If you have followed us long enough, you probably know that we—CineD authors—actively work as filmmakers and video creators across the globe. Of course, each of us has our personal experiences to share. (Consider it a disclaimer, please: everything you read below is subjective). Yet, sometimes, it’s exciting to gather reflections from different years in one overview. So please don’t hesitate to participate and chime in below in the comments!

Reflecting on 2024 gear highlights

Gear highlights are a core focus for CineD, but with the constant stream of new releases and rapid advancements in technology, the subject has grown so extensive that it warrants its own dedicated article. Oh wait, we already have one! Seasoned cinematographer and co-CEO of CineD Johnnie Behiri urges everyone to head over to our “Camera of the Year 2024” piece. There, he summarizes cameras that impressed us most throughout the past year: from higher-end solutions like Blackmagic Design Ursa Cine 12K LF to compact mirrorless ones such as FUJIFILM X-M5. (A closer look at one of our cameras of the year, the LUMIX GH7, can be found here.

Jeff Loch—French freelance director, editor, and colorist—is a Canon shooter. His 2024 highlight was the release of the Canon EOS C400. Yet he was excited even more when the EOS C80 came out. For him, it offers everything he could’ve wished for. In the review mentioned above, Johnnie calls it “the affordable full-frame 6K RAW recording one-man-band camera,” and many other CineD writers also included Canon EOS C80 in their “best gear releases of the year” list.

At the same time, Francesco Andreola, a Milan-based filmmaker and educator, singled out the Nikon Z6III. He thinks this camera testifies to the company’s commitment to producing better tools for filmmakers—a trend that started in 2021 with the introduction of the Z 9. In Francesco’s experience, Nikon still needs to address quite a few things to compete fully with other established brands. However, Nikon has already proven that with their firmware updates, Nikon cameras get better over time, giving users confidence that they’re making a secure investment.

Anamorphic lenses become mainstream

Another gear trend that Florian Milz—the creator of the CineD Databases—noticed is the rise of the anamorphic lenses with a 1.33x squeeze. Or better said, they are becoming more affordable and mainstream. Even legendary motion picture rental Panavision embraces this squeeze factor in their own Ultra Panatar line of lenses. At the same time, there is an ever-growing list of budget competitors from BLAZAR and SIRUI.

In the picture above, you see one of the SIRUI prime lenses that came out this past autumn. Did you also notice in small lettering “autofocus”? It was exactly this that was the most interesting gear highlight of 2024 for the Vienna freelance filmmaker Jakub Han. Namely, the birth of true anamorphic lenses with autofocus (first BLAZAR and then SIRUI). He thinks shooting with AF has been normalized in many fields of our industry. So, it’s great that the manufacturers of anamorphic lenses follow along and make their products even more user-oriented for different types of projects.

Further gear and software highlights

Sure enough, we can go on about the newest tech forever. 2024 was full of interesting product releases, from wireless microphones that record 32-bit float audio (like the DJI Mic 2, RØDE Wireless PRO, and Saramonic Ultra) to the astonishing ZEISS Nano Prime lenses. As the resident creator of B-Roll footage at CineD, Florian Milz believes that for product photography, these lenses hit the spot with a very pleasant look and compact form factor. He only wishes ZEISS made a 50mm Macro lens to replace the one he currently uses most.

For Dave Kratz, a freelance documentary and commercial editor and DP, the standout gear of 2024 has been the DJI Focus Pro. While he was initially excited about the original DJI LiDAR system release with the RS3, its limitations (like being restricted to mapping three lens profiles) were frustrating.

“Now that it’s an independent system, it has become the cornerstone of my camera package. After years of leaning on autofocus lenses for practicality, the Focus Pro lets me revive my collection of vintage lenses. Shooting as a solo operator, I’ve achieved incredible results that blend classic image quality with modern convenience.”

In terms of software, seasoned filmmaker and educator Heath McKnight was excited about the first major upgrade for Final Cut Pro since 2011. Version X debuted back then and has seen some pretty big upgrades since, but kept the 10.xx numbering. In 2024, we finally met the Final Cut Pro 11:

Magnetic Mask is absolutely jaw-dropping and Transcribe-to-Captions is a feature I’ve been hoping for since some competing NLEs added it.

Heath McKnight

CineD authors reflect on 2024 main industry trends

Time flies, and many things change – not only in terms of gear but also in how we work and what our clients expect of us. In my observation, the art of corporate content in 2024 has changed a lot. The market is fed up with ads and classic image films for brands, so companies look for new possibilities to get exposure. That’s why they choose to work with social media influencers, which can hand them a target audience on a silver plate. I have a feeling traditional media agencies and video production companies will soon become obsolete (unless they find new creative ways to create films, campaigns, and strategies).

At the same time, Johnnie Behiri thinks that today, more than ever before, independent filmmakers must stay flexible and open-minded. The tech advances rapidly (and becomes cheaper) while budgets shrink, so the requirements for larger crews (for instance, for filming documentaries) became completely a thing of the past.

Dave Kratz also noticed a major 2024 trend of tightening the budget across the board (especially in the documentary series he edits). As production budgets shrink, more pressure is falling on post-production to compensate. Editors are spending extra hours combing through stock footage and piecing together interviews to create stories that should have been captured in the field.

To Omri Keren Lapidot—content creator and teacher, based in Amsterdam—it seems that we’ve reached a point where most high-end tech specs are technically impressive but bear little to no actual, field-relevant effect. He’d be hard-pressed to find an actual use case for the Sony a9 III’s 120fps for stills, for example. Omri believes that camera manufacturers (and us, their clients) would be much better off with new technological innovations. Thus, they could try to implement some computational photography, depth perception, LiDAR, additional internal camera+lens modules, and other smartphone-related tech into pro cameras, or invest in ergonomics and user experience. (Head over here to read Omri’s further thoughts on this topic).

In the major movie scene, not much has changed this past year, in Heath McKnight’s opinion. But there is one particular trend that he enjoyed. We are seeing a new wave of small indie films, whether through streaming giants like Netflix or filmmakers getting their ideas financed. It reminds Heath of the 1990s indie film boom.

Let’s touch on AI and reflect on its 2024 development

Another ongoing trend we’ve been closely observing in 2024 is the further development of AI tools (in all areas of life). In terms of filmmaking, generative AI has become one of the most controversial topics, raising a lot of difficult (and reasonable) questions. However, most CineD writers are trying to stay more realistic rather than concerned. As Johnnie puts it, we hope our audience will not dismiss learning about artificial intelligence. Like any change, it is frightening yet might bring new opportunities for those who are willing to adapt. Dave Kratz also sees generative AI as a tool with incredible potential, not just a cost-cutting disruptor. Sure enough, at the moment, it feels more like paint-by-numbers, but technology evolves quickly:

For example, I recently saw a friend create an animated short with generative AI in just three hours. Imagine what could be achieved with hundreds of hours invested—this could open the door to richer, more creative storytelling. Beyond content creation, AI could revolutionize pre-production by enabling detailed storyboarding and interactive “table reads” to align creative visions before shooting even begins.

Dave Kratz

For that matter, there are already companies that develop comprehensive AI-enhanced filmmaking applications going in this direction (and we talk about them here). Give them some extra time; they might become useful tools in your pre-production kit.

On the other hand, Florian Milz has become more skeptical and conservative when it comes to current AI developments. What he understands and uses himself are LLMs (large language models) and deep-learning tools assisting us—humans—with everyday tasks. Regarding generative AI for content creation, Florian doesn’t see us getting better at things but rather lazier and less precise. This is not the direction he wants to go himself. Has our own creativity reached its peak? Are we curious about whether machines can get better at it than we can? Fair questions.

While generative AI opens many new possibilities for storytellers worldwide (and Jakub Han emphasizes that this game-changing tech enables everyone with ideas to go after their creative vision), a lot of filmmakers are afraid of losing jobs and being replaced by AI. Not Francesco Andreola, though. He believes that there is space for AI in our industry. However, it’s just a tool that cannot replace social relationships, which play an extremely important role in our job. As he puts it, people want to deal with people. “Clients, agencies, crew, actors, talents. Everybody wants to be on set, meet other human beings, and get creative. And AI will never take that away.” I agree.

Reflecting on our learnings from 2024

As with every year, 2024 was also rich in learning. We want to pass along directly some of the personal tips and insights concerning filmmaking:

• Jeff: As much as we love gear, use it. But more importantly, love the people who are working with you on set to pull out your vision together because the other way around just doesn’t work. Never forget to have fun on set and cherish the people working with you. You never know if it’s going to be your last shoot with them; life comes and goes, and you’ll have regrets if you don’t do so.

• Dave: 2024 reminded me that filmmaking is an ever-evolving art form. It’s easy to get stuck in familiar processes, but thinking outside the box and embracing new technologies can open up exciting possibilities. Staying adaptable is essential for growth as a filmmaker.

• Johnnie: Never be afraid to ask questions or stop learning. Curiosity and enthusiasm are a big key to success! Burn your fingers with lights. Experiment with different filming/lighting/audio techniques. Learn the tools you are using to get the most out of them. 

• Mascha: Never stop learning. Even if you already have massive experience and think there is nothing new you can possibly discover from courses, educational texts, or your colleagues, that’s not true. Every encounter with other creatives can bring along fresh tips and insights. In 2024, I gained a lot of mine in visual storytelling thanks to our MZed course “Cinematography for Directors.”

• Heath: As a filmmaker, this is true every year, including 2024: the biggest tip I can pass along is to always believe in yourself and your projects. Even if you fail and/or the project isn’t great, keep going and keep believing in yourself. The films, videos, etc., get better, and you stay true to yourself as an artist.

• Florian: Having onboard backup audio recordings inside of your audio transmitter is a blessing in disguise—it can really save your ass. :)

Movies and series from 2024 we enjoyed

Of all the movies and series that came out in 2024, CineD authors mentioned a few that really stood out for us.

For Dave Kratz and me, without a doubt, it was “Dune: Part Two.” Dave explains that Denis Villeneuve brought everything together—stunning visuals, sharp storytelling, and a sense of scale that’s hard to pull off. It made Dave think about how much coordination goes into a production like that and how every decision, from design to editing, plays a role in building something so immersive. Personally, I was even more impressed with the second part than with the first “Dune” (although it was already a masterpiece, in my opinion). Thought-through camera, incredible production design, music, sounds, and multi-dimensional characters all came together in this movie.

Another release, which several CineD writers enjoyed, was the sci-fi show “Fallout” by Amazon Prime Video (both visually and story-wise, adds Jakub Han). The creators perfectly caught and transmitted the vibe of the original game, adding their own creative touch and humor and making it fun to watch.

Out of other series, Florian Milz was really invested in the show “Shogun.” Although it was rather unconventional for him almost exclusively to rely on subtitles, he liked the storytelling and visuals. For Johnnie Behiri, “Superstore” on Netflix was a great relief after a hard working day: an oldie but a goodie. And Omri Keren Lapidot found the second season of the animated series “Arcane” particularly impressive. (I can’t help but agree with him!)

Regarding other cinema releases, Florian also highlighted “Civil War.” Especially the score/soundtrack was something that made him watch it again in a short period of time. And Heath McKnight loved “Deadpool & Wolverine.” He grew up on 1980s and 1990s Marvel Comics (particularly Iron Man) and is still a fan of the Fox and New Line Cinema Marvel movies. Thus, for Heath, it was so much fun geeking out in the theater.

What we wish for you (and for us) in the new year

All things considered, it was a good year. But as usual, we hope that the next one will be even better, and we will have some things to wish for.

In terms of AI, it would be great if humanity could find a safe and reliable regulation system. As Jakub puts it, something that would help the viewer say, “This is AI.” In general, legislation worldwide must pick up with the pace of AI development, or the consequences might be hard.

Also, we hope that 2025 will bring a renewed focus on storytelling. Johnnie notes (and we agree with him): As great as they are, filming tools are just tools. Wouldn’t it be great if some of the leading manufacturers would take a more prominent stand and help educate the next generation of filmmakers and content creators about “how to tell a story”? Dave shares his thoughts and hopes that the industry invests in creativity and pushes boundaries to create memorable and impactful stories rather than just cutting costs.

Let’s reflect on 2024 together

This article was made with immense support and help from Johnnie Behiri, Nino Leitner, Francesco Andreola, Florian Milz, Jakub Han, Dave Kratz, Jeff Loch, Heath McKnight, Omri Keren Lapidot, and others.

Make sure to read our other year-in-review pieces on software trends from 2023 to 2024, tech-spec race, camera of the year, AI development recap, and more.

On behalf of the CineD team, we wish you pleasant holidays and a Happy New Year! We hope 2025 will be a great one, full of exciting projects and inspiring stories! Thank you for staying with us and being a thoughtful, supportive, and kind community!

What about your reflections on 2024? Tell us about your year’s highlights. What trends did you notice? What gear did you enjoy most? How do you feel about AI? Which movies or series released this past year would you add to our list? What do you wish for the filmmaking industry in 2025? Let’s continue in the comments below!

Feature image source: a collage made from AI-generated images (Midjourney for CineD), gear photos from manufacturers, and film stills.

Over the past years, we have tried our best to keep you updated on AI-enhanced tools and developments relevant to our industry. And boy, did we receive backlash and get criticized for it! However, we still believe that filmmakers should keep up with technology updates and at least become familiar with what it is capable of nowadays. So, here it is, your short recap “Previously on AI!”

The era of AI video generators

The beginning of the year was marked with one announcement after another. Following Runway’s lead, companies (from small startups to tech giants) started to present their own text-to-video generators. The first “big news” came from Midjourney, an already well-known AI for image creation (however, their promised video generation tool still hasn’t been released). Then, there was Google with Lumiere (which became Google’s Veo later in the year), OpenAI with Sora, which caused a lot of buzz in February (and was released to the general public only a few weeks ago), Luma AI’s Dream Machine, and the list can go on and on.

It seems no company with its own AI research can stand aside and restrain from participating in this generative AI race. Thus, even Amazon recently presented the so-called Nova, a variety of generation models, including Nova Canvas for images and Nova Reels for videos.

With the ability to process text, image, and video as prompts, customers can use Amazon Nova-powered generative AI applications to understand videos, charts, and documents, or generate videos and other multimedia content.

A quote from the anouncement

According to Amazon’s announcement, you can see a “Pasta City” above. This is a short video advertisement created by Amazon Ads using the freshly launched text-to-video generator. With this example, the company aims to showcase innovative approaches for advertisers. To be honest, it seems scary. I can vividly imagine how product pages on Amazon will soon be drowned in artificial content (we will talk about it below).

AI-enhanced software for film production

However controversial the topic of generative AI may be, its development does bring some useful AI tools for filmmakers. Last year, we highly praised AI language understanding for bringing automated transcripts and captions into the editing software. This year, the developers have taken it a step further. They started to augment applications, tailored specifically for filmmakers, with AI-enhanced functions.

One such highlight of 2024 has been PRODUCER – Maker Machina, an all-in-one software that tackles shoot production topics with automated solutions. For instance, once you have your storyboard filled in with reference pictures and important notes on shots, the application will automatically create a shot list for each day based on the information that you provided. After you connect the actors and add your crew members for this project, it will generate a decent call sheet. The main idea behind such tools is the following: if we use AI to take over mundane, repetitive tasks, we gain more time for creative processes, which is not a bad idea per se.

Another example for digging deeper into the AI nerve is the shift by companies previously focused on a single niche to now incorporating more automated tools and features for filmmakers. For instance, Artlist. We all know it as a stock library with music and video clips. In 2024, they announced an AI-powered search (which was somewhat to be expected). But then, Artlist also presented an AI text-to-speech generator, expanding their offer. My assumption is that stock companies try to keep up and rapidly think of new tools because they are also afraid of generative AI’s capabilities and quick development. After all, this past year literally buzzed with new music generators that can create coherent songs (even with lyrics!) that won’t replace original composers (in my opinion) but can surely replace stock melodies over time.

Multi-modal emerging AI tools for filmmakers

A further trend we’ve observed developing in the generative AI tools for filmmakers in 2024 is multi-modality. Nowadays, it’s not only about which software can generate a better image, a more realistic voiceover, or a less troubled video clip. It’s also about combining those for the filmmaker’s convenience to achieve a faster result. The most prominent example from the past year is LTX Studio. This generative AI software is designed to handle everything from storyboarding and visualizing your concept to generating music and voice-overs. Our Johnnie met with the Lightricks company’s CEO and Co-Founder, Zeev Farbman. They discussed not only the software’s potential but also the negative impact it may have on video creators:

Announced play’s Holly is also an example of multi-modality but aimed at video editors. Their software, which is still in the testing phase, can create a rough cut based on your text prompt. For that, the tool uses machine learning to analyze delivered video clips. Afterward, the neural network provides them with detailed metadata and transcribes speech (understanding almost 100 languages). Sure, many editors don’t want anyone (or anything, for that matter) to take over their rough cut. Yet these functions alone in one software are pretty useful, aren’t they?

Photorealism and abundance

A trend that we can’t look past is that companies developing and training generative AI try to achieve results that are as close to reality as possible. Meaning: images that look like photos, video clips that could have been shot on a smartphone, and voices that can trick you into thinking they are real people. All that brings along a troublesome tendency that, more often than not, makes it hard to distinguish real content from generated. That’s another reason why we should educate ourselves and the people around us on AI. Knowing their capabilities can amplify critical thinking and remind us to surf more cautiously. Don’t believe everything you see, read, or hear. This has always been an important tip for Internet users, but now more than ever.

At the same time, we notice (as you probably do as well) that social media is flooded with AI-generated content. There is so much of it that it no longer inspires or excites. People are already fed up with neural network creations, and this trend will worsen. Thus, human-made art with unique ideas and insights starts to become scarce. That’s why I believe it will stay valuable, even though it is often more expensive and time-consuming.

Massive backlash towards AI tools for filmmakers

Last but not least, this year, we’ve seen how filmmakers react to AI and its development. People are scared of losing their jobs to the machines. They are furious that deep-learning models scrap the Internet and use their art for training without any residuals or attributions. On top of that, they are angry at huge corporations and companies that prefer neural networks to humans and at governments for the lack of restrictions and regulations. There are a lot of unresolved ethical questions and, above all – a massive fear behind all the criticism and hate that we get from our articles explaining AI tools.

We don’t say that this fear is unreasonable. Neither do we say that there are no consequences of generative AI development for filmmakers (Johnnie published a comprehensive guide on the options that we have nowadays and which may help to overcome the general panic –please read it). What we are saying is that the point of no return has already been reached. We can’t stick our heads in the sand, pretending that the generative AI revolution hasn’t happened. Instead, we should gain knowledge of it and implement the tools that will help us augment and speed up our processes but not replace our creativity. And develop our craft even more. Now, anyone can tip a few words into a text field and generate a video clip. But how many of these people understand visual storytelling, camera language, the power of rhythm in editing, the added level of narration in the score, and the importance of the smallest nuances in the voice and acting? A good question, indeed.

What about you? What trends in AI tools for filmmakers have you noticed over the past year? How do you react to this development? Share your thoughts with us in the comments below!

Feature image: generated with Midjourney for CineD.

The last week of January 2021 created an exciting stir in the world of image-making. Photographers and filmmakers looked in awe as two new premium cameras were announced. One was the FUJIFILM GFX 100S, in all its 100 Megapixel glory but also 10-bit 4K, Phase-detecting autofocus system, and a price tag competing with high-end full-framers. The second camera introduced that week presented us with such incredible technical specifications that it utterly broke the ancient segmentation separating high-technical quality cameras from high-speed ones. The Sony a1 had it all.

Since the medium’s early days, we’ve had to choose and compromise between speed and quality. Large format cameras were used for rich landscapes or high-end studio work, and 35mm film was the bread and butter of sport and journalism (for stills, of course). Medium format cameras such as Hasselblad’s 500 series or Rolliflex twin lens cameras were the middle ground. The same principle applies to motion capture, with larger formats for cinema and smaller formats for television, journalism, and family videos. While quality and speed have improved incredibly, this segmentation seems to hold on. 

Enter the a1

Several cameras tried to challenge this line. The Canon EOS 5D mkIII and the Nikon D850 both had decent speed and quality. FUJIFULM’s GFX100 series and its forbear, the Pentax 645Z, tried to strike a similar balance for medium format. They all succeeded and made some incredibly successful cameras, but Sony took it one step further

The Sony a1 wasn’t just fast for a high-resolution camera, a better-quality speed demon, or something in between. It was everything everywhere all at once. I remember reading its groundbreaking spec list and checking to see if it was April 1st, then reading again and trying to figure out where the catch was. What kind of dark magic did they use to make a 50-megapixel run at 30fps with incredible reading speed, enabling decent 8K video as well as 4K 120P? 

The curse of the perfect sister

Now, try to imagine how I felt when the a1 II was announced. I wasn’t disappointed – I was utterly unimpressed. Even now, I would have to dig into the internet to figure out the upgrades implemented in that new model. Sure, there’s an “AI thingy”, as every electronic device these days must have (I suspect the SEO people from marketing are to blame here). However, I’d argue that most filmmakers and photographers would be hard-pressed to notice a real difference. I’m not saying the Sony a1 II is a bad camera. On the contrary, I think it’s better than what most (if not all) of us need. I’m saying that the tech-spec race has reached a point of diminishing returns.

Wait, don’t we hear it every once in a while?

The brilliant author Douglas Adams (Hitchhiker’s Guide to the Galaxy and much more) once said that every technological advancement achieved before we’ve turned 35 is extremely welcome, to the point in which we can’t see how we’ve lived without it. Once we pass 35, it’s more like, “Nah, who needs that? We were better off without it!” (not a direct quote). I’m old enough to remember the HD tech-spec race when people used to say nobody needs HD television since it’s “sharper than the human eye can perceive.” Then 12, then 24, then 36 megapixels are too much for any use case, and there’s no point in capturing RAW, or 4K, or 10-bit, or 6K because it’s just too much. None of them were lying (except maybe the ones talking about the “human eye perception), but none were right. That’s because times change, and we change. 

So, how is it any different now?

Well, there’s no theoretical difference, but life isn’t only about pure ideas. We live in a world of finite resources, and every investment comes at a cost. Though I don’t have the numbers, I think the camera industry invests significant resources and ingenuity into technological advancements that have diminishing returns in the way of the craft of capturing light, whether it’s filmmaking or still photography (and everything in between). Progress is never a bad thing, but the direction it goes might be.

So, where should progress lead?

Personally – I believe that the industry would benefit from exploring other evolutionary directions. Back to the Sony a1 II – have a look at its juicy grip on the multi-hinged rear screen. In my opinion, these are now the most important changes, and I wish camera manufacturers would divert some of their R&D efforts in this direction.

Other productive paths can go towards improving smartphone connectivity, improving audio quality, both in terms of hardware and algorithmic noise reduction, methods of depth perception capture, and more. As camera manufacturers make their livelihood from selling cameras, and the competition is fierce, I won’t dare to assume we’ll see fewer new cameras being churned out. I do, however, hope that future camera innovations will elevate our user experience – ways that will either address technical loads to enable us to focus on the story or make the capturing tool more dedicated to boosting creativity.

Honorable mentions

User experience is something every camera manufacturer constantly works to improve. We’ve seen some interesting innovations in this field in recent years. Sony has gone to great lengths regarding both their menu system and their ergonomics. While there’s still a way to go, Sony’s cameras have become much nicer to shoot with lately, with the a1 II including each and every latest improvement. FUJIFILM has always been at the top of the user experience game and has recently expanded their PASM line. The company now offers their flagship professional cameras with efficient PASM and their “Leisure” cameras with more engaging dials. Canon may just be the market leader when it comes to UX innovations, at least among traditional manufacturers. Recent high-end Canon cameras incorporate eye-tracking AF, a click-and-touch sensitive AF-ON back panel button, and more. The company also tried a touch bar controller on the EOS-R, and while the attempt failed, since we haven’t seen any successor to it – failure is just as important as success in the way of innovation.

Over the years, we’ve seen some innovative features come and go. The early years of the digital age produced some of the weirdest, most interesting camera designs, straying away from the traditional design that was mostly based on the need to fit a 35mm film cartridge behind a lens. The ZEISS ZX-1 included dedicated Adobe Lightroom software in-camera. Leica and Hasselblad now include expansive internal SSD drives as well as memory card slots in some of their cameras. Blackmagic Design tried various shapes and forms for their cameras, and we can’t talk about camera innovation without mentioning what is arguably the most original design of our age – The DJI Ronin 4D.

The attempts that paved the way

Without these brave attempts, our industry wouldn’t look the same. While it sometimes seems as if the market leans toward traditional designs (I’m looking at you, FUJIFILM X100VI) those were probably impossible to imagine had we not gone through years of trial and error. Marching into the new year, I hope we’ll see more of them.

Are you excited about camera spec lists these days, or are there other features that make your heart miss a beat? Let us know in the comments.

This year has been an incredible one for us – we launched our new podcast Focus Check where we talk about the latest filmmaking news and discuss challenges and trends of our industry, added new courses to our educational platform MZed, and went to trade shows such as NAB in Las Vegas (where the two winners of our social media challenge joined our team), Cine Gear in LA, CP+ in Tokyo, and IBC in Amsterdam where we not only saw amazing new products from our industry but also got to meet many of you, our readers (which, to be honest, is one of my favorite parts).

So, we sat down and brainstormed on how to give back to you, and settled on doing the biggest giveaway we’ve ever done. 32 Prizes. 32 Winners. 32 Ways to enter. The more instructions you follow, and the more answers you give, the higher your chances of winning!

Win $20,000 worth of prizes

Our giveaway is kindly sponsored by Accsoon, CAME-TV, DigitalFoto, DoPchoice, DZOFILM, Freewell, K&F Concept, and Lightbridge, and let me tell you that they have been more than generous. We have 32 prizes worth $20,000, making this the biggest giveaway we’ve ever hosted. Click through the gallery to see what prizes you can win:

How to enter

The CineD Holiday Gear Giveaway is live and will end on January 9th, 2025 at 11:59 PM (Pacific Time). The winners will be drawn a week later on January 16th and contacted via e-mail. The winners will then be announced on CineD after the drawing. For the full terms & conditions, please click here.

CineD Holiday Gear Giveaway – enter now!

Good luck to anyone participating! Let us know in the comments what prizes you hope to win.

In case you haven’t followed the AI news in the film industry, OpenAI announced Sora in February and instantly got a huge wave of mixed reactions. The first demonstrated tests showed an unprecedented level of realism and initiated an array of ethical questions, alongside excitement from some creators, and existential fear from others. Although Sora is not the only AI video generator on the market, as with other OpenAI products – it might become the most used one. Therefore, we need to be aware of what kind of generated content we’re going to face in the near future.

OpenAI’s Sora released – the new Sora Turbo

The newest model, which has just been moved out of the research phase, is called Sora Turbo. According to OpenAI’s announcement, it is significantly faster than the version they previewed in February. Apart from that, it includes more advanced features like animating images and being able to implement text feedback to already created video clips. In their YouTube Livestream, developers walked the audience through the tool, showcasing all the upgrades and details. You can also read about its features here.

OpenAI’s Sora is released as a standalone product on Sora.com. In case you already have a ChatGPT Plus or Pro subscription, you can try it out straight away. (Unless you’re in the UK, Switzerland, or the European Economic Area).

Sora’s interface and features

During the livestream, OpenAI demonstrated Sora’s new and simple-to-use interface, which includes all the settings and features on one screen. One such addition is called “Storyboard” – a function, that lets users generate videos based on a sequence of prompts with image consistency (and something, that made Sora stand out in its early development phase).

Apart from entering a text description, users can also choose a style preset, define the aspect ratio, increase the resolution, and tweak the amount of variations Sora should come up with. After the AI generates video clips, the software also offers further editing options: trimming the material, expanding the chosen video, blending it with another source material, and/or looping the results. However, the most impressive addition is the “Remix” tool. With it, users can give Sora feedback, using natural language, and alter the already generated content however they like.

Limitations

Until now, Sora was available only to some chosen artists and filmmakers, who shared their tests, works, and experiences. While the first published demos included only positive feedback, later on, some filmmakers admitted, that it wasn’t so easy after all getting the wanted results out of Sora, so they had to find workarounds in post-production, using traditional VFX techniques.

OpenAI isn’t hiding the fact that the newest version of Sora going out to the public also has many limitations: From generating unrealistic physics to struggling with complex actions over long durations. However, they still want to introduce this video-generation technology to the world and continue co-developing it together. In other words, we shouldn’t expect that videos created by Sora will work flawlessly from day one. Nevertheless, we should be aware, that the Internet will be likely drowned in AI-generated content over the next months (even more than it already is).

Ethical questions

So, how does OpenAI solve the question of misusing its tech for misinformation, fake news, and illegal activities? Developers mention in Livestream that videos generated by Sora will have visible watermarks and C2PA metadata, which indicate that they were made with AI. (At the same time, users who are subscribed to the Pro plan can download their results without watermarks, which sounds controversial to me). On top of that, OpenAI’s team promises quite a conservative moderation of prompts and uploaded footage:

Today, we’re blocking particularly damaging forms of abuse, such as child sexual abuse materials and sexual deepfakes. Uploads of people will be limited at launch, but we intend to roll the feature out to more users as we refine our deepfake mitigations.

A quote from the OpenAI’s announcement. More on their approach to safety and monitoring is to be found in the system card⁠

The question that still hangs in the air is what material OpenAI’s team trained their Sora Turbo on. The ethical issue with rights and licensing remains so far unresolved.

Price and availability

For users of ChatGPT Plus and Pro subscriptions, Sora is already included as part of their plan at no additional cost. However, it does have monthly limitations in how many videos and in which resolution you can create:

As announced, the new text-to-video model is available in the US and many other countries, except for “most of Europe and the UK.” OpenAI CEO Sam Altman mentions in the Livestream, that it may take “a while” before the tool is available in these areas as well.

Feature image source: OpenAI.

What are your thoughts and feelings on this news? Have you waited for OpenAI’s Sora release? Or rather, on the contrary, dreaded for this moment to come? How can OpenAI make this tool safe and welcome within our community (if this is possible)? What is it good for, in your opinion? And what negative consequences can it lead to? Let us know your opinion in the comments below! (But please, stay respectful to us and each other!)

DigitalFoto is based in China and offers a wide variety of film and video production and photography products and accessories. Their gimbals, car mounts, Magic Arm, lighting fixtures, production car, and more, help filmmakers and photographers. For Black Friday/Cyber Monday, the company is offering CineD readers a 15% discount on selected gear. The offer is valid until December 7th.

Discounts on popular DigitalFoto products 

The Black Friday DigitalFoto 15% discount offered to CineD readers includes some popular accessories products.

• THANOS-SE Gimbal Support System: A compact and universal single-handle gimbal supporting vest system with a max payload of 8 kg (17.6 lbs). The THANOS-SE supports a variety of gimbals and offers smooth movements while reducing arm pressure. This helps when filming over extended periods of time.
  
• IRONCINE Series Magic Arm: A compact and lightweight solution for attaching a variety of gear and accessories with adjustable angles. The thumbscrew head streamlines setup and adjustments by eliminating the need to rotate the Magic Arm. Includes a 1/4″ screw, cold shoe mount, and more. The 7″ and 11″ Magic Arm quick-release head offers rapid attachment or the removal of gear or accessories from the mount.
  
• STM Series Monitor Mount: Securely mount a monitor to your camera (max 3 kg or 6.61 lbs) with swivel and tilt adjustments. They include the STM-CS, STM-AR and STM-NC. The STM Series Monitor Mounts feature flexible adjustments, secure and stable mounting (with universal 1/4″ mounting screw), and a NATO clamp, cold shoe mount or ARRI-style mount.
  
• ICEMAN-PRO Camera Cooler: While many cameras offer great video at 4K and above, some have overheating issues when filming for extended periods of time. DigitalFoto created the handy ICEMAN-PRO Camera Cooler to help prevent overheating with advanced thermoelectric technology. The fan, cooling conduction panel, temperature display screen, and heat dissipation area keep the camera running without heat issues.
  
• SNIPER-POCKET Z Axis Damping Spring Arm Car Mount: Securely mounts different action cameras to a car and reduces vertical vibration and shock. The resulting footage is smooth while the car is driving. The action cameras include the DJI OSMO POCKET 3, DJI OSMO POCKET 2, GoPro, and others.

How to get the DigitalFoto discount 

All of the DigitalFoto specials are active now until December 7, 2024. To get the 15% discount, enter the coupon code CINED DISCOUNT at checkout. Visit the links above for more details about each accessory and to purchase. Or visit DigitalFoto’s site to learn more about all their production and photographic accessories and equipment.

Visit the CineD Special Deals page for more Cyber Monday and Black Friday specials.

Are you using any of DigitalFoto’s products on your shoots? Will you be adding more gear with the discount, such as their mounts and the THANOS-SE Gimbal Support System? Let us know in the comments below!

If you’re in the market to upgrade your camera to one of the FUJIFILM flagship cameras or would like to add to your lens bag, these deals make it very attractive. The specials alternate between savings on the FUJINON lenses and GFX100S II (which we reviewed) or GFX100 II, and over $1200 worth of free accessories when purchasing the X-H2 or X-H2S.

FUJIFILM’s Black Friday deals

The X-H2 and X-H2S are part of FUJIFILM’s flagship cameras. The X-H2 features a 40.2MP APS-C sensor that can shoot 8K 30p in 4:2:2 10-bit internal recording (SD or CFexpress Type B). Meanwhile, the X-H2S has a 26.1 APS-C MP X-TRANS CMOS 5 Stacked BSI sensor. It can film up to Open Gate 6.2K 30p 4:2:2 10-bit internal. Both cameras support shooting in F-Log2 C as part of the recent major firmware update, along with improved autofocus and USB-C timecode sync.

The GFX100S II is also a flagship camera and boasts a large format GFX 102 P CMOS II sensor (55mm diagonally, larger than full-frame). It can film up to 4K 30p at 4:2:2 10-bit, 8 stops of IBIS (in-body image stabilization), burst rates up to 7 fps, ISO 80 (stills) or ISO 100 (movie), and other pro-level features. With the firmware update, it also received improved autofocus, F-Log2 C recording, and timecode sync via USB-C.

All prices are in U.S. dollars.

Camera and accessories specials:

• If you purchase either the X-H2 or X-H2S (body or kit), you’ll receive a free FT-XH File Transmitter Grip ($999 value) and CFexpress Type B 325GB Memory Card ($209.95 value). That is a terrific deal, good until December 1, 2024, so act fast. Details here.
• $500 trade-in value with a qualified camera when purchasing the GFX100S II or GFX100 II. This special is good until January 5, 2025. Learn more here.
• Save $200 when purchasing the FUJIFILM X-T5 (black or silver), which features a 40 MP APS-C sensor, up to 6.2K 30p and 4K 60p at 4:2:2 10-bit, and 7-stop IBIS. Check it out here.

Lens specials (good until January 5, 2025; details here):

• Save $200 when purchasing the FUJINON XF50-140mmF2.8 R LM OIS ($1,599.99 regular price). This versatile telephoto lens can be used in a variety of settings, including on set or location, shooting a film, documentary, live event, action/sports, ENG, and more. Additionally, save $200 each for a nice set of FUJINON zoom lenses: FUJINON XF16-50mmF2.8-4.8 R LM WR zoom lens and FUJINON XF16-80mmF4 R OIS WR zoom lens.
• $100 off the FUJINON XF23mmF1.4 R LM WR. This fast, wide-angle lens is perfect for shooting landscapes, establishing shots, etc. 
• The FUJINON XF33mmF1.4 R LM WR also features $100 in savings. Thanks to the smooth and natural Bokeh, the lens is ideal for close-ups, filming interviews, low-light shooting, and more. Details remain sharp thanks to its fast aperture.
• The FUJINON XF56mmF1.2 R WR is $100 off and is a great, all-around lens. Great for portraits and shooting to achieve terrific Bokeh. It can be used for any type of filming or photography, and enhanced weather resistance makes it ideal for shooting outdoors.
• Save $200 with the extremely wide and lightweight FUJINON XF8mmF3.5 R WR. While it can be used creatively, it’s also ideal for shooting wide landscapes and similar environments.
• The wide-angle FUJINON XF18mm1.4 R LM WR lens has $100 in savings and is great for a variety of wide filming.

The FUJIFILM camera and FUJINON lens Black Friday specials provide a great incentive to upgrade your camera and add to your lens kit. The specials run until December 1, 2024, for the X-H2 and X-H2S accessory promo and, in addition, January 5, 2025, for the GFX100S II, X-T5, and FUJINON lens deals. Check out their promotions page for more.

Bookmark the CineD Special Deals page and visit often for great specials from other manufacturers.

What do you think of the FUJIFILM Black Friday promos? Will you be upgrading your camera or picking up some FUJINON lenses? Let us know in the comments below!

For those interested in exploring even more discounts and promotions this season, visit the Special Deals section on CineD to find other great holiday offers we’ve covered. Black Friday is just around the corner, but several holiday specials extend beyond the day itself.

Core SWX Black Friday battery deals

Core SWX batteries deliver dependable power for cameras and accessories. Whether you need compact solutions or high-capacity options, these deals cover a range of needs.

NANOV98X

• Key Features:
  • 98Wh capacity, airline-safe
  • Compact and lightweight design
  • Compatible with most V-mount systems
• MSRP: $285
• Promo Price: $199 (30% discount)

NANOV150X

• Key Features:
  • 150Wh capacity for extended shoots
  • Supports high-power cameras and accessories
  • Durable housing
• MSRP: $395
• Promo Price: $275 (30% discount)

NANOU98X

• Key Features:
  • Ultra-compact design for smaller rigs
  • 98Wh capacity, travel-friendly
  • Advanced safety features
• MSRP: $285
• Promo Price: $199 (30% discount)

We previously covered the release of the NANOX series. These batteries are rugged and compact, providing versatility for filmmakers.

Core SWX Black Friday charger deals

Core SWX chargers offer fast, efficient charging for multiple batteries, ensuring your gear stays powered during critical shoots. Their rugged yet portable designs make them ideal for both on-set and on-location use. With advanced features like LED indicators and optimized charging profiles, these chargers deliver reliable performance for professionals.

Fleet Mini Quad Charger

• Key Features:
  • Charges up to four batteries simultaneously
  • Compact size for easy portability
  • LED indicators
• Price: $549 (31% discount)

Mach4 Dual Charger

• Key Features:
  • Dual charging bays
  • Fast charging speeds
  • Rugged design
• Price: $559 (30% discount)

Mach4 Micro Quad Charger

• Key Features
  • Micro-sized for travel convenience
  • Charges multiple batteries simultaneously
  • Energy-efficient
• Price: $999 (31% discount)

GT8 Quad Charger for Helix Max

• Key Features:
  • Optimized for Helix Max batteries
  • Supports simultaneous charging
  • Built for durability
• Price: $1,350 (32% discount)

We covered the Helix Max series in detail. These high-capacity battery packs suit advanced camera systems. For more, check out our article here.

Additional accessories and November-long deals

Some sales started on November 1 and are running until December 2. Core SWX is offering discounts on a variety of additional accessories and power solutions. These deals provide an extended opportunity to save on key products, from versatile power systems to compact batteries. Here’s the full list of discounted items:

• APEX360V and APEX360HV – $399 (33% discount)
• RNG7 – $1,874 (25% discount)
• RNGXL1 – $3,839 (20% discount)
• MV6 – $3,569 (15% discount)
• PBELINK – $195 (32% discount)
• PBELITE – $125 (21% discount)
• NANOC98X – $249 (13% discount)
• NANOG98X – $228 (20% discount)
• NANOG150X – $316 (20% discount)

Core SWX deals end December 2nd

Core SWX products are widely used in filmmaking and broadcasting for their durability and functionality. With discounts on items like NANOX batteries and Helix Max-compatible chargers, these deals provide an opportunity to upgrade or expand your gear collection. Black Friday starts this Friday, and you have until December 2 to take advantage of these offers.

For more information about Core SWX’s Black Friday and November Sales promos, visit their official site.

What do you think of the Core SWX Black Friday deals? Are there any products you’re planning to pick up? Let us know in the comments below!

BLUETTI has a wide range of portable power stations to fit different needs. Back in July, they released the AC50B Portable Power Station, and just this month, they launched the Elite 200 V2 Portable Power Station, designed with location filming in mind. This Black Friday, they’re offering deals on the new Elite 200 V2, and more – some at up to 57% savings. Those who have a membership to BLUETTI Member-Only can take advantage of additional savings, and CineD readers get an exclusive 5% discount with the code CINDBFDAY.

BLUETTI Black Friday deals – overview

• BLUETTI Elite 200 V2 All-Powerful Portable Power Station – The company promotes this power station as the best all-rounder for most power needs. It has automotive-grade LiFePO4 batteries and offers more than 6,000 charge cycles. It can power devices like MacBooks and iPhones with a capacity of 2,073.6Wh and a 2,600W output. The fast charging feature restores 0-80% capacity in 50 minutes. Price: Get the debut offer now for $1,099 (save $900/45% off) on both the BLUETTI Website and Amazon.
  
• BLUETTI AC200L Portable Power Station – This power station is recommended by the company as the best for travelers, campers, and those who might live out of their van or off-grid. It can power various small appliances and devices with a 2,048Wh capacity and 2,400W output. It can, according to the company, “run a 150W fridge for up to 28 hours or charge a 100Wh laptop as many as 47 times”. Price: available for $999 (save $1000/50% off).
  
• If you think you might need a station with more power for longer trips or larger devices, consider the BLUETTI AC200L + B300K Combo with double the capacity at 4,812.8Wh. Price: This combination is now priced at $2,198 (save $1,300/37% off).
  
• BLUETTI AC180 Portable Power Station – For people on the go, BLUETTI recommends this power station, i.e., “travelers, remote workers, digital nomads, and anyone who needs reliable, portable power.” It has a 1,152Wh capacity and 1,800W output, which can run a car fridge for over 15 hours. Price: now $479 (save $520/52% off).
  
• BLUETTI AC300/ AC500 Home Battery Backup – As a serious power backup solution, this is the power station to look at. The company recommends it as the best one to have in a natural disaster, for example, in a hurricane, as this “home battery backup system” will keep appliances running during severe power outages. Both the AC300 and the AC500 provide uninterrupted power supply (UPS) capabilities, and BLUETTI AC300 + B300K Home Battery Backup’s 3,000W/2,764.8Wh capacity and output will keep your fridge, freezer, WiFi router, etc. up and running. Price: now only $1,599 (save $900/36% off).
  
• For more power in a backup solution, there is the BLUETTI AC500 + 2×B300K Home Battery Backup (5,000W/5,529.6Wh), which is priced at $2,999 (save $1000/25% off). This power station is for heavy-duty appliances such as a 5,000 BTU air conditioner.

BLUETTI Black Friday – 72-hour flash deal

The final hours for the flash deal with up to 57% off are from 11:59 PM PST on November 25th to November 27, and from November 29 to 11:59 PM PST on December 2. Please note that the exclusive code will apply to most items except the Combo Deals.

• BLUETTI AC60 + B80: Now $600; save $798 (57% off)
• BLUETTI AC60 + SP100L: Now $399; save $499 (56% off)
• BLUETTI AC240 + B210: Now $1,998; save $1,400 (41% off)
• BLUETTI EP500: Now $1,999; save $2,000 (50% off)

You can check out these BLUETTI Black Friday deals on both the BLUETTI Website and Amazon. Don’t forget that CineD readers get an extra 5% off with the code CINDBFDAY.

Have you ever used a portable power station or considered using one for emergencies, camping, or home energy storage? Would green energy be an important factor in your buying decision? Let us know in the comments!

You may know Harlowe by its former name, Hobolite before they recently rebranded. The company has over 20 years of experience and offers a wide range of lighting products and accessories. The vintage designs have won them multiple awards. The sale offers discounts on kits, lights, and accessories and runs until December 2, 2024.

Harlowe Black Friday/Cyber Monday deals 

The designs of Harlowe’s lights help them to stand out from others, and have a vintage and artistic feel. The sizes of the lights range from normal all the way down to the size of a hand. Many of the lights feature tunable, bi-color 2700K to 6500K, High CRI/TLCI 96+, dimmable from 0% to 100%, and more.

Harlowe’s items that are on sale are priced in U.S. dollars and include:

• Pro Creator Kit. Great for both film and video and photography, and priced at $1,699 ($300 off). The kit comes with the 300W Pro Bi-Color LED Light (with lens), a Pro Remote Control, and a Pro Power Supply (300W with DC and AC cables). Additionally, it includes a barn door, honeycomb, softbox, two 95Wh V-Mount batteries (and one dual V-Mount charger), and more.
• Mini-X Creator Kit with 20W Bi-Color Continuous LED light. Highly portable and water-resistant (IP54) LED kit, priced at $399 ($100 off). The 20W light is focusable from 15 to 45°, 2700K to 6500K. Includes barn doors, Type C cable, 19.98W power adapter, desktop tripod, V-Mount cold shoe adapter, and V-Mount baldhead adapter. 
• Micro Master Kit with 8W Portable Bi-Color Continuous LED Light. This pocket-sized light (2700K to 6500K CCT) still packs a punch with 500lm illumination, up to 6 x 8W thanks to the Micro Adjustable Lens. It’s priced at $299 ($100 off). It includes the light and three detachable and rechargeable batteries (up to 9.5 hours of life per battery). Plus, barn doors, lens, color filters, desktop tripod, USB-C cable, and more. 
• Avant Max Kit with 80W Bi-Color LED Light. The light is tunable from 2700K to 6500K and 0-100% dimming; the kit retails for $699 ($100 off). It comes with barn doors, a dome, color gels, and a 45° lens. Additionally, a detachable 99Wh V-Mount battery, 100W power supply, onboard and app control (built-in NFC control), and more.
• Mini Max Kit with 40W LED Light (Bi-Color COB). This portable setup is very similar to the Avant Max Kit with many of the same accessories. On sale for $699 ($100 off).
• Iris Kits with 5W Bi-Color Small Continuous LED light (2700K to 6500K, IP54 water resistance). This light fits in the palm of your hand. The Iris kits vary and special pricing in what they include, but the built-in battery lasts up to 2 hours, USB-C charging cable, colored gels, and more. On sale for $169 ($30 off).

More Deals on lights and accessories

There are other deals on Harlowe’s website, including discounts on individual lights and accessories. You can take a look here. The sale runs from now until December 2, 2024. Make sure to bookmark and visit our Special Deals page to see more Black Friday and discounts from other manufacturers.

What do you think of Harlowe’s Black Friday/Cyber Monday deals? Do you use any of their products, Harlowe or Hobolite? Let us know in the comments below!