The New Hasselblad H6D-100c – Medium Format 4K RAW Video

April 8th, 2016
The New Hasselblad H6D-100c - Medium Format 4K RAW Video

In a bold move from Hasselblad, the new H6D-100c looks set to include some impressive video capabilities in the form of 4K Hasselblad RAW video up to 30fps.Hasselblad H6D-100While it’s been clear for some time that a move beyond super 35mm and even full frame sensors would materialise at the high-end of digital cinema acquisition, the likes of Arri’s Alexa65 reaches a niche demographic among the world’s top cinematographers, and is rental-only. It’s never been totally clear where a more mainstream offering would come from. At EUR 28,900 the H6D-100c is hardly mainstream in the sense of the average DSLR, but it will be a commercial production camera, stocked by dealers, and accessible by anyone willing to part with the cash.

If you are craving the ultra shallow depth of field, and the commanding imaging aesthetic of the ultra large format look in video (think Lubezki’s arresting cinematography with the Alexa65 in The Revenant, and Robert Richardson’s work with Ultra Panavision 70 in The Hateful Eight), it looks like the new Hasselblad H6D-100c might give you just that.

Now let’s be clear, the Hasselblad H6D is primarily a tool for professional photography, and it’s not in any way, shape or form an answer to the Arri Alexa65 or RED’s VistaVision 8K Weapon.

It’s clearly not a cinema camera – it’s a Hasselblad, a descendant from a long line of Hasselblad medium format bodies. It’s not intended for rods and matte boxes and all the cinema add-ons. However, it is interesting that a camera of any form capable of recording 4K UHD RAW video from a massive 100MP 53.4mm x 40mm medium format sensor at this price point would come from a stills camera manufacturer, and not Arri, RED, or Sony.

In a sense, it’s not at all surprising. The worlds of photography and videography have been colliding for some time now; RED Digital Cinema coined the term “DSMC” (Digital Stills and Motion Camera) to encapsulate this direction. This collision is coming from two different perspectives and technological histories. From the standpoint of the digital cinema cameras we all know and love, super 35mm has been the standard. Up until now, the love-child of the photo and video worlds has been the full frame 36mm x 24mm (or thereabouts) video from DSLR’s, and RED, of course, have taken this format and run with it in the VistaVision 8K Weapon.

What Hasselblad have done in this sense is a natural progression of that technological confluence. If anyone knows medium format, it’s Hasselblad.

Go Big or Go Home

Let’s look at a quick comparison of some of the largest video capable sensor sizes to date. This is sensor size only, I’m not getting into comparing overall resolution or pixel pitch here.

Full Frame DSLR: 36mm x 24mm
RED Weapon 8K VistaVision: 40.96mm x 21.6mm
Phantom 65: 52.1mm x 30.5mm
Arri Alexa 65: 54.12mm x 25.58mm
Hasselblad H6D-100c: 53.4mm x 40mm

Hasselblad new H6D-100c

It’s still early days, and of course, we don’t have any footage to share and haven’t touched or seen the H6D in the flesh yet. There is much more of this story to be told in the coming months, there’s a lot of specifics and details we don’t yet know. All we can say is it looks very interesting on paper, this is a camera worth keeping an eye on.

Hasselblad H6D-100c Video Specifications

Here’re the important highlights of the  Hasselblad H6D-100c’s video capabilities.

Sensor Type: CMOS, 100 megapixels (11600 x 8700 pixels, 4.6 x 4.6 μm)
Sensor Dimensions: 53.4mm x 40mm
Video Size: HD (1920 x 1080p) and UHD (3840 x 2160p)
File Format: H.264 Compressed (30 fps) (HD only), Hasselblad RAW (HD & UHD) (24fps currently)
Color: 16 bit
Dynamic Range: 15 stops
ISO Speed Range: ISO 64, 100, 200, 400, 800, 1600, 3200, 6400, 12800
Lenses: Hasselblad H system lens line with integral central lens shutter
HDMI Out: Clean 1080p output

Download the full datasheet here.

There are of course important questions to be asked. The most important one in my mind for any high end video application is the performance (read-out/reset time) of the rolling shutter. If it’s fast enough, fantastic, if it’s too slow, there’s the possibility that jello might kill the H6D-100c’s potential appeal.

Of course, with a maximum frame rate currently of 24fps in 4K RAW, it’s not going to be attractive to high frame rate aficionados but for some, 24fps and perhaps 30fps to come is just fine (30fps is currently available only in 1920x1080p H.264).

It’s also important to consider lensing options, Hasselblad offers a fantastic line-up of H system lenses ranging from 24mm to 300mm and 50-100mm, and 35-90mm zooms. You can see the whole lens line-up here. It’s important to remember however that these are photographic lenses with electronic aperture. Coming from a 35mm background, you’ll also need to be aware your field of view is a lot wider with a medium format sensor for any given focal length.

Note: Hasselblad will be offering a similar model (H6D-50c), with a reduced pixel count (50MP) and a slightly smaller sensor. The 50c model offers 1080p H.264 video capabilities only.

While we don’t yet have full international pricing details, the price in Europe for the H6D-100c body will be EUR 28,900 (ex VAT) and B&H are taking pre-orders, it’s listed at $32,995.

For more information, please visit the Hasselblad H6D site: http://www.hasselblad.com/h6d

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Member
May 10th, 2016

Hello,
I need to get a one minute video sample (4k raw data) to test a codec. Can anyone provide it?
Thanks in advance and best regards.
Flavio
[email protected]

m saleem abbasi
m saleem abbasi
Guest
December 12th, 2018

good looked

Anonymous
Anonymous
Guest
April 21st, 2016

Un golpe de poder a la actualidad es lo que ofrece esta Hasselblad H6D incorporando vídeo 4k

Member
April 12th, 2016

I read that Arri has rehoused Hasselblad lenses for their Arri 65, so it seems the Hasselblad lenses are up to the task. I’m assuming that’s what was used in “The Revenant,” which looked pretty good.

Member
April 12th, 2016

I read that Arri has rehoused Hasselblad lenses for their Arri 65, so it seems the Hasselblad lenses are up to the task.

Mike Sita
Mike Sita
Guest
April 11th, 2016

This look like a pretty sweet stills camera, no doubt about that. But at that price point, there are way better cameras for shooting video. I’ll take the F55 over this any day of the week.

Member
April 10th, 2016

Resounding NO.

Jim Phillips
Guest
April 9th, 2016

I can’t afford it, but it’s definitely a future rental. The ability to capture video and stills that match perfectly is an incredible thing from the stance of creating integrated campaign assets for marketing and brand. Can’t wait to take one for a spin.

 Iain Philpott
Iain Philpott
Member
April 11th, 2016
Reply to  Jim Phillips

Absolutely. For the fashion/beauty photographer who shoots primarily stills and needs to match the stills with video this is looking very good. Who can afford it – any photographer who is working enough. My first Phase back, P25, cost me £25k + £12k for the H1 system to support it and I got my money back in the first year. Having shot a fair bit of ‘stills from motion’ this is a far better option where the primary requirement is the stills. Just the fact that the camera works in portrait mode handheld – have you tried rigging a Dragon for portrait? Nightmare. I would still opt for the RED if motion was priority (high frame rates and all the other goodies) but in terms of a true DSMC camera, if it’s as good as the spec sheet and very aware of H’s history and reputation, this is a killer camera. Can’t wait to see what Phase comes back with…… exciting times!

Daniel Medina
Guest
April 9th, 2016

María Paula

Tiago Da Cunha
Guest
April 9th, 2016

Who the hell is going to buy this? It’s a 35k$ camera, people who buy this certainly don’t want to shot video, and if they want obviously they have money for a real video camera.

Member
January 17th, 2020
Reply to  Tiago Da Cunha

Hasselblad was my main camera platform for 30 years. That was back when Ernst Wildi kept the quality and customer service level up in the stratosphere. I had four cases of their gear and once, when my Superwide went into the lake during a Regatta shoot, Professor Wildi sent me his personal Superwide until Blad could get me a new one. Now, with prices in the stratosphere and customer service in the tank, plagued with overheating and numerous other gremlins, I think I’ll pass. Oddly, three years ago I got fired up to see what they had and requested a demo via the Hasselblad site. They must be really busy because they haven’t answered my request yet.

Oman Mirzaie
Guest
April 9th, 2016

pity about the ludicrous pricing, would be a dream to own and shoot some MF video with!

Phill Morgan
Guest
April 9th, 2016

I quite fancy a medium format to progress up to.

Jim Phillips
Guest
April 9th, 2016

Only a matter of time. Nino, didn’t I mention this at Wotton House? So funny.

Nino Leitner
Guest
April 9th, 2016
Reply to  Jim Phillips

Absolutely

Brian M. Gurnett
Guest
April 8th, 2016

Yawn…

Eric Bogan
Eric Bogan
Member
April 11th, 2016

Agree!

 the SUBVERSIVE
the SUBVERSIVE
Member
April 8th, 2016

People obsessed over sensor size should really go for this!

 m hazza
m hazza
Member
April 8th, 2016

What is the 4k video Color depth ? 16 bit ?

 m hazza
m hazza
Member
April 8th, 2016
Reply to  Richard Lackey

for my .. it is like a dream come true .. But the price is expensive

Member
April 8th, 2016

The best lens known to man — the Zeiss Otus 85mm — can only resolve 35MP. Anyone see a problem here?

Member
April 8th, 2016

LOL. Hasselblad when to Zeiss when they made the H system. They gave Zeiss a certain set of specs they were looking for and Zeiss couldn’t do it. So Hasse went to Fuginon and fuginon came through. I own the H5d and let me tell you, the Fuginon H lenses are outstanding. Your little Otus is the so called “best known to man” on your little sensor.

Member
April 8th, 2016

Bigger Sensor = Bigger Dick. Got it.

Member
April 8th, 2016

No, bigger sensor = bigger paycheck and production. Happy shooting.

Member
April 8th, 2016
Reply to  Richard Lackey

That’s a good point and I’m aware of that, but just like we have 50+ megapixel full frame cameras we can’t fully resolve, wouldn’t that same concept apply to medium format? 100MP just seems excessive to me.

Member
April 8th, 2016
Reply to  Richard Lackey

Makes sense : ) Thanks for the insightful convo!

Member
April 9th, 2016
Reply to  Richard Lackey

Well said. Speaking of billboards, Clear Channel Media/Outdoors owns a number of very large (think JerryWorld) UHD digital billboards, spread out across the world (Times Square, London, Paris, Hong Kong, etc.). Just imagine what content shot on this camera would look like with that type of presentation. Super slo-mo would look super-cool…

Member
January 17th, 2020
Reply to  Rene Lagunas

That’s a big misnomer actually, Clear Channel’s photographer specifications for a billboard are 8×10 @ 300dpi.

Belén Ruiz
Guest
April 8th, 2016

Yago for you mate!!!?

Dheerankur Upasak
Guest
April 8th, 2016

Any give away ??????? ;)

Matthew Nehrling
Guest
April 8th, 2016

Unlimited RAW burst… Nuf’said.

Gene Nemetz
Guest
April 8th, 2016

Say bud, can you spare a $35,000.00?

Jannis Seid
Guest
April 8th, 2016

shut up and take my money that i dont have

 Alexander Vanderploeg
Alexander Vanderploeg
Member
April 8th, 2016
Reply to  Jannis Seid

best comment ever. :)

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