Filmmaking lens specialist, Xelmus, has debuted the world's widest anamorphic lens: the Xelmus Aura 16mm 2x, which boasts a bootylicious 150° field of view.

Xelmus is at the forefront of the cine lens game, having provided glass for productions like Star Wars: Obi-Wan Kenobi, Predator: Badlands and The Running Man.

While developments in spherical lens design happen all the time, things move a lot slower when it comes to anamorphic lenses. However, Xelmus' new optic – which was just revealed in Las Vegas at NAB 2026 – proves that there are still big breakthroughs happening in the world of anamorphic.

Described by the Ukrainian manufacturer as the "pinnacle of our booth", the Xelmus Aura 16mm 2x joins the Aura family of Super35 T2.2 and T2.3 lenses (which currently comprises 20mm, 30mm, 40mm, 50mm, 60mm Macro, 75mm, 100mm and 135mm).

"This [is a] crazy-wide lens that's meant to unlock new levels of creativity for DP [directors of photography] and directors, and it's gonna be out at the beginning of the next year," said Xelmus' Oleksandr Anpilohov.

"It is still [a] prototype, it's still 3D-printed, but it is a show-off of what we can actually do."

Cinematographer Markus Forderer (Independence Day 2, Red Origins) of Cineflares was able to test the lens at the show.

"The front astigmatizer focusing system and special lens coating create classic anamorphic flares while holding contrast when bright light sources are present in the frame.

"The lens is fairly compact, considering the extreme wide field of view. Flares and overall optical characteristics match nicely with the new Aura line up and can also expand the range of the Apollo [fast prime] lens set."

Like all of Xelmus' lenses, the Aura 16mm 2x comes in the industry standard Arri PL mount. This can easily be adapted to virtually any camera system, including Canon RF, Nikon Z and Sony E, so the lens can be used on the best cameras for filmmaking from all brands.

Preorders for the Xelmus Aura 16mm 2x are open now, with a 50% deposit required on the $21,000 (approximately £15,500 / AU$29,300) price tag. The waiting period is quoted as 6-12 months.

And, in case a ridiculous 150° field of view isn't tempting enough for you, Xelmus also lists "Waterfall Bokeh" as a feature of Aura lenses, which "creates a dreamy, immersive depth, enhancing the emotional impact of each frame." If that's not with 21 grand, I don't know what is!

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A number of portable hard drives have aimed to offer creators the ability to back up photos and videos on site, but PixelMob is a new portable device that doesn’t just back up photos and videos. PixelMob is a hard drive with a built-in screen that doubles as a portable HDMI monitor, automates processes like HDR and focus stacking, and even culls and color grades photos on site.

The UnifyDrive PixelMob, unveiled over the weekend at the NAB Show, is at its core a NVMe SSD storage drive with a built-in touchscreen and memory card slots. That combination allows creators to create backup files on-site.

UnifyDrive says those backups have six layers of security, including a downloadable backup report that creators can send to commercial clients if needed. The company says those six layers include a streaming checksum verification while the files transfer, write-after-read on-disk integrity checks, RAID 1 mirroring, continuous SMART health monitoring, synchronous dual-location writes, and AES-256 encrypted cloud backup.

While backups may be the primary purpose of the PixelMob, that’s not the only feature built into the gadget. The drive uses on-board AI to cull photos – or choose the best ones – on site. Creators can use the screen to swipe left to toss it or swipe right to flag it as a keeper.

Culling isn’t the only feature powered by on-device AI. The company says the gadget will also power voice-controlled color-grading for photos on the device itself, which will export as XMP files that are supported by programs like Lightroom and Capture One.

The PixelMob is also compatible with camera tethering. Beyond placing files immediately on the drive, using a wired tether allows the PixelMob to automate focus stacking and HDR processing. The company says it can also be used to create time-lapses, stack star trails, and work with auto exposure bracketing.

The PixelMob also has a Wi-Fi Hotspot built-in that allows for sharing photos without downloading a dedicated app. Recipients scan a QR code to receive batch transfers connected to the drive itself rather than an internet connection.

The PixelMob will have two variants, one a smaller 5.5” screen with an eight-hour battery, and a larger 7” screen that also adds CFExpress Type B support and up to 10 hours of battery life.

The concept of a portable hard drive with a built-in card slot and screen for on-site backups isn’t new – and some earlier attempts at similar on-site drives have had limited success, like the LaCie Rugged BOSS and the Gnarbox, both of which are no longer available.

But, PixelMob is trying to be more than just a backup solution. There’s one missing piece in the announcement, however. UnifyDrive hasn’t yet shared the price for the PixelMob, nor a launch date, though an email sign-up list is open on the device’s website. The photos of the prototype drive and specs are subject to change.

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GoPro is entering a new era with the launch of the Mission series. But while the April 14 announcement of the GoPro Mission 1, Mission 1 Pro, and Mission 1 Pro ILS came full of details like open gate 8K60 from a one-inch sensor, a key detail has yet to be revealed: price.

The Mission series is GoPro’s move into more cinema-grade cameras, sporting two fixed lens cameras and one mirrorless body that takes Micro Four Thirds lenses. All three Mission cameras have one-inch sensors larger than those of the brand’s longstanding Hero series.

But one detail that the company has yet to share? How much that sensor upgrade is going to cost. The price of the GoPro Mission 1 Pro, along with the Mission 1 and Mission 1 Pro ILS, have not yet been announced.

It’s not unusual for a camera announcement to come without an official price, but thankfully, it doesn’t seem that GoPro fans will have long to wait. GoPro says that the price will be unveiled during the NAB Show in Las Vegas, Nevada, which is slated for April 19-22.

While I’m fully expecting to find out the price of the Mission 1 and Mission 1 Pro in the coming days, I wouldn’t be surprised to have a longer wait for pricing details on the ILS mirrorless. The GoPro Mission 1 Pro ILS without a built-in lens isn’t launching until the third quarter of 2026, and without an exact launch date, I won’t be surprised if the price on the ILS model doesn’t come until later.

The Mission series is a major change for the action camera giant – while it may be easy to speculate on the price of the Hero cameras with its longstanding history, I’m less confident trying to guess the price point for the new cameras.

The Mission 1 Pro will certainly come at a higher price than the Hero13 Black, so guesses under $429 / £399 / AU$649 are just wishful thinking. The question is, how much more?

Looking at the price point of a few other cameras can offer some hints. The Sony ZV-1 II also has a one-inch sensor, and that’s priced at around $899 / £870 / AU1,349. The Canon PowerShot V1 has a 1.4-type sensor, and that’s priced at $899.99 / £959.99 / AU$1399.95.

But comparing the Mission series to a vlogging compact camera is like comparing apples to potatoes. Those point-and-shoots have zoom, the Mission 1 Pro does not, but it has 8K60 open gate too.

Another key factor? Waterproof cameras tend to be more expensive than non-waterproof options with similar specs, and the fixed lens Mission 1 models are waterproof without additional housing (the ILS is not waterproof).

The GoPro Mission 1 Pro ILS is even harder to speculate on. While there have been one-inch sensor mirrorless cameras before, cameras like the Nikon 1 series are well in the past. And while the one-inch sensor suggests something more affordable than a budget APS-C camera, the specs like 8K60 open gate don’t sound cheap.

GoPro calls the Mission series cinema cameras, a category that isn't known for being cheap, but the one-inch sensor has me hoping that the Mission Series will be a budget alternative to high-end cinema cameras.

I can only guess at the cost of the GoPro Mission 1 Pro – and the slightly less speced out Mission 1 without the Pro in the name. I think price will be a major factor in just how well the Mission 1 series does.

But, according to GoPro’s announcement, the pricing will be revealed at the NAB Show, so GoPro fans likely only have a few more days to wait to find out.

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Viltrox is getting ready to launch the company's first wide-aperture autofocus APO lens, as the lens brand teases a new Evo series lens coming next week.

The third-party lens manufacturer posted a teaser on Instagram on April 13, stating that the new lens would be revealed on April 20.

The teaser says that the lens is the company's first "large aperture" APO AF lens. The image paired with the teaser has a few more hints: the forthcoming kit is for full-frame cameras, and it features a 58mm filter thread along with a 1.4ft (0.43m) minimum focusing distance.

The APO in the teaser – and Viltrox's mention of "see color" suggests that the lens will be designed to fight chromatic aberration, or colored fringing.

While this information gives no indication as to the focal length, I think we’re most likely to see a nifty-fifty (50mm) with a maximum aperture in the region of f/1.4-1.8.

The EVO lineup is in its infancy and currently only features an 85mm f/2.0 for Sony E-mount and Nikon Z-mount, so it would make sense for Viltrox to build it out with typically high-demand focal lengths first. With that in mind, my second guess would be that the new EVO will be a 24mm wide-angle.

Viltrox has already mentioned that new EVO lenses would be displayed at NAB this year, which is happening April 18-22 in Las Vegas, Nevada.

Interestingly, this latest Instagram announcement mentions a single lens, while the previous announcement talks of multiple new EVO lenses coming to the show. So, I’m also hoping to see a 135mm f/1.8 APO showcased and, potentially, a 35mm f/1.4 APO.

NAB begins April 18 and runs until April 22, so we’ll know for sure what Viltrox has in store for its EVO lineup then.

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GoPro has crammed its iconic stabilization and durability into three cameras with one-inch sensors – and one of them is a mirrorless camera. The GoPro Mission 1 series evolves the action camera giant's lineup into the next generation using 50MP, 8K60p one-inch sensors inside the Mission 1 and Mission 1 Pro action cameras and the Mission 1 Pro ILS mirrorless cinema camera.

All three cameras use the same sensor – a one-inch sensor with a Quad Bayer design capable of taking up to 50MP stills – and the new GP3 processor. That sensor and processor combo is mixed with the stabilization and durability that GoPro is known for (though the Mission One Pro ILS won’t be waterproof), but also tweaks some of the complaints among Hero users, including up to 5 hours of recording time.

The Mission 1 and Mission 1 Pro are both high-end action cameras that feel like a natural evolution of the Hero series. But the same sensor and processor will also be coming to a varrioless variant in the fall, the GoPro Mission 1 Pro ILS, which is set for launch later in 2026, which mixes that one-inch sensor with a Micro Four Thirds lens mount.

The Mission 1 series, announced on April 14, is a monumental change for the company, which has used the Hero name since its first-ever camera in 2004 – only straying from the Hero name with its 360 cameras like the GoPro Max and GoPro Fusion, and the Karma drone.

The GoPro Mission 1 Pro and Mission 1

Using the same one-inch 50MP sensor that will also feature in the mirrorless variant, the GoPro Mission 1 Pro is the flagship of the two action cameras, with video specs that top out at 8K60p, slow-mo at 4K 240 fps, and 1080 at 960 fps. That feature list includes open gate, which GoPro says uses every pixel on the sensor for more cropping flexibility for creators who need to deliver video in multiple aspect ratios. 10-bit color with GP-Log2 is also included.

Those video specs have enough resolution that, if users don’t want to use the 50MP still photo mode, the stills pulled from the 8K footage are still 44MP. Similarly, bursts are up to 60 fps. RAW photos are supported, while SuperPhoto supports HDR JPEGs.

The Quad Bayer sensor design is one that allows four neighboring pixels to be used as one, powering a lower resolution mode that tends to create less noise than shooting at the maximum resolution. For the Mission 1 sensors, a 12MP photo mode and 4K Open Gate use those larger combined pixels for better low light quality,

Alex Cashman, Senior Manager of Image Processing at GoPro, says that the larger sensor doesn’t just bring the low-light performance that fans have been asking for, it’s also the “highest dynamic range ever from a GoPro” at up to 14 stops.

But, GoPro says that the Mission 1 Pro is the smallest, lightest, and most rugged 8K Open Gate cinema cameras yet. The Mission 1 Pro weighs 207g / 4.3 oz – that’s only about 48g / 1.7 ounces heavier than the Hero13 Black. The body measures about 80.1 W x 52.1 H x 44.3 mm.

Like the Hero13 Black, the Mission series uses LCD screens at both the back and front of the camera. The user interface has been revamped as well, and users will find controls to shoot in manual mode with shutter speed and ISO, along with GoPro’s intelligent capture auto modes geared around specific types of shoots, including vlogging, underwater dive, low-light, and subject tracking. The mobile GoPro Quik app is also supported in the new series.

Thanks in part to a new Endura 2 battery – which is backwards compatible with the Hero13 Black – and the improved efficiency of the new processor, the GoPro Mission 1 Pro can record 1080p30 video for as long as five hours on a charge, which is 70 percent longer than the Hero13 Black, and 4K30 for three hours.

GoPro’s HyperSmooth electronic image stabilization continues in the Mission Series, and the Mission 1 Pro and Mission 1 are also both waterproof to 20m / 66 feet without additional housing.

The Mission 1, without the Pro in the name, carries most of those same features but dials down the high-end video specs. The more affordable version tops out at 8K30, and Open Gate isn’t available in the highest resolution but is available for 4K modes, including the 120 fps slow-mo mode.

Both the Mission 1 and Mission 1 Pro will use ultra-wide 15mm equivalent lenses with fixed apertures and fixed focus, similar to the view from the longstanding Hero series.

GoPro Mission 1 Pro ILS

The GoPro Mission 1 Pro ILS carries the same sensor, processor, stabilization, and battery life of the fixed-lens – but swaps out the 15mm lens for a Micro Four Thirds Mount. Using a lens mount that already has a long history will allow the Mission Pro ILS to access hundreds of different compatible lenses, such as those from OM System and Panasonic, at launch.

The Micro Four Thirds sensor is larger than the one-inch type inside the Mission series, so lenses attached to GoPro’s first mirrorless camera will have a 3x crop factor. A 50mm lens attached to the GoPro mirrorless, for example, will look like a 150mm lens thanks to the smaller sensor.

Swappable lenses will allow the GoPro mirrorless to tackle a variety of shots that the brand’s fixed lens compact cameras haven’t achieved in the past, including macro and telephoto shots. Wide-angle shots will be harder to accomplish, but not impossible – there are a handful of Micro Four Thirds zoom lenses that start at 7mm, which would be 21mm on the GoPro mirrorless.

Removing the lens creates another key difference from the fixed lens Mission cameras as well as the past GoPro Hero cameras: How the camera focuses. Past GoPros have used fixed focus because the smaller sensor and ultra-wide lens leave much of the image in focus. The GoPro Mission 1 ILS won’t have fixed focus, but it won’t have autofocus either – the mirrorless will be manual focus. Manual focus is common on high-end cinema cameras, but the in-between cameras that cater to vloggers and beginners tend to use autofocus.

Since GoPro isn’t building the lens for the Mission 1 Pro ILS, the mirrorless camera isn’t submersible like the fixed lens cameras in the Mission series – at least, not without extra housing. GoPro did note that, if the body is paired with a weather-resistant lens, then the camera will be splash-resistant.

GoPro Mission accessories

,Like the stabilization and durability ratings, there’s another key trend that carries over from GoPro’s Hero Era to the Mission Era: accessories. And there are several launches with the new Mission series. All three cameras will have the traditional GoPro mounting fingers as well as the more recent magnetic mount and a tripod mount, so the new models will be compatible with more than 50 existing mounts.

One key GoPro first is that the company is launching its first wireless mic. Four built-in mics capture audio internally, including 32-bit float audio, on all three new cameras. But, creators can elevate the audio with the new GoPro Wireless Mic Kit, which has two transmitters, a receiver and a charging case. The wearable mics themselves weigh less than 10g, which is about the weight of two sheets of computer paper. The mic system is rated for distances up to 150m / 492 feet.

Like earlier GoPros, a new Media Mod will be available, which adds in a three-mic array as well as a cold shoe slot. A vertical mount adapter gives the GoPro Mission – and the Hero12 and Hero13 – a magnetic vertical mount. And, GoPro will even allow creators to turn it into a point-and-shoot camera with a Grip Edition accessory that makes the Mission 1 Pro feel more like a compact camera.

The Mission 1 Pro and Mission 1 will be available for pre-orders beginning on May 21, with shipping expected for May 28. The GoPro Mission 1 ILS does not yet have a firm launch date, but it is coming in the third quarter of 2026, so sometime between July and September 2026.

GoPro has not yet shared pricing details for the new Mission series. The cameras will be sold in multiple configuration bundles, including options paired with the new Mic.

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DaVinci Resolve has a reputation for color-grading major Hollywood films – and now those same tools are coming for still photos. DaVinci Resolve 21 will support still photos, including organizing and culling, color editing, and node-based editing – and it’s part of the free version of DaVinci Resolve.

During a livestream event on April 13, Blackmagic Design unveiled DaVinci Resolve 21. The software update brings a long list of tools for video editors, but the software also jumps into editing for still photos. Along with giving photographers access to longstanding color tools, the update gives hybrid creators working in both video and stills one program that can edit across both formats.

BlackMagic Design says that the move brings Hollywood-level color tools to still photography, giving still creators cinematic color grading tools. Cinematic photos have been a rising trend on social media lately – BlackMagic’s move brings actual cinema color tools into still photos. That list of tools includes color corrections, curves, and qualifiers – and the support goes beyond color editing as well.

Adding photo support to the longstanding video program gives still photographers access to DaVinci Resolve’s color wheels and custom curves. The programs Scopes – which are like histograms for color, including channels, hue, and saturation – are also supported on still photos.

Photographers will also find the well-known sliders for adjustments like exposure and white balance within the long-standing video editor as well.

DaVinci Resolve uses a node-based workflow rather than the layers that are popular among mainstream photo editors. Where layers in Photoshop are stacked on top of each other, nodes are a flow-chart style set of adjustments. As Blackmagic explains it, "It’s possible to add nodes in series or parallel to build complex grades, apply different corrections to different parts of an image simultaneously and use shared nodes to apply the same look across an entire album of photos at once."

The list of photo features also includes the program’s Film Look Creator, which adds film-like effects, including halation, bloom, grain, and vignetting. Relight FX, which adds lighting effects in post, also works with photos, along with Magic Mask and Depth Maps, to adjust only a portion of the image.

The program’s AI-based tools will also support increasing resolution, lowering noise, and removing unwanted distractions. AI blemish removal is also available, along with tools for smoothing skin and removing dark circles under the eyes.

While DaVinci is known for its color tools, the support for photos also gives photographers and hybrid creators a free software option for organizing and culling images. DaVinci Resolve 21’s Media Pool supports still photos and includes tools for star ratings, setting a photo as a favorite, rejecting a bad shot, and color labels. Albums are also supported.

DaVinci Resolve 21 will support native RAW files from Canon, Fujifilm, Nikon, and Sony, along with the iPhone’s ProRAW format. The software will also support wired tethering to import images from supported Sony and Canon cameras into the software as you shoot.

The added support for still photos comes alongside a long list of updates for what DaVinci Resolve is traditionally used for: videos. That list includes AI-powered focal point adjustment, a search tool, and more.

One important thing is not changing with the latest update: DaVinci Resolve 21 is still free, with a paid Studio version housing the most advanced tools. The beta version of DaVinci Resolve 21 is available to download now directly from Blackmagic Design.

This is a breaking news story. Check back for updates and a full list of features coming to DaVinci Resolve 21.

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Camera announcements in 2026 have started at a rather slow trickle – but as a camera expert, I’m predicting that there will be a deluge of new announcements before the end of April.

Camera brands will often time launches with key industry events, and one is coming up in just a matter of days – the NAB Show from the National Association of Broadcasters is set for April 18-22 in Las Vegas, Nevada.

But I’m not basing my predictions on pure speculation. Thanks to teasers, I know creatives will see at least two camera announcements before the end of April.

GoPro has confirmed that it will launch next-generation cameras with the GP3 processor at NAB this year.

Competitor DJI has also released a teaser that confirms the DJI Pocket 4 – an update on a viral gimbal-clad camera – is coming on April 16.

That means I know that there will at least be a new GoPro and a new DJI camera before the end of the month – though of course, while it’s fairly clear when those cameras will be announced, it’s not clear when they will actually ship to eager creators.

I’m expecting both launches to be for cameras that are focused more on videos than photos. The existing Pocket 3 is more for videos than stills, and similarly, GoPro is known for POV videos.

I wouldn’t be surprised if NAB brought more than those two already teased announcements. But, NAB is a video-focused event, so I’m expecting any camera launches tied to the event will be focused on video, like cinema cameras, broadcast cameras, and vlogging cameras. If we see any announcements outside of those categories, I would be shocked if it wasn’t at least a hybrid made for taking videos and stills.

2026 feels like it has started a bit slow with camera announcements – though 2025 ended with a bang with the Canon EOS R6 Mark III and the Sony A7 V. There’s been the Ricoh GR IV Monochrome, the Fujifilm Instax Mini Evo Cinema, and the Panasonic ZS300/TZ300, along with some budget point-and-shoots. But, that still feels a bit quiet for it now being more than a quarter through the year.

I’m expecting the NAB show will help pick up the pace with new camera launches. The event kicks off April 18.

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Competition between third-party manufacturers of L-mount lenses is about to heat up following the latest Viltrox announcement that it’ll unveil “several new and unreleased” lenses at the NAB trade show in Las Vegas later this month.

The announcement confirmed that the company is “reinforcing its commitment” to L-mount users, an effort which began earlier this year with the release of Viltrox’s first L-mount lens, the AF 16mm F1.8.

The teaser has an obscured photo of some lenses, but very few details. The early teaser, however, does mention the Evo Series and L-Mount. EVO is Viltrox's budget-end range, and these lenses are touted for their apochromatic optics, which deal well with aberrations.

The teaser also notes a "NexusFocus AF Adapter." VIltrox's existing NexusFocus is an adapter that adds autofocus to vintage manual lenses. But a partially obscured adapter is included in the teaser, which has me wondering if one is launching with new features or perhaps a different mount.

The announcement also stated that Viltrox will unveil new focal lengths for its existing EPIC anamorphic cinema line, which currently boasts a 35mm, 50mm and 75mm prime.

That’s about all the information leaked regarding Viltrox expanding its L-mount offering, but I'd hazard a guess that we’re going to see, among others, 50mm and 85mm primes boasting fast apertures in the f/1.4 region.

Viltrox has rapidly gained status as a leading third-party manufacturer of top-quality, more-affordable primes for other major mount systems over the past couple of years. And to strengthen this among L-mount photographers, it doesn’t need to reinvent the wheel, only look to Sigma for inspiration.

As a founding member of the L-mount Alliance, Sigma is widely regarded as one of the best producers of lenses for Panasonic and Leica cameras, and two of its most popular L-mount models have been the 50mm F1.4 DG DN Art and 85mm f/1.4 DG DN Art.

These are both professional-grade primes capable of capturing stellar-quality images and stand as excellent examples for Viltrox to follow and, hopefully, improve upon.

I think it’s highly possible that we could even see a Viltrox rendition of the Sigma 35mm f/1.4 DG DN Art too. We won't have to wait too long to find out. NAB is scheduled for April 18-22 in Las Vegas, Nevada.

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With this camera still very much under development since it was announced in November 2024, some of this information could be subject to change, but here is what we now know about the Fujifilm GFX Eterna following this year’s NAB Show in Las Vegas.

The Eterna is built around a large format sensor that measures 43.8 x 32.9mm, giving a huge 55mm diagonal measurement and making it taller than Arri Alexa 65. Fujifilm will be utilizing that extra space by enabling the Eterna to record in a 4K OpenGate video format. In terms of codecs, Fujifilm has only confirmed that it will be able to record in ProRes HQ, so far. One major advantage of having the larger imaging circle will be the ability to adapt the GFX mount to capture video in a multitude of aspect ratios.

Key features at a glance

• Same 102-megapixel large format GFX BSI CMOS II HS sensor featured inside the GFX 100 II
• X-Processor 5 image engine
• Dual base ISO 800 and ISO 3200 when recording in F-Log 2 and F-Log 2C
• 4K Open Gate
• 55mm diagonal sensor measurement
• Sensor is taller than ARRI Alexa 65 when shooting in 4:3 aspect ratio
• Named after FUJIFILM motion picture film stock
• Internal electronic variable ND; 7-stop range 0.6-2.1 stops 0.1 step increments
• Weight: TBC
• Same media and NP-W235 batteries as Fujifilm GFX 100 II

ND filter system

The next piece of exciting news is that the Fujifilm Eterna will include an internal electronically variable neutral density (ND) filter system with a 7-stop range starting at 0.6-2.1 and shifting in 0.1 step increments. The ND can be activated by pressing a dedicated button which sits in the first of three positions below the screen and then turning a dial on the lower left corner on the front of the Eterna. We weren’t able to see this in action at the show, so I can’t confirm how smoothly it graduates through its stops, but this spec further increases the Eterna’s suitability for fast-paced working styles. Brilliantly, the camera features mirrored button and screen layouts on both sides of the camera, making it more flexible for operators to work with.

In terms of I/O, the GFX Eterna takes V-Lock batteries. However, we learned that Fujifilm has implemented a clever solution to make the battery hot-swappable. When a V-lock battery is installed, it will keep the camera’s removable NP-W235 cell fully charged. This will mean the camera should never need to be powered down while shooting, as the 2,200mAh unit should keep the camera running for roughly 30 minutes, which is plenty of time to install a fresh V-lock battery. It can also keep the camera running when swapping batteries while plugged into mains power. This will be a huge benefit, especially for events, documentary and music video filmmakers. 

The fact that it uses the widely deployed NP-W235 battery and the same CFexpress Type B and UHS-II SD card slot configuration will also please existing Fujifilm shooters as well. It also features full-size HDMI, Genlock, Time Code, SDI out, an ethernet port, USB-C out, which suggests being able to record to external SSD as well, although that has yet to be confirmed.

While it does not have XLR inputs in the body, Fujifilm did confirm that the Eterna will be compatible with the TASCAM XLR microphone adapter handle, enabling higher quality audio and devices to be used with it. Just like other recent X-series and GFX cameras, the Eterna will also be natively supported by Frame.io to allow for camera-to-cloud workflows.

Fujinon GF 32-90mm T3.5

The Fujifilm GFX Eterna that was on display during NAB Show 2025 was mounted with the new Fujinon GF 32-90mm T3.5 power zoom, which has an internal servo motor. This combo will make it possible to control the zoom of the lens from the zoom rocker on the top handle or the control dial on the front of the camera. The camera was rigged up using a cage and power box supplied by Wooden Camera. As well as the fixed screens on its sides, this camera build included an external monitor, which I was told was made by Fujifilm, but its design may not be final. We were also told that other accessory makers are already on board and developing clever solutions for this camera, including VOCAS who makes lens mount adapter support kits.

Fujifilm GFX Eterna: Price & availability

We’ve now seen the GFX Eterna show up at four major trade shows since its November 2024 reveal - CES, CP+, BSE and NAB. The next big video trade show will be CineGear in June. However as Fujifilm is reluctant to pigeonhole this camera as a “cine camera” I think we will more likely learn more about its release date and final specs in the run up to IBC Show in Amsterdam in September.

A release date and pricing for the Fujifilm GFX Eterna are still to be decided.

Creating your own rig is a right of passage for videographers and now all those lucky Nikon Z5 II owners can do just that – and in style, too – thanks to the release of the SmallRig “Night Eagle” Cage for the newly-announced Nikon Z5 II. In fact, this stylish-looking cage is compatible with a wealth of Z cameras, the original Nikon Z5, the Nikon Z6, Nikon Z7, Nikon Z6 II, and Nikon Z7 II.

And just like the existing Night Eagle cages for the Nikon Z8 and Nikon Z6 III, this new model looks the business. Not only does its alloy frame boast sleek curving lines, embellished with gold accents, but the grip side features that classic Nikon leatherette look and even Giorgetto Giugiaro’s famous red stripe.

You can choose from the standard cage, which has an RRP of $99.99 / £97.90 / AU$162.90 or the cage kit, which’ll set you back $169.99 / £165.90 / AU$276.90. The former comes with the cage and a cold-shoe mount, while the latter comes with the cage, cold-shoe mount, HDMI & USB-C cable clamp, and handle.

The “Night Eagle” Cage itself features silicone padding on its interior for a little extra cushioning, an Arca-Swiss quick-release plate, H21 “HawkLock” Quick Release NATO Rail, three-point locking system (so the cage fits securely to the camera), two strap-mounting options via a strap slot and QD (quick detach) socket. Plus, a wealth of mounting holes, with 1/4-inch-20 threaded and locating holes, ARRI 3/8-inch-16 locating holes, and 3/8-inch-16 threaded holes.

If you opt for the kit with a handle, you’ll find what SmallRig calls “Eagle-Wings”. This is because silicon grips pop out either side of the handle – like a pair of wings – to reveal provision for a single 1/4-inch-20 and 3/8-inch-16 screw, and two M2.5 screws.

And if the “Night Eagle” doesn’t quite fit your budget or you want a more utilitarian-looking alternative, SmallRig also offers the standard Cage for Nikon Z5II, which retails for $69.99 / £67.90 / AU$113.90. The cages are available to pre-order now, with an expected shipping date of May 15.

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NiSi has long been a renowned manufacturer of lens filter systems, until in 2023 when it launched its first range of cine lenses called the Athena series. Two years later, and looking to build upon the success of the Athena, NiSi has just announced its second cine lens line – the Aureus series.

Announced just in time for NAB 2025, the NiSi Aureus cine lens series features five prime focal lengths comprised of 18mm, 24mm, 35mm, 50mm, and 85mm, with a further three still in development (29mm, 65mm, and 105mm). Each prime lens boasts a fast aperture of T1.4, a large 46mm image circle, and a unified body across the series, enabling efficient workflow.

The lenses are designed to complement the Athena Series, producing a similar character of optics via their tonal reproduction. The optical quality of the Athena series has been praised by filmmakers and the Aureus looks to continue NiSi's push into serious filmmaking optics; and with the specs on display, it's certainly achieving it.

Developed for full-frame and large-format sensors, the Aureus lenses offer smooth bokeh and exceptional low-light performance due to their T1.4 aperture. An 11-blade diaphragm ensures backgrounds are sufficiently blurred for enhanced subject separation and precise depth control.

NiSi's lenses have been praised for their optical quality, remaining consistently sharp from wide open at T1.4 all the way to T22. NiSi also states, "Ultra-low dispersion elements minimize chromatic aberration, distortion, and color fringing, and advanced coatings reduce flare and ghosting while preserving contrast and neutral color rendition for cleaner images".

Great cine lens series need to remain consistent and uniform throughout, both optically and constructionally, and there are a few ways in which the NiSi Aureus lenses do this. Each lens shares a 90mm front diameter with an 86mm filter thread, ensuring interchangeable accessories such as filters and matte boxes.

The lenses weigh an average of 1300g with identical focus and iris ring positions. This enables the users to interchange lenses on gimbals and rigs without the need for recalibration or repositioning. The focus rotation is also consistent throughout the range, offering a large 300º rotation that ensures smooth and precise focus pulls.

Other notable features include built-in rear filter mounts, glow-in-the-dark markings that improve usability in low-light settings, and interchangeable focus scales for feet or meters.

The NiSi Aureus lenses will start to ship in May 2025 and be available in PL mount with flange distances from 16.1mm to 19.8mm. Prices start at $2,299 (approximately £1,800 / AU $3,800) each, except the 18mm, which will be priced at $2,599 (approximately £2,000 / AU $4,300). The set of 5 lenses will also be available for $9,999 (approximately £7,800 / AU $16,500) complete with a custom hard case.

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Blackmagic Design has announced DaVinci Resolve 20, a major update to one of the best video editing software packages and an industry standard application, used by big-budget Hollywood productions, with recent features including Alien: Romulus, The Brutalist, and Wicked. And while the base package is still free, and the software is still a one-stop shop for video editing, color grading, visual effects, motion graphics, and audio, DaVinci Resolve 20 has changed quite a bit, adding over 100 new features. And yes, some of these are brand-new AI-powered tools.

The news comes shortly after Blackmagic released a FREE beginner’s guide book to DaVinci Resolve 19. But before I get into the extensive updates, it’s worth mentioning Blackmagic Design’s extremely attractive pricing structure.

The base version of DaVinci Resolve 20 is free to download, and the more powerful DaVinci Resolve Studio 20 is $325 / £306. But users with DaVinci Resolve Studio 19 can currently upgrade to DaVinci Resolve Studio 20 for free.

DaVinci Resolve 20: What's new?

Perhaps the biggest news for long-time DaVinci users are changes to the interface itself, including a dedicated keyframes palette, which can also be toggled below the timeline, automatically implemented vertical page layouts, and a dedicated voiceover and teleprompter interface. But as with any new software release in 2025, the most glamorous additions regard artificial intelligence.

AI IntelliScript can be used to instantly organize footage into a timeline based on a text-based script document. This will even generate alternative takes on different tracks. DaVinci Resolve 20’s audio transcription engine now boasts over 60 languages, while AI Animated Subtitles will animate subtitles as words are spoken.

The AI Music Editor seeks to remove the pain of trimming music by automatically fitting the track to the desired length of footage, while AI Detect Music Beats automatically places markers over footage in the timeline to indicate beats, making it easier to cut or align specific moments within clips to correspond with the beat. And if you want to automatically create a mastered final mix, you can turn to AI Audio Assistant.

DaVinci Resolve can even use its AI Voice Convert to improve upon the original voice or generate an automated dialogue replacement, all while retaining a voice recording’s inflection, pitch variation, and emotion. Ideal if you’re struggling to capture clean audio out in the field. There’s an AI Dialogue Matcher, too, which will match the tone, level and room environment of dialogue, allowing for consistent dialogue across a range of locations.

AI Multicam SmartSwitch has the potential to save a lot of time by automatically switching to the necessary speaker when editing productions with a multi-cam setup. The software’s AI SuperScale has been enhanced with 3x and 4x upscaling, while AI Magic Mask and AI Resolve FX Depth Map are both upgraded to version two. Finally, AI IntelliCut can be used to remove silences, split each speaker’s dialogue into separate tracks, and generate ADR Cues.

And that’s just the tip of the iceberg, here are the rest of the upgrade highlights…

• Import Blackmagic Cloud Shared folders to the media pool.
• Text+ tool features paragraph, line wrapping and bounding tools.
• MultiText tool boasts layers and easy transform, clip and wrap controls.
• Live overwrite now supports edit keys and search dial.
• Click and drag to live overwrite multi source and sync bin.
• Trim with safe edit avoids overwriting adjacent clips.
• Full-featured audio mixer added to cut page.
• Voiceover tool with record and monitor options in edit page.
• Chroma Color Warper grading.
• Display viewer overlays for remote monitoring.
• Stream and monitor H.265 4:2:2 (on supported hardware).
• Deep-image compositing toolset.
• Multi-layer pipelining for OpenEXR, PSD and stereoscopic 3D.
• Vector warping toolset for image patching and cleanup.
• Fusion support for 180 VR.
• 3D Scene Dome Light.
• View color page grade in media out node on Fusion page.
• Clip EQ now features 6 bands.
• EQ and Level Matcher processes match tone and clip levels.
• EQ and Gain, now also available as Fairlight FX plugins.
• Fairlight Chain FX to create and restore frequently chained plugins.
• Resolve FX AI Set Extender.

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The National Association of Broadcasters (NAB) 2025 has just kicked off in Las Vegas, where a who's who of the biggest names in tech have gathered to showcase new and exciting products, including audio specialists Sennheiser.

Sennheiser has just unveiled the MKH 8018, a compact stereo shotgun microphone designed for the broadcasting and filmmaking industries. Compact and lightweight, the MKH 8018 is the latest in Sennheiser's MKH 8000 range of RF condenser microphones, which are developed for professionals working in the field due to their climate-proof ruggedness and natural sound capture.

Senior product manager for the MKH series Kai Lange says, "The MKH 8018 is a high-class shotgun model that rounds off our MKH portfolio at the top end. It has extremely low self-noise and truly excellent sound, very clear and pure due to the mic’s great off-axis rejection. Moisture resistance, minimal non-linear distortion, and a balanced audio signal at the transformerless, fully floating output are further benefits of the RF condenser technology, which Sennheiser has been perfecting for more than 60 years".

The MKH 8018 is designed for work in the field, therefore, it has been made as easy to handle as possible, measuring 230 mm in length with a diameter of just 22mm. Weighing 115g, Sennheiser has built it with aluminum housing to reduce weight and, in turn, fatigue, whether on a camera or boom pole.

The microphone is also 'climate-proof' with an impressive ​operating temperature range of -10°C to 60°C (14°F to 140°F) and a storage temperature range of -20°C to 70°C (-4°F to 158°F). It also has a relative humidity level of 5 to 95%, which makes it just as comfortable in the rainforest as in the Arctic Circle.

Audio-wise, as the MKH 8018 is designed for film and broadcasting, it has been limited to a range of 40 – 20,000 Hz to avoid overloading the mixing console. This differs from the usually wide frequency range of the MKH microphones.

The microphone also differs from others in the range as it is non-modular, and features a 'fixed XLR-5M output, integrated -10 dB pad, filters for tailoring the frequency response, and an additional switchable -3 dB low-cut filter at 70 Hz'.

Sennheiser states that the matrix inside the MKH 8018 "impresses with its homogeneous sound image, and can output MS stereo for further processing in the studio or on a mixer, or – via an internal matrix – XY stereo in a wide or narrow mode without the need for an external mixer".

It continues, "In XY-w, the mic emphasizes the side signal to a greater extent, thus capturing more ambience. In XY-n, the focus is more on the mid signal, giving the sound engineer more directionality".

The Sennheiser MKH 8018 promises to enhance filming and broadcasting capabilities in a lightweight and compact form, ideal for those working on the go.

The MKH 8018 goes on sale this month and will cost $1,999 / £1,675.

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A new camera lens brand has arrived. Chinese company SongRaw was founded in 2023, but chose the NAB Show in Las Vegas to introduce its first product - a 50mm f/1.2 autofocus lens for full-frame mirrorless cameras.

The fast standard prime promises to be one of a new range of fast lenses that the Shenzhen-based company will be marketed in its Moonlit range. An 85mm f/1.2 AF portrait lens is already in development, and will be the second lens to be launched by the camera.

The Moonlit AF 50mm f/1.2 will initially be available for Sony full-frame mirrorless mounts, and will go on sale later In April worldwide. Nikon Z-mount and L-mount options are promised to follow soon.

According to an interview with CineD, the lens uses an STM stepping motor for its autofocus and will be compatible with the eye-tracking capabilities of Sony cameras. Made using aircraft-grade aluminum, it features two aspherical elements and ED elements, and will weigh around 900g. It will provide a minimum focus of 52mm and be able to use 72mm front-mounted filters. It will offer a declicked aperture ring facility for stepless adjustment by videomakers.

The Sony-mount SongRaw Moonlit AF 50mm f/1.2 is expected to cost between US$950 - $1100 when it goes on sale later this month.

Blackmagic’s modular cinema camera series just got a major resolution overhaul. The Blackmagic PYXIS 12K G2 brings a 12K full-frame sensor into the company’s modular, customizable cinema cameras. Announced during a livestream ahead of the NAB conference in Las Vegas, the announcement of the PYXIS 12K G2 comes along packed inside a long list of video and broadcast gear, including new accessories designed to allow the PYXSIS series to handle like a news broadcast camera.

The Blackmagic PYXIS 12K G2 takes the same modular, box camera design as earlier PYXIS cameras that allows creators to customize their setup with different grips, cranes, gimbals, or even drones along with audio gear, external monitors and SSDs all attached to multiple mounting points at the top and sides of the camera. But the newest camera in the series takes the 6K camera and doubles the resolution.

The Blackmagic PYXIS 12K G2 uses a full-frame 12K sensor, adapting the sensor from the brand’s high-end URSA Cine to a smaller, lower-priced camera. The 12K sensor can shoot in Open Gate at 3:2 at up to 40fps, 17:9 at up to 50 fps, or 2.4:1 at up to 60fps. That sensor measures 12288 x 8040 and has what Blackmagic calls the latest generation color science as well.

When downsizing to 8K or 4K, the camera combines the photosites, merging multiple pixels into one rather than cropping that full-frame sensor. The camera specs include a 4K OpenGate 3:2 at 72 fps or 2.4:1 up to 112fps, with those same frame rates and aspect ratios also available in 8K.

With that larger sensor, Blackmagic added all new electronics for processing those large files, along with a faster USB-C port for mounting external SSDs to the modular cinema camera. The camera is also equipped with 10G, which allows it to connect to the network and even enables network-connected editing while shooting footage.

Like the 6K variant, the camera still has a four-inch screen built into one side, along with a slew of custom buttons and audio ports. Along with SSDs, it can also record to two CFExpress slots for non-stop recording even after filling one card.

The modular camera is compatible with all the existing PYXIS accessories, such as handles, grips, and external monitors and viewfinders. Blackmagic also announced a new extended handle with a microphone and LED indicator as well as a new side grip designed to customize the ergonomics of the cameras to those of a broadcast news camera.

The camera will be available in three variants for L-Mount, EF-Mount, and PL-Mount lenses.

With four times the resolution of the PYXIS 6K, the Blackmagic PYXIS 12K G2 isn’t quite double the cost of the 6K variant, listing for $4,995 / £5,015. Blackmagic expects the new 12K camera to be available from early July 2025.

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Laowa has announced the launch of its first-ever Probe Zoom Macro Lens, marking it as the widest and most versatile probe lens on the market – and it will be shown off at the NAB Show in Las Vegas, Nevada, this weekend.

The lens comes in two options, 15-24mm T8 and 15-35mm T12, and features a selection of interchangeable modules, with a 110.5° angle of view and a 2.3x zoom range – making it an innovative addition to the existing lineup of periprobe lenses, which includes the Laowa 24mm f/14 2x Macro Probe and 24mm T8 2X Macro Pro2be.

The official announcement will take place at the NAB Show, running from April 05-09, which is the premier event for the broadcast industry – making it the perfect venue for showcasing the world’s widest probe zoom, particularly since its last probe was a cine lens.

With a length of 40cm, the waterproof tubular design of the probe optic features a modular framework with 4 interchangeable front modules and 2 main barrels.

Users can work a total of eight combinations and switch between these four front modules: Direct view, Periscope, 35° view and the upcoming 90° view. The 90° module features a patent-pending front rotation design and a 360° rotational ring. The ring is installed in front of the lens body, which enables independent tube rotation without interfering with the focus and zoom ring.

The key features:

• 15mm ultra-wide perspective
• 2.3x zoom range with parfocal design
• 4 versatile modules: Direct, Periscope, 35° view and the additional 90° view
• Up to 2.3x magnification for extreme close-ups
• Unrivaled sharpness and superior image quality
• waterproof, long tubular barrel for versatile shooting conditions
• 360° rotation for front modules

"With a maximum T8 aperture, 15mm ultra-wide perspective, up to 2.3x magnification, and a waterproof barrel, this lens excels in extreme close-ups (as close as 5mm), low-light conditions, and underwater filming," says Laowa.

"It’s a versatile tool for advertising, wildlife documentaries, and cinema production, delivering unmatched storytelling potential."

The US price for the Probe Zoom Macro 15-24mm T8 – Direct View lens is $3,499 (approxiately £2,700 / AU$5,800) with the 15-35mm T12 – Direct View lens coming in at $3,999 (£3,100 / AU$6,600), Pricing varies in different countries. with shipping available by 2025 Q3.

Available mounts have not yet been confirmed, though the original 24mm lens was released for Canon EF, Nikon F, Sony FE, Pentax K and Arri PL.

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Fujifilm has unveiled a brand new 4K broadcast lens ahead of NAB 2025 (National Association of Broadcasters Show) in Las Vegas, featuring an impressive 30x zoom covering 7.8-234mm.

In addition to making some of the best retro-style cameras and medium format cameras on the market, Fujifilm is also an industry leader in broadcast lenses with its renowned Fujinon line.

The Fujinon LA30x7.8 BRM-XB2 is the latest to be developed, boasting high-end zoom features in a lightweight and compact form that make it ideal for broadcasting from the field.

Designed for the 2/3-inch sensor of broadcast cameras, it features an impressive 30x zoom range from an ultra-wide 7.8mm to a whopping 234mm, while keeping the lens body lightweight at just 1.8kg and measuring 190mm. Fujifilm has achieved keeping this lens light and mobile by adopting a 'rear focus mechanism and optimizing lens configuration'.

This design choice enhances versatility for productions, which is especially useful for live streaming and video recording in the field, while reducing the burden of shoulder-mounted operations.

A newly developed drive unit features high-resolution 16-bit encoders for precise position detection of zoom, focus, and iris for both virtual and remote production. This continues Fujifilm's goal of streamlining video production for frontline video professionals.

Fujifilm also states that the lens achieves a maximum speed of 1 sec and a minimum speed of 120 sec when zooming from the wide to the tele end. This range and speed ensure users can broadcast fast-moving subjects like in live sports, while also enabling slow zooms during live music, enhancing creative freedom.

The LA30x7.8 utilizes Fujifilm's latest 'optical simulation technology' to ensure 4K performance across the entire zoom range, while also suppressing aberrations with Fujifilm’s unique multi-layer coating.

Other notable features include 'HT-EBC (High Transmittance Electron Beam Coating)', which ensures high light transmittance and accurate color reproduction, a single button on the drive unit that provides electronic flange back, and a macro function enabling close focus up to 0.05m from the front of the lens.

The LA30x7.8 is scheduled for release later in 2025 but will first be showcased at NAB 2025, one of the world’s largest international broadcast equipment shows, held in Las Vegas, USA, from April 6 to 9, 2025.

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AI isn't just coming, it's here. It's not just some hypothetical thing that one day in the future might render your work redundant – it exists, now, and is on course to make 99% of what creators create extinct. 

That's according to Casey Neistat, the divisive but undisputed godfather of what we now understand to be content creation – a label that is increasingly used pejoratively. At the same time, though, it increasingly represents not just a subgenre of media but the entire way in which media is produced. 

Like all content creators, Neistat is a filmmaker. And as someone who hasn't just observed the changing landscape, but has actually helped change it, he knows whereof he speaks. So, when asked about his take on AI's impact on the creator economy and the future of filmmaking, his words carry a lot of weight. 

"I think the freakout is necessary and warranted, and I think it's going to have huge impact on the landscape," he told the crowd on the Main Stage at the 2024 NAB Show in Las Vegas. 

"To get really hyperspecific, if you've ever been on a big [movie] set, there's always reshoots… I think all reshoots are going to be able to be done with AI. Not all, but most. Those are the low-hanging fruit that AI is going to chip away at, to begin with. I think the influencer marketing stuff that's done, with AI, that's going to get chipped away at pretty quickly [too]."

"But I think the thing that AI is going to have an impossible job of achieving is that last 1% that stands between everything [else] and what's great. I think that that last 1%, only a human can impart that.

"And the examples I like to give are, like, most Netflix movies that are made by Netflix are perfectly mediocre… because that's creativity by committee. They have all of this data showing what their audience likes; we're going to apply all that data, we're going to apply this formula, we're going to make this movie that's purely mediocre, to have as broad an appeal as possible. 

"But when you have truly great films, movies that really stand out, it's because there's typically one, or a small group of sociopaths heading that movie to make it exactly what they want it to be. I think of the Wes Andersons of the world. Francis Ford Coppola mortgaging his house to pay for Apocalypse Now, cause he believed in his movie that much, he believed in his creativity that much.

"So I think that last bit – AI will get you right to where you can see the finish line, but if you stop there you've got something that's mush, and to get across that finish line requires greatness that I think only a human can [create]. What it's going to do is, if your work's average, you're screwed. It's over for you. Be great, because AI is going to have a really hard time being great itself."

And when asked if he uses AI tools himself? "No, I ain't got time for that shit."

The video of the entire talk is embedded below, and there's a whole host of great content from other top minds in media available on the NAB website. And of course, you can check out Casey's channel on YouTube. 

If you're feeling inspired, take a look at the best cameras for vlogging along with the best cameras for filmmaking. 

Freefly produces high-speed cameras to capture slow-motion footage, and has been known for its E-mount cameras. They have just announced the new Ember 2.5K camera, at NAB 2024, with a Canon EF mount which shoots at up to 2,900fps.

By 'active', Freefly means that the mount has electronics that allow the camera to talk with and control the Canon EF mount electronics through the camera body (or the camera's remote controls).

This is especially interesting because Freefly originally produced its 5K Ember camera with an Sony E-mount, but according to the company's own frank video, Sony has asked them to cease doing so. They have done that and switched to Canon EF compatibility, and clearly done all the necessary work to support Canon in a way convenient to users. 

It sounds like there will be no more new Sony E-mount cameras from Freefly (the B&H page for the Freefly Ember 5K says 'temporarily out of stock'). In the long run, it also begs questions about other Freefly Sony-linked products, like the Astro drone camera platform 

Freefly says their mission is nothing less than creating the “smallest, easiest, most fun to use high-speed imaging system,” and the S2.5K might sound like lower resolution than its predecessor the S5K – because it is – but in this game that isn't necessarily a bad thing. The reduction and crop help in pushing up the frame rates; at 2.5K the device can shoot in 2277fps, while 2K is the 2,900fps (it'll even go to 3,563 with a less broadcast-friendly crop).

The camera boasts a new high-endurance 2.56TB pSLC SSD built right into the camera – all those frames make for a lot of data! The drive also enables pre- and post-recording until it's full, a handy feature.

This launch video (above) shows off the slow-motion capabilities of the Ember 2.5K

Freefly sees its customers likely to be scientists and industrial testers (think crash test dummies, defense testing, and the like), rather than filmmakers. Both the Ember S2.5K and the Ember S5K can be operated using an iPhone, iPad, or Mac app that can also be used as a monitor. A new feature will be 'amplify', to signal process at certain frequencies.

A firmware update for the S5K will also be available on May 1, offering the new crops and frame rates in monochrome only. The update will also bring stabilization options that use the camera's inertial measurement unit.

The Ember S2.5K is already available for order, and will ship in May, at $24,995 from Freefly Systems.

Check our guide for best slow motion cameras for some more consumer-friendly options!

Blackmagic Design's new 17K cine camera sensor is extraordinary. Unveiled as just one of over 20 new products at NAB 2024 – including two other new cine cameras – its 17K sensor and the cameras it will be used in are groundbreaking for many reasons.

Forget, 4K and 8K - this sensor allows you to record in 17K. But what does that actually mean? 

Essentially, 17K means that the sensor has a width of over 17,000 pixels - making it a monster, offering higher resolution than we have ever seen before from a cine camera, and four times more resolution than 8K cameras. 

In fact, the pixel dimensions of the new sensor measure 17,520 pixels by 8,040 pixels - offering a phenomenal 140 megapixel resolution for every frame that this movie camera shoots.

The sensor itself is huge - measuring 50.8 x 23.3mm - so it is around 35% wider than the full frame. These dimensions have been chosen to be similar to those of the 70mm 5-perf film used to shoot high-budget Hollywood movies.

Similar digital cameras are already available in Hollywood - the most obvious being the Arri Alexa 65 - which has a slight larger 54.12 × 25.59mm size, but a lower, 6K (6560×3102-pixel) resolution. 

The Arri Alexa 65 is a camera that costs well into the six figures - and it is not something you will even find listed at B&H Photo. We don't know the price yet of the Blackmagic URSA Cine 17K - but it will be a fraction of this. We are told that it will be "a lot more" than the $15k URSA Cine 12K - but they will announce the actual price later in the year.

The design of the URSA Cine 17K is essentially the same as the 12K version. But a notable difference is with the lens mount - which needs to be larger to allow for that super-wide sensor. For this reason the camera, when it goes on sale later in the year, will come in two versions - either using LPL lenses (like the Arri Alexa 65) or using Hasselblad H-Series medium-format photography lenses. Another difference is that it won't have built-in ND filters - simply because they can't make them for a sensor this size.

But why would you want a camera with this resolution? Blackmagic CEO Grant Petty explains that it is about bringing IMAX to a greater number of filmmakers. "Imagine if every film could be shot in IMAX-style resolutions without being a complex process," he explains. 

"Our dream is to make high-resolution shooting really easy. I don't know why cinemas still use projectors. I think they should use high-resolution LED screens," he added.

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Lexar has announced at the NAB 2024 show in Las Vegas a new Rugged Series of SD cards. Available in two speed classes, both the ARMOR GOLD SD UHS-II V60 card and ARMOR SILVER PRO SD UHS-II V60 card are unusual in the SD sector as they boast an IP68 ingress protection rating. This means the cards are sealed against dust, and protected against continuous immersion in water. Given an SD card still has to conform to strict external dimensions, Lexar must have got quite creative when designing the necessary seals to protect the card's internals.

Read more: the best memory cards

Both cards use a UHS-II interface, so can achieve faster transfer speeds than traditional UHS-I cards. The ARMOR GOLD SD UHS-II V60 is capable of a rapid 280MB/s max read speed, and a peak write rate of 210MB/s. The ARMOR SILVER PRO SD UHS-II V60 can manage the same 280MB/s read speed, and though write speed is reduced to 160MB/s, Lexar still states that this should be fast enough to support 6K video capture. Pricing has yet to be revealed, likely due to both cards not being available until Q3 2024.

Lexar also revealed a new docking station targeted at professional users. The Lexar Professional PRO WORKFLOW is a 6-bay dock designed to take various different modules, including modules for CFexpress 4.0 Type B and Type A cards, SD and microSD UHS-II cards, and portable SSDs. With the potential for simultaneous file transfer from multiple fast memory cards and portable storage devices, it's vital that the dock should have a fast interface in order to prevent any transfer bottlenecks. Thankfully Lexar has equipped the PRO WORKFLOW with a super-fast Thunderbolt 4 connection, enabling transfer speeds of up to 40Gbps.

A fully mobile, battery powered version is also available: the Lexar Professional PRO WORKFLOW GO is a 2-bay dock that allows users to back up on location without a laptop, and is capable of transfer speeds up to 10Gbps.

At the same announcement Lexar also showcased two new CFexpress 4.0 cards: the Lexar Professional CFexpress 4.0 Type B Card DIAMOND Series, and the Professional CFexpress 4.0 Type A Card GOLD Series, though these aren't entirely new as they were first revealed at CES earlier this year.

Ahead of NAB last year, Adobe teased us with a little glimpse into future of Firefly in its video editing products. Since then, Adobe's focus has seemingly been on AI in photography and content creation, with it all going a little quiet on the video front. 

This has enabled technologies like the mind-blowing Sora text-to-video model from OpenAI to grab headlines in the AI video space. However, just ahead of Adobe Max taking place in London next week, Adobe is taking the wraps off some of the latest AI capabilities it has been cooking up for Premiere Pro.

Now, as you might expect, some of the generative AI capabilities of Firefly in Premiere Pro closely follow what we have already seen in Photoshop – although there is a pretty substantial difference between altering one static frame to changing 30 or 60 frames per second while also factoring in movement, and looks set to be a gamechanger in video editing.

So what's new? One of the most substantial new features teased is Generative Extend, which enables editors to add generative frames to clips to increase their overall length. This is incredibly useful if you are like me, and forget to linger that second or two extra on a shot, which makes clips harder to blend into a transition when you make it to editing. 

Adobe's example of holding the shot on a person's solemn and static face is neatly done, but it would be interesting to see how this works with more complicated shots with additional motion.

Object Addition & Removal will also be a very welcome feature for editors who are weary of tediously removing unwanted objects that have strayed into shots. 

Firefly can recognize and highlight objects in the scene, like in Photoshop, or you can manually select areas in the footage, and these objects or selections can then be tracked across the whole clip. Objects can be completely removed and replaced with a seamless background, or replaced with an alternate generative object that better fits the scene.

Text to Video is also coming to Premiere Pro, enabling entirely new footage to be generated from within the software based on text prompts. Adobe is a little less bombastic on this one and suggests that it might be a good way to ideate, storyboard or augment B-roll footage rather than as a significant content creation tool (in its current form, anyway!).

In a surprising move, Adobe isn't just pushing its own Firefly AI model in this reveal; it is also working on integrating third-party AI models directly into Premiere Pro's interface. In its showcase video, Adobe shows how it can create content using Sora, Pika and Runway just as easily as Firefly – so even if Adobe loses the AI race, its software might still be the best place to use other AI models in the future.

Finally, as a founding member of the Content Authenticity Initiative, Adobe is keen to reaffirm its commitment to Content Credentials, which is currently the most widely recognized way to identify AI-altered content. Adobe will be integrating Credentials into Premiere Pro as well as exports that use generative content. 

For the full lowdown on all the latest AI tools Adobe has been working on, check out the video below.

For more on video editing check out our guide to the best video editing software, or for stills the best photo editing software.

Western Digital has used the NAB 2024 show in Las Vegas to announce new, faster SandDisk SD and microSD cards with speeds “approaching SSDs”. The new memory cards are aimed at the growing demands of the media and entertainment (M&E) market for higher speeds and less time spent storing and transferring data.

New SanDisk Express SD and microSD Express 128GB/256GB UHS-I cards will offer up to 4.4x the speed of previous versions but with backwards hardware compatibility. The new cards feature SanDisk ThermAdapt enclosures and adaptive thermal management to keep them well within a safe temperature range.

Western Digital is also addressing the need for higher capacities, with the announcement of three new “groundbreaking” high capacity cards. 

2TB SanDisk Extreme PRO SDXC UHS-I card – the world’s first 2TB UHS-I SDXC memory card.

2TB SanDisk Extreme PRO microSDXC UHS-I card – the world's fastest 2TB UHS-I microSD card. These two cards are expected to become available in the summer of 2024.

4TB SanDisk Extreme PRO SDUC UHS-I memory card – the world's first-ever 4TB UHS-I SD card. This uses the SDUC standard (Secure Digital Ultra Capacity), which enables storage capacities up to 128TB, though while this card is being showcased at NAB 2024, it’s not expected to be released until 2025.

What’s interesting is that storage specialists like Western Digital are still finding extra speed from the UHS-I format, and some of the best hybrid cameras and even the best cameras for vlogging still use UHS-I card slots rather than the faster UHS-II variant.

New WD G-Drive and G-RAID storage options

Western Digital has also announced new products in its desktop storage range, with new Sandisk 24TB G-Drive and 24TB G-Drive Project units – the Project version incorporates a PRO-BLADE SSD Mag slot for easier data sharing across devices. 

The 24TB G-Drive will cost $699.99 (about £562 / AUS1,083) while the Project version will be $929.99 (about £746 / AU$1,439). Both feature 7200 RPM Ultrastar drives and Thunderbolt 3 and USB-C 10Gbps data transfer.

WD has also expanded its range of RAID drives, to include:

Sandisk Professional 48TB G-RAID MIRROR ($1,599.99 – about £1,284 / AU$2,476) – Ships in RAID 1 (Mirroring) format to automatically create a duplicate (mirror)  of your working files for data redundancy. It connects via Thunderbolt 3 and USB-C and incorporates a PRO-BLADE™ SSD Mag slot.

Sandisk Professional 96TB G-RAID SHUTTLE 4 ($4,499.99 – about £3,611 / AU$6965) – A transportable 4-bay hardware RAID fast data access and video editing. This device ships in RAID 5 format, but supports RAID 0, 1 and 10 configurations.

Sandisk Professional 192TB G-RAID SHUTTLE 8 ($7,499.99 – about £6,019 / AU$11,608) – Transportable 8-bay hardware RAID solution with massive storage for consolidated backup. It supports RAID 0, 1, 5, 6, 10, 50, and 60 configurations, and provides transfer rates up to 1690MB/s read and 1490MB/s write in the default RAID 5.5 setup.

The best RAID drives offer photographers and videographers much higher data transfer rates than regular hard drives or 'data redundancy' as a protection against hard drive failure, together with much higher capacities than SSDs and without the often prohibitive cost.

• Best memory card for your camera
• The best memory card readers
• The best CFexpress cards

The RODE Interview PRO is a handheld wireless microphone fully compatible with RODE’s existing series IV wireless products, such as the RODE Wireless Pro. It comes with a “professional grade” condenser capsule for broadcast-quality audio with “rich and detailed” voice reproduction.

Launched at NAB 2024, it’s a handheld mic designed not just for broadcast use but also podcasting and run and gun style presentations. It has an omnidirectional polar pattern to make it more forgiving in interviews or presentations where precise mic placement is more difficult.  

The capsule has an internal shock mounting to reduce any handling noise and an internal pop filter reduces plosives in speech. The new mic also comes with a wind shield for outdoor recording.

The Interview PRO uses RODE’s GainAssist technology to automatically adjust the mic level while transmitting to the receiver to minimise the risk of clipping, but the mic also features on-board 32-bit recording, with 32GB internal memory and more than 40 hours of potential recording time. Internal recording can be started and stopped with a dedicated button and guarantees users a ‘clean’ audio backup – it also lets the Interview Pro double as a field recorder.

With a maximum range of 200m (with line of sight), the Interview Pro could be the ideal addition to an existing wireless RODE setup for interviewers and podcasting on location. RODE already makes some of the best wireless microphones, and the Interview Pro is also compatible with RODE’s audio production devices, including the RØDECaster Pro II, RØDECaster Duo and Streamer X.

The RØDE Interview Pro will be available from early May 2024 at a price of $249 (about £200 / AU$384)

RODE Phone Cage

RODE’s new Phone Cage can work directly with MagSafe iPhones or any MagSafe-compatible phone or case. The magnetic attachment makes attaching a phone quick and simple, and with 33 mounting threads and 5 cold shoe slots, there’s ample scope for adding lights, mics and other accessories. 

The Phone Cage can be used as a grip, but you can attach additional handles as required to the mounting points and you can also mount the cage on a tripod. It’s set up for both landscape and portrait orientations.

The RODE Phone Cage will be on sale from late April 2024 and will cost $120 (about £96 / AU$185)

RODE Magnetic Mount

The new RODE Magnetic Mount also uses the MagSafe magnetic attachment, but offers a very different approach to mounting accessories, including three removable magnetic arms. There’s a short and a long cold shoe arm and a long arm with a 1/4-inch tripod thread, which can also be used with a handle or a desktop arm.

Designed to be lightweight and compact, the RODE Magnetic Mount will be available from late April 2024 at a price of $90 (about £72 / AU$139).

Blackmagic Design is announcing its new line-up of products for ahead of the NAB trade show - and we are here to report on what the Australian professional video gear specialists have in store. You can watch the whole presentation, which lasted over two hours, on the YouTube link below.

Key announcements were:

• A new flagship cinema camera - the Blackmagic URSA Cine 12K. This has been built from the ground up with a new full-frame sensor offering 16-stops of dynamic range, and offers much more adaptability than has been possible with previous Ursa model. It uses an Arri PL mount - but ships with a Canon EF mount if that's what you prefer. It has 8 terabytes built-in as standards. It will cost $14,995.

• A new box camera - the Blackmagic PYXIS 6K. An interesting thing about this full-frame cine camera is that it is available with three different lens mounts - L-mount, Canon EF mount, or the industry-standard PL mount. It has dual CFexpress Type B card slots, and can record in Blackmagic RAW. It will cost $2,995, including DaVinci Resolve 19.

• Major updates to the DaVinci Resolve 19 video-editing software. A summary of the main ones is:

• Ability to edit timeline content based on source clip transcription.
• AI-powered UltraNR noise reduction for spatial denoising
• Film Look Creator 
• AI Defocus Background isolates foreground with blur
  

Also , dropped in almost as an aside in the 20 new hardware products announcements, Grant Petty told us that they are working on the Blackmagic URSA Cine 17K - which will have a massive 65mm sensor with 17,520x8,040 pixels designed for shooting IMAX. The camera would use the larger LPL and Hasselblad lens mounts.

The live stream of the press conference started for those in Los Angeles at 9 AM PDT, in New York at 12 PM EDT, in London at 5 PM BST on April 12 – and in Sydney at 2 AM AEST on April 13.

The NAB 2024 exhibition kicks off in Las Vegas this weekend - running from April 13-17 -  and as usual we expect Blackmagic Design to bring us a range of product announcements. In its teaser, it says, "Join us to learn what's new in broadcast, post-production, and cameras!". 

Blackmagic is highly secretive, and unlike most other camera manufacturers, new products rarely leak ahead of its online press conferences—and as such, we don't really know what we have in store. But let's hope for new additions to its Ursa and Pocket Cinema Camera ranges and to its highly regarded video editing software, DaVinci Resolve.

Last year, the company announced its first full-frame L-mount camera the Blackmagic Cinema Camera 6K - and as a member of the L-mount Alliance, it will be interesting if it launches more camera using this lens mount that it also used by Panasonic, Leica and Sigma for some of its cameras.

Are you all set for the Blackmagic announcements - the music is playing, and the YouTube link (above) is now live…

Sadly, Blackmagic has disable comments on the YouTube page - so we can't report on what everyone is wanting to see. However, over 2,500 viewers are currently online, and that is going up as we type...

And we are off… with a rundown of some of the movies Blackmagic gear has been involved with. So great films there…

Some big camera news! So that will be the highlight - as we had hoped... But that will doubtlessly come at the end of the video, so stay patient

First up a new VideoHub router using 12G SDI
$12,995
Shipping in about five weeks

Next up...
ATEM 2 M/E Constellation 4K - adds an Ultra HD model to Blackmagic's range of video production switchers.
$3,795

Next…
ATEM 1 M/E Constellation 4K
Another switcher - for HD and Ultra HD
$1,795 and available now

New low-cost studio switcher is up next for desktop use with software control…
ATEM Micro Panel
$675
Available in July

Blackmagic says it want SMPE 2110 to be available to more people...
so has come up with a new codec Blackmagic IP10 Codec to make it easier for use

But also has a family of converters so that you can bring 2110 into your workflow

Now a studio monitor with 2110 compatibility, for use in rack systems.
$1265 - same price as previous model, coming in next few weeks

Next some news on DaVinci Resolve 19

AI tools
There's a really neat audio editing feature where the speech is captured as text, and then you can edit the video by simply removing that section of dialogue

7 channel color mixing
Red, Green, Blue, Cyan, Magenta, Yellow, and Skintone - each color can be adjusted individually

New film look creator panel

A defocus background feature uses AI to throw things in the distance out of focus

AI Music Remixer allows you to change music to mke it fit your video better - turning a song into an instrumental 

Another neat effect is being demonstrated that makes it easier to pan the audio across the sound field to match the action.

New features in the Cut page - allowing it to catch up with advances Blackmagic has made to live video capture that are made possible with Blackmagic Cloud. This work was apparently slowed down by having to rewrite DaVinci to allow for Apple's M1, M2, and M3 chips.

DaVinci Resolve Replay Editor
costs $495
New live video editing console for DaVinci, offering improvements over the existing Speed Editor

Allows you to synchronize two videos you are using using the timecode, putting them in the right relative position on the editing timeline

We are an hour into the presentation now - and we are still expecting a big camera announcement (in fact, that's what we have been promised). 

Lots of new DaVinci Resolve 19 updates - all available for free, which is pretty good news

At last the cameras…

First, we get the Ursa Cine 12.
This is an money-no-object version of the existing Ursa Mini Pro 12K - but with a totally redesigned body to make it more suitable to high-end movie makers, who need a fully-modifiable set-up.

Most importantly, it has a newly designed - and bigger - 12K full-frame sensor.

It has a PL-mount as standard, but comes supplied with a Canon EF-mount plate.

This is a serious beast - and apologetically they say that its price is to match. But for what we can see, we think the $14,995 asking price is pretty reasonable - and comes supplied in a Peli case. It will be available from April - but only to selected partners, so not expect to see it available online for a while. 

A kit with the new electronic viewfinder (one of a number of accessories that are being made for this camera) will cost $16,500.

Next it is more portable models, and it is a box camera

The PYXIS 6k camera has a full-frame open-gate. sensor, with a 13-stop dynamic range. Made from aircraft-grade aluminum. Records to two hot-swappable CFexpress Type B memory cards. 

The asking price starts at $2,995. There are three different models - L-mount, EF-mount or (the more expensive) PL-mount. It will go on sale from June.

Next, we get the DaVinci Resolve Micro Color Panel with three trackballs that can connect to your computer via Bluetooth, and has a slot to hold an iPad, if you are editing on a tablet. It costs $495 and is available now.

And now we get the news that Blackmagic gets an immediate $200 dollar price reduction on both the 3G and 12G Blackmagic Video Assist lineup. So that makes the 5inch 3G model just $325 - which is pretty impressive for a on-camera monitor.

Adobe has announced the launch of the all-new Frame.io V4, a dynamic creative collaboration platform designed to simplify workflows in content creation and production. The cloud storage platform, introduced ahead of the 2024 NAB Show, promises to accelerate media delivery and streamline collaboration across creative teams.

The new Frame.io V4 is designed to address the challenges faced by creatives and stakeholders working with disconnected tools and systems. It centralizes feedback, reduces revision rounds, and expedites media asset delivery to meet the rising demand for personalized content.

With enhanced workflow management capabilities, V4 introduces a cloud-based platform that is customizable and powerful enough to accommodate various creative workflows, extending beyond video to photography, design, and document production.

See the new features in action in the teaser video below:

 “As the demand for all content types – from video and images to design and documents – continues to skyrocket, the needs of Frame.io’s community have evolved. Companies, brands and individuals all need one unified platform that streamlines how teams and stakeholders come together to ideate, collaborate and create, no matter the creative project," says Emery Wells, Co-Founder of Frame.io and VP of Creative Product Group at Adobe. "With all-new capabilities that achieve clear, centralized feedback, fewer revisions, and faster delivery of media assets, V4 is a game-changer for all creatives and production teams – offering the space for greater focus to deliver their best work.”

Key features of Frame.io V4 include a new metadata framework, smart folder system (Collections), and an overhauled player architecture for immersive media viewing experiences. The platform also consolidates sharing and presentation workflows, providing users with a fluid interface to browse, preview, and customize content.

Furthermore, V4 expands support for creative disciplines beyond video, offering tailored workflows for photography, casting, location scouting, daily footage reviews, and marketing campaign management.

Frame.io's integration with Adobe's Creative Cloud and Workfront will further enhance collaboration across the content supply chain. The platform is already integrated with Adobe Premiere Pro and After Effects, with plans to expand into Adobe Photoshop and other Creative Cloud tools later this year.

Over 4 million users have adopted Frame.io as a premier platform for video review and approval, enabling seamless collaboration and streamlining production processes for leading advertising agencies, media companies, and global brands. Launched in 2014, Frame.io was bought by Adobe in 2021.

Frame.io V4 is available in beta for Free and Pro customers, with a phased launch for Team and Enterprise customers scheduled later this year. The platform's comprehensive features aim to empower creatives to deliver their best work efficiently, in response to the evolving landscape of content creation.

Canon has unveiled a new broadcast lens called CJ27ex7.3B. This latest broadcast lens is tailored for captivating visual storytelling. This innovative lens introduces Canon's first 2/3” portable lens with an impressive 27x optical zoom, expanding the company’s renowned broadcast lens lineup. 

This new lens boasts exceptional optical performance, delivering Canon's highest image quality standard for broadcast optics, covering a focal range from 7.3mm to 197mm, the CJ27ex7.3B incorporates a built-in 2x extender, extending its maximum telephoto reach to 394mm. 

According to Brian Mahar, senior vice president and general manager of Canon U.S.A "Canon is dedicated to providing top-tier equipment to elevate visual storytelling. This new lens ensures strikingly sharp video footage across news, entertainment, sports, and more."

Designed for portability akin to conventional ENG lenses, the CJ27ex7.3B integrates a remarkable 27x zoom ratio previously exclusive to 2/3” box lenses (which are studio lenses) into a portable form.

Its versatile focal length suits various settings, from hand-held news reporting to live sports and broadcast studios. The lens's 7.3mm wide angle sets the scene effectively, while the 197mm telephoto end captures intimate shots of the subject.

Canon's latest drive unit, the e-Xs V, also enhances user experience with features like an angled 20-pin connector and built-in USB-C connector, simplifying equipment setup and maintenance. Additionally, advanced features such as Focus Breathing Compensation and Automatic Restoration of Illumination Attenuation (ARIA) technology minimize image distortion and effects like f-drop/ramping during zooming.

The CJ27ex7.3B broadcast lens is scheduled for release in August 2024 but will be showcased at NAB 2024 in Canon's booth at the Las Vegas Convention Center. This lens promises unmatched capabilities for live broadcasts, making it ideal for capturing the excitement of major sporting events or delivering expansive views with exceptional clarity.

While this might not be a lens choice for many of us it does tech zoom tech to another level that we never thought possible in ENG cameras, which is an exciting time!

Many filmmakers and cinematographers have been anticipating the release of the Irix Cine 65mm T1.5, with it first being shown at our very own Photography & Video Show last month. The lens is now officially available to preorder, and we have some exciting new specifications to accompany the announcement. 

Irix has been producing some of the most versatile cine lenses over recent years, and the 65mm was a gap in the lineup that users were eager to see filled. With preorders open, they need wait no longer – and it will also be on display for a hands-on look at the NAB (National Association of Broadcasters Show) 2024 next week. 

The lens has full-frame sensor coverage in a compact and lightweight body and will be available for Canon EF and RF, Fujifilm X, L-Mount, Micro Four Thirds, Nikon Z, PL mount, and Sony E mounts. 

A short telephoto, Irix proudly proclaims that the 65mm focal length makes it an ideal lens for "cinematic portraits, narrative filmmaking, and documentary work".

The wide T1.5 aperture enables great low-light capture, and the internal focusing system works in conjunction with the 11 aperture blades to offer frame-to-frame sharpness and beautifully round bokeh.

In addition to the superior imaging, the lens construction and functionality are real highlights. I had the opportunity to handle the lens at The Photography & Video Show 2024 and was impressed with the build quality and feel in the hand.

All Irix Cine lenses have similar sizes and weights, enabling quick and easy lens changes without changing your setup. It also incorporates the Magnetic Mounting System that facilitates the use of accessories such as magnetic filters from the Irix Edge lineup.

Weather sealing adds to the lens' rugged and durable construction, making it resilient to rain, sand and dust, ensuring the lens can excel in challenging shooting environments.

The Irix Cine lenses have an innovative adaptive ring, which Irix states is "designed to keep the lens housing sleek and user-friendly when operated manually, but without any compromises when you want to use your favorite cine gear." This enables compatibility with the majority of cine accessories, both manual and motorized. 

Other features of note include low lens distortion, an 86mm filter thread, laser UV reactive markings, very low focus breathing and a lens support foot.

The Irix Cine 65mm T1.5 is available to preorder from the Irix store and selected stockists now. Prices vary depending on mounting options, but start at $1,195 / £1,054.28 (Australian pricing to be confirmed).

For more information on filmmaking equipment see our guides on the best camera for filmmaking, the best cine lenses, and the best Netflix-approved cameras. 

Scheduled to launch at NAB 2024, the Proton Cam is tiny, measuring 28mm x 28mm and weighing just 24g - to put that in more context it's a little over the size of a pair of dice! 

There can be many useful applications for a high-end broadcastable video device such as this, with body cameras and small camera drones, in particular, springing to mind.  

Not much has been shared by, or even about, the manufacturer, and at present its website is just a landing page in preparation for the 'start in summer 2024'. We do, however, know a little bit about the proposed Proton Cam and some of its features. 

Claimed to have 'industry-leading' image quality, it incorporates 12-bit sensor technology and an advanced Field-Programmable Gate Array (FPGA) to deliver high resolution and dynamic range. The camera will also boast a wide 120-degree angle of view and excel at capturing low-light imagery. 

Proton Camera also states that the battery life is much longer than other cameras in the same area of the market, disperses heat, and improves operational stability in challenging environments. 

Until we see the cameras in action it's difficult to comment on how accurate these claims are. If it is as stacked full of industry-leading features as hoped, with its tiny form factor it would make it extremely useful in several fields. A camera that small could revolutionize drone capture, combating the main challenges of size and weight

It would also be extremely useful for creating smaller body cams and other wearable tech. In football (soccer for our American users), referees in the German Bundesliga trialed the RefCam, a small wearable camera able to broadcast the referee's POV of the game live. This is another viable industry that could utilize a camera such as the Proton Cam.

For more information on availability and pricing, we will have to wait until NAB 2024 (the The National Association of Broadcasters trade expo) which runs from April 13 -  17, 2024 in Las Vegas.     

See our guides for more information on the best drones for beginners and the best camera glasses. 

I'm currently writing this story using a 32-inch monitor. It's already so big that I can easily lose track of where the mouse cursor is (first world problems right there), so I really don't feel the need for any more screen real estate. Clearly someone at ASUS doesn't agree though, as it's just announced at the 2023 NAB Show a 135-inch monitor. No, that's not a typo. One hundred and thirty five inches of diagonal screen space. Naturally this isn't a monitor designed for your desk, unless your desk happens to be about 20 feet deep. Rather, the new ASUS ProArt Cinema PQ07 is intended for applications like home cinema, virtual productions, broadcasting, etc.

The colossal size also means the standard 16:9 aspect ratio and 4K (3840 x 2160) resolution has plenty of room to scale to different sizes and aspect ratios. But even a high definition resolution like 4K is spread pretty thin when covering an area this large, equating to only 32.64 pixels per inch (PPI) - compare that to the 137.68 PPI you get from a 32-inch screen with a 4K res. However, given the much longer viewing distances involved here, the pixel density should be sufficient to maintain a crisp image.

Elsewhere, the ProArt Cinema PQ07 boasts a 95% DCI-P3 color space coverage, proving that the ProArt range's reputation for image quality hasn't be compromised in the pursuit of outright size here. 10-bit color fidelity, HDR-10 support and a retina-searing 2000-nit peak brightness further enhance the monitor's appeal.

Of course now you want one, or at least want to know how many limbs you'd need to sell to buy one. Sadly pricing and availability have yet to be announced (that goes for all the products in this announcement) so your legs are safe for the time being.

Another newly announced ASUS monitor that's likely to be far more affordable is the ProArt Display PA24US: a 23.6-inch display, yet still with a 4K resolution, making for an ultra-crisp pixel density. Like its 135-inch ProArt sibling, the PA24US supports HDR 10 and has 95% DCI-P3 color gamut coverage, while also being capable of an impressive 99% AdobeRGB support. Factory color accuracy is exceptionally good, with a Delta E of <1, and the monitor contains a built-in motorized colorimeter for self-calibration. There's also USB-C connectivity with up to 80 watts of Power Delivery, but what really sets this monitor apart is that it's ASUS's first ProArt display with SDI connectivity, making it ideal for real-time on-set previews and playback during a shoot.

Also revealed on the ASUS stand at NAB 2023 are a pair of ProArt-branded graphics cards, namely the ProArt GeForce RTX 4070 Ti and ProArt GeForce RTX 4080. Though essentially the same as ASUS's more typical gamer-centric versions, these ProArt versions are distinguished by a sleek 2.5-slot form factor, Axial-tech fans with dual ball bearings for "higher airflow, lower noise, and increased durability", plus ASUS's Auto-Extreme manufacturing that "ensures the graphics cards are built to exacting specifications, ensuring the highest quality and reliability."

Read more:

• The best monitors for photographers
• The best ultrawide monitors for photo editing
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• Best monitor arm
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Ahead of the NAB 2023 broadcast industry show, Adobe has highlighted key new features in their video apps. These include AI-powered text-based editing, significant GPU acceleration, and new ways to collaborate efficiently in the newest version of Premiere Pro (which was, by the way, used to edit over 60% of films at the last Sundance Festival). 

Text-based editing isn't the same as speech-to-text; Premiere Pro can already do that (though has now learned some more languages). It instead means that an editor can access the transcript and cut and paste parts, just like a word processor, and have Premiere Pro adjust the timeline accordingly, slashing the time it takes to prepare a rough cut. If you're not already an Adobe Cloud user, you can try Premiere Pro for free.

Editors working with a mix of HDR footage will undoubtedly be grateful for the Auto Tone Mapping Feature and Log Color Detection which offer a quick route to using footage from different cameras. The software can produce consistent color without LUTs (lookup tables) or manual adjustments.

Speed is the order of the day for all the key improvements too. Adobe is keen to highlight how much under-the-hood work they've done to ensure GPUs carry their share of the load. Not only can you work with 8K footage in the timeline, but the scopes and transitions are quicker too.

Teamwork makes the dream work, and features for collaborative working include the ability to lock a sequence you are working on, or take a section of a larger project offline. These, of course, use the Creative Cloud, but Adobe is also expanding collaboration via Frame.io, the live production collaboration tool it acquired in 2022. Frame.io is free with subscribers to the Creative Cloud App Apps suite, or with individual subscriptions to Premiere Pro and After Effects.

• Frame.io – pricing, how you get it, and what the heck it is

After Effects also sees improvements, including a new context-sensitive Properties Panel and ACES and OpenColorIO which, like the improvements to Premiere, are designed to make colors behave more consistently across apps. There are also some improvements designed to 'fix common issues without the need for IT expert assistance' – perhaps some security bottleneck fixes?

Premiere Pro, After Effects and Frame.io are all part of the Adobe Creative Cloud, and these features will be rolled out to subscribers by May.

• The best graphics cards for video editing
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• The best video editing monitor

Legendary cine lens manufacturer Cooke Optics has announced a new series of full frame cinema lenses, the S8/i range. 

The lineup features a massive 16 lenses in total, 7 of which are now ready to order and offer full frame production with an all-spherical design, along with an aperture of T1.4 throughout. These currently include 25mm, 32mm, 40mm, 50mm, 75mm, 100mm, and 135mm focal lengths. 

• Check out the best cine lenses

A further 9 lenses will join the range from late 2022, and the full set will cover 16mm all the way to a massive 350mm – which is an insane range for cine glass, and will mean that no matter the shoot, you will be able to get a consistent look across all your lenses and scenes. 

Development of the S8/i line was motivated by feedback from cinematographers wanting to create more realistic and film-like images with spherical lenses for digital motion capture. 

The new optics produce breathtakingly beautiful images with an almost organic feel and a clean bokeh. To achieve this, Cooke has focussed on optimizing the contrast performance for the S8/i. Don't take our word for, though; below is a video showing the signature "Cooke look" that the S8/i series is capable of producing.

Watch video: The Cooke Look

Cooke’s design team – and Academy Award-winning designer Iain Neill, Chief Optics Advisor at Cooke – undertook a huge study to ensure that the S8/i’s contrast performance is maximized to suit the actual resolution of digital cameras (today and for many years into the future). 

Under the body, S8/i is an all-spherical design that produces a near-telecentric output of light rays, which is efficient for sensors. It is characterized by smooth, spherical bokeh and minimal color fringing, enabling cinematographers to create sensitive and emotional images with a high degree of dimensionality.

With a maximum aperture of T1.4 across the focal range, the new lenses are among the very fastest produced for larger than full frame capture. They also offer greater control over depth of field and flare characteristics, while still providing excellent low light performance without graining.

The S8/i full frame series is now available to order in the following focal lengths: 25mm, 32mm, 40mm, 50mm, 75mm, 100mm, and 135mm. Selected focal lengths will be available to view at BSC Expo in London from 7-9 April, Micro Salon AFC in Paris in April from 13-14 April, and NAB in Las Vegas from 23-27 April.

Read more:

Best cinema camera
Best 8K cameras
Best wireless follow focus
Best audio recorders for filmmakers

NAB 2020, which was scheduled to take place from 18-22 April in Las Vegas, USA, has been cancelled due to the ongoing coronavirus outbreak.  

The official announcement by the National Association of Broadcasters comes just a day after Adobe publicly pulled out of the show (at which point NAB organizers announced that they would be pressing on with the event), and following Nikon's earlier confirmation that it would not attend due to concerns over COVID-19.

"In the interest of addressing the health and safety concerns of our stakeholders and in consultation with partners throughout the media and entertainment industry, we have decided not to move forward with NAB Show in April," said NAB president and CEO, Gordon H Smith.  

• BREAKING: The Photography Show new September dates announced

"This was not an easy decision. Fortunately, we did not have to make this decision alone, and are grateful to our NAB Show community for engaging with us as we grappled with the rapidly-evolving situation. This Show is as much yours as it is ours, and it is important to us that we move forward together.… keeping the community safe and healthy is NAB’s highest priority; therefore, we are deferring to the developing consensus from public health authorities on the challenges posed by coronavirus."

It appears that the organization is leaving the door open for the show to take place at a later stage, with an FAQ post noting that a new date and location are under consideration.

"We are still weighing the best potential path forward, and we ask you for your patience as we do so," continued Smith. "We are committed to exploring all possible alternatives so that we can provide a productive setting where the industry can engage with the latest technology, hear from industry thought leaders and make the game-changing connections that drive our industry forward."

The group's October event, NAD Show New York, is still proceeding as planned, according to the same FAQ.  

Read more: 

The Photography Show & The Video Show 2020 will take place 19-22 September
Coronavirus fears cancel MWC 2020 in Barcelona
Coronavirus strikes again: CP+ 2020 in Japan has been cancelled

The highly anticipated Sharp 8K Video Camera was shown off in working (albeit extremely limited, prototype) form at the NAB Show in Las Vegas, and early hands-on reports of the camera are very exciting. Even the best 4K cameras can't approach the resolution this camera is capable of achieving.

While many stills photographers are still asking what is 8K, in the world of videography it is already the next big frontier for cameras. With its pioneering work in the field of 8K with products like televisions, Sharp is well positioned to bring that technology to the imaging market. 

Sharp has been extremely brave in allowing public tests of the prototype camera just three months after it was announced, and this early stage of development should be born in mind when considering the device's current limitations. Even at this stage, though, it offers some tantalizing potential. 

Sharp 8K Video Camera: new Micro Four Thirds sensor

At the heart of the camera is a 33 megapixel Micro Four Thirds (MFT) sensor – which is a huge breakthrough for MFT technology, as the sensor size for the format had previously hit a ceiling of 20.4MP in stills cameras such as the Olympus OM-D E-M1X. 

While the new sensor is reportedly made by Sharp, it appears that it is actually made by Socle – a Taiwanese company that, like Sharp, is owned by Foxconn Technology Group. It will also be a true 8K sensor, not a Quad Bayer version of an existing sensor (Quad Bayer puts pixels into groups, then arranges them according to specific needs, such as producing higher resolution). 

Interestingly, the sensor appears to be in 16:9 format – a departure from the traditional 4:3 ratio that Micro Four Thirds sensors possess, but one that makes obvious sense for a video-oriented camera.  

Contrary to earlier reports, the sensor in the Sharp 8K Video Camera will not benefit from in-body image stabilization. We would speculate that this could be due to heat dissipation, given the amount of horsepower that will be required to record 8K footage – not to mention power the 5-inch screen. 

Sharp 8K Video Camera: video specs

In terms of that recording, the camera is currently able to record 8K at 30, 25 and 24 frames per second. Sharp will also introduce 4K and 1080p at 60fps – as it stands, the camera will not be delivering 120fps due to sensor limitations. 

It uses the slightly long in the tooth H.265 format, with an MP4 wrapper at 200 megabits per second, at 420 in 8-bit. Ultimately, Sharp is aiming for 422 10-bit external recording.  

The prototype is at such an early stage that many aspects of the camera's architecture are not yet present – even basics such as a menu system and a battery life indicator are absent, and the autofocus system is also pretty non-existent.

"There is kind of a weird implementation of [autofocus], but it really sucks, so Sharp advised me to shoot in manual focus mode," said Dave Maze of Kinotika. "They did tell me, however, that they will do a tracking continuous autofocus system with this camera in the future."

Indeed, such is its early stage of development, the camera's manual focus assists like focus peaking and magnification haven't yet been implemented. Ultimately, though, autofocus systems should be supported – though continuous AF isn't 100%.

"Eventually it will support all native Micro Four Thirds lenses in terms of being able to do autofocus," said Matt Allard of Newsshooter. "I'm not sure at this stage whether that will include continuous autofocus; at the moment you can do touch autofocus on the back screen. This is working so-so at the moment with native Micro Four Thirds lenses."

Sharp 8K Video Camera: screen and I/O

The five-inch, fully articulated rear touchscreen offers fingertip functionality much like a smartphone, in terms of swiping/scrolling through dials to adjust exposure settings. From all reports, it is as intuitive and easy to use as a modern phone, which is a big plus point. 

The Sharp 8K Video Camera boasts impressive battery life, even at this early stage, capable of continuous shooting of between 45 minutes and an hour using the trusty Canon LP-E6 batteries (as used in the Canon EOS 5D series and Canon EOS R).  

In terms of I/O ports it boasts a mini XLR jack, USB-C port (which Sharp aims to support charging during operation), a Mini HDMI port (which will be replaced with a full HDMI for production), a 3.5mm microphone input (along with an in-built stereo mic for scratch audio) and standard headphone jack.

Sharp is also working on the ability to add additional codecs, and to record directly to an external hard drive via the USB-C port. 

Sharp 8K Video Camera: video quality

Despite the relatively low bitrate files, and the fact that there is currently no log mode (and only a single picture profile), early footage captured by the Sharp 8K Video Camera is quite impressive. 

Maze remarked that he was impressed with both the color science and the ISO performance, noting that the Sharp camera's ISO is as good as that of the Panasonic Lumix GH5S or Sony A6300, and that he would be confident shooting at ISO3200 for most cases in low light.  

One potentially prohibitive issue, at least with the 8K footage, is the degree of rolling shutter that the video files are subject to. While the Sony A6400 shooting in 4K is worse in this respect, there is still a noticeable amount of the "wobbly jelly" effect when you whip side-to-side with the camera, producing vertical lines (such as lampposts) that appear to be bending.

The real issue, however (and unsurprisingly), is the radical workflow rethink that is required when recording and rendering 8K footage. 

"I love this camera, I love the size, I love the color, I love this giant flip screen thing, but honestly 8K is kind of ridiculous," said Maze. "The problem that I'm having with it is, in order for us to edit this thing, we literally have to transcode everything to proxy, and it takes forever."

Allard concurred. “We couldn’t natively read [the files] in Final Cut, the latest version, [we] tried it on Premiere, but not the latest version of Premiere, and it wouldn’t work, so whether it works with the latest version of Premiere I’m not actually sure. So we actually had to bring it into a program called Kyno and transcode it.” 

Sharp 8K Video Camera: who is it for?

In some ways, the Sharp 8K Video Camera is almost a concept camera in terms of fulfilling a need that doesn't truly yet exist. After all, most people on YouTube aren't even uploading in 4K yet. So does anyone truly need an 8K device? 

"I see this camera as more of a tool for people who want 4K deliveries with extra cropping room; I don't think there's really a need for delivering in 8K yet," concludes Maze. 

"But having the ability to shoot at a rather wide or medium focal length, and cropping-in in post-production and staying native to 4K, makes this a valuable tool for somebody who needs that kind of one practical use case." 

Indeed, in much the same way that many people currently shoot in 4K to then add things like close-ups by cropping-in, 8K will afford video shooters the flexibility to make more of their wide- or medium-angle footage. 

Having the huge rear screen removes the need for a dedicated external monitor, and building the system around Micro Four Thirds technology with its inherently smaller lenses, makes this potentially the smallest and most capable video rig on the market – and with a purported, yet still unofficial, sub-$5,000 price tag.

So long as videographers have a beefy computer and enough storage to handle the gigantic files they'll be generating, this could be a seriously exciting proposition for the future of video. We await Sony's next move with great interest…

Read more: 

What is 8K? And what does it mean to photographers and videomakers?
Sharp officially joins Micro Four Thirds with Olympus and Panasonic
The best Micro Four Thirds lenses for your Olympus or Panasonic camera

The Laowa 9mm f/2.8 Zero-D has just been launched in MFT mount – allowing it to be used on Panasonic and Olympus Micro Four Thirds mirrorless cameras. This was one of a number of new lenses from the Chinese manufacturer Venus Optics that was announced at Photokina last year. The lens is already available in Fujifilm X,  Sony E, DJI DL and Canon EOS-M fits.

Shown for the first time at the NAB broadcast trade show in Las Vegas, the compact lens has an effective 18mm focal length when used on an MFT body. The rectilinear wide-angle promises a near-zero distortion across the frame. 

The manual-focus lens is made up of  15 elements in 10 groups – there are three extra-low dispersion elements and two aspherical elements in the construction.

Specifications

Full-frame compatible: No
Mounts: Canon EOS M, Fujifilm X, Sony E, MFT, DJI
Effective focal length: 18mm (MFT)
Image stabiliser: No
Minimum focus distance: 12cm
Angle of view: 100 degrees (MFT)
Focusing: Manual
Maximum aperture: f/2.8
Minimum aperture: f/22
Aperture blades: 7
Filter thread: 49mm
Supplied accessories: Front and rear caps, lens hood
Dimensions (dia x length): 60 x 53mm
Weight: 210g

Sample images

Price and availability

The MFT mount Laowa 9mm f/2.8 Zero-D is on sale now for $499 / £485.

Originally used on Olympus and Panasonic mirrorless cameras, the Micro Four Thirds mount is also used on Blackmagic Design Pocket Cinema cameras, and will also be used on the forthcoming Sharp 8K camera.

Read more

Laowa 9mm f/2.8 Zero-D review

The best Micro Four Thirds lenses for your Olympus or Panasonic camera