ISSUE 123
8 / NEWS
VIDEO WARS Canon and Nikon go full hybrid
Two new video-focused mirrorless cameras target Sony’s evergreen FX3 with more pixels and lots of newer tech
The Sony FX3 might have started out life as a slow burner. It was
It spawned the FX30 APS-C version and now the FX2, which adds a tilting EVF to make it more usable for stills. But in the same week, both Canon and Nikon unveiled their first cameras that are taking aim at the 12-megapixel FX3 and its clan, and driving the tech past Sony. Both the new Canon EOS C50 and Nikon ZR are full-frame
mirrorless hybrids, equipped with the internal Raw video that Sony doesn’t offer in its FX3. In the case of the ZR, it’s built in partnership with cinema camera giant Red and offers three different flavours of Raw video, as well as 32-bit float audio – a first in any camera. Let’s take a look at these two hybrid machines.
overshadowed by the A7S III, which offered the same full-frame sensor in a more conventional mirrorless body. But more than four years on, it’s become a firm favourite of YouTubers everywhere with its fan-cooled body that has no EVF as it’s made for video.
GET REDDY Nikon and Red debut 6K ZR
Nikon has revealed its first dedicated Z Cinema camera line-up with the ZR – a compact, full-frame digital cinema camera developed in partnership with cine pioneer Red, which it now owns. Weighing just 540g body only, the ZR is billed as the lightest all-in-one cine camera on the market, yet packs some serious professional firepower
for content creators. The body is fully weather sealed and will cost around £2199. It’s set to be followed by a range of higher-spec cameras in the future. Unlike rivals from Sony, and now Canon, instead of offering lots of 1/4in- 20 mounting holes for accessories, the ZR can be used without any extras. It has a large, 1000-nit, four-inch
articulating screen and records Raw internally, meaning there’s no need for an external monitor-recorder. This is the first camera ever to offer internal 32-bit float audio, so it doesn’t need external recorders or large XLR mics. At its core is a semi-stacked, 24-megapixel full-frame sensor, taken from the Z 6III, that’s capable of up to 6K/60p recording. It can shoot 4K in 120p, but this has a 1.5 crop. All other frame rates are uncropped, including HD in 240p for extreme slow motion. The sensor has been tweaked by Red to offer a wide 15+ stops of dynamic range at dual base ISOs of both 800 and 6400 – that’s more than the Z 6III. Red’s world-renowned colour science has made its way to Nikon via the exclusive 12-bit R3D NE codec. This allows filmmakers to take advantage of Red’s post-production flexibility and easily match ZR footage with video shot on Red. Additionally, the camera can record 12-bit Raw in Apple ProRes Raw and Nikon NRAW formats, as well as 10-bit ProRes or 8-bit H.264/H.265 files, to save space and time in post- production. It can also shoot stills to the same level as the Z 6III. The ZR is the first Nikon to have a dedicated multi-interface hotshoe,
which will accept the brand’s new ME-D10 digital shotgun mic, as well as third-party options from Tascam. For run-and-gun shooting, the ZR has advanced built-in mics that can record different sound patterns. Up to ten 3D LUTs can be loaded for instant previews of creative looks. Additional features include five-axis in-body stabilisation, focus breathing compensation and fast, intelligent AF with subject detection. There’s no cooling fan, but Nikon says there is excellent heat dissipation for long recording times. Memory is in a single CFexpress card and one micro SD. nikon.co.uk
ALL IN ONE The ZR’s huge rear screen and internal Raw mean you don’t need a monitor (above); plus, you can record 32-bit float audio internally with a new mic (left)
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