Cameras, Cameras Everywhere!

The Busy Season Is Here.

Published on in Industry Announcements / Events

So with another IBC in the rearview mirror and NAB NY along with AES just a few days away, you would think we could catch our collective breath. Not going to happen. With more new cameras, new sensors and new gear announcements than I can remember (outside of NAB) there is just a ton of cool stuff going on in our business. Which makes for very good news for us here at ProductionHUB. The problem is where to start? Simple. I am just going to dive right in with both feet. Not in any particular order either but here goes.


Not quite ready to rest on their past laurels, GoPro continues to upgrade and expand the horizon(s) with the GoPro HERO6, FUSION spherical camera mount, and updated KARMA drone. Featuring 4K and 1080p240 the HERO6 is the much-awaited next step in the GoPro story.

HERO6 powered by GoPro's custom-designed GP1 processor achieves an entirely new level of performance including stunning 4K60 and 1080p240 video and the most advanced video stabilization ever achieved in a GoPro. GoPro also launched Fusion, its waterproof, mountable 5.2K spherical camera. Additionally, GoPro introduced new mounts and accessories plus a new Follow mode for its Karma drone.

GoPro's founder and CEO, Nicholas Woodman, introduced the HERO6 Black and Fusion cameras to an international audience at the California Academy of Sciences in San Francisco, California.

"HERO's next-level image quality, video stabilization and three times faster QuikStories performance makes it a
powerful storytelling extension of your smartphone," said Woodman. "It's never been easier to live it, then share it...using a GoPro."

With 4K60 and 1080p240 video packed into a rugged, waterproof, go-anywhere design, HERO6 Black and the GoPro App automatically transform your adventures into cinematic QuikStory.

HERO6 also has dramatically improved dynamic range and low-light performance But wait, there is a whole laundry list of “new and improved” that deserves a second look. Check it out.

Powered by GoPro's Custom-Designed GP1 Processor 4K60 and 1080p240 Video
QuikStories Enabled
GoPro App Compatible
Most Advanced Stabilization of any HERO camera with All-
New Touch Zoom
3x Faster Offload Speeds via 5GHz Wi-Fi
Waterproof to 33 Feet (10m)
Compatible with Karma and Existing GoPro Mounts
Improved Dynamic Range and Low-Light Performance
RAW and HDR Photo Modes
Voice Control in 10 Languages
GPS, Accelerometer and Gyroscope and WiFi + Bluetooth

Developed from the to maximize a GoPro's capabilities, GP1 enables twice the video frame rates, improved image quality,
dynamic range, low-light performance and dramatically improved video stabilization over previous HERO camera generations. GP1 automates all of these benefits, allowing users to capture videos and photos without messing around with complex image settings. GP1 also advances GoPro's capabilities in computer vision and machine learning, enabling HERO6 to analyze visual scenes and sensor data for improved automated QuikStories.


With its ability to capture immersive 5.2K spherical content, GoPro Fusion marks the beginning of a new creative era. Fusion captures everything around you so you'll never miss the shot, and gimbal-like stabilization makes it all shockingly smooth. Use the GoPro App to playback and share your footage as VR content or use the app's OverCaptureTM feature to recapture and share your spherical shot as a traditional fixed perspective video.

5.2K30 and 3K60 Spherical Video
18MP Spherical Photo GoPro App Compatible
OverCapture allows for traditional video creation from 360 Advanced Stabilization
360 Audio Waterproof to 16ft (5m) Time Lapse Video + Photo, Night Lapse and Burst Modes Includes Fusion Grip Mount Voice Control in 10 Languages
GPS, Accelerometer, Gyroscope and Compass Wi-Fi + Bluetooth
GoPro Fusion is currently available for pre-order on for USA, Canada, United Kingdom and the European Union, shipping in November. The OverCapture mobile experience will be part of a new version of the GoPro App available for iOS and Android in early 2018.


Karma is ready for HERO6 Black and features two new auto-shot paths: Follow and Watch. Using GPS, Karma can now automatically follow the Karma Controller while you're on the go, keeping you framed in the shot. The Watch auto-shot path will keep Karma hovering in place while it rotates, keeping the Karma Controller in frame wherever it goes.

Other new Karma updates include an expanded Cable-Cam auto-shot path and "Look Up" camera tilt capability.
HERO6 Black compatible Follow - Follows the Karma Controller, framing you in the shot keeping the Karma Controller in frame while hovering in place Cable Cam – Set up to 10 waypoints for more complex shots Look Up Tilt – Allows camera to tilt upwards to look above the horizon Current Karma owners may unlock new features via firmware update, available today.

So as you can see GoPro has been pretty busy with a whole lot of news. I can’t wait to get my hands on the HERO6 and test it out for myself. Especially the waterproof to 16 ft. mark.


But our friends at GoPro are not the only ones that have been burning the midnight oil. Just when you thought RED might have their hands full with the Hydrogen One in full swing, out comes RED with their new Weapon with MONSTRO VV Sensor.

Designed to replace the replace the current RED DRAGON 8K VV MONSTRO (from the early reports) is rocking and a rolling to rave reviews. Check this bad boy out! A new cinematic Full Frame sensor for WEAPON cameras, MONSTRO™ 8K VV. MONSTRO is the next step beyond the RED DRAGON 8K VV sensor with improvements in image quality, including dynamic range and shadow detail.

This new camera and sensor combination, WEAPON 8K VV, offers Full Frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4-megapixel stills, and delivers incredibly fast data speeds of up to 300 MB/s. Like all of RED’s DSMC2 cameras, WEAPON shoots simultaneous REDCODE RAW and Apple ProRes or Avid DNxHD/HR recording. RED might have really outdone themselves this time They do march to their own drummer (can you say Hydrogen One) and is part of their appeal to cinematographers. Oh yeah, that and great imaging. What do I mean by that? Simple. A Weapon with these specs? Off the charts. I’m only going to list some, but you can go to their site for the whole skinny. Wow.

MONSTRO 35.4 Megapixel CMOS 8192 × 4320
40.96 mm x 21.60 mm (Diagonal: 46.31 mm) 17+ stops
Up to 300 MB/s using RED MINI-MAG (480GB & 960GB)
Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
60 fps at 8K Full Format (8192 × 4320), 75 fps at 8K 2.4:1 (8192 × 3456) 
60 fps at 7K Full Format (7168 × 3780), 75 fps at 7K 2.4:1 (7168 × 3024) 
75 fps at 6K Full Format (6144 × 3240), 100 fps at 6K 2.4:1 (6144 × 2592) 
96 fps at 5K Full Format (5120 × 2700), 120 fps at 5K 2.4:1 (5120 × 2160) 
120 fps at 4K Full Format (4096 × 2160), 150 fps at 4K 2.4:1 (4096 × 1728) 
150 fps at 3K Full Format (3072 × 1620), 200 fps at 3K 2.4:1 (3072 × 1296) 
240 fps at 2K Full Format (2048 × 1080), 300 fps at 2K 2.4:1 (2048 × 864)
23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
5:1 REDCODE for 8K Full Format (8192 × 4320) at 24 fps 
12:1 REDCODE for 8K Full Format (8192 × 4320) at 60 fps 
2:1 REDCODE for 4K Full Format (4096 × 2160) at 24 fps 
3:1 REDCODE for 4K Full Format (4096 × 2160) at 60 fps
8K Full Format (8192 × 4320), 2:1, 2.4:1, 16:9, 14:9, 8:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 
7K Full Format (7168 × 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 
6K Full Format (6144 × 3240), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 
5K Full Format (5120 × 2700), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 
4K Full Format (4096 × 2160), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x 
3K Full Format (3072 × 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 

2K Full Format (2048 × 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 29.97 fps 
ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps 
ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps
DNxHR HQX at 4K (4096 × 2160) 12-bit up to 29.97 fps 
DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps  
DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps 
DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps 
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps 

Now, I might be wrong but I think these specs will give you and me a little bit (a lot of bits) to chew on over the next several months until delivery time. The new WEAPON will be priced at $79,500 (for the camera BRAIN) with upgrades for carbon fiber WEAPON customers available for $29,500. MONSTRO 8K VV will replace the current RED DRAGON 8K VV sensor in RED’s lineup, and customers that had previously placed an order for a RED DRAGON 8K VV sensor will be offered this new sensor beginning today. New orders will start being fulfilled in early 2018. While certainly not inexpensive, I am sure there will be lots of cinematographers (me included) that want to see what MONSTRO will do. So I am for sure going to be playing the lottery. Also just for the fun of it, check out the definition of MONSTRO on Wiki. I am sure it will make you smile.


Sony hit the high-end cinema world with VENICE a 6K offering that is bound to turn heads and get the attention of serious artists. What a beautiful piece of engineering. With a full frame 6K sensor and XX stops of dynamic range. Sony VENICE has a straight-ahead design that should be familiar to a range of Sony users.

VENICE combines a newly developed 36x24mm Full Frame sensor to meet the high-quality demands of feature filmmaking. Full Frame offers the advantages of compatibility with a wide range of lenses, including Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses for a greater range of expressive freedom with shallow depth of field. The lens mount can also be changed to support E-mount lenses for shooting situations that require smaller, lighter, and wider lenses.  User-selectable areas of the image sensor allow shooting in Super 35 mm 4 – perf. Future firmware upgrades are planned to allow the camera to handle 36mm wide 6K resolution. Fast image scan technology minimizes “Jello” effects.

A new color management system with an ultra wide color gamut gives users more control and greater flexibility to work with images during grading and post-production. VENICE also has more than 15 stops of latitude to handle challenging lighting situations from low light to harsh sunlight with a gentle roll-off handling of highlights.

VENICE achieves high quality and efficient file-based production through Sony’s established 16-bit RAW/X-OCN via the AXS-R7 recorder, and 10-bit XAVC workflows. VENICE is also compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and high-speed Thunderbolt-enabled AXS-AR1 card reader, using established AXS and SxS memory card formats.

VENICE has a fully modular and intuitive design with refined functionality to support simple and efficient on-location operation. It is the film industry's first camera with a built-in 8-stage glass ND filter system, making the shooting process efficient and streamlining camera setup. 

Atomos and More!

The hits just keep on coming! I know what you are saying. Calm down! Yes I know but can’t help it when you get excited about new gear. Like I said IBC might be in the rear view mirror. That's ok. I asked our very own Bradford Hill Senior Producer for ProductionHUB for his take on IBC and he gave me some really great insight to the show from his perspective. “Very crowded and filled with energy,” Bradford pointed out and he pointed out a few new products to check out from IBC. All I can say is go check these products out and while you are at it check out Bradford’s great IBC videos on IBCHUB.

I am sure we are not done quite yet in 2017. With NAB NY and AES close, I am positive there will be a few interesting announcements to be had. Also although I can’t say who, there will be some interesting announcements from a major industry player very soon!

Be sure to check back often for our expanded NAB NY and AES coverage.

About the Writer 

Mark Foley is the Technology Editor for ProductionHUB. His work spans some twenty-five years of producing and directing live sports and television productions. Currently, he is in pre-production on his next documentary.

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