Fujifilm has just published a video discussing OKAY, a short film shot entirely on the Fujifilm GFX Eterna 55, directed by Andrew Kightlinger, with cinematography by Oren Soffer — also known for his work as the cinematographer on The Creator.
To read some of what will come via firmware update in 2026 via firmware update, check out this article.
On the other hand, the promise of major firmware updates coming in 2026 could also be an indication that the GFX Eterna is sucking up more resources that Fujifilm thought it would, as suggested by Johnnie from CineD and I elaborated in detail here.
While working on his latest elephant documentary, Emmy Award–winning cinematographer Bob Poole decided to bring an unexpected camera into his setup: the Fujifilm GFX100 II. Not as a main cinema camera — that role was covered by the ARRI Alexa 35 paired with the massive Fujinon Duvo HK 25–1000mm f/2.8–5— but as a creative tool to capture something different.
The goal was simple: get unusual, ultra-high-quality shots from extremely low angles.
To make that happen, Poole and his team built an elephant-proof cage and placed the GFX100 II directly on the ground — right on paths regularly used by elephants — to capture perspectives that would be impossible with traditional cinema rigs.
Naturally, this should have been a disaster.
After all, if he had asked internet forum experts, they would have confidently explained that the GFX100 II is “not a real video camera” and that creating meaningful cinematic footage with it would be basically impossible.
Luckily, Bob Poole didn’t ask the forums.
And somehow — against all odds and comment sections — the GFX100 II ended up delivering stunning, cinematic footage that blends seamlessly with high-end cinema cameras.
Here’s what Poole had to say about working with the GFX100 II:
GFX100II has been instrumental in this film project, giving us angles we would have never been able to achieve with larger cameras
We made an Elephant proof cage and dropped the GFX100II on a path the Elephants use
when the Elephant pops in front of the camera, all the detail is there on that large sensor, all that information, I think it’s going to blow people away
the idea was always to have massive wide angle shots that show the landscape from a perspective you otherwise you would not see
GFX100II came into play because the wide angle stuff coming out of these lenses in this amazing camera were seamless
the image has the same beautiful soft rolloff of the Arri Alexa 35, shallow DOF, super sharp, beautiful bokeh
the image is fantastic
GFX100II also really valuable for timelapse, counting on that large sense to be able to oversample and then be able to work within the frame which has given our post production so much flexibility, because we can move within the frame we’ve created
GFX100II stills are amazing. We have got so many beautiful images
Well done, Bob — and well done Fujifilm for giving creators tools that don’t just improve image quality, but actually expand what’s creatively possible, opening new ways to work, experiment, and tell stories with more freedom and flexibility.
Thanks to all sources, who have giving me this consistent hint.
I know it took me a little bit before publishing it, but I needed to get it multiple confirmed to be absolutely sure that what I am going to publish is also 100% correct.
Now, my dream would be an X-Pro monochrome version. But I’d also be happy with a Fujifilm X80 in both versions: regular sensor and monochrome sensor.
I don’t understand why Fujifilm isn’t on the market with one already. Well, I guess that’s good for Ricoh, who can enjoy an almost competition-free market.