AWARDS
THEWINNERS
SPECIAL AWARDS
CAMERA CHAMPIONS The Red Komodo and Panasonic Lumix S5 take our special awards
Komodo – the first truly affordable Red camera. But this is no hand-me-down tech. It’s cutting edge, with a global shutter to avoid rolling shutter nasties, as well as advanced phase detection AF with a Canon RF lens mount, and 6K recording from its Super 35 sensor. It still records in Red’s famous R3D Raw format, or various versions of ProRes 422 for an ever-faster workflow. It fits into a high-end Red workflow pipeline for the ultimate quality, or a fast- turnaround ProRes edit. The camera is compact, yet can be built into a full cinema rig, or stripped down for use on a gimbal. It’s a price tag few thought we’d ever see on a high-spec Red.
Our special awards honour innovation in everything, from technology to clever market positioning – giving filmmakers what they want at a great price. That’s definitely the case for all our winners, as they offer innovation at low cost. You no longer have to sell your car to afford the best in the business. The winner of our innovation of the year could only be the Red “You no longer have to sell your car to afford the best”
Innovation of the year Red Komodo Editor’s choice: Irix 150mm T3.0 Macro Launch of the year Panasonic Lumix S5
Our launch of the year goes to the Panasonic Lumix S5, as it offers the majority of spec from the flagship Lumix S1H, but in a body that’s smaller and more affordable. It’s for anyone who has always wanted a full-frame version of the legendary GH5. The S5 has the same sensor as the S1H, which costs around double. It doesn’t quite have all the bells and whistles of that pioneering model, but still retains a huge amount of the features and tools filmmakers have come to expect. There is full V-Log gamma, LUT support and anamorphic shooting, with an in-camera de-squeeze, plus HLG colour. The Dual Native ISO sensor bases at 640 and 4000 ISO when shooting Log, 100 and 640 in normal picture profiles, 400 and 2500 in HLG, and 200 and 1250 in Cinelike D2 or V2. There is waveformmonitoring, five-axis in-body image stabilisation, speedy 180fps HD recording and 10-bit internal video capture, too, in lots of codecs.
EDITOR’S CHOICE: IRIX 150MM T3.0 MACRO
The aperture ring is smooth and has a 75° throw, while the focus ring is silky, with a long 270° movement. Both have standardised 0.8 pitch cine gears for use on a rig. Next to the focus ring is the adaptive ring, designed to rotate alongside the smaller geared focus ring, so there is more to hold on to when manually focusing. It has clicked indents as you move it every 15°, and offers an easier grip. It is a different way of working that soon feels natural.
If you didn’t know the Irix 150mm T3.0 Macro was a cine lens at the more affordable end of the market, you’d believe it was a premium- quality optic, as it has great performance and form. The lens oozes quality, from its weatherproof and solid build, to clever accessories like the magnetically attached lens hood. But if you want to use a cinema- style matte box and flag-style hood, the front of the lens is the standard 95mm size for easy fitting.
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