Fujifilm GFX100S Records Apple ProRes RAW With Atomos
The Fujifilm GFX100S will be able to record Apple ProRes RAW over HDMI when combined with the Ninja V 5” HDR monitor-recorder. The Ninja V will record up to 4Kp30 12-bit ProRes RAW video from the GFX100S’ 102MP resolution 43.8 x 32.9mm BSI CMOS sensor.
The 5” 1000nit HDR high brightness display of the Ninja V allows users to view the GFX100S’ RAW signal in HDR in a choice of HLG and PQ (HDR10) formats. The monitor offers touchscreen access to tools like waveforms, magnify or engage peaking check focus for each angle and make any adjustments to get the perfect HDR or SDR shot.
The Ninja V and RAW recording also opens up the camera to the wider Atomos eco-system for enhanced on-set HDR and SDR monitoring. A video signal can be output from the Ninja V to the Atomos Sumo19, or the recently released NEON line of production monitors, for perfect HDR viewing by directors, clients, focus-pullers or any crew member who needs access to an accurate view on-set.
Atomos CEO Jeromy Young said: “I am excited that Fujifilm is adding another amazing camera to its line-up with RAW out capability to Atomos monitor recorders. Fujifilm’s long history of color excellence and Apple’s ProRes RAW codec are a winning combination. Add to this their commitment to embracing the full power and potential of ProRes RAW by supplying all the camera metadata needed to allow for the maximum amount of flexibility in post.
“The GFX100S and Ninja V combination is a perfect compact rig set-up for scenarios like handheld, placing in tight corners or mounting onto gimbals. TV dramas, indie films, corporate productions, documentaries and even motion pictures have the ability to record ProRes RAW. This gives filmmakers an affordable set-up and the option to harness ProRes RAW.
Fujifilm will also support White Balance and ISO in an upcoming firmware update in Summer 2021.
You might also like...
Virtual Production For Broadcast: Part 4 - Uniting The Physical & The Virtual
Virtual Production For Broadcast is a major 12 article exploration of the technology and techniques of LED wall based virtual production approached with broadcast studio applications in mind. Part 4 examines image based lighting, new developments in RGBW LED technology and what i…
Virtual Production For Broadcast: Motion Capture
One of the creative advantages of virtual production for performers is seeing the virtual environment in which they are performing. Using motion capture techniques extends this into capturing the motion of performers to drive CGI characters. New technologies are rapidly…
Virtual Production For Broadcast: Capturing Objects In 3D
Sometimes, there’ll be a need to represent real-world objects in the virtual world. Simple objects could be built like any VFX asset; more complex ones might be better scanned as a 3D object, something some studios have begun to c…
Virtual Production For Broadcast: Shooting Locations For Virtual Production
Sending out a crew to capture a real-world environment can be a more straightforward option than creating a virtual world, but there are some quite specific considerations affecting how the material is shot and prepared for use.
Motion Pictures: Part 6 - How We Might Achieve True Motion
John Watkinson continues his exploration of the potential for a true motion tv system that requires the complete removal of frame sampling to make each pixel a continuous representation of the image thus removing motion artefacts.