Review of the Fujifilm GFX 100 II - The most full-frame medium format!

We were finally able to test it and work with it extensively, which is why we can now offer you a review that will get everyone excited about the full-frame - sorry - medium format! The Fujifilm GFX 100 Mark II comes with a massive 102 megapixel sensor, 8-stop IBIS, 8 frames per second and also 8K video, making it the most full-frame medium format camera on the market!

Design, body and connections

With the GFX 100 Mark II, Fuji has undoubtedly developed a camera that reveals its full potential at first glance. Its design is characterized by a modern, uncluttered appearance, which is nevertheless optimally geared towards professional use. When you touch the camera for the first time, the significantly improved workmanship immediately catches the eye. The camera not only impresses with its external appearance, but also with its excellent feel, which is partly based on the new, traditionally Japanese-inspired texture.

The generous selection of customizable controls enables efficient and intuitive handling, which speeds up workflows. A particular highlight is the large-format, slightly beveled e-ink shoulder display, which shows important settings even when switched off. Whether the unusual design actually offers significant added value for the user experience remains subjective. Nevertheless, it is undeniable that it looks extremely appealing.

On the back of the camera is a large 2.3-inch display with a resolution of 2.36 million pixels. The tried and tested folding mechanism, which we know and appreciate from Fuji cameras, allows flexible orientation in three directions and even offers enough space for an external fan, which we will discuss in more detail later.

The camera is powered by the same battery that is used in the new X-T and X-H cameras. Interestingly, Fuji has removed the integrated battery grip from the previous model, making the camera more compact and easier to handle. Users who still prefer a vertical grip have the option of adding one.

There have also been changes to the connections. In addition to a USB-C and a full-size HDMI connection, the camera now also has an RJ45 LAN connection, which was missing from the previous version. This connection is particularly important for professionals, whether for tethering via the network or the new camera-to-cloud function, which we will discuss in more detail in a moment. In terms of storage media, the new GFX has a CFexpress Type B and a UHS-II SD card slot.

The movie/still switch enables quick switching between photo and video mode and offers a split menu. We will explain why this is particularly relevant for this camera in a moment. We personally really like the design of the camera!

New viewfinder

With an impressive 9.44 million pixels, 120 fps refresh rate and 1.0x magnification, the new EVF is also an absolute top performer. It is simply fun to take photos with a high-resolution camera and to be able to assess the image clearly while working.

Incidentally, the viewfinder on the Mark II is also removable and compatible with the familiar GFX 100 angle adapter. So anyone who needs a tiltable viewfinder is not restricted here either. What we did notice about the mechanism, however, is that the viewfinder unfortunately has a minimal amount of play due to this function - although this is only noticeable if you attach something heavy, such as an external monitor, to the hot shoe. It's not too much, but it is noticeable.

Oh yes, what else we would like to see at this point: Under the detachable viewfinder is a hot shoe with contacts and there would be a lot of desirable accessories, especially in the video area. So Fuji, perhaps you could develop a handle with an XLR interface, for example?

Sensor and image quality

The GFX comes with a 102 megapixel medium format sensor and if this sounds suspiciously familiar, no, this is not the same sensor that we already had in the Mark I. Despite the same resolution, a new second-generation sensor is used here. Fuji's handy name for the new sensor is "GFX 102MP CMOS II HS", with the "HS" alluding to the faster data readout, which is probably the biggest difference to its predecessor.

But the image quality has also improved. The 16-bit color depth in combination with the almost 30% improvement in dynamic range is really impressive. In this picture you can see the wide dynamic range, the soft shadows and the rich colors. Despite this enormously high-contrast scene, we still have all the details in both the bright and dark areas of the image, and we are "only" looking at the JPEG directly from the camera.

New film simulation Reala Ace

And then there is the new film simulation: Reala Ace is the name of the whole thing and is modeled after the very popular Fujicolor Reala, or Reala Ace, as it was called in some regions. Reala Ace is a relatively pure film simulation that competes with the actual Fuji standard Provia. Compared to Provia, the shadows are somewhat lighter, the highlights more striking, blue tones somewhat darker and green tones somewhat warmer. All in all, we are delighted with the new addition and the 20 different looks that can now be selected on the GFX 100 Mark II.

The speed of the medium format camera

When we talk about "full-frame performance" for the camera, we are primarily referring to the readout speed of the sensor in conjunction with the processing speed of the processor. This is essentially important for three applications.

Continuous shooting speed

Firstly, the camera can now shoot at up to 8 frames per second at full resolution, which is extremely impressive in itself. I mean, it wasn't that long ago that a medium format camera was still tied to a tripod and processing such high resolutions took an extremely long time. Now we can take real hand-held continuous shots at 8 frames per second? This almost gives it the enormous flexibility of full-frame cameras, where high-resolution flagship models usually achieve around 10 frames per second, which is not that much more.

Autofocus / autofocus speed

If we take a look at this example, we can actually get straight to the second important aspect and this is also directly related to the fast data processing, because we can shoot these 8 fps with full autofocus tracking & exposure metering and although the autofocus of the GFX 100S was already quite good, Fuji has really upped the ante here. We are already familiar with the autofocus system from the current X system cameras and although it is somewhat slower than we know it from an X-H2s, for example, due to the medium format, it actually makes the GFX 100 Mark II competitive in comparison to full-frame cameras. The autofocus is precise and fast enough to make use of the 8 frames per second without much waste. At last, the GFX system also offers clean subject recognition of people, animals and vehicles.
The subjects are recognized by the 425 autofocus points and the GFX autofocus can now also be used extremely flexibly thanks to the customizable autofocus zones and the various settings for autofocus speed and sensitivity.

Ultimately, however, one must not forget that medium format lenses still contain a lot of large and heavy glass. The autofocus must therefore work well to move the lenses, and this is noticeable - both in terms of speed and acoustics.

Video and rolling shutter

The third significant improvement in terms of speed leads us directly to the enhanced video capabilities of the GFX 100 II. A current problem that has made medium format cameras less attractive for video use in the past is the so-called rolling shutter effect. This effect occurs when the speed at which the image information is read out is too slow, resulting in distortions within the recorded video. While in the field of photography this phenomenon is only noticeable with extremely fast subjects, such as a swing of a golf club, it is a much more serious problem in the video sector, as the image is in motion. It is not only the movement of the subject that is important here, but also the movement of the camera itself.

The remarkable thing about the new GFX 100 II is that Fuji has managed to reduce the rolling shutter effect to a remarkable 15 milliseconds. If this figure doesn't immediately mean much to you, don't worry - we'll explain in more detail what effect this has in a moment.

However, it should be noted that this impressive speed only applies to video formats up to 4K at 60 frames per second. At higher recording formats, the processor power no longer seems to be sufficient, and a significant deterioration in the rolling shutter effect can already be seen from a resolution of 5.8K.

However, it is important to emphasize that this should by no means be seen as a weakness of the camera. On the contrary, the GFX 100 II is so close to the performance of full-frame cameras that it will inevitably be compared with them. Therefore, the relevant information regarding the rolling shutter effect should not be that it is visible at higher resolutions, but rather that it is NOT visible at 4K resolution. It is impressive how this large area sensor can be read out so efficiently that a comfortable recording of 4K at 60 frames per second in medium format is possible.

The IBIS of the Fujifilm GFX 100 II

The GFX 100 II surprises with a remarkable new feature that will be of particular interest to those who want to shoot with a medium format camera - the new In-Body Image Stabilization (IBIS). It may be hard to believe, but this IBIS system can correct an astonishing 8 stops of exposure, which is undoubtedly impressive. Especially when you consider how large medium format sensors are. In the case of the GFX 100 II, the sensor measures an impressive 43.8mm x 32.9mm. It is quite astonishing that this sensor can be moved so precisely in five axes within the body to enable such exposure compensation.

We would like to illustrate the effect of this system with a few shots taken handheld with the GFX 100 II and the 55mm f/1.7 lens. The results speak for themselves and are undoubtedly impressive.

The image stabilizer is not only important in the field of videography. It should be remembered that this is a medium format camera with an impressive resolution of 100 megapixels. In the past, hand-held shots with medium format cameras were often subject to visible blurring, even if they appeared sharp at first glance. Thanks to the new IBIS system, shots with very short exposure times are possible - and by "short" we mean really short. As an example, let's take a shot with a 1/5 second exposure time taken handheld. Even on closer inspection, there is no micro-blurring whatsoever. It should be noted, however, that this shot was taken with the electronic shutter, thus avoiding vibrations caused by the mechanical shutter. Nevertheless, the mechanical shutter allows exposure times of up to 1/10 of a second, even if we would not necessarily recommend this.

In addition, the IBIS offers the possibility of capturing higher resolutions using the pixel shift method. By shifting the sensor between individual shots, an impressive 400 megapixels can be achieved. This makes the GFX 100 II the perfect camera for reproduction shots and digitization. However, the processing of these images is not done in the camera itself, but requires the use of the Fujifilm Pixel Shift Combiner app.

Video

The high resolution is not only of interest to photographers. In fact, the GFX 100 II supports impressive 8K recordings in video mode. However, the topic of resolution and formats is quite complex, as the camera offers a variety of options.

There are four different formats to choose from in the camera menu, each supporting different resolutions and aspect ratios. Firstly, there is the large format, which utilizes the full image circle and allows shooting in 4K, 5.8K Cine and even 8K. For 4K and 8K recordings, you can choose between 17:9 and 16:9 aspect ratios. A slightly more compact option is the Premista format, which is specially optimized for Fuji's Cinema lens series of the same name. Here, the entire sensor width is not used, but the image circle is still impressively large. Furthermore, it is possible to switch between 35 mm, i.e. full format, and full format for anamorphic lenses to ensure additional flexibility. The numerous anamorphic modes in particular prove to be extremely useful for professional filmmakers.

What makes the GFX 100 II an indispensable tool for filmmakers are the numerous integrated software functions that are specifically tailored to the needs of professionals. In addition to the possibility of USB-C SSD recording and the in-camera equalization of anamorphic shots, the camera has a large number of small but extremely important features. Displays such as Waveform and Vectorscope help with correct exposure and the focus map enables precise focus adjustment. Thanks to the "Camera to Cloud" feature, recordings in various formats can be sent directly to a Frame.io account, for example to provide customers on the other side of the world with a preview of the recorded content.

Via the HDMI connection, recordings can be made with compatible recorders in 8K at 30p in 12-bit Apple ProRes RAW or Blackmagic RAW.

With F-Log 2, it is possible to get the maximum dynamic range out of the images. To keep the camera cool during all these functions, the external fan of the X-H2 series is also compatible. It may seem confusing at first, as the display cannot be folded to the side to make room for the fan. But it works - even if it looks a little unusual. In a rig, however, the position of the display is less relevant, so functionality is guaranteed.

So if you are interested in the many other technical aspects, such as internal 4:2:2 10-bit color sampling, Base ISO 80 in the photo area, Dual Gain ISO, ATOMOS AirGlu? BT Wireless Timecode and much more, we recommend a long, intimate togetherness with the data sheet.

The new GFX lenses

Alongside the launch of the impressive GFX 100 Mark II, Fuji has also unveiled three new lenses, each with their own remarkable features.

Let's start with the new GF 55mm F/1.7 WR, which you've already seen some photo and video footage of if you've watched our video. This 55mm lens is a real gem among lenses. It is characterized by its comparatively compact design, its impressive open aperture and, above all, its breathtaking sharpness. With a focal length of around 44 mm, it offers an extremely natural field of view and, in combination with the large aperture, produces an extremely smooth yet razor-sharp focus. The bokeh, i.e. the quality of the blur in the background, is simply flawlessly round and the sharpness decreases extremely evenly. This lens is not only ideal for portrait and lifestyle photography, but should be part of practically every GFX user's equipment.

In addition to the GF 55mm, there are two other lenses that are also worthy of note. These are the GF 30mm f/5.6 Tilt-Shift and the 110mm Macro Tilt-Shift, also with an aperture of f/5.6. Yes, you read that right - Fuji has finally developed tilt-shift lenses for their medium format system, and we're extremely excited about it. The extensive application possibilities of a tilt-shift lens are often underestimated.

For those who have not yet delved too deeply into tilt-shift, here is a brief explanation: A tilt-shift lens is capable of two basic movements that are independent of the sensor plane: Tilt and Shift. These functions allow unique control of perspective and depth of field.

So why are these lenses so important and useful? Well, the shift function allows direct optical correction of converging lines. This is particularly important for architectural photographers as it allows, for example, buildings photographed from below to still appear approximately straight. This ability to correct converging lines also offers considerable advantages in other areas. In product photography, for example, highly reflective surfaces can be photographed "straight" without the camera being reflected in the subject, as the camera does not have to be positioned exactly perpendicular to the object.

The second important function, the tilt function, allows the focal plane to be shifted. Normally, this focal plane runs parallel to the sensor plane. However, the tilt function allows the focal plane to be shifted and aligned at an angle, as the optical axis is bent. This is extremely useful in setups such as the example shown.

The lens can also be rotated, and if you combine all three movements, the possibilities are almost limitless.

Until now, these valuable lenses were simply not available for the GFX system. This was also due to the fact that the large sensor requires a lens that can image a larger image circle than just the sensor itself. However, Fujifilm has now managed to develop comparatively compact lenses that make no compromises in terms of optical performance. These lenses are also characterized by their outstanding sharpness.

Price and conclusion

Now that we've covered everything worth knowing about the camera, it's worth taking a look at the price and drawing a conclusion. With a recommended retail price (RRP) of €7,999, the camera is certainly not a purchase to be made lightly. Nevertheless, this price is quite fair for a medium format camera of this quality.

Compared to the technically less powerful predecessor, which cost an impressive €3,000 more, we now have a medium format flagship at a price that is almost on a par with full-frame cameras. The only comparable competitor with a medium format sensor is the Hasselblad X2D 100C, which also has a 100 megapixel sensor, but cannot keep up in terms of performance (especially in the video area) and is also more expensive.

In summary, the new GFX is undoubtedly a technically impressive camera that is in some ways unique on the market, although this is not necessarily reflected in the price. The aspects that still hold the camera back from perfection, such as the rolling shutter effect, the not yet fully achieved perfection in autofocus speed, the size and weight of the system, simply cannot be overcome at present. However, these are the aspects in which full-frame cameras are minimally ahead.

The most important question, however, is : Should you buy a GFX 100 Mark II now? Well, if it were up to us, the answer would definitely be yes. But to answer the question seriously, it depends on several factors. The new GFX is undoubtedly a camera for professional use. This means commercial shots taken for large advertising spaces or magazines, reproductions or the digitization of artwork, or use in large format video production. At the same time, it could also be of interest to professional wedding, fashion or portrait photographers who have previously worked with full-frame cameras and have shied away from medium format.

Nevertheless, there are still limitations in the medium format system for which there are better solutions, even from Fuji. For example, the X-H2s is still the better choice for shooting at extremely high speeds, especially in the telephoto range. Despite its more compact size, the GFX 100 II is still a bulky camera, so there are also better alternatives for street photography, travel photography or everyday use.

On the other hand, for professional filmmakers who want to work in large format, the GFX is simply incredibly affordable in comparison. An Arri Alexa Mini LF, for example, costs ten times as much.

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