April 6, 2014

AJA is Making Cameras Now! CION is a 4K Global Shutter Cam with High Frame Rates

AJA 4K CameraIt looks like another hardware maker has entered the camera arena. First it was Blackmagic, who mainly made recorders and broadcast hardware, introducing the Blackmagic Cinema Camera. Now we have AJA, makers of very similar products as Blackmagic, introducing a camera of their own. The camera, called the CION, will record 4K and should be priced somewhere around $9,000.

AJA 4K Camera

And another from B&H:

AJA CION 4K Breakout

Here are some more photos of the camera:

At this point it's not surprising that companies that already make most of the necessary hardware are starting to make cameras. AJA really just needed a sensor and some processing boards, and they can bolt on the rest of their hardware to the back.

For under $10,000, you're getting a global shutter 4K sensor with a PL mount, high frame rates, all flavors of ProRes on-board, and Thunderbolt. It's unclear right now if it will be capable of RAW, but we will be checking out this camera at AJA's NAB booth, so be sure to stay tuned for more on this ergonomically-friendly beast.

Your Comment

100 Comments

Dang. Want to see more but on paper it seems we have another industry shake up possibly.

Say what you will about BMCC and how they haven't delivered on everything they said they would. In the grand scheme of things they lowered the price tag on a lot of this tech. Who knows, without their camera line maybe this company feels comfortable pricing theirs around $15,000 instead of $9,000. Can probably attribute the GH4 price tag to BMCC a bit as well.

Excited about this one though. Has a mini Alexa feel specs wise.

April 6, 2014 at 7:53PM, Edited September 4, 11:56AM

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Blackmagic delivered as far as I'm concerned. Been shooting projects all year that people think originated on Alexa or 35mm. I'm a fan.

April 7, 2014 at 12:09AM, Edited September 4, 11:56AM

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bwhitz

I gotta say; love the form factor on this one. Global shutter and high frame rates for 9K? This is awesome. All we need now is some sample images and if the footage holds up, I'll be the first in line.

April 6, 2014 at 7:57PM, Edited September 4, 11:56AM

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I must agree.
As a Scarlet-x owner it seems paying $9500 to upgrade to an Epic-X might be better spent getting a new camera entirely.
Time will tell.

April 6, 2014 at 8:01PM, Edited September 4, 11:56AM

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Exactly what I was thinking...will have to wait and see on accessory requirements, etc, but may be more worthwhile for a 2nd camera then 1 Epic, no matter how much I'd love having the Epic...

April 6, 2014 at 9:00PM, Edited September 4, 11:56AM

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Chase

So, guess this finally settles what people really mean when they say "form factor"... they mean "big". I guess people still have this weird idea in their head that the audience cares about what the camera looks like. Big cameras do not mean you're pro. Big cameras do not make films better. And please people stop saying "form factor"... just say what you mean... just be honest and say that you don't feel confident with small camera and you need something that fits on your shoulder to impress people and to grab those disgustingly awkward and uninteresting eye-level angles.

April 7, 2014 at 12:15AM, Edited September 4, 11:56AM

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bwhitz

Actually, it has nothing to do with being big and everything to do with being ergonomic. I would love a comfortable, shoulder-mounted, well-balanced camera. Small cameras are great for certain things but people who've used larger cameras designed for ergonomics know that there's a very good reason for that size and weight.

April 7, 2014 at 12:47AM, Edited September 4, 11:56AM

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rkim

Now with small cameras when you can make any ergonomy you wish, people are so dumb they still complain about how small it is etc. Its like looking at Mini and still moaning that you want it in Escalade size. :)

April 7, 2014 at 1:28AM, Edited September 4, 11:56AM

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Kuk

The first thing I thought was, wow...that shape makes sense. Like an Alexa. This camera may be comfortable, plus being big enough means having the proper 3-pin XLR's instead of mini-XLR's like Red Ones, or even worse, headphone jacks like Epics/Scarlets/BMCC's.

Bigger cameras balance so much better for steadicam too. Balance-wise, the best digital camera I've flown on my rig is the Alexa, hands down.

Bigger *is* better, at least compared to DSLR's for video or cube shaped RED's and even worse, flat wedge shaped cameras like the BMCC.

April 7, 2014 at 2:04AM, Edited September 4, 11:56AM

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Daniel Mimura

I couldn't agree more...it has nothing to do with "what looks pro" it's what works the best and film cameras have been standard movie making machines for decades and were always big. The alexa is the only thing comparable...the heavier the better, more inputs, better balance, less shake and vibration. Hit the gym if you need a small camera to operate as all the major cam ops/dp's have no problems manning 435's/alexa's and the likes for years. Look at someone like Sean Bobbit, this guy is pretty old and worn out but refuses to use anything else, especially for handheld....and there's a reason. I remember the first time i put an Alexa on my shoulder and shot with one, I instantly fell in love and now knew what all the hype was about and the weight wasn't bad at all IMO and we had master primes and all accessories...it was easily over a 50lb rig.

April 7, 2014 at 3:04AM, Edited September 4, 11:56AM

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Brad Watts

And I'm not taking nothing away from Sean Bobbit as i'm a big fan of his work and IMO he's one of the best DP/Cam Op's in the biz and as a person he's so humble and informative but if you watch his latest Arri workshop he talks about how handheld work can wear you out and what it does to your body over the years but he doesn't complain as he loves every minute of it and knows the cameras he uses are perfect.

April 7, 2014 at 3:07AM, Edited September 4, 11:56AM

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Brad Watts

I sometimes see comments about form factor which have to do with the perceptions of the client who perhaps isn't very familiar with camera models ie big meaning "it must be good" and a GH4 type body meaning "it's a bit small isn't it?" Is this true - does anyone have client stories like that ?

April 7, 2014 at 7:55AM, Edited September 4, 11:56AM

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Saied

Yes. Clients do not want to see little cameras. A little camera tells everyone on the set, you are not a professional. Clients like big cameras. Alexa, Red, Sony F5/55 and the like. Even shooting on a BMCC will get you pegged for an amateur. Part of the job is putting on a show. And nothing puts on a show like large equipment. You can try and dress up a DSLR with matte boxes, rails and whatnot but, in the end, you like a kid playing with tinkertoys.

April 7, 2014 at 11:09AM, Edited September 4, 11:56AM

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Disgustingly awkward and uninteresting eye-level angles. This is one of the best comments I've ever read. In one sentence you've proven that you are somebody I would have no interest in ever hiring. Well done. You won't get very far if your default setting is wild and extreme. The hardest work is done right in the middle, creating something fresh out of of something familiar. Anyone can mount a camera up a subject's nose and call themselves a pioneer but it takes real skill to do the commonplace and still make it surprising.

April 7, 2014 at 5:45AM, Edited September 4, 11:56AM

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Robin Schmidt

Cmon.... you can't be serious writing on a forum full of 5D and BMPCC owners that we all care about size... I shot Master Chef with a Sony shoulder ENG camera and i could not imagine having done it any other way due to the fact that these " big " cameras are solidly designed, and can be thrown around without any bits falling off or creeks and snaps of plastics etc. No rigging, just shooting. I also own C100 which is small but has everything i Need and mount it to my shoulder for an ENG style of shooting... but its still not as good as a fully balanced out of the box system.

To each their own but i don't think anyone makes a big deal of " form factor " due to the look. But more to do with the feel and comfort. Small powerful cameras are great, and will only get better. But sometimes its good to have a camera like this.

Excited

April 7, 2014 at 8:55AM, Edited September 4, 11:56AM

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i thought Black magic will announce a 4k cinema camera since they kept insisting the BMPC wasn't a cinema camera...bt too bad their cameras are full of delays...usually shipping before the next NAB (almost an year frm the announced)

April 6, 2014 at 8:16PM, Edited September 4, 11:56AM

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mathenge

If they present a new camera tomorrow, the big announcement should be: shipping now LOL
I think we will see a 4k Cinema Camera (note the Cinema and not Production).

April 6, 2014 at 9:33PM, Edited September 4, 11:56AM

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Mr.Floppy

Yeah, I've heard rumors that they're going to announce a new cinema camera with a new form factor.

April 6, 2014 at 9:39PM, Edited September 4, 11:56AM

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Coty

April 7, 2014 at 12:04PM, Edited September 4, 11:56AM

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I've decided. I'm also going to make a 4K camera. (if I could rebadge something, it'd be a plus).
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BTW, there are QEM "camera-in-the-box" solutions - sensor+processing+boards.

April 6, 2014 at 8:20PM, Edited September 4, 11:56AM

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DLD

Anyone know how much dynamic range it actually has?

April 6, 2014 at 8:24PM, Edited September 4, 11:56AM

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Gareth

I am more interested in this information, happy with the 444 prores tho

April 6, 2014 at 8:32PM, Edited September 4, 11:56AM

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t. cal

Now its a question of seeing the shutter. But all professional connections helps a ton - this could be a game changer if it has good dynamic range, nice colors, and a decent native ISO. Pretty amazing if it does. But then again this is the first camera made by a non-camera company.

April 6, 2014 at 8:45PM, Edited September 4, 11:56AM

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Not really. Blackmagic Design wasn't always a camera company.

April 6, 2014 at 8:52PM, Edited September 4, 11:56AM

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Coty

you're right - sorry meant AJA's first camera so could have a bunch of hiccups.

April 6, 2014 at 8:59PM, Edited September 4, 11:56AM

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Red wasnt company at all, they started from total zero.

April 7, 2014 at 1:47AM, Edited September 4, 11:56AM

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Kuk

It took Red about 2-3 years before the Red One was stable.

April 7, 2014 at 6:56AM, Edited September 4, 11:56AM

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If you have 4K ProRes 4444, who the hell needs raw? This looks like a mega movie making machine!

April 6, 2014 at 8:57PM, Edited September 4, 11:56AM

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Bob Gilles

More like a TV making machine (for the big budget/scripted TV). With studio lights, even if the DR isn't that great, it'll still be sufficient with a fast PL lens. Cion, much like AJA, is more about the workflow anyway but, assuming the IQ is there, it's a viable contender in everything from network TV to cable and the internet.

April 6, 2014 at 9:15PM, Edited September 4, 11:56AM

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DLD

Yes but it will do raw when released - that's what the Thunderbolt port is for- to send the raw data out to an external recorder - it will not do raw internal. I agree though - 4K 444 is enough for anyone. I never want to deal with uncompressed 4K...

I'm working in the AJA booth this week and the camera is fantastic - very well thought out with tons of smart features and insane AJA engineered 12bit internal processing so image is fantastic. There is some demo footage playing in 4K - simple stuff but very nice and we have 4 cameras to play with all week! My guess during the launch was 18 to 25 grand - when they showed 8,995 on the screen the crowd went nuts...

April 6, 2014 at 11:42PM, Edited September 4, 11:56AM

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Lance Bachelder

Lance, tell the head honchos to upload a few videos to the usual places. Right now, if you search for AJA, all you get is some old Steely Dan tunes (and I happen to like Steely Dan, btw).
.
PS. I wonder what this will do to the Varicam pricing. $8,000-$15,000 is the "meat of the market" range and, as of this second, there are only three cameras - Cion, FS-700+Q7 and 1D C - in this range, with 1D C becoming rapidly obsolete due to its codec.

April 7, 2014 at 1:04AM, Edited September 4, 11:56AM

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DLD

There isn't as much latitude to grade with if you just use ProRes 4444 instead of RAW. RAW isn't necessary for everything but it's still very important for professional workflows.

April 7, 2014 at 12:51AM, Edited September 4, 11:56AM

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rkim

And VFX.

April 7, 2014 at 1:57AM, Edited September 4, 11:56AM

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Kuk

LOL you sir are hilarious. Only the top Hollywood features and top 1% of commercials shoot in raw ( other than Red). Shooting in a log format gives you the same DR as well.

April 7, 2014 at 2:02AM, Edited September 4, 11:56AM

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Loo

@rkim the problem of you saying such things is some people here may actually think it's true.

@Kuk. VFX people almost don't work with RAW formats, it's all EXRs and DPXs, fact

People stop saying things you don't know. Stop repeating what you read in other blogs and forums and go talk to some pros to learn a thing or two.

April 7, 2014 at 8:58AM, Edited September 4, 11:56AM

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Marcus

Smart people are taking back NFS Woot!

April 7, 2014 at 9:01AM, Edited September 4, 11:56AM

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Loo

Can't wait to see more details on this. Dyanmic range, if it's RAW inclusive/upgradable, what the high speed frame rates are.

All in all, form factor looks great, and it looks like a legit, complete camera from the outside. T

April 6, 2014 at 9:09PM, Edited September 4, 11:56AM

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Ben Howling

Any word on availability?

April 6, 2014 at 9:23PM, Edited September 4, 11:56AM

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Available during 2014.
Prores OR raw in 4K.
12 stops of dynamic range.

Looks like cheaper F55 (meaning less able sensor, but same approach):

https://twitter.com/BHPhotoVideo/status/452952954685755392/photo/1

April 6, 2014 at 9:30PM, Edited September 4, 11:56AM

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Juhan-i

Do you have a link for the specs? If it has a global shutter and 12 stops of dynamic range, then the sensor is likely the CMOSIS CMV12000. I really wish CMOSIS had added dual readout à la the BAE/Fairchild CIS2051 or the Arri Alexa sensor. That might've increased the DR by a couple stops.

April 7, 2014 at 12:24AM, Edited September 4, 11:56AM

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Tzedekh

One thing for certain, until you buy your own and take it apart you will nevercknow who makes the chip. The camera is assembled at AJA with a magnesium housing so 2 pounds lighter than Alexa!

The 12 Stops is as of this week with current prototypes, this could change by summer release. The image is fantastic!

April 7, 2014 at 10:41AM, Edited September 4, 11:56AM

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Lance Bachelder

It looks like they bought Ikonoskop. I wouldn't complain if that were the case. That camera looks sweet. It'd be cool to see some footage from it.

April 6, 2014 at 10:10PM, Edited September 4, 11:56AM

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Pat

Thing is I think AJA is a much better quality technical company then BMD is and the customer support is absolutely fantastic. I think they will beat everyone on the head with this. So far the capabilities seem to be what we have all been asking for and the price is right in that magic slot. Let's see how this plays out.

April 6, 2014 at 10:15PM, Edited September 4, 11:56AM

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Nigel

The latest from an knowledgable source - it is raw capable through the Thunderbolt on a Mac tower. Just FYI

April 6, 2014 at 10:58PM, Edited September 4, 11:56AM

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Ken

$9,000-- is that with a viewfinder, record module, monitor, support handles, battery mount, and all the needed plug ins and cables? Or is it extra? Also, would you trust your reputation using equipment from a first-time camera maker? The Red One was unreliable and Blackmagic, well, the less said about that company's sub-par offerings, the better.

April 6, 2014 at 11:03PM, Edited September 4, 11:56AM

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James

Battery mount - yes. PL mount - yes. Viewfinder - no.

That's all I know so far...

April 6, 2014 at 11:20PM, Edited September 4, 11:56AM

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Ken

A great time to be in the industry for sure.

April 6, 2014 at 11:11PM, Edited September 4, 11:56AM

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You're still paying way more than 9000 to get it working unfortunately, unless you don't bother with PL lenses.

April 6, 2014 at 11:25PM, Edited September 4, 11:56AM

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IAn

As a current bmcc owner I'd say don't hold your breath for anything out of that company. They'll ship late and under deliver on their promises. Nice to see AJA in the market now. ASFAIK, they make great stuff and can actually ship a product on time.

April 6, 2014 at 11:56PM, Edited September 4, 11:56AM

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djfern

As a long term (well, as long as you can be) BMCC owner I've been on the lookout for something like this. Probably the only down side (from the very early specs) for me is the PL mount. An optional Nikon mount would have opened things up to a world of lens choices. Big jump to get a couple of good PL lenses or a zoom.

April 7, 2014 at 1:39AM, Edited September 4, 11:56AM

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MB

I find funny people saying that you really need RAW for professional workflows, most of the bi movies i worked on the delivery format is dpx 10bit, thats what goes to grading stdudios. If you dont believe call any big grading studio and ask their preferable formats.
So people, prores 4:4:4 is more than yoy need, just dont mess up the white balance that much or shoot the sun or a pitch plack room, in other words get a good dop.

April 7, 2014 at 1:48AM, Edited September 4, 11:56AM

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Marcus

Thank God words from someone who actually works in this industry who isn't a wedding videographer with a 5D.

April 7, 2014 at 2:06AM, Edited September 4, 11:56AM

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Loo

People always overlook the advantage raw has for archival purposes. Prores 4444 = huge data files = archival issues and WAY less cost effective.

April 9, 2014 at 12:10PM, Edited September 4, 11:56AM

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Brody

Wait...3-pin XLR for power (see the photos from the rear of the camera).

What? Just make it 4-pin like has been used in movies forever.

April 7, 2014 at 2:09AM, Edited September 4, 11:56AM

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Daniel Mimura

The power XLR is 4-pin. Look again.

April 7, 2014 at 3:38AM, Edited September 4, 11:56AM

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Baxter

Ah. So it is. In the left pic, they're stacking so two pins look like one.

April 17, 2014 at 2:01AM, Edited September 4, 11:56AM

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Daniel Mimura

On Arri film cameras:
4 pin XLR = 12v
3 pin XLR = 24v

April 7, 2014 at 6:01AM, Edited September 4, 11:56AM

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Charlie

True. And I will add that cables to power these camera via XLR are :
Arri Alexa : DC in to 3 pin XLR (24V)
Red Epic : DC in to 4 pin XLR (12V)

April 7, 2014 at 7:44AM, Edited September 4, 11:56AM

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Tom

Arri 24V power is a 2 pin Fischer connector. The other end of it can be whatever, depending on where it's coming from...(3 or 4 pin XLR are most common.). I've definitely seen more 4pin, like the IDX chargers AC out.

The Amira is their first new power cable in forever for Arri...they're switching to a smaller 8-pin connector (probably a LEMO).

April 17, 2014 at 2:12AM, Edited September 4, 11:56AM

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Daniel Mimura

Taking a few notes from vision research, I see.

April 7, 2014 at 6:24AM, Edited September 4, 11:56AM

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Natt

This will undercut Amira badly. Unless the footage is miles behind.

April 7, 2014 at 9:20AM, Edited September 4, 11:56AM

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Looks front heavy. The Amira shoulder mount is pushed forward much more to compensate for lens weight. Similarly, venerable f800 had more forward shoulder placement with chunkier back end for counterbalance. Might seem like griping but even slightly unbalanced camera with EF glass is a pain, let a long once you add on heavier PL. Hopefully they will fix in future iterations.

April 7, 2014 at 9:27AM, Edited September 4, 11:56AM

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Jeremy Nelson

The Amira has an adjustable shoulder, which is awesome. I can't remember what lens I had on the F800 I used on a couple shoots (it was a Fujinon, but it can't remember what one)...but it was not really the right balance.

April 17, 2014 at 2:17AM, Edited September 4, 11:56AM

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Daniel Mimura

Interesting that Red have announced today that they're taking orders for the Scarlet Dragon, to be shipped... probably starting in June. Pony up, suckers!

April 7, 2014 at 9:45AM, Edited September 4, 11:56AM

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Daniel

the question of the day is whose sensor is it in the camera seems there arn't alot of options out there right now and if its the same maker as BMCC is pulling from I don't think it will be anything too special. Seems like repacking sensors into cameras is the new thing I understand processing matters but much more excited to see new sensors coming out in the likes of the Panasonic camera and otherwise

April 7, 2014 at 11:14AM, Edited September 4, 11:56AM

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Big Internet He...

April 7, 2014 at 11:18AM, Edited September 4, 11:56AM

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Brian

Under $7K? Wowie ...

April 7, 2014 at 11:29AM, Edited September 4, 11:56AM

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DLD

VERY brave concept, especially with the truly modular SENSOR (!!) setup. Changeable by user !!!

If BM finally could deliver properly, they would really make their mark in business.

Yeah, but BM fans are this very moment probably starting to approach Redboys hubris : )

April 7, 2014 at 12:06PM, Edited September 4, 11:56AM

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Juhan-i

The Panasonic Varicam has a modular sensor setup too.

Blackmagic Design is getting kind of carried away though. The URSA is definitely intriguing, but it makes all of their other camera designs look absurd (which they were absurd to begin with). It'll be cool to see the original BMCC value drop to under $1000 because of this stuff though.

April 7, 2014 at 12:09PM, Edited September 4, 11:56AM

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Pat

Less form factors more Pictures ..... there are alot of camera options now but the sensor tech is what needs work.

There are still very few cinema cameras that really give film a full run for there money (Alexa, Red Dragon ....any others ....maybe Red MX on a good day) .... yet we see more and more cameras in this 5-25k range come out with sensor tech that isn't really pushing the boundaries... The form factor of this camera looks excellent but I dont care much because unless the image is good enough I dont want to shoot on it. I think my demand is to see cameras for sub 20K that produce film caliber images in terms of color and latitude and I think its only a matter of time but it would be nice to see people more invested in the sensors then just buliding new form factors

April 7, 2014 at 11:24AM, Edited September 4, 11:56AM

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jon smith

Official info - (video clips included) - http://www.aja.com/en/products/cion

April 7, 2014 at 11:49AM, Edited September 4, 11:56AM

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DLD

The new black magic (if it ever see daylight this year) seems to have simliar ergonomics. Looks great too.
4K on CFast 2.0 memory card
http://www.blackmagicdesign.com/products/blackmagicursa/techspecs

April 7, 2014 at 12:16PM, Edited September 4, 11:56AM

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Jonas

Oh well, it was fun while it lasted : (

Sensor size : "4K APS-C sized, 22.5mm x 11.9mm"

April 7, 2014 at 12:24PM, Edited September 4, 11:56AM

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Juhan-i

The biggest selling point for me are :

1. Full 4K = 4096 by whatever
2. framerates up to 120. I dont care if its 120 at 2k only it was similar in the red One and i blew it up it looked fine
3. Built in IR CUT, IR ND's are freakin expensive anyway
4. Prores 4444.

my money is going here. Sorry RED i love you but sniff sniff, i have to go :(

April 7, 2014 at 1:10PM, Edited September 4, 11:56AM

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Nigel

Just felt it up. Its a VERY serious unit.
PL only is a pain for me, but this camera is going to be VERY popular as long as the color science holds up.
There were a lot of C300 owners fondling it and drooling.

April 7, 2014 at 2:53PM, Edited September 4, 11:56AM

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marklondon

That last tweet says UHD, so its not full 4k

April 7, 2014 at 9:59PM, Edited September 4, 11:56AM

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stephen herron

It does 4K, UHD, 2K and HD.

April 8, 2014 at 12:17PM, Edited September 4, 11:56AM

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b_rock

Probably one of the most beautiful looking cameras out there.

April 7, 2014 at 2:16PM, Edited September 4, 11:56AM

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Dominik Belancic

The camera is not beautiful, you are...SHOOT FILM, those cameras are beautiful.

April 8, 2014 at 10:33PM, Edited September 4, 11:56AM

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This camera looks sweet and pro at the same time...however there are a couple of things that bother me...
1. no integrated ND filters....big minus
2. only pl mount....an option for canon or nikon lenses would be great
3. 120fps in 4k only via 3g-sdi (I guess all 3-4 of them at the same time)...a 120fps internal recording is what we need...if it can't be done in 4k...a 2k option would be great...and 4k option as an upgrade - but that marketing info is crutial at this moment...right here, righ now...

otherwise there is a lot to love about this camera...exciting times indeed...but please add internal nd's, internal 120fps and you have an absolute winner...

April 7, 2014 at 2:49PM, Edited September 4, 11:56AM

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Just found out you can get other mounts, just not from AJA :-)
It does up to 60fps 422 4K internally. That will do me most days.
If they added the other two things you mention it would be a 20k camera. You may as well buy an F55.
Its SOOO beautiful in the flesh. For those old enough to have used AATONs its like a 21stC magnesium version. It sits so well on your shoulder, and even with matte box isn't too heavy.
With that global shutter this is the ultimate run and gun/Greengrass drama cam.

Honestly, this year NAB is like Xmas in April. There is so much new great stuff (lighting is changing forever).

April 7, 2014 at 3:28PM, Edited September 4, 11:56AM

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marklondon

I may be alone, but I'm glad cameras are starting to look like cameras again.

April 7, 2014 at 4:09PM, Edited September 4, 11:56AM

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Frank

You are never alone :)

April 7, 2014 at 4:30PM, Edited September 4, 11:56AM

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Dominik Belancic

I know right? Took so loooooooong.

April 7, 2014 at 8:22PM, Edited September 4, 11:56AM

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I agree! It's what a camera should look and feel like.

April 8, 2014 at 1:58PM, Edited September 4, 11:56AM

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Love your comment, and you are not alone :)

April 9, 2014 at 4:04AM, Edited September 4, 11:56AM

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Anders

Here here! (said in my most gruff british accent)

April 9, 2014 at 8:39AM, Edited September 4, 11:56AM

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Grant

I think this cam will be a better, more flexible workhorse on set than the Ursa.

April 7, 2014 at 4:36PM, Edited September 4, 11:56AM

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Absolutely... no desperate "water cooling" needed. I'm sure the battery life will be a major problem for the Ursa. Good luck with that BM... I'm sure AJA will deliver and exceed expectations, unlike BM's track record of consistently disappointing customers. Why does anyone fall for that BM crap?

April 7, 2014 at 5:34PM, Edited September 4, 11:56AM

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Ken Mondale

BM was the first and the cheapest for the best quality video. I have a BMPCC and it it a pain to use sometimes, but I have ProRes422hq and RAW with 13 stops of DR at full 1080p for $1000 that I can record to relatively inexpensive SD cards. THAT is pretty amazing. There are no audio levels, the interface feels limited and you can't format the cards like in a DSLR, but I wouldn't trade it for the world. With the built in monitors and batteries you could take a BM camera, charge it up, slap a lens on it and shoot. It's not preferable, but you CAN. That is what is so impressive. The drawbacks are there, but when you have just a couple grand and want the best quality footage, BM is the best.

April 10, 2014 at 3:42PM, Edited September 4, 11:56AM

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Kent

Cion...with a couple of tweaks such as: hfr internal, nd internal, lens mount flexibility and announced upgrade path just send the payment invoice...coz I am in for the ride...

April 7, 2014 at 5:29PM, Edited September 4, 11:56AM

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Wow, looks like Sony DXC M3 , for youngsters it was 3tube camera from 80-ties.Lovely, very ergonomic,but Aja is lightweight, magnesium body. PL mount, hope deep for old glass. Waiting for the picture???

April 7, 2014 at 5:54PM, Edited September 4, 11:56AM

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MM TOP

PL mount and APSC sized sensor... sorry but I don't get it ?!?!

April 7, 2014 at 6:04PM, Edited September 4, 11:56AM

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Multiple mounts, I hear/read.

April 7, 2014 at 6:06PM, Edited September 4, 11:56AM

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DLD

hey guys, remember when Like Crazy was shot on a 7D? think about it.

April 7, 2014 at 6:20PM, Edited September 4, 11:56AM

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scott

Waiting for the real specs: ISO?, Dynamic range -12 stops in reality and handling highlights? Global shutter-proper motion cadence? If all this works as we are expecting from AJA, Cion can be perfect break time until new Alexa!

April 7, 2014 at 6:44PM, Edited September 4, 11:56AM

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MM TOP

Anyone have more information on their RAW recording? Is it uncompressed? What res? Bit depth? DNG?

April 7, 2014 at 7:53PM, Edited September 4, 11:56AM

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blurry

Did anyone find out any more specific news on how the cion 120fps recording works in real life situations...what kind of external recorders would support 4 x 3g sdi output....does it mean dragging a tons of additional gear and cables? if yes...then it means that this is something we can't do in run and gun and medium budget filming situations....if anyone has any input on this subject please share...thanks

April 8, 2014 at 6:15AM, Edited September 4, 11:56AM

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prores 444 12bit=huge file size
it wil shred your storage drives into small tiny pieces..
its size makes RAW look like a puppy

April 8, 2014 at 8:50PM, Edited September 4, 11:56AM

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mathenge

"prores 444 12bit=huge file size"

Been looking for that, maybe I missed it, but how do we know it shoots in 12 bit?

April 9, 2014 at 8:43AM, Edited September 4, 11:56AM

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Grant