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FUJIFILM continues to challenge the expectations of medium format mirrorless cameras with the GFX100 II.
By incorporating a powerful new 102MP sensor and X-Processor 5 image processor, this camera not only serves as a commanding second iteration of FUJIFILM's flagship model but proves to be an elite and accessible mirrorless option for photographers and filmmakers alike.
Upgrading upon a critical function of any mirrorless camera, the GFX100 II features a massive 9.44m-dot EVF with 120 fps live view and 5 fps of blackout-free shutter use.
Additionally, 8-stops of in-body stabilization helps to create sharper images by reducing camera shake and affords you significantly more control of your shutter speeds.
Improved autofocus algorithms and updated tracking ensures your subject stays locked in focus regardless of their movements.
Create images at up to 8 fps with the camera's high-speed mechanical shutter or record 4k/60p video at the full width of the GFX100 II's impressive 55mm imaging sensor.
The introduction of these new features elevates the GFX series and solidifies the GFX100 II as a versatile, high-performing medium format mirrorless camera.
Featuring a new 102MP resolution 43.8 x 32.9mm BSI CMOS sensor and X-Processor 5, the GFX100 II delivers brilliant autofocus performance with improved tracking.
The combination of this high-resolution sensor and processor work together to achieve remarkably fast operation, wide dynamic range, and incredible photo quality, even at higher ISO sensitivities.
By incorporating internal subject detection and enhanced autofocus algorithms, FUJIFILM has created a notably reliable autofocus system that keeps subjects in focus while tracking their movement.
Take full advantage of the GFX100 II's large sensor and internally record video in 4:2:2, 10-bit Apple ProRes, or use HDMI to record 12-bit 4:2:2 Apple ProRes RAW or Blackmagic RAW in resolutions of up to 8K/30p, or, at the full width of GFX100 II's 55mm sensor, at 4K/60p.
Accelerate a project's delivery to color grading workflows in Da Vinci Resolve or Adobe Premiere Pro without any need to transcode original camera files before editing.
