Nikon is expected to bring RED technology, including the famous REDCODE RAW recording format to a camera resembling the Sony FX3. According to Nikon Rumors, it will be dubbed the Nikon Zr (R for RED). Panasonic is also expected to launch an FX3 competitor, whilst Sony themselves are to launch a cheaper FX2 with the same sensor as the a7 IV. All in all, it could be an interesting Summer for filmmakers.
In terms of specs, here’s what’s expected:
- 6K REDCODE RAW at 60fps
- N-RAW remains, and also ProRes
- Partially stacked 24 megapixel sensor, same as the Z6 III
- Built-in RED LUTs and Real-Time LUT recording feature
- No EVF or mechanical shutter
- Still a photography hybrid camera, RAW shooting at 20fps
- Price expected to be in the region of $4.5k
- 14bit sensor readout in 6K, 14.5 stop dynamic range
It’s also expected to be one of the first mirrorless cameras with a screen size beyond just 3.5 inches. This is something I have been asking for, for a very long time. It isn’t yet known whether the camera features a certain other RED technology – Motion Mount.
Motion Mount was an electronic ND system for the original DSMC cameras, which added a global shutter by making the filter act like a traditional mechanical rotary shutter, from a film camera. RED owned the patent for this and it is one of the reasons we are yet to see widespread adoption of electronic ND filters in mirrorless cameras, with Sony coming close on one occasion at the launch of the FS5 and then doing nothing else with the technology.
Of all the companies it will be most interesting to watch Nikon enter the filmmaking market for real, after the success of the Z9 and Z8. All the ingredients are there to make something quite groundbreaking, with the best RAW codec and finally a way to expose an image at 180 degree shutter, something so basic you’d think it would be built into a sensor by now, rather than needing a comedically primitive array of screw-thread ND filters.
Another interesting development could be Fujifilm’s answer to the more video-oriented hybrid cameras. Already stepping into the high-end market of cinema with the ETERNA camera, the basis is there with the X-H2S to do a very nice FX3-style camera.
The problem for Fuji however is that the modern Netflix and cinema standard is now full frame, Super-35, not so much. They don’t have a mirrorless lens system for full frame, unless you count the GFX lenses and add a crop.
So it could be the perfect time for Fujifilm to bring out a full frame camera.
What do you think? Have your say on the EOSHD Forum topic for this post here…
