Several new mirrorless cameras have been released or announced in recent weeks, including Blackmagic’s new Pocket Cinema Camera 4K, Canon’s EOS R and Fujifilm’s XT3. A lot of filmmakers are obviously interested in all three cameras at the moment, so I thought I’d share my two cents about them below.
I’ve been working like crazy for the past month feature Movie projects and a lot of advertising, and haven’t done any test shots with these cameras yet. However, I have done some testing using Blackmagic’s new RAW codec and will be sharing the results on the blog this week.
But what I’m going to outline below are just my first impressions of the new releases from BMD, Canon and Fujifilm. I’m aiming to do more in-depth follow-up articles on each camera in the future, so if you’d like to see those covered, let me know!
There are new cameras being announced and released all the time, but I wanted to highlight these three specific cameras together because they have something in common – they cost about the same, compete directly with each other in some ways, and are all popular with film producers widespread attention.
So without further ado, here are my thoughts on each question…
In no particular order——
BLACKMAGIC Pocket Movie Camera 4K – $1295
I’m sure some of you know that I’m a fan of Blackmagic. I have been shooting with their cameras for years and even shot mine feature Last year on the URSA Mini 4.6K… I’ve always respected BMD’s efforts to fill a gap in the low-cost camera market that no other camera brand seemed to realize. The latest update to compact cameras is no different.
If you think about it, what other cameras on the market can compete directly with the new Pocket Camera 4K?
Just look at the specs, all of which you get for just $1,295 –
- 4/3-inch size HDR sensor
- Record DCI 4K 4096 x 2160 at up to 60 fps
- Dual native ISO to 25,600
- 5-inch touch screen display
- Active Micro Four Thirds lens mount
- Record up to 120 fps in Windows HD
- CFast 2.0 and SD/UHS-II card slot
- External recording via USB Type-C
- 13 stops of dynamic range, 3D LUT support
- Includes DaVinci Resolve Studio license
It’s a full-featured cinema camera that costs less than most mid-range digital SLRs and has some incredibly innovative features – namely dual native ISO. The design of this camera is actually very clever as it looks like a SLR camera but functions like a movie camera. If you’re shooting guerrilla style, it really is the best of both worlds… It’s not as stylish as some of Blackmagic’s other cameras, but it seems to be more about function than form, which I like.
It has a 4/3″ sensor, but will definitely be used with the speed booster for a super 35mm field of view. Alternatively, even without the speed booster, the 4/3″ sensor size will still produce a nice shallow depth of field Beautiful images.
Then again, what other camera can really compete with this? There are plenty of other great options in this price range, but none offer this exact combination of quality and features. Shooting on any Blackmagic camera is much more similar to shooting on an Arri/RED than on any DSLR/mirrorless, but priced at a consumer level. Nothing to complain about there.
If I had any criticism to make about this camera it would be that I miss the Super 16mm sensor size. Most people will probably disagree with me (and I can understand why!), but I just love the look of Super 16mm. This is why compact cameras and micro movie cameras are so great to me, and as weird as it sounds, I almost prefer smaller sensors on cameras. I never thought I’d say that!
Regardless, I’m very optimistic about this camera and imagine it will find a place in many independent narrative shorts and micro-budget features. I’ll need to actually shoot with the camera before I can share my thoughts on image quality (it’s hard to tell based on the test clips out there), but my goal is to follow up soon.
Canon EOS R – $2299
You have to applaud Canon for showing up, even if they’re late to the party… but their belated entry into the professional mirrorless market is really too little, too late.
I’ve shared my overall thoughts on Canon at length in the past, often pointing to their strongest qualities – reliability and color science. Despite being far behind Sony and Panasonic in terms of features and overall innovation, their cameras still produce solid images and are reliable… and I’m sure the EOS R will follow suit.
But this is the first new camera of its kind from Canon, and it will come with an all-new lens mount (RF). I just don’t believe these features will force anyone to make this switch –
- 30.3MP full-frame CMOS sensor
- Ultra HD 4K30 video; C-Log and 10-bit HDMI output
- Dual pixel CMOS autofocus, 5655 autofocus points
- 3.69m dot OLED electronic viewfinder
- 3.15 inches 2.1m dot rotating touch screen LCD
- Expanded ISO 50-102400, 8 fps shooting
- Wi-Fi and Bluetooth, SD UHS-II card slot
- New RF Lens Mount
Probably the biggest complaint people have about this camera is the 1.8x crop factor when shooting in 4K (there’s a 1.6x crop factor in HD). That in itself is enough to put off many die-hard full-frame photographers… but even for those who can live with the crop factor, why should they switch to this camera?
The main advantage of mirrorless cameras is size. When paired with a full-frame lens (and/or an EF adapter), the EOS R isn’t a compact camera at all. So if it doesn’t offer value in terms of design, then it’s missing key features (like internal stabilization) and requires you to adapt to a whole new lens mount…
Often, Canon’s cameras make little sense to filmmakers but still survive because they’re still suitable for (and popular with) photographers. But even so, I wonder how many stills photographers would want to switch to this system? Personally, if I’m just shooting stills, I’d rather not have a mirrorless camera. I love the analog feel of using a mirror to look directly through the lens, and so do many photographers…so in a lot of ways this camera feels like it’s in no man’s land.
The EOS R is not a camera I personally would want to invest in, and I doubt many others would either… We can get more cameras for less money almost everywhere else, so until more features are added via firmware updates , or the $2299 price tag comes off, I just don’t see this camera taking off.
Fuji XT3 – $1499
I don’t know if anyone could have predicted how quickly Fuji would rise to the top of the mirrorless game…myself included, I’ve been shooting with Fuji cameras for years!
Photographers have always loved Fuji cameras because they offer incredible color science – Arguably the best of any camera manufacturer. Just see how classic chrome The movie simulation mode had gained a cult following by this time. But just as Fuji did for photographers, it wasn’t until their last few models that the brand became a viable option for filmmakers.
Over the past few years, they’ve done a complete 180, releasing releases like XT2 (which I own) and the XH1, these two cameras finally give filmmakers a stunning Fuji look combined with a fully functional video recording capable camera body. This trajectory continues with the release of the Fujifilm XT3.
Here are the specs –
- 26.1MP APS-C X-Trans BSI CMOS 4 sensor
- Ultra HD 4K60 video
- F-log gamma
- 10-bit H265
- 0.75x 3.69m dot OLED viewing window
- 3.0-inch 1.04m dot tilting LCD touch screen
- Expanded ISO 80-51200, 30 fps shooting
- Weatherproof magnesium alloy body
This is actually a fully upgraded XT2. It has a new sensor, internal F Log, and obviously excellent autofocus capabilities – although I won’t use this feature myself.
The biggest highlight for me is its ability to record 10bit to H265 files. Unlike the common H264 files, H265 is more likely to require transcoding in post, but will provide excellent image quality while still maintaining a small file size. At some point I hope we’ll see ProRes recording or compressed RAW in a DSLR/mirrorless camera like this, but for now H265 is a good choice.
Although the XT3 has nearly all of Fujifilm’s latest features, it’s clear that the XH1 remains the flagship of the series. This is demonstrated most clearly by the XT3’s lack of internal stability… This isn’t a huge issue for me since I don’t really use IBIS (I’d rather use a shoulder rig), but if you do need IBIS, the XH line Might be a way out.
I have to imagine that the XT3 will be hard to ignore by filmmakers, even for those who have never really considered Fujifilm. After all, it’s a super 35mm digital cinema camera with the best color science on the market, in a sleek, retro-style body. For filmmakers who choose a camera based on image quality and design, the XT3 may be the best choice.
Fujifilm, on the other hand, is the only brand that really knows how to put out a promotional video. To launch the camera, they teamed up with Matthew Libatique (one of the best cinematographers of the time) to direct and shoot a short film using the XT3. This is exactly what filmmakers want to see when evaluating potential camera options, and I hope other brands take notice and follow suit!
Who are they suitable for?
I may have my own personal preferences and biases, but ultimately, all three cameras will be used by filmmakers. It always comes down to subjective taste and personal needs.
If history is any indication, I think the Blackmagic Pocket Camera 4K will be hugely popular with filmmakers and smaller production companies. I’m sure these will start to appear everywhere, and we’ll see a lot of short films, corporate ads, and maybe the occasional feature version of them.
The Canon EOS R is anyone’s guess…I can see some die-hard Canon fans giving it a chance and maybe like many of Canon’s other cameras it will exceed expectations. But still, with so much competition in the market right now, I don’t think anyone would give up Sony or Panasonic for the EOS R.
The XT3, on the other hand, is another story. While people are generally satisfied with their Sony A7 camera or Lumix GH camera, Fujifilm may be offering enough to convince some filmmakers to jump ship. Users switching from Sony will switch from bad color science to the best, and anyone switching from Panasonic can enjoy the same gorgeous image quality while benefiting from the larger Super 35mm sensor.
So of the 3 cameras, the Pocket Cam and XT3 are clearly the ones I’m most excited about, and the XT3 is perhaps the most likely to disrupt Panasonic and Sony’s stronghold in the mirrorless market.
What are your thoughts? Let me know in the comments below.
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