Just as the Metabones EF adapters and Speed Boosters helped the Sony A7 series, it’s now the turn of the Nikon Z6 and Z7.
It’s not often we get a glimpse of what a major manufacturer is considering when designing a new cinema camera.
Now a survey by JVC aimed at filmmakers and content creators gives us exactly that.
Rumours out of Apple WWDC 19 talk about both Canon and Nikon 8K cameras being used to shoot ProRes RAW 8K footage for Mac Pro demos.
Footage from a documentary about Nikon ambassador Ami Vitale photographing Kenya was supposably shot in ProRes RAW 8K and the speculation was she shot with an as-yet unreleased Nikon Z9 with 8K output to an external recorder. Actually the documentary was shot on RED Monstro in 8K by Kiwi cinematographer Mark Toia of ZOOM Film and Television.
Meanwhile a Canon 8K camera resembling a C300 II is seen shooting props against a green screen for augmented reality demos on the new Mac Pro. This prototype has actually been shown by Canon before, most recently in 2018 at Inter BEE. The prototype has an 8K sensor and processor, but recording is external via SDI.
Indeed, Canon’s Super 35mm 8K prototype first dates back to 2015 and has been steadily developing since.
Apple have been criticised in the past for being too consumer focused. Nobody can accuse them of a watered down approach when it comes to the new Mac Pro. It’s an outrageously expensive machine aimed at businesses and Hollywood. The new Mac Pro also features Afterburner, which is a FPGA hardware accelerator card exclusive to Apple. This custom hardware with over a million logic cells, handles no less than 3 streams of 8K ProRes RAW and up to 12 streams of 4K ProRes RAW.
Apple expects significant bulk orders from corporate clients with this new machine. Movie studios, companies like Adobe, Pixar and CGI firms will be top of the list.
Those hoping for a $2k-$3k machine to compete on value for money versus top of the range PCs can forget it.
The Panasonic S1H is here, offering extra recording modes over the S1, including subtle changes to the body.
- Full frame 6K/24p in 3:2
- Almost full frame 5.9K at 30 in 16:9
- Super 35mm 1.5x crop DCI 4K 60p 10bit
- Open gate 4:3 anamorphic mode (and 3:2 useful too)
- V-LOG and 10bit 4:2:2 codecs out of the box (no firmware upgrade key required)
- Front rec. button (in place of the S1’s mode preset lever)
- Top rec. button (in place of the S1’s on/off lever)
- No IBIS (To be confirmed)?
- $4000 / Fall 2019 release date (S1 is $2500)
- UPDATE: There is much more to the prototype at CineGear than meets the eye and it seems Panasonic did not announce a lot of the major features, for reasons only they know!! For example, it appears the camera has a GH5 style flip screen, rather than the more photography orientated tilt screen on the S1.