Arri has unveiled the Alexa 35 Live Xtreme, a new high-speed live production camera designed to bring cinematic slow motion into traditional broadcast workflows.

Built for live entertainment, sports, concerts, fashion shows, and major televised events, the new camera can deliver high frame rate output of up to 8x while still working through familiar SDI-based systems.

The Alexa 35 Live Xtreme works alongside Arri's Live Production System LPS-1, including the Fiber Camera Adapter and Fiber Base Station, and can be integrated with standard slow-motion playout servers such as SimplyLive or EVS. In practical terms, this means broadcasters can output up to 8x high frame rate in HD or 2x in UHD, with up to 4x HFR available through a single SDI connector and higher speeds split across both SDI outputs.

At the heart of the system is the Alexa 35 sensor, bringing ARRI’s well-known image quality, color science, and dynamic range into live slow-motion broadcasting. Frame rates up to 330fps use the camera’s full 17 stops of dynamic range, while a Sensor Overdrive mode pushes performance up to 480fps with 11 stops of dynamic range.

Crucially, the camera can also output a regular live broadcast feed at the same time as the high frame rate feed, allowing production teams to switch between live program coverage and slow-motion replay in real time.

For sports broadcasters, that could be a major creative step forward. Instead of relying on a separate high-speed camera that may not match the look of the main production cameras, the Alexa 35 Live Xtreme keeps everything within the same Arri visual language.

That means dramatic goals, decisive finishes, winter sports, indoor arenas, and emotional crowd moments can all be captured with the same cinematic feel as the main broadcast feed, making highlight reels feel more consistent and far more polished.

ARRI is also positioning the camera for live concerts, fashion events, and large-scale entertainment productions, where sensitivity, latitude, skin tones, and color accuracy matter just as much as speed. The Alexa 35 Live Xtreme is available to order now, joining the Alexa 35 Live in Arri’s broadcast lineup.

Alexa 35 Live cameras sold from 2026 onward can also be upgraded with High Speed and HFR SDI Licenses, while earlier models will require a hardware upgrade through Arri service centers.

ARRI is entering a new chapter after Thomas Riedel, founder and owner of Riedel Communications and the wider Riedel Group, acquired the Munich-based camera and lighting specialist in what is said to be the largest acquisition of his career to date.

Chosen through a competitive international process, Riedel’s vision for a new home for Arri signals a major moment not only for the company itself, but also for the wider motion picture and live production industries.

The deal brings together two highly respected German businesses with deep roots in professional production technology. While Arri has long been regarded as one of the most influential names in film equipment, Riedel Group has built its global reputation around advanced audio, video, and data infrastructure for some of the world’s biggest broadcast, live event, and sports productions. Together, the move creates a far broader technology offering that stretches across the production chain, from camera optics and image capture through to signal distribution.

Founded in 1917 and family-owned ever since, Arri remains one of the most decorated names in professional film technology, with 20 scientific and technical awards from the Academy of Motion Picture Arts and Sciences to its name. “For more than a century, Arri has stood for engineering excellence, innovation, and the highest quality. This success story will now continue and remain in German ownership,” said Dr. Walter Stahl, Managing Director of Arri GmbH and member of the founding family.

The strategic logic behind the acquisition is clear. Arri’s established ecosystem of camera, lighting, and systems technology sits naturally alongside Riedel’s strengths in live production infrastructure, opening the door to new technological and commercial opportunities for both sides. In particular, the partnership is expected to unlock growth in the live entertainment and sports sectors, where the two companies believe their combined expertise can create integrated solutions with new creative and technical possibilities for customers.

That collaboration will get an early public outing at one of the world’s most high-profile live events. Arri will debut its camera technology at the Eurovision Song Contest, where Riedel is serving as the technology provider, and NEP is overseeing production. It is a fitting stage for two companies looking to show how cinema-grade imaging and live broadcast infrastructure can work more closely together.

Despite the acquisition, Arri will continue to operate independently from its Munich headquarters, with its current management team staying in place to guide the company through its next phase. “Thomas Riedel has built a first-generation family business and stands for entrepreneurial continuity and long-term thinking,” said Chris Richter, Managing Director of Arri.

“We look forward to working with a successful entrepreneur and to the resulting market opportunities and access — both in existing and new markets.” “The Riedel Group brings highly complementary technologies and extensive expertise in live production to this partnership,” added David Bermbach, Managing Director of Arri. “This strengthens our strategic direction as a ‘Trusted Technology Leader for the Next Generation of Media & Entertainment.’”

For Thomas Riedel, the acquisition is clearly a deeply personal as well as strategic move.

“My entrepreneurial path has been closely tied to Arri for years, This acquisition represents the most significant personal milestone of my career so far. I have great respect for this exceptional brand, its outstanding products, and its strong team. At the same time, I see tremendous potential and am confident that, together, we can position Arri for longterm stability and future success.”

With Arri set to retain its identity while gaining access to broader infrastructure expertise, this looks less like a simple takeover and more like a serious attempt to shape the future of media and entertainment production from both ends of the workflow.

I’ve been reading about a supposed backlash towards the recent announcement that Arri and Honor will collaborate on the forthcoming Robot Phone to bring cinema-grade color science to smartphones.

Aside from some initial reaction videos on YouTube, I haven’t found any opinions online remotely close to what I’d call a backlash, but I do have some thoughts of my own.

While I certainly don’t feel angry towards the announcement, I am struggling to see how the Robot Phone will “revolutionize” cinematography as claimed.

What seems more likely is that Arri and Honor have pumped a whole lot of money into marketing this “revolutionary” device, but this won’t stop it from being a flop.

Don’t get me wrong, the Robot Phone is an exciting prospect. The camera is infused with Arri color science, widely considered the creme de la creme for superior highlight roll-off and natural color reproduction.

Add in the behemoth 200MP sensor and AI-powered subject tracking, and mount it all on a three-axis gimbal that folds into the body of the phone, and on paper you’ve got some serious filmmaking capabilities.

But looking at the phone, it takes about two seconds to start picking it apart. Firstly, there’s the mechanical arm joining the camera to the phone.

While this is made of titanium alloy and “super steel” – which is just marketing speak for modern alloy steels like those used in kitchen knives – it looks flimsy as the camera folds out above the phone, and I fear that a hard knock could send it flying.

Then there's the ergonomic constraints, especially how the camera is geared towards filming in portrait orientation – which don’t seem versatile enough for professionals, despite the alluring AI subject tracking and stabilization.

I just can’t see any cinematographers or professional content creators choosing this device over high-end mirrorless cameras or something like an iPhone 17 Pro Max with gimbal setup.

No doubt the Honor Robot Phone packs cinema-grade potential but, from the techy name to the moving parts, I think it’s general tech enthusiasts, not filmmakers, who are going to have a field day with it.

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Mobile World Congress 2026, the annual Barcelona trade show where the phone industry gathers to unveil its biggest ideas, has a habit of producing one announcement per year that makes everyone else's look incremental by comparison. This year, that announcement is from a company most people in the UK would struggle to name.

Chinese brand Honor holds around 3% of the European smartphone market. In a category dominated by Apple and Samsung, it is, for most consumers here, somewhere between an unfamiliar name and an invisible one. 

That could be about to change, though. Not because Honor has made a slightly better phone, but because it has identified and solved a consumer problem that nobody else has properly addressed to date.

The problem Honor wants to solve

The modern smartphone has done something remarkable for photography: it's genuinely democratised it. The quality gap between a quick snapshot taken on a mid-range phone and one taken by a competent photographer with a expensive DSLR has narrowed to the point where many people can't tell the difference. 

Video, however, is a different matter. Good video has always demanded skills that don't come bundled with the hardware. Stabilisation. Subject tracking. Smooth camera movement. The discipline to pan slowly, to hold a frame, to follow a subject without lurching or losing focus. 

A shaky, poorly framed video clip looks amateurish in a way that a slightly imperfect photograph simply doesn't. And yet right now, social media is shifting decisively toward video; with Instagram openly imitating TikTok, YouTube Shorts competing with Reels, and every platform prioritising the moving image. Which means the gap between what people want to create and what they're technically equipped to produce has never been more visible or more frustrating.

Honor's Robot Phone, unveiled today at MWC in Barcelona, is a serious attempt to close that gap. And if it succeeds, it won't just be a remarkable piece of engineering. It could be the device that finally puts Honor on the map in Europe.

The Robot Phone looks, at first glance, like a well-made smartphone. Slim, premium, the kind of device you'd walk past without a second thought. But the rear camera module sits within a housing that slides open to deploy a robotic arm, tipped with a camera, on a four-degrees-of-freedom gimbal system. That arm rotates, tilts, tracks and reframes (autonomously, in real time) driven by a self-developed micro motor that Honor has miniaturised to a remarkable degree.

The engineering challenge this presented was immense. Inside a smartphone, every millimetre is accounted for. Fitting a mechanical arm into that space meant building a micro motor 70% smaller than anything currently used in mainstream devices; roughly the size of a one euro coin. 

Honor used the same high-performance steel and titanium alloys developed for the Magic V6's hinge, and the same simulation tools, to optimise every component. Seven millimetres of internal space was the target. They hit it.

The camera riding on that arm is a 200MP sensor, attached to a three-axis gimbal stabilisation system that Honor claims delivers the best stabilisation performance currently available on any smartphone. AI Object Tracking follows a chosen subject automatically in real time. AI SpinShot produces smooth 90 and 180 degree rotational camera movements: the kind of cinematic transitions you'd normally only achieve in post-production or with a considerably larger and more expensive rig. 

At the Barcelona event, Honor also touted a partnership with ARRI – the professional cinema camera company whose name appears on the side of cameras used on major film sets – to bring cinematic-quality video processing to the Robot Phone from launch.

To understand why all of this matters, picture a few familiar situations. You're travelling, trying to film a sunrise from a moving vehicle, but every bump and jostle shows up in your footage, and keeping the horizon straight requires constant attention. 

You're at a party, trying to capture your friend dancing. Every time they move out of frame you have to readjust the phone, breaking the moment. Or maybe you're filming yourself and need a slow, controlled pan that would normally require a tripod and a gimbal head.

The Robot Phone addresses all of these in hardware rather than software. The gimbal corrects motion in real time. A double tap on the screen locks onto a subject and tracks them automatically. The arm can execute cinematic camera movements that the user simply couldn't produce by hand. 

Honor's own framing is that the Robot Phone is designed to help people move from capturing moments to telling stories. And that's not marketing language, it's a genuine distinction. 

Great video has always required skills that are genuinely hard to master. The Robot Phone is a serious attempt to put those capabilities in everyone's pocket.

The tracking and stabilization are the core of the Robot Phone's appeal for video creators. But there's another dimension that only becomes clear in person, and which Honor has been somewhat coy about in its pre-show marketing: this phone has something very close to body language.

The robotic arm doesn't just move functionally; it responds expressively. It nods. It shakes its head. When asked a yes or no question, it answers in gesture rather than words. It tracks you during a video call, following your movement around a room. It can even do a backflip. And (the detail that prompted genuine laughter at the Honor stand), it dances to music, detecting a beat and moving in time with it. You can also chat to it ("Do you like my outfit?") and it will 'nod' or 'shake its head' accordingly.

It's absurd. It's also completely charming, and in a market saturated with phones that are essentially identical rectangles, charm is not nothing.

The Robot Phone is not yet available. Not available to buy, not available to review, and the journalists at the event weren't even able to get hands-on with one. Instead, a couple of models were demonstrated by Honor staff behind a rope. So, although no one said this out loud, it seems pretty clear that the device is not quite finished yet.

As for release dates, Honor says that it is targeting the second half of the year, launching in China first and international markets to follow. No pricing has been announced, and the units on show at MWC were demonstrations rather than hands-on prototypes. 

Analysts have already questioned whether the robotic arm can survive the real world (pockets, bags, drops), and that remains a fair concern until the finished product is in reviewers' hands. At the same time, the confirmation that this is a real commercial product rather than a concept is significant. 

What's already clear is that Honor has built something that does things no other phone can do, at a moment when video has never mattered more. Photography was democratised years ago. If the Robot Phone delivers on its promises when it ships, video might be next. And a brand that currently holds 3% of the European market could find itself with a great deal more to say for itself.

In case you haven't heard, cinema camera specialist Arri is for sale – and if Canon buys it, it has a once-in-a-century chance to completely transform the camera industry – think what happened when Nikon bought Red, but on a much bigger scale.

The 100-year-old Arri is one of the most historic and renowned makers of cinema cameras and equipment in the world. Its Alexa camera system is behind some of the biggest blockbusters and most celebrated works of cinema; Oscar-winning pictures like The Revenant, 1917, Life of Pi, Gravity, Birdman and Hugo were all shot on Arri Alexas.

So Canon buying Arri – or at least, buying its cinema camera division – would leapfrog it right to the top of the filmmaking tree, instantly making it a major player arguably on par with Sony.

But wait, you might be saying – doesn't Canon already make cinema cameras? Yes it does. Brilliant ones, in fact.

However, Canon's Cinema EOS lineup currently occupies a very distinct segment of filmmaking – largely for documentary and indepent productions – and has never been able to crack the higher-end segment dominated by the likes of Sony and Panavision.

Despite its capability, it's unlikely that Cinema EOS will ever penetrate that strata of filmmaking – much in the same way that, no matter how good a Nikon cinema camera might be, it will never get the traction needed to challenge systems like Sony Venice.

Thus, much in the same way that Nikon bought its way into that exclusive club by purchasing Red, Canon can get a VIP pass to the elite level of moviemaking by acquiring Arri.

It would be a brilliant move that eclipses Nikon's (Red is, after all, a significant but smaller player in the cinema industry) and would make Canon a Hollywood powerhouse overnight – not to mention give it a unique opportunity at growth in an increasingly challenging camera market.

Of course, there are challenges. Not just in terms of cost (Arri has been shy about its proposed sale or divestment, so I've no idea what all or part of its business would cost) but also business culture.

Canon is, after all, an incredibly traditional Japanese company with an incredibly Japanese way of doing business. While there may arguably be more cultural compatibility with a German company like Arri than an American brand like Red, it would nonetheless require a huge amount of malleability that I'm not sure Canon would embrace.

There's also the fact that Canon doesn't really acquire or partner with businesses in the same way that Nikon does (bearing in mind that the Big N has jumped into bed with everyone from robotics companies to telescope makers in recent years).

So just as Canon had no interest in buying, for example, Olympus' camera business, it may not have any inclination towards buying Arri.

Still, if I was sitting in Canon HQ right now, I would definitely be getting every lawyer and board member into the meeting room trying to work out the exhange rate between the yen and the euro…

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Arri Group, the German manufacturer of cinema cameras and other filming equipment, is considering its options, including a full or partial sale of the business, according to a report by Bloomberg.

The news has sent ripples through the filmmaking community, as the Munich-based company is one of the biggest names in cinema production.

With offices in 16 countries, including key facilities in Burbank, California – close to major Hollywood studios – Arri is a huge presence in the global filmmaking ecosystem. Its Arri Alexa camera system, for example, was used to shoot several films that won the Academy Award for Best Cinematography, including Hugo, Life of Pi, Gravity, Birdman, The Revenant and 1917.

Epic story

The company's back story is as epic as those movies themselves. Founded in 1917 by August Arnold and Robert Richter (who took the first two letters of their surnames to name the firm), Arri has survived world wars, multiple economic crises and technological changes such as the shift from film to digital.

From its early days, the company pioneered innovations that became industry standards, from 1937's Arriflex 35 – the first camera to feature a reflex mirror shutter – to today's acclaimed Alexa digital cinema cameras. Yet as the Bloomberg report suggests, technical brilliance can only get you so far.

That's not necessarily the fault of the company itself, but the sea in which it swims. The film equipment rental business as a whole – a major part of Arri's operations – has recently come under strain as the post-pandemic production boom has given way to a sharp downturn.

The 2023 actors and writers strikes, which delayed or canceled numerous productions, left rental companies burdened by excess inventory and slumping demand for their high-end cameras, lenses and lighting systems.

But even though the strikes are now becoming a distant memory, the downturn continues: according to industry tracker ProdPro, global spending on film and television production fell 16% to $10.4 billion / £7.7 billion / AU$15.9 billion in the second quarter of 2025.

Streamlining operations

Arri's paid attention to of all this, of course, and it has sold some of the business already, offloading lighting subsidiary Claypaky to Chinese manufacturer EK Inc last year.

This divestment strategy mirrors moves elsewhere in the industry. Herc Holdings recently sold its lighting and grip rental business, Cinelease, to private equity firm Zello, after Cinelease's second-quarter rental revenue plummeted nearly 40% year-on-year.

But despite the financial pressures, Arri continues to push technological boundaries. Last week, the company announced the Alexa 35 Xtreme – a huge upgrade to its flagship cinema camera that features frame rates up to 660fps and introduces the new Arricore codec, which reduces data rates while maintaining image quality.

To help the company survive, Arri has been working with consultancy AlixPartners to streamline its business operations, though no final decisions have yet been made.

We'll be keeping a close eye on what happens next, though. Because as one of the few remaining independent camera manufacturers, with over a century of heritage, any change in ownership for Arri could have far-reaching implications for filmmakers and the industry as a whole.

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Arri has announced the Alexa 35 Xtreme, a major performance upgrade to its flagship Alexa 35 digital cinema camera.

Designed to meet the evolving needs of high-end filmmakers, the Alexa 35 Xtreme brings a suite of powerful new capabilities, headlined by extreme high-speed recording, lower data rates via a next-generation codec, and dramatically extended pre-recording times. All while maintaining full compatibility with Arri’s robust accessory ecosystem.

At the center of the upgrade is a completely redesigned processing architecture that enables frame rates of up to 660 frames per second. For productions that previously required a secondary high-speed camera, the Alexa 35 Xtreme offers a streamlined solution, capturing slow-motion footage that matches seamlessly with standard-speed material.

Crucially, frame rates up to 330fps retain the camera’s full 17 stops of dynamic range. A new Sensor Overdrive mode pushes the frame rate ceiling even higher to 660fps, delivering 11 stops of dynamic range for ultra-fast capture situations.

The Alexa 35 Xtreme also introduces Arricore, Arri’s new high-efficiency RGB codec. Arricore preserves the camera’s industry-leading image quality while significantly reducing data rates. Just as importantly, key image parameters such as white balance, ISO, and tint remain fully adjustable in post, offering maximum creative flexibility without bloating file sizes.

Arricore integrates smoothly into existing workflows, maintaining compatibility with established metadata formats, the MXF wrapper, Arri Textures and third-party tools already supporting the Alexa 35’s current codecs. Initially launching in beta, Arricore is being shaped with direct user input to ensure rapid development and widespread support.

ABOVE: Watch the walkthrough of the Arri Alexa 35 Xtreme

For documentary shooters and action-driven productions, one of the most practical advances is the increase in pre-recording time. When shooting in 4.6K open gate at 24fps using Apple ProRes 4444, the Alexa 35 Xtreme can pre-roll for up to 30 seconds. At 24fps in Apple ProRes 422 HQ HD, that extends to a remarkable 5 minutes! That's currently the longest pre-recording window in any cinema camera.

Despite the significant performance boost, the Alexa 35 Xtreme manages a 10% reduction in power consumption compared to its predecessor. Wireless capabilities are also improved, thanks to new support for 5 GHz WiFi bands, automatic reconnection, and roaming within mesh networks. These upgrades make the camera more responsive to on-set tools like the Arri Camera Companion App and enhance overall system stability.

Importantly, Arri has ensured that the Alexa 35 Xtreme retains full compatibility with its existing range of mechanical and electronic accessories. From lens mounts and rigging components to modules like the AEM-1 and PDM-1, as well as Codex Compact Drives and the Hi‑5 ecosystem, users can migrate without having to retool their kits. The camera’s familiar compact housing and interface layout also remain unchanged, ensuring a seamless transition.

With deliveries beginning in August 2025, the Alexa 35 Xtreme sets a new benchmark for versatility, speed, and post-production efficiency in high-end digital cinema.

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London-based videographer Gareth Davies has been at it again, anthropomorphizing our favorite camera brands as a series of cheeky skits.

This time he’s targeted some of the best cinema cameras – specifically the Sony FX6, Canon EOS C400, Arri Alexa Mini LF, Blackmagic Pocket Cinema Camera 6K Pro, Red Komodo-X Z mount, DJI Ronin 4D, Sony Venice 2, Arri Alexa LF, Fujifilm GFX Eterna and the Panavision DXL2.

And while each dramatization is very good, a couple in particular really made me chuckle. My favorite skit in the first video is the Alexa Mini LF; Gareth’s decked out in minimalist, smart-casual clothing and sports a rather questionable German accent (Arri is famously based in Munich).

He makes light of the fact that Arri filmmakers need dedicated focus pullers, saying: “If you need autofocus, maybe you’re not ready for me,” before following up with a zinger regarding the brand’s unmatched Hollywood heritage: “These other cameras, they belong on a shelf. Me? I have one full of Oscars.”

A few other cheeky highlights include the Canon EOS C400 saying: “I’m not overheating anymore. That was the old me.” And the Blackmagic Pocket Cinema Camera 6K Pro: “Now, I might crash sometimes, but have you seen the image, mate? For two grand? That’s daylight robbery.”

My favorite in the second video is the DJI Ronin 4D, where Gareth is constantly moving his head around like he’s a gimbal, when he says: “Sure, I shot Adolescence. You probably watched it on your phone, didn’t you?” Another hilarious highlight is the Sony Venice 2, saying: “If you’re not using full-frame anamorphic glass, don’t even look at me.”

If you haven't already, make sure you check out both videos. And when you're done, head to @87shots' Reels to find the previous skits Gareth has done on consumer cameras. I promise you, they're just as funny!

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Arri has long been synonymous with the best in cinema technology, and its cameras are the gold standard in Hollywood and beyond. The Arri Alexa 35, released in 2022, took the mantle from the beloved Alexa Mini, offering stunning image quality, cutting-edge video technology, and a remarkable dynamic range. Now, Arri is taking a bold step to make its iconic Alexa 35 even more accessible to filmmakers with the introduction of the new Alexa 35 Base model.

When it comes to high-end cinema cameras, premium products come with premium price tags. It’s no secret that the cost of top-tier cameras can be a serious barrier for many filmmakers, but Arri’s latest move changes that equation. By offering a lower-cost base model with an innovative licensing system, filmmakers can now step into the Arri Alexa 35 world reducing the upfront cost – and only pay for the features they need when they need them.

The idea behind the new Base model is simple but brilliant – reduce the initial cost while offering flexibility to unlock advanced features as necessary. The Alexa 35 Base model retains the industry-leading Super 35 sensor, delivering 17 stops of dynamic range, Reveal Color Science, and the signature Arri image quality that professionals swear by.

In terms of hardware, the Base model is virtually identical to the Premium model, with just a small blue jog wheel to help identify it on sets and in rental houses. It’s the same powerhouse camera, but now with the ability to customize your experience and pay only for what you actually need.

For many users, the Base model’s core features will be more than enough. You’ll get ProRes recording up to 60fps in 4K, Arri Look File support (CDL and 3D LUT), and Enhanced Sensitivity (ES) modes up to EI 6400. Plus, you’ll have three independent 10-bit monitoring outputs in both SDR and HDR color spaces. This robust set of features ensures you’re not sacrificing quality in the name of affordability.

Arri’s new licensing system is where things get really exciting. Instead of paying for a bunch of features you might never use, you can now unlock specific functionalities as and when you need them. Whether you’re working on a high-frame-rate shoot or need the versatility of uncompressed ARRIRAW recording, Arri’s licensing model lets you purchase features on a job-to-job basis.

The five available licenses include: 120 fps for high frame rates, ARRIRAW for uncompressed recording, Open Gate/Anamorphic for full 4.6K sensor usage and anamorphic modes, Pre-record for up to 20 seconds of buffered recording before hitting the record button, Look for Arri Textures, Look Library, and Custom Color Management.

Each of these can be added for a set duration of 7 days, 30 days, 1 year, or permanently, giving you full control over your costs. If you decide to add all five licenses, you’ll essentially have the full Alexa 35 Premium feature set, but only pay for what you use, when you use it.

Arri’s streamlined purchasing process makes acquiring these licenses easy, and they’ve also revamped their online store for a smoother experience. Plus, there are eight different set options to choose from, grouped into Base Entry Sets, Base Operator Sets, and Base Production Sets. The Entry Sets are the most affordable, giving you a lightweight, ready-to-shoot package at a price point that’s comparable to the original Alexa Mini.

The Arri Alexa 35 Base model offers a more accessible route to industry-leading image quality. This camera is designed to grow with you, whether you’re a small indie production or a larger operation that needs more advanced features down the line.

Starting at $54,590, the Alexa 35 Base model isn’t exactly cheap, but it represents a significant price drop from the Premium model, which currently costs around $81,680. The savings, combined with the ability to pay for licenses only when needed, make this a game-changer for professional filmmakers looking to harness Arri’s legendary quality without breaking the bank.

The Alexa 35 Base model launches on February 3, 2025, with shipping expected toward the end of February.

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After a decade of filmmaker feedback cinema camera giant Arri has announced something extraordinary: the Arri Alexa 265, a game-changing 65mm camera that’s small, lightweight, and packed with innovation - and will certainly take the top spot of best cinema cameras in the market.

Designed as the successor to the Alexa 65 (which is celebrating its 10th birthday), the Alexa 265 brings the stunning image quality of large-format cinematography into a form factor that fits anywhere—and I mean anywhere.

At just 3.3 kg, the Alexa 265 is less than one-third the weight of its predecessor, yet it houses a sensor three times as large as the compact Alexa 35. With a body only slightly larger, this camera is ready to tackle the tightest of spaces, from drone mounts to stabilizers, while still delivering breathtaking 65mm visuals.

Thanks to Arri’s cutting-edge cooling and power systems, it’s faster to boot up, consumes less power, and offers compatibility with Alexa 35 accessories, unlocking endless rigging possibilities, and better configurations to support varying projects and solo filmmakers.

But it’s not just about portability—it’s about performance. The Alexa 265 features a newly reimagined 65mm sensor, giving filmmakers a full 15 stops of dynamic range and low-light sensitivity up to ISO 6,400. Crisper blacks, richer contrast, and an impressively low noise floor mean your visuals will look better than ever, no matter the lighting conditions, and with the new-generation LogC4 workflow and Reval Color Science, this camera makes it easier than ever to achieve cinematic results, both on set and in post-production.

Adding to its versatility, the Alexa 265 introduces a unique filter cartridge system, filters slide effortlessly into place in front of the sensor, and metadata records every detail for seamless use in post. From FSND filters to creative options currently in development, this system is designed to spark artistic innovation.

Meanwhile, Arri's Reveal Color Science ensures true-to-life colors, stunning skin tones, and unmatched realism in even the most challenging scenes, making the Alexa 265 an ideal choice for both traditional and virtual production workflows.

The Arri Alexa 265 will be available in early 2025,

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The Arri Alexa 65 has firmly established itself as the go-to camera for capturing some of the most iconic films in recent history, and it continues to excel even as it celebrates its 10th anniversary!

Arri undeniably leads the pack among cinema camera manufacturers, with a remarkable 16 of the last 20 Best Picture Oscar-winning films shot using their cameras, and an even better ratio for cinematography wins. The Arri Alexa 65, in particular, is renowned for its distinct cinematic look and has been instrumental in creating visual brilliance in blockbuster movies such as Dune: Part Two, Joker, Barbie, Doctor Strange, Roma, and this winter's top hit Wicked.

Today it turns 10 years old, and Arri has created a fun sizzle reel video featuring many of the films in which it was used as the main camera. The video makes for an interesting watch as there is no denying that the Alexa 65 has a real classic cinematic aesthetic.

So, why is the Arri Alexa 65 so cinematic?

Upon its release in late 2014, the Alexa 65 cinema camera offered the largest canvas for capturing high-end motion pictures and television with an Arri A3X CMOS sensor that replicates the frame of 65mm film – continuing the rich history of widescreen filmmaking.

The ability to capture native 6.5K means pristine clarity and fine details are captured, and when coupled with Arri's unbeatable true-to-life colors, the scene is brought to life.

A key component of the Alexa 65 Camera System is its custom-designed 65mm prime and zoom lenses. These spherical lenses are vital to the system, featuring a unique series of 65mm prime lenses that are expertly engineered to fully cover the entire image area of the sensor and provide the camera with a signature look and feel.

Arri states in the description of the video, "The list of Alexa 65 films and filmmakers over the last 10 years is a roll call of the industry’s most visionary projects and people. This reel gives just a taste of the sheer variety of those projects, captured in the historic and uniquely cinematic 65 mm format. Arri extends a big “Thank You” to every filmmaker who has joined us on this incredible journey".

The Alexa 65 is still creating visual masterpieces and we will no doubt see another 10 years of work of breathtaking cinema captured by its sensor.

Arri has introduced a new line of prime cine lenses inspired by the ancient Japanese philosophy of Ensō, aiming to provide a versatile choice for all shooting scenarios and a more 'affordable' entry point into the Arri family.

It's fair to say that Arri is the very pinnacle of cinema camera and cine lens design, with its cameras being used to film all but two of the best picture-winning movies at the Oscars since 2011 – and the two outliers were shot on film!

The new Arri Ensō Prime lenses launch with a lineup of 14 prime focal lengths from 10.5 to 250mm, which enables users to find the perfect focal length to suit their style. The range also includes 1.4x and 2x teleconverters, turning the 250mm into 350mm and 500mm and offering incredible reach.

Above: A video introducing the Arri Ensō Prime lenses

Uniformity in cinema lenses is a must, as it enables the quick and efficient swapping of lenses when attached to stabilizers and rigs without the need to readjust the equipment. The 14 lenses in the Ensō range all have the same gear ring positioning, and the majority have the same 90mm font lens diameter.

Other than the two widest and two longest focal lengths (10.5mm, 14mm, and 150mm, 250mm), the range features a wide T2.1 aperture, enabling incredible optical quality and super smooth bokeh.

Arri product specialist for cinema lenses Art Adams says, "Ensō Primes share many characteristics of modern Arri lenses. They capture high-resolution images that always feel natural, with rapid focus roll-off and silky smooth bokeh. From this base look you can push Ensō Primes in several different directions".

The Ensō release introduces the Ensō Vintage Elements, additional lens optics that provide a unique vintage look to your shooting style. We have seen many recent award-winning movies, such as Yorgos Lanthimos' Poor Things, filmed with old vintage lenses.

The optics can be magnetically attached to the base of the camera body to create an endless catalog of vintage looks with one lens set. By fine-tuning the optics you can adjust focus fall-off, and bokeh to suit your creative needs. The adapter also enables the user to create their personalized looks.

Arri states, "Ensō lenses combine German precision engineering with Japanese optical excellence. Simplicity and purity of purpose were guiding design principles and inspired the name Ensō, after the circular Zen calligraphy symbol. Creating an Ensō with a single brushstroke is an expression of nowness that requires emptying one’s mind of distractions and fully committing to the creative flow. Arri Ensō lenses embody this philosophy by instilling the confidence to put aside technical concerns and focus on capturing the moment".

The other noticeable thing about the Ensō lenses is the smaller and more lightweight form factor. This provides versatility and maneuverability meaning that they are just as optimal for an individual one-person shooter as a small team.

Arri has stated that the Ensō lenses are designed to invite emerging filmmakers into the Arri family by making them easy to use, and more affordable at the same time as keeping its industry-leading standards.

The sticking point for many aspiring filmmakers is the cost of equipment. Professional cinema equipment certainly takes a step up in price from photography equipment and Arri takes that step even further. However, the Ensō range is aimed to be a more affordable entry point although the lens pricing still starts at around $10,000 / £10,000 per lens or around $70,000 / £70,000 per set.

Despite the cost, it is evident by the video sample footage that these lenses produce the stunning quality that Arri is known for in a smaller and more maneuverable body. More information on the Ensō Prime lenses can be found on the Arri website.

Check out our guides to the best cinema cameras, the best cine lenses, and the best cameras for filmmaking.

Last month the Toronto International Film Festival (TIFF) hosted some of the most anticipated new films from around the world. As is now tradition, IndieWire reached out to almost 100 DOPs and cinematographers to ask which camera they used for their films – showing Arri as a clear favorite!

Cinema cameras come in all shapes and sizes, with many different options available depending on the logistics of production, aesthetics, and of course budget. Results from the survey carried out by IndieWire show domination by the Super 35 format, with the Arri Alexa 35 and Arri Alexa Mini taking the joint top spot shooting 22 films each out of the 90 films premiered at TIFF.

The survey makes for incredibly interesting reading as it showcases what cameras are popular among filmmakers right now, and the reasons behind choosing those cameras.

The top 5 cameras used in the order of films shot were the Arri Alexa 35, Arri Alexa Mini, Arri Mini LF, ArriFlex, and the Sony Venice. Arri takes the top 4 spots with Sony coming in at 5. IndieWire took the same survey with filmmakers at Cannes 2024 earlier this year and the results were almost identical in the top 5 positions but for the Arri Alexa 35 joining the Mini as number one.

The Alexa 35 and the Alexa Mini have proven to be exceptionally versatile cameras, universally loved by filmmakers. They have shot high-end series and features such as The Last of Us, The Fall Guy, and the latest Bad Boys movie.

Despite modern blockbusters opting for full frame sensors over the Super 35 format, Super 35 remains a top choice among indie filmmakers especially. Although discontinued, filmmakers are still drawn to the Arri Alexa Mini due to its impressive image quality, reliability, and now lower price point due to the new model Alexa Mini LF.

The Assessment, a new movie starring Elizabeth Olsen utilized the Arri Alexa Mini as its primary camera.

Cinematographer Magnus Nordenhof Jønck explains, "The decision to shoot on the Alexa Mini was driven by both artistic and practical considerations. Filming in the rugged terrain of Tenerife we needed a camera that could handle natural light, magic hour scenes, a lot of handheld work in confined spaces, strong harsh sunlight with hard shadows and night scenes lit with only practicals."

He continues, "On top of that the ARRI sensor’s ability to capture colors, especially reds and yellows, was important, since those colors were key to the set design. Additionally, my familiarity and trust in the Alexa system was important, especially with our tight schedule and remote locations."

Another notable inclusion in the survey was the Sony FX6 and Canon C70. These cameras are no doubt professional cinema cameras however sit closer to the consumer end of the market. Both were listed as having shot 2 films of the 90.

The survey and interviews with the filmmakers make for an incredibly interesting read and provide insight into some of the most visually creative minds at work today.

Check out our guides to the best cinema cameras, the best Netflix-approved cameras, and the best cameras for filmmakers.

Blackmagic Design has announced the pricing and availability of its latest cinematic powerhouse (and rival to the legendary Arri Alexa 65), the Ursa Cine 17K 65. Officially launched at IBC 2024 in Amsterdam, this revolutionary large format digital cinema camera is set to retail starting at a jaw-dropping AU$45,000 (US$29,995).

Which is a lot of money, no doubt, but not when you think of large-format cinema. Featuring an unprecedented 65mm RGBW sensor, the Blackmagic Ursa Cine 17K 65 is designed to deliver breathtaking image quality and unparalleled integration into post-production workflows – specifically with DaVinci Resolve.

With its large format sensor boasting a resolution of 17,520 x 8,040 and 16 stops of dynamic range, the camera is poised to become a go-to for high-end cinema production. 

The RGBW architecture ensures accurate color reproduction by providing equal amounts of red, green, blue and white pixels, resulting in stunningly rich and detailed images. Offering compatibility with PL, LPL and (weirdly) Hasselblad lenses, the camera's versatility caters to a wide array of creative preferences.

The Ursa Cine 17K 65 also includes a massive 8TB of built-in high-performance storage, along with high-speed networking capabilities, allowing for efficient media uploads and real-time syncing to Blackmagic Cloud. With 12G-SDI outputs, 10G Ethernet and USB-C, the camera provides extensive connectivity options, while industry-standard Lemo and Fischer connectors enable seamless integration with external accessories including lens motors and focus controls.

In terms of usability, the camera is built with a lightweight yet robust magnesium alloy chassis, making it ideal for dynamic on-set work. A fold-out five-inch HDR touchscreen monitor and an assist station, with a secondary display, further enhance the production workflow, ensuring that crews can monitor and control the camera from multiple angles without the need for external monitors. For filmmakers requiring perfect focus, a dedicated focus puller mode adds to the camera's appeal.

The Ursa Cine 17K 65 also features Blackmagic RAW, optimized for 17K editing, with built-in tools for media transfer via the Blackmagic Media Dock. This ensures rapid post-production workflows and real-time editing within DaVinci Resolve, making the camera an all-in-one solution for filmmakers aiming for high-quality production from capture to post.

While the 17K 65 might be a massive stretch for most of us, it is remarkable to hear that such a camera is able to compete with the likes of the Arri Alexa 65 – which until today held the distinction of being one of the only 'real' production models that solo users could purchase in this format.

Indeed, with the Alexa 65 costing well in excess of $100,000, the $29,995 price tag of the Ursa 17K 65 makes it an 'affordable' option for those few solo filmmakers that want large format output – not only for feature films but also the capability to crop in-post after the fact. We are witnessing history in the making!

Pre-order at B&H (US) for $29,995

You might be interested in the best Blackmagic cameras, which are among the best cinema cameras you can buy. 

Blackmagic Design has announced the pricing and availability of its latest cinematic powerhouse (and rival to the legendary Arri Alexa 65), the Ursa Cine 17K 65. Officially launched at IBC 2024 in Amsterdam, this revolutionary large format digital cinema camera is set to retail starting at a jaw-dropping $29,995! 

Which is a lot of money, no doubt, but not when you think of large format cinema. Featuring an unprecedented 65mm RGBW sensor, the Blackmagic Ursa Cine 17K 65 is designed to deliver breathtaking image quality and unparalleled integration into post-production workflows – specifically with DaVinci Resolve.

With its large format sensor boasting a resolution of 17,520 x 8,040 and 16 stops of dynamic range, the camera is poised to become a go-to for high-end cinema production. 

The RGBW architecture ensures accurate color reproduction by providing equal amounts of red, green, blue and white pixels, resulting in stunningly rich and detailed images. Offering compatibility with PL, LPL and (weirdly) Hasselblad lenses, the camera's versatility caters to a wide array of creative preferences.

The Ursa Cine 17K 65 also includes a massive 8TB of built-in high-performance storage, along with high-speed networking capabilities, allowing for efficient media uploads and real-time syncing to Blackmagic Cloud. With 12G-SDI outputs, 10G Ethernet and USB-C, the camera provides extensive connectivity options, while industry-standard Lemo and Fischer connectors enable seamless integration with external accessories including lens motors and focus controls.

In terms of usability, the camera is built with a lightweight yet robust magnesium alloy chassis, making it ideal for dynamic on-set work. A fold-out five-inch HDR touchscreen monitor and an assist station, with a secondary display, further enhance the production workflow, ensuring that crews can monitor and control the camera from multiple angles without the need for external monitors. For filmmakers requiring perfect focus, a dedicated focus puller mode adds to the camera's appeal.

The Ursa Cine 17K 65 also features Blackmagic RAW, optimized for 17K editing, with built-in tools for media transfer via the Blackmagic Media Dock. This ensures rapid post-production workflows and real-time editing within DaVinci Resolve, making the camera an all-in-one solution for filmmakers aiming for high-quality production from capture to post.

While the 17K 65 might be a massive stretch for most of us, it is remarkable to hear that such a camera is able to compete with the likes of the Arri Alexa 65 – which until today held the distinction of being one of the only 'real' production models that solo users could purchase in this format.

Indeed, with the Alexa 65 costing well in excess of $100,000, the $29,995 price tag of the Ursa 17K 65 makes it an 'affordable' option for those few solo filmmakers that want large format output – not only for feature films but also the capability to crop in-post after the fact. We are witnessing history in the making!

Pre-order at B&H (US) for $29,995

You might be interested in the best Blackmagic cameras, which are among the best cinema cameras you can buy. 

Canon has unveiled its latest addition to the Cinema EOS lineup – the EOS C80, a compact RF mount cinema camera designed for filmmakers and live production. Building on the success of previous models such as the EOS R5 C and EOS C70, the EOS C80 introduces a full-frame sensor in a form factor that balances portability with professional features.

At the heart of the EOS C80 is a full-frame stacked backside-illuminated (BSI) sensor. This sensor, first seen in the EOS C400, enables 6K recording with 16 stops of dynamic range, which Canon claims offers improved low-light sensitivity and minimal noise. The camera's triple base ISO settings (800, 3200, 12,800) provide flexibility for varying lighting conditions, and an auto-switching mode allows for smooth transitions between these ISO levels in changing environments.

Canon has equipped the EOS C80 with its Dual Pixel CMOS AF II system, which delivers some of the most advanced autofocus capabilities yet in a Canon cinema camera, with face, eye, and head tracking, as well as body and animal detection.

In terms of design, the EOS C80 maintains a compact form similar to the EOS C70, with ergonomic refinements for handheld shooting and gimbal use. A redesigned removable top handle and a brighter LCD panel improve usability in outdoor environments, while the new joystick design offers better control.

The camera also supports Canon's PL to RF mount adapter, expanding compatibility with industry-standard Arri PL mount cinema lenses. Connectivity features include built-in Wi-Fi and Ethernet for file transfer, remote control, and IP streaming, enhancing workflow efficiency. Additionally, real-time lens metadata capture and VR capabilities, in conjunction with Canon’s RF 5.2mm f/2.8L Dual Fisheye lens, open up new creative possibilities for virtual production.

The EOS C80 supports various recording formats, including 12-bit Cinema RAW Light and new MP4 formats such as XF-AVC S and XF-HEVC S, which provide high-quality 4K footage with manageable file sizes. These options aim to streamline the post-production process, making the camera suitable for a wide range of professional applications.

The Canon C80 will go on sale for $5,499/£5,339/AU$8,899, and should be available from the end of September in some major markets but in November in Australia. For anyone who can’t wait until then – Canon will showcase the EOS C80 at the IBC show in Amsterdam from September 13-16.

After a worldwide rollout, the disaster and survival-horror movie No Way Up landed on Amazon Prime last week – and it spent the weekend holding the number one spot. And at the time of writing, the movie was still in the Prime top five.

I chatted to the movie's director of photography, Britain's Andrew Rodger, about the constraints of shooting in a submerged aircraft set, and how he helped director Claudio Fäh capture the action. So read on to discover the cameras, lenses and LEDs that he used to bring this shark-infested movie to life.

Oh, and beware of some movie spoilers as we chat about the challenges that Andrew faced when filming above and below the surface…

You might be interested in the best cameras for filmmaking, and don't forget to investigate the best cine lenses for filmmakers.

DZO Film has announced the release of the company's new Arles Prime lens series, drawing inspiration from the vibrant town of Arles in southern France, famously cherished by the painter Vincent van Gogh. Known for its abundant sunlight and rich seasonal colors, Arles played a crucial role in van Gogh's departure from conventional artistic styles.

These Arles prime lenses, with their T1.4 fast apertures, aim to encapsulate this dynamic interplay of light and shadow, opening up new avenues for artistic expression and cinematic creativity. The lenses come with interchangeable Arri PL and Canon EF lens mounts.

One of the standout features of the Arles prime lenses is the T1.4 ultra-wide aperture, which allows for substantial light intake, making them ideal for low-light and complex shooting conditions. 

This capability ensures a stunningly dreamy shallow depth of field, precisely highlighting every narrative detail. Even at wide-open aperture, the lenses maintain even brightness transitions and clear rendering of intricate light and shadow details, supporting high frame rate shooting without compromising image quality, and producing smooth, exquisite cinematic footage.

Additionally, the lenses are compatible with larger format sensors, offering coverage for medium format cameras with a sensor size of up to 43.8 × 32.9mm with focal lengths ranging from 25mm to 50mm, as well as large format cameras like the Arri Alexa 65 (54.12 × 25.59 mm) with focal lengths from 75mm to 180mm. This compatibility satisfies the diverse needs of independent filmmaking to large-scale film production.

The advanced multi-layer nano-coating technology utilized in the Arles series includes a specially calibrated blue coating to minimize reflections and effectively reduce stray light and ghosting. This results in stable and controllable flares, while the internal lens structure's sandblasting and anodizing techniques create a micro-level anti-reflective coating with ultra-low reflectivity. 

Consequently, even when shooting directly against the light, the lenses deliver clean and sharp images, ensuring consistent color temperatures around 5000K to faithfully reproduce vivid, true-to-life colors and present a natural, neutral visual style.

The Arles prime lenses also boast 16 aperture blades, delivering delightful circular bokeh and ensuring smooth transitions between in-focus and out-of-focus areas. At maximum aperture, the lenses provide a soft low-contrast look, with slight swirling bokeh adding a distinctive characteristic to the image. 

This feature enhances the emotional depth of each frame, while the built-in floating lens elements minimize aberrations during focusing transitions, improving optical performance. With minimal breathing, the lenses immerse viewers in each frame, amplifying the emotional impact of the scenes. 

Additionally, the lenses incorporate advanced optical materials and precision manufacturing techniques to correct spherical aberration and coma, reduce wide-angle distortion and astigmatism, and suppress chromatic aberration, ensuring exceptional optical performance. 

These new Arles lenses are priced individually at $2,149 (25mm, 35mm, 50mm, 75mm, and 100mm) or filmmakers can buy all the lenses as a 5-lens set for $9,699 through authorized retailers.

Purchase lenses separately at B&H for $2,149

Purchase the 5-lens set for $9,699 at B&H

Panasonic is introducing a separately sold software upgrade for its newly-announced Lumix GH7 which promises to bring professional cinematic quality to the masses. This paid-for firmware upgrade enables users to access and use Arri LogC3 codec for filmmaking, facilitating seamless color matching with Arri’s digital cinema cameras. 

The Arri LogC3 curve integration on the Panasonic Lumix GH7 has been certified by Arri, ensuring precise implementation. With the inclusion of Arri LogC3 alongside the traditional V-Log, the options for Log recording are expanded, enhancing color information and dynamic range, and significantly improving workflow compatibility for GH7 users.

GH7 users can now convert footage recorded in Arri LogC3 to their preferred visual style using the Arri Look Library, which offers 87 high-quality Arri Looks. The online Arri Look Library simulator allows you to preview and select the ideal Arri Look File for your shooting needs. 

The LUT package for Rec709 conversion (Arri Look Library LogC3 to Rec709 3D-LUTs) can also be stored in the GH7’s LUT Library, allowing for real-time LUT application during video capture.

By utilizing the Arri Look Library (log-to-log), you can color-grade Arri LogC3 footage and apply Arri Looks within the log space. The Arri_LogC3_v1-2_LUT_Package allows for the conversion of video color spaces to fit various display devices, supporting both SDR and HDR output, making it easy to achieve the desired ARRI Look across different viewing platforms.

Shooting in Arri LogC3 on the Lumix GH7 is ideal for scenarios requiring flexibility, such as mounting on gimbals or drones. It simplifies color matching when using cinema cameras like the Arri Alexa Mini as the primary camera. 

The Arri LogC3 on the Lumix GH7, when the DMW-SFU3A key is installed, aligns with the Arri camera’s standard ISO 800 sensitivity, allowing consistent gamma curve usage across different ISO settings and enabling ISO Auto recording, a unique feature for mirrorless cameras.

Additionally, the Arri LogC3 recording capability will also be made available on the Panasonic Lumix GH6 using the same Software Upgrade Key – with the exception of the Real Time LUT function will only be available on the Panasonic Lumix GH7.

The Lumix Upgrade Software Key DMW-SFU3A sells for $199.99.

Arri has proudly announced its latest Hi-5 SX wireless follow focus, a single-axis hand unit that complements the robust three-axis Hi-5, both leading innovations in wireless camera and lens control technology and helping to improve the best wireless follow focus tech in the industry.

Designed for a variety of single-axis operations on set, the Hi-5 SX can be easily upgraded to expand its capabilities through optional software licenses. It features a weatherproof and durable design, delivering Arri’s renowned reliability in controlling virtually any lens on any camera, all at a suggested "accessible price" which is yet to be confirmed.

Sharing the ergonomic design of the Hi-5, the Hi-5 SX is comfortable to handle and use. Its large display is easy to read, and the intuitive touchscreen interface is inspired by a camera GUI. A unique feature of the Hi-5 and Hi-5 SX is the interchangeable radio modules, which allow crews on set to select the most appropriate module for any shooting location or comply with different regional frequency regulations.

Upgradeability is central to the Hi-5 SX’s design. It is compatible with all existing Hi-5 licenses, including the Cinefade, RED camera control, and Focusbug licenses. Additionally, two new software licenses enhance its functionality, giving users the flexibility to access the necessary features as needed on the fly.

The Hi-5 SX Plus License adds lens mapping, custom smart ring creation, six extra user buttons, tail slate mode, and more. The Hi-5 SX All-Axis License enables the use of the knob, slider, and force-pad simultaneously for three-axis lens control, along with full display information, AUX axis, and complete virtual T-stop and focal length features. 

With both these licenses, the Hi-5 SX is functionally equivalent to the Hi-5, and the blue SX joystick toggle can even be swapped for a black one if so desired. Without additional licenses, users can select either the knob, slider, or force pad to control a single lens axis—focus, iris, or zoom.

The Hi-5 SX is an excellent choice for 1st ACs looking to start with a lower initial investment in a hand unit and a single-lens motor, while still benefiting from Arri’s trusted technology, and as you advance in their career, each user can upgrade their Hi-5 SX, offering more functionality for various productions and enhancing their earning potential.

For the experienced 1st AC who already owns a three-axis hand unit and multiple lens motors, the Hi-5 SX is ideal for facilitating separate iris pulls managed by the cinematographer or DIT, using the latest technology. 

Rental companies with several hand units can also benefit by replacing older three-axis units with the Hi-5 SX, which is well-suited for single-axis tasks and represents the latest state-of-the-art solution.

The Hi-5 SX is built with rugged, sealed, dustproof, and weatherproof housing, ensuring reliable operation in harsh conditions. It also uses Arri-branded NP-L interface batteries that can be hot-swapped without powering down, with the remaining capacity clearly displayed on the screen.

The Hi-5 SX will be available for order starting July 1, 2024, and will begin shipping on October 1, 2024. It will replace the Arri SXU-1 single-axis hand unit, which is being phased out.

The Cine Gear Expo 2024 kicked off yesterday in LA and has been showcasing the latest and greatest cine lenses, cinema cameras and everything in-between. 

This has certainly been the case for Viltrox, as it has unveiled a host of new cine products including two new optics for its Epic Series – a professional range of anamorphic lenses. 

The two new entries are the Viltrox Epic Anamorphic 100mm T2.0 1.33X Cine Lens and the Viltrox Epic Anamorphic 25mm T2.0 1.33X Cine Lens. These will add to the existing lineup that currently includes the beloved 35mm, 50mm and 75mm primes. 

The 25mm and 100mm are currently only available for the PL mount, in a kit combo or individually. However, the 35mm, 50mm and 75mm were initially just released for PL before getting L and E mount versions at a later date – so it may well be that the new lenses will follow suit.

Although the mount options may change throughout the range, the features and lens specifications do not, and they are packed full of impressive offerings that go above and beyond Viltrox's current lines. 

The full-frame lenses enable videographers to capture the artistic anamorphic characteristics with the optical quality of a spherical lens. The anamorphic properties provide a wider field of view and the ultimate 2.35:1 widescreen capture, for the classic cinematic aesthetic. 

Above: A sample video of the lenses in action

One of the important features of cine lenses is that they remain consistent throughout the range, meaning that changing focal lengths will not alter the look of the captured image. This is true for the Epic series with a 1.33x constant squeeze factor, ensuring a consistent image distortion ratio. 

The keyword, consistency, continues with the constant T2 aperture design, which offers beautiful bokeh and oval light spots while offering excellent low light performance, and the color science that creates "a delicate and soft image with retro charm". 

The 25mm and 100mm do vary in size from the rest of the existing Epic lenses, but the gear position and focus rings remain in the same place – meaning they can seamlessly be swapped into rigs without changing the focus pull position. 

Other notable features include HD nano and waterproof coatings, compatibility with a 95mm matte box, "zero" focus breathing and a 0.8M gear pitch. 

The Viltrox Epic Anamorphic 25mm and 100mm T2.0 1.33X Cine Lenses are available now individually for $3,999 / £3,190 / AU$6,133  or $7,759 / £6,190 / AU$11,900 in a kit. Each lens comes in a special protective case, ensuring strong protection and resistance to pressure.

You may also be interested in our guides to the best cine lenses, the best anamorphic lenses, and the best camera for filmmaking. 

The Cannes Film Festival is recognized for premiering some of the greatest cinema in the world, with production studios and filmmakers showing their new creations, gauging popularity and creating hype before mainstream releases. 

Each year IndieWire surveys the cinematographers whose films premiere at the event, to find out which cameras were used, with 59 respondents. For the fifth consecutive year, the Arri Alexa Mini was the most popular camera, with 15 films shot on the 9-year-old camera, cementing it as still one of the best cinema cameras around. 

The Alexa Mini was released in early 2015 and since then it has become a huge hit with filmmakers for its extreme versatility and flexibility. Although the original model has been discontinued by Arri and upgraded to the Alexa Mini LF (which came in third on the 2024 list), the original still comes out on top at this year's Cannes – and with credits such as Joker, The Irishman and Jumanji to its name, it is easy to see why. 

IndieWire spoke to Ranabir Das, the director of photography on All We Imagine As Light, who said, "I find the Alexa Mini to be the most flexible camera amongst the top range cameras. The shoot was primarily hand-held and the Mini seemed like the obvious choice."

It wasn't just the Alexa Mini flying the flag for Arri, as the majority of films at this year's festival were created with an Arri camera as their primary. The Alexa 35, Alexa Mini LF, Arriflex, Alexa LF, Alexa 65 and Arricam were also used among the 59 filmmaking teams. 

The fascinating thing is that despite all of the films that have used the same or similar equipment, the tone and style of each movie are entirely unique. 

Despite the dominating presence of Arri cameras, they weren't the only brand of camera used. The Sony Venice came in as the fifth most popular, with eight films using it as their primary camera. Red was featured in four movies, with the Red V-Raptor and Red Gemini used in two films apiece. The Blackmagic Pocket Cinema Camera 4K was also used in two, and the Panavision XL2 was used in one movie. 

It is great to see the Blackmagic on the list, as compared with the other cinema cameras it is the most consumer-friendly and shows that you do not need to spend tens of thousands to create a film worthy of showing at Cannes. 

IndieWire's survey includes comments from the filmmakers, including why they decided to use certain cameras. It also features some of the B camera choices, and is well worth a read.

You might also be interested in our guides to the best camera for filmmaking, the best cine lenses, and the best Netflix-approved cameras.

Laowa is renowned for manufacturing fantastic and affordable photography lens options, and it also produces a well-regarded lineup of cine lenses – and has just added two new cine zooms to its OOOM lineup. 

The OOOM Cine Zoom Series 14-60mm T2.9 MFT Cine and OOOM Cine Zoom Series 20-85mm T4 S35 Cine lenses, are available in Micro Four Thirds and Arri PL mount respectively (where they offer equivalent 28-120mm and 30-127.5mm focal ranges, again respectively). 

These lenses offer an affordable cine zoom option, perfect for aspiring Four Thirds and Super35 filmmakers, and the image quality punches far above its weight. 

The OOOM Cine Zoom series has been left a little sparse over the past four years, with its only lens being 2020's Laowa OOOM 25-100mm T2.9 Cine – a great lens, but odd considering the range was promised to feature "Out Of Our Minds" (OOOM) cine lens options. 

Can the two new lenses deliver on the OOOM promise? At first glance, yes. They offer an impressive zoom range of over 4.2x, offering versatility and reducing the frequency of the need to change lenses. The lenses employ a parfocal design that enables the user to keep the subject in focus while changing the focal length. 

Although the lenses offer a substantial zoom range, they are relatively compact compared with other cine zooms on the market, measuring just 80mm x 172mm. This extends their versatility as lenses that can be packed and carried in a filmmaking kit bag without taking up much of the precious real estate. 

Optical performance has always been present in Laowa lenses, and continues even in the more affordable ranges. "The new cine zooms offer exceptional color rendition and contrast, thanks to its meticulous optical design," says Laowa. 

"With its ability to produce natural-colored images, colorists will save valuable time on color grading during post-production. This is particularly advantageous for interview/documentary projects where a quick turnaround is essential."

Other notable features include low focus breathing, a 56cm minimum focus distance, and compatibility with cine housing. 

Above: A video of the new Laowa cine zoom lenses and sample footage

The lenses are available now from Laowa for the very competitive price of $1,999 / £1,999 each (Australian pricing to be confirmed).

It must be said that we haven't had these lenses in for testing, and can't attest to the statements firsthand. However, looking at the example footage in the video above, the lenses look exceptional and can provide a great affordable cine zoom option for new and established filmmakers.  

You may also be interested in our guides to the best cine lenses, the best cinema cameras, and the best cameras for filmmaking. 

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.

• The highest resolution cameras you can buy today

Arri has unveiled the the new AlexaL 35 Live – a Multicam System, bringing the exceptional cinematic quality of its flagship Alexa 35 camera to the realm of live productions, spanning concerts, sports, e-sports, fashion, corporate events, talk shows, game shows, and house of worship broadcasts. 

This new system seamlessly integrates into current live production setups, offering the functionality of a system camera, while maintaining the flexibility of a dockable camera configuration. It complements Arri's comprehensive lineup of lenses, lights, stabilizers, and custom solutions, for the live entertainment sector.

Over the past decade, Arri equipment has been instrumental in various live production scenarios due to its outstanding image quality and reliability. Noteworthy events captured with Arri's Multicam System include international concert tours featuring artists like Ed Sheeran, Adele, Coldplay, the Rolling Stones album launch, and prominent half-time shows at major sporting events – and now Alexa 35 Live is taking this to the next level live broadcasting.

The Alexa 35 Live camera delivers the signature Arri aesthetic, with a Super 35-sized 4K sensor enabling a shallow depth of field, a popular trend in live productions. It boasts 17 stops of dynamic range, unrivaled in the market, capable of handling extreme lighting conditions for exceptional results in both SDR and HDR. 

Arri’s proprietary Reveal Color Science ensures accurate color reproduction from vivid hues to subtle shades, faithfully capturing even the most challenging concert lighting and rendering beautiful skin tones. Low-light scenes exhibit minimal noise, and highlights roll off naturally like film. During live productions, the camera supports full-quality ProRes recording in-camera for post-production flexibility. Its modular lens mount accommodates LPL, PL, EF, and B4 lenses, offering versatility for different applications. Owners can also upgrade to the full Alexa 35 functionality with an optional Cine License.

For creative versatility, the system includes "Arri Look Files" and textures, The Arri look library offers 87 pre-made looks for diverse shooting scenarios, while Arri textures modify grain and contrast, providing distinctive visual effects.

The fiber camera adapter and fiber base station ensure efficient integration into live setups, supporting multiple output formats with up to 4K video transmission over long distances. The Skaarhoj RCP also gives users comprehensive control over camera settings and creative adjustments.

To round off, the Alexa 35 Live – Multicam System from Arri is a comprehensive toolset tailored for live content producers, letting them bring the Arri look into live production environments, and perhaps making them a little more cinematic?

See our guide to the best cinema camera.

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. 

Arri has announced the new L-Series Plus, marking a significant evolution in the company's LED Fresnels – a trusted professional lighting tool for over a decade. These fixtures are up to 90% brighter than the original L-Series, and include direct network data input and an intuitive onboard control interface inspired by the Arri SkyPanel.

The new L-Series Plus enhances the user experience with features like continuous focusability from spot to flood, a smooth and uniform light field, and precise control over light color and intensity.

First launched in 2011, the Arri L-Series LED luminaires were the pioneering professional alternative to popular tungsten Fresnels, offering additional LED benefits such as independent control of color temperature and brightness, along with substantial energy and cost savings through reduced power consumption and cooling requirements – these revolutionized the industry!

The core benefits of the L-Series Plus are tuneability, color fidelity, rugged durability, and ease of use – all of which have been upgraded to meet the latest connectivity standards. Three individual knobs allow for the fine-tuning of brightness, color temperature, and green / magenta point. Meanwhile, a focus knob on each fixture's side enables smooth adjustment of beam spread, similar to conventional sources.

The new Arri L-Series Plus fixtures are available in two sizes: the L5-C Plus, with a 5-inch Fresnel lens, and the L7-C Plus with a 7-inch version. Despite being similar in size and weight to their predecessors, the L-Series Plus products deliver up to 90% more light output – significantly enhancing their power and versatility as lighting tools. At the same time, existing accessories from the L-Series are fully compatible with the new Plus range, making it a swift transition while on set.

The L5-C Plus and L7-C Plus fixtures will be available from June 2024 in blue-and-silver or all-black color options, with a choice of manual or pole-operated yoke. The existing L-Series (L5-C, L7-C, L10-C) will be discontinued upon the release of the L-Series Plus. Pricing is to be confirmed, but the latest information is available on the Arri product page.

Take a look at the best photography lighting kits, along with the best LED light panels and the best video lights. 

Last year NiSi announced its cine lens debut with the Athena Prime lenses, which garnered a lot of attention for their full-frame manual design delivering sharp, detailed imagery with minimal chromatic aberration, gentle bokeh, and a uniform aesthetic across the whole set. These qualities quickly endeared them to both narrative and documentary filmmakers. 

Now NiSi is expanding the Athena Prime lineup with three new offerings: an 18mm, 40mm and 135mm, all available in Sony E, Canon RF, Arri PL, Fujifilm GF and L-Mounts. Notably, the E, L and RF versions feature drop-in rear filters for convenient use of neutral density or diffusion filters – making these a very versatile lens set.

The 40mm maintains the line's hallmark T1.9 maximum aperture for consistency in performance, while the 18mm and 135mm lenses introduce a T2.2 aperture. All the Athena lenses share uniform dimensions and weight, facilitating seamless compatibility with accessories like matte boxes and wireless follow focuses, as well as simplifying adjustments on stabilizing equipment such as gimbals and Easyrigs.

These new focal lengths will broaden the creative horizons for videographers – particularly the 135mm, extending beyond the original 85mm limit of the lens set. The user-friendly 300° focus ring, robust yet lightweight aluminum alloy construction, and the 10-blade aperture design ensure smooth, circular bokeh.

I'm sure cinematographers will appreciate the expanded versatility of these new lenses while maintaining a consistent color rendition, which is critical for documentary or commercial work.

The lenses are available individually, as an add-on kit for existing 5-lens kits, or as part of a comprehensive Master Kit featuring all eight lenses.

In addition to the new optics NiSi also introduced a nine-lens hardshell case to accommodate the full set, along with a PL to Z Adapter enabling the use of Athena lenses on mirrorless Nikon cameras – something that we could see more of, now that Nikon has acquired Hollywood cinema camera giant Red.

Those interested in the 8-lens Master kit will have to cough up $8,999 (approximately £7,100 / AU$13,600) in any lens mount, while the 18mm, 40mm, and 135mm can be purchased separately for $1,268 each (£1,000 / AU$1,900) – which is a steal if you ask me!

Those who are keen filmmakers using the best 8K and 6K cameras should take note of the latest from Viltrox, who are teasing a Viltrox 30-300mm T4 Cine Zoom. I have to say that's an amazing feat of engineering that challenges the likes of Arri and Cooke - an achievement all on its own. But if I know anything of Viltrox, this lens will also be excellent on price.

If you're looking for a "do it all" lens that you can use for your whole career on commercials, indie projects, heck, even Hollywood productions then I can see this lens being a great asset to many filmmakers and cinematographers out there.

This massive constant T4 lens is believed to be available in Sony-E, Leica-L, and Arri PL-mounts. However, this lens has also been seen with a Fujifilm X-H2 camera, which could suggest a Fujifilm mount in the future.

This new lens appears to be the first zoom lens within the company's Luna series. The lens will be entirely manual focus, which is common for a cinema lens. 

Apart from its vast room range and constant T4 lens, another fantastic fact is that it has a huge 46.5mm image projection circle. This means the lens can even be used on cameras such as Red Digital Cinemas equipped with XL-sized Red VistaVision sensors.

While no official pricing has been released, we can expect this to cost a bit more than your standard zoom lens for your camera system, but I expect it to be far less than rival Cooke $50,000 plus zoom lenses.

While Sigma is renowned for offering fantastic photographic lenses (and cameras, such as the Sigma fp and Sigma fp L), you may not be aware that it also produces some of the best cine lenses on the market. 

Filmmakers, though, have long been aware of Sigma Cine glass. This is certainly the case for the Giant Screen Cinema Association (GSCA), which undertakes an annual Camera Assessment Test (CAT) that "tests to show the strengths of six higher-than-6K-resolution cameras to show filmmakers how each performs in challenging situations". 

Renowned cinematographer James Neihouse (known for IMAX films like Blue Planet and The Dream is Alive) and Michael Daut (co-chair of the GSCA Innovations Committee) led this year's CAT, which took place this month and tested six of the best cinema cameras: the Arri Alexa 35, Canon EOS R5 C, Kinefinity Mavo Edge 8K, Red V Raptor XL, Sony A1, and Sony Venice 2. 

The benchmark lens chosen to test each camera was the Sigma 65mm T1.5 FF, available for Canon EF, Sony E and PL/i mount. It is part of an extensive range of Sigma Cine primes which includes 20mm, 24mm, 35mm, 50mm and 85mm focal lengths. 

"The evaluation required lenses that provided sharp, clean, crisp images while being as 'neutral' as possible," says Neihouse. 

"We chose the Sigma 65mm T1.5 FF Cine Prime lens for its exceptional corner-to-corner sharpness and ability to cover a full-frame (Vista Vision) size sensor. In Giant Screen documentaries, we like an image that is as close to reality as possible, which is why we liked this Sigma lens. Other lenses were considered but rejected for bringing their own 'look' to the images."

High praise indeed for Sigma, and it certainly aligns with my own experience with the Sigma Cine lenses. With a fast and wide aperture of T1.5 and 9 rounded aperture blades, the prime lens offers exceptional quality at a slightly more affordable price point than most cinema lenses. The lens was developed exclusively for cinema and optimized for ultra-high-resolution shooting, which makes it the perfect benchmark for testing 6K+ cine cameras.

The testing results were unveiled during the Filmmakers Symposium portion of the GSCA Film Expo, but are yet to be publicly available. Here's a showreel of the Sigma Cine 65mm T1.5 FF along with the T2.5 FF Classic. 

"We are honored that the GSCA selected the Sigma 65mm T1.5 FF Cine Prime as the benchmark lens to assess these leading cine cameras in the most demanding real-world situations," says Mark Amir-Hamzeh, president of Sigma America. "This demonstrates Sigma's dedication to crafting exceptionally high-performing lenses for filmmaking."

Sigma will be at The Photography & Video Show, which takes place this weekend at the NEC in Birmingham, UK. Tickets are still available and you can get your hands on some of the best Sigma lenses at stand J304. Visit the show website for more information and tickets.

The need for cameras that can create exceptional video content has continued to grow among the everyday consumer, and we have some guides that might make digesting all of the information that much easier. You may be interested in our guides to the best cameras for filmmaking, the best hybrid cameras and the best cameras for vlogging. 

Dune: Part Two boasts some of the most stunning visuals ever committed to celluloid. And among the lenses used to film this $285 million blockbuster was this $75 vintage bootleg lens, made in the Soviet Union in the 1960s. 

It's the Helios 44-2, a beloved bit of glass in the vintage lens community for its signature Petzval "swirly bokeh". Apparently this characteristic is loved by Dune: Part Two's cinematographer, Greig Fraser, too, as he selected a specially modified Helios as part of the eclectic lens outfit for the movie.

"The Soviet glass was especially well suited to what we were doing; we used them all in harmony, effectively," Fraser told Arri Rental, which provided the large format Alexa LF and Mini LF cinema cameras, and rehoused 1980s Moviecams used to film the feature. 

"What I love about 65mm [large format] is that it removes restrictions for me, opening up so many more lens options. You can work with lenses originally designed for smaller formats, where you see parts of the glass that were never intended to be seen."

So what does this swirly bokeh look like? Here's a shot from a scene in Dune: Part Two that uses the Helios 44-2:

And here's a photography I quickly took in my back yard on my own Helios 44-2, to illustrate the same effect.

(For any eagle-eyed readers, yes, that is a Pop! of Special Agent Dale Cooper, played by Kyle MacLachlan, as a little nod to the original David Lynch Dune.)

While at its heart the lens used by Fraser is the same as my m42 copy, which is so small that it fits in the palm of my hand, the one used for Dune was re-housed by Ukranian optical specialist IronGlass. 

"Almost two years of waiting and finally we can say that IronGlass lenses were actively involved in the filming process," the company shared on Facebook.  

"The development of this body and mechanics was started in 2021, at the beginning of 2022, the next prototypes were made, and then there was the war… Despite the difficult times, the team continued to work, some on the ground, some remotely from the trenches. I'm really glad we got the pre-series irons done in time for Greig Fraser, and he put them to full use on the Dune set."

This isn't the first time Fraser has used the Helios 44-2, which also featured in 2022's The Batman. When an Instagram user opined to IronGlass that the price of the lens was going to skyrocket now that word was out, the company replied: "Original optic will still be affordable. Everyone can still experience this lens for $50 and if they like enough to rehouse it, @ironglassadapters is there to help 🙏"

If you're interested in picking up one of these lenses for yourself, take a look on eBay where you're looking at $50 on average – but there's a lot of latitude on the top and bottom book. 

That's because there's a lot of variation in the Helios 44-2. While it was a Soviet clone of the Carl Zeiss Biotar 58mm f/2, it was made for a long time in a number of mounts, with different versions having a different number of aperture blades and elements. Some are more prized than others, with prices varying accordingly.

My advice is to go for an m42 mount version that looks like mine – this is the one that people are generally talking about when they recommend the lens. I love mine and, while the optical performance isn't for everyone, that unique bokeh can be a whole lot of fun to play with. 

You might be interested in the best vintage lenses, which look and work great on both the best film cameras and the best retro cameras!

Dune: Part Two boasts some of the most stunning visuals ever committed to celluloid. And among the lenses used to film this $190 million blockbuster was this $50 vintage bootleg lens, made in the Soviet Union in the 1960s. 

It's the Helios 44-2, a beloved bit of glass in the vintage lens community for its signature Petzval "swirly bokeh". Apparently this characteristic is loved by Dune: Part Two's cinematographer, Greig Fraser, too, as he selected a specially modified Helios as part of the eclectic lens outfit for the movie.

"The Soviet glass was especially well suited to what we were doing; we used them all in harmony, effectively," Fraser told Arri Rental, which provided the large format Alexa LF and Mini LF cinema cameras, and rehoused 1980s Moviecams used to film the feature. 

"What I love about 65mm [large format] is that it removes restrictions for me, opening up so many more lens options. You can work with lenses originally designed for smaller formats, where you see parts of the glass that were never intended to be seen."

So what does this swirly bokeh look like? Here's a shot from a scene in Dune: Part Two that uses the Helios 44-2:

And here's a photograph I quickly took in my back yard on my own Helios 44-2, to illustrate the same effect.

(For any eagle-eyed readers, yes, that is a Pop! of Special Agent Dale Cooper, played by Kyle MacLachlan, as a little nod to the original David Lynch Dune.)

While at its heart the lens used by Fraser is the same as my m42 copy, which is so small that it fits in the palm of my hand, the one used for Dune was re-housed by Ukranian optical specialist IronGlass. 

"Almost two years of waiting and finally we can say that IronGlass lenses were actively involved in the filming process," the company shared on Facebook.  

"The development of this body and mechanics was started in 2021, at the beginning of 2022, the next prototypes were made, and then there was the war… Despite the difficult times, the team continued to work, some on the ground, some remotely from the trenches. I'm really glad we got the pre-series irons done in time for Greig Fraser, and he put them to full use on the Dune set."

This isn't the first time Fraser has used the Helios 44-2, which also featured in 2022's The Batman. When an Instagram user opined to IronGlass that the price of the lens was going to skyrocket now that word was out, the company replied: "Original optic will still be affordable. Everyone can still experience this lens for $50 and if they like enough to rehouse it, @ironglassadapters is there to help 🙏"

If you're interested in picking up one of these lenses for yourself, take a look on eBay where you're looking at $50 on average – but there's a lot of latitude on the top and bottom book. 

That's because there's a lot of variation in the Helios 44-2. While it was a Soviet clone of the Carl Zeiss Biotar 58mm f/2, it was made for a long time in a number of mounts, with different versions having a different number of aperture blades and elements. Some are more prized than others, with prices varying accordingly.

My advice is to go for an m42 mount version that looks like mine – this is the one that people are generally talking about when they recommend the lens. I love mine and, while the optical performance isn't for everyone, that unique bokeh can be a whole lot of fun to play with. 

You might be interested in the best vintage lenses, which look and work great on both the best film cameras and the best retro cameras!

If you're looking for one of the best cinema cameras on the market, a filmmaker looking to invest in a camera that will take your visuals to the next level, or be among the users of the best 8K cameras in the industry, then you want to take notice of Sony's latest cinema flagship, the Sony Burano 8K which is now in stock in either a B&Hor  Adorama

Announced just in time for the IBC back in 2023, the Sony Burano impresses with its compact design while delivering exceptional performance. Sporting an impressive 8.6K CMOS sensor, it rivals the image quality of Sony's own top-of-the-line Venice 2 8K camera. 

What sets it apart is Sony's renowned autofocus technology, providing a significant advantage for solo filmmakers navigating fast-paced environments with demanding focus requirements. Additionally, the sensor offers both full-frame and Super35 modes, enhancing versatility for various shooting scenarios.

Crafted for agile solo cinema-style filming, the Sony Burano 8K cinema camera brings versatility in a compact, full-frame design. Boasting up to 8.6K video capture, it ensures high-quality footage on the move and is aimed to be the best cinema camera for solo operation.

With built-in stabilization for both E and PL-mount lenses, along with fast hybrid autofocus, and an adjustable ND filter, this camera facilitates seamless shooting at a click of the record button. As well as being a very capable camera in its own right, it is also an excellent choice as a secondary camera when used with a VENICE as the main A-cam setup. 

This is a camera that can grow with your career as it is also compatible with a wide array of PL- and E-mount lenses, including Super35 and full-frame options, allowing a filmmaker to adjust this rig to make clients budget for certain jobs. Plus, it supports advanced features like Cooke/I technology and Zeiss eXtended Data for enhanced metadata capabilities.

To cut a long story short, if you're in the market for one of the best cinema cameras and you have a spare $25,000 lying around then you can't spend it any better, while I know this sum might seem A LOT to many, but to the few, this is the best news they had in the industry!

Anamorphic lenses have a very special party trick. They squash a wide scene horizontally to fit the width of the camera sensor so that you can stretch the footage on output to get much wider cinematic aspect ratios than native sensor widths are designed for, while still using the full sensor area – so you’re not cropping out large chunks at the top and bottom of the frame.

That’s not all. Their unique construction means they create particular visual effects which are really on-trend right now, including horizontal blue streaks from highlights and oval rather than round bokeh. The anamorphic look is in demand!

But the best anamorphic lenses aren’t cheap, and they usually come as primes, which means lots of lens swapping for different angles. Laowa already solves the first problem with its highly affordable 1.5x Nanomorph and 2x Proteus anamorphic lens ranges, and it also offers a 1.33x front lens adapter for use with regular lenses.

But these new Nanomorph zooms go a step further, combining a 28-55mm T2.9 option with a 50-100mm T2.9. If you get both, you’ve got a combined 3.6x zoom range.

Laowa Nanomorph Zooms – what we know so far

The Nanomorph 28-55mm and 50-100mm are “insanely compact” according to Laowa, though these things are relative, and cinema-grade zooms are chunky beasts. These lenses are a similar size and weight, tipping the scales at around 1.5kg. They will be supplied in PL mount and offer the same 1.5x ‘squeeze’ as Laowa’s existing Nanomorph lenses.

Laowa is promising “exceptional” image quality, low distortion and chromatic aberration and “mesmerizing” bokeh and flare.

That’s as much as we know right now. If you want to find out more you can sign up now to the Laowa Nanomorph Zoom Indiegogo campaign. This will get you a discount of up to 30% when the campaign is officially launched on March 1.

Cinematographer Natalie Kingston made history as the first woman to win an Emmy for "Outstanding Cinematography for a Limited or Anthology Series" in 2024 for her work on the Apple TV series Black Bird and has shared some behind-the-scenes insights on her work.  

From a child, I have been fascinated by behind-the-scenes segments that show how TV shows and films are created, often searching for additional features on the VHS or DVD box. I recently got that same hit of fascination and inspiration in equal measure when viewing a video by Panavision, whereby cinematographer Natalie Kingston takes us through her approach, inspiration, and the Panavision equipment used to create the hit show, Black Bird. Panavision lenses are among the best cine lenses on the market, and you can see why by the show's signature look.  

Black Bird was one of the standout shows of 2022, gaining multiple Emmy and Golden Globe award nominations including best TV mini-series. The show follows a criminal who gets sentenced to 10 years in prison but is offered a deal for a reduced sentence if he can draw a confession from a fellow inmate. Filmed in a prison in New Orleans, the aesthetics of the show set the tone and Kingston took inspiration from one of photography's greats - Gordan Parks. 

The Atmosphere of Crime was a series created by Gordan Parks on assignment for LIFE Magazine, in which he photographed in several prisons around the US, producing a haunting yet captivating body of work - a photography series I recommend that everyone checks out! Kingston drew upon his work with natural light in this series, along with Park's color palette. 

"The way he used natural light was just stunning, and there was this very subdued pastel-like color palette with very rich contrast, that was like the visual thesis of Black Bird, and I took that and ran with it", Kingston states. 

Kingston has been working with Panavision since the start of her career in filmmaking and shot Black Bird with Panavision H Series lenses on an ARRI Alexa Mini LF camera, which would offer similar pastel colors but still render rich and realistic skin tones. Another attraction of these lenses is their timeless quality. 

Panavision states, "The true vintage glass offers slightly elevated blacks for softer contrast. The combined characteristics result in a sculptured image that transcends the sterility of digital sensors". 

These lenses have been used in many mainstream movies and TV shows, and it is easy to see why they are such a hit. The H Series lenses offer a soft transition from foreground to background, and produce natural skin tone quality, making it ideal for shooting portraits. Panavision offers rental services to the filmmaking industry all over the world, covering everything you could need from pre- to post-production.   

You don't need the most expensive cine cameras and lenses to create beautiful movies and videos. Check out our guides on the best cameras for filmmaking, the best Netflix-approved cameras, and the best hybrid cameras for both video and photography. 

Finally, Blackmagic has gone full frame with the Cinema Camera 6K and dropped the name ‘Pocket’ which was always a misnomer as the camera is simply huge – as were the crop-sensor versions that came before it. 

It’s also the third lens mount as the original Pocket Camera used a Micro Four Thirds sensor and matching lenses, which was then upgraded to an APS-C – called Super35 by filmmakers – then a Canon EF mount fitted in the 6K Pro version. Now it’s gone full-frame 6K and there’s a Leica L mount. 

Not everyone has lots of these L-Mount lenses, but it means the camera can use an adapter to accept popular glass that cinematographers often use, like Arri PL/ LPL or Canon EF.

You could consider it as the successor to the Pocket Cinema Camera 6K Pro but fitted with a larger sensor. In some ways, it is a serious upgrade which includes the addition of an Optical Low Pass Filter to combat moire. But in other ways, some of the spec has been downgraded. The built-in ND filters have been dropped, and also absent are the twin card slots of the 6K Pro – one for CFast cards and one SD. These are replaced by a single CFexpress type B card, although you can record to an external SSD via the USB-C port, as long as you’re not using the port to trickle charge the camera.

But the biggie is that the new 6K camera can only record in Blackmagic’s own Raw format – or BRAW for short. The 6K Pro also offered ProRes in C4K, 4K, or FHD which meant you have an edit-ready codec that needs no conversion.

The full-frame 6K model does record a folder of low-res 1080p proxy copies of the Raw files that can be used in a quicker workflow. But you have to use the large B-Raw files for final output, so you need to transcode these in DaVinci Resolve software which means more time in front of the computer for color correcting, grading, and adding noise reduction. There is also a lot more memory used in the camera and on your hard drives, too.

Resolve usually is a standalone purchase but is industry-standard for color grading and also great for editing, too. You get a free, full Studio version of Resolve bundled with the camera to allow you to use all its high-end formats. But there is a learning curve to getting the best out of it, as it is powerful yet complicated. 

The new camera has a very similar shape and size to the older 6K Pro version, including the Large, five-inch tilting rear screen, Sony-fit NP-F batteries, and the latest Blackmagic color science.

Blackmagic Pocket 6K: Specifications

Blackmagic Pocket 6K: Key Features

Blackmagic’s new 35mm CMOS sensor has dual native ISO and is the most obvious upgrade in terms of image quality and the formats the camera can shoot in. And there’s any codec you like, as long as it’s Blackmagic Raw.

The sensor shoots in 3:2 format in 12-bit Blackmagic Raw ‘open gate’ as it records from the full area of the sensor where the frame rate maxes out at 36fps. This is because the camera is largely designed to be shot in this way, and then the image is cropped in post to suit whatever size and format you need. From super-wide anamorphic to widescreen 17:9 and even 9:16 vertical for social media, all from one setting which is then cropped in post. There are lots of in-camera overlays to help monitoring. 

There are other options, such as DCI 6K, DCI 4K, Super 35 4:3, and 1080 HD. But in these settings, the sensor is windowed during shooting. So as there is a crop factor to the shot, the camera doesn’t have to scan the whole sensor which means there is an increase in frame rates.

In full-frame 6K the frame rate is 36fps, in DCI 6K widescreen it’s 48fps but with a 1.06 crop. At DCI 4K it speeds up to 60fps, but there’s a 1.57x crop and in FHD 1920x1080 you can go to 120fps but there’s a huge 3.3x crop. Of course, cropping into part of the sensor means image quality and resolution are reduced. 

The camera offers 13 stops of dynamic range and dual native ISO which bases at 400 and 3200, so it’s clearly a camera that likes a lot of light. As it’s all shot in Raw, there is no in-camera noise reduction so you need to add this to every shot in post. 

There is also the file size issue as you will need a lot of CFexpress cards to shoot in the best quality. But the camera allows you to select different Raw compression levels from 3:1 to 12:1 if you keep the bitrate constant, or four quality levels from Q0 to Q4 for consistent quality. 

The  Optical Low-Pass Filter effectively combats moire but with a large sensor and not the fastest processor, there are some rolling shutter issues. One clever way of reducing this is in DaVinci Resolve which uses the camera metadata to detect skewed verticals and then correct the image for it. This works surprisingly well, but there is a small crop which is something the camera could do without. The same technology also works to reduce camera shake, which is useful use as there is no built-in image stabilization.

Resolve is also the only place to process stills from the 6K camera. There is a separate shutter release next to the main video button, which takes a full-resolution still image. This is also in Blackmagic Raw format, so they have to be opened in DaVinci Resolve and worked on like a video file. So it’s decent for a thumbnail but is a long way from stills out of a conventional mirrorless camera. This is a camera for serious video only.

Blackmagic Pocket 6K: Design & Handling

This pumped-up camera has lots of vents to help keep the sensor cool when it’s recording 6K video Raw files, so there is never an overheating problem. Add on the optional £492 EVF and £161 battery grip and the camera is a bit of a monster, though. The EVF has a 1280 x 960-color OLED display and the unit can swivel through a 70-degree range. There is an adjustable dioptre lens as well as a choice of eyecups. These do fall off easily, though.

The battery grip screws onto the bottom plate which accepts two additional NP-F batteries. In tests, we coaxed approximately an hour of shooting and reviewing per battery.

The left side of the camera has rubber covers over ports that include a headphone socket and mini XLR jacks. And there are good-quality internal mics and preamps, too, with on-screen audio monitoring. The screen tilts but does not swivel around, sadly.

On the back of the camera is an auto exposure button which gives a rough setting but isn’t particularly accurate. 

There is also the autofocus button which uses the contrast-detect AF system in single-shot only that often hunts around before locking on. Not only is the AF not a clever hybrid phase-detection system but it this is old-school, one-shot AF. There is no C-AF, subject tracking, face detection, or any mod cons. You really need to focus manually, which is decent as there is a punch-in focus button to zoom feature, and the screen is big. 

Like the Blackmagic Pocket Cinema Camera 6K Pro the new 6K full-framer has a carbon fibre composite body but it doesn’t feel premium or like it would take a significant beating.  

However, the controls are well-designed with a large Rec button and an obvious control dial on the front to adjust the aperture. There are clear buttons to change ISO and white balance, and three customizable function buttons ideal for false color, effect of the display LUT, and frame guidelines. 

The large touchscreen menu is clear and allows you to change settings including shutter speed or shutter angle. Once shooting, the main info is all around the outside of the screen or you can turn it off for a clear view. 

Compared to cameras with built-in ND filters, you need to use a variable ND or standard ND filter in a matte box. Maybe Blackmagic will launch a full-frame 6K Pro that includes NDs, or perhaps they are too hard to squeeze in because of the large sensor. 

Blackmagic Pocket 6K: Performance

There is little to compare to the ultimate quality and flexibility you have when shooting Raw files. In the full 6K setting, even the most compressed files give superb results. The files are detailed and packed with colors to allow extreme grading, thanks to the Generation 5 color science. The hues are not oversaturated, even in the ‘video’ setting, which is relatively bold and punchy. The Extended Video has a wider dynamic range, and the Film setting has a more organic, filmic feel. Included LUTs can be used to normalize the monitor image while recording Log. And you can load your own LUTS, too. This ultimate control in image quality is what this camera is all about.

Yes, there are some rolling shutter issues that can be combated in Resolve, albeit with a crop. And you definitely need to add noise reduction, even at low ISO settings, as there is none applied in camera. But the ability to change white balance, push highlights and shadows, and change colors in post is a massive benefit thanks to those BRAW files.

Faster frame rates look good if you don’t mind the crop. But the 3.3x crop to achieve 120fps should be considered a get-you-out-of-jail card for occasional use rather than for serious-quality filmmaking. 

But to get the best out of the Blackmagic Cinema Camera 6K, you really need a decent amount of light as the sensor isn’t best at high ISO. The camera really needs to be on a tripod or motorized gimbal to take out the shakes and focus manually. The old-school AF and lack of image stabilization means it isn’t great for events or fast-paced work, either.

We found the sweet spot at DCI 4K with 5:1 compression, shot at 60p which allows for half-speed slow motion, and just put up with the 1.57x crop. Or shoot in 6K and you can crop in post anyway, but your frame rates are stuck at a maximum of 36fps. 

Once you get to grips with this camera, you will be rewarded with superbly sharp and cinematic images at a price nothing else comes close to.

Blackmagic Pocket 6K: Video Sample

Blackmagic Pocket 6K: Verdict

There is much more to a camera than simply its sensor and processor pipeline to get the images onto the card. But in the case of the Blackmagic Cinema Camera 6K, the new full-frame chip and full-on BRAW workflow it allows really are at the heart of what this machine will do. 

It’s about creating top-quality, wonderfully cinematic films that can be cropped and graded to taste, with a super-shallow depth-of-field if you want it.

Yes, it’s a big machine that makes it a bit awkward to use, with no built-in ND filters or fully articulating screen. The AF is poor, there are no edit-ready codecs in full resolution, the frame rates aren’t great and there’s a crop on everything except open gate 6K. 

But once you work on the files in DaVinci Resolve, you can’t fail but to be impressed at the results. And considering the low price of the camera body, you will forgive it all its quirks.

If you have the talent and vision to make stunning, filmic movies, this camera will help you deliver.  

Sony has today announced a new model in the company's lineup of professional cinema cameras in the CineAlta range, the Sony Burano. This new camera comes in a compact package and sits neatly between the company's flagship camcorder, the Sony FX9, and the top-of-the-range cinema camera, the $59,000 Sony Venice 2.

Above: launch video for the Sony Burano

Unveiled in time for IBC 2023, the Sony Burano offers a small-style form factor that packs a serious punch, offering a massive 8.6K CMOS sensor, that not only matches the top-of-the-line Sony Venice 2 8K's exceptional imagery, but it also incorporates Sony's renowned autofocus technology, which is a massive boost for solo filmmakers when facing fast-paced environments with challenging focus. The sensor also offers both full-frame and Super35 modes.

The Sony Burano is equipped with the same rugged and reliable PL- and E-mount system as the Venice series, enabling you to select your glass from a huge selection of lenses.

The PL mount is also compatible with all Super35 and full-frame PL lenses in both spherical and anamorphic versions, which gives filmmakers added flexibility. It also supports Cooke/i technology for frame-by-frame metadata and ZEISS eXtended Data. The E-mount will also support metadata when using Sony E-mount lenses.

A unique offering to the Burano is its in-camera image stabilization for both Sony E- and Arri PL-mount lenses, which is a first in any digital cine-style capture. This new PL-mount feature provides a 3-axis pitch, yaw, and roll stabilization with high, low, and off options. 

E-mount lenses benefit from the 5-axis pitch, yaw, roll, x, and y stabilization with active, standard, and off settings - which is an interesting take on a pro-grade cine camera, giving the arguably lesser lens system more stabilization and options - least these lenses are cheaper than the PL alternatives!

Intuitive user features include a detachable viewfinder and LCD screen combo that functions as a controller for the Burano. A handy Home button replicates the "big six" (FPS, EI, Shutter, ND, Look, and WB) functions that will be familiar to Venice users who are looking for that perfect - B-cam to mirror with their Venice 2.

This package costs a massive $25,000 / £25,790 so is out of reach for most cinematographers - even though it is under half the cost of the Sony Venice 2. But for those wanting an additional setup to their Sony Venice or who are looking for a pro-grade setup that can adapt to various jobs and projects it's not a bad price to pay for a portable 8.6K package.

Update 11/09/23:  New rumors have emerged from Sony Alpha Rumors that the new Sony Burano will feature a full-frame sensor that will be capable of recording 4.3K video with a high-speed slow motion setting of DCI 4K at a blistering 120 frames per second.

More specs could suggest that this new model would feature a 90fps mode with open gate sensor recording with could be recorded on CFexpress Type A cards.

These new rumors may come from a "trusted source" but all these specs must be taken with a large grain of salt until the office announcement of the new Sony Burano that will take place on September, 12th at 10:00 EDT, 15:00 BST, 22:00 CST, 23:00 JST via the Sony camera YouTube channel link below:

Above: Sony teaser video for the upcoming Burano camera

Original Story: For all the professional filmmakers out there or those who dream of being an award-winning cinematographer, Sony has an important announcement for you.

It seems that the time has come to update the CineAlta range, which is Sony's professional range of cinema cameras that feature cinema cameras such as the flagship Sony Venice and of course the Sony FX-series.

This new camera, however, is shrouded in mystery. As you can see below the teaser video does now show much, and a lot is left to the imagination, but what we do know is the name, Burano.

Burano is a small island in the Northern Venetian Lagoon, seven miles northeast of  Venice, and is famous for its colorful houses - now this could be a double clue to what we can expect from the Sony Burano? A sibling or successor to the Sony Venice? And one that does something special with color?

What we want to see

While official specs have not been released and we won't know what this camera can really do until the announcement on September 12, 2023 that leaves us to imagine what we would love to see of the next generation of Sony CinaAlta cameras, more specifically the Burano.

1. Size

While this might be a long shot, because Burano, the Island,  is small it might suggest that this new cinema camera could be a smaller box-style camera to join in the rivalry between the like of Red, Arri, and Panasonic - this could be a little far-reaching but the Sony CineAlta cameras are named this way for a reason, and Sony is yet to make a box-style camera - could the Burano be the first?

2. Color science

Sticking with the Burano Island theme, which is renowned for its vivid and colorful houses, I would like to see 16-bit color introduced onto this camera - while the Venice 2 also has this, I see the Burano sitting between the Sony FX9 and Venice 2 range, so introducing 16-bit would be a big push for FX9 users to upgrade.

3. Interchangeable lens mounts

While the Sony Venice 2 line of professional cinema cameras does offer camera bodies in either PL-mount or Sony E-Mount, these are fixed into the body and once you choose a mounting system you are locked into the ecosystem forever. 

I would like the new Sony Burano to feature interchangeable mounting options for both PL and E-mount lenses which will then give filmmakers creative freedom when choosing lenses on a project-by-project basis, perfect for commercial cinematographers, or smaller production houses.

Above: Sony YouTube page for the new camera launch

While these are specs that we would like to see on the new Sony Burano, we won't have long to wait to know what the official specs are as Sony will be giving a full announcement of the new cinema camera on September, 12th at 10:00 EDT, 15:00 BST, 22:00 CST, 23:00 JST via the Sony camera YouTube channel link above.

Cooke Optics has launched its cheapest-ever range of cinema lenses. Costing a fraction of the price of its existing products, the new range of five primes is designed to attract a new generation of cinematographers to the advantages of what has become known as The Cooke Look.

By some people's standards the new Cooke SP3 lenses are not especially cheap. But costing $4,500 each, they are around a third of the price of the Panchro/i Classic lens range (which sell for $12,900 each). Cooke's flagship S8 range of lenses cost around $35,000.

The full SP3 range will include 25mm, 32mm, 50mm, 75mm, 100mm lenses - all with a maximum T2.4 iris openings, and with 9-bladed diaphragms. A full set of the five lenses will also be available in a custom hard-case set.

Historically Cooke has primarily produced lenses for the Arri PL-mount - the standard bayonet lens fitting in the cinema industry. But the new SP3 range breaks with this tradition and will be available in a range of mount options for full-frame mirrorless camera systems – namely Sony FE, Canon RF, Leica M, and L-mount.

The lenses will be supplied with both Sony and Canon RF mounts – allowing you to switch between these two popular systems. Other mounts will be available as accessories. 

The design of the SP3 lenses is based on Cooke's Speed Panchro - one of the most influential lenses in 130-year Cooke’s history, dating back to 1921.

The lenses are also the lightest in Cooke's history, with weights ranging from 500-690g a piece. All the lenses have both imperial and metric distance markings, and share the same architecture, so focus and iris mechanics stay in the same place. We are told that the size and weight mean the lenses are suitable for use on gimbals and drones.

The new lenses promise the Cooke Look that has been sought after by professional filmmakers for decades. Cooke explains this look as providing. heightened dimensionality and contrast performance, giving great realism to your footage. Humans look human, we are told, with believable skin tone and character.

The lenses are available to pre-order now for $4,500/£3,250 each, or for $21,375/£15,400  as a box set of all five optics. Initially, the lenses will be sold with the Sony E mount - but purchasers will be able to get a free RF mount with shims as soon as it is available. The L-mount is available immediately as an optional extra, with the Leica M mount going on sale from early next year.

The Cooke SP3 lenses are now available for pre-order at BHPhoto

Check out our guides to the best cine lenses and to the best cinema cameras

Amazon's The Lord of the Rings: The Rings of Power provoked a lot of criticism. For you it might have been your favorite show on streaming or a massive flop (37% of those who started watching made it to the end). Whatever side you sit on, we'll bet you can, at least, admit that the special effects, CGI, and photographic storytelling are a true masterpiece of cinematography.

In an in-depth BTS (Behind-The-Scenes) look at the epic moment of the eruption of Orodruin (Mount Doom), Amazon and Arri share with us the low-down on how they created such a dramatic moment in visual history.

You can view the full 17-minute feature below:

The Rings of Power was captured in large format with the Arri Alexa Mini LF and Alexa LF cameras combined with DNA LF and Signature Prime lenses supplied to the New Zealand-based production by Arri Rental, Munich. With multiple units shooting simultaneously and the pandemic restricting travel, the producers set up a sophisticated cloud-based editing workflow that depended on metadata supplied by the cameras and lenses.

A pivotal moment in season one of this prequel is the cataclysmic eruption of Mount Doom at the end of episode six, its aftermath providing the backdrop to the opening of episode seven. 

Cinematographer Alex Disenhof ASC, who shot both episodes, chose this sequence as a perfect case study for this Arri featurette. He, and senior visual effects supervisor Jason Smith were interviewed on camera at the ARRI Rental HQ in London, while producer Ron Ames and visual effects producer Jesse Kobayashi were interviewed at Arri's facility in Los Angeles.

“When I hit the ground in New Zealand, one of the first things we had to tackle was how to shoot this post-apocalyptic landscape,” says Disenhof. Production designer Ramsey Avery provided some initial looks for the immediate aftermath in a village near the eruption, described by Jason Smith as “basically a version of hell.” The solution was a narrow color palette consisting purely of gradations of red and the yellow flames of multiple fires—a look so extreme that it needed the control of a studio environment.

Disenhof rigged a sound stage with hundreds of Arri SkyPanel S60 and S360 LED fixtures behind muslin screens around and above the village set, allowing him to fine-tune the red color and create soft backlight in every direction. Fire and smoke on set were supplemented by VFX in post, adding more fires, airborne particles, and shadowy details in the background for greater compositional depth.

What Disenhof loved about working in large format with the Alexa Mini LF and Alexa LF was “the ability to shoot at my desired stop and still have a shallower depth of field, which was important in this scene because ultimately we did have a lot of visual effects and we wanted the world to be a bit hazy behind our characters, not just through smoke but through focus.”

From the studio scenes set immediately after the eruption, episode seven progresses through a series of visual transitions as the characters leave the village and eventually emerge to clear skies. These sections of the sequence were shot on location, with Disenhof matching the red color from the sound stage with tobacco filters of gradually decreasing intensity, finessed by on-set grading.

The mix of studio and location, and the incremental transitions from a red look back to normality, made the camera and lens metadata invaluable. “The journey of the metadata for this particular sequence was of extreme importance,” says Jesse Kobayashi. “Having all of that information from all those different departments all in one place, accessible to the VFX teams and to the post teams, was, I think, what made that sequence look as good as it did in the very end.”

Ron Ames describes the extent to which cloud computing was incorporated into the workflow of The Rings of Power as unprecedented. “ARRI has been there from the very beginning,” he says. “Alexa cameras and smart lenses all communicating together is really how cloud-based computing works.”

Despite the cutting-edge workflow, Disenhof says that the visual effects team “were essentially surrounding us with this tech bubble that we could just work within… it was actually one of the most freeing experiences I have had on this kind of level of filmmaking in terms of the technical side. I didn’t have to worry about any of it. We could just focus on telling the story.”

This behind-the-scenes look really shows the technological advances of the tools of the trade for cinematographers and filmmakers. Cloud editing is becoming a more regular occurrence and The Rings of Power clearly shows the extensive use case that cloud editing has in the world of cinema.

If you found this interesting we would recommend taking a look at the best cinema cameras on the market, while also casting your eyes over the best cine lenses to make your production look magical. While Amazon has not released its specifications for filmmakers, Netflix has, and if you want to send your production to the red streaming powerhouse you need to make sure your using the best Netflix-approved cameras.  

Ever wanted to shoot a film like those from the era when Hollywood shot on Arriflex… then find yourself hit in the face by the astronomical price of film? Electronics engineer Blaž Semprimožnik might have a solution for you.

Semprimožnik has created a movie camera that shoots rolls of 35mm film, and can provide you with up to a minute of footage when shooting at 18 frames per second. Even better, this camera is able to take color or black-and-white rolls and shoot short films, time-lapse, or even single frames of 35mm. And the icing on the cake? It has a built-in scanning capability. All in one camera! 

• Want to shoot film more conventionally? Check out the best film cameras

The camera was invented to be a low-cost way to shoot and scan 35mm films, and in his YouTube video (below) Semprimožnik says: "A couple of years ago I have been occasionally shooting 35mm films with point-and-shoot still cameras while also having the desire to shoot motion picture films.

"Upon reviewing my options, the best way would be to do it with Super8 film, but after financial considerations I concluded that it would be very costly in the long run, since shooting just one standard 50-foot cartridge wouldn’t be enough for me. Purchasing, developing, and digitalizing costs for just one would be over €100 [around $110 / £100 / AU$190]!"

After weighing his options for a better solution, Blaž started from scratch: designing, printing, and building a functional analog movie camera that could use low-cost 35mm film cartridges. The Okto35 was born!

This Geneva-mechanism camera uses a majority of 3D-printed parts including a guide plane, take-up drum, motorized C-mount shifter (which enables film track exposure to be selected using a built-in solenoid light shutter), and a housing with support for interchangeable lenses, along with a DC motor.

Semprimožnik explains how the process works: "A user-friendly GUI with a simple menu system navigation using a joystick button and four different modes of operation: Movie, Photo, Time-Lapse, Scanner, and a system that gathers and processes all data and displays it to the user such as measured exposure values, remaining recording time, current/saved settings, et cetera. 

"Nearing the end of coding, many other useful features were added like a timer, recording button modes, and a visual / audible warning system. Programming was done in C language in the STM32 IDE environment."

If any of that means anything to you, then you might be able to build your own using Semprimožnik's instructions. In any case, the experiment from Semprimožnik shows that there are ways to be able to shoot movies on film without it costing the Earth!

If your credit card is feeling brave, check out the best 35mm film to scratch your analog itch. And if you're a little less old school, take a look at the best cameras for video using today's tech, and the best hybrid cameras for stills and movies.

If you're a keen filmmaker looking to take your next step in cinematography then this astronomical deal on a RED Dragon-X camera really can't be passed up. RED is a name synonymous with producing some of the leading cameras for Hollywood blockbusters and is always hot don't the heels of ARRI.

Now you can own this outstanding camera that comes at a kit with a Sigma 18-35mm f/1.8 as a ready-to-shoot package at B&H with a whopping saving of $10,000, now priced at just $9,950.

This RED Dragon-X Camera Kit is part of the RED unified DSMC2 lineup, which has just been superseded by the RED Komodo and V-Raptor DSMC3 cameras.

The RED Dragon-X kit includes a body or "brain" as it's referred to by RED users, as well as all the gear you need to make a functional shooting package.  The kit includes the Sigma 18-35mm f/1.8 DC HSM Art, Canon EF mount, V-lock I/O expander, 480GB RED mini-mag, IDZ system 96Wh V-mount battery, and the sought-after RED 4.7" LCD touchscreen, along with many more accessories to get you well on your way to making award-winning visuals.

This Dragon-X features a Super35 sensor and can also shoot and record at 6K uncropped up to 75 frames per second and comes equipped with REDCODE RAW, the format of choice for DSMC2 cameras. This is RED's versatile RAW video codec that uses wavelet compression to reduce data rates while maintaining a visually lossless image rendering. This efficient codec can be edited on many available software programs, such as Adobe Premiere Pro without transcoding; though if you prefer, you can record to ProRes or DNx as well. 

All in all, you are saving $10,000 big ones on this Hollywood-grade rig that is ready to shoot whenever you are and B&H now has this kit priced at just $9,950 - it's a steal of a deal!

Best cinema cameras
Best cinema lenses
Best Netflix-approved cameras

It has been announced that Rosco Laboratories has agreed to an IP licensing agreement with Rotolight, in reaction to the British lighting specialist's cinematic effects "CineSFX" patent portfolio in the US, UK, and Europe.

This isn't the first time that Rotolight has come to an agreement about its patents. Arri, one of the leading cinema brands in the industry, also 'came a cropper' to Rorolight, and after a 16-month legal battle Arri settled outside of court.

In light of this agreement with Rosco, Rotolight CEO Rod Aaron Gammons said: "We are very pleased to welcome Rosco to our CineSFX licensing program and appreciate their proactivity and professionalism in approaching us for a license for use within their DMG Lighting products. 

"Rotolight continues to invest millions each year into research and development in order to bring industry-first innovations to market, that save filmmakers time and money on set. Any other infringing companies should now proactively approach Rotolight directly, to secure a licensing agreement on reasonable commercial terms."

Following on from this Mark Engel, CEO of Rosco, said: "Rosco is a leading manufacturer with a rich history of innovation, product development, and respect of intellectual property and we are therefore pleased to have officially joined Rotolight’s CineSFX licensing program. 

"Our history includes over 100 years of developing solutions for creative professionals. The True Rosco Color library contains our gel colors, names, and numbers which have been technically validated and trademarked by Rosco. Customers around the world know and trust Rosco for its color quality and associated name and numbering system. 

"We appreciate Rotolight joining other manufacturers in our license program by adding True Rosco Color digital gels to its product line up in Q2 2023."

It's great to hear two companies officially coming together and supporting each other, even if sometimes a finger might be pointed in a "who did what" situation. 

If this has been of interest you might want to look at our best video light guide. Or if you're looking for a new camera on set, I'd highly recommend checking out our best cinema cameras and best cine lenses – and while you're at it, it might be a good idea to peruse our guide to the best LED panels if you want some extra light on set in a compact package. 

Productions all over the world have been shot using the Cooke S4/i lenses, but the latest addition to the showreel includes HBO Max's highly popular adaptation of The Last of Us PlayStation videogame franchise created by developers, Naughty Dog.

With the first series (or part one, as the game format suggests) now concluded, Cooke Optics has provided a closer behind-the-scenes look at how its S4/i range of spherical prime lenses was the tool of choice for cinematographer, Ksenia Sereda, to bring the action of the game to life.

• These are the best anamorphic lenses for filmmakers

The Last of Us series is set in a post-apocalyptic landscape where the world has been overrun by people infected by cordyceps – now in a cannibalistic and zombie-like state, and some much worse than others, known as bloaters and clickers. These infected folk are pretty terrifying both in live-action and when playing the virtual game (especially when using a headset and sitting in the dark).

The series has been brought to life in what is a cinematic masterpiece with credit to all involved, which has left fans of the Naughty Dog franchise in very emotional states each week as the episodes aired one by one. 

Chemistry displayed between lead actors Pedro Pascal and Bella Ramsey, who play protagonists Joel and Ellie, is shown not only in their stellar performances but also through the phenomenal technology and recording equipment used by the videographers, which included an array of prime S4/i lenses by Cooke Optics. 

The Cooke S4/i series of lenses are fully comprehensive, including a lineup of 18 matched focal lengths, and are designed to provide the maximum quality and performance when used at a full aperture, and boasting as Cooke describes 'superior control' over flares and distortion, plus spherical aberration.

The glass was paired with the Arri Alexa Mini camera - one of the best Netflix-approved cameras - to create the show's most captivating and intense scenes and were continued to be used by multiple cinematographers during the show's production across multiple episodes.

Cinematographer and Director of Photography for The Last of Us, Ksenia Sereda, worked closely with Neil Druckmann, the writer of the original game, on episodes one, two, and eight of the series - and has insightfully shared that:

“I wanted to keep close-ups on the normal side and not go too long or wide with lenses because, working from the character’s perspective on the story, we needed to be able to stay close but at the same time preserve the depth of background."

She continues, "I also wanted to work within the range of 25mm-50mm lenses, so the challenge was: which lens won’t distort faces at 25mm; where can I come with a wide lens on the close-up without being too poppy? Cooke S4/i was an excellent choice for this.”

The new TV series has been praised for the uncanny resemblance to the cut scenes and locations within the virtual game, and side-by-side comparisons of both were shared around online by fans, showing the level of accuracy and attention to detail that had gone into curating the series.

"I played the game for the first time almost four years ago, and I was absolutely fascinated by its cinematic look – I wasn’t ready for how beautiful it was, the lighting was gorgeous. And the most surprising thing was how deeply I connected to the characters in the game.” States Sereda.

"Of course, it was a lot of pressure to translate the video game language into the TV series because it’s already beautiful and everyone, including nearly all of the crew, loved the game.” 

• See: I'm a photographer, and I took some STUNNING cinematic photos in The Last of Us Part I using my Playstation 5

Cooke's /i Technology provides vital metadata on specific lens settings for consistency and reproducibility, such as information detailing the focusing distance used, as well as aperture and depth-of-field, hyperfocal distance, serial numbers, owner data, lens types, and focal lengths - in both metric and footage measurements.

Sereda explained that the Cooke prime lenses were perfect in low-light shooting conditions, "We used a blue screen for very specific scenes like night scenes or more controlled environments. The key thing was, even though we used completely different VFX techniques over the show, the lenses and the camera provided complete flexibility in creating every type of visual effect.”

"I love to work without filters too, and on the close-ups, I just could not take my eye off the portraits we could create with the light. The system of light, lens and camera gave a very specific, textured and warm image.” She said.

Have you seen The Last of Us yet? No spoilers, but in our opinion, it's a pretty great adaptation of the game, and so much more than your typical zombie storyline, with an intense emotional focus on the characters and how they adapt to a new world. Be sure to catch it on Now TV, HBO Max in the US, and  Sky Atlantic in the UK.

• You might also be interested in the best cine lens for filmmakers, as well as the best cinema cameras, and not forgetting the best diffusion filters and the best lenses for iPhone and Android camera phones.

DJI, the renowned drone maker and recent cinema camera manufacturer of the DJI Ronin 4D has now announced an L-mount is now available for the camera system to open the spectrum of lenses that can be used on this revolutionary system. 

DJI's Zenmuse X9 is itself a full-frame camera featured in the Ronin 4D professional cinema camera system, which now offers even greater camera lens compatibility with the new L-Mount unit. After DJI announced a partnership with world-leading camera maker Leica to join the L-Mount Alliance in 2022, this new L-Mount unit allows lenses from other Alliance members to work seamlessly with the Zenmuse X9 system and in turn the DJI Ronin 4D, opening up further lens choices for filmmakers.

The new DJI Zenmuse X9 L-Mount unit will set filmmakers back approximately $429.69 / £349 / AUS $602.57 which is quite a bit just to be able to shoot a wider range of lenses. 

It would be nice if DJI offered it as an alterative mount option when purchasing a DJI Ronin 4D, much like many other cinema camera manufacturers do with having a native mounting option, along with the industry standard PL-mount, but I guess when you are as big as DJI, and launch a product that changes the game of filmmaking for many, you can charge what you like. It would be nice to have the option at least.

What is the L-mount Alliance ?

The L-Mount Standard was started by Leica Camera AG for use in mirrorless camera systems. Members of the L-Mount Alliance manufacture their own compatible products independently, aligned strictly with the standard for uniform compatibility. 

With the Zenmuse X9 L-Mount unit, Ronin 4D achieves the same lens experience with L-Mount lenses as the DJI proprietary DL mount type, including calibration-free setup, full support for aperture adjustment, and complete use of the LiDAR focusing system for autofocus, manual focus, and automated manual focus. 

If this article has been of interest why not check out our review of the DJI Ronin 4D, discover the best cinema cameras on the market, or find out what the best cine lenses are for your cinema camera?

Irix is currently producing some of the best cine lenses for amateur and professional cinematographers. They balance capable performance with a competitive price, not to mention – in my opinion – a stunning design, too.

In 2019 Irix hit the cine market with a 150mm T3.0 1:1 Macro lens based on its successful photo lens of the same focal length (the Irix 150mm f/2.8 Macro 1:1 Dragonfly). The focal length and 1:1 Macro capability made this lens stand out, and while it has proved popular, many photographers wanted to be able to work at greater distances from their subjects.

• Find out how cine lens are different to regular lenses.

That's why Irix – seemingly valuing user feedback – has now developed a second version of the 150mm T3.0 lens with what it calls a "TELE designation". The lens is optically and mechanically similar to its older brother, but there are a few subtle differences. The focus range now starts from 0.67m and the maximum aperture is T22 instead of T32.

Available in the seven most popular industry mounts: Canon EF, Canon RF, Sony E, Nikon Z, Olympus MFT/ Panasonic MFT, and Arri PL-mount, Irix is aiming to appeal to a wide range of users. 

But is this new lens a decent proposition for budding filmmakers and cinematographers? We tested a sample with the Canon RF mount and a Canon EOS R6. Let's see how it fares in real-world use.

Irix Cine Lens 150mm specifications

Lens Mount: Canon EF, Canon RF, Sony E, Nikon Z, Leica L, Olympus / Panasonic MFT, Arri PL-mount
Aperture range: T3.0 ~ T22
Dimensions (L x D): 159 x 97 mm (Canon RF mount)
Number of iris blades: 11 (rounded shape)
Minimum focusing distance: 0.67 m (2’19”)
Focus ring rotation angle: 270°
Front filter thread: 86 x 1.0 mm
Front diameter: 95 mm
Weight: 1.1kg

Irix Cine Lens 150mm features

Irix Cine 150mm T3.0 Tele lens is designed for UltraHD cinema cameras that resolve video in 8K. Inside the Irix Cine Lens 150mm, there are 11 rounded iris blades to produce a smooth, dreamy bokeh, and the optical system itself boasts 12 optical elements in 9 groups.

Like the Irix Cine 30mm T1.5,  the optical construction has been designed so that the front element remains stationary during focusing. The advantage of this – particularly for a cine lens – is stability in weight throughout the focal range, as well as increased durability against dust and moisture.

There's a 270-degree precision focus ring and standard 0.8 follow focus rings that enable you to position your follow focus anywhere you like. Like the rest of the Cine line, it also features Irix' Magnetic Mount System that enables accessories like the lens hood (sadly not included) and Irix Edge filters to be quickly added and removed.

Irix Cine Lens 150mm Build & handling

The first thing you notice when you take the Irix Cine 150mm lens out of the box is its considerable heft and size. Its made from an aluminum and magnesium alloy that's smooth and robust, but at 1.1kg, it could never be called lightweight. Irix suggested that the lens works perfectly with gimbals and is suitable for handheld shooting, but I didn't feel very in control when doing the latter.

You'll get the best from the lens by mounting it on a video tripod, which keeps it locked in position and frees up your hands for tweaking the focus and aperture. One key feature of a cine lens is its ability to smoothly switch focus, and this Irix lens is fully manual focus, with an internal focusing mechanism via the geared rings and a de-clicked aperture ring.

In the box, you get a foot with a 1/4'' thread to allow for a variety of secure mounting options and what's helpful is that it can be mounted on either the upper or lower part of the lens.

On the lens barrel itself, there are two rings; one for the clearly-marked focus distances and the other for T-stops. Both are incredibly smooth in operation and should help filmmakers to get accurate and smoother focus pulls. Typical of the best cine lenses, the build is solid and weather-sealed, and I'd have no worries about using it in a rain shower.

What's particularly excellent about Irix' cine lens build quality is its lens markings, which here are engraved and filled with UV-reactive paint. I could still see the markings in low light, which made changing and checking values easy.

The lens' front filter thread is 86mm, and it supports follow focus rigs via built-in gears (119 total on the focus ring, 110 total on the aperture ring), as well as being compatible with a 95mm diameter Matte Box.

Irix Cine Lens 150mm performance

I'm still evaluating the Cine 150mm T3.0 Tele lens, but so far I don't have any major concerns about its optical performance. There's almost no distortion to speak of, which is pleasing but not too surprising – given that Irix claims "the lens is virtually free of geometric distortion" – and this is backed up by our lab tests below.

The visual characteristics of the lens are beautiful. The bokeh wide open can be a little noisy, but the lens generally renders backgrounds as a dreamy blur. What this Irix can render is reminiscent of far more expensive cine lenses – which is impressive when you consider it costs just $1,200.

There's also no noticeable focus breathing as the focusing distance changes, although my one complaint might be that the focus ring is a little stiff to move by hand. I'm sure the resistance is intentional, so that focus pulling is as smooth as possible, I just occasionally felt that turning the ring can be very awkward, given the weight of the lens.

Sample footage and frame grabs will follow very shortly.

Irix Cine Lens 150mm Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness wide open at T3 is mediocre at best, but stop down to T4 and the lens is significantly sharper in the central region, and sharpness becomes very respectable at T5.6.

Fringing:

Color fringing is negligible at all aperture settings, even in the corners of frame where it would usually be most noticeable.

Distortion: -0.1

It’s virtually a zero-distortion lens. Technically, there’s the merest hint of barrel distortion but it’s practically impossible to spot in images.

Irix Cine Lens 150mm verdict

The Irix Cine 150mm T3.0 Tele lens is ideal for amateur and professional moviemakers using a full-frame camera who want a longer focal length to work with. Its design is robust and attractive, yet heavy (though not particularly heavy for a cine lens) and its price is reasonable. 

Image quality is also excellent, although sharpness isn't the best wide open T3. Irix isn't yet the most well-known brand in the cine lens market, but it could be if it continues to produce such stellar optics.

If the Irix Cine Lens 150mm isn't for you

Some 16 months after its "shots fired" press release, revolving around legal action brought about by Rotolight, motion picture powerhouse Arri has settled its lawsuit with the British lighting specialist. 

Arri disputed the validity of a number of patents granted to Rotolight, claiming that they were not inventions so much as existing technical solutions, and took the matter to court – with Rotolight also undertaking legal action over the disputed patents.

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The lawsuit has now been settled, with the two parties releasing the following joint statement:

"Arri has agreed to a settlement with Rotolight, relating to Rotolight's cinematic special effects 'CineSFX' patent portfolio in the US, UK, and Europe. Arri no longer contests the validity of Rotolight's patents and has withdrawn its Inter Partes Review in the US accordingly. 

"Simultaneously, Rotolight has withdrawn its US District patent court action against Arri. All Arri products will continue to be offered as always. Arri and Rotolight respect intellectual property and value fair competition."

The complaint arose over the patent granted for Rotolight's CineSFX and Magic Eye technologies (co-developed by Emmy winning visual effects artist, Stefan Lange), which encompass 18 patents relating to user-customizable special effects such as fireplaces and lightning strikes. 

In being awarded these patents, a number of Arri products – namely the SkyPanel line, which includes the Orbiter LED lighting system – were found to infringe them. Thus the intellectual property lawsuit ensued, but the matter between the two companies has now been settled.

"We are therefore pleased to have reached a settlement with Arri, and shall continue to take all steps necessary to protect our intellectual property from ongoing infringement," said Rotolight CEO, Rod Aaron Gammons. 

"In so doing, this will allow us to continue to invest in bringing industry-first innovations to market. Any other infringing companies should now proactively approach Rotolight directly, to secure a licensing agreement on reasonable commercial terms."

Rotolight was also victorious in defending those same patents from a challenge brought by Vitec – the parent company of lighting brand Litepanels, as well as big names like Manfrotto, Joby, Loweprowe and Gitzo. The Patent Trial and Appeal Board found in Rotolight's favor, and the company then filed its own patent infringement action against Vitec. 

The world of LED light panels, eh. Who would've thought it was such a legal pitfight? 

Arri, the cinema camera giant that supplies cinematography equipment to the film and TV industry, took the 78th Golden Globe by storm, as 7 of the 8 major award-winners were shot on Arri cameras – with the remaining award-winner being shot on Panavision kit.

The productions that scooped awards included Steven Spielberg-directed The Fabelmans, which picked up Best Picture Drama and was shot predominantly on an Arriflex 16S, Arriflex 416, and parts with a Panavision XL2. Best Picture Musical / Comedy was won by The Banshees of Inisherin, which was shot on the digital large format Arri Alexa LF.

Best Picture Non-English Language was won by Argentina, Best Musical / Comedy Series went to Abbott Elementary, and Best Limited Series, Anthology Series, or Television Motion Picture was awarded to The White Lotus – all of which were shot on the Arri Alexa Mini LF cinema camera.

Blockbusting drama series Game of Thrones: House of Dragon claimed the top spot for Best Drama Series, with the entire season being shot on the Arri Alexa 65 and Alexa Mini LF.

We must point out that top cinema cameras from other manufacturers were featured within the list of nominees, which saw the likes of Red represented with the company's Monstro sensor, and the Sony Venice being an ever-popular option, with a few of the best Blackmagic cameras thrown in for good measure.

An interesting observation, however, is that most of the award-winning features and serials were captured on a large format sensor or 65mm film. Arri and Red are currently the only manufacturers that feature this sensor size in their cameras, but could this turn into a trend in the future?

As we see technology developing at an ever-expanding rate, it is more than likely that other manufacturers within the cinema camera market could develop large-format sensors in the future. After all, price isn't the controlling factor within this category; rather, it's how usable and versatile the camera is in the field, and what image quality it delivers that makes it the favorite for producers directors of photography around the world.

If this article has been of interest why not check out our best Netflix-approved cameras or best cinema cameras to help you decided which camera to buy next

Irix has launched a new cine lens, the Cine 150mm T3.0 TELE. A development of the existing Cine 150mm T3.0 Macro 1:1, the new TELE variant has a modified focus range with a minimum 67cm focus distance (compared to 35cm for the Macro lens). Irix has also modified the lens's manual focussing ring to offer greater precision when focussing between 2 metres and infinity, with a total focus ring travel of 270 degrees.

Read more: the best cine lenses

Elsewhere, the Irix Cine 150mm T3.0 TELE shares the same features as its Macro predecessor. Irix claims "spectacular bokeh" from the 11-blade rounded diaphragm, while the 12 optical elements should provide sharp enough image quality to be suitable for 8K recording. The sharpness is said to be combined with the signature 'Irix look' of "soft tones and a characteristic, subtle glow".

The lens is available in Canon EF, Canon RF, Sony E, Nikon Z, Olympus MFT/ Panasonic MFT, and Arri PL-mount options. Each is compatible with 86mm filters, along with a 95mm-diameter matte box. A lens foot is included for mounting to a cage via a standard 1/4-inch mount thread. The front of the lens features Irix's Magnetic Mount System for easy installation of additional accessories, Irix MMS filters, or an optional lens hood.

The Cine 150mm T3.0 TELE can also be used in inclement weather thanks to five weather seal gaskets (4 on the Arri PL version), while the magnesium alloy barrel keeps overall weight down to 1105g (Canon EF version).

The Irix Cine 150mm T3.0 TELE is available to order now from the Irix web shop, priced at US $1,195 ($1,295 for the PL-mount version). Availability at other retailers is expected soon.

Read more:

Best cine lenses
Best wide-angle lenses
Best lenses for landscape photography
Best lenses for astrophotography
Best fisheye lenses
Best tilt-shift lenses
Best standard zoom lenses

World-renowned cinema camera manufacturer Arri has introduced new models to its ever-expanding fleet of rental cameras, but there is something very different about these three new editions. Each has a dedicated monochrome sensor that only records in Black and White... but why has Arri introduced these three new B&W cameras when Hollywood is built for color... isn't it?

• These are the best cinema cameras (in color)

The three new additions to the Arri rental fleet are the Alexa 65 Monochrome, Alexa XT Monochrome, and Alexa Mini LF. The color variants of these black and white-only cameras have been used to shoot major Hollywood blockbusters for years, ranking up best movie of the year awards like they are going out of fashion. But is color going out of fashion now?

In an age where film photography has sky-rocketed in recent years over, and while RED has been producing monochrome cameras for a while, not many films have been released in B&W, so why does Arri think these cameras might bring back the black-and-white movies of yesteryear? It's all to do with tonality and definition.

At the heart of each of these black and white cameras is a modified sensor, which lacks the Bayer mask, allowing each photosite to capture the full spectrum of visible light. With no IR filter in place, monochrome cameras can capture the non-visible infrared light that renders white foliage, milky skin, black eye pupils, and moody skies, offering a look that really can't be replicated from a Color conversation.

The rental fleet comprises the Alexa 65, Alexa Mini LF, and Alexa XT monochrome cameras, covering the 65mm, full-frame, and Super 35 formats. So you are never going to run out of choices for your next feature.

While we have seen an influx of black and white films coming back to the big screen, such as The Lighthouse which was shot on the Panavision Panaflex Millennium XL2 35mm film cinema camera, it is incredibly expensive to keep shooting and using 35mm, 65mm or even IMAX film (around 75mm). Yet these new Arri monochrome cameras can be used at a fraction of the cost thanks to their digital sensor.

Arri even goes into this process on the Arri rental website stating:

"Offering a visually superior and more creatively committed approach than capturing in color and desaturating in post, the Alexa Monochrome cameras record black-and-white ARRIRAW with increased resolution, crisper blacks, and higher native ASA than regular Alexa's. The rich, high-contrast monochrome images are similar in look to analog panchromatic film".

While I can see the choice to use digital over film, even as a black-and-white photographer myself, I really can't see why you would want to shoot a film in monochrome.

What might not be to everyone's taste is the rather 30s-inspired jazz soundtrack that Arri has used to promote the new Monochrome sensor. I think a more upbeat score would have helped the cause a bit further, rather than suggesting "this is a new camera, that looks like an old one." At least, that's what I got from the promotion material.

Also read our guide to the best cinema cameras, and to the best cine lenses