“Any day you see a dolphin, is a good day!” Bertie Gregory
and thats according to one of the best ocean documentarians.
Sure, dolphins have that friendly smile and are everyone’s favorite sea mammals, did you know that they are also one of the smartest ocean predators?
Dolphins a Closer look premiered on Nat Geo, Disney +, and Hulu
OK, let’s go back to the title of this post:
What is a bait ball?
This is a bait ball!
A pod of dolphins circling a bait ball. (credit: National Geographic/Bertie Gregory)
A tightly packed bait ball, with circling dolphins and shearwaters. (credit: National Geographic/Bertie Gregory)
Imagine the way a dog may herd sheep into certain pattern, the dolphins do a similar thing.
By “herding” schools of jack mackerel, they create a ball of fish, gathered for eating.
And they are not just feeding themselves.
Birds called shearwaters, above track the movements of the dolphins and know where this bait ball will be located.
The beauty of this natural occurrence is that the bait ball is pushed to near the surface allowing the birds to dive in and feed, while the dolphins also get their fill.
Of course, there are times that a whale may just charges the ball and get their fill.
In addition, sometimes sharks will get the word and dive in as well.
Host, Bertie Gregory, filming a blue shark. (credit: National Geographic/Jeff Hester)
The trick to shooting all of this depends on a keen eye, and a knowledge of the signs.
Bertie Gregory is a master of the oceanic documentary and has been studying the feeding aspects for years.
Bertie Gregory in dive gear with an underwater camera sitting on the edge of a small rib preparing to dive. (credit: National Geographic/Zubin Sarosh)
Traveling to the Azores, the main transport carries the crew with the captain and his second, along with Bertie, his 2nd camera, Jeff Hester, a sound person, and his director, Adam Boyle.
Once they see the dolphins speeding in a pack (yes, they do leap out of the water!) they move to a fast boat, more like an inflatable to get to the location in record time.
Captain, Paulo Gaspar, steering the rib with underwater cameraman, Jeff Hester and host, Bertie Gregory, as Bertie directs the way. (credit: National Geographic/Adam Boyle)
Diving in, they capture the feeding and share with you the whole process.
Underwater cameraman, Jeff Hester and host, Bertie Gregory, ready to dive. (credit: National Geographic/Adam Boyle)
For shooting, they use a Red video camera with a Canon lens, and a Go-Pro for some additional footage as you can see. Go-pro point back to Bertie to catch his “in the moment” reaction. And his enthusiasm and excitement of capturing all of this reaches out through the screen to you.
I know it did for me!
The aerial vid is all DJI.
As for audio, not only do you get the above water commentary when on the larger boat, but underwater they use a waterproof mic system where Bertie communicates with Jeff Hester, who can only nod or point – not 2 way, and the folks on the larger boat who get the full live commentary.
Host, Bertie Gregory and crew on board the rib. (credit: National Geographic/Adam Boyle)
Pretty sweet set-up.
When we discussed the newer small cinema cameras coming out, Bertie said that actually the larger, chunkier rigs are better underwater. The size and weight allow for smoother footage, as the viscosity and drag of the water lets the rig glide easier, like a gimbal
A smaller set-up could make for shakier video. The larger filter in front of the lens is there to compensate for the underwater distortion.
The whole operation took about 5 weeks, and of course, like any documentary, when you go out, you are never positive what you may discover.
The masterful eye and instinct of Mr. Gregory assure the viewer that you will get a true exciting look, and all that nature has to offer.
Sometimes a hitchhiker comes aboard. Just a bit of a change up.
Host, Bertie Gregory, enjoying the company of a booby. (credit: National Geographic/Danny Copeland)
One thing they also know is that, when you are out there, weather is factor, especially in Sept/Oct, so they make sure to get back to home base, after each successful session.
The crew return to base at sunset, with volcano, Mount Pico, in the background. (credit: National Geographic/Bertie Gregory)
You know I’m all about making sure you have good color on your monitor to make sure what you export is proper.
The tool I use is in the Datacolor Spyder colorimeter line-up
My specific choice is the SpyderPro so I can get a ton of info, match 3 monitors, called studio match, so they all have the same color for output.
Datacolor is just now releasing a super simple version called the SpyderExpress. It does come with a USB-A to USB-C converter dongle so you’ll be covered no mater what your computer. Yes, there is software for MAC or Windows OS. And works great on your MAC laptop with up to an M4 chip!
Honestly, you just install the software, plug in the colorimeter, place the unit on your screen, hit start, and in 90 secs, you monitor is calibrated.
That’s it!
Super easy and nothing else to do. The whole idea is to start your edit from the best place.
And if you want to know what your monitor color was before your did the process, there is a sample screen where you can see before and after. OK, you DID see that in the video!
Yep, you may be surprised at what you had been looking at before calibration
Here are 2 sample screens on my set-up. Notice the skin tones, and shadows. Go ahead and magnify.
When I was first approached by Nat Geo and Disney +about talking to the filmmakers of Top Gun: The Next Generation, my mind first went to crazy stunts of the Tom Cruise films and how all of the BTS showed insane stomach-turning stunts.
In true Nat Geo fashion, the situation revealed itself as personal stories of the journeys of the pilots making their way to flying the most sophisticated aircraft the US has ever produced. This is not about Goose. This is about real people pushing personal limits reaching for the coveted “wings of gold”.
The 6 episode series documents the lives of the people who strive to achieve the ultimate military flying status.
Student 1st Lt Chuck Kent poses behind a T-45. (Credit: National Geographic/Freddie Claire)
We are entering a new phase of content creation, with the companies you are familiar with, announcing their latest entries into the video market.
Sure, you know about the Canon, and even the new Nikon ZR that could be game changers with compact high end video. Good for many applications, and yes I shoot video with a Fuji X-H2
However Fuji just leapfrogged everyone with the announcement of the GFX Eterna 55. It’s the professional model!
The film industry has depended on the Fujinon lenses for years and this is a brand new, camera, designed from the ground up.
Here are the main specs.
Using the 102mp sensor, it is light enough for a small or solo crew, coming in at 4.4 lbs.
For current Fuji users, it can use the familiar W235 batteries, and CFexpress B media cards.
There are the same 20 film sims you may be used to as well.
A new lens has also been announced, the FUJINON GF32-90mm T3.5 PZ OIS WR Lens – Purpose-built for GFX ETERNA 55, this native G-Mount lens covers Open Gate recording on GFX ETERNA 55, has a wide focal range and cinema lens design. About $6000 USD avail in Oct.
The price tag may tell you this is for the high end professional. $16,499.95 USD Although think about the cost of an ARRI ALEXA 35 XTREME Base Entry Set at about $55,000 for comparable features.
Here is the official word:
VALHALLA, N.Y. – September 10, 2025 – FUJIFILM North America Corporation, Electronic Imaging Division, announces the release of its FUJIFILM GFX ETERNA 55 Filmmaking Camera (“GFX ETERNA 55”), the company’s first camera designed primarily for professional digital filmmaking. With GFX ETERNA 55, Fujifilm is advancing its legacy of color and image science to create a product designed from the ground up as a tool for filmmakers and cinematic content creators.
Featuring one of the tallest digital cinema sensors on the market1, GFX ETERNA 55 expands the angle of view with both spherical and anamorphic lenses, providing filmmakers with a more creative canvas. FUJIFILM Digital Film Science offers highly controllable color application, including 20 built-in Film Simulations, F-Log2 C’s expansive gamut and dynamic range, and the ability to create and load 3D LUTs (Look Up Tables). The resulting images remain cinematic no matter the scale of production. GFX ETERNA 55 is purpose- built for filmmaking, including an internal electronic variable ND, a flexible native lens mount, thoughtful design, and wide connectivity.
“GFX ETERNA 55 introduces the filmmaking community to the tallest digital filmmaking sensor that has ever been available for purchase on the open market,” said John
Blackwood, director, Product Marketing, Electronic Imaging Division and Optical Devices Division, FUJIFILM North America Corporation. “The native 4:3 Open Gate format echoes back to the filmmaking legacy of 4-perf Super 35mm, but with an approximately 3x larger imaging area. This sensor height brings a great range of format flexibility and opportunities to create larger than Full Frame images with spherical lenses, or images of epic cinematic scale when paired with anamorphic lenses. With the ability to import up to 16 3D LUTs, filmmakers can craft with their intended vision and mood, from production through post. The inclusion of our internal film simulations in GFX ETERNA 55 allows creatives to get the best color they can, straight out of camera, for beautiful images with intentional creative looks inspired by Fujifilm’s extensive color legacy in analog film. It is fantastic for content with quick turnaround times to delivery.”
GFX ETERNA 55 delivers rich tonal and true-to-life image quality unique to a large-format sensor, bringing new value to filmmaking across various genres such as independent and feature films, television, documentaries, weddings, commercials, and music videos. Its abundant image data also offers high editing resilience, supporting demanding production workflows.
“GFX ETERNA 55’s robust color science provides all the range I need to craft beautiful imagery that meets the intention behind my and the director’s creative vision,” said Oren Soffer, who served as the cinematographer on GFX ETERNA 55 launch film, OKAY, written and directed by Andrew Kightlinger. “The native 4:3 large format sensor is a massive and flexible canvas – fantastic for anything from landscapes to portraiture-style imagery and beyond.”
Product features
Innovative Image Expression enabled by a 44 x 33 large format sensor
• GFX ETERNA 55 is equipped with a 102-megapixel large format sensor2 – GFX 102MP CMOS II HS. GFX ETERNA 55 features five main formats, which each hold further options for resolution selections. Those formats are “GF”, “Premista”, “35mm”, “ANAMORPHIC (35mm)”, and “Super35”. This diverse selection enables the opportunity for diverse visual expression through the use of a wide variety of lenses paired with specific formats. It also supports filming in a 4:3 open gate format at up to 48 fps, fully leveraging the large image circle3 sized 43.8mm wide, 32.9mm high, and 54.8mm diagonal, making it one of the world’s tallest sensors available to the open market.
• The camera is optimized for its large format sensor, adopting a four-point Optical Low- Pass Filter to reduce the potential for optical anomalies.
• GFX ETERNA 55 incorporates “DUAL-BASE ISO” with two base sensitivities, ISO 800 and ISO 3200. Under extreme lighting conditions — whether very bright or very dark —filmmakers can rest assured that they can shape available light to match their story as they see fit.
F-Log and Film Simulation 3D-LUTs supporting production to post
• GFX ETERNA 55 features “F-Log2” and “F-Log2 C” with dynamic range of 14+ stops. These allow capturing rich image tonality that takes full advantage of the large format sensor, providing greater flexibility in post-production.
• GFX ETERNA 55 includes 20 of Fujifilm’s revered Film Simulations to enable diverse visual styles during content creation. Additionally, there are 10 Film Simulation conversion 3D-LUTs (compliant with ITU-R BT.709) for precise color and tone adjustment of footage filmed in Log (F-Log2/F-Log2 C). Along with the “ETERNA” and “ETERNA BLEACH BYPASS” LUTs announced at launch, users can download a total of 10 3D Film Simulation LUTs — including PROVIA/Standard, Velvia, and ACROS — from the web for use.
• The camera includes up to 16 different 3D-LUTs, including 3D Film Simulation LUTs, which can be stored in-camera, enabling filming while previewing the desired look.
Workflow solutions supporting various codecs and improved efficiency
• GFX ETERNA 55 supports three Apple ProRes codecs – Apple ProRes 422 HQ, Apple ProRes 422 and Apple ProRes 422 LT. When filming in Apple ProRes, the camera can use proxy video recording such as Apple ProRes 422 Proxy. Supporting a total of five codecs, it reduces video editing workload to streamline the overall workflow from filming to postproduction. It also supports recording of H.265/HEVC as a light-weight codec option.
• GFX ETERNA 55 can output 4:2:2 10bit uncompressed data and up to 8K/30P 12-bit video in RAW data via HDMI.
• The camera supports Frame.io Camera to Cloud functionality, so that content can be uploaded directly to a central location in Frame.io for expedited accessibility. Video files can be instantly shared with the larger production team, for anything from immediate review and approval to getting started in editorial right away with camera- created proxies.
Compact and lightweight body for functionality and operability
• To support small crews and solo filming, the body weight is approximately 4.4 pounds (2.0 kg). Additionally, 3-inch side monitors have been placed on both sides to give both camera operators and camera assistants full access to the camera menu in most configurations.
• The front of the camera and the included handle feature a multi-function dial that controls the focus, iris, and zoom of FUJIFILM GF lenses. When the dial is set to “ND,” it allows fine adjustment of the internal electronic variable ND filter density.
• A 2000-nit 5” LCD displays footage even when filming outdoors in bright sunlight. The touch-enabled LCD monitor features multiple adjustable angles, allowing flexible
positioning to suit various filming environments and support comfortable filming.
• GFX ETERNA 55’s body is equipped with an internal battery slot that holds a high- capacity NP-W235 battery. This allows for up to 30 minutes of filming without external power. Additionally, when replacing an external battery, power is supplied from the NP- W235 battery, enabling “hot swap”4 functionality that allows external battery changes without restarting the camera.
• The camera features CFExpress™ Type B and SD card media. By using high-speed CFexpress™ Type B cards, GFX ETERNA 55 supports recording various video formats and bitrates during filming5.
Pricing and Availability
Initial shipments of FUJIFILM GFX ETERNA 55 are expected to begin in October 2025 at a Manufacturer’s Suggested Retail Price of $16,499.95 USD. Select dealers will be accepting pre-orders beginning September 15, 2025 at 12:00 a.m. Those interested in being notified about participating dealers when they are announced can sign up at
https://shopusa.fujifilm-x.com/gfx-eterna-55-pre-orders.
It’s true
I have been waiting for this flash. For a long time.
To buy new gear, there has to be a specific purpose, and this is it:
A compact flash unit that is TTL AND can be used as an off-camera flash unit was available from Fuji a few years ago, and had been discontinued, plus was a pricier little unit.
Fuji unit went for about $450.
Yes, I use it primarily with a Fuji X100V, although it works with all of my Fuji camera bodies.
(FYI the flash has available models for specific camera brands, as you know the pins in the hot shoe that trigger the flash are diff on each brand.)
Not only does this little flash unit fit comfortably in my hand, but I can also wirelessly connect it to a Godox flash trigger.
As mentioned main goal was the off-camera set-up.
To do this, I had to connect a trigger to the camera, and hand hold the flash.
I upgraded to the Godox X3 flash trigger for size considerations, and this combo works like a champ!
Not only do you get TTL exposure with off camera, but you also get Manual & Multi flash options as well.
Both units are powered by a built-in battery, charged with a USB-C cable. Should be good for 560 full power flashes, although I rarely use full power, so should be good for more. The basic info:
• Compact Shoe-Mounted On-Camera Flash
• Compatible with FUJIFILM TTL, Canon, Nikon, Sony
• 2.4 GHz X Wireless Radio System
• 1.5 sec Recycling Time, HSS Support
• Built-In USB-C Rechargeable Battery
• Up to 560 Full-Power Flashes
• Works with Optional Godox Transmitter
• Touchscreen Interface & Black Finish
• Includes USB-C Charging Cable
• Includes Storage Bag
But wait, you get more!
This flash is also a trigger, which you can use with multiple flash heads.
I connected to an Godox AD300, and an Godox AD200, configured the controls to trigger the flashes with varying power for each, and it worked like a champ!
I set the IT30 Pro to TTL, and adjusted the other heads to varying degrees of power.
Here are couple of sample photos. Of course you know to look at the catchlight in the eye to see the direction of the flash. Of course you can modify the light output and exposure to your liking,
1st up is off-camera.
Both shots are :Fuji X100V ; ISO 640, f3.2, 1/400 sec
this is flash on camera
This set-up fit that bill perfectly!
The trigger capabilities just plussed the package. I did have to purchase the X3 trigger to do the off camera deal, however. Honestly, since the main goal on all of this was a small handheld flash with some decent power, and TTL that can be used off camera, you may be thinking: if the flash head is also a trigger, why do you need another separate trigger? Great question.
Unfortunately, a trigger is needed to go from the camera to the off camera flash.
Truth be told, if you use the IT30Pro as a trigger on the camera, and you could connect to another speedlight, like the Godox TT350 Mini, as you would with the larger flashes (AD300, AD200, or others in the AD line up). In the photo below you can see the size of the Mini, and perhaps why i made the choice of the smaller why I chose the smaller unit. The MINI Uses AA batts, tilts, swivels, has an optical slave, and a solid guide #. The right tool for the job, Godox seems to have made sure that their entire flash line works interchangeably throughout the line.
Of course, now I’ll probably sell the X2 trigger I own! Still a great trigger, but larger than I like for my prime hand-held, off-camera set-up.
With all of these capabilities in a tiny package, just want to remind you to take your time and learn how to use it. As a reviewer, many times I’ll open the package, and get right to it. These items, I purchased personally, and by reading the manual, and trial and error, I was able to switch between the functions fairly easily. In the field, I would be set between the off camera, and possible on camera only.
The controls are a touch screen, and that took me a little getting used to on both the flash and the X3 trigger.
If you look at the upper right part of the screen, the block with wave lines heading inward will be what you want to look at. It can be wavy lines heading outwards, or a solid icon, which will tell you what operation you have chosen: on camera, transmitter, or receiver.
There have been some discussions about being able to bounce the light and it’s true you do need a Godox riser to do that. Cost about $14. You still get the TTL feature. Tilt only, no swivel.
Overall, I am super happy with this flash as it does exactly what i was looking for at a right price!
Published on September 19th, 2025
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