Photo 2023 © Karina Lomelin Ripper
If you want to create high-quality video, you’ve got lots of choices. After all, we live in an age that’s dominated by hybrid cameras, and where 4K video is commonplace both on pro-level and serious enthusiast models. But for serious videographers and directors, FUJIFILM GFX System offers something different: the combination of a large format sensor with professional-level 4K imaging.
For a number of reasons, larger format camera systems can offer results that look distinctly different from smaller cameras. Of course, professional users need a full suite of options alongside that pure quality, which includes versatile output options, connectivity, stabilization, and more. For now, let’s take a look at why the combination of the GFX sensor and high-speed image processing makes FUJIFILM GFX100 II and GFX100S II so well-suited for video.
Photo 2024 © FUJIFILM
Photo 2024 © FUJIFILM
Let’s start with the sensor size. One of the ways quality is improved in video is by using the full width of the sensor area for movie recording, rather than creating footage from a cropped portion of it. So, although the aspect ratios of modern video formats mean some of the GFX sensor’s regular 4:3 shape is lost at the top and bottom, GFX100 II and GFX100S II still use the entire 43.8mm of the sensor horizontally.
The recorded information is then downsampled from the original recording of over 60 million pixels, into a DCI4K 4096x2160 or UHD 3840x2160 output. There’s a big benefit to this because using more pixels to create the original source data can give you better detail, noise performance, and accuracy of colors and tones.
Many cameras apply an additional crop to the sensor area when recording in 4K resolution. On top of lowering the output quality, compared to full width, this also leads to a loss in the field of view from the camera’s usual lens set.
What’s more, not only is it a given that the sensor area used by GFX System for 4K-class video is larger than full-frame cameras, it’s also greater than that of most professional cinema cameras on the market today. And better still, it’s all packaged in the compact, weather-resistant body designs of GFX100 II and GFX100S II.
Photo 2023 © Justin Stailey
Photo 2023 © Justin Stailey
Another hugely important factor in terms of video quality is the bit depth of the files. Rather than relating to resolution, the greater the bit depth, the more accurate and enhanced the tonal gradient and color is in a recording.
Many cameras, at an output of 8-bit depth per color channel, limit their recordings to only 256 steps or gradations between black and white, for a maximum of 16.8 million colors. However, by using the 10-bit recording options on GFX100 II and GFX100S II cameras, the output files are made up of 1024 gradation steps for a possible range of over 1 billion colors.
This increase in quality is very useful, not only when recording scenes that have very disparate highlights and shadow tones, but even more so when holding onto subtle gradations in softer colors and skin tones is needed. So, you get smooth and natural-looking footage, rather than the ugly ‘steps’ or ‘banding’ you can see in lower-bit-depth video.
Even though most screens and TVs only support 8-bit display, the important thing is that the original 10-bit source information can be used to create higher-quality footage after processing in the camera or during post-production, especially when creative decisions call for dramatic changes to color and contrast in scenes.
Photo 2023 © Matthew Weintritt
Photo 2023 © Matthew Weintritt
Another quality factor to consider is the process of color sub-sampling. This is a measure of how color information is compressed for recording and, therefore, it also relates to image quality and accuracy. Video compression methods are quite different from those used in stills imaging, and in fact multiple kinds of compression are used in combination during video recording.
The level of color subsampling is written such as 4:2:0 or 4:2:2, etc. These numbers by themselves are not significant, but 4:2:2 means more color information is retained compared to 4:2:0, and for some things this can give you better results when post-processing the video. GFX100 II and GFX100S II can record in 10-bit 4:2:2 internally.
Photo 2025 © Ryan Tuttle
Photo 2025 © Ryan Tuttle
Video from GFX100 II and GFX100S II can also be recorded in a variety of formats and encodings, offering great flexibility and ensuring the highest quality when it’s needed. One commonly used encoding scheme is something known as Log, short for logarithmic, and Fujifilm cameras utilize the specially engineered F-Log variety.
Characterized by a distribution curve that preserves the widest-possible dynamic range recorded, F-Log has very low contrast and more retained detail in highlights and shadows. That means filmmakers start with an extended range of picture information, which increases quality in post manipulation and interpretation during color grading.
GFX100 II and GFX100S II also support Hybrid Log Gamma (HLG) output, which is an internationally recognized high dynamic range (HDR) format. Related to F-Log, HLG is pitched for use on HDR TVs, and uses 10-bit color information to create broadcast-ready footage that covers an extensive array of brightness levels and color saturation.
Importantly, HLG can be played on both standard screens as well as HDR-compatible models, and it can be manipulated in post in a fashion similar to F-Log, but with somewhat more flexibility in highlights. Although one needs a true HDR-capable display in order to see the full brightness values of HLG format, almost all video editing and color correction software provides the proper workflows for it.
Should it be necessary to have even more versatility in post-production image manipulation, both GFX100 II and GFX100S II can output 12-bit Apple ProRes RAW video via HDMI to external devices, such as Atomos Ninja V field monitor-recorders.
ProRes RAW video data makes the most of the sensor’s dynamic range, providing huge flexibility in terms of exposure adjustment and color grading. Handily, simultaneous output of ProRes RAW along with Film Simulation/F-Log/HLG recording is available, letting users enjoy the best of processed and unprocessed footage. Having ProRes RAW as a backup can be used for the rare situations where the image might not have been exposed properly, but in practice, F-Log is more than enough even for HDR distribution.
In summary, the combination of GFX100 II and GFX100S II’s X-Processor 5 engine and the fact that the signal is created from a larger format sensor offers a lot of benefits for filmmakers. Not only do they get the distinctive look from a larger format sensor, with the potential for superb sharpness, very shallow depth-of-field, greater color accuracy, and lower noise, there are also multiple quality settings to support all sorts of subjects and workflows. Overall, it’s a complete package.
Click below to shop FUJIFILM GFX100 II and GFX100S II.
The information provided on this website is for general information purposes only. FUJIFILM makes no representations as to accuracy, relevancy, recency, or otherwise, and gives no warranties of any kind with respect to the information provided in the posts presented on this website. FUJIFILM does not review the posts for outdated technology references or information and therefore such posts should not be relied up on as if the information presented is current or updated.
The testimonials and endorsements provided herein are for informational purposes only, should not be relied up on as advice, and should not be interpreted as claiming the results achieved by the user will be achieved by all users. Opinions expressed by Photographer (endorser) are solely their opinion and do not reflect the opinions or views of FUJIFILM, its respective parent company, or its affiliates.
