GEAR OF THE YEAR
“This year, we have introduced a new category for hybrid or crossover cameras”
Mirrorless
Canon EOS R3 Canon EOS R5 Canon EOS R7 Fujifilm X-H2S Fujifilm GFX 50S II Nikon Z 9 OM System OM-1 Panasonic Lumix GH6 Sigma fp L Sony A7S III Sony A7 IV Sony A1 Hybrid/crossover Blackmagic Pocket Cinema Camera 6K Pro Canon EOS C70 Canon EOS R5 C DJI Ronin 4D Lumens VC-A51P PTZ Marshall CV568 Panasonic Lumix BS1H Sony FX3 Camcorder Canon XF605 Canon XA55 JVC GY-HC550 Panasonic HC-X2000
which is heavily based on the EOS R5 mirrorless, but adds fan cooling and a full Cinema EOS user interface to make it perfect for filmmaking. In a similar vein, the Sony FX3 possesses the sensor and all the same tech as the A7S III, housed in a cinema-style body. And the Panasonic Lumix BS1H has the internals of the S1H mirrorless in a box-style body, with no viewfinder. Also in the hybrid/crossover category is the Lumens VC-A51P PTZ, reflecting the growing market for streaming and remote-control cameras. The Marshall CV568 is a remote cam too, but with a global shutter to eliminate rolling shutter. Most unusual of all must be the DJI Ronin 4D: a large-sensor cinema cam mounted to a four-axis gimbal, employing drone technology to keep things level and broadcast the video signal for miles. It’s the camera you never knew you needed – until you saw one. For the camcorder shortlist, live streaming is becoming more vital, with an ever-growing bank of connected kit. JVC’s GY-HC550 continued to fly off shelves, while Canon took the wraps off its XF605. Although it was cheaper than the
flagship XF705, it offers higher spec in many key features and is selling fast. Add machines from Panasonic and Sony, and it’s a growing group. In the cinema camera category, the Blackmagic Ursa Mini Pro 12K remains the highest-resolution camera you can buy – and is now even more affordable, thanks to a big price cut. It’s been a huge year for Red, as the Super 35 6K Komodo became one of the most sought-after devices on the planet. This popularity was thanks to its relatively attainable price, typical Red modular design and internal Red Raw codec, with Canon RF lens mount and phase detection AF. Then Red dropped a bombshell: the new V-Raptor, a full-frame 8K cinema camera employing some of the Komodo’s tech. It undercut the existing Red 8K full-frame range to a significant degree. Canon continued to shine, with the full-frame EOS C500 Mark II and its internal Raw Light recording, modular body and high-spec codecs. The cheaper EOS C300 Mark III has the same body and similar spec, but with a Super 35 sensor, using Dual Gain Output technology. Sony revealed the flagship Venice 2, while the FX9 and FX6 continued to be smash hits. The FX6, thanks to its performance and affordability, became the most-rented camera of the past year – and there are huge waiting lists to buy one. That makes it one of the prime contenders in the awards. Have your say and vote!
Sony PXW-Z190 Sony PXW-Z280 Sony HDC-F5500
Cinema camera Blackmagic Ursa Mini Pro 12K
Canon EOS C500 Mark II Canon EOS C300 Mark III Kinefinity Mavo Edge 6K Panasonic AU-EVA1
Red Komodo Red V-Raptor
BROAD SPECTRUM The radical DJI Ronin, OM System OM-1 and Sony PXW-Z280 are all worthy of places in the line-up
Sony FX6 Sony FX9
Sony Venice 2 Z Cam E2-S6
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