Zack Birlew
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Hey, everybody, since DVXUser is down at the moment, I thought I would start a NAB 2024 thread on REDUser since it's just months away! My previous list of anticipated releases for 2023 actually came pretty close to what came out, particularly the mirrorless Blackmagic Cinema 6K camera and the more cinematic focused Fuji GFX100 II.
Sony
This year I'm looking more for a new FX-style camera from Sony as the FX9 is getting a little dusty and is being undercut by the FX6, 3, and 30 pretty well while the 8K Sony A1 sensor is just sitting there waiting to be adapted to a pro video camera.
Also, Sony's 1" video lineup needs a major refresh or upgrade and going 6K or 8K with those would be pretty major, especially for the ghost hunters finally getting higher resolution night vision.
I would also like to see a new 6K or 8K 2/3" B4 camera that can be for broadcast or harken back to cinematic F900 days as the Blackmagic Broadcast G2 is the best bang for the buck 4K B4 camera at the moment and all Sony has to do is respond with a more advanced offering.
Canon
Canon clearly has its work cut out for it as they have several models that need to embrace 8K like the R5C has done for them. With RED offering such great RF cameras, I'm not sure how much better Canon can do other than building a more refined R5C Mark II and a bigger cinema model to go with it. Putting 8K sensors in their C100/300/500/700 bodies could be the simplest approach but then nobody really bought their C700 models as far as I can tell so maybe cost cutting and releasing a more sensible single high end 8K body beyond the R5C would be the best approach.
Panasonic
An 8K version of the EVA1 would be pretty great, especially continuing with the IR infrared mode switch feature which was the coolest aspect of the EVA1. Of course they have the S2H being sought after in the rumor mills so a small 8K cinema camera like that would be cool and expected with all the other competition having 8K models already.
Fujifilm
I can see Fuji having a cinema body which would essentially be the Fuji GFX100 II but with perhaps some way to record full sensor readout for 8K medium format video. That would be an awesome camera as they are really killing it with their GFX and XH lines for video as it is and they clearly have entry level medium format figured out with a great mirrorless mount option to boot.
Nikon
I think Nikon might be a surprise going forward as they have RAW video ready to go and instead of figuring out how to get Netflix approval for the Z series cameras, go ahead and release the first Cinema Z camera with RAW 8K+ video and all the professional video features and ports filmmakers and broadcast expect. The Z mount can already use Sony E and Fuji X lenses so they can add a lot of converts and cross-system users.
Kodak
After seeing Kodak release their Super 8 camera at CES, I can only hope that they have the sense to release a Super 16 model for professional filmmakers. Whereas the Super 8 model is definitely a hefty investment for consumers and artists, the Super 16 model would be for work and have more leeway in terms of price, especially if they can get a nice 4K HDMI output for digital recording as an option.
Sony
This year I'm looking more for a new FX-style camera from Sony as the FX9 is getting a little dusty and is being undercut by the FX6, 3, and 30 pretty well while the 8K Sony A1 sensor is just sitting there waiting to be adapted to a pro video camera.
Also, Sony's 1" video lineup needs a major refresh or upgrade and going 6K or 8K with those would be pretty major, especially for the ghost hunters finally getting higher resolution night vision.
I would also like to see a new 6K or 8K 2/3" B4 camera that can be for broadcast or harken back to cinematic F900 days as the Blackmagic Broadcast G2 is the best bang for the buck 4K B4 camera at the moment and all Sony has to do is respond with a more advanced offering.
Canon
Canon clearly has its work cut out for it as they have several models that need to embrace 8K like the R5C has done for them. With RED offering such great RF cameras, I'm not sure how much better Canon can do other than building a more refined R5C Mark II and a bigger cinema model to go with it. Putting 8K sensors in their C100/300/500/700 bodies could be the simplest approach but then nobody really bought their C700 models as far as I can tell so maybe cost cutting and releasing a more sensible single high end 8K body beyond the R5C would be the best approach.
Panasonic
An 8K version of the EVA1 would be pretty great, especially continuing with the IR infrared mode switch feature which was the coolest aspect of the EVA1. Of course they have the S2H being sought after in the rumor mills so a small 8K cinema camera like that would be cool and expected with all the other competition having 8K models already.
Fujifilm
I can see Fuji having a cinema body which would essentially be the Fuji GFX100 II but with perhaps some way to record full sensor readout for 8K medium format video. That would be an awesome camera as they are really killing it with their GFX and XH lines for video as it is and they clearly have entry level medium format figured out with a great mirrorless mount option to boot.
Nikon
I think Nikon might be a surprise going forward as they have RAW video ready to go and instead of figuring out how to get Netflix approval for the Z series cameras, go ahead and release the first Cinema Z camera with RAW 8K+ video and all the professional video features and ports filmmakers and broadcast expect. The Z mount can already use Sony E and Fuji X lenses so they can add a lot of converts and cross-system users.
Kodak
After seeing Kodak release their Super 8 camera at CES, I can only hope that they have the sense to release a Super 16 model for professional filmmakers. Whereas the Super 8 model is definitely a hefty investment for consumers and artists, the Super 16 model would be for work and have more leeway in terms of price, especially if they can get a nice 4K HDMI output for digital recording as an option.