AtomOS Adds EL Zone and FLog2-C Support for the FUJIFILM GFX ETERNA 55

Firmware Update

by Alexandra ThompsonAugust 21^st, 2026

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Atomos has added dedicated FUJIFILM GFX ETERNA 55 exposure tools to its recorders: AtomOS 12.7.3 introduces a new FLog2-C Eterna gamma option with an EL Zone false color table calibrated specifically for ETERNA cameras, along with FLog2-C/FGamutC loop-out options for Fujifilm RAW on the Ninja RAW, Ninja TX, and Ninja TX GO. Version 12.7.4 follows up with a fix for an SDI RAW regression from the camera on the Ninja TX, Sumo PRO-19, and Shogun AV-19, and both updates are now free to download.

The GFX ETERNA 55 has been able to output RAW to AtomOS recorders since camera firmware 1.02 arrived shortly after the camera started shipping, feeding the Ninja TX and Ninja TX GO with 4:3 Open Gate and 4K RAW at up to 48fps over HDMI and up to 29.97fps over SDI. Until now, though, the recorders offered no exposure tools calibrated specifically to the ETERNA; the dedicated gamma option and false color table arrive as new additions in these releases.

A false color table tuned to one camera family

The EL Zone System is the stop-based exposure tool developed by cinematographer Ed Lachman, ASC. Instead of mapping IRE values to colors the way traditional false color does, it assigns colors to exposure zones relative to middle gray, so the display reads like a light meter rather than a video signal readout. AtomOS has offered EL Zone across its recorder line for some time, but the accuracy of any stop-based system depends on how well the underlying transform matches the camera’s actual tone curve.

That is why the new FLog2-C Eterna gamma option matters more than a single line in the release notes suggests. AtomOS 12.7.3 pairs it with an EL Zone false color table that AtomOS states is calibrated specifically for ETERNA cameras. For cinematographers lighting to ratios or protecting highlights on the 102MP large-format sensor, this provides a camera-specific exposure reference rather than relying on a more general interpretation.

Loop-out options keep the pipeline honest downstream

The second addition is quieter but just as workflow-relevant. AtomOS 12.7.3 adds FLog2-C and FGamutC as loop-out options when the recorder is receiving Fujifilm RAW. When a Ninja sits at the front of a monitoring chain, having a defined log and gamut for the signal it passes downstream helps keep external monitors, wireless transmitters, and other devices working within a consistent color pipeline.

The same release also lists improved log handling for HLG, F-Log, F-Log2, and F-Log2 C, along with improved EL Zone performance.

Which version belongs on which recorder

The two releases cover different hardware, so a quick sorting is in order. AtomOS 12.7.3 is the current build for the Ninja RAW and Ninja TX GO, and it includes all the ETERNA-related additions, along with support for the Sony FX5, which we covered in our review of the camera. AtomOS 12.7.4 is the current build for the Ninja TX, Sumo PRO-19, and Shogun AV-19, and its single listed change is the fix for a regression in handling SDI RAW from the GFX ETERNA 55.

In practice, that means Ninja TX owners shooting with the ETERNA 55 over SDI will particularly want 12.7.4, since it specifically addresses the connection they depend on. Ninja RAW and Ninja TX GO owners get everything new in 12.7.3, while the 19-inch Sumo PRO-19 and Shogun AV-19 units on carts and in racks receive the SDI RAW fix through 12.7.4. All versions are free from the AtomOS product support pages, and the Ninja TX series and Ninja RAW also support over-the-air updates directly on the device.

Keeping the camera side current

The recorder is only half of this pipeline. FUJIFILM has kept the GFX ETERNA 55 on a steady firmware cadence since launch, and version 1.10 is the current camera-side release, with a published roadmap stretching into 2027. AtomOS does not list a minimum camera firmware requirement for the new monitoring options, though the RAW output itself depends on camera firmware 1.02 or later.

If you are new to the camera itself, our first-look review and mini documentary covers FUJIFILM’s first dedicated cinema camera in depth, and its recent IMAX certification explains why that tall 4:3 Open Gate sensor keeps coming up in large format conversations.

A camera-specific EL Zone table is the kind of quiet update that improves every shooting day. Do you use false color to expose your GFX ETERNA 55? Don’t hesitate to let us know in the comments below!