AWARDS GEAR OF THE YEAR CAMERAS T hese are the classes every manufacturer wants to win, to show the world their kit is more than marketing sizzle –
In the cinema camera category, the Blackmagic Ursa Mini Pro 12K remains the highest-resolution camera for sale, and is now even more affordable – the latest model adds an OLPF for reduced moiré. Red’s Super 35 6K Komodo is still perhaps the most sought-after camera on the planet, while its full- frame big brother the V-Raptor was joined by the V-Raptor XL, which added lots of I/O options. Canon continued to shine with the full-frame EOS C500 Mark II – and the cheaper EOS C300 Mark III, with the same body and very similar spec but using a Super 35 sensor with Dual Gain Output. Sony’s FX9 and FX6 full-frame cinema cameras continued to hit big, especially the FX6 thanks to its performance and affordability. In the camcorder category, live streaming continues to rule. Rightly popular are the JVC GY-HC550, Canon XF605 and XA55 as well as the Panasonic HC-X2. It’s time to cast your vote!
frame and cropped-sensor sizes. The flagship Nikon Z 9 became a big seller, while the Fujifilm X-H2S showed how good an APS-C camera can be when fitted with loads of filmmaking tech. The Panasonic Lumix S5 II took the original model and added phase detection AF as well as lots of codec improvements. Sony really stirred up the market, with the ZV-E1 offering much spec from the A7S III and FX3 but in a smaller and far cheaper package. The category for hybrid/ crossover is for something different to the standard mirrorless or pure cinema camera. The Blackmagic Pocket Cinema Camera 6K Pro is clearly a hybrid, as is the Canon EOS C70 – a Super 35-size model, and officially the entry point to the Cinema EOS range. Canon’s EOS R5 C brought cinema-style menus and cooling to the market. Meanwhile, the Sony FX30 had the same body as the FX3, fitted with a cropped sensor and a much lower price tag.
CAMERA CHOICE From 12K cinema to PTZ, mirrorless and more, let the world know which of these capable machines deserve an award
but actually makes a real impact. As always, there has been lots of innovation in mirrorless cameras, but this is now becoming rivalled by PTZ cameras for cutting-edge tech. Sony brought out its FR7, the world’s first PTZ with a full- frame sensor and interchangeable E-mount glass, bringing cinematic quality to remote control. The Panasonic AW-UE160W/K took the functionality of a broadcast system camera for the fastest and most stable streaming; meanwhile Canon’s CR-N700 brought 12G-SDI connections and Dual Pixel CMOS AF from its EOS C70 and XF605 models. Add new technology from JVC and Birddog and the boom is only just starting. Of course, mirrorless cameras continue to flourish and push the boundaries with a mix of superfast stacked-sensor cameras in full-
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