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FUJIFILM GFX100 II Fast Enough for Sport?

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The GFX series by Fujifilm produces beautiful film-like images thanks to its massive medium format sensors and colour science. Now Fujifilm has announced the GFX100 II – a new flagship model that delivers the highest burst-shooting, AF and video performance in the history of GFX Series. But is it fast enough for sport or wildlife? I would love nothing better than shooting action with a medium-format image sensor which is about 1.7 times larger than a 35mm full-frame sensor. The issue for a camera like this is readout speed and autofocus tracking.

Australian retailers are taking pre-orders now for A$12,499.00.

This is what Fujifilm says, “The GFX100 II features the newly-developed 102MP high-speed image sensor “GFX 102MP CMOS II HS” and the high-speed image processing engine “X-Processor 5” to deliver up to double the signal readout speed compared to the current model.

“It is the first GFX Series mirrorless digital camera that features the AI-based subject-detection AF, developed with Deep Learning technology, as well as the latest predictive AF algorithm.

The GFX100 II features the newly-developed 102MP high-speed image sensor GFX 102MP CMOS II HS.

“The burst mode performance has also been enhanced from the current model to 8.0 frames per second and the stabilization performance has been improved to eight-stop five-axis to broaden the scope of genres for the GFX Series from fashion, commercial and landscape categories to sports and news photography, where high-speed performance is essential.”

8-frames-per-second is pretty slick for a medium format camera but for sport pros burst rate is everything. When you compare the GFX100 II’s 8-fps to Canon’s R3 24MP full frame 30-fps, it’s no contest. Even when both are dialed back when it comes to using mechanical shutter, the difference is significant. The R3 drops to 12-fps while the GFX100 II slows to just 4-fps. When it comes to mirrorless sport action, the R3 is the king, but if resolution is more important to you .. then the GFX100 II might just be fast enough to take to the big game. The video below shows a sports shooter using the GFX100 II.

Sports photography with the Fujifilm GFX100 II.

GFX100 II STILLS FEATURES

  • The GFX100 II is equipped with the newly-developed 102MP image sensor “GFX 102MP CMOS II HS,” which boasts up to double the signal readout speed compared to the current model to enable continuous shooting of up to 8.0 frames per second. Users can enjoy burst shooting at very quick intervals completely stress-free thanks also to reinforced buffer memory. In the field of sports photography, previously difficult with past GFX Series models, the GFX100 II seizes decisive photo moments while preserving the high definition and high image quality synonymous to the large format sensor.
  • The use of an improved algorithm has evolved the Face / Eye AF and introduced the AI-based subject-detection AF, developed with deep-learning technology to detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects and drones. A targeted subject is automatically tracked while kept in focus so that users can focus on shutter opportunities and framing. The evolved predictive AF algorithm provides added ease to users in sports photography, for example, which requires advanced tracking capability to track a subject that moves quickly within the frame.
Improved algorithm has evolved the Face / Eye AF plus AI-based subject-detection.
  • The camera is equipped with a high-magnification and high-definition 9.44-million-dot EVF with 1.0x magnification. It suppresses parallax and distortion which typically occurs when an eye position becomes displaced while using the viewfinder, thereby providing stellar visibility. The EVF boasts smooth refresh frame rate of approx. 120fps to accurately identify a subject’s fast movements.
  • 7 Use the “Bird” setting to detect insects and the “Airplane” setting to detect drones.
  • Improvement to the pixel structure has boosted the new sensor’s saturated electrons, thereby enabling the use of ISO80 as a non-extended sensitivity. When the sensor sensitivity is set at ISO80, the camera can capture images at greater dynamic range and lower noise than with the previous model.
  • The new sensor’s micro lenses are improved to increase light use efficiency at the sensor’s edges, thus improving image quality and AF accuracy at the edges over the previous model.
  • The GFX100 II comes with a new Film Simulation mode called “REALA ACE,” which offers faithful color reproduction and high-contrast tonality. Users can use from 20 Film Simulation modes to give images a diverse range of distinctive tones, as if they are choosing a suitable photo film.
  • The camera features the Pixel Shift Multi-Shot function, which enables 4x resolution and faithful color reproduction. The function controls the In-Body Image Stabilization (IBIS) mechanism at the advanced level to shift the image sensor by 0.5 pixel at a time and shoot 16 RAW images in a quick succession. The dedicated software “Pixel Shift Combiner” is then used to combine the 16 RAW files to generate a 400MP image. This is a perfect choice for commercial photography or digital archiving of cultural assets.
  • 8 When recording at 16-bit RAW

GFX100 II VIDEO

  • This is the first GFX Series model capable of recording 8K/30P video. It can also record 4K/60 4:2:2 10-bit video internally, demonstrating significant improvement in video performance thanks to the use of the new sensor.
  • Users can film a moving subject naturally due to the increased sensor readout speed and suppression of the rolling shutter effect. The non-extended ISO100 is also available in the video mode to deliver even higher image quality in video footage.
Go Behind the Scenes of this short movie filmed in İstanbul and shot on completely with GFX100 II.

  • The GFX100 II supports three Apple ProRes codecs, i.e. Apple ProRes 422 HQ, Apple ProRes 422 and Apple ProRes 422 LT. When shooting in Apple ProRes, the camera can use proxy video recording such as Apple ProRes 422 Proxy, which reduces video editing workload to streamline the overall workflow from filming to postproduction.
  • The camera features Video Format modes, enabling video recording in multiple formats including Premista, 35mm, and anamorphic (35mm) with the mount adapter.
  • The tracking AF function for video recording has been added. Users can touch the screen to specify a subject to be tracked while filming in the AF-C + Wide / Tracking AF mode. This allows the camera to track the right subject in situations where multiple subjects are in the frame.
GFX100 II Rigged for film shot in Istanbul
  • This is the first GFX Series camera that features F-Log2 with dynamic range expanded up to 14+ stops. This enhancement enables video recording with enriched tonality, thereby broadening post-production potential significantly.
  • The GFX100 II can output up to 8K/30P 12-bit video in RAW data via HDMI. The camera can record video in the Apple ProRes RAW format when used with the NINJA V+ monitor by ATOMOS, and in the Blackmagic RAW format when used with the “Video Assist 12G” monitor by Blackmagic Design.
  • The camera supports timecode synch with ATOMOS AirGlu™ BT. This enables seamless timecode synching with multiple cameras, meeting demand from various video production sites.
OTHER FEATURES
  • The camera body is equipped with an Ethernet port as well as HDMI Type A and USB-C terminals to broaden connectivity with external devices significantly for diverse peripheral combinations.
  • An external SSD can be connected via USB-C to record stills and video data directly in the external SDD in any mode or format including 4K/60P and 8K/30P.
  • The camera supports the cloud service “Frame.io Camera to Cloud” so that Apple ProRes Proxy files and a variety of other video files can be uploaded directly to Frame.io, thus dramatically streamlining the workflow from shooting to editing.
  • The camera is equipped with dual card slots supporting CFExpress™ Type B and SD cards. The use of a CFExpress™ Type B card with a fast write speed brings out the full video performance of the GFX100 II.
  • IPTC meta data can be added to images as they are shot. The meta data can be checked and edited in the digital camera app “FUJIFILM XApp.”
  • Some of the modes may not be supported depending on the type of SSD. Check Fujifilm’s website for a list of supported SSDs.
  • Check Fujifilm’s website for a list of supported cards. CFexpress is a trademark or registered trademark of the CompactFlash Association.
  • IPTC meta data refers to meta data contained in digital images compliant with the standards set by the IPTC (International Press Telecommunications Council).
  • The GFX100 II has a new IBIS mechanism. It uses image information to detect camera shake for enhanced stabilization accuracy to achieve up to eight-stop five-axis stabilization performance, the best among Fujifilm cameras. Users can shoot hand-held with ease even in low light situations such as night landscape.
  • The camera body has been designed with multiple improvements over previous models in pursuit for practicality. The new BISHAMON-TEX™ texture is used to maximize the camera’s grip when hand-held in various angles. The top panel is slightly slanted toward a user so that camera settings can be checked with minimal eye movement. The sub-LCD monitor at the top is larger than previous models with updated GUI design for enhanced visibility.
  • The operability of various buttons has been improved, and three Fn buttons with advanced operability have been added to the top of the grip so that users can adapt to change of shooting conditions smoothly.
  • 15 BISHAMON-TEX is a trademark or registered trademark of FUJIFILM Corporation.
  • Vertical battery grip “VG-GFX100 II” (designed for the GFX100 II). This battery grip is dust- and weather-resistant and capable of operating at temperatures as low as -10℃. It can hold two of the large capacity battery “NP-W235.”
  • Buttons are placed at accessible places for shooting as easily and comfortably as when the camera is held horizontally.
  • A cooling fan that assists video filming for extended duration or under high-temperature environment
  • It can be attached to the rear side of the camera body and receive power completely cable-free to extend the duration of continuous video filming at high temperatures without concerns of heat-related malfunction.
  • By mounting this accessory between the camera body and EVF unit, the mounting angle of the EVF can be changed to angles from 0°∼90° when shooting horizontally and from -45°∼+45° when shooting vertically. Doing so will allow users to shoot from various angles while using the viewfinder, greatly increasing freedom of camera positions and the range of expressions.
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EOS R1 will be Tested at Olympics as Canon Also Confirms R5 Mark II

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Canon has confirmed the specifications and features of its new flagship, the EOS R1 mirrorless professional camera. The company also announced an update to the R5, the EOS R5 Mark II.

Both cameras have two processors – the DIGIC Accelerator and the high-performance DIGIC X image processor. As you can see by the table below the new cameras share a lot of technologies but they are very different beasts.

Camera Specifications

Key Specifications

Specification EOS R1 EOS R5 Mark II
Sensor 24.2 MP full frame back-illuminated stacked sensor 45 MP full frame back-illuminated stacked sensor
Pre-continuous shooting Up to 20 frames Up to 15 frames
Continuous shooting rate 40fps 30fps
Customisable continuous shooting speed Yes Yes
Blackout-free EVF 9.44M dots 5.76M dots
Processor New processor DIGIC Accelerator and Accelerated Capture New processor DIGIC Accelerator and Accelerated Capture
Image and Noise Reduction In-camera upscaling and Neural Network Noise Reduction In-camera upscaling and Neural Network Noise Reduction
Grip Integrated vertical grip Optional grips available
Design Compact and lightweight Compact and lightweight
Auto Focus Dual Pixel Intelligent AF
Registered people priority
Action priority
Enhanced eye-control AF performance
Focus down to -7.5EV
Cross AF
2-Stage AF-ON button
Dual Pixel Intelligent AF
Registered people priority
Action priority
Enhanced eye-control AF performance
Focus down to -6.5EV
Image Stabilisation Up to 8.5 stops of Image Stabilisation Up to 8.5 stops of Image Stabilisation
Video 6K 60p RAW with 4K video at up to 120p and 60p oversampled from 6K 8K 60p RAW with 4K video at up to 120p and 60p oversampled from 8K
Compatibility Extra compatibility with EOS VR System Extra compatibility with EOS VR System
Picture Support Custom Picture support
XF-HEVC S/XF-AVC S
Canon Log 2/Log 3
LPCM/24bit/4CH audio
Dual shooting (still and movie)
Proxy movie support
Custom Picture support
XF-HEVC S/XF-AVC S
Canon Log 2/Log 3
LPCM/24bit/4CH audio
Dual shooting (still and movie)
Proxy movie support
Monitor Waveform monitor Waveform monitor
Connectivity Wi-Fi 6E
2.5Gbps Ethernet in-camera
Dual threaded FTP transfer
Wi-Fi 6E
Dual threaded FTP transfer

The R1 is all about nailing the shot. It’s squarely aimed at sports, news and wildlife photographers. That’s why it ‘only’ has a 24.2 MP full frame back-illuminated stacked sensor and not 32 MP plus.

“The R1 is all about nailing the shot”

When you shoot subjects like sport, news and wildlife, you only get one chance to nail the shot. I wish the R1 had a global shutter and I wish it had more megapixels but in the end it’s about locking onto your subject and not letting go.

The R1 has a new Cross Type AF system that excels when shooting through a tennis net, picking out smaller subjects and locking on to vertical detail in situations where horizontal detail is missing from the subject under the AF area.

Its first big test will be at the upcoming Paris Olympic Games.

I think it’s fair to say the R1 should have been called the R3 Mark II. It makes sense given the logical improvements. But having used it – it absolutely feels like a Canon flagship in the hand. You can blast away for ten seconds before hitting a bottleneck.

I’m not here to defend Canon but I’ve seen some of the commentary about the R1 and it’s way off base. This camera is for pros and it’s built like a tank. It’s 24 MP for a reason and that’s performance.

“It’s 24 MP for a reason and that’s performance”

During the preview session at URBNSURF SYDNEY we got to test just how accurate the autofocus and subject tracking is on the R1. The new Canon flagship can rattle off 40 frames per second with electronic shutter active and up to 20 frames of pre-continuous shooting.

Although we were given pre-production models to play with the R1’s insanely fast autofocus and sticky subject tracking nailed every single shot. There wasn’t much time to dig into the settings so for the most part it was spray and pray.

We were restricted to JPEGs as RAW compatibility is not yet available. However, I did capture RAW shots simultaneously to see how well the camera handled the data stream. It had no problem.

Here are some R1 examples.

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/3200 – f/4 – ISO 200

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/3200 – f/4 – ISO 250

CREDIT: DJURO SEN – CANON R1 + RF 400MM F2.8 :: 1/2000 – f/2.8 – ISO 100

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/2500 – f/4.5 – ISO 200

The R1 shots above are either as framed or cropped slightly. Keep in mind you only have 6000 x 4000 pixels to play with so it’s best to nail the frame in the moment. However, there will be times when you have to crop in substantially.

Users can also crop and upscale in-camera making it that much easier to send out photos without editing via separate applications.

But even when doing a standard crop in post, the results are excellent. The examples below show the full frame and the crop. I was pretty happy with the way they held up. If it was a breaking news story you wouldn’t even notice. Just drag the slider to compare.

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/3200 – f/4.5 – ISO 320

The next shot comparison also demonstrates that it’s pretty much impossible to shoot your subject out of focus. The water was closing in and the surfer was facing away from the camera. This is what matters – not super high resolution.

CREDIT: DJURO SEN – CANON R1 + RF 600MM F4 :: 1/2500 – f/4.5 – ISO 160

Both cameras feature the latest version of Dual Pixel CMOS – Dual Pixel Intelligent AF. It has the ability to more accurately track subjects, by identifying the face and upper bodies of players and avoiding obstacles or other players. The videos below show how the new features work.

REGISTER PEOPLE PRIORITY

On top of that, a photographer can register specific faces so the camera can track and give priority to players in a football game for example. You can list up to 10 faces.

ACTION PRIORITY is a new mode that automatically identifies common action poses in basketball, soccer and volleyball.

ACTION PRIORITY

Canon MUST expand this to other sports. It ensures during the chaotic action on the pitch, the camera will lock onto the player most relevant to the ball. Believe me, this is incredible.

“Canon MUST expand this to other sports”

This is hands down the best new feature on the R1 and R5 II.

ACTION PRIORITY

EYE-CONTROL AF has been improved from the R3 and is available in both of the new models. A higher pixel count sensor, enhanced LEDs, a larger eye detection area, and an updated detection algorithm all combined for a more manageable way to select a subject.

EYE-CONTROL AF

THE SENSORS on the R1 and R5 II offer faster shooting speeds and faster sensor readout with a 40% reduction of rolling shutter compared with the R3. This puts the R1 on the same level as the mechanical shutter in the EOS-1D X Mark III. The R5 II has a massive 60% reduction in rolling shutter compared with the original R5.

The cameras feature a pre-continuous shooting function offering up to 20 frames (for EOS R1) and 15 frames (for EOS R5 Mark II) to be captured in HEIF/JPEG or RAW format at any frame rate before the shutter is pressed.

The viewfinders are big and bright. The R1 has the highest resolution at a staggering 9.44M dots and the EOS R5 Mark II is twice as bright as the R5. When I first picked up the R5 II it was very noticeable.

Both cameras feature up to 8.5 stops of image stabilisation performance in the centre and 7.5 stops at peripheral.

When it comes to the R5 II you have plenty of resolution to play with thanks to a 45 MP full frame back-illuminated stacked sensor. Take a look at this static shot below and just how good the crop turns out.

EOS R5 II OFFERS OUTSTANDING CLARITY WHEN CROPPING THANKS TO ITS 45 MP SENSOR

VIDEO

The R1 and R5 II can also support Canon’s cinema line with the R1 able to shoot
Canon Log 2 & Canon Log 3. Canon Log 2 enables shooting with dynamic range of up to 16 stops. The R1 shoots at 6K 60fps or 4K at 120fps, along with Full HD at 240fps.

Recording Specifications

R1 Recording Specifications

Specification Details
Format XF-HEVC S / XF-AVC S
Recording format RAW: Yes
HEVC: YCC422 10 bit / YCC420 10 bit
AVC: YCC422 10 bit / YCC420 8 bit
Movie recording size Resolution: RAW / SRAW / 4K-D / 4K-U / 2K-D / Full HD
Frame rate (fps) 236.76 / 200.00 / 119.88 / 100.00 / 59.94 / 50.00 / 29.97 / 25.00 / 24.00 / 23.98
RAW format Standard RAW / Light RAW
Compression method High Quality Intra / Standard Intra / Light Intra / Standard LGOP / Light LGOP
Image quality Fine / Normal
High Frame Rate movies Yes
Movie cropping Yes
HDR movies No
Time-lapse movies No
Custom Picture Yes
Audio format LPCM / 24bit / 4CH; AAC / 16bit / 2CH
Built-in microphone Monaural
Pre-recording Yes
Tally lamp Yes
Max. recording time per recording Normal movies: 6 hr. (59.94 fps or less)
HDMI RAW output Yes
Dual shooting (still & movie) Yes

If video is a major part of your work than the R5 II is the camera for you. Check out the 8K video below shot handheld with the RF 70-200mm zoom lens.

8K/25p Video from the r5 ii SHOT HANDHELD WITH RF 70-200MM :: CREDIT: DJURO SEN

Again, the inclusion of Canon Log 2 & Canon Log 3 is a massive deal for videographers. The R5 II really makes the case at the ultimate all rounder.

With its larger megapixel count and excellent video capabilities, it’s going to sell very well. It can shoot 8K/60p from the full width of the sensor and 12-bit RAW recording internally, along with 4K video at up to 120p with sound.

R5 MARK II 4K/100P SLOWMO VIDEO SHOT HANDHELD AND WITH MONOPOD

There’s also the possibility to record video proxies, industry-standard file naming, and structured folders to enhance post-production workflows. Shooting footage for immersive video is also made easier with enhanced preview and playback navigation.

Recording Specifications

R5 II Recording Specifications

Specification Details
Format XF / HEVC S / XF AVC S
Recording format RAW: Yes
HEVC: YCC422 10 bit / YCC420 10 bit
AVC: YCC422 10 bit / YCC420 8 bit
Movie recording size Resolution: RAW / SRAW / 8K D / 8K U / 4K D / 4K U / 2K D / Full HD
Frame rate (fps) 236.76 / 200.00 / 119.88 / 100.00 / 59.94 / 50.00 / 29.97 / 25.00 / 24.00 / 23.98
RAW format Standard RAW / Light RAW
Compression method High Quality Intra / Standard Intra / Light Intra / Standard LGOP / Light LGOP
Image quality Fine / Normal
High Frame Rate movies With audio: Yes
Without audio: Yes
Movie cropping Yes
HDR movies Yes (HDR movie mode)
Time-lapse movies Yes
Custom Picture Yes
Audio format LPCM / 24bit / 4CH, AAC / 16bit / 2CH
Built-in microphone Monaural
Pre-recording Yes
Tally lamp Yes
Cooling fan setting Yes
Max. recording time per recording Normal movies: 6 hr. (59.94 fps or less)
HDMI RAW output Yes
Dual shooting (still & movie) Yes

There’s a new higher performance LP-E6P battery to handle the extra workload. To combat overheating a Cooling Fan Grip has been specifically designed to extend shooting periods. That’s a separate purchase.

PRICE AND AVAILABILITY

EOS R1 is priced at A$10,999 RRP (including GST)

The EOS R1 is scheduled to be available in Australia from November 2024.

EOS R5 Mark II at A$6,699 RRP (including GST).

EOS R5 Mark II from August 2024.

Looking around, dealers are already offering A$500 discounts.

This is the first of several reports on the R1and R5 Mark II so stay tuned.

FULL SPECS FOR BOTH CAMERAS BELOW

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Cameras

Move on From a Smartphone with the Sony ZV-E10 II

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Sony’s second generation ZV-E10, the logically named Sony ZV-E10 II, will be available in August for A$1688 (discounted from $1,849). It’s a massive update to a very popular vlogging camera that makes a lot of sense for creators that want to ‘graduate’ from a smartphone.

Think about the numbers.

Say you add the just announced E PZ 16-50mm F3.5-5.6 OSS II lens for A$599, you’re pretty close to the iPhone 15 Pro Max in price, which starts at A$2,199. The triple camera is very good on the iPhone but it won’t deliver images as good as the Sony.

The new camera has an upgraded 26 megapixel (MP) (approx. effective) Exmor R CMOS sensor and adoption of Sony’s latest BIONZ XR image processing engine. Other updates include improved autofocus and video capturing capabilities like Cinematic Vlog Setting and a new vertical format user interface (UI). So if your content is destined for a 9:16 device, then the Mark II makes it a lot easier to capture that way at the time of recording. The menu will shift to a vertical orientation to save you tilting your head.

One excellent upgrade is the battery. The ZV-E10 II now accepts the larger-capacity Sony Z battery. If you’re in the Sony universe you’ll love this change.

But other extremely important upgrade – is 10-bit recording. It can capture 4K 60P at 4:2:2 ALL I. This makes this camera extremely enticing when compared with the previous model. The bump to 10-bit means way more flexibility in post production. You will notice the difference, especially when there’s a lot of blue sky.

The light APS-C body is a huge advantage when keeping a low profile on the streets and other busy locations. The ZV-E10 II maintains all the features creators enjoyed about the original, including Product Showcase Setting, Background Defocus and the vari-angle flip screen. When shooting videos and still images, users can instantly enhance their images by selecting from ten Creative Look options:

Standard (ST), Portrait (PT), Neutral (NT), Vivid (VV), Vivid 2 (VV2), Film (FL), Instant (IN), Soft Highkey (SH), Black & White (BW), and Sepia (SE).

With a single touch using the Cinematic Vlog Setting, the user can automatically adjust the aspect ratio, frame rate, and AF transition speed to optimal settings for cinematic video capture.

Sony’s iconic S-Cinetone picture profile is also included. This profile is absolutely gorgeous but you do have to nail the exposure in camera. It produces beautiful natural colours while also rendering a gentle highlight rolloff.

Like all cameras, the ZV-E10 II isn’t perfect. There’s no IBIS (In Body Image Stabilisation) but it does have electronic stabilisation. Although this is very good, it does crop your image. It also lacks an EVF (Electronic Viewfinder) but that’s completely understandable. Rolling shutter can be an issue too because there’s no mechanical shutter. It also doesn’t have 4K/120p but at this price, it’s not a concern.

Overall though, this is a fantastic camera for anyone who wants to up their vlogging game or pros that want a B camera that’s a Sony.

PRICE AND AVAILABILITY

The new ZV-E10 II will be available in Australia from August 2024 for $1688 (discounted from A$1,849).

The E PZ 16-50mm F3.5-5.6 OSS II in black will be available in Australia from September 2024 for A$599. 

Camera Specifications
Specification Details
Model ZV-E10M2
Colors White, Black
Type Interchangeable lens digital camera
Mount E-mount
Sensor APS-C type (23.3 x 15.5 mm), Exmor R CMOS sensor
Number of Pixels (TOTAL) Approx. 27.0 megapixels
Number of Pixels (EFFECTIVE) Still images: Approx. 26.0 megapixels max.
Movies: Approx. 19.9 megapixels max.
Color Temperature 2500 K – 9900 K
File Formats JPEG (DCF Ver. 2.0, Exif Ver. 2.32, MPF Baseline compliant), HEIF (MPEG-A MIAF compliant), RAW (Sony ARW 5.0 format compliant)
Image Resolution APS-C L: 6192 x 4128 (26 M), M: 4384 x 2920 (13 M), S: 3104 x 2064 (6.4 M)
Video Format XAVC S: MPEG-4 AVC/H.264, XAVC HS: MPEG-H HEVC/H.265
Audio Recording LPCM 2ch (48 kHz 16 bit), LPCM 2ch (48 kHz 24 bit), LPCM 4ch (48 kHz 24 bit)
Video Resolution 3840 x 2160 (4:2:0, 10bit): 59.94p, 50p, 23.98p
3840 x 2160 (4:2:2, 10bit): 59.94p, 50p, 23.98p
1920 x 1080 (4:2:0, 8bit): 119.88p, 100p, 59.94p, 50p, 29.97p, 25p, 23.98p
1920 x 1080 (4:2:2, 10bit): 59.94p, 50p, 29.97p, 25p, 23.98p
Real-Time Tracking Yes
Real-Time Eye AF Yes
Hybrid AF Fast Hybrid AF (phase-detection AF / contrast-detection AF)
AF Points Still images: Max. 759 points (phase-detection AF)
Movies: Max. 495 points (phase-detection AF)
AF Sensitivity EV-3 to EV20 (ISO100 equivalent with F2.0 lens attached)
Subject Detection Human, Animal, Bird
AF Modes AF Level for Crossing (Still), AF Track for Speed Changes (Still), AF Subj. Shift Sensitivity (Movie), AF Transition Speed (Movie), Switch V/H AF Area, AF Area Regist., Circ. of Focus Point, Focus Map (Movie), AF Assist (Movie)
Metering Mode 1200-zone evaluative metering
Metering Sensitivity EV-3 to EV20 (ISO100 equivalent with F2.0 lens attached)
Exposure Compensation +/- 5.0 EV (1/3 EV, 1/2 EV steps selectable)
ISO Sensitivity Still images: ISO 100 – 32000 (expandable to ISO 50 – 102400), AUTO (ISO 100 – 6400, selectable lower limit and upper limit)
Movies: ISO 100 – 32000 equivalent, AUTO (ISO 100 – 6400, selectable lower limit and upper limit)
LCD Screen 7.5 cm (3.0-type) type TFT
LCD Resolution 1 036 800 dots
LCD Adjustments Opening Angle: Approx. 176 °, Rotation Angle: Approx. 270 °
Creative Modes Product Showcase Set, Background Defocus, Soft Skin Effect, Creative Look, Custom function, Picture Profile, Time-lapse, Cinematic Vlog Setting, My Image Style, Vertical Display
Clear Image Zoom Approx. 2x
Zoom Magnification Approx. 1.5x (4K), Approx. 2x (HD)
Shutter Type Electronic shutter
Shutter Speed Still images (Electronic shutter): 1/8000 to 30 s
Movies: 1/8000 to 1 s
Minimum Shutter Speed 1/30 s
Image Stabilization Still images: Image stabilization supported on lens
Movie: Image stabilization supported on lens (Standard Mode) / Electronic (Active Mode)
Flash Modes Pre-flash TTL
Flash Compensation +/- 3.0 EV (switchable between 1/3 and 1/2 EV steps)
Flash Compatibility Sony α System Flash compatible with Multi Interface Shoe, attach the shoe adaptor for flash compatible with Auto-lock accessory shoe
Continuous Shooting Hi+: 11 fps
Max. Frames in Continuous Shooting JPEG Extra fine L: 143 frames, JPEG Fine L: over 1000 frames, JPEG Standard L: over 1000 frames, RAW: 59 frames, RAW & JPG: 44 frames, RAW (Lossless Compressed): 22 frames, RAW (Lossless Compressed) & JPEG: 17 frames
Playback Functions Enlarg ed display mode, Protect, Rating, Shot Mark (Movie), Divider Frame, Crop, Photo Capture
Screen Reader Yes
Focus Assist Focus Magnifier, Focus Map (Movie), Peaking Display, Subject Recognition in AF, Touch Focus, Touch Tracking, Touch Shutter, Touch AE, Vari-angle LCD screen, Custom function, Enlarge Menu Screen
USB Connection Mass-storage / MTP
USB Speed Yes (SuperSpeed USB 5 Gbps (USB 3.2) compatible)
Wi-Fi Yes (Wi-Fi Compatible, IEEE 802.11a/b/g/n/ac (2.4 GHz band/5 GHz band))
Bluetooth Yes (Bluetooth Standard Ver. 4.2 (2.4 GHz band))
HDMI Output HDMI micro connector (Type-D), 3840 x 2160 (59.94p / 50p / 29.97p / 25p / 23.98p) / 1920 x 1080 (59.94p / 50p / 23.98p) / 1920 x 1080 (59.94i / 50i), YCbCr 4:2:2 10bit / RGB 8bit
Audio Interface Yes (with Digital Audio Interface)
Microphone Input Yes (3.5 mm Stereo minijack)
Headphone Output Yes (3.5 mm Stereo minijack)
Bluetooth Remote Control Yes
Remote Control via Smartphone Send to smartphone, Remote control via smartphone, Remote Shooting
Streaming Codec MJPEG, YUV420
Streaming Resolution 3840 x 2160 (15p / 30p), 3840 x 2160 (12.5p / 25p), 1920 x 1080 (30p / 60p), 1920 x 1080 (25p / 50p), 1280 x 720 (30p), 1280 x 720 (25p)
Streaming Audio LPCM 2ch (16bit 48 kHz)
Streaming Video Codec MPEG-4 AVC/H.264, MPEG-H HEVC/H.265
Live Streaming Resolution 3840 x 2160 (30p), 3840 x 2160 (25p), 2560 x 1440 (30p), 2560 x 1440 (25p), 1920 x 1080 (30p / 60p), 1920 x 1080 (25p / 50p), 1280 x 720 (30p / 60p), 1280 x 720 (25p / 50p)
Live Streaming Audio AAC-LC 2ch (16bit 48 kHz)
Live Streaming Protocols RTMP, RTMPS, SRT
Built-in Microphone Built-in, stereo
Built-in Speaker Built-in, monaural
Lens Correction Shading, Chromatic Aberration, Distortion, Breathing (Movie)
Battery Type One rechargeable battery pack NP-FZ100
Battery Life (Stills) Approx. 610 shots (LCD monitor) (CIPA standard)
Battery Life (Movies) Approx. 130 min (LCD monitor) (CIPA standard)
USB Power Supply Yes (Available with USB Type-C Terminal. USB Power Delivery compatible)
USB Charging Yes (Available with USB Type-C Terminal. USB Power Delivery compatible)
Power Consumption Still images: Approx. 3.2 W (with E PZ 16-50mm F3.5-5.6 OSS II lens attached)
Movies: Approx. 5.0 W (with E PZ 16-50mm F3.5-5.6 OSS II lens attached)
Weight Approx. 292 g / Approx. 10.3 oz
Dimensions Approx. 114.8 x 67.5 x 54.2 mm (from grip to monitor)
Approx. 4 5/8 x 2 3/4 x 2 1/4 inches (from grip to monitor)
Operating Temperature 0 – 40 ℃ / 32 – 104 °F
Included Accessories Rechargeable Battery NP-FZ100, Shoulder strap, Wind Screen, Wind Screen Adaptor, Body cap
Lens Kit Body + 16-50mm Power Zoom Lens (SELP16502)
Lens Kit Model ZV-E10M2K
Kit Accessories SELP16502, Rechargeable Battery NP-FZ100, Shoulder strap, Wind Screen, Wind Screen Adaptor, Lens cap

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Cameras

Remodelled Fujifilm House of Photography Opens in New Sydney Location

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Fujifilm Australia has moved and improved its experience store in Sydney. Now located at 263 George Street, Fujifilm House of Photography, is far more visible to walk in street traffic than it was near Town Hall.

There are only three Fujifilm House of Photography locations worldwide.

“Opening Australia’s flagship Fujifilm House of Photography in a new and improved location marks an exciting milestone for not only us, but also the creator community in Sydney,” said Ryuichi Matoba, CEO of Fujifilm Australia.

“Witnessing the phenomenal response to our original brand experience centre underscores the desire for consumers to explore the world of photography and we’re delighted that this growth has led to the opening of a significantly larger interactive hub. We look forward to welcoming creatives to our new brand experience centre in Sydney soon – and are excited to help capture their moments and imaginations, one frame at a time.”

Image Matrix Tech was on hand for the launch last night and it’s a massive improvement over the previous location. It feels more like a place where you can not only check out the latest gear, you can actually get things done.

If your’e a city-based business, the hireable studio could be the ideal solution for quick shoots.

It offers:

  • Hire by the hour (minimum two (2) hour hire)
  • Corner cyclorama for seamless backgrounds
  • Latest Fujifilm X Series and GFX System products also available for studio hire usage
  • Premium strobe lighting solutions
  • Product display stands and tripods
  • Consumers can try out Fujifilm cameras and FUJINON lenses in a studio environment.
  • Exclusive student discounts
  • Professional headshot service

The new Fujifilm House of Photography includes a new dedicated print room. Consumers are invited to explore the wide range of printing possibilities, including UV printer and photo gifting products. The Printing and Personalisation station features two photo printing kiosks with same-day printing and an extensive range of personalised products to order for delivery to home.

There’s also a dedicated events space and community hub where consumers can attend exclusive events, workshops, photowalks and collaborations with X-Photographers and influencers. The hub will also showcase new product launches, demonstrations, and presentations.

The new Fujifilm House of Photography is open for business from today 3 July, 2024 – 263 George St, Sydney NSW 2000. 

Opening hours:

  • Monday – Wednesday 10am – 6pm
  • Thursday 10am – 9pm
  • Friday 10am – 6pm
  • Saturday 10am – 6pm
  • Sunday 10am – 5pm

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