Fujifilm Photography News and Rumors

My shutter lock broke last week while walking around Miami for my Laowa 17mm f/4 GFX Zero-D review (I didn’t really use it), so I contacted Fujifilm and received some good news. Those affected by the Side Shutter Release “Lock” Defect will have the warranty of their camera extended to two years. Fujifilm hasn’t exactly worked out how this will happen, but according to FPS:

The extended warranty will be applied to the affected GFX 100 cameras that are being sent in. We will send you an extended warranty or it will be added to your registration. They haven’t made the decision yet.

This is very good news for those affected, but I think a camera at this price point should come with a 2-3 year warranty, to begin with. I have a lot of thoughts about the Fujifilm GFX100 that I will be sharing soon, but in the meantime, if you have any questions about the GFX100 shutter release problem feel free to contact Fujifilm at 1-800-659-3854.

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Notification Regarding Potential Loosening of FUJIFILM GFX100 Side Shutter Release “Lock” Function （Vertical grip control lock）

DPReview posted the second half of their Fujifilm GFX100 Review “Is the Fujifilm GFX100 Good For Video?” and it’s a brief but good one. If you do not have time or the ability to watch it there are excerpts below:

• Filmed in 4K 24p 10-bit 4:2:0 H.265 200Mbps Eterna
• Shocked to see 10-bit in a medium format cameras
• 10-bit works with 4k 30p and 24p and 1080 up to 60p
• No 4k 60p or 1080 120p
• This is not a high-speed camera though because the large sensor prevents the frame rates
• IBIS works well for video but it goes from smooth to a little clicky sometimes especially when panning
• AF works well especially at smaller apertures
• When using the 110mm f/2 it can smoothly shift between larger steps, which can be jarring
• The 110mm f/2 doesn’t have jarring shifts when stopped down
• Eterna is fantastic and gives some flexibility for editing
• If you need more flexibility than Eterna use F-Log 10-bit
• It’s great that Fujifilm has a standard and Eterna LUT
• There is also HLG, but Jordan finds it to be pretty much the same as F-Log
• HLG is nice to work with and has a big dynamic range
• The 102MP sensor is huge and 4k only requires 8 megapixels
• The GFX100 uses the entire horizontal width of the sensor and crops off some on the top and bottom which gives you the same field of view as photography
• Pixel binning and line-skipping are used to produce 4k video
• There is some rolling shutter, but not as bad as the electronic shutter when taking a photo
• The rolling shutter will only be an issue if the camera is bouncing around
• Low light performance is very good, but APS-C and Full Frame are also very good today
• Medium format cameras also have slower glass than APS-C and Full Frame so there isn’t a big advantage with low light
• Even with 10-bit Jourdan would say dynamic range for video is identical between the Fujifilm X-T3/X-T30 and GFX100
• If you are shooting professional photos on your GFX100 and your client decides that they want a video to you can absolutely get that done with the GFX100
• They shot the second half of the GFX100 review using the GFX100 and the XF200 f/2 review
• But would Jordan choose the GFX100 over other cameras for video if he didn’t need the 102MP, probably not because it’s not a big step up in quality like 102MP medium-format stills
• The GFX100 is going to be bigger/heavier/with slower glass/and dynamic range equal to the X-T3 when shooting video
• You could have 5 X-T3 setups for the price of a GFX100 one for video and the X-T3 can shoot 4k 60p or 1080 120p
• So no Jorand wouldn’t buy it just for video
• If you buy one of the best photo cameras ever made you are absolutely getting video features that will let you take on a bunch of professional jobs without an issue

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There aren’t many sites that do in-depth technical testing you can trust, which is why I have been looking forward to Jim Kasson’s excellent analysis of the Fujifilm GFX100. Now that he received a camera his testing will pick up some and he has already found some artifacts in his testing. I recently experienced them myself with a night shoot where I pushed the images too much, but I have come across this kind of issue very rarely.

The Last Word – GFX 100 EDR

16 bit precision afford slightly more DR at low ISOs. Probably not too significant, but it might be useful. 16 bit precision causes the electronic shutter to scan more slowly, though.

The Last Word – GFX 100 read noise spectral analysis

GFX 100 has a {Green, Blue] [Red, Green]  (aka GBRG), Bayer color filter array (CFA) pattern, not the usual [Red, Green] [Green, Blue] (aka (RGGB) one that I had assumed.

The red plane shows the unmistakable effects of digital lowpass filtering. It is probably the plane with the PDAF pixels. Since those pixels don’t contribute to the image, they missing information must be filled in by interpolation from the active pixels, which provides a mild cut in the high spatial frequency response.

There are small periodic spikes in the green planes. They don’t amount to much here, but at higher ISOs they get worse. Periodic effects like this tend to be more objectionable than purely random noise.

The Last Word – GFX 100 EDR vs ISO

There may be some subtle improvements from using 16-bit precision, and I’ll be testing for that, but it looks like the read noise is high enough to adequately dither the analog to digital converter even at 14 bits.

The Last Word – Fuji GFX 100 EDR vs shutter speed

There is very little change until the exposures get to be a second or two long, and after that you lose about 0.2 stops of EDR for every doubling of the shutter speed.

The Last Word – Fuji GFX 100 photon transfer curves

I’m seeing none of those, so it looks like the read noise of the camera is enough to dither the analog to digital converter properly, and switching to 16-bit precision will probably provide no benefit. I’ll be checking that visually later on.

The Last Word – Fuji GFX 100 light-field pattern noise

There is a horizontal-direction spike at 1/3 the sampling frequency, or every 6 pixels in the mosaiced raw file. That spike indicated vertically-oriented artifacts. There are vertical-direction spikes at a bit under 1/2 fs, 1/3 fs, a bit under 1/4 fs, and 1/9 fs. The last one indicates a horizontally-oriented artifact ever 18 rows in the mosaiced raw file.

The Last Word – Fuji GFX 100 dark-field pattern noise

There is quite a bit of periodic noise in the blue channel, even though the light-field image of that channel was pretty clean.

The red and second green channel are free of periodic artifacts.

As with the previous post, further testing will need to be done to determine the significance of these anomalies on real-world photography, but it’s clear that the bright and dark portions of the image are affected differently.

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