Camera

Sony will be upgrading the Venice camera system to shoot 120fps frame rate at 4K, include 60fps at 6K in a new firmware update.

Panasonic has announced its third firmware upgrade to the EVA1 camera which provides greater cost efficient and futureproofing for the handheld cinema camera.

Olympus has revealed its new OM-D E-M1X micro four-thirds mirrorless camera aimed at professionals. It's the first MFT body to come with an integrated vertical grip. It features the world-class image stabilisation, a re-developed and fast autofocus (AF) system, as well as two TruePic VIII image processors allowing for high-speed responsiveness.

Nikon has released two full-frame mirrorless cameras that have lots of spec to tempt filmmakers away from Sony – the only other full-frame mirrorless manufacturer. Nikon’s new cameras are the high-resolution 45.7-megapixel Z7 and low-res 24.5-megapixel Z6 which use Nikon’s all-new Z lens mount. An adapter to use existing Nikon F-mount lenses will also be available at launch, along with 24-70mm f/4, 35mm f/1.8 and 50mm f/1.8.

RED has slimmed down its confusing range of cameras and cut prices across the board, but has dropped the cheapest camera, the Raven. Although the Raven is still available as a £15,000/ $15,000 kit through Apple stores, RED’s own line-up will have just one camera three sensor options - Monstro 8K VV, Helium 8K S35 and Gemini 5K S35.

Canon has unveiled a flagship full frame Cinema EOS camera, the C700 FF. It has a new full frame 38.1 mm x 20.1mm CMOS sensor and is capable of recording up to 5.9K. The EOS C700 FF also supports multi-format recording, shooting with EF, PL and anamorphic lenses. When using EF lenses, the C700 FF supports Canon’s Dual Pixel CMOS AF, which is ideal for full frame format shooting.

Canon claims the sensor priduces unprecedented low noise, natural skin tones, shallow depth-of-field, and a broad ranging tonality that exceeds 15-stops of dynamic range. The newly designed sensor also allows the user to explore different sensor modes including full frame, Super 35mm and Super 16mm, whilst recording in a wide range of versatile recording formats including ProRes, XF-AVC (internally to CFast cards) and Canon’s uncompressed Cinema RAW.

Using the dedicated CODEX CDX-36150, the EOS C700 FF can record 5.9k 12/10-bit RAW, with 4K and 2K RAW 12-bit options available, as well as shooting ProRes 4K. For high frame rate shooting, the EOS C700 FF can shoot up to 60fps (5.9K), 72fps (4K crop) and at up to 168fps (2K crop). Using the 5.9K oversampling processing, the camera is also able to deliver a higher quality 4K and 2K image with reduced moiré and noise.

The C700 FF is available in both EF lock & PL mount, compatible with Canon’s extensive range of EF series and Cinema lenses. Thanks to the vertical 20.1 mm sensor size, the C700 FF also enables users to shoot with anamorphic lenses. Utilising the Canon EF lens system, users can benefit from the full sensor size whilst shooting, as well as Canon’s innovative Dual Pixel CMOS AF which ensures focusing by locking onto and tracking a moving subject; critical in higher resolution recordings.

The EOS C700 FF is also compatible with existing Canon EOS C700 accessories including the EVF-V70 viewfinder, the MO-4E/ MO-4P B4 mount adapter and the OU-700 remote operation unit. It is set to cost £31,250/ $33,000 when it's released in June. 

Written by Matt Snow

Red hopes its new Gemini 5K Super35 sensor inside its Epic-W camera will be the king of low light as it features dual sensitivity modes, similar to the latest crop of Panasonic cameras.

The Gemini sensor offers an increased field of view at 2K and 4K resolutions compared to the higher resolution Helium sensor. And the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with Helium or Dragon.

“While the Gemini sensor was developed for low-light conditions in outer space, we quickly saw there was so much more to this sensor,” said Jarred Land, President of Red. “In fact, we loved the potential of this sensor so much, we wanted to evolve it to make it have a broader appeal.  As a result, the Epic-W Gemini now sports dual-sensitivity modes. It still has the low-light performance mode, but also has a default, standard mode that allows you to shoot in brighter conditions.”

The new camera is built on Red’s current compact DSMC2 platform, captures 5K full format motion at up to 96fps along with incredibly fast data speeds of up to 275MB/s.

Like all of RED’s DSMC2 cameras, Epic-W is able to shoot simultaneous Raw and Apple ProRes or Avid DNxHD/HR recording.

Beginning at £26,000/ $24,500, the new Red Epic-W with Gemini 5K S35 sensor is available for purchase at Red.com now.

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Targeting independent commercial filmmakers and small production companies, Pro Moviemaker delivers the latest industry tech innovation and gear scoops to creatives, entrepreneurs and decision makers hell bent on staying ahead of the game. As early adopters, Pro Moviemaker readers want news, reviews and technique features focused on kit so that they know what to buy next and how it will drive the continued success of their business. Diverse in their roles and shooting genres, Pro Moviemaker readers are united by their thirst for knowledge – a thirst which is quenched not only by our hands-on production, post and business advice features, but also our inspirational interviews with leading pros.

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