Everything you want to know about the FujiFilm GFX ETERNA Cinema Camera

A bit of a surprise announcement from Fujifilm!

The GFX ETERNA – a cinema camera with a medium format sensor, putting it to to toe with the ALEXA 65! Scheduled to launch at some point in 2025.

Why FujiFilm GFX ETERNA has an edge over other Cinema camera makers

What I find fascinating about this is within the cinema camera landscape Fuji are the only company who will have manufactured film stock in the past.

Looking at Arri, Sony, Canon, and obviously Red and Blackmagic, they aren’t companies that ever got into film stock manufacturing, lest we forget that was the sensor for a long time!

Color science comes from the chemical process that makes the image look a certain way, and people would pick film stocks to get a certain look. Fuji, with their stills cameras, has managed to capture a little bit of that magic, certainly on a consumer and photography level at least, making people really want to experience what their images will look like with the Fuji colors.

And part of the attraction is the idea of slightly baked-in Fuji looks, so no fiddling around in post, just giving people an image that they connect with… at least, that’s the way I view it.

FujiFilm GFX ETERNA is a medium-format camera

So, looking at this, it was very interesting to see that they are launching a medium-format cinema Camera based on the GFF sensors. Everything suggests that it is very closely related to the stills cameras they currently have, like the GFF 100 Mark II, which begs many questions.

What we still want to know about FujiFilm GFX ETERNA

• How is the film experience going to translate to moving image?
• What will the rolling shutter be like?
• Do they have processing pipeline that is required for very high resolution sensors and higher frame rates?
• Will it be limited to lower frame rates? (BRAW is one option)
• What format will it record in? Will it be using some kind of compressed codec?

FujiFilm GFX ETERNA ports

Based on the images, we can make out some SDI, HDMI, Ethernet, Audio, Headphone, and Genlock Connections, and overall, the body looks promising. It has some design notes of the Venice and Alexa I feel, which isn’t a bad thing.

FujiFilm GFX ETERNA lens mount

The lens mount on the front seems to be a locking version of their G mount.

FujiFilm GFX ETERNA sensor and pricing

In terms of size the sensor is in the same territory as the Alexa 65 and Blackmagic Cine 17K. However, it is a taller sensor, and this aspect ratio sets it apart from the other cameras in the space. Historically anamorphic hasn’t been used on these large sensor cinema cameras. So that does call into question the benefit of a sensor that is this aspect ratio, though still potentially useful for capturing natively in a taller ratio and debatable for reframing to other aspect ratios.

There is no word on pricing yet, but it will be interesting to see how Fujifilm decide to position this camera within the market.

To some extent, the iMAX / medium format / 65mm, etc. camera space is open for the taking, so the right camera with the right pedigree at a compelling price could really shake things up!

Photos and videos of the Fujifilm GFX ETERNA Cinema Camera

Conclusion

So, who is the Fujifilm GFX ETERNA Cinema Camera actually for? This medium-format beast feels targeted indie film directors, high-end commercial creatives, or even rental houses looking to expand their offerings with a unique format But it’s also entering a tricky pricing space—especially if it goes much above $15,000. Above that mark, it could get tangled with well-established competitors like Blackmagic’s 12K cameras or even high-end offerings from ARRI and RED, which also bring strong support networks. Fujifilm would need to nail both image quality and build trust in their tech support to make this leap feel worth it for filmmakers.