{"id":66682,"date":"2023-09-26T14:00:02","date_gmt":"2023-09-26T05:00:02","guid":{"rendered":"https:\/\/fujifilmnxtc.wpenginepowered.com\/?post_type=xstories&#038;p=4228347"},"modified":"2024-05-01T22:34:47","modified_gmt":"2024-05-01T13:34:47","slug":"gfx100-ii-changing-perceptions","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/it-it\/stories\/gfx100-ii-changing-perceptions\/","title":{"rendered":"GFX100 II: Changing Perceptions"},"content":{"rendered":"<p><div class=\"embed-responsive\"><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/9JNzQxAPMsg?si=Lehri-_lI_XSdDOL\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<p><strong>Filmmaker Karina Ripper and Director of Photography Sarah Whelden share their experiences with FUJIFILM GFX100 II and FUJINON Premista Series cinema lenses<\/strong><\/p>\n<p>Karina Ripper\u2019s latest film, Chispa, uses multiple styles to confront issues of misogyny and explore the process of changing negative perceptions of women.<\/p>\n<p>Created using <a href=\"https:\/\/www.fujifilm-x.com\/it-it\/products\/cameras\/gfx100-ii\/\">FUJIFILM GFX100 II<\/a>\u2019s advanced filmmaking capabilities and compatibility with the legendary <a href=\"https:\/\/www.fujifilm.com\/us\/en\/business\/optical-devices\/cine-lens\/premista\" target=\"_blank\" rel=\"noopener nofollow\">FUJINON Premista Series<\/a> professional cinema lenses, Karina tells us the film documents a journey of positive change.<\/p>\n<p>\u201cI want to take the audience on a ride,\u201d she begins. \u201cThe film starts out very grounded and matter of fact, then transforms into this dance film. To me, that\u2019s an expression of the lead character being able to get all her aggression out, but also for her to be so many other things as a woman.<\/p>\n<p>\u201cMy producer and I were talking about it, saying it\u2019s like Robert Bresson meets Jurassic Park. Which are two contrary ideas, but I love them so much. I think there\u2019s a world where I\u2019m both very controlled and very wild,\u201d she smiles.<\/p>\n<\/p>\n<div class=\"wp-caption\"><a href=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-1.jpg\" rel=\"nofollow noopener\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-1.jpg\" alt=\"Close up portrait of Director Karina Ripper\" data-recalc-dims=\"1\" loading=\"lazy\"><\/a><\/p>\n<\/div>\n<p><h2>Versatile Quality<\/h2>\n<p>The film is set in a deserted shopping mall at night, but logistics meant it had to be filmed in broad daylight during open hours. This formed the perfect test for GFX100 II, Premista Series lenses, and Karina\u2019s director of photography (DP), Sarah Whelden.<\/p>\n<p>\u201cIt has these giant skylights, so the biggest challenge was to keep it feeling dark inside during filming,\u201d recalls Karina. \u201cSarah and her team did a fantastic job of executing that.\u201d<\/p>\n<p>Sarah continues: \u201cWe had an amazing team, but it was nowhere near as big as what it would typically take to black out a mall, so we were up against a lot of challenges! We had sunny days and there was light just pouring in, in these pockets,\u201d explains Sarah.<\/p>\n<p>She tells us how GFX100 II\u2019s 102-megapixel large format sensor played a big role in achieving the look she needed in the face of such adversity.<\/p>\n<p>\u201cGFX100 II performed brilliantly. I was so impressed with the dynamic range and highlight roll-off,\u201d she enthuses.<\/p>\n<p>\u201cI was trying to go one stop overexposed to expand that shadow space, and whether in deep background or closer to us, I was never running into exposure issues. There was so much information there, which was brilliant.\u201d<\/p>\n<\/p>\n<div class=\"wp-caption\"><a href=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-2.jpg\" rel=\"nofollow noopener\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-2.jpg\" alt=\"Close up of FUJINON Premista lens\" data-recalc-dims=\"1\" loading=\"lazy\"><\/a><\/p>\n<\/div>\n<p><h2>Impressive F-Log<\/h2>\n<p>The versatility of F-Log footage also helped by providing valuable wiggle room in post-production.<\/p>\n<p>\u201cI was extremely impressed by how malleable it was,\u201d Sarah tells us. \u201cThe film was created in black &amp; white and in many ways that asks more of a camera because you don\u2019t have color contrast to work with.<\/p>\n<p>\u201cSince much of it takes place in the shadows, a lot of shadow detail was necessary. We were already impressed by what the camera was able to deliver \u2013 but having so much left in the F-Log image for us to pull from when needed was amazing.<\/p>\n<p>\u201cKarina and I \u2013 and everybody on set \u2013 were totally wowed by the recordings.\u201d<\/p>\n<p>Karina agrees: \u201cThe footage we got on the back end was stunning. It\u2019s hard to pick a favorite take because it all looks so good!\u201d<\/p>\n<\/p>\n<div class=\"wp-caption\"><a href=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-3.jpg\" rel=\"nofollow noopener\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-3.jpg\" alt=\"Movie camera rig on set\" data-recalc-dims=\"1\" loading=\"lazy\"><\/a><\/p>\n<\/div>\n<p><h2>Optical Precision<\/h2>\n<p>Karina also praises the Premista Series cinema lenses used for much of the film. \u201cThe lensing was insanely awesome. We had some of the best lenses I\u2019ve ever utilized on a project like this,\u201d she enthuses.<\/p>\n<p>Sarah had FUJINON Premista 19-45mmT2.9, Premista 28-100mmT2.9, and Premista 80-250mmT2.9-3.5 on set, and tells us they were the perfect companions both optically and logistically.<\/p>\n<p>\u201cThey\u2019re such beautiful, clean glass,\u201d says Sarah, \u201cgiving you a nice palette to start with. It\u2019s a look that isn\u2019t overly clinical, but still leaves room for you to explore. I would say that about all Fujinon cinema zooms, but the Premista Series is next level.<\/p>\n<p>\u201cPremista 28-100mmT2.9 covers so much that we could live on that lens for a long period. We were moving fast on this production, so that saved us so much time,\u201d she insists.<\/p>\n<\/p>\n<div class=\"wp-caption\"><a href=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-4.jpg\" rel=\"nofollow noopener\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-4.jpg\" alt=\"DP filming scene in shopping mall\" data-recalc-dims=\"1\" loading=\"lazy\"><\/a><\/p>\n<\/div>\n<p><h2>Dependable Stabilization<\/h2>\n<p>Sarah also highlights GFX100 II\u2019s eight-stop in-body image stabilization (IBIS) as a big contributor in achieving the film\u2019s unique style.<\/p>\n<p>\u201cThe film has three elements,\u201d explains Sarah. \u201cIt begins in this sort of noir exploration, then moves into more of a dance and movement piece. From there, it kind of marries the two and dips its toes into creature feature.<\/p>\n<p>\u201cDifferent moments in the film all called for their own creative approach. A lot of that was achieved through lighting or lensing, but much was in how we were moving the camera,\u201d she asserts.<\/p>\n<p>\u201cThere was some very smooth handheld, and some extremely gritty handheld.<\/p>\n<p>\u201cFor example, there\u2019s a chase sequence in the film where one of our actors is sprinting down the hallway. The IBIS allowed us to achieve the grittiness we wanted, without any of the warping that can happen with that kind of movement.\u201d<\/p>\n<\/p>\n<div class=\"wp-caption\"><a href=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-5.jpg\" rel=\"nofollow noopener\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/09\/Changing-Perceptions-GFX-5.jpg\" alt=\"DP with camera on shoulder filming scene in shopping mall\" data-recalc-dims=\"1\" loading=\"lazy\"><\/a><\/p>\n<\/div>\n<p><h2>Streamlined Workflow<\/h2>\n<p>Every second counts when bringing a production like Chispa to life. Working on location to a tight schedule with limited time windows can be challenging both physically and creatively.<\/p>\n<p>That\u2019s why GFX100 II\u2019s native <a href=\"https:\/\/www.fujifilm-x.com\/it-it\/lp\/fujifilm-x-frame-io\/\">Frame.io Camera to Cloud (C2C)<\/a> functionality was particularly well received. This built-in functionality allows users to automatically upload proxy files to <a href=\"https:\/\/frame.io\/c2c\" target=\"_blank\" rel=\"noopener nofollow\">Frame.io<\/a> wirelessly \u2013 directly from the camera \u2013 and instantly collaborate with team members from all over the world.<\/p>\n<p>Once files are uploaded, anyone with a secure link to the project folder can view, download, and even annotate the files, regardless of location. All they need is a device with an active internet connection.<\/p>\n<p>Whether it\u2019s on-set teams, remote editors and producers, or commercial clients, with C2C technology at their disposal, it\u2019s possible for filmmakers to share takes with all stakeholders as they are being created.<\/p>\n<p>This ensures briefs are met, processes are streamlined and, ultimately, creative visions are achieved on the day, without any unwelcome surprises in post-production.<\/p>\n<p>On this project, Karina found C2C particularly useful when reviewing the day\u2019s takes.<\/p>\n<p>\u201cI found myself every morning utilizing that as my dailies,\u201d remembers Karina. \u201cIt allowed this instant evaluation of what we had created so far. I would go through what we recorded the day before, rethink if needed, or ask myself if I had to add a shot here or there.<\/p>\n<p>\u201cIt was incredibly valuable as a director to have that instant access. It\u2019s not something I\u2019ve had in the past on projects, so that was awesome,\u201d she concludes.<\/p>\n<p>Learn more and read the full specifications for <a href=\"https:\/\/www.fujifilm-x.com\/it-it\/products\/cameras\/gfx100-ii\/\">FUJIFILM GFX100 II<\/a> and <a href=\"https:\/\/www.fujifilm.com\/us\/en\/business\/optical-devices\/cine-lens\/premista\" target=\"_blank\" rel=\"noopener nofollow\">FUJINON Premista Series<\/a> today.<\/p>\n<h2>BTS footage<\/h2>\n<div class=\"embed-responsive\"><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/GpFtEFY2yz0?si=oSlhy50H0RoaVCTo\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Filmmaker Karina Ripper and Director of Photography Sarah Whelden share their experiences with FUJIFILM GFX100 II and FUJINON Premista Series cinema lenses Karina Ripper\u2019s latest film, Chispa, uses multiple styles to confront issues of misogyny and explore the process of changing negative perceptions of women. Created using FUJIFILM GFX100 II\u2019s advanced filmmaking capabilities and compatibility [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":66683,"template":"","category":[2084,1006,1202,1937,10267,13039,3701,320,565],"post_tag":[],"class_list":["post-66682","story","type-story","status-publish","has-post-thumbnail","hentry","category-be-inspired","category-cameras","category-category","category-gfx-series","category-gfx100-ii","category-mirrorless-digital-cameras","category-gfx-series-mirrorless","category-products","category-stories"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-06-22 14:56:57","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/it-it\/wp-json\/wp\/v2\/story\/66682","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/it-it\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/it-it\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/it-it\/wp-json\/wp\/v2\/users\/8"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/it-it\/wp-json\/wp\/v2\/media\/66683"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/it-it\/wp-json\/wp\/v2\/media?parent=66682"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/it-it\/wp-json\/wp\/v2\/category?post=66682"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/it-it\/wp-json\/wp\/v2\/post_tag?post=66682"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}