High frame rates and BRAW breathe new life into the popular sensor format, but is it enough?
When the Panasonic GH6 was finally released, the Micro Four Thirds format received some hearty updates that gave it a fighting chance against its larger sensor competition.
A higher resolution sensor increased dynamic range and reduced noise while providing impressive recording specs.
But at launch, RAW recording wasn’t on the table yet. While ProRes RAW via an Atomos Recorder was eventually added, BRAW wasn’t yet ready for the limelight. With the new V2.3 firmware updates, DaVinci Resolve users are getting some much need love.
The GH6 Firmware Updates V2.3
When released, the GH6 punched well above its weight. Its 25-megapixel Micro Four Thirds sensor enabled filmmakers to capture up to 5.7K 60p and 300fps in FHD with the Variable Frame Rate mode. In the 4:3 Anamorphic Mode, the GH6 reached a respectable resolution of 5.8K up to 29.97p.
Firmware version 2.3 now adds BRAW video output over HDMI to a Blackmagic Design external recorder, giving the GH6 the ability to record BRAW in 5.7K, Cinema 4K, Anamorphic 4:3, 5.8K Anamorphic 4:3, and 4.4K in 12-bit RAW. Specifically with the Blackmagic Video Assist 5” 12G HDR and Blackmagic Video Assist 7” 12G HDR.
In addition, creatives will also be able to 120p and 100p video at 4K over HDMI, which opens up a lot of other monitors/recorders and even provides some interesting opportunities for those in live production.
But Does the MFT Sensor Have a Future?
All these updates are a welcome addition to such a unique platform. The smaller sensor allows for high frame rates and high-resolution recording at a respectable budget.
But with camera technology blasting into the stratosphere, is there even a place for an MFT sensor?
With both the Sony FX30 and BMPCC 6K G2 topping out at 120p while also giving creatives some amazing features and color science, it’s hard to look at the GH6 and see its benefit, even with 300fps on the table.
Unfortunately, the MFT sensor seems to be finding a limit to what it can do. While the future may see the technology push the boundaries further when it comes to frame rates and resolution, it’ll always be catching up to the powerhouse that is Super35 (APS-C) and Full Frame. Fujifilm has also been exploring what medium format can offer to cinematographers with its GFX line.
Whatever the future may hold, MFT might finally be riding off into the sunset.
But what do you think? Do MFT sensors still have life left in them? Let us know in the comments!
