When it comes to cameras, Z-Cam feels like the new kid on the block. Before NAB earlier this year, nobody had heard of them, and now they seem to be everywhere. Recently, they announced three new flagship cameras, the E2-S6 6K, E2-F6 6K and E2-F8 8K so we stopped by their stand at IBC 2019 to find out more about them.
Canon has today announced the newest addition to its EOS Cinema Line, the EOS C500 Mark II. It’s the next generation of the original EOS C500 and it sees some quite notable upgrades. The Super 35mm CMOS sensor has been upgraded to full-frame, the 4K resolution has been bumped up to 5.9K, and the CFast card slots are gone, replaced by a pair of faster CFexpress and an SD card slot for proxies.
We all knew it was coming, but we never really knew for sure exactly when. May 31st came and went with nothing but crickets. But today seems to be a day for new gear announcements, so Panasonic has jumped on the bandwagon by announcing the new Panasonic Lumix S1H full-frame camera aimed at video shooters. For the stills folks, it’s a 24.2-megapixel L Mount mirrorless camera. But it’s video where things get interesting.
While it’s not the first, nor the cheapest, camera to shoot high-quality 6K footage, it is the first full-frame mirrorless camera to shoot 6K. And the Panasonic S1H shoots it at 24 frames per second and also offers 4:2:2 10-Bit 4K DCI and 4K UHD. But high-resolution video isn’t the only trick the S1H has up its sleeve.
Z-Cam was pretty much unheard of until relatively recently, but they made quite a big splash at NAB earlier this year. They had a pretty sizeable stand offering up some pretty big promises for the filmmaking industry with a set of 4K, 6K and 8K cameras. The 4K Z-Cam E2C was announced just over a week ago, and now the company has followed through with their full-frame E2 F6 and E2 F8 models, capable of shooting 6K and 8K respectively.
They’re both pretty bare-bones, boxy-looking cameras sold with no accessories. But when you consider that they’re priced at $5K and $6K each, with both available in either EF or PL lens mounts, one can hardly expect much more than they’re already offering.
When the Blackmagic Pocket Cinema Camera 4K was announced around 16 months ago, it was a big shock to a lot of people. A Micro Four Thirds cinema camera that shot 4K RAW video for under $1,300. It just seemed to good to be true. Well, today, Blackmagic has upped the ante, with the new Blackmagic Pocket Cinema Camera 6K.
It shares much in common with its 4K sibling, including a rather low budget price of only $2,499 (£2,025 in the UK). Only this one comes with a Super 35mm sensor and a Canon EF Mount with full electronics.
The Blackmagic Pocket Cinema Camera 4K made some pretty big waves when it was announced last year. And given its current high demand, there seems to be no shortage of customers for such a low budget camera. Especially one with such capability. So, it’s not much of a surprise that other manufacturers want to muscle in on that market.
Z-Cam is one such company. They’ve just announced their new E2C camera. A 4K cinema camera, which may very well be the smallest and least expensive on the market right now. And while it doesn’t shoot ProRes or raw video (yet?) it does look like a fairly impressive unit for the price.
It was three years ago, in 2015 when Canon released the EOS C300 Mark II. It came with some pretty significant advantages over the original EOS C300 cinema camera. But it’s time to start thinking about another refresh. And that’s exactly what Canon Rumors says is happening in 2019. But that C300 Mark III refresh may include the option of an 8K sensor.
As a filmmaker I come across many different types of cameras, lenses and of course all the peripherals that come with movie making. For commercial shoots I am currently shooting on a Canon C200 cinema camera using the Canon RAW lite codec. The results are incredible.
RED recently simplified its camera lineup to three separate product lines. Monstro, Helium and Gemini. But how do the three new systems all stack up against each other? That’s what Pulitzer Prize-winning photographer and filmmaker Vincent Laforet wanted to find out. So, he got all three cameras and took them out to compare them side-by-side and see for himself where the limits were.
You may look at this post and think “I’ll never own a RED camera, why should I care?” but Vincent’s message here is clear. It’s not that we all need RED cameras, or to show off his fancy cameras. It’s to demonstrate that we all need to test our camera’s limitations. We need to know what those limits are, where and how we can push them, and when we definitely can’t.
If you’ve always wanted to buy a RED camera and have been saving up – now may be the right time to get it. The company has announced that they’re dropping prices on all of its cameras, and you can save up to $25,000. Additionally, RED is simplifying their product lineup and it will offer only three cameras.