even an option is one of the best selling points, I just hope is not as useless as it was on the gfx100s where the feature was so badly implemented between BM and Fuji that I just record internally now. Thanks for any input.

[@niorcano]

I'd love to hear your thoughts on putting Carl Zeiss lenses built for Hasselblad V-mount with the Metabones.

[@TylerMcCool]

Well done, thank you for the stream. Very exciting camera, hope Fujifilm continues their work into the film/video side of things, maybe even releases a faster 50S/R version with the updated processor..

[@2comicsonabench]

Any chance we can get a list of what that rig is comprised of?

[@yannistriandafillou1805]

I own a GFX 100 S and I’m pretty sure I will be getting one of these bad boys soon

[@peripheryfilm8445]

at 16:54 talking about 15 MS what does the GFX 100 s do ? This would be a v useful comparison - Thanks !

[@SodaAnt7]

Waveforms on the top LCD screen would be nice to have!

[@earthlevel4569]

Putting in my formal request for a full blown medium format Fuji Cinema camera w built in ND and higher fps:)

[@carlyates2487]

Now that would be quite something!

[@filmalpha2002]

Coming Early 2025, wishes becoming reality

[@ADFCHRONICLES]

Nice interview, I’m definitely getting one, just on a note this is not a true open gate camera.

[@MrJhmw01]

I have a couple of questions about timecode and recording options. I'm so nearly sold on this. So if I get this right, I could use an ATOMOS and an ultra sync Blue plugged into a Pre mix and jam sync all? Would that be the case if I am recording internally the 5.8K? The other questions would be getting 12 bit some how. I wonder if there is anyway for getting that 5.8K into RAW BRAW or Apple RAW, if not some other 12 bit? Would either the ATOMOS or VA do this? Perhaps DNxHR HQX on the VA? If only Fuji managed to get a 4444 12 bit in there. the extra bit depth really does matter when you're pushing pixels around and using VFX work flows.

[@F1423Films]

I’m curious the HDMi latency to monitor. Does anyone know?

[@jkdrake1]

any chance of a flog 2 video file we can download to push around in davinci?

[@cyphermote6857]

Is it possible to do single colour B&W in VIDEO mode? Previously this feature was locked in the drive mode which was a separate dial mode. The video mode is also a separate dial mode so only one can be selected and when in that mode (single colour B&W) only photos could be taken. Great session ... Thanks !

[@Trevellian]

There doesn't appear to be any mode in which video can capture the full sensor. For 8k, the sensor is cropped to a smaller size than a full frame camera. And by reports, it's using pixel binning or line skipping when video is the full width of the sensor. Great stills camera. Great sensor. But since neither the full width nor height of the sensor can be used for video without skips or bins, don't see any point in this body, for video. Most especially at the price.

What is the lens adapter ??? TY

[@JamesJacksonFilmz]

Is the camera oversampling in the 5.8K mode or pixel binning?

[@Trevellian]

According to Engadget, it's either pixel binning or line skipping. Seems that Fuji isn't saying.

[@JamesJacksonFilmz]

@@Trevellian that’s interesting because in this very video we see in his presentation that there is oversampling happening (at least it’s implied). I just want to know in which modes

[@Trevellian]

If it were fully reading the sensor before downsampling to 4K, Fuji would be heralding it from the skies. It would rival an Arri Alexa LF. But Fuji isn't talking about how they're managing 4K, all but confirming that it's pixel binning or line skipping. Given the low rolling shutter, suspect the 4K mode only captures about the same amount of pixels as full readout, full frame cameras that cost 1/4th as much, like the Panasonic S5 ii. @@JamesJacksonFilmz

[@JamesJacksonFilmz]

@@Trevellian I don’t think that’s necessarily true fujifilm would be singing from the mountains if it was oversampling. And again the fujifilm presentation literally says it’s oversampling. It just doesn’t say in which modes. I’m almost certain it’s oversampling in the 4K and FHD GF modes.

[@Trevellian]

It likely has a small oversample along with a *massive amount* of pixel binning / line skipping. This sensor has an exceptionally large number of pixels, requring an astounding amount of data throughput (assuming full sensor readout). The sensor readout speed gives it away. ARRI only manages it with their LF by using two separate sensors abutting one another, each read discretely. This Fuji could very well be sampling 6k (~20 megapixels) to 4k, (~12 megapixels) the same as any number of full frame cameras. But with the GFX 100 ii, that 6k needing to be sampled from across a 102MP sensor. That would mean 4/5th of the sensor's pixels would not be read, the light hitting those sensels entirely discarded. In a 1:1 tests, suspect many full frame, full readout cameras offer better image quality for video, as they would be collecting more light. If its video were fully reading the entire sensor, Fuji should absolutely be singing it from the mountains. @@JamesJacksonFilmz

[@raredreamfootage]

False Color?

[@2comicsonabench]

Anyone matching 100 II footage with 100S Footage?

[@Thaddeuspryor]

would love to see that