Sony is building a medium format sensor that’s 2.2 times that of a full-frame E-Mount sensor – and fans now finally have a glimpse of the upcoming oversized sensor technology.

Last week, Sony announced that it is developing a 65mm-format sensor for its modular Venice cinema system that will allow filmmakers to swap out the sensor on the modular camera for an oversized sensor rivaling the likes of medium format cinema options like the Fujifilm GFX Eterna, Blackmagic Ursa Cinema 17K 65, and the Arri Alexa 65.

That oversized sensor will be capable of 9.7K video and measures about 53.75mm wide and 35.83mm tall (the 65mm comes from the 64.60mm diagonal measurement).

But, as a development announcement not expected to arrive until the first half of 2027, the announcement came without any official images of the actual sensor. Sony, however, previewed the technology at the CineGear 2026 expo – and now the first images and footage of Sony’s overzies sensor are trickling in.

Sony had the new sensor display tech on display in a few different ways, including mounting the sensor block directly to the Venice 2, mounting with a cable setup, and displaying the sensor block itself.

As only a development announcement, there’s much that filmmakers don’t yet know about the Rialto 65, including the type of shutter that will be paired with the sensor. But the announcement is exciting in that it pushes Sony into the medium format market, albeit for cinema and not stills.

Videos and photos coming from visitors to the CineGear Expo 2026 offer Sony fans a glimpse at just how much larger the sensor is than the full-frame currently available for the Venice 2 system.

In a Reddit post, one user claiming to be from Sony says that the company has noted increased demand for 65mm with an uptick in launches for lenses for the format. Meanwhile, Reddit users responded with a mix of reactions, from asking for a medium-format stills camera to hoping for a global shutter to come with the Rialto 65.

The upcoming sensor will likely be out of many creators’ budgets – the full-frame Venice 2 with its two different resolution sensor blocks ranges from $49,000 to $58,000 / £41,000-61,000 / AU$ 76,200-96,800 / CA$55,000-80,000. But the announcement offers a rare official glimpse into what tech Sony is working on behind the scenes.

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Sony is building a 65mm format sensor. On June 3, the imaging giant announced that it is developing a 65mm sensor for its Venice 2 cinema camera system, dubbed the Rialto 65.

The 65mm format is technically part of the medium format family, which covers sensors that are larger than 36mm but smaller than 100x130mm large format film. But, the Sony Rialto 65mm sensor is a 3:2 sensor built for cinema, making it wider but shorter than many typical stills-oriented 4:3 medium format cameras that tend to sit around 53.4x40mm.

Sony says the upcoming Rialto 65 will be one of the largest commercially available cinema sensors – it measures 64.60mm diagonally and comes with a 3:2 aspect ratio, making the sensor about 53.75mm wide and 35.83mm tall.

If everything goes according to plan, the Rialto 65 is currently expected to arrive sometime in the first half of 2027.

But, rather than launching a new camera to go with the larger sensor, Sony is building a sensor block that can be used to modify the Sony Venice 2 bodies, allowing filmmakers to swap out the current camera’s full-frame sensor for a larger one. The modular design, Sony says, will help filmmakers adapt quickly.

The 65mm format has around 2.2 times the area of the full-frame sensor on the existing Venice 2 bodies. That helps the camera both gather more light and create an even shallower depth of field. That larger size will power the ability to shoot 9.6K open gate recording, which uses the full 3:2 sensor for greater cropping flexibility in post.

But, the larger image sensor requires larger lenses – Sony says the upcoming sensor block will be compatible with “various 65mm format lenses.” The company says that multiple readout modes will help the sensor support compatibility with more lenses.

The upcoming sensor joins a limited but growing list of medium format shooters designed specifically for cinema, alongside options like the Fujifilm GFX Eterna, the Blackmagic Ursa Cine 17K 65, and the Arri Alexa 65.

While medium format cinema cameras sit at a price accessible only to studios with large production budgets, Sony is one of the largest manufacturers of camera sensors, so the shift is an interesting move even for creators who will never get to hold such a large sensor.

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This summer, Canon will roll out several key firmware upgrades across several C or cinema series cameras. Announced ahead of NAB 2026, Canon has shared a list of new features coming across cameras like the Canon C400, C80, C50, C70 and R5 C, including the gimbal controls, exposure ramping compensation, and a refreshed level view.

Three of the cameras will soon be able to be controlled from the buttons, dials, and joysticks on compatible gimbals, thanks to an update in USB protocols. The Canon C400, C80, and C50 will gain support for DJI gimbals using USB-C, which will allow videographers to control camera settings using the controls built into the gimbal, rather than those built into the camera.

That means creators will be able to adjust factors like starting and stopping the recording and adjusting the iris, shutter speed, and ISO from the gimbal controls. The update helps put the camera controls within easier reach.

The Canon C400 will also gain an exposure ramping compensation feature, available only when using CineServe lenses. Exposure ramping refers to changes to exposure as a lens zooms in. The exposure ramping compensation will allow the camera to automatically compensate for those changes by adjusting ISO.

The Canon C400, C80, C50, and R5 C also get a refreshed level, which now turns green when the camera is level.

For livestreaming using the SRT Stream protocol, the C400, C80, and C50 can now try to automatically reconnect if the reconnection is lost during a livestreaming session.

The Canon C50 will also gain a handful of new updates to catch the camera up to earlier firmware updates across cinema models, including an HDMI View Assist feature in Media Mode, smoother zoom, updated Wi-Ci settings, and adjustments to CV and XC protocol.

While announced on April 15, the firmware updates won't be rolling out until June and August.

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The Blackmagic PYXIS 12K can capture incredible footage, but specs mean nothing in a real-world environment if the hardware cannot withstand the elements. Knowing that I’m going to shoot in a cold environment, there are certain things I always factor in: myself, the equipment, and time. While testing some extreme shooting scenarios in Iceland and Norway, temperatures dropped to -32°C.

As well as working in sub-zero temperatures, we were also challenged with shooting from moving vehicles. From a modified Icelandic Jeep, designed for mountainous terrain, through to a modified Suzuki Swift that could tackle ice driving on frozen lakes, every setup came with its own demands. With the support of Uncharted Iceland Expeditions, Safari Quads, and Peter Gwynn Motorsports, we pushed the crew and kit harder with every setup.

All of my decisions had to be carefully considered and only the essentials made the kit list. I needed a solution that would deliver an immaculate image, but was also sturdy enough to withstand the conditions. This felt like the perfect opportunity to test the PYXIS 12K in these unforgiving environments. I paired it with a set of DZO Arles Lustre Prime lenses and a selection of 9.solutions rigging equipment.

Since most shots required the camera to be mounted externally, it spent hours exposed to wind, snow, grit and occasionally water. I relied heavily on Tilta’s Hydra suction cup system, combining both electronic and manual cups. The electronic versions maintain their vacuum, which is reassuring when filming at speed, while the manual cups have the advantage of not needing power when you’re already juggling multiple batteries in freezing temperatures.

Every new angle required stripping the rig down and rebuilding it somewhere else on the vehicle, which could easily take an hour. Patience quickly became a part of the workflow. From an imaging perspective, though, the effort was worth it. The 12K RGBW sensor delivered a huge amount of detail and dynamic range, which proved invaluable when shooting in environments filled with bright snow, reflective surfaces and rapidly changing sunlight.

Those conditions can easily clip highlights or crush shadows on less forgiving cameras, but the PYXIS gave me enough latitude to protect highlight detail while maintaining depth in darker areas of the frame. I was shooting mostly in 8K, which gave me a nice balance of rolling shutter performance and a manageable data rate, while not having to compromise the field of view.

Interestingly, the extreme cold can even work slightly in your favour when it comes to sensor performance. Sensors generally produce less noise when they’re cooler, and since cinema cameras are designed to keep the sensor temperature controlled, anyway, the surrounding environment helped to keep things running efficiently.

The camera hardware definitely took some punishment. During one ATV river crossing in Iceland, a wave of freezing water splashed across the rig. Thankfully, the protective XLCS cage around the camera body took the hit first, and because everything was already so cold, the water effectively froze on impact rather than soaking into the camera.

Battery performance was one of the few areas that required constant management. Cold temperatures inevitably reduce runtime, so I put hand warmers in my camera bag to help maintain a stable temperature for both batteries and accessories. I always tried to keep unused batteries tucked in a jacket pocket, close to my body heat.

What struck me most after weeks of shooting in these environments was how reliable the system proved to be. Despite constant exposure to harsh weather, dust, snow and vibration, the PYXIS never became the weak link. The biggest challenge was simply working efficiently in such extreme conditions.

If you’re planning to shoot in similar environments, the most important advice is simple: respect the conditions, prepare carefully and keep your kit manageable. Cold weather will slow everything down, so plan your setups methodically and make sure you have warm clothing, spare batteries and reliable rigging.

And perhaps most importantly, don’t be afraid to let your camera work. A well-built cinema camera is designed to handle demanding shoots. Sometimes you just have to take it into the storm and see what it can really do.

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You might think that the Society of British Cinematographers would be a little cautious about letting people into their annual event who don't actually have BSC after their name, but one of the invited speakers sharing secrets about camera operating was David Chameides SOC, the American Steadicam operator known for his work on Aaron Sorkin masterpieces The West Wing and Studio 60, among much else.

Alongside fellow Steadicam operators Zoe Goodwin, Danny Bishop, and Colin MacDonnell, he shared some insights into the realities of being a camera operator with cinematographer Katie Swain and host Ed Moore, and it was fascinating to discover the little aspects of the role which many of us aspire to, and which is central to TV and film, yet is often seen as merely technical.

I knew that a good operator was expected to understand the script they were working on, but my experiences on professional sets have almost all involved operating the drones, which tends to be for a few planned shots discussed in advance with the Director or AD.

These operators, however, reminded me that storytelling was about more than the establishing shot. Steadicams and camera operators need to be able to follow the action as it happens, and to do that, it's essential to be able to anticipate it, so you need the script:

"Because if you don't know what story you're telling, you can't tell the story"

That means memorizing dialog and learning cues but there is another solution too…

"By the time I do the wander I have words written all down my arm, because I look down in order, and it reminds me when that word says something, I'm gonna probably have to go this way"

The other thing this reminded me, of course, is that in a few days there will be a ton of chances to see events like this at The Photography and Video Show, which runs from March 14-17 at the Birmingham NEC. Turns out you learn things from listening to and meeting photographers in real life, so now, if you don't mind, I'm off to browse the events programme (and yes, that is the right spelling, because the show is in the UK!)

For To Fly or Float, cinematographer Ben Saffer set out to create a 1970s period look built on layered images and interesting contrast ratios, with something bright in the frame to anchor the shadows.

Working closely with director Charlotte Peters, he chose the Blackmagic Ursa Cine 17K 65 digital film camera to translate the emotional closeness of handheld 16mm into the sculptural space of 65mm, keeping the audience inside the moment rather than looking at it.

Producer-writer Olivia Maiden rooted the film in the lived experience of childhood grief, with Saffer drawing on visual references including Kes, Ratcatcher and Fish Tank to inform the collaboration.

“From our first conversations, Charlotte, Olivia and I aligned on tone and texture,” said Saffer. “Those references shaped everything, from the locations we pursued and the production design palette to how we planned lighting and lensing.”

Saffer breaks down the format choice, how it shaped intimacy and distance, and the practical on-set decisions that carried through to post production.

In an exterior, like our canal sequence, we wanted a canal in Birmingham during the '70s. This was shot using daylight only, so having trees to one side and reflections off the water on the other side gave us a bit of everything we wanted.

To get a sense of geography and space, I would normally shoot anamorphic on a 50mm or 60mm lens. But the larger 65mm format allows you to step back while still getting that same level of compression.

Shooting with the Ursa Cine 17K 65 meant I could use the spherical 75mm Cooke Panchro 65/i, which is quite a long lens, while retaining a sense of being right there in the moment.

For the kitchen, I used a Vortex8 with a big 8x8 silk with the light source bouncing down into the silk, almost like a book light, but made very simply. Then we had this hard light coming through the window behind the Uncle. The look we were able to achieve was a combination of the way we lit, the color pipeline and some of the production design choices.

But it is also something that comes from shooting in the 65mm format. This is an intimate story about a young girl, but I still wanted to give it a sense of scale because in her life experiences, these were the biggest things that had ever happened. And 65mm certainly gives you that sense of importance.

Head over to the Ursa Cine 17K 65 gallery page to learn more about Saffer’s work on To Fly or Float, including downloadable Blackmagic RAW files from the short.

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Recalls that affect only a small percentage of models tend to come with a free inspection to see whether or not the camera needs the repair – but one cinema camera maker is repairing 100 percent of cameras released before a certain serial number, even though the issue only affects roughly ten percent of those models.

Blackmagic Design is recalling some early PYXIS 12K cinema cameras. The recall includes all cameras before serial number 14221337 for a component in the sensor board, which causes artifacts under certain conditions.

But while not every early model is affected, the manufacturer is still recalling all of them – and even the cameras that hadn’t been experiencing the issue are getting an improved sensor board.

“While only a small percentage of cameras show these artifacts visually, our experience of upgrading cameras over the last few months has shown measurable improvements on every camera,” Blackmagic explained. “This means every camera can be improved by doing this upgrade to the Revision B sensor board.”

The company notes that its newly manufactured PYXIS 12K cameras, built over the last few months, already ship with the new sensor board.

A recall of a cinema camera affects fewer creators than those using more widespread consumer models, but what’s interesting is how Blackmagic is handling the recall. They are repairing every model with the earlier serial number, even though only around 10 percent of them actually have the issue.

The company is also giving customers three years to get the free repair, and the company even notes that they’ll give customers a replacement board “or a replacement camera. Whatever is fastest.”

“The Blackmagic PYXIS 12K was purposefully designed to let cinematographers experience the quality, resolution, and dynamic range of the Blackmagic 12K sensor at a lower cost,” the company wrote. “It's the same sensor used on the URSA Cine 12K. It's an amazing sensor, and we want everyone to get the best performance out of it.”

Affected users are instructed to contact Blackmagic Design support for the recall.

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Fujifilm’s first camera built for professional filmmakers has joined the ranks of equipment with the IMAX stamp of approval. The Fujifilm GFX Eterna 55 is now IMAX certified, Fujifilm shared on January 20.

Earning the IMAX certified moniker deems a camera worthy of the standard’s larger format screens, including expanded aspect ratios like 1.9:1 and 1.43:1. The Eterna 55 has the tallest digital sensor on the cinema camera market, Fujifilm says, and the sensor’s height and Open Gate recording capability help give creators a larger, croppable format.

Outside of bringing Fujifilm’s medium format sensors into cinema, the Eterna 55 also brings Logarithmic color profiles and F-Log2, along with 10 Film Simulation 3D LUTS and 20 film simulation modes. The list of IMAX-certified cameras spans both digital and film cameras.

The Fujifilm GFX Eterna 55, which began shipping in October 2025, brings the company’s GFX medium format sensor into a cinema-style camera with an adaptable lens mount and internal electronic variable ND. The launch marked the first time that Fujifilm has brought its larger format digital sensor into a cinema-style camera.

“Adding the Fujifilm GFX Eterna 55 to our roster of IMAX-certified cameras is a win for filmmakers and fans alike,” noted IMAX Chief Content Officer Johnathan Fischer, “giving the world’s best storytellers another world-class tool to design truly immersive, cinematic visuals specifically for IMAX.”

The Eterna 55 arrived last fall, following nearly a year of anticipation after Fujifilm announced its development of a medium-format cinema camera in November 2024. The camera began shipping in October 2025. The LUTs that the camera uses were launched a month later, which can be adapted to other Fujifilm mirrorless cameras.

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As if the camera hadn't already received enough praise, the Canon EOS C50 just got even more approval – this time from Netflix.

The EOS C50 – Canon's "Sony FX3 killer", with headline features including 7K 60p capture and 7K 30p open gate – has just been added to Netflix's list of Approved Cameras.

This is a list maintained by the company prescribing the cameras that may be used for the production of Netflix Originals content, which require that at least 90% of the material is filmed on an approved camera – along with approved camera settings.

Netflix has approved the C50 to deliver content in full frame 3:2 (open gate), full frame and Super 35 (cropped) RAW in HQ, ST and LT formats, using either of the base ISO sensitivities (800 and 6400).

For 4K compressed footage, full frame or Super 35 is welcome and both Canon Log 2 and 3 are acceptable, though true DCI 4:2:2 10-bit XF-AVC are required. Canon's high-speed 4K 120fps and 180fps (the latter in cropped format) are also on the approved list.

Unsurprisingly, Netflix lists its preferred settings as full frame or open gate in RAW HQ or ST format shot in CLog 2.

Which Canon cameras are Netflix-approved?

With the addition of the C50, there are currently 11 Canon cameras on the Netflix Approved Cameras list – including full cinema cameras and hybrid mirrorless cameras:

Canon EOS C300 Mark II
Canon EOS C300 Mark III
Canon EOS C500 Mark II
Canon EOS C500
Canon EOS C700
Canon EOS C700 FF
Canon EOS C70
Canon EOS R5 C
Canon EOS C400
Canon EOS C80
Canon EOS C50

You can see the full list of Netflix Approved Cameras here.

What is a Netflix-Approved Camera?

If you're wondering why does Netflix have an Approved Cameras list, you're not alone – but the company has done its best to be transparent about why it exists and what its requirements are.

"One of the biggest priorities for us as a studio is helping our filmmakers do their very best work," explains Kris Prygrocki, Netflix's camera systems specialist.

"We want our filmmakers to not just feel enabled, but also encouraged to use the latest and greatest capture technologies out there to tell their stories."

As you might imagine, getting a camera approved is about much more than just resolution.

"While capturing at a higher resolution is certainly important to image quality, we know it's not everything. That's why resolution is just one of the many attributes we look at when evaluating a camera system.

"Other criteria that is just as important to image quality would be dynamic range, color reproduction, noice performance, sensor readout speed, compression, chroma subsampling, bit depth and so on and so on."

Take a look at the video below for a full explanation of Netflix's testing and approval process – it's a pretty fascinating watch:

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Blackmagic’s Pyxis 12K arrives as one of the most compelling cinema cameras of the moment, packing a full-frame 12K RGBW sensor and wide 16-stop dynamic range into the same compact, modular body that made the Pyxis 6K so popular.

However, this new camera isn’t just about resolution for its own sake – the huge 12,288x8040 sensor provides filmmakers with serious creative flexibility, whether you’re chasing maximum detail at 12K or downsampling to richly detailed 8K and 4K, which benefit from Blackmagic’s signature color science and tonal response.

At roughly the same physical size as its 6K sibling, the Pyxis 12K feels instantly familiar, yet the performance leap inside is dramatic. Dual CFexpress slots, multiple mount options, and deep integration with the Blackmagic ecosystem (including DaVinci Resolve workflows) position it as a versatile tool for narrative, commercial, and high-end indie production alike.

That said, this sensor’s capabilities demand careful rigging and infrastructure – from power and cooling to media and post-processing – making the Pyxis 12K a camera that rewards planning as much as creativity.

Specifications

Price

Release date and price The Blackmagic Pyxis 12K is available now, with a body-only price of approximately $6,595 (subject to fluctuations due to tariffs) / £4,320.

Design & Handling

Physically, the Pyxis 12K shares the rugged, machined aluminum box design of the 6K model. It is dense, feeling every bit of its 1.5kg weight, and is clearly designed to be the brain of a larger rig rather than a handheld unit. I tested the L-Mount version, which I found versatile for adapting to PL glass (using a Fotodiox adapter with built-in variable ND) or using native L-mount lenses.

The most significant operational difference is power management. The 12K sensor is "hungry." In my endurance testing, a standard Sony BP-U35 battery lasted only 35 minutes. Even larger third-party BP-U100 equivalent batteries provided just over an hour of recording time. Users stepping up from the 6K or Pocket lines must account for this; a V-mount plate and high-capacity bricks are practically mandatory for a full day of shooting.

I’d be surprised if anyone who is seriously considering the Pyxis 12K does not already rely on V-lock batteries for their rigs. They’re generally a better solution that gives peace of mind for longer periods of filming. As someone who shoots in a studio a lot of the time, I’m also grateful for the ability to run the camera from DC power via its 2-pin locking LEMO connector. It accepts a voltage range between 12V and 18V and will run even without a battery connected.

In terms of audio inputs, the Pyxis features a single mini XLR connector for pro mics, which is switchable between mic and line-level with phantom power delivery. It also has a 3.5mm stereo input for smaller microphones or other stereo line-level sources, like an AUX cable.

Performance

While the Ursa Cine 12K is built for speed, the Pyxis 12K trades some frame rate capability for compactness, generally topping out at half the frame rates of its larger sibling. However, readout speeds are impressive where it counts. While the full 12K Open Gate (up to 40fps) readout sits in the 24ms range, dropping to 8K results in much faster readout speeds of under 12ms, minimizing rolling shutter artifacts significantly.

Above: 4K sample footage show on the Pyxis 12K

A notable omission for some professional workflows will be the lack of internal ProRes recording. It can record ProRes to SSD, however and DaVinci Resolve now supports ProRes media natively. Internally, the Pyxis 12K records exclusively in Blackmagic RAW. While BRAW is efficient, the inability to quickly offload ProRes 422 files for fast-turnaround clients is a missing convenience.

On the positive side, the lack of IBIS is mitigated by Blackmagic’s gyro data. In my testing, applying gyro stabilization in DaVinci Resolve took seconds and effectively smoothed out handheld micro-jitters, making the footage look properly stabilized.

The image quality is the Pyxis 12K's raison d'être. As with previous Blackmagic cameras, the skin tone reproduction is pleasing and natural across a wide variety of complexions, requiring very little work in post to look "right". The highlight rolloff is equally impressive, contributing to a distinctively filmic image.

I did observe some banding artifacts in the skies in certain high-contrast shots, particularly when shooting in 8K/4K modes. Perhaps a potential side effect of the compression or sensor readout. However, I found this was easily rectified in DaVinci Resolve by switching the color management lookup table interpolation from "Trilinear" to "Tetrahedral," which smoothed out the gradients immediately.

Low-light performance is solid, this camera handles shadow detail admirably, though without a second base ISO, you are reliant on the camera's native ISO 800. Pushing to ISO 1600 or 3200 introduces minor noise, but it is organic and easily cleaned up with Resolve's noise reduction.

Given the amount of detail this camera can pick up, I would say for the most attractive look - particularly when filming faces - you’ll want to lean on soft manual or “characterful” lenses to counterbalance the camera sensor’s inherent sharpness.

Verdict

The Blackmagic Pyxis 12K is a fascinating proposition: it effectively places the heart of the Ursa Cine 12K - one of the most sophisticated sensors on the market - into a significantly smaller and more affordable body.

For many, 12K might seem like overkill. However, the true strength of this camera lies in its ability to downsample. Shooting in 12K or the 9K Super 35 mode yields incredibly rich 8K and 4K images, often retaining slightly better dynamic range in the highlights than shooting in the lower resolution modes directly. I found the "sweet spot" to be the 8K 3:2 (open gate) mode at 8:1 compression; it offers a manageable balance of file size and image fidelity while still benefiting from the sensor's downsampling capabilities.

This camera is a dream for cinematographers who need maximum resolution for VFX plates, or reframing flexibility via open-gate 3:2. Just like the 6K model, the UI is intuitive, and thankfully, the Pyxis 12K also features vertical menus when turned on its side for social deliverables.

Given its colossal resolution, the chassis has to work hard to support this camera’s sensor. The fan noise is definitely more noticeable than on the 6K model, which is something to consider for quiet narrative work. I hadn’t noticed it during my first couple of days with the camera, but later that week, I filmed a sound bowl meditation class, and I had to switch cameras because the fan was intrusive in such an intentionally sound-sensitive setting. Furthermore, the absence of a dual base ISO - with the camera limited to a single native sensitivity of ISO 800 - means users lose that "safety net" gain circuit found in other cameras for extreme low light. That said, Davinci Resolve - which typically costs around £225 / $295 - comes free with this camera and makes light work of reducing the impact of noise in most plausible, real-world use cases.

Ultimately, this is a camera that benefits from building it out. At the very least, I would highly recommend picking it up with the fantastic Pyxis Monitor EVF Kit. You cannot treat it like a run-and-gun hybrid; it needs a rig, substantial batteries, and plenty of storage. But if you feed it what it needs, the image quality is virtually indistinguishable from cinema systems costing three times as much.

Alternatives

How I Tested

I tested the Pyxis 12K on a variety of professional shoots, including a series of monologue shooting days with actors, a product video, a promotional shoot for a wellness company, and run-and-gun street capture. I paired the camera with Viltrox Cine lenses, a Laowa 8-15mm Probe lens, and the Sigma 24-70mm f/2.8, which was provided with the camera by Blackmagic. My endurance testing involved running the camera continuously to drain standard BP-U35 and BP-U100 batteries, and I verified workflow speeds using Angelbird 2TB and 1TB CF Express Type-B cards.

When I first walked into Wilton’s Music Hall for Musik, I knew the venue itself was going to be as important as the performance. It’s an old, worn, slightly derelict hall with a rich built-in texture and atmosphere. That kind of space instantly gives you an aesthetic to play with.

Creatively, the goal in capturing this live performance was to balance intimacy, spectacle, and energy. Musik is a one-woman show, starring Frances Barber, and my role as DP was to ensure we had enough angles over a 60-minute runtime to make you feel like you occupy the space alongside the performer. We shot across three shows. I wanted the coverage to move from wide shots that hold the room to close shots that sit right within the performance, and for the continuity to feel seamless when both shows were cut together.

Because the show itself worked so well, and Frances is such a strong performer, my job became making sure the edit had everything it needed to get the best out of the material.

Working with the venue

The hall largely dictated how we worked. It’s a distinctive, characterful space, but you still have to respect audience sightlines and the practical constraints of working in a live environment. I was very conscious that we needed wider shots that really acknowledged the architecture. At the back of the hall, we rigged a camera high up to give us a wide, high-angle view that took in the space, the truss, and the room. On other shows, we added a couple more high angles for the same reason.

If you have a great venue, I think it’s important to make it part of the piece, not just let it disappear into the darkness behind the actor. I always want to be able to pull something out of the shadows so you can see the environment you are in, because that becomes part of the artwork, too. With a venue like Wilton’s, it would be a shame if you couldn’t see the walls or the depth of the hall. A lot of the exposure and lighting decisions were about keeping enough information in the shadows to define the space, while still protecting the performance on stage.

We also needed enough angles without turning it into a chaotic multicam shoot. We had one handheld camera off to the left of the stage to bring some freehand energy into the coverage. Beyond that, everything was a mix of tracking cameras and long-lens positions, set up so they could move slowly and predictably rather than whipping around. It was all about keeping the viewer grounded in the space and making sure every move felt deliberate.

The lighting plot was largely set before I came on board, but once I was involved, I made some suggestions in prep. We varied a few of our A and B angles so some positions could sit a bit closer for key moments. In practice, I shot two cameras one night, seven cameras on the matinee, and another six on the following shows. That gave us around 15 distinct angles. The key was making sure none of those positions doubled up. I wanted every angle to bring something new, so the edit had the widest possible range of options.

Building the camera package

For Musik I kept everything within the same Blackmagic family: an URSA Cine 17K 65, an URSA Cine 12K LF, supplemented by a mixture of PYXIS 6K Cinema Cameras and Pocket Cinema Camera 6Ks, so I knew the sensors and color science would all play nicely together.

We were lensing this as a full-frame show. Sensor sizing and the ability to intercut across cameras were important to me. Effectively having the same or very similar sensors in everybody, but with different ergonomic designs, is a big advantage.

I love large-format and am very attached to it. On a small, intimate show like this, a larger sensor size can draw you deeper into the performance. You can go closer and tighter with your lensing, but still feel like you have a meaningful field of view, as if you are seeing more through the sensor than you would on a smaller format.

Lens-wise, we had large-format coverage across everything. On some of the longer lenses, we went back to Canon stills glass. Those lenses have great sharpness, they cover full frame easily, and they're relatively quick to adapt into something ergonomic for a live show. We combined those with cine zooms and primes where needed, which gave us full coverage for the large-format look we wanted and a more immersive frame.

A few years ago, shooting 17K 3:2 on the full sensor would have sounded like data madness, but Blackmagic RAW keeps the files totally manageable. I was able to oversample down to an 8K image in-camera without any changes to the field of view or a loss in image quality. I honestly do not want to go back to shooting Super 35 if I can avoid it. I just really like what bigger sensors are giving us on these kinds of jobs.

For post-production, we have prepped everything in DaVinci Resolve and generated proxies, with the offline being done in Avid elsewhere. The plan is that we will handle the final finish and delivery in DaVinci Resolve, so the whole workflow has been set up with that in mind.

A leap forward for multi-cam

One thing that’s really starting to change how I approach multicam work is the level of camera control we now have during a show – I‘m getting quite obsessed with it. In the last six months, having Ethernet ports on the PYXIS and URSA Cine, and the Blackmagic Camera app allowing multicam control, has opened up new possibilities.

I first tried that approach on a larger job in New York and was pleasantly surprised by how quickly we could deploy it. We essentially just needed Ethernet or reliable Wi-Fi from the cameras to an iPad, and I had camera control.

On Musik, it was not a hard requirement, but I had it in the back of my mind from the start. On this show, we didn’t need to switch live, but we did need to build a gallery so the director could see every feed at once. That was a hard requirement, which is why I knew the ATEM SDI Extreme would make sense.

I hadn’t touched an ATEM for four or five years, but handled intelligent switching and locked to everything immediately, whether it was 25p or 30p. Most feeds came in via straight SDI, but we had some wireless links due to the building.

The real benefit for me was having a 24-inch confidence monitor fed from the ATEM. I could sit through the show and use it to nuance the image, tweaking ISO by a stop here or there, dialing in color temperature, and refining exposure as we went. I could see things as we were shooting instead of having that traditional experience of seeing it two weeks later in post and wishing I had changed something. That level of immediate control feels like a big step forward on multicam work.

Everything was filmed using Blackmagic’s Generation 5 color science, with a LUT applied in camera and white balance set so that everything was at roughly the same Kelvin. I adjusted the ISO based on lens speed. The only wrinkle was a monitoring device with a gamma shift, so I built a small correction LUT downstream for that wireless unit. Beyond that, everything was effectively managed in camera.

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If you're a budding filmmaker looking to upgrade to one of the best cinema cameras on the market but still want something lightweight and portable then the Sony FX30 is a great choice, now made even better thanks to a further drop from recent discount deals - which brings the cost of this Super 35 video camera down to its lowest price ever.

With its 26MP APS-C sensor's ability to capture UHD 4K video up to 120fps, this compact powerhouse will be an asset to any filmmakers on set, either as a main camera or as a secondary option for the larger Sony FX6.

See all the best Sony Black Friday camera deals

Harnessing the capabilities of a newly developed APS-C sensor, the Sony FX30 offers everyday content creators and aspiring filmmakers a powerful yet accessible cinema camera to elevate their cinematic journey.

It combines an imaging system designed for cinematic capture with an extensive feature set and user-friendly operation, creating a comprehensive tool for filmmakers of all levels. With its advanced imaging technology, the FX30 rivals other cameras in Sony's Cinema Line, recording crisp 10-bit UHD 4K video at up to 120 fps, a specification expected of true cinema cameras.

The newly developed 26MP APS-C Exmor R CMOS sensor, along with the BIONZ XR processor, delivers high-quality 4K visuals using the Super35 (16:9) area, capturing over 14 stops of dynamic range and featuring Dual Base ISO architecture to enhance low-light performance.

Making this the perfect camera for solo shooting filmmakers or those looking to invest into a B-cam setup to match the performance and workflow of the larger Sony FX6 or Sony FX9 cinema cameras.

Check out the Best Sony video lenses

“There’s a lack of immersion in modern movies because of all this lack of focus,” says Anthony Deveney during a snippet on Instagram from the Raiders Of The Lost Podcast. And I couldn’t agree more. At the beginning of the year, I watched a fantastic deep dive that begged the question: Has color grading in modern movies gone too far? And I think it’s high time that filmmakers’ fascination with super-shallow depths of field was put under the microscope, too.

During the Reel, Deveney says, “There’s a lack of immersion in modern movies because of all this lack of focus,” citing Lawrence of Arabia, The Matrix, and The Lord of the Rings Trilogy as examples that favor larger depths of field, so audiences can see more detail within the scene. And in this world of artificially blurred backgrounds, I can't help but feel like a super-sharp subject surrounded by perfectly smooth blur looks a little like iPhone's Portrait Mode (or rather Cinematic Mode).

That’s not to say that shallow depths of field are inherently bad. Older movies certainly made use of them, but more intentionally for a wealth of purposes, such as to connote a dreamlike state, isolate subjects, focus the audience’s attention, and build tension.

And some productions use a lot of shallow depths of field to great effect. Recently concluded TV series You springs to mind, with its heavy use of anamorphic lenses and soft backgrounds. But it’s there for a reason. It’s used within the romantic thriller to connote themes of idealization, infatuation, and indeed obsession, while creating a claustrophobic effect that traps the viewer within the protagonist’s physiologically restrictive world. And I love it all the more for it!

But when big action blockbusters and straight-to-streaming flicks do the same thing for none of the same reasons, the results are forced and hollow. I have wondered if the film industry’s overeliance on green screens and huge LED backgrounds in place of physical set dressing is part of the reason. Soft backgrounds simply do not require the same attention to detail. And of course, shallow depths of field are simply trendy at the moment.

Beyond Deveney’s aforementioned point regarding immersion, I find myself – a serial rewatcher – sitting through newer movies for second and third viewings far less. And much of this is because soft backgrounds provide far less interest, far less to delve into during repeat viewings.

So, in conclusion, shallow depths of field are a movie-making staple when they’re intentional, but risk leaving a hollow taste when overused. And of course, this can be applied to photography, too. If you always shoot wide open, just because, maybe it’s time to start actively thinking about the depth in your compositions. I love fast lenses as much as the next person, but shallow depths of field shouldn’t be your go-to every time just because you have the option.

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Even the latest action camera has an adjustable depth of field – check our review.

The UK is not currently short of virtual production facilities. Samsung's partnership with Twickenham Film Studios created one of the largest permanent LED stages in the UK, measuring 24 x 4.5m. London's Sugar Studios offers LED walls with 1.9mm pixel pitch. But such impressive facilities don't come cheap: they're built for professionals with budgets to match.

That's what makes Norwich University of the Arts' new virtual production studio genuinely significant. This isn't just another LED wall going up; it's the first educational and commercial facility in the UK to combine Sony's VERONA panels with a VENICE cinema camera. The latter features a full-frame sensor that's specifically designed for LED sync and virtual production work, addressing the technical challenges that arise when shooting high-resolution LED panels.

In short this setup represents something the industry desperately needs: an accessible training ground for emerging talent.

Skills gap

Virtual production has evolved from novelty to necessity remarkably quickly. What began with The Mandalorian in 2019 has become standard practice across film, TV and ads. Yet there's a problem: the tech has raced ahead of education.

Sony's Virtual Production Tool Set, which includes the Camera and Display Plugin for Unreal Engine, was developed specifically to address workflow challenges such as colour matching between cameras and LED walls; technical issues that simply didn't exist five years ago. And these aren't skills you pick up on a traditional film course; they require hands-on experience with actual equipment.

Until now, that experience has been largely confined to expensive commercial shoots. Norwich's facility—with its nine-metre-wide, four-metre-high LED volume delivering 6.7 million pixels—gives students precisely this hands-on access.

The VENICE camera's integration with Sony's Virtual Production Tool Set allows filmmakers to simulate colour science, exposure index and ND filters in pre-production before crews arrive on set. This pre-viz capability is transformative for cinematographers learning to work with virtual backgrounds, where lighting, reflection and colour accuracy become exponentially more complex.

For students, having access to this complete ecosystem means learning workflows that translate directly to professional environments. It's one thing to understand exposure theory; it's another to calibrate a cinema camera to match the colour characteristics of a specific LED wall while avoiding moiré patterns.

Importantly, this is all located alongside the university's Immersive Visualisation and Simulation Lab, creating a hub where students studying film, animation, games and visual effects can collaborate. This mirrors how virtual production actually works in the industry, where these disciplines increasingly overlap.

It's important to add, though, that these are not just academic facilities. Local production companies have already expressed interest in renting the space for commercial work. This creates an unusual opportunity: students may find themselves learning alongside, or even assisting, professional productions using the same equipment.

That might seem like wishful thinking, but consider this. Demand for virtual production space is growing faster than supply, particularly outside London. And so Norwich has the strong chance to position itself as an alternative center.

For educators and students alike, Sony's installation here offers a model that's well worth paying attention to. Mastery requires sustained access and repeated experimentation, so anyone who's serious about preparing cinematographers for contemporary production would do well to take note.

YouTuber Mathieu Stern teamed up with Atlas Lens Co. CEO Dan Kanes to secure and shoot with a piece of filmmaking and Disney history. The CinemaScope Camera Attachment appeared on a French auction site, having been lost for 70 years, and was swiftly purchased by Kanes for his museum, but not before he sent it to Stern so he could make the video (below).

The item in question is a CinemaScope Camera Attachment, a type of adapter that’s synonymous with 20,000 Leagues Under the Sea. The live-action adaptation of Jules Verne’s book was the most expensive film ever made, at the time of its release in 1954, and to complicate matters further, it was to be an early adopter of CinemaScope, a type of anamorphic lens technology, trademarked by 20th Century Fox, and used to shoot in a wide-screen format.

CinemaScope was an expensive format. Not only did filmmakers have to pay 20th Century Fox a licensing fee, but as Dan Kanes explains in the video, the technology was slow to use because camera operators had to focus both the primary lens and the attachment, and in opposite directions, too.

In addition, Disney only had access to a single CinemaScope Camera Attachment, which made shooting the feature even trickier. Ironically, Stern states in the video that “Just a few months after the movie’s release, Bausch & Lomb introduced new anamorphic lenses that no longer required dual focusing.”

The history of this long-lost adapter is only part of the video. Make sure you watch the full video to see Stern adapt and shoot with the attachment for the first time in 70 years.

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Interested in the latest video cameras? Check out the Nikon ZR. Plus, this massive YouTube AI trend for '1950s Super Panavision 70' gets MILLIONS of views. And have you heard about George Lucas' $625,000 Panavision camera?

Fujifilm’s first cinema-focused mirrorless camera, the GFX Eterna 55, has been selected for the Good Design Best 100 2025, marking a milestone moment in the company’s expanding imaging lineup.

The recognition comes as part of a record-setting year for Fujifilm, which received a total of 37 Good Design Awards; the highest number for any company for the seventh consecutive year.

The Good Design Award, organized by Japan’s Institute of Design Promotion, recognizes products that combine innovation, usability, and aesthetic excellence. Among Fujifilm’s award-winning products this year were cameras, medical equipment, and binoculars; however, the GFX Eterna 55 stood out for representing a bold new direction, one that sees Fujifilm enter the professional cinema camera space with a larger-format sensor.

The GFX Eterna 55 features a 55mm diagonal large-format sensor, approximately 1.7x larger than full-frame, designed to capture extraordinary depth, tonal range, and cinematic richness. Dual three-inch LCD monitors positioned on both sides of the body enable multiple users to monitor and adjust settings simultaneously, a detail that nods to collaborative film production workflows.

A dedicated handle equipped with focus and zoom dials reinforces the camera’s professional intent, enabling smaller crews to work efficiently without sacrificing control.

While Fujifilm has long been revered for its film simulations, particularly the camera's namesake Eterna, the GFX Eterna 55 marks the company’s first purpose-built motion picture camera. Its design bridges Fujifilm’s photographic heritage with the demands of modern digital production, offering an image aesthetic that feels nostalgic yet technically forward.

The question now is what comes next. Could this be the start of a fully realized Fujifilm cinema system?

In an industry where Sony’s FX series, Canon’s C70, and Nikon’s newly announced ZR are competing for hybrid and small-crew dominance, Fujifilm’s larger-format approach offers something different.

A future range of G-mount cine lenses or smaller-bodied companions to the Eterna 55 could signal Fujifilm’s intent to establish a stronger presence in the motion market.

For now, the Good Design award underscores Fujifilm’s continued commitment to functional design, and perhaps a broader ambition to merge its film legacy with the creative potential of digital cinema.

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Blackmagic Design announced a significant price reduction for its acclaimed Blackmagic Pocket Cinema Camera 4K, at the end of last year, with this filmmaking classic dropping to just £899. Now Wex has cut the cost again - is now asking just £799 for the camera popularly known as the BPCC 4K.

The succession of price drops make this professional filmmaking camera more affordable than ever, providing access to 'Hollywood-quality' cinema camera technology at a price that can empower creators of all levels.

This new price point lowers the entry barrier for aspiring filmmakers, independent storytellers, and content creators. By making high-end tools more accessible, Blackmagic Design is fostering greater inclusivity in the filmmaking industry, enabling a wider range of voices and stories to be shared. The Pocket Cinema Camera 4K is not only ideal for indie filmmakers and YouTubers but also for live production setups, offering advanced features previously reserved for higher-budget productions.

The Blackmagic Pocket Cinema Camera 4K combines a compact, lightweight design with powerful features. Its Micro Four Thirds image sensor captures cinematic footage with an incredible 13 stops of dynamic range and dual native ISO that reaches 25,600, delivering exceptional performance in low-light conditions.

The five-inch touchscreen display provides an intuitive interface for framing and focusing, while the camera’s build quality ensures durability in any shooting environment. Additionally, it integrates seamlessly with ATEM Mini production switchers, making it a perfect choice for live production and streaming, with tally lights and remote control options enhancing studio workflows.

For post-production, like all Blackmagic products, the camera comes bundled with a full version of DaVinci Resolve Studio, an outstanding professional-grade editing software, and the perfect complement to the camera system. This inclusion provides filmmakers with an end-to-end solution, from capturing footage to delivering polished, professional results, making the Pocket Cinema Camera 4K a true powerhouse for any production.

The Blackmagic Pocket Cinema Camera 4K is available now and the new price of $995 is expected to roll out worldwide immediately. This move by Blackmagic Design is a testament to their commitment to making professional filmmaking accessible to everyone.

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Cinematography is often seen as a high-stakes, high-cost art form, but James Westlake is part of a new wave of filmmakers demonstrating that incredible visuals don’t have to come with an intimidating price tag.

Having built a career spanning commercial projects for major brands and narrative films, Westlake has a profound understanding of both the craft and the technology that makes it possible.

In this interview, we dive into his creative process, from collaborating with directors on set to the tools he relies on to bring stories to life. Central to his workflow is Blackmagic cameras, a system that balances affordability with professional-grade performance.

From capture to storage and post-production in DaVinci Resolve, Westlake’s approach highlights how modern cinematography can be both accessible and uncompromising, proving that powerful storytelling is about vision as much as it is about the gear.

Above: A demo reel of Westlake's work with the Blackmagic Pyxis 6K

If you want to see James Westlake put the Blackmagic Pyxis through its paces, check out his demo reel above.

Blackmagic continues to prove it’s here to compete with the biggest cinema camera brands, offering a complete workflow ecosystem that’s winning over the next generation of filmmakers.

With its balance of accessible pricing, high-end specs, and robust support, it’s becoming the go-to choice for storytellers everywhere. And as Westlake’s work shows, the real power of these tools lies in how they help filmmakers bring their visions to life.

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Earlier this month, Fujifilm shook up the cinema world by announcing the full specs and price of the GFX Eterna 55 – its first dedicated cinema camera and a medium format one at that. Now, third-party accessory makers are moving quickly to maximize the potential of Fujifilm’s cinematic debut.

Among the options is a new suite of accessories from Wooden Camera, designed specifically to expand, power and facilitate a full rig for the Eterna 55. Whether you’re looking for improved power distribution, lens mounting flexibility or more reliable handling, Wooden Camera’s modular system covers every angle.

At the heart of the kit is the D-Box System, which offers secure power distribution with hot-swappable onboard batteries, dual P-Tap ports, a 5-pin EXT port for trigger / power distribution and an E-Fuse system to protect the camera from over-current damage.

The Power Strip integrates seamlessly into the body, enabling pass-through power and trigger functionality, whether using the front / rear top plates or the side top plate.

For lens and accessory mounting, the Base Plate System combines a riser plate and Arca base plate to maintain the correct optical height. With Arca rails, dual forward-facing 15mm rod mounts and tie-down points to prevent rod rotation, the system is designed for professional, production-ready stability.

Up top, the Top Plate System uses a triple-plate design (front, side, and rear) that can be configured depending on handle preferences – with a remarkable 23 1/4”-20 and 25 3/8”-16 mounting points! Additionally, with dedicated rail attachments, operators get plenty of flexibility for accessories, monitors, or external recorders.

For cinematographers who want to use existing lenses, to expand lens options, Wooden Camera also offers an LPL Mount Adapter that enables Arri LPL lenses to lock securely onto the GFX mount. The robust four-screw attachment mirrors Fuji’s own system, minimizing the risk of lens shift or detachment during operation.

The Elite Accessory System starts at $1,635 and includes the Riser Plate, Arca Base Plate, Top Plate System, multiple side rails and the Ultra Handle; essentially everything you need to build the Eterna 55 into a fully production-ready cinema rig. Each part of the kit is also available individually.

The Canon EOS R50 vs Sony FX3 battle is a fascinating one. Sony's camera went completely unchallenged for almost half a decade before Canon (and Nikon) decided it was time to return fire.

The result is that the four-year-old Sony FX3 – which, let's not forget, is essentially a 6-year-old Sony A7S III in a more cinema-friendly chassis – is squaring up against the brand new Canon EOS C50 (and Nikon ZR).

It's honestly not a very fair fight, with a 4K sensor from 2020 going up against a 7K sensor from 2025 – not to mention all the enormous advances in things like autofocus. But still, the FX3 has been an unstoppably popular camera – so, whether you already own the Sony or you're looking at both cameras afresh, is the Canon EOS R50 vs Sony FX3 as much of a bloodbath as everyone thinks?

Canon EOS R50 vs Sony FX3: At a glance

Canon EOS R50 vs Sony FX3: Price

• Canon EOS C50: $3,899 / £3,359.99 / AU$5,899
• Sony FX3: $4,098 / £3,799 / AU$6,499

Despite being four years old, Sony's camera still commands a high price at retail – no doubt because, until the C50 and ZR arrived on the scene, there was nothing to challenge its position.

Canon has priced its new body incredibly competitively, coming in significantly less in all regions. No matter how you look at it, you get so much more bang for your buck with the C50 that you'd have to be pretty mad to pick up the FX3 today unless you get a seriously good deal on it.

🏆 Winner: Canon EOS C50

Canon EOS R50 vs Sony FX3: Design & handling

• Canon EOS C50: 142 x 88 x 95mm, 752g / 1,052g with handle, 14 buttons
• Sony FX3: 129.7 x 77.8 x 84.5mm, 715g / 1,015g with handle, 6 buttons, IBIS

In short, Sony's camera is the sleeker and lighter option. Not only is it slightly more comfortable to wield, it also boasts 5 stops of in-body image stabilization to steady your shots when shooting handheld. What it's lacking are buttons, with only six physical buttons that can be customized.

Canon's body is chunkier, and without any IBIS you'll need to be conscious of rawdogging shoots without a gimbal. Where it has a big advantage is in the sheer number of buttons, with 14 of them offering instant control over just about every aspect of the camera – though of course this can also be a disadvantage if you're easily overwhelmed while shooting.

Both bodies are modular, with optional handles that add a pair of XLR ports, and are designed with rigs and cages in mind. Physically they're quite similar, so this one comes down more to personal preference; the Sony is smaller and lighter, while the Canon is chunkier with more controls. Though of course, the FX3 has Sony's infamous menus to deal with!

🏆 Winner: Draw

Canon EOS R50 vs Sony FX3: Photo specs

• Canon EOS C50: 32.73MP, 40fps
• Sony FX3: 12.1MP, 10fps

Not much of a contest here. The FX3 is built in the ageing ten-year-old tech of the Sony A7S III, namely its low-resolution 12.1MP sensor. While the lower pixel count (and, thus, larger pixel size, creating superior ISO performance) historically made it an attractive option for low-light and astrophotography shooters, its combination of lean resolution and relatively slow 10fps burst is definitely meager by 2025 standards.

Although the C50 lacks the image stabilization of the FX3, its mighty 32.73MP resolution and 40fps continuous shooting speed combined with far more advanced autofocus (including the full raft of AI subject detection) makes the Canon a far superior stills option.

🏆 Winner: Canon EOS C50

Canon EOS R50 vs Sony FX3: Video specs

• Canon EOS C50: 32.73MP 7K 60p open gate, 4K 120p, FullHD 180p, internal RAW
• Sony FX3: 10.3MP, 4K 120p, FullHD 240p

Again, we're pitting 2015 video tech against 2025 video tech – this isn't really a fair fight.

There's little point diving into all the codecs and output options; with the FX3 we're looking at a very capable 4K 60p machine that offers 4K 120p / FullHD 240p in Slow & Quick. Footage is very clean, thanks to the ISO80-102,400 sensitivity, with 2-channel audio and the benefit of sensor stabilization. Note that video resolution is only 10.3MP, and AF is limited to standard human face and eye detection.

The C50 is just too new and powerful; it's a 7K 60p open gate camera, whose 4K 60p is oversampled from that 7K resolution, with up to 4K 120p / 2K 180p in HFR. The sensitivity isn't as broad (ISO100-25,600), but it boasts dual base ISO at 800 and 6400. On top of that, video resolution is leagues higher (including full sensor readout of 32.73MP in open gate) and you get Canon's superb Dual Pixel AF II performance.

There are also some key features missing from the FX3 – such as internal RAW recording, waveforms and shutter angle – which are present on the C50.

Without getting too lost in the weeds on recording limits, the FX3 effectively offers unlimited recording up to 4K 60p; the C50 gets anywhere from 42-65 mins of open gate depending on the kind of Cinema RAW, with 81-505 mins of standard full-frame shooting.

If you're only ever going to shoot 4K, the FX3 does a fine job with none of today's bells and whistles. But the C50 does everything, including 4K, bigger and better.

🏆 Winner: Canon EOS C50

Canon EOS R50 vs Sony FX3: Lens selection

• Canon EOS C50: RF / RF-S mount
• Sony FX3: E mount

As with any camera system, there's more to the story than specs alone; just as important as the body are the lenses you mount to it. And while the FX3 is completely outgunned where the camera itself is concerned, it has a huge advantage in the lens department.

Sony's E mount is celebrating its 15th anniversary this year and boasts literally hundreds of lenses from dozens of manufacturers – including over 80 optics from Sony itself.

Canon's RF mount is a comparatively young seven years old, meaning it's been around for less than half the time. But while Canon itself has done a great job of pumping out RF (full frame) and RF-S (APS-C) glass, hitting 50 this year, it's still a largely closed mount.

What does this mean? While Sony opened its mount to all comers early on (in order to catch up on Canon and Nikon), Canon still restricts who can make lenses with autofocus and image stabilization. Currently no third parties are allowed to produce full-frame AF glass, though there are plenty of manual focus options.

The upshot is that while there are numerous options for the FX3, including cinema primes from the likes of Sigma, the native lens choice for the C50 is much more limited.

Of course, many high-end creators and cinema shooters tend to adapt glass – typically PL or EF cine lenses – so this isn't an issue for everybody. And again, Canon is doing a great job at populating the RF ecosystem. But in terms of sheer selection, this is one's an easy win for Sony.

🏆 Winner: Sony FX3

Canon EOS R50 vs Sony FX3: Verdict

I don't think it's a huge surprise that Canon wipes the floor with Sony in every department here. Which isn't to say that the FX3 isn't a capable camera, because it is; however, it in no way justifies having a higher price tag than the C50 in 2025.

If you're looking for your first video-centric camera for content creation or filmmaking, the Canon EOS C50 is far and away the best choice. From 7K resolution and open gate capture to superior features along with impressive stills capabilities, there really is no competition.

However, if you're an FX3 owner wondering whether to make the switch… well, the answer is obviously yes from a technological standpoint. Just be aware that Canon's lens ecosystem is much more limited – though again, many people using this kind of camera are adapting legacy glass anyway.

So, Canon wins a fight against a four-year-old camera. I'm fascinated to see how it will fare against the FX3 II, when that inevitably arrives…

🏆 Winner: Canon EOS C50

After announcing the Nikon ZR last week, Nikon unveiled its new videocentric cinema camera to the public for the first time at the IBC 2025 Convention (a trade show for the cinematography and videography industry) in Amsterdam, Netherlands.

At the show, Digital Camera World was given an exclusive opportunity to put five questions to Nikon bigwigs Aihara Takashi (General Manager of UX Planning department in Nikon Imaging Business Unit) and Noriaki Mochimizo (ZR Project Manager).

While Nikon is usually tight-lipped about its plans for future products, the insiders did reveal that a new line of Nikkor Z Cinema lenses is in the works, and hinted at future developments for the Z Cinema line. Here’s what they had to say…

Don't miss our in-depth report on the launch of the Nikon ZR, and our first impressions of the camera in our hands-on review!

When Nikon and Red unveiled their first joint camera, the Nikon ZR, it sounded like a landmark moment. Nikon finally stepping into cinema cameras, Red lending its name to something more accessible; surely this would be the disruptive new tool that filmmakers had been waiting for.

But look a little closer, and the Nikon ZR starts to feel less like a revolution and more like a repackaged Nikon Z6 III.

The parallels with Sony’s FX3 are obvious. That camera was essentially an A7S III in a video-optimized shell, with the same sensor and processor, but it worked. Sony knew exactly who it was for: filmmakers who wanted cinema ergonomics, pro codecs and no stills fluff. The FX3 became a classic because it nailed its audience.

The ZR is trying a similar trick, but the execution feels muddier. Yes, it’s cheaper than the Z6 III. Yes, it’s optimized for video. But in stripping away the stills features, Nikon has created a body that’s less hybrid and more video-oriented, without going full cinema. And that leaves a gap.

For Nikon photographers branching into video, the Z6 III remains the better option: you retain stills capabilities and flexibility, and you don’t lose much on the video side. For new shooters looking for their first cinema camera, the question is harsher: why Nikon? Why not the tried-and-tested options from Sony, Canon or Blackmagic, with their mature ecosystems and established workflows?

That’s where the ZR feels caught between worlds. It isn’t the all-out cinema leap that some expected; no radical body redesign, no true cinema sensor, no distinctive Red DNA apart from codecs. And yet it also isn’t the hybrid powerhouse that Nikon users already have in the Z6 III.

I like the release, and I can't wait to get my hands on one. It signals intent. It proves that Nikon wants to be taken seriously in video. But as the first fruit of a Nikon-Red collaboration, the ZR feels cautious rather than daring. If you’re not aiming to serve the hybrid crowd, why not go all in on cinema? Why not deliver something with a real sense of Red’s heritage and cinema feel?

Instead, we’re left with a camera that may struggle to define its audience. Perhaps the ZR will be remembered as Nikon’s FX3 moment, a modest but important first step. Or perhaps it will be seen as a halfway house, neither hybrid nor truly cinema. For now, the lingering question remains: who is this camera really for?

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The Nikon ZR is the first in a line of 'Z Cinema' cameras born from Nikon's acquisition of high-end cinematography company Red. It's based heavily on the Nikon Z6 III stills-oriented camera, but adds Red's renowned 'Color Science' to achieve professional cinema-grade footage for the first time in a consumer-level video-centric camera.

I go into a lot more detail about the technical details of the camera in my 'Introducing the Nikon ZR' news story, but for this review, I am concentrating on my personal experience of using the camera. Nikon initially gave me a sneak preview in a sound studio, where I got to try out the camera's video (and stills) capabilities for myself, with the help of a drummer and a lot of paint. And now I've got my hands on a review sample to truly put it through its paces. Here's how I got on.

Nikon ZR: Specifications

Nikon ZR: Price

The Nikon ZR has a launch price of $2,199 / £2,199 / AU$3,499. That's a darn sight cheaper than Red's own Raptor and Komodo line of cameras, which typically have five-figure price tags. It's very well priced compared to its more direct competitors, too. The closest Sony equivalent, the Sony FX3, sells for $4,098 / £3,799 / AU$6,499, while the Canon EOS C50, announced a mere matter of hours before the Nikon ZR, is due to launch at $3,899 / £3,359 / AU$5,899.

It even undercuts the Nikon Z6 III stills camera it is based on, too, in many territories, made possible in no small part thanks to the lack of an electronic viewfinder, one of the more expensive components of a regular mirrorless camera. Nikon has certainly priced the ZR aggressively, at a price designed to tempt existing videographers to the Nikon / Red system, as well as Nikon photography advocates looking to make a move into more serious cinematography.

Nikon ZR: Design & Handling

Those migrating from Nikon's stills mirrorless cameras will be in for something of a shock. The form factor of the ZR is almost entirely rectangular, with no bump to speak of, nor a protruding viewfinder assembly. There's a textured area to provide a bit of grip under the right hand. This is fairly typical of video-centric cameras, which are often designed to be placed in a cage or rig. It's surprisingly light to hold, but I'd certainly want a wrist strap at the very minimum when handholding the camera, just to be sure.

There's no electronic viewfinder, but to make up for this, the rear screen is huge and takes up almost the entire back of the camera. It measures 4 inches diagonally, compared to the 3.2 inches of most other Nikon full-frame Z-series cameras, and is of the vari-angle touchscreen variety. The screen flips out to the side and tilts up and down for a comfortable viewing experience. The screen-facing side can also be tucked against the camera body for protection and to preserve power when being used as part of a setup with an external monitor.

And while the control configuration of Z-mount cameras has been fairly consistent across the range since launch (aside from the odd button swapping places here and there) and had been a natural progression of the control layout from Nikon DSLRs, things are radically different here. Up top, there's a single large Record button that takes the place of the standard shutter button, surrounded by a rocker lever for zooming in and out with compatible power zoom lenses, among other functions. The Rec button is also duplicated on the front of the camera, although, like many controls, its function can be customized.

The traditional front and rear control dials offer a degree of familiarity, but rather than dedicated buttons for things like exposure compensation, ISO, and so on, there's a row of three programmable buttons, simply marked '1', '2', and '3'. Controls on the rear of the camera are even more pared back, limited to a simple joystick for navigation, and a menu and playback button.

It may take some getting used to, but all these design changes suit the camera's main purpose for recording video perfectly; eye-level viewfinders are rarely used for videography (the days of shaky camcorder footage aside). I actually found it to be really convenient to use the touchscreen for changing settings, as there's no need to take your eye from the scene you're recording, and with it being so big and bright, it soon becomes second nature to move between menus, change video looks, and the like.

Nikon ZR: Performance

The camera uses the same Xpeed 7 processor, 24.5Mp partially stacked sensor, and has the same autofocus, subject-tracking, ISO range, and image stabilization performance as the Z6 III it's based on. So much so that, control oddities aside, it can be pretty much be regarded as the same camera as the Z6 III. There's no technical reason that this camera can't take just as good images as the Z6 III when it comes to stills shooting (apart from action photography perhaps, as there's no mechanical shutter, only an electronic one). It's just a bit more fiddly to get there, as you often have to delve into the menu system for even basic photography tasks. Changing from aperture priority to manual mode, for example, is a case in point, as there's no shooting mode dial.

Above: I shot this short video segment with the Nikon ZR and videocentric Z 28-135mm f/4 PZ when Nikon gave me a sneak peek of the camera just before its announcement

And while the underlying hardware that powers the video capabilities of the camera is also indistinguishable from the Z6 III, with the same headline 6K 60p max video output, it's the inclusion of Red Color Science that sets the ZR apart. It records 12-bit Raw video in an all-new R3D NE (Nikon Edition) format, which doesn't have the full color depth of Red's 16-bit R3D files, but otherwise mimics the look and feel, and offers the same flexibility. In essence, you can freely mix and match footage shot on a ZR with that shot on Red's top-end Komodo and Raptor cameras.

You will need a powerful computer to process R3D files (among other supported Raw codecs), and an on-screen alert pops up to warn you of this, should you try to select them. Much like still images shot in Raw, the files look rather flat straight out of the camera, and need processing in Red's RedCine-X Pro software (available as a free download from Red's website for Mac and Windows). Other pro-level video software, including Davinci Resolve, will support these files in time. As a further word of warning, Raw video absolutely chews through memory – a 512GB CFxpress card is only good for around 30 minutes of footage.

If you don't want to get bogged down in the nitty-gritty of Raw video straight off the bat, you'll be relieved to know that Red has developed a bunch of Red Picture Controls that apply a range of gorgeous cinematic looks in-camera. The RedCine_Bias Picture Control comes pre-installed and gives video a classic cinematic look. Up to nine others can be downloaded from the Nikon Imaging Cloud service, developed by Red, as well as the professional cinematographers from Nikon's Ambassadors and Creators program. These are really useful for those cutting their teeth in the world of video, and it's really easy to switch between them to see their effect on the large monitor before you start recording footage.

There is no technical reason that Nikon couldn't bring this Red Color Science to the Nikon Z6 III (or, indeed, other Z-series cameras) as it's firmware rather than hardware dependent, but whether the company actually will is another matter: aside from the time and effort recquired to do this, the big N may well want to keep the Z Cinema line distinct from its stills-oriented Z-series cameras. In short, if you want to shoot the sort of cinematic video that Red's Color Science achieves in an affordable camera, then the ZR is the only way to do it for the foreseeable future.

Recording at 6K and 4K up to 60p, video takes the entire width of the sensor, but this is cropped to a DX format when shooting 4K 100p or 120p, thereby applying a 1.5x crop to the focal length of any attached lens, which is useful when you want to get closer to the action, but not so good for expansive wide shots. Full HD can be recorded in both horizontal and vertical formats without changing the orientation of the camera, again with a cropped section of the image sensor.

Whatever resolution you decide to record your footage, its output is in the standard 16:9 aspect ratio used by the cinema industry. However, the sensor has a native 3:2 resolution, so this loses pixels at the top and bottom of the display. Some will be disappointed that it doesn't output 'open gate' video, which is essentially the full sensor readout data that is later cropped in post-production. Perhaps this is something that a future firmware update might address, as surely Nikon's powerful Xpeed 7 processor has the grunt to do this?

The camera has a CFexpress card slot for its primary storage medium, and these fast cards are more than capable of keeping up with anything that the ZR can output. I was a little surprised that its secondary slot is of the microSD variety, which is not nearly as fast. Still, it's good enough for less data-hungry video resolutions, and at least the camera has a second card slot; Nikon has clearly learned a lesson from the backlash over the original Z7 and Z6 Z-series mirrorless cameras, which only sported a single slot.

It's highly unusual for a video camera to run without a fan to keep things cool, but the ZR is indeed fanless. Nikon tells me that this is possible due to the energy-efficient design of the Z-series architecture, which does not produce as much heat as rival systems in the first place, and dissipates it through the camera's magnesium alloy chassis. The camera can record up to 125 minutes of video without taking a break, although if you're shooting with the standard EN‑EL15c battery, it'll conk out after about 90 minutes or so.

One upshot of this fanless design is that there is no need for vents, and so the camera is properly weather-sealed, just like other Z-series stills cameras. So you can shoot in inclement conditions without (overly) worrying that moisture will find its way inside.

The other big advantage is that there's no fan noise to contend with, which goes a long way to explaining one of the other aspects that sets the ZR apart from its competition: it is the world's first camera to offer 32-bit float audio in-camera. This essentially enables a vast range of sound levels to be recorded, faithfully recreating everything from the quietest whispers to the loudest noises crisply and clearly on one soundtrack without clipping or distortion. The three microphones built into the camera body also enable spatial audio effects, such as sound moving from left to right in sync with the onscreen action.

I also got to try out Nikon's new ME-D10 digital shotgun microphone, developed especially for the ZR. It slips into the hotshoe on top of the camera, but has an inbuilt digital interface on the underside that transfers the 32-bit float audio from the microphone without additonal cables. It's a neat solution, and was used to record my sample drumming video.

Nikon ZR: Lab results

Historically we haven't lab tested full-on cinema cameras, as our testing procedure measures still image quality. Consequently we don't have lab data for some of the ZR's main rivals. Instead we're comparing it to Nikon's own Z6 III, which costs the same as the ZR and is great for vlogging. The Panasonic Lumix S1 II is pricier, but it's an exceptionally well-rounded camera with pro-level video credentials. The Sony ZV-E1 is the closest rival to the ZR which we've lab tested, both in terms of its focus on video and its price.

We test resolution using Imatest charts and software, and dynamic range and signal-to-noise ratio with DxO Analyzer.

Resolution (line widths/picture height):

With the both Nikon cameras and the S1 II all having sensors in the region of 24 megapixels, it's not surprising that they all resolve similar amounts of fine detail. The 12.1MP ZV-E1 isn't the camera for capturing super-detailed stills, but that's not what it's designed for.

Dynamic range (EV):

The ZR captures almost identical levels of dynamic range to the Z6 III, as we'd expect because they share the same sensor. The S1 II delivers comparable results, but the Sony is the camera to have if you regularly shoot at high ISOs. With only 12.1 megapixels spread over its large full-frame sensor, each individual photosite (pixel) is relatively large, enabling it to be more light-sensitive, which pays dividends when capturing dynamic range.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

All four cameras produce similar levels of image noise at higher sensitivities where it's most visible. However the Sony, and to a lesser extent the Panasonic, cameras do produce slightly cleaner images than the two Nikons at the highest sensitivities.

Nikon ZR: Verdict

Nikon Z-series cameras have always been capable when it comes to recording video, with hybrid phase detection AF points built into the sensor, combined with advanced subject tracking, enabling them to keep pace with moving subjects for silky smooth footage. It's certainly a huge improvement over the video capabilities of DSLRs.

However, their DSLR-like form factors aren't ideal for video production. The design of the Nikon ZR is much more video-friendly, able to work standalone (thanks to its oversized monitor and excellent audio capabilities) or as part of a rig. But it's the Red Color Science that sets this new camera apart from others in the Z-series line. I was really impressed with the Picture Controls developed by Red that gave footage an instant filmic look.

The first fruits of the collaboration between Nikon and Red appear to have paid off handsomely, resulting in a brilliantly compact camera that can deliver professional-level video at a price point that us mere mortals can afford.

Alternatives

Fujifilm has been teasing us with its long-anticipated GFX Eterna cinema camera for months – but at last, the wait is over.

The GFX Eterna is a huge step for Fujifilm into the world of filmmaking, and the Eterna has quickly built anticipation thanks to its unprecedented sensor size, wide lens compatibility, and integration with Fujifilm’s signature Film Simulations – and everyone has been chomping at the bit to find out the final specs, price and when they might actually be able to get theor hands on the camera.

Today, Fujifilm confirmed that the GFX Eterna 55 will begin shipping in October 2025 with a price tag of $16,499.95 / £13,999. 

Alongside it, the company is releasing the Fujinon GF 32-90mm T3.5 PZ OIS WR Lens, priced at $5,999.95, and designed specifically to complement the Eterna’s giant medium format sensor.

Fujifilm GFX Eterna 55

At the heart of the Eterna 55 is a 102MP GFX CMOS II HS Bayer sensor (43.8 x 33.9mm) – which is the tallest digital filmmaking sensor yet available commercially. This sensor is paired with Fujifilm’s X-Processor 5, used across its APS-C and GFX range, delivering dual-base ISO (800 and 3200), 14+ stops of dynamic range, an internal ND filter (ND0.6 – ND2.1) and internal recording up to 8K DCI.

The camera supports a huge range of sensor formats, from 4:3 open gate to Super 35 and anamorphic options, making it one of the most versatile large-format cinema systems on the market. Filmmakers also get internal Apple ProRes recording, support for Adobe Frame.io Camera to Cloud, and up to 16 custom 3D LUTs alongside 20 of Fujifilm’s acclaimed Film Simulations – including Eterna/Cinema and Classic Chrome.

John Blackwood, Director of Product Marketing at Fujifilm North America, emphasized the significance of the sensor: “GFX Eterna 55 introduces the filmmaking community to the tallest digital filmmaking sensor ever available for purchase. The native 4:3 open gate format echoes back to the legacy of Super 35mm, but at a scale nearly 1.7x larger.”

You can see the extensive breakdown of resolutions, ratios, and frame rates in the table below:

Fujinon GF 32-90mm T3.5 PZ OIS WR lens

To accompany the new body, Fujifilm has unveiled the Fujinon GF 32-90mm T3.5 PZ OIS WR – a cinema zoom lens purpose-built for the GFX system.

Covering a 32-90mm range (25-71mm full-frame equivalent) it features a constant T3.5 aperture, a 13-blade rounded diaphragm for smooth bokeh and a minimum focus distance of 0.8m. Inside are 25 elements in 19 groups, including 3 aspherical and 3 ED elements, which should ensure a high optical performance across the zoom range.

The GF 32-90mm remains manageable for on-set use, though, with a weight of 2.15kg / 4.74lbs, yet still includes a rugged weather-resistant build, optical image stabilization and a front diameter of 114mm.

Where to see the Eterna in action

The GFX Eterna 55 will be making appearances at major filmmaking events worldwide, starting with Create With Us at the Walker Art Center in Minneapolis, MN (September 28 2025) followed by Jackson Wild in Jackson, WY (September 28 - October 02). It will then head to CAPER in Buenos Aires (October 07-09) and Semana AMC in Mexico City (October 18-23).

Later in the month, it will be showcased at NAB NY in New York (October 22-23), before traveling to Ampliar la Mirada in Santiago, Chile (November 4-6) and the ProFusion Expo in Toronto, Canada (November 5-6). The tour concludes with a showing at Camerimage in Toruń, Poland (November 15-22).

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Check out the best Fujifilm GF lenses to see what to pair with the Eterna, and see how the system compares to the best cinema cameras and the best Fujifilm cameras.

Red Digital Cinema, now a subsidiary of Nikon Corporation, has unveiled its latest camera: the V-Raptor XE. Joining the Z Cinema lineup, this new model is pitched as a streamlined and more accessible version of the flagship V-Raptor [X], offering filmmakers the core tools of Red's high-end technology without some of the advanced extras.

What makes this announcement particularly significant is that, for the first time since the original Red One in 2007, the company is offering both Nikon Z-mount and Canon RF-mount options – marking a return to greater flexibility for cinematographers who want native lens choices aside from PL.

At its heart, the V-Raptor XE carries Red’s highly regarded 8K large-format VV global shutter sensor – the same found in the V-Raptor [X] series – ensuring filmmakers still benefit from industry-leading dynamic range, image fidelity and low-light performance.

Built on Red’s DSMC3 platform, the XE packs this capability into a lightweight 4lbs body, making it well suited for a wide variety of rigging setups. The sensor captures 8K video at up to 60fps, with a staggering 17+ stops of dynamic range, while also delivering a global shutter scan time of just 8ms – crucial for distortion-free footage when dealing with fast-moving action or challenging lighting.

Performance flexibility is one of the XE’s strongest attributes. It offers a broad spread of recording options, scaling from 8K up to 60fps, 6K 80fps, 5K 96fps, 4K 120fps and even 2K 240fps for super slow-motion. With Redcode RAW ensuring a vast scope for post-production adjustments, the XE also supports simultaneous ProRes proxy recording and dedicated ProRes 4444 XQ up to 4K/120.

This means productions can benefit from both uncompromising RAW workflows and more streamlined editorial formats at the same time.

To maintain its accessible price point, Red has omitted some of the advanced Global Vision features like Phantom Track and Extended Highlights, but the XE retains the same sensor, core image quality and robust workflow options as the flagship models. Its single CFexpress Type B slot delivers data rates of up to 800 MB/s, ensuring it keeps pace with demanding productions.

In terms of usability, the XE provides dual 12G-SDI outputs for discreet monitoring setups, a USB-C port for fast data transfers, and wired and wireless IP connectivity that enables app-based control and cloud collaboration – something increasingly vital in modern productions.

The on-body design is equally practical, with a compact, rugged build ready for use in a variety of environments. A 2.4-inch LCD on the right side of the camera offers intuitive menu navigation and format selection, giving both operators and ACs direct control over key functions without needing external monitors.

Additionally, when paired with Red’s Z to PL adapter with electronic ND, the XE offers continuously variable ND strength that can be adjusted in increments as fine as 1/100 of a stop over WiFi, providing unparalleled control over exposure on set.

By reintroducing native Nikon Z and Canon RF mount support, Red is making a statement that goes beyond sensor technology. It’s a nod to its history and an acknowledgment of how modern filmmakers want to build their setups, with flexibility at the core.

For many, the XE represents not just an affordable entry into Red’s cinema ecosystem, but also a bridge between traditional cinema workflows and the increasingly hybrid world of digital filmmaking.

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Ever since Nikon’s surprise announcement that it was buying high-end cinema camera maker Red in March 2024, we’ve been eagerly awaiting to see the outcome of the collaboration between two of the biggest and most respected names in photography and video. Now we have the answer: the Nikon ZR… It's the first camera in the new Nikon 'Z Cinema line', which combines Nikon’s camera hardware with Red’s expertise in high-end cinema.

The Nikon ZR is based heavily on the Nikon Z6 III full-frame camera, with the same 24.5Mp full-frame partially stacked sensor and all the autofocus finery and subject detection abilities that we’ve come to expect from Nikon Z-series cameras, recognizing and tracking nine distinct subject types with unerring accuracy. Five-axis In-body image stabilization allows for up to 7.5 stops of vibration reduction to counter shake, for ultra-smooth handheld video.

Above video: Advanced subject recognition and autofocus work hand in hand to ensure that your intended subject remains in focus at all times

The headline video specs are similar too – with a maximum 6K/60p resolution and frame rate – but with one important difference: the inclusion of Red Color Science for the first time outside a Red-branded camera (the Nikon ZR is co-branded ’Nikon | Red’).

To enable this, Nikon and Red have developed a variation of Red's Raw video file format, R3D. Rather than the huge 16-bit files generated by the fully fledged professional-line Red video cameras, such as the Red Komodo and Raptor, the new R3D NE (Nikon Edition) codec is a 12-bit Raw video format that optimizes the 12-bit output of Nikon's sensors into a file that integrates seamlessly with the full R3D codec, enabling videographers to mix and match video shot on all Red / Nikon Z Cinema cameras.

Above: Red Color Science enables Custom Control presets to be applied to video for a cinematic look straight out of camera

Red Color Science also enables four cinematic video modes and nine custom Red Picture Control presets to produce video with a cinematic look and feel straight out of the camera. It's easy to cycle through previews of the various presets in-camera before recording and deciding on the look you want.

The highest quality 12-bit files can be recorded as R3D NE, N-Raw, and ProRes Raw, but the camera also supports 10-bit formats, including ProRes 422 HQ, and 8-bit H.265 and H.264, for instances where reduced file sizes are important.

In addition to 6K 60p Raw, the camera can record 4K 120p Raw and Full-HD 240p non-Raw video for slo-mo effects. It is also capable of recording vertical footage, for use in social media and the like. The camera can record up to 125 minutes of video, and impressively that's without needing a fan to cool things down, which not only means there's no fan noise generated in-body, but enables a weather-sealed design as there's no need for vents, either.

While the new camera houses much of the tech of the Z6 III on the inside, it’s a very different matter on the outside. It has a rectangular slab-like appearance, with no pronounced battery bump and only the merest hint of a textured grip.

There’s no optical viewfinder, as is par for the course on video-centric cameras, and the entire rear of the camera is dominated by a huge 4-inch monitor, which is much larger than the 3.2-inch rear screen of the Z6 III and other Nikon cameras.

The large 4-inch rear monitor is not only the biggest found on any camera in its class, but it's also the brightest (at 1000 cd/m²), the highest-resolution (3070K-dots), and has the widest color space (DCI-P3). It's a full vari-angle screen, flipping out to the side and rotating up and down for a comfortable viewing angle, and Nikon says that its size and clarity mean that no external monitor is needed, and that the camera can be used as a completely standalone system, although it can, of course, also be integrated into a video rig.

The audio capabilities are also a cut above the competition, boasting the world's first in-camera 32-bit float audio. This Raw audio format automatically adjusts for the highest peaks without clipping, and works with the camera's three built-in mics, as well as external microphones. OZO audio uses the in-camera mic for spatial sound, emulating directional, shotgun, front, and rear mics for 3D stereo sound.

Further enhancing the ZR's sound capabilities, the Nikon ME-D10 hotshoe-mounted microphone launches alongside the camera. It uses a new digital interface integrated into the underside of the hotshoe mount to embed sound into the video footage, without the need for additional external cables. The microphone's 77dB signal-to-noise ratio helps minimize sound distortion.

The control layout is very different from Nikon’s still-oriented cameras, too. A lever sits around the prominent record button on top of the camera, which is used to zoom with compatible power zoom lenses. There's also a bank of three programmable buttons up top, and a switch for stills-shooting mode; while the camera is heavily geared towards video, it remains a very capable stills camera, able to produce images every bit as good as the Z6 III. Front and rear control dials are present and correct, mainly used to adjust aperture and 'shutter angle', as well as selecting options. The rear of the camera is very pared down, with a playback and menu button, plus a mini-joystick for navigation. A single 'Rec' button on the front of the camera duplicates the main top Rec button, and is positioned for convenient access.

Above video: Full HD has a maximum frame rate of 240p, for recording super-slo-mo footage

The camera supports dual card slots, with one super-fast CFexpress slot and, in what may come as a surprise to many, a microSD slot. This is undoubtedly due to space constraints in the slimline camera body. It takes the same Nikon EN-EL15C battery as used in the Z6 III and many other full-frame Nikon cameras, although V-Lock batteries can be used via an adaptor.

The camera weighs in at just 540 grams and is fully weather-sealed, unlike the majority of competing videocentric cameras, and this is made possible due to its fanless design.

The Nikon ZR is due to go on sale in October 2025, priced at $2,199 / £2,199 / AU$3,499. This is significantly less than the Z6 III it is based on – thanks in part to the lack of EVF – and is very aggressively priced against competitor cameras such as the Sony FX3 and also-just-announced Canon EOS C50.

So the first Nikon Z Cinema-line camera looks very promising indeed, with an amazing feature set for an extremely competitive price. I was lucky enough to have a sneak preview of the camera: don't miss my Nikon ZR hands-on review!

Canon is shrinking down its cinema line – and eliminating the need to use two separate cameras to shoot horizontal and vertical video at the same time. The Canon EOS C50 is the imaging giant’s smallest interchangeable lens cinema camera yet, and it brings with it simultaneous horizontal and vertical recording along with full-frame, open-gate 3:2 video.

The Canon EOS C50 slots in between the R50 V and C80 in Canon’s lineup of cameras geared towards video. The C50 packs in a completely new 7K, 32MP full-frame sensor into the smallest, lightest cinema body Canon has ever made.

While the Canon C50 sits closer to the entry of the brand’s cinema series than the top, the C50 is the first Canon cinema camera to launch with full-frame 3:2 open gate recording, a feature that enables the camera to use the full width of the sensor.

That gives videographers more flexibility for cropping in post, including the ability to grab a 2606 x 4640 resolution vertical video for social media. While the C50 is the first Canon to launch with the feature, the higher-end Canon EOS C400 will also gain 3:2 open gate capabilities with a firmware update.

Along with that cropping flexibility, the C50 can also record a horizontal video to its main CFExpress card while recording a vertical crop to the secondary SD card slot at the same time. While that dual format recording isn’t available in RAW and is limited to 4K horizontal (with a 2K vertical resolution), the feature is designed for creators who need a quick turnaround for verticals to share for TikTok, Reels, and YouTube Shorts.

The Canon EOS C50 can record up to 7K 60p in 12-bit Cinema RAW Light to the internal media storage, along with the ability to shoot XF-AVC, XF-AVC S, and XF-HEVC S formats. Dual Base ISO of 800 and 6400 is available in Canon Log 2. Unlike the Canon R5C, the C50 also has XC protocol and built-in Wi-Fi.

Canon calls the C50 a video camera that can also shoot stills, rather than the other way around. That’s due in part to the camera’s electronic shutter, which prevents the C50 from supporting flash sync. But videographers who also need to grab stills can use the C50 for 32MP photos with burst rates up to 40fps, including the option for pre-shooting.

While the C50 has a lower resolution than the R5C, Canon says the C50 has a better autofocus system, with Dual Pixel CMOS AF II. Birds have been added to the camera’s animal subject detection, while the C50 also includes a new flexible zone focus mode that enables creators to choose the size of the zone for focusing.

The camera body lacks stabilization, but does have digital stabilization that works in conjunction with the stabilization on supported EOS lenses.

The C50’s list of features also includes USB Video Class UVC for webcam capabilities, Frame.io integration to send proxies from the camera to the cloud, and support for a 1.5 desqueeze on full-frame anamorphic lenses.

The C50 weighs in at about 670g / 23.6 oz, making it Canon’s smallest, lightest interchangeable lens full-frame cinema model yet. The smaller design of the C50 axes the viewfinder, but keeps a grip for handheld shooting. The C50 will also ship with a top handle for using the camera in the same shooting style as larger camera rigs. That top handle has a zoom rocker, record button, and cold shoe mount built in.

Controls on the camera body itself include a joystick, zoom rocker near the shutter / record button, tally lamps, and multiple customizable buttons. While the camera lacks a viewfinder, its pull-out tilting touchscreen supports an LCD luminance boost mode in order to boost visibility while shooting in bright sunlight. Multiple vents allow the camera to keep cool using internal fan cooling.

The camera uses the same batteries as the R5 Mark II and will also support the same battery grip, to give the camera space for two batteries. Battery life ranges from 60 to 90 minutes of recording on a single battery, and, along with the optional battery grip, the camera will support external power with additional accessories.

The Canon EOS C50 is expected to begin shipping in November 2025 with a list price of $3,899 / £3,359 / AU$5,899. The top handle is included in the box, while the optional battery grip and external power accessories are sold separately. Pre-orders for the new camera are available at multiple retailers, including Adorama, B&H and Wex Photo.

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It’s finally here, the Canon EOS C50 – Canon’s long-awaited response to the enormously popular Sony FX3. It isn’t a fair fight, however, as the latest Cinema EOS body annihilates the four-year-old Sony with a spec sheet that will have videographers and creators heading to MPB and KEH to look up the trade-in value on their kit.

The Canon EOS C50 packs a new 32MP full-frame sensor with dual base ISO, capable of 7K 60p internal RAW and open gate capture, Dual Pixel Autofocus II, 40fps bursts for stills, a modular design with removable handle, twin XLRs, full-size HDMI, 4-channel audio, Canon Log 2 and 3 with 15 stops of dynamic range, Frame.IO support, active cooling system… and a price tag lower than the FX3’s.

However, Canon has muddied the waters by introducing not only the Canon EOS R6 Mark III but also the Canon EOS R6 V – both of which share the same sensor, core specs and internal architecture with the Canon EOS C50.

There are key differences (namely the presence or absence of EVFs, IBIS, active cooling, weather sealing, mechanical shutter and anamorphic support) so you can pick your poison whether you're a photographer who shoots a bit of video, a content creator who shoots both, or a cinematographer who occasionally needs stills. Check out my Canon EOS R6 II vs R6 III vs R6 V vs C50 comparison.

Still, the C50 is a direct competitor to the Sony FX3. And for professional videographers, high-end solo creators, wedding shooters and production companies looking for a small, lightweight setup with adaptable shooting and efficient workflow, there’s a new sheriff in town.

Canon EOS C50: Specifications

Canon EOS C50: Price

The Canon EOS C50 carries a retail price of $3,899 / £3,359.99 / AU$5,899 including the modular handle.

For context, the four-year-old Sony FX3 (its direct competitor) sells for $4,098 / £3,799 / AU$6,499.

The next model up in the Cinema EOS range, the Canon EOS C80, costs $5,849 / £4,499 / AU$7,999.

Within the extended R6 family, all of which share the same core specs, the R6 V is priced at $2,499 / £2,399 / AU$3,599 while the R6 Mark III, at $2,799 / £2,799 / AU$4,199.

Canon EOS C50: Build & handling

The Canon EOS C50 is intended to act as a bridge between Cinema EOS cameras and the PowerShot V and EOS RV product lines.

And this is certainly reflected in the design of the body, which in many ways feels like a cross-pollination of the EOS C70 and the EOS R50 V (the cameras it sits in-between in the video range). Which, of course, gives it a form factor very similar to the Sony FX3 at which it’s taking aim.

It’s the smallest and lightest Cinema EOS body, coming in 10g lighter than the Canon EOS 5C, and it’s also lighter than the FX3 – though it’s noticeably chunkier than Sony’s body. It’s still compact for a cinema camera, though this does leave the three-inch articulating touchscreen feeling a little bit cramped.

You’ll probably want to spend most of your time with the screen flipped out, as it covers one of the active cooling ports. Having spent ages torture testing the R6 Mark III's fan-free record times, the C50 is an absolute joy to shoot with; I've got over an hour of open gate RAW LT and about three quarters of an hour in RAW ST. So record times aren't a problem… but the resulting files might be, as I'll come onto in the next section.

As with most cameras in this class, there is no electronic viewfinder – and while Canon doesn’t rule it out, there are no plans to produce an external one. It’s the kind of thing that a third-party manufacturer might come out with, but then again – given the lukewarm reception to the Sony FX2’s EVF, you probably shouldn’t hold your breath.

The small size of the Canon EOS C50 is accounted for by its modularity. Included with the camera is the top handle / grip, which accommodates a pair of full-size XLRs (with input controls), an additional Multi-Function Shoe and a handful of extra controls – including a fourth Rec button.

As is the case with Cinema EOS bodies, you’re spoiled for choice when it comes to controls. There are fourteen numbered on-body buttons, with six on the top plate, six on the back of the camera and two on the front. Most of these are preassigned to functions like waveforms and peaking, but the body is highly customizable so that your fingers can always find what they’re looking for.

Surrounding the primary Rec button (which sits atop the grip, in the same position you’d usually find a camera’s shutter button) is a power zoom rocker switch for smooth operation of compatible PZ lenses.

Speaking of lenses, the Canon EOS C50 features a full-frame RF mount that accommodates both RF and RF-S (APS-C / Super 35) lenses. Unlike some other Cinema EOS bodies, the C50 isn’t available with a PL mount – but Canon introduced an RF-PL adapter with the EOS C400, and obviously there are multiple RF-EF adapters available, so mounting the majority of standard cinema lenses isn’t a problem.

Canon EOS C50: Performance

For a lot of people, the Canon EOS C50 is going to be the ultimate cinema camera. For example, I know of two local production houses that immediately replaced their fleet of R5Cs with C50s.

While the R5C is still a current product, it seems pretty clear that the C50 is destined to replace it. Both are hybrid, high-resolution, video-first cameras aimed at mid-tier videographers and professionals. But while the 45MP / 8K R5C still offers superior resolution, everything else is in the 32MP / 7K C50’s favor.

Obviously the most exciting feature for most people considering this camera is the open gate video. This records footage using the entirety of the 3:2 sensor, giving you the flexibility in post to output it in whatever format you or your clients require – whether that’s 16:9 for YouTube, 9:16 for social media, 1:1 for adverts and so on.

Up until now this has been the calling card of Panasonic cameras (and Fujifilm, if you don't mind APS-C) – and has been reason enough for some people to jump to the Lumix system. Now that Canon has adopted the technology, it’s going to be a major drawing card for the C50. However, a word of warning if you're not used to shooting open gate: it is not for the faint-hearted, especially at 7K.

Having the entire sensor area to play with in post is fantastic; we used the C50 to film some podcasts, where it could effectively replace a three-camera setup. However, you will literally end up with hundreds of gigabytes of files. Like shooting in RAW, this is only something you should use if you genuinely need it and you have the workflow, processing and storage infrastructure to manage it.

(It's also worth noting, as this is sometimes lost in the messaging, that the C50 is a 7K 60p camera that shoots open gate – but open gate is only 7K 30p, which means you can't use native slow-motion effects in this mode.)

A feature I'm a bit in love with is simultaneous shooting mode, which captures 4K horizontal video to the CFexpress card while recording 2K vertical video to the SD. You can't shoot in RAW, and it's not an open gate mode (working instead from a 17:9 crop) but it's an absolutely brilliant idea for those who want to capture vertical video to quickly throw up on socials without having to go through a second output pass.

In addition to full-frame open gate, the sensor supports standard full-frame shooting along with Super 35 and Super 16. As usual, this makes the C50 a compelling option for existing Cinema EOS users as the footage cuts seamlessly with Super 35 cameras like the C70.

Speaking of the sensor, it’s a completely new one – and Canon's first full-frame 32MP design. While it’s not a stacked design, its readout speed is fast enough to eschew a mechanical shutter entirely. This is evidenced both by the video framerates, which go up to full-width 4K 120p and 2K 180p in HFR mode, as well as the 40fps burst shooting for stills.

Stills will be widely overlooked on this camera, even though this is still a hybrid camera that like the R5C offers dual menu systems – flick the power switch left to Photo, the C50 boots up with the standard EOS interface; flick it right to Video and it powers up with Cinema EOS layout and menus.

Photos can be rattled off at a blistering 40fps (matching the burst speed of the flagship EOS R1), with the camera also supporting Pre-Continous Shooting (where shots are buffered when you half-press the shutter, so you never miss the decisive moment), supported by Dual Pixel AF II and EOS iTR AF X (Canon’s Intelligent Tracking and Recognition deep learning technology).

This isn't quite as robust as the pure Dual Pixel AF II found in the R6 V and R6 Mark III, which both have stickier tracking and full subject detection algorithms. This stands to reason, as cinema cameras often employ pullers and follow focus rigs, so the AF doesn't need to be as sturdy. Which isn't to say that the autofocus isn't good; it is, and is arguably the best it's ever been on a Cinema EOS body. But it's better on the R6 models.

Of course, the C50 offers plenty of pro options that aren't found in its non-cinema R6 siblings. A big one is anamorphic desqueeze support, which enables you to use anamorphic lenses for full cinematic effect.

Professional use really is the key, here, particularly when it comes to connectivity. In a big step up from the R5C, the Canon EOS C50 features a full-size HDMI port in addition to two full-size XLRs (on the handle) to take advantage of the four-channel audio, along with a DIN timecode (DIN) port.

The connectivity extends from physical to virtual, too. Multi-camera shooting is possible via Canon’s XC protocol, enabling remote IP control alongside other Cinema EOS and PTZ cameras, as well as the Canon Multi-Camera Control App. In addition, Frame.io and Canon’s CTP (Content Transfer Protocol) real-time delivery are also supported to streamline workflow.

While in-body image stabilization (IBIS) isn't something that Canon offers for its cinema cameras, it's one of the few areas where the FX3 has one up on the C50. For something billed as a direct competitor, and a run-and-gun camera for solo shooters in its own right, this is a notable omission – though again, the R6 V solves this problem.

Far more important, however, are the inclusion of a slew of essential filmmaking features that the Sony was missing, such as internal RAW, waveforms and the all-important shutter angle. Shy of integrated ND filters, which are a mark of higher-end cine cameras, it's hard to think of anything major that the C50 is missing.

Canon EOS C50: Sample photos

Canon EOS C50: Sample video

Here are some video snippets taken with the C50 in a variety of modes.

The first video shows a selection of environmental clips, while the second video illustrates the difference between open gate (3:2) full-sensor readout and standard 16:9 footage.

Canon EOS C50: Lab results

Historically we haven't lab tested full-on cinema cameras, as our testing procedure measures still image quality. Consequently, we don't have lab data for many of the EOS C50's main rivals. The closest cameras for which we have lab data are the Nikon ZR, and the Sony ZV-E1.

We test resolution using Imatest charts and software, and dynamic range and signal-to-noise ratio with DxO Analyzer.

Resolution (line widths/picture height):

As you'd expect from having 32.5MP on tap, the EOS C50 is capable of resolving noticeably more fine detail than the 24.5MP Nikon ZR. The 12MP ZV-E1 was never designed for outright resolution, and it shows.

Dynamic range (EV):

Dynamic range is excellent at lower sensitives, roughly equalling the comparison cameras. As you push past ISO800 the C50 slightly trails the Nikon ZR, capturing around 0.5EV less dynamic range. But it's the ZV-E1 that really shines here, with its lower pixel count paying dividends when it comes to capturing extreme highlight and shadow detail.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

The C50 generates slightly more image noise than the Nikon ZR throughout our tested sensitivity range. But it's the ZV-E1 that leads the way in terms of noise levels, producing significantly cleaner high ISO stills than the C50.

Canon EOS C50: Verdict

Upon launch, there was only one question on everyone's minds: is the Canon EOS C50 better than the Sony FX3? And the answer was yes, it outclasses the FX3 in every way – including price.

Its unique combination of photo and video firepower mean the C50 is untouched in its class, making it the most compelling choice in a category that has for years been dominated by Sony and Panasonic.

Indeed, while it’s obviously a broadside for the FX3, it’s arguably going to do even more damage to Lumix, given how open gate video was such a trump card for the brand – and now it’s available in a 7K 60p Canon body with all the Cinema EOS bells and whistles.

However, as repeatedly noted, things are more complicated now that the R6 V is in town. I'll refer you once more to my Canon EOS R6 II vs R6 III vs R6 V vs C50 comparison, but as a TLDR:

The C50 is for cinematographers and videographers who don't want IBIS and don't need weather sealing, but do need things like anamorphic and timecode support. The R6 V is for solo creators, for whom stabilization and sealing are important – and who need slightly better autofocus.

For those top-tier creators and pro video shooters, though, it's hard to see the Canon EOS C50 being anything other than an essential purchase. It offers professional-grade features without the price tag of high-end cinema products. If you're looking for an open gate system and you don't want or need in-body stabilization, this is the finest option out there.

Sony’s FX2 was not the next camera most people expected from Sony’s Cinema Line. With the Sony FX3 and FX30 both looking a bit long in the tooth, there was more anticipation for next-generation updates chasing speed and resolution.

Instead, the ILME-FX2 is a bit of a curveball, taking the proven 33MP sensor from the A7IV and building a compact cine body around it – complete with a brand new tilting EVF, active cooling, and video-first controls. The result is Sony’s most hybrid cine camera, an A7IV for those who put video first and stills second.

The Sony FX2 sits just below the FX3 in Sony's lineup, as an affordable entry point into full-frame cine cameras. But with so many compelling hybrid cameras out there, often for less money, is the draw of cinema economics enough to convince content creators to jump over to Sony's cinema line?

Sony FX2: Specifications

Sony FX2: Price

The Sony FX2 is available now, priced at $2,699 / £2,699 body-only, or $3,099 / £3,099 with the XLR-H1 handle unit, which adds 4-channel audio via twin full-size XLR inputs. This makes it the most affordable full-frame model in Sony’s Cinema Line, sitting below the FX3 (around $4,099 / £3,799) while offering a tilting EVF and hybrid stills features that the FX3 lacks, but without the speeds allowed by the FX3’s lower-resolution sensor.

Outside of cinema-style bodies, at this price, the FX2 goes head-to-head with hybrid rivals like the Nikon Z6 III ($2,699), which has partially stacked sensors for faster readout speeds, or Panasonic’s Lumix S1 IIE ($3,199) with open-gate recording and internal RAW codecs. If you are in the market for more of a hybrid camera, these offer a much better stills shooting experience.

Sony FX2: Design & Handling

The FX2 chassis follows the exact same FX3/FX30 blueprint – a flat-top box design ideal for a cage or rig, but also with built-in threaded points perfect for mounting accessories if you want to go cage-free. If it ain’t broke, don't fix it, and I think the FX2 is still a great looking camera. It clearly means business and definitely isn’t going to be mistaken for a casual vlogging camera – plus it also slots in nicely with the designs of Sony’s more professional (and premium-priced) models.

The FX2’s party trick is the 3.68-million-dot OLED EVF that tilts up to 90°. It’s the first time an EVF has appeared on a compact FX body, and I hope it's a feature that’s here to stay, as it immediately improves focus checking, bright-sun operation, and makes the FX2 a viable hybrid camera. Once you’ve used the EVF on the FX2, it is hard to go back to screen-only cinema models.

The caveat: depending on what you mount atop the FX2, you can foul up the EVF’s articulation. I struggled both with the EVF butting up against the receiver of my Rode Wireless Go, and my third-party handle screwed into the threaded screw on the top plate. The EVF can also obstruct storing the camera. As the EVF doesn’t tilt into the body nor can you lock the EVF to the body, this meant that first off, the protruding EVF blocked the camera from fitting neatly into my usual carry case, and made me feel a bit wary when placing the camera in my bag that the EVF wouldn’t get damaged. None of this is a real dealbreaker, but you might want to think about your current accessories before buying.

As well as the EVF, the FX2 has a rear LCD that is fully articulating. The screen is good – viewing angles are solid, and brightness is good outdoors – but the LCD is lower in resolution compared with some rivals. Controls are streamlined and video-centric, and Sony’s BIG6 home screen mirrors the Venice UX for quicker access to essentials. The FX2 also splits its settings for both video and photo into separate menus depending on which mode you’re in, which makes life a lot easier when switching back and forth while preserving specific options.

The FX2 is made of magnesium alloy and steel and feels very robust, and is backed up with weather seals to keep out moisture and dust. The size and weight are very manageable for a long day of handheld shooting (the FX2 weighs 679g/1.50lbs body-only), and I found the handgrip is deep and comfortable, which made a meaningful difference when I was attempting to wield heavier lenses.

The FX2 has a good complement of ports to support most filmmakers at this level – a full-size HDMI port in particular is welcome at this price. Media is handled by dual card slots, with Slot 1 supporting CFexpress Type A (or SD), and Slot 2 for SD. The optional XLR-H1 handle adds 4-channel audio and locks in via screws and the Sony MI interface.

Sony FX2: Performance

Image quality in full-frame 4K at 30p is outstanding with the camera oversampling from 7K. Footage is detailed, with smooth tonal transitions that give footage a very polished look straight out of camera.

However, the FX2’s biggest compromise comes from the sensor’s readout speed. That 33MP sensor does a lot of heavy lifting, and with that many megapixels to push, it means 4K/60p is only available with a Super 35 crop, and unfortunately, you can forget all about 4K/120p.

Even at standard 4K, the oversampled readout can produce noticeable rolling shutter when you whip the camera around or track fast side-to-side motion (see sample video). If your work leans heavily on action sequences, fast handheld pans, or sports, the FX3 still has the edge here, with its faster readout, full-width 4K/60p, and even 4K/120p in crop mode. But for any videographers whose work is slower paced – perhaps interviews, corporate work, or documentaries – the FX2 is still a capable option.

Above: sample video from the FX2 showing image quality, rolling shutter, crops, and stabilization

If you want to push the FX2 further, there are no internal RAW capabilities, which seems odd for 2025, with most other brands pushing this on their video-focused cameras. However, external RAW recording is supported, but with the caveat that over HDMI, you’ll only get around 4.7K from the Super 35 (APS-C portion) of the sensor.

That said, internally you have a very robust codec selection, including 10-bit 4:2:2 All-Intra options at up to DCI 4K/24 as well as S-Log3 and S-Cinetone. I think for most productions, the FX2 would be used for; these internal files are more than strong enough.

Continuous recording is a major strength of the FX2 and Sony’s cine bodies. Thanks to the active cooling system, the camera is rated by Sony for up to 13 hours of extended continuous 4K/60p recording in controlled conditions. In real-world use, I found it basically impossible to make the camera overheat, even during long takes on a particularly warm, sunny, and humid day of shooting – my SD card had enough before the camera did.

Autofocus is an area where the FX2 (and Sony in general) really shines. The latest generation of Sony’s subject recognition autofocus feels really confident – I found the FX2 locked onto people, animals, and vehicles with the sort of reliability that allowed me to just focus entirely on my composition without worrying. The FX2 also has Sony’s latest ‘Auto Subject’ recognition, so you don’t even have to worry about dipping out to change the focus mode. It’s the kind of autofocus that you can genuinely trust to just do its job, and that makes the shooting experience far less stressful.

Another plus point is image stabilization. I found the stabilization in the FX2 to be excellent, with Sony’s Active mode making a huge difference in keeping things steady for handheld shooting. The FX2 also offers a Dynamic Active mode, which goes further with in-camera electronic stabilization for almost gimbal-like footage – although with a fairly hefty crop cutting into the field of view. However, the trade-off can be worth it if you’re after smoother footage handheld – and I was really pleased with both my handheld panning and walking shots, and I didn’t have to lug around my heavy gimbal.

As the camera shares a sensor and lens selection with the Sony A7 IV, the quality from the FX2's still images is every bit as outstanding as its Alpha brother. Although, while this is the most hybrid cine camera you're likely to see, ergonomically, it's not the ideal stills camera experience, with it just feeling a little clunky and unnatural. If you are someone who cares as much about photos as video, then you might find a hybrid with an SLR-style body, like the Sony A7 III, is much more suited to you.

Battery life, while not groundbreaking, is solid on the NP-FZ100 pack. For normal shooting, I managed to get through a couple of hours of stop-start 4K recording. But for longer gigs, USB power delivery support means you can run the FX2 continuously from a power bank or wall supply.

Sony FX2: Verdict

The FX2 is a really interesting proposition for those first getting into cinema photography. The FX2 is a compact cine body with a real EVF, dependable AF, long-record stamina, and credible stills – at a price that opens the Cinema Line to more hybrid creators. You do need to accept its limits. Fast-readout video isn’t its strength; 4K/60p is cropped, rolling shutter is clearly visible, the LCD is merely okay, and there’s no internal RAW. But if your work leans on interviews, documentary, branded content, or corporate work, then the FX2 is a great step into the world of cine cameras.

Alternatives

A new Canon camera is being announced next Tuesday! And the beans have been spilled by the manufacturer itself, thanks to a teaser campaign that has just launched on its social media channels.

"Something new is coming!" reads the teaser text on the Canon UK Instagram and Facebook pages. "Watch our YouTube Premiere launch event from 9 September 2025 at 3pm CEST. Set a reminder today!"

A slightly different message adorns the teaser on the company's North American channels. "A new way to capture the world", reads the description on the Canon USA Instagram account.

Over on the Canon Europe YouTube account, there is a livestream holding page with the same teaser image and a provocatively open chat window, where the company has left the cheeky message, "We're just going to leave this here… 👀"

So, we know that a new Canon camera is being announced on Tuesday September 09 at 09:00 EDT / 14:00 BST / 23:00 AEST. But what exactly will it be?

What is the camera Canon is teasing?

While at first glance there isn't much to go on from Canon's teaser image, given that the camera sits in deep shadow (and the details have been painted out, so raising the exposure doesn't spill any secrets), it actually tells us quite a bit.

First of all, we can see a red tally light and what looks to be a red button on the grip – both of which signpost this being a video or cinema camera. This is supported by what looks like the kind of button arrangement found on Cinema EOS bodies, along with the flat top panel with no viewfinder hump.

This is where the cinema-ness of the camera comes into question. Traditional Cinema EOS cameras typically have a boxier form factor, while even RF offerings like the Canon EOS C80 and C70 have a sloping silhouette at the top that's reminiscent of a mirrorless body.

The closest camera shape actually seems to be the Canon EOS R50V – the most recent camera that Canon has launched, which is part of the EOS RV product line (the V standing for video) rather than the cinema range. So this could in fact be a new member of the well-received RV family.

Canon is certainly courting speculation, particularly by leaving both the comments section and chat window open on its YouTube page.

"With the red shutter button it looks like a new Cinema camera… Maybe a little brother to the R5C?" says user OlivierStaiger. Elsewhere, ArsoFX confidently proclaims that, "This will definitely be R8V 100%", while donaldwillemsen predicts it to be the long-rumored Canon R6 Mark III.

With two big industry events happening imminently – IFA (Internationale Funkausstellung) in Berlin this week and IBC (International Broadcasting Convention) in Amsterdam next week – all eyes will be on Canon when it pulls back the curtain on Tuesday…

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When most people set out to buy their first serious camera for filmmaking, they tend to land in one of two camps. Either they spend big on a dedicated cinema rig that feels intimidating and impractical for a beginner, or they opt for a hybrid stills camera that can shoot decent video but was never really designed for cinema.

The Blackmagic Pocket Cinema Camera 4K lands in the sweet spot between those extremes. At just over $1,000 in the US, it’s an entry point that feels genuinely cinematic without being overwhelming.

What makes the Blackmagic Pocket Cinema Camera 4K stand out is its identity as a dedicated cine camera. It isn’t a stills-first body with video features bolted on; it’s designed from the ground up for moving images. Yet, its form factor is more mirrorless than a shoulder rig, which means the transition from photography to filmmaking is far less daunting. For anyone coming from stills, this feels like the right bridge.

The specs tell the story. A true 4K DCI sensor at 4096 × 2160, with 13 stops of dynamic range, gives you a level of highlight and shadow detail typically reserved for much more expensive cameras. Dual native ISO up to 25,600 means it also handles low light better than most budget options, while Blackmagic RAW and ProRes recording give you professional-grade files that are flexible in post.

The Blackmagic Pocket Cinema Camera 4K's large five-inch touchscreen is a huge win for beginners, too. You don’t need to budget for an external monitor straight away, and the Micro Four Thirds lens mount keeps things affordable and adaptable, with easy access to both modern and vintage glass. Even audio is taken seriously, with solid built-in mics and proper mini XLR inputs so you’re not stuck with consumer-level sound.

Then there’s the bigger picture: the Blackmagic ecosystem. This isn’t just about the camera; it’s about a workflow. Straight out of the box, you’re given DaVinci Resolve Studio, the industry-standard software for editing, color grading, audio post, and VFX. That means your first camera also comes with a full professional post-production pipeline. Something no other entry-level option can really match.

All of this combines into a camera that genuinely raises the production value of your video work without raising barriers to entry. With the Blackmagic Pocket Cinema Camera 4K you can shoot your first short film, music video, documentary, or YouTube project and feel like you’re working with the same kind of tools used in professional cinema.

It makes filmmaking feel accessible, not exclusive, and that’s exactly what a first cinema camera should do.

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I was recently digging around for a proper run-and-gun documentary cinema camera for myself when I stumbled across this incredible offer and had to share it.

Right now, directly from DJI, the Ronin 4D 6K Combo is available for £4,289, down from its regular price of £5,659. That’s a saving of £1,370! For what this cinema camera delivers, it feels like one of the best deals I’ve come across in a long time.

What makes this so exciting is just how much DJI has packed into the Ronin 4D 6K. Instead of juggling a camera body, gimbal, monitor, filter system, batteries, and follow focus as separate pieces, the Ronin 4D combines everything into one complete package. It really is a cinema rig in a single unit, designed to work seamlessly out of the box without the usual cable mess or compatibility headaches.

And it’s not just hobbyists or indie shooters taking notice. The Ronin 4D has already proven itself on big productions. In fact, Mel Gibson himself used it on a recent blockbuster film, and if an Academy Award-winning director is confident enough to trust it on set, that tells you a lot about the caliber of this system.

At the heart of the Ronin 4D is DJI’s Zenmuse X9 full-frame camera, backed by their CineCore 3.0 processing system. This combination allows for internal recording in Apple ProRes RAW and the full ProRes family, along with H.264.

You can shoot in 6K at up to 60 frames per second or 4K at 120, and if you want to push things even further, there’s support for 8K recording as well. The image quality is stunning, with over 14 stops of dynamic range, dual native ISO, and detail that holds up in everything from bright sunlight to candlelit interiors.

Stabilisation is where the Ronin 4D really sets itself apart. By adding a fourth axis to the traditional three-axis gimbal, DJI has made it possible to achieve dolly-like smoothness without rails or rigs. The system uses a mix of sensors, combined with DJI’s advanced algorithms, to all but eliminate vertical shake. For anyone shooting handheld or in fast-moving environments, this is a genuine game-changer.

For me, this deal feels like an opportunity to get hold of a piece of kit that doesn’t just replace multiple bits of gear, but actively pushes forward what’s possible for filmmakers. At £1,370 off, it’s the best chance I’ve seen yet to step into a next-generation cinema system without paying the usual premium. If you’ve been considering upgrading your setup, I’d say now is the time!

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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I recently got hands-on with the RED Komodo-X 6K Z Mount at an event hosted by Nikon and RED, and I was surprised by just how compact this cinema camera is.

For a cinema camera with a 6K global shutter sensor, it’s almost absurd for how portable it feels. This is exactly why so many wildlife filmmakers swear by it, as it gives you uncompromised image quality without the burden of a massive rig in the field.

And now, RED has dropped a fresh firmware update for the Komodo-X (version 2.0.8), and it’s a significant one. It’s not just a handful of fixes. This update adds enhanced functionality, especially for those working in demanding, professional environments.

Earlier this year, the Komodo-X made headlines as the first RED camera to feature a Nikon Z mount in 17 years. That move was huge as it opened the door for Nikon mirrorless users to step into the cinema world with gear they already own.

Now, this firmware release builds on that momentum with features that matter. Here’s what’s new:

• Added Broadcast Lens control support
• Added support for updating NIKKOR Z lenses
• Added RED PRO and AV PRO v4 support
• Added Face Detection Toggle assignable button
• Added PL Mount Power Toggle
• Added External Tally Thickness options
• Added Extra Small Video Overlay size
• Added VR Status to Lens Information overlay
• Added SmallHD RED Touch OS 6.1 firmware integration
• Added External Tally support for SmallHD OS 6.1
• Added tilt to RED Touch Level Overlay for SmallHD OS 6.1

And that’s just the new stuff. RED has also polished the experience with improvements such as better lens compatibility, smoother face detection (with a larger recognition area and cleaner transitions), and stronger network adapter support. Broadcast RCP communications got an upgrade, too.

And the bug fixes are important ones. They addressed issues like incorrect max frame rate in 2K, LUT preset errors, Focus and Exposure Tools stacking, occasional SDI audio distortion, and false color glitches on SmallHD monitors running OS 6.1.

This update, which can be found on the official RED support webpage, is another sign that RED is committed to keeping its cameras relevant and reliable through firmware. For something this small, with that much horsepower, the new firmware just makes it even more future-proof.

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If you’ve seen Ed Sheeran’s latest music video Sapphire, chances are you were as hypnotized by the visuals as you were by the tune.

The video follows Sheeran on a whirlwind adventure through India, wandering colorful markets, cheering at cricket matches, and cutting loose in neon-soaked clubs. It’s vibrant, chaotic, and full of life… yet somehow, Ed remains perfectly centered in the middle of it all. Literally. That framing is the result of some clever camera rigging that has filmmakers and gear nerds buzzing.

Above: Ed Sheeran's music video for Sapphire

YouTuber and optical enthusiast Mathieu Stern couldn’t let this one slide. Like many of us, he watched Sapphire and thought: How the hell did they keep Ed locked in the center of the frame while India spins around him? So, he dug in. And after a bit of internet detective work, combining behind-the-scenes shots with some educated guesses, Stern cracked the case.

The secret weapon? A Snorricam. For those unfamiliar, it’s a rig that straps around the subject’s torso, with an arm extending out to hold the camera in front of them. Hands-free, perfectly centered. The result is that trippy effect where the background feels like it’s on fast-forward while the subject stays dead steady in the frame. If you’ve seen films like Requiem for a Dream, you know the vibe. It’s intense, immersive, and in this case, it makes Sheeran’s Indian odyssey feel like a personal fever dream.

Through some behind-the-scenes Instagram snaps, Stern identified the camera as the Sony FX3. Yes, the FX3 is a compact cinema powerhouse that launched over four years ago; however, it is still punching above its weight class. This little beast brings full-frame 4K, excellent dynamic range, and cinematic color science in a body small enough to take on a backpacking trip. And apparently, it’s good enough for pop superstar Ed Sheeran.

Above: Mathieu Stern's YouTube video uncovering the equipment used

The next question was what lens gave that ultra-wide, immersive look without turning Ed’s head into a fisheye disaster? The answer: a Laowa 12mm T2.9 Zero-D Cine.

This lens is beloved by ultra-wide fans for delivering an expansive 122° field of view without the typical barrel distortion that makes straight lines look like roller coasters. Perfect for the bustling chaos of Indian streets.

A takeaway from this is that the entire FX3 and Laowa lens combo comes in at around £5,000. That’s pocket change in the world of big-budget music videos.

And here’s the kicker: at the time of writing, Sapphire is closing in on 150 million views. Proof that creativity and execution matter far more than having the 'latest and greatest' gear.

If you’re curious to see the full breakdown, I recommend checking out Stern's YouTube video, where he also recreates the look. It’s a fascinating watch for anyone obsessed with camera rigs, DIY filmmaking tricks, or just clever ways to achieve cinematic looks on a budget.

So, next time someone tells you you need an 8K cinema monster to make great content, remind them that Ed Sheeran’s doing just fine with a four-year-old camera and a lens most indie filmmakers could afford.

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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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In F1: The Movie, the roar of the engines isn’t the only thing pushing boundaries. Behind the blistering speed and visceral action lies a groundbreaking collaboration between Hollywood filmmakers and Sony’s top engineers, one that has changed high-speed cinematography.

Director Joseph Kosinski (Top Gun: Maverick) and Oscar-winning cinematographer Claudio Miranda, ASC, are no strangers to capturing speed. But with F1, they faced a challenge unlike any before: How do you put the audience inside a Formula 1 car, going 200 miles per hour, without sacrificing cinematic image quality?

Their answer wasn’t just clever rigging or CGI trickery. It was a technological breakthrough: a custom-built, full-frame cinema camera system designed specifically for this film.

"I said the ideal is a sensor on a stick – as small as we could go," Miranda explains in the behind-the-scenes featurette by Sony Cine. But this wasn’t about just strapping on action cameras. As Miranda puts it, "We still wanted to have a shallower depth of field and full-frame… we had to strive for filmic images."

Sony’s engineers answered that call in record time. Using the full-frame sensor from the Sony FX6, known for its excellent low-light performance and cinematic depth of field, they created a detachable, modular system. The result was what Kosinski describes as "bespoke lightweight camera packages," capable of delivering full-frame 4K imagery in the harshest racing conditions.

In just eight weeks, Sony developed a working prototype with a detachable sensor module, integrated ND filters, and a ruggedized build that could withstand the vibrations and G-forces of real race conditions. "It was really remarkable," Kosinski says. "We ended up getting 25 bespoke cameras from them. We used every single one of them."

These weren’t mere point-of-view cameras. Each custom unit was designed for creative flexibility with features like remote pan capability, focus motors, and precise vibration isolation.

The production-mounted cameras in up to 16 unique positions on the car, tail, nose, cockpit, side panels, capturing perspectives never seen before on screen. "We can move the cameras while we’re shooting," says Kosinski, describing the ability to pan between different angles mid-shot, such as shifting from the racetrack to actor Brad Pitt’s face inside the cockpit.

One of the keys to F1: The Movie’s visual success was maintaining image consistency across its entire camera lineup. Alongside the Sony VENICE 2 (the main production camera), the team used the FX6 and these new prototypes, all sharing the same sensor technology and S-Gamut3.Cine color science.

This enabled seamless color grading and matching across shots, from the close-quarters cockpit sequences to the sweeping IMAX vistas of the racetrack.

Perhaps the most striking achievement of F1 is its commitment to realism. "These aren’t special effects rigs," the filmmakers emphasize. Brad Pitt and Damson Idris did the driving themselves, reaching speeds of 200 mph for real. Every shot you see on screen is real-world physics, captured by cutting-edge, purpose-built cinema technology.

Above: The Sony Cine featurette video

"You’re going to see camera angles and points of view that you’ve never seen before," Kosinski says. "Audiences are going to get a perspective of what it’s like to be in one of these machines."

Following in the footsteps of Top Gun: Maverick, F1: The Movie has raised the bar for how speed, intensity, and immersion can be captured on film. What started as a filmmaker’s dream, 'a sensor on a stick', has become a pioneering new tool for cinema.

F1: The Movie is now in theatres, and it won't be long until the film is available to watch on Apple TV+.

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We all know that our phones listen to us, right? That they keep track of keywords we say, then feed them to algorithms so we get served content that's of interest to us?

My phone did that to me this week. I'd been talking to my colleague, Kalum, who had written a story about film photography making a comeback in cinema with Jurassic World Rebirth. I'd also been talking to someone about David Lynch, after writing my own article about his camera collection being auctioned after his passing.

So my feeds were serving up numerous videos related to those topics. Ultimately the combination of 'film', 'David Lynch' and 'Jurassic Park' surfaced two very specific videos: one with David Lynch denouncing film photography (appropriately enough calling it "a dinosaur"), the other with Steven Spielberg singing its virtues.

My phone had unwittingly given me a debate between two of the finest auteurs in cinema history, arguing about film versus digital. And it made fascinating food for thought.

"A dinosaur. Dead. Completely ridiculous"

First up, Lynch. And while his handcrafted, artisanal methodology might suggest that he'd be a lover of shooting on film, it's fair to say that he had thoroughly soured on the medium. Which won't come as much surprise to his fans, given his lo-fi forays into digital video with films like Inland Empire (which was shot on a lone Sony PD150 miniDV camcorder).

"Now I love digital video," he proclaimed in the video that my feed served up to me. "And I'm through with film."

He made those comments back in 2006, the year Inland Empire was filmed, in an interview with Stuart Mabey. You can watch the excerpt above, while the full interview is here. But his position is pretty short and sweet.

"Even though I love film, it's a dinosaur. And everything about it is a dinosaur. And it's soon to be gone, pretty much forever. It happened in sound first – tape, analog, is so gone. You can't even get a roll of tape, hardly. And everything's digital, same thing with image."

Mabey was somewhat taken aback at this. Probing for more, he asked what Lynch thought of the the photochemical process. "Dinosaur. A dinosaur. Dead. Completely ridiculous… It scratches, it breaks, it's dirty – nothing but dirt on it. And no two prints are the same. It's a nightmare; you can hear the projectors chattering. It's a nightmare [laughs]."

When Mabey jests that Lynch isn't a cinema romantic, he smiled but his position was deadly serious. "I just love cinema, I love it. But I don't want to go there any more."

"The film itself, the image is alive"

The Spielberg video had been on my feed before, but I was happy to see it again – there's nothing like seeing this man evangelize about the filmmaking process.

And of course, he is one of the biggest champions of shooting on film – which is perhaps curious, given his friendship and working relationship with George Lucas, who was an early convert to digital photography. Yet Spielberg is unwavering.

"Digital photography is a science and and film photography is a chemical miracle," he told Kevin McCarthy for Fox 5 Washington DC back in 2017. "And when I say chemical miracle, it is – you never quite know what you're gonna get.

"And it always looks different, always looks real. There's grain, number one, and the grain is always moving, it's swimming. Which means that even in a still life, of let's say a flower on a table, that flower is alive even though it's not moving – because the film itself, the image is alive."

I have to wonder, when Spielberg directed Lynch on his 2022 film The Fabelmans, what the pair talked about in their downtime. Probably nothing as mechanical as 'film versus digital'… so I guess my eavesdropping little smart device has done me a favor, simulating that conversation for me. Thanks, algorithm.

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The Sony FX2 might be one of the more perplexing entries in Sony’s cinema line-up, but that hasn’t stopped it from quickly gaining traction, particularly among photographers looking to branch into video.

At the recent Wales and West Photography Show, it was clear the FX2 had struck a chord. Visitors were constantly handling the cinema camera, drawn to its compact size and crossover appeal. For many, it’s becoming the ideal bridge between stills and motion, offering cinematic performance in a small, accessible form.

Now, SmallRig is stepping in with a new cage kit designed to unlock the FX2’s potential for solo shooters and documentary filmmakers. Compact, lightweight, and smartly designed, the new SmallRig Cage Kit for Sony FX2 transforms the camera into a nimble, run-and-gun rig; ideal for one-person crews who need flexibility without sacrificing stability or power.

The company has announced three kit configurations, with the advanced version, complete with V-mount battery support, available to order now and shipping from July 17 at $144.90.

Despite its slim footprint, the cage is loaded with mounting options and professional features. It’s built to keep the camera’s tiltable EVF, buttons, and ports fully accessible, with precision cutouts that show attention to detail.

A detachable top plate includes a NATO rail, offering compatibility with Sony’s own XLR top handle or SmallRig’s rotating top handle without obstructing the EVF.

The cage includes a cold shoe mount for attaching mics or lights, plus ARRI locating holes, threaded points, and a HawkLock NATO rail for quick setup with accessories. The bottom plate uses a magnetic Allen key for easy assembly and supports a quick-release system that’s compatible with DJI’s RS series gimbals, perfect for fast transitions between handheld, tripod, and stabilizer work.

Those opting for the advanced kit gain access to a foldable V-mount battery plate for a compact, travel-friendly power solution, while the basic kit offers a robust core build with HDMI cable support, a rotating top handle, and a wrist strap.

Whether you’re mounting vertically, running lightweight, or building out a fully rigged setup, the kit brings flexibility and structure to what’s already proving to be a popular new choice for hybrid creators.

SmallRig’s Cage Kits for Sony FX2 are available in various configurations from July 17. The Advanced Cage Kit is currently priced at $144.90 / £130.90 / AU $235.90, the Cage Kit at $76.90 / £69.90 / AU $132.90, and the Half Cage at $42.90 / £39.90 / AU $69.90.

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In a complimentary service that I don't think I've ever seen from a camera manufacturer, Sony is offering a hardware upgrade to improve the color rendition of one of its top cameras – absolutely free of charge.

Of course, "free of charge" may be a subjective term when we're talking about the camera in question: the $25,000 Sony Burano. Still, what Sony is offering is nonetheless pretty remarkable: a replacement of the camera's IR cut filter, with no charge for parts of labor.

So what is an IR cut filter, and why would you want it replaced?

It's a filter that sits in front of the image sensor on your camera, which cuts the infrared transmitted to the sensor while allowing visible light to pass through.

By blocking out light wavelengths above the threshold of the IR spectrum (around 700-750nm), color casts are constrained and color accuracy is improved – particularly when shooting in daylight conditions.

Usually, you never mess with the IR cut filter on your camera. Well, unless you're seriously into astrophotography – where you can have your camera modified (asterisk, while invalidating your warranty) to remove the IR cut filter.

Doing this allows those IR spectrum wavelengths – including the all-important H-alpha emission line, enabling you to capturing nebulae – to reach your image sensor for more detailed star shooting. In fact, some of the best cameras for astrophotography (such as the Canon EOS Ra) come without the filter straight from the factory.

Obviously, that's the opposite of what Sony is offering here. The company is upgrading Burano cameras to its newly developed IR cut filter, which improves color rendition by refining the amount of visible light that is transmitted under strong lighting conditions – including daylight.

And I think it's a brilliant thing Sony is doing. Upgrading camera performance with a free firmware upgrade is one thing, but to do it via a free hardware upgrade is quite extraordinary. Even though, admittedly, you're probably never going to see this happen for your Sony A6700.

If you do happen to be a Burano user, you can get this on the house at your regional Sony Service Center on a first come, first served basis.

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I’ve recently started taking filmmaking seriously and, like many others at the beginning of the journey, I’ve been looking for the right camera to invest in. I considered Sony’s FX line and a few mirrorless hybrid cameras but, after digging deeper, I keep coming back to Blackmagic Design.

The Pocket Cinema Camera 4K and 6K offer exceptional video quality, RAW recording, beautiful color science and high dynamic range, all without the steep cost usually associated with dedicated cinema cameras. With recent price drops, they’re more accessible than ever – and it’s hard to argue with what they deliver for the money.

But the real advantage is the workflow. From the moment you press record to the final grade, Blackmagic has built an ecosystem that makes sense.

You can shoot on one of its cameras, collaborate through Blackmagic Cloud and edit in DaVinci Resolve – software that’s used professionally across the industry and yet is available for free. It’s not stripped down, either. Resolve gives you everything: editing, color, audio, VFX and delivery in one place.

There’s also a level of support that stands out. Blackmagic continues to push updates to its cameras long after release, often unlocking features that feel like genuine upgrades.

Just this week, the new Ursa Cine 17K has been added to the Netflix Approved Camera List. That speaks volumes as it shows that the brand isn't just catering to entry-level filmmakers, but also raising the bar at the top end.

So the only question I’m left with is: which camera model best fits the way I want to work?

Do I stick with the compact familiarity of the BMPCC models, or take the leap into something more modular and production-ready like the Pyxis or even the new Ursa? I’ll need to get hands-on and see which one clicks…

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Blackmagic Design seems to be one of the few camera companies forging new ground in the cinema camera space, pushing not just resolution but trying new technologies, and the Ursa Cine 12K LF is the latest example of this. Aimed squarely at the filmmaking community, the Ursa aims to offer all the features you could need for capturing the best image, with all the trimmings for supporting it in that role.

I’ve rigged and shot with many cameras over the years, from DSLRs back in the day, numerous mirrorless systems, a whole range of cinema cameras, and have spent countless hours rigging and shooting in all manner of situations. I don’t believe there is a ‘best’ camera out there, only the best for you, or for a given task. The Ursa looks set to offer versatility, quality, and a form factor that allows it to excel in as many situations as possible, though, with a feature set that should deliver the goods.

But does it deliver? I’ve spent some time with it now, weighing up the pros and cons, focusing on everything from the form factor, image quality, rig integration, to the overall user experience.

URSA Cine 12K LF: Specifications

URSA Cine 12K LF: Price

The Ursa Cine 12k LF comes in a number of bundles/kits starting at $7,695 / £7014, which is a big investment, but it compares very favorably with other high-end cinema cameras. You get a lot of capability for your money, so even if 12K isn’t something you’ll be delivering, you still get a fantastic 4k and 8K camera, with a level of future proofing built in, alongside all the other benefits Blackmagic provides. I’m also a big fan of the peli cases these come with, with custom-cut inserts to keep everything safe and organised. Just remember to factor in the cost of things like media, plus you’ll need to ensure your supports can handle the size and weight. The price is good, though, and you can actually buy it, unlike certain members of the competition.

URSA Cine 12K LF: Design & Handling

The Ursa is a substantial piece of equipment which feels very well put together, from the finish to every screw, bolt, hinge and button. Although it takes its toll on the shoulder after a while, that weight can be beneficial, as it removes some micro jitters. A good thing, as cine cameras generally aren’t stabilised internally. That said, the size and weight mean you’ll want to use something like a good tripod or an easy rig, as it's just a bit too much for handheld work. With a battery, lens, and other add-ons, the weight will be somewhere around the 15 lbs plus mark.

If you’ve seen the photos, you’ll notice how the body looks very similar to the Ursa Mini Pro, and yes, style-wise, there is a shared design language. The Cine is larger and heavier, but also feels built to an even higher quality. Obvious differences are that the main LCD is a 5” option and bright enough to be used in daylight, plus the data screen on the outside is colour, which can aid in quickly checking things. Similarly, the buttons illuminate, often in various colours. For example, the ND filter buttons change colour so you know where you are at all times. I prefer this setup so much more than the older rotary knob they used to use.

Then, of course, there is that lovely large assistant’s monitor on the AC side of the camera, which is big, bright, and crisp, with its own set of buttons dedicated to functions an AC would benefit from, like editing slate data.

IO is plentiful and covers all the bases. There's a 12G SDI, full-size XLR on the top rear (although I’m not a fan of the flappy cover, I’d much rather have a hinged lid) and a number of USB-C ports. One up front for sending power and data to the EVF or Pyxis monitor, and others for data. There is a DC power input, and under the fold-out monitor is the media bay. This can take either of Blackmagic’s media cartridges (more on this later). There’s a 7-pin LEMO port, timecode and reference ports, and a 10GB Ethernet port, plus twin wifi aerial ports on top.

Rigging points can be found up top and underneath. These are basic but serve the purpose of adding tripod plates, top handles, and the like. Because of that extra screen, there’s no space for a side plate or handle, but I don’t think that will be a problem for anybody looking at this camera. Keep in mind that cooling is handled by venting on the top and bottom, so you will want to keep these clear and also consider a rain hood to protect the internals, which are somewhat vulnerable out of the box.

I’ve been testing using Blackmagic’s top handle, which adds some rigging points on top, perfect for an easy rig release or another monitor. This handle is the same as the Pyxis, meaning it has slots for adding the EVF/monitor accessories. I don’t usually like being tied into what a manufacturer wants me to use, but the rod setup here is really good, so I’m happy. The rods are just right for adding my Nucleus motors. The setup allows for super fast adjustment of the EVF too, so when changing position, keeping shooting isn’t held up by tweaking the rig.

I was sent the PL version of the Ursa Cine; however, it is available as a locking EF or LPL too.

Overall, this makes a compelling package that is easy to use, as a single operator or as part of a team. An AC can very easily work on the extra screen, pulling focus, adding shooting, and so on. The colourfully illuminated buttons allow for an at-a-glance operation, although I find the record button placement to be awkward in certain positions. However, there’s another on the EVF which I find I use far more, along with the other function buttons found there. All the buttons can be locked with a small switch. A good safety net feature, but there’s no way to customise what gets locked or not that I could find, which is a shame but could be sorted in a firmware update.

With a B-mount battery and a lens, the rig ends up at 19” long. Not exactly a stealthy run and gun rig, but then the target audience for this type of camera will most likely not be worried by that.

URSA Cine 12K LF: Performance

Let’s start with that sensor. The Cine 12 can shoot 3:2 open gate, as well as anamorphic in a range of squeeze factors. Shooting open gate means no need for calculating crop factors, so focal lengths stay consistent, and you get the benefits of using the entire sensor. The sensor is large at around 51mm x 23mm, which is 65mm. The high pixel count means the pitch is rather small, and I had thought this might be detrimental to dynamic range, as well as introduce some noise, but the clever folk at Blackmagic have developed a new sensor layout which uses RGBW, with the ‘W’ handling gamma. The end result is a claimed dynamic range of 16 stops. I’m often cautious when it comes to manufacturers’ claims, but Blackmagic has always been pretty true to their word, and shooting on this, I’d say 16 stops is accurate.

That said, this is a camera that likes light. When testing ISO performance, I did find that lower ISO introduced noise fairly quickly; however, higher settings were much more forgiving.

Shooting at higher quality settings in camera, then downscaling in Resolve, will yield better results, but it’s good that you can take advantage of the full sensor and do it in camera, saving on some of the huge file sizes. That said, the Ursa still produces lovely results, and the lack of cropping or pixel binning is a big plus. No need to calculate how much of the frame you’re going to lose.

Now, the elephant in the room with a sensor so large is the size of the files. These can get pretty large, at around 1,194 Mbps data rate at the highest quality setting of 3:1 compression. This will clearly eat up media in no time, but you can address this using higher compression settings. At the max 18:1, you get 199mbps. The downside to this is that some obvious artefacts are present. They aren’t so obvious at 8:1 but become more so at 12:1 as you’d expect. The image is still very usable at these rates, but if you’re shooting content where detail is key, then you will want to invest in more storage. Zoom into a 12:1 frame, and you can see the lack in clarity around certain details, such as text or small foliage. The Cine 12K does deal with moire well, thanks to the inclusion of an optical low-pass filter that handles aliasing and pattern noise you see on things like fabrics or bricks. This works very well, and even zoomed in to a frame, there’s no evidence of these issues.

Storage itself comes in two flavours. You can use the CF Express caddy, but do check on which cards are supported, as with any other camera. Or opt for the M.2 drives, which are fantastic, although you can max these out pretty fast too. At the highest constant quality settings, you can shoot for over 2 hours, but that will fill 8TB. This can be drastically reduced, though. Use Q3, still open gate at 24fps, and you’ll get over 7 hours. Blackmagic has a handy calculator, making it easy to see what different balances of quality, speed, and storage could work for your needs.

Transferring these files is well catered for too. You can use wifi, a Blackmagic dock for the media caddies, or hook up via 10gig Ethernet, my preferred choice.

The Ursa Cine 12K also allows for proxies, on the fly, that can be uploaded to the Blackmagic Cloud, using wifi or even your phone, all at the same time as capturing your full quality footage.

Handling the footage in Resolve is surprisingly fast. My M4 Pro MacBook Pro handled everything well, and an older M1 MacBook didn’t seem too bothered by the files either. I did test some fusion comps, which were perhaps a little slower but not in any meaningful way, although this will, of course, depend on what you throw at it.

Now, there’s no global shutter on offer here, but don’t worry too much about rolling shutter. I have no way to test this to any degree of accuracy, but others have, and reports are around 12ms, which is pretty impressive and can be reduced further by using a lower resolution, without any cropping of the image. In my real-world tests, I found no significant jello effects at all, other than the fastest of pans, and even these can be countered in Resolve. Yes, it’s another step in the workflow, but not a big one, and for all the other benefits of this camera, something I can live with.

The Ursa CIne 12K runs Blackmagic’s latest gen 5 colour science, which is beautiful. The balance between detail, saturation, clarity, and contrast is excellent, producing really lovely images with the kind of highlight rolloff I really appreciate. That said, getting the most from your footage will mean doing some work in Resolve, navigating the very full lists of colour space transforms, but that’s something you only really need to nail once. The footage is endlessly tweakable with a lot of latitude. Correcting and then applying any styling is simple and allows for a colourist to really go to town. Likewise, for VFX shots, the bump in resolution to 12K should mean comp work, tracking, and so on are accurate too.

Now, back to the camera and its extra screen. This is a feature that I wish more cameras had. Even for solo shooters, it’s a real joy. The large, bright display is easy on the eye, at 1600nits with a sunshade. It gives quick access to add useful slate data and has some handy benefits for pulling focus. If your lens is compatible, you get matched focal distance and aperture scales, with markers. For team shoots, this is truly a useful feature, and even for the lone operator, it has its uses, especially when mounted on a tripod. It doesn’t articulate, however, unlike the main screen, which can be flipped, keeping things compact.

Blackmagic’s app can control the camera too, via Bluetooth and an iPad. This is handy not just for a hands-off approach but also for when the camera is mounted in an awkward position, say on a crane.

A note on operating. Blackmagic has hands down the cleanest, most intuitive user interface of any camera system. I can tolerate others, but actually enjoy the OS here. It’s nice to look at, logical, and never feels overwhelming. Applying different settings to the various outputs is a breeze, adjusting anything takes no more than a few clicks, and most can be done via buttons and switches if you prefer to work that way. The physical controls are great too. I really like the combination of encoders, buttons, and switches, which makes it easy to lock in muscle memory. Perfect for dimly lit locations.

With all this in mind, you’ll need a solid power source too. Luckily, you have plenty of choices here. The Ursa ships with a B mount battery plate, but there are options for V mount and gold mount plates, at very reasonable prices, making it easy to adapt to your preference. It does come with a hefty 250-watt power supply too, perfect for those shooting indoors or with access to a generator on location. How much mileage you get from your setup will vary, with not just accessories being powered but also the type, capacity, and age of your batteries, as well as ambient temperature. For sending power elsewhere, there are standard Lemo and Fischer connectors, as well as USB-C ports, ideal for keeping your phone powered for streaming and offloading proxies.

One last thing to keep in mind is your lens choice. There’s no point having a 12K sensor if your glass isn’t capable of resolving that detail as well as providing coverage for the sensor size. My testing was done using Tokina Vista primes, which turned out to be a perfect match. For many, this will be a case of lens rentals, but if you have already invested in glass, make sure your choices play nicely together.

I wanted to test the real-world results of the various compression settings, so I set up a very simple scene, with just two lights. Lots of contrast, some skin tones, various textures, and so on, then recorded using both 12K and 4K, using all the different compression settings. Dropping them on a HD timeline, as that is still how so much content is delivered. I did a simple colour correction and colour space transform, which is the same across all the clips. I'm amazed at how little difference there is in the end results, and this shows not just how good BRAW is but also demonstrates the in-camera downsampling. Yes, the differences would be far more obvious on a 12K timeline, but the actual use case for that is negligible. For now.

URSA Cine 12K LF: Verdict

The Ursa Cine 12K is a powerhouse of a camera. Operation is a joy, although make sure the size and weight are suited to your needs. The picture is beautiful, even at higher compression settings, thanks to BRAW, and there are plenty of options to manage quality vs file size. Yes, media may be expensive, but that’s going to be the case for any camera with these kinds of data rates, and you can mitigate that depending on the project you’re shooting. Handling the files is less of a headache than you might imagine, even on older machines, plus the proxy system is ace. Blackmagic has hit a real home run with the Cine 12K. It produces images comparable to cameras that cost significantly more and pairs seamlessly with Resolve (which you would expect).

Alternatives

If you're a budding filmmaker looking to upgrade to one of the best cinema cameras on the market but still want something lightweight and portable then the Sony FX30 is a great choice, now made even better thanks to a further drop from recent discount deals - which brings the cost of this Super 35 video camera down to its lowest price ever.

With its 26MP APS-C sensor's ability to capture UHD 4K video up to 120fps, this compact powerhouse will be an asset to any filmmakers on set, either as a main camera or as a secondary option for the larger Sony FX6.

Harnessing the capabilities of a newly developed APS-C sensor, the Sony FX30 offers everyday content creators and aspiring filmmakers a powerful yet accessible cinema camera to elevate their cinematic journey. 

It combines an imaging system designed for cinematic capture with an extensive feature set and user-friendly operation, creating a comprehensive tool for filmmakers of all levels. With its advanced imaging technology, the FX30 rivals other cameras in Sony's Cinema Line, recording crisp 10-bit UHD 4K video at up to 120 fps, a specification expected of true cinema cameras. 

The newly developed 26MP APS-C Exmor R CMOS sensor, along with the BIONZ XR processor, delivers high-quality 4K visuals using the Super35 (16:9) area, capturing over 14 stops of dynamic range and featuring Dual Base ISO architecture to enhance low-light performance.

Making this the perfect camera for solo shooting filmmakers or those looking to invest into a B-cam setup to match the performance and workflow of the larger Sony FX6 or Sony FX9 cinema cameras.

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After over a year of teasers, prototypes, and steady development updates, the Nexus G1 Cinema Camera is now available for preorder.

Originally announced in early 2024, the G1 has gained attention as a purpose-built, modular cinema camera 'designed by filmmakers, for filmmakers'. Now, with key features finalized, including a custom operating system and first-party lens control, the project is beginning to take its final form.

Built around the same Super 35 sensor found in the Blackmagic Pocket 6K, the G1 wraps familiar image quality in an entirely new form: a box-style, highly modular body designed to adapt to a variety of workflows. From interchangeable lens mounts to flexible storage and power options, the G1 is built with customization in mind.

The headline feature of the latest update is NexusOS, a brand-new operating system designed from the ground up. It provides intuitive control via touchscreen and physical inputs, and uniquely supports native focus, iris, and zoom (FIZ) motor control on fully manual cinema lenses; no third-party systems are required. It’s a level of software-hardware integration usually reserved for much higher-end gear.

Also introduced is the Nexus Grip, which has been finalized in design and is now ready for production. While full functionality (including built-in recording controls) is still being developed, the grip already integrates seamlessly with NexusOS for one-handed operation and fast adjustments.

The Nexus G1 will be manufactured in Australia, and shipping is set for Q3 2025. Final pricing lands at $3,300 (approximately £2,431 / AU$5,000), but early supporters can lock in a Founders Edition preorder for $2,980 with a 10% deposit. This edition includes custom markings and Lightning Strike carbon fiber panels.

With thoughtful design, strong core specs, and a price point well below many industry-standard cinema cameras, the Nexus G1 could serve as a fantastic entryway for filmmakers looking to move into more professional cinema workflows without breaking the bank.

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The Sony FX2 announcement last month is arguably an unusual addition to the brand’s cine lineup, as a cinema camera that’s also poised for some hybrid still photo capabilities.

But thanks to a recent interview, creatives now have a bit more insight into why Sony made some of the seemingly odd choices for the FX2 – including why the camera is priced higher than the stills camera with the exact same sensor.

In an interview with YouTuber, filmmaker, and self-proclaimed gear nerd Armando Ferreria, Sony’s Cinema Line product manager, Jie Song, shared insights into some of the camera’s features – from the lack of open gate to the camera’s price.

Song explained the reasoning behind using the same sensor as the Sony A7 IV, a 2021 camera, noting that the goal was to create a more affordable cinema body that could closely match the picture performance and high dynamic range of the high-end Venice bodies.

One of the reasons that the Sony FX2 is unusual is that, while it is a cine camera, it's also a hybrid camera designed to take photos. “A cinema camera can take amazing photos,” Song said.

Where other FX series cameras lack burst and flash capabilities, the FX2 does not. Sony calls the FX2 an entry for future filmmakers, but the FX2 doesn’t replace another model in the lineup; rather it sits as an affordable entry that offers more stills features than the FX3 and FX30.

But the Sony FX2 retails for US$2,699 / £2,699 body only, where the original list price of the A7 IV with the same sensor originally sold for US$2,500/ £2,399. The sensor isn’t the only factor that plays into price, but Song had an explanation for the price difference.

“The cinema line is generally always priced higher compared to the Alpha. The reason of that is, as a professional lineup, generally we hold the value much longer compared to the consumer.”

At launch, many wondered why the Sony FX2 had a built-in tilting viewfinder, rather than the add-on viewfinders that can be removed on the higher-end cinema options. But Song says the FX2 was designed with the idea of making cinema and still photos easier for entry-level users.

“We are not only designing for one purpose, we are more thinking about how we can make it easier for everybody,” he said.

One of the criticisms of the FX2 is that the camera lacks open gate – a recording format that uses the full sensor for more flexibility to crop in post, as well as having benefits for anamorphic lenses.

Song said adding the feature in a later firmware update was “definitely a possibility,” but did not explicitly state if the feature would be coming. He also hinted that a 1.5x desqueeze for anamorphic lenses could be a possibility in the future.

In addition, Song teased a future menu system change for the brand’s cinema series in a way that would enable users of the entry-level models to more easily step into the high-end models down the road.

“The goal for the future is that we really want to unify the menu system, the operation, the experience, and even for the people who can early access the more advanced menu system.”

Shipping for the new Sony FX2 is expected to begin in July.

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Canon is upgrading the features on a handful of existing cinema and PTZ cameras, thanks to new firmware. On Thursday, June 5, Canon unveiled new firmware for the Canon EOS C400 and C80 cinema cameras, as well as the PTZ (Pan-Tilt-Zoom) series of tracking and livestreaming cameras. Both of the cinema cameras as well as the C70, R5C, and XF605 will also receive updates to comply with the EU Radio Equipment Directive.

The Canon C400, C80, C70, R5C, and XF605 will also get a small update to comply with the EU Radio Equipment Directive, which requires internet-connected devices to follow certain security measures, such as password protection. Canon says that it adds the option to require a security code every time the camera is powered on, requiring a PIN to access the camera. The company says that the security code is an optional feature, and users can turn it off so that the camera doesn’t require a PIN every time.

The EU directive requires certain internet-connected devices to follow security requirements, including password protection. The deadline for complying with the directive is August 1, 2025. While the firmware is designed to comply with EU regulations, the update is rolling out to those cameras worldwide at the end of July.

The Canon EOS C400 will be able to use both manual focus and tracking autofocus together with the upcoming firmware. Canon explains that, once the firmware is installed, creatives can use the C400 in the Tracking AF mode, use manual focus adjustment on the lens, and then the camera will automatically begin tracking the newly refocused object or person.

Both the C400 and EOS C80 will support Distortion and Chromatic Aberration distortion correction when playing back Cinema RAW files on the camera. Previously, the corrections weren’t possible to preview on the camera.

The two cinema cameras will also support 256 registered LUTs in camera, a steep increase from the previous limit of 20.

The firmware updates also add more information to one of the display modes, adding sensor mode, resolution, recording codec on each card slot, Custom Picture Gamma, digital stabilization, and the tilt and roll of the camera’s built-in level. Both cinema cameras also gain CV Protocol for virtual production sets.

Canon’s series of PTZ cameras capable of following and tracking people around the room will also gain a list of new updates. That list includes the CR-N700, CR-N500, CR-N300, CR-N100, and CR-X300 cameras, commonly used for livestreaming, education, broadcast, and other applications.

Area Zoom will allow for drawing over the user interface in order to zoom in on a specific area. Tracking has improved for following fast movement. A new feature called face composition assistance will automatically change the composition to match the empty space to the direction the subject is facing.

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The new Sony FX2 has just been announced as the latest in Sony’s lineup of incredibly popular compact cine cameras – aiming to bridge the gap for hybrid shooters who need a very capable video-first camera, but that also shoots high-resolution stills.

The FX2 is built around a very similar body to the Sony FX30 and FX3, with the FX2 body just being that little bit deeper. The new camera will be instantly familiar to current FX shooters with the same keys and control positions as previous models, although the FX2 will gain UI elements from Sony’s Venice cameras, including the ‘BIG6’ home screen design, which puts six of the most frequently adjusted settings front and centre on the screen for easy access.

The most significant update to the FX series is the introduction of Sony’s first tilting EVF. This 3.68m-dot OLED viewfinder tilts between 0-90º to give creators more control with framing shots, as well as appeal to hybrid shooters who might not be willing to give up the EVFs from their Alpha mirrorless cameras. However, this tilting EVF is not modular or removable and is fixed to the FX2, so unfortunately cannot be used on other models or swapped out for other viewfinders.

Inside the camera, well, you can’t question Sony’s commitment to recycling. The Sony FX2 assembles the internals from Sony’s A7IV and A7C II, including the same 33MP full-frame sensor, paired with dual Bionz processors and Sony’s AI chip, which powers Sony’s awesome auto-subject recognition and tracking features. Like the aforementioned Alpha cameras, the sensor is capable of 15+ stops of dynamic range, and can shoot in 4K30p 4:2:2 10-bit video in full-frame, and, cue disappointed groans – 4K60p video in cropped Super 35 mode. For 5x slow-motion, the FX2 can reach 120fps in FHD.

However, the benefits of the FX style body allow the FX2 to record up to 13 hours continuously using the built-in fan – provided you are connected to power and are recording to a large enough card/SSD.

Unlike Sony’s Alpha cameras, the FX2 can also be used with the optional Sony XLR handle, providing wider compatibility with pro audio microphones, or with the FX2’s multiple 1/4-20 and 3/8-16 mounting points along the body, the FX2 can also be used cage-free with numerous accessories. Despite rumors, however, the FX2 doesn't provide 32-bit float audio.

The FX2 has a dual base ISO of 800/4000 in Sony S-Log and supports 16-bit linear RAW output via HDMI. The camera also supports Sony’s very popular S-Cinetone, inspired by Sony Venice cinema cameras, as well as other Picture Profiles and Creative Looks. The FX2 can also import up to 16 user-made LUTs, which can be used for previewing footage or baking into the final output. For anamorphic fans, the FX2 can also support anamorphic lenses with internal desqueezing for 1.3x and 2.0x lenses.

The Sony FX2 is available for preorder now, with shipping expected in July. The FX2 will cost $2,699/£2,699 for the camera only, or bundled with the Sony XLR handle, it's $3,098/£3,149.

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Bam, bam, bam-bam! Your mission, if you choose to accept it, is to watch the incredible YouTube video below, from Rotten Tomatoes Coming Soon, showing a bespoke camera rig made for actor, stunt performer, madman, and all-around badass, Tom Cruise, in Mission Impossible: The Final Reckoning. Now, just jumping out of a plane might seem a little tame for Tom, a man who’s climbed up the side of the Burj Khalifa, clung onto the side of an Airbus A400M during takeoff, and jumped a motorbike off the edge of a mountain, only to ditch said bike and transition seamlessly into a base jump – yup, Cruise is the real deal – but this wasn’t just any parachute jump, oh no…

In the adrenaline-fueled clip, Tom can be seen jumping backwards out of a moving helicopter, only to be sent into a death-defying spiral, so violent, his goggles slide off his nose and around his neck. But what caught my eye was the ground-breaking filmmaking techniques used to capture this incredible stunt.

The video also includes behind-the-scenes footage of director Christopher McQuarrie, Tom, and the crew testing out a camera rig made by Snorricam. Snorricam has become synonymous with its waist-mounted rigs, which have pushed the boundaries of what a camera rig can be used for. As such, Mission Impossible: The Final Reckoning is the latest in a variety of big-budget productions to use Snorricam.

From the video, you can see that the long (roughly 3ft) rod/arm that mounts the camera is clipped into a mechanism on Tom’s waist. The camera is then angled down toward the stunt performer. As for the cameras used, I can see several different bodies in the behind-the-scenes footage. But given that the final pair of Mission Impossible films are both known to have used the Z-CAM E2 F6 Pro Cine Camera for action sequences, that’s my best guess for the final take.

Mission Impossible: The Final Reckoning hits cinemas on May 23 in the US and May 21 in the UK. I’ll see you there! Oh, and this article will self-destruct in five seconds…

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Sony’s Cinema Line cameras have earned a loyal following among indie filmmakers, content creators, and documentarians, offering cinematic image quality in a compact, user-friendly package. Naturally, anticipation has been building around the prospect of a successor to the Sony FX3. But instead of the bold next step of a Mark II we were expecting, Sony has quietly introduced a more understated revision – the FX3a.

The ILME-FX3A, as it’s officially named, is not a new generation of the FX3, but a replacement for the current model with only minor hardware changes.

Most notably, Sony has swapped out the FX3’s original rear LCD screen, due to it no longer being manufactured, for a higher-resolution alternative. The new screen increases resolution from 1.44 million dots to approximately 2.36 million, resulting in a sharper, more detailed image for monitoring and menu navigation. This upgrade improves on-set usability, though it doesn’t affect the image quality.

The second tweak also involves the USB interface. The FX3a now uses a more standardized USB-C connection in place of the older USB 3.2 Gen 1 port. This is in line with the wider shift across the industry toward USB-C, spurred in part by new EU regulations pushing for universal charging and data standards.

These updates aren’t designed to dazzle, but rather to keep the FX3 platform viable amid changes in component availability and evolving regulations. Sony has taken a similar approach before. Earlier this year, the company released revised versions of the A6400 and A6100, now sold as the A6400a and A6100a, with nearly identical specs save for updated screens and ports.

While the updates may seem incremental, they underscore Sony’s ongoing commitment to the FX3 as a serious filmmaking tool. The FX3 has already earned its place as a go-to camera for independent productions, praised for its full-frame sensor, cinematic color science, excellent low-light performance, and professional video features packed into a compact, mirrorless-style body.

The move to USB-C, while subtle, improves compatibility with a growing ecosystem of accessories and streamlines workflows, especially for filmmakers on the move. For those considering the FX3, these changes help future-proof the camera in small but meaningful ways.

While this isn’t the FX3 II some were hoping for, the FX3a now becomes the new standard moving forward. For filmmakers already invested in the FX3 ecosystem, it’s a modest but welcome refinement that ensures continued availability, if not reinvention.

Sony hasn't yet announced an availability date or price for the FX3a, but the original sold for $3,900 / £4,200 / AU$6,699 at launch.

Like the Sony A6400a and A6100a, the Sony FX3a hasn't yet been listed on the company's US website. As an update for new EU regulations, the Sony FX3a may not have a worldwide rollout.

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