- Fujifilm debuts its first cinema camera, the GFX Eterna 55, priced at $16,499.
- It carries a massive 102MP medium-format sensor and records up to 8K video.
- The launch includes a new GF 32-90mm cine lens costing $5,999.
- Designed for professionals, it comes with film simulations, pro codecs, and built-in ND filters.
The Big Reveal Nobody Saw Coming (But Everybody Wanted)
Fujifilm has done something it’s never done before. The Japanese imaging giant, long known for its beloved X-series and GFX stills cameras, has officially unveiled its first cinema camera. Meet the Fujifilm GFX Eterna 55, a monster of a machine that costs $16,499 and has the potential to shake up the fiercely guarded world of professional filmmaking.
If that price tag gave you a mild heart flutter, you’re not alone. It is indeed more than double the cost of Fujifilm’s flagship stills model, the GFX100 II. But this is no hybrid photo-video device pretending to be cinema-ready. This is Fujifilm rolling up its sleeves and saying, “Alright RED, ARRI, Canon and Sony, we want in.”
Size Matters (And Fujifilm Knows It)
At the heart of the Eterna 55 is a 102-megapixel, 44x33mm medium-format sensor. It’s the same sensor that powers the GFX100 II, but here it’s been re-engineered for video-first work. Bigger than full-frame, this sensor gives cinematographers new creative options with depth of field, dynamic range and image quality.
The camera isn’t shy about what it can do. It supports 8K recording across multiple aspect ratios, including anamorphic formats, and of course delivers Fujifilm’s trademark film simulations straight out of the box. Those simulations have become famous among stills shooters, and now filmmakers can dial in looks like Eterna, Classic Chrome or Provia without hours of color grading.
For professionals, Fujifilm has stacked the deck with serious recording options. You get Apple ProRes 422 HQ internally, proxy support for streamlined editing, and 12-bit RAW output over HDMI. There’s a dual base ISO of 800 and 3200, which helps the camera adapt equally well to bright daylight and low-light nighttime shoots. Add to that a claimed 14+ stops of dynamic range, and you start to see why Fujifilm thinks it belongs in the cinema game.
Built Like a Tank, But With Toys Filmmakers Actually Want
The GFX Eterna 55 tips the scales at 2 kilograms (4.4 pounds) and measures 110.8 x 138.2 x 176.8mm. This isn’t a run-and-gun handheld camera for your indie vlog. It’s built for professional setups—tripods, gimbals, full-on rigs with matte boxes, external monitors and assistants shouting “rolling.”
What makes it appealing is not just size, but usability. Fujifilm has added a 3-inch onboard display and a detachable 5-inch, 2,000-nit bright monitor for outdoor work. Both are designed to give directors, cinematographers and focus pullers exactly what they need without fumbling around with third-party add-ons.
Another standout is the built-in variable electronic ND filter. Ranging from 2 to 7 stops in half-stop increments, this lets you maintain exposure control without fiddling with external ND wheels or sliding filters mid-shot. Anyone who has ever shot outdoors knows how game-changing that is.
Connectivity-wise, the Eterna 55 has a buffet of professional-grade ports to satisfy even the pickiest crew. From balanced audio inputs to multiple video outputs, Fujifilm clearly listened to what production houses demand.
Glass Half Full: The Cine Lens Sidekick
No cinema camera launch is complete without glass, and Fujifilm brought backup. Alongside the Eterna 55, the company unveiled the GF 32-90mm T3.5 PZ OIS WR cine lens, priced at $5,999.
On the medium-format sensor, that’s equivalent to a 25-71mm focal range on full-frame. It’s a versatile option that covers wide establishing shots through to tighter dialogue scenes. The lens has power zoom, optical image stabilization and weather resistance, making it well-suited for both studio and on-location work.
For crews already invested in Fujifilm’s GF lens ecosystem, the Eterna 55 offers autofocus support with subject detection and tracking when paired with certain GF lenses. While many cinematographers still prefer manual focus for precision, having the option for fast-moving productions is a bonus.
A Hollywood Debut With Big Shoes to Fill
Fujifilm isn’t naive about the challenge ahead. The cinema camera space is fiercely loyal and deeply entrenched, with RED, ARRI, Canon and Sony commanding the trust of big studios and independent filmmakers alike. Cracking that market takes more than just specs, it requires proving reliability on set and delivering a cinematic look that directors and cinematographers fall in love with.
To help make its case, Fujifilm has already backed a short film titled Okay, directed by Andrew Kightlinger and shot by cinematographer Oren Soffer. The film is expected to showcase what the GFX Eterna 55 can really do in a real-world production environment. If it impresses, it could go a long way toward easing skepticism.
The Verdict: Ambitious, Expensive, and Worth Watching
The GFX Eterna 55 is a bold move by Fujifilm. It’s not just another camera tacked onto an existing lineup; it represents an entirely new direction. With its medium-format sensor, pro codecs, built-in ND filters and detachable high-brightness monitor, the camera has all the hallmarks of a serious tool for professional filmmaking.
The price point will, of course, be a hurdle. At nearly $17,000 before lenses and accessories, this is not for hobbyists or even most indie filmmakers. But for high-end productions looking for something different from the standard full-frame cinema offerings, the Eterna 55 could be an intriguing alternative.
Ultimately, Fujifilm is making a statement. It’s telling the film industry that it’s ready to compete on the biggest stage of all. And whether or not the GFX Eterna 55 becomes a box-office hit in the gear world, it shows that Fujifilm is serious about cinema—and that’s news worth paying attention to.
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