CVP ADVERTISEMENT FEATURE Making the right cinema camera choice The Red Komodo, Canon EOS C70 and Sony FX6 are the three hottest new cameras on the market, offering different features to suit different users T he last year has seen an
reimagined interface and physical design. It is the smallest of the three cameras and makes Red’s goal of modularity immediately apparent, relying heavily on cages, handles, monitors and expansion modules to improve its usability. On the other hand, Sony’s FX6 is better equipped to pull out the bag and shoot, offering everything we are used to from previous Sony FS and FX cameras. The side grip and top handle set it up to be an ergonomically-friendly and versatile camera from the off. The camera’s tactile controls, customisable button functions, built-in NDs, quick boot times and long battery life are very appealing to documentary or run-and-gun filmmakers. Much of this is also true for Canon’s C70, but it closer resembles a beefed-up DSLR. Its buttons and dials are physical, NDs are built in and Canon’s BP-A batteries offer a generous run time. The monitor placement on each camera is quite different and that says a lot about
unprecedented number of new cameras, lenses and accessories launched. With filmmakers now having so many new and exciting options to choose from, understanding which camera is ideal for them has only got more complicated. For many, the three most compelling cinema camera options are Red’s Komodo, Sony’s FX6, and Canon’s EOS C70; and it's not immediately obvious which one is the most suitable choice. To begin with, they all sit in a similar price bracket of about £4k-£6k, have very compact designs and appeal to a range of content creators who deliver a variety of work. Beyond that, the similarities end for the most part and you begin to notice how each camera stands out independently from the others. Many see the Komodo as an accessible introduction to Red’s powerful image pipeline, sharing many familiar features with its bigger brothers, albeit in a
the anticipated application. The FX6 is probably the most versatile, being fully- detachable with a range of mounting positions that work nicely for handheld or shoulder-mounted use. The C70 offers a more compact solution, similar to what you might find on a mirrorless camera. There is a small, flip-out screen hinged at the back of the camera that can be adjusted to a few angles. With the Komodo, the monitor is fixed on to the top of the camera body. This can work for some handheld use, but it makes for limited viewing angles, requiring a rigged external monitor for many applications. All three cameras offer slightly different formats and recording options, which can play a crucial role in deciding which camera is best for your needs. The Komodo houses a 6K Super 35 sensor, can shoot up to 120fps at 2K and records in Redcode, Red’s versatile and well-supported Raw format. The FX6 has a 4K full-frame sensor that can record 120fps at 4K and 240fps at 1080p, all in its very familiar XAVC codec in a variety of flavours. It also offers the ability to record ProRes Raw externally to something like an Atomos Shogun, a great option for those wanting more from their image. The C70 is a bit more limited, being the only camera of the three with no Raw recording option, either internally or externally. However, it does use Canon’s very acceptable XF-AVC codec, can also shoot 120fps at 4K and has 180fps available for filming in 2K. And on top of that, it shares the same 4K DGO sensor as the C300 Mark III.
ABOVE The Canon EOS C70 is an all-new style of camera that has many DSLR-type controls
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