AWARDS GEAR OF THE YEAR
CAMERAS T his is the biggie, the glamour category. And it’s for those tools every filmmaker uses: cameras. To make it easier,
blackout-free viewfinders. Examples include the Nikon Z 9, which became the brand’s biggest- selling pro camera for many years, the Canon EOS R3 and the Fujifilm X-H2S, which set new standards, proving an APS-C camera can be incredible for moviemaking. Stacked technology also came to Micro Four Thirds cameras in the shape of the OM System OM-1. Another big seller was the Panasonic Lumix S5 II, which took the successful original model and added phase detection AF and loads of high-end codecs. Sony’s ZV-E1 may be touted as a vloggers’ machine, but pro filmmakers found it offers spec from the A7S III and FX3 in a smaller, cheaper package. And the high-resolution EOS R5 continued to deliver some amazing footage for fans of the Canon full- frame mirrorless system. The category for hybrid/ crossover was introduced last year to recognise the emerging market for cameras that deliver something a bit more compared to a standard mirrorless or pure cinema camera. The Blackmagic Pocket Cinema Camera 6K Pro is very much a hybrid tailored to filmmaking, as is the Canon EOS C70, a Super 35 camera that’s the entry point to the Cinema EOS range but has plenty of mirrorless tech inside. And Canon’s EOS R5 C brought cinema-style
we have split up the awards into classes. After all, it’s impossible to compare a PTZ to a high-end full-frame cinema camera – or a mirrorless techno wonder that costs a tenth of the price. So we’ve made separate categories for mirrorless, hybrid/crossover, camcorders, cinema cameras and PTZs. Many working pros rely on mirrorless cameras nowadays as they are small and affordable, yet packed with the latest tech. And the majority have large sensors for excellent low-light performance and shallow depth-of-field to help create the elusive cinematic look. This has been the year stacked- sensor cameras took off, offering higher speed, advanced AF and
STAR PERFORMERS You might prefer a mirrorless model, a camcorder, a hybrid or cinema camera – so let the world know which is the best
menus and active cooling to the market, making the R5 a better proposition for video use. Sony’s FX30 has the same hybrid body as the more expensive, full-frame FX3, but uses a cropped sensor. And, of course, the unique camera/stabiliser combo, DJI’s Ronin 4D Flex, moved cinema cameras into a whole new arena. There’s been a hefty amount of innovation among PTZ cameras, which continue to expand into the market. Sony’s FR7 is the world’s first PTZ with a full-frame sensor and interchangeable E-mount lenses, offering cinematic quality. Panasonic made use of its broadcast experience in the AW-UE160W/K for the fastest and most stable streaming, while Canon’s CR-N700 has 12G-SDI connections and Dual Pixel CMOS AF from its EOS C70 and XF605 models. And PTZs from JVC, Birddog and Lumens are continuing to grow in popularity. The global pandemic may have kick-started the PTZ craze, but it’s showing no sign of slowing down.
REMOTE WORKING PTZ cameras have grown massively, allowing you to get closer to the action than ever before
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PRO MOVIEMAKER
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