AltCineCam (Alternative Cinema Camera) is the brainchild of creative partners Cole and Simon. Their respective backgrounds in technology, custom electronics, 3D printing, and glass design led them to form the company to modify ‘off-the-shelf’ cameras into cinema powerhouses.

AltCine Eclipse – a modified Blackmagic Micro Cinema Camera

The Eclipse is a modified Blackmagic Micro Cinema Camera transformed into a box-style camera. It is about the size of a RED KOMODO, 120mm wide (4.7in), 105mm tall (4.1in), and 130mm (5.1in) long. The top of the Eclipse features six chrome custom buttons, including Record, plus function buttons, and the jog dial to customize the screen (false color, focus peaking, etc.).

They customized their own OLPF moire filter and worked with PixelCNC to create carbon fiber panels for the camera. However, there is no word on specific lens mounting options.

Full features include:

• Modified Blackmagic Micro Cinema Camera.
• Super 16 Fairchild sensor (1080p).
• Custom AltCine low pass filter.
• Carbon fiber, cube-style body construction. Removable side panels and vents.
• 4.3-inch display, 1000 nits, at the top (controlled by function buttons and job dial).
• Six chrome buttons including record at the top of the camera. Additional Record button on the right side, tally light on the left.
• Pogo pins on top to power proprietary accessories.
• Built-in ARRI Rosette.
• Multiple industry-standard mounting points.
• SD card slot.
• Full-sized HDMI out.
• 2x SDI out.
• Full-sized XLR in.
• 3.5mm microphone jack.
• TRS microphone in.
• 3.5mm headphone jack.
• SMA with 90 degree angled adapter, an antennae for REC remote receiver, and SMA Trough.
• Additional I/O ports: 12V DC in, REF in, S.BUS, Analog servo Ch.1, LANC, and USB-C 5V out.

Another Blackmagic Cinema Camera mod

Another company modifying Blackmagic Cinema Cameras is Nexus, who just announced that their G1 has reached the final design. It is a box camera made of magnesium alloy and carbon fiber and uses the Blackmagic Design 6K Super 35 RAW imaging system.

The working prototype has many interesting features, including a 0.71x speed booster to transform it into a full-frame camera. Plus, built-in LWS spaced 15mm rig rod mount system that slides in and out of the body itself. You can learn more about the Nexus G1 here.

Blackmagic does have its own box-style cinema camera, the PYXIS 6K, announced earlier in 2024. It has many of the features found in the mods and can accept multiple accessories. It starts at $2,995 with Canon EF, PL, and L mount options.

Price and availability 

AltCine plans to unveil an ARRI mod and their CinePi camera, an affordable 16-bit RAW 4K camera. The AltCine Eclipse doesn’t yet have a price, but the company should have more details soon. You can view footage in the video above and learn more about the Eclipse on their website.

What do you think about this new modification? Let us know in the comments!

When the Blackmagic Pocket Cinema Camera 4K debuted, it cost $1,295—a competitive price for its capabilities. Over six years, it became a popular choice for indie filmmakers, wedding videographers, and content creators. Its raw video recording, Max 12 stops of dynamic range, and DaVinci Resolve color science helped it stand out from other cameras in its class.

A brief history of the Blackmagic Pocket Cinema Camera 4K

Blackmagic has a history of making professional tools accessible. They reduced the price of the original Pocket Cinema Camera to $500, making it an easy option for many creators and enthusiasts. This latest price cut continues that trend.

According to their press release, improvements in manufacturing efficiency have allowed them to lower costs and pass those savings to users. Additionally, the camera’s seamless integration with Blackmagic’s ATEM Mini switchers expands its appeal. This compatibility makes it a flexible choice for digital film production, live events, and small studios.

Blackmagic Pocket Cinema Camera 4K – Specs that stand out

The Pocket Cinema Camera 4K offers excellent value, especially since it includes a free DaVinci Resolve Studio license. That license, worth $295, makes the camera’s effective price even more compelling. It delivers features often seen in more expensive cameras. 

Key features include:

• 4/3″-Sized HDR Sensor
• DCI 4K60, 2.8K80 Raw in 4:3 Anamorphic
• Dual Native 400/3200 ISO / up to 25,600
• Up to 2.6K 120 Raw for Super16 Lenses
• 5″ Touchscreen Display
• Active Micro Four Thirds Lens Mount
• CFast 2.0 & SD/UHS-II Card Slots
• External Recording via USB Type-C
• 13-Stop Dynamic Range, 3D LUT Support
• Includes DaVinci Resolve Studio License

These features make the camera versatile for different production needs. The dual native ISO provides clean images in low light. The up tp 12 stops of dynamic range capture detail in both shadows and highlights. Its 5-inch touchscreen allows for quick adjustments on set. The USB-C port adds flexibility for external recording, while the Micro Four Thirds lens mount works with a variety of lenses, making it adaptable to many shooting styles.

Comparing the BMPCC 4K, 6K G2, and 6K Pro

The Blackmagic Pocket Cinema Camera lineup includes three models. Each suits different filmmaking needs.

The BMPCC 4K features a 4/3-inch HDR sensor and a Micro Four Thirds mount. It’s compact and lightweight, making it portable and easy to use. It records DCI 4K footage, making it an affordable and flexible option.

The BMPCC 6K G2 upgrades to a Super 35 HDR sensor with an EF lens mount. It offers 6K resolution for more detail and post-production flexibility. The tilting LCD and longer battery life make it suitable for more demanding shoots.

The BMPCC 6K Pro builds on the G2 by adding built-in ND filters and an HDR touchscreen display. These features enhance usability in outdoor or high-contrast settings. It retains the Super 35 sensor and EF mount for high-quality imaging with added convenience for professional workflows.

For more details about the full lineup, visit Blackmagic’s official site.

What you need to complete your rig

At $995, the Pocket Cinema Camera 4K is more accessible than ever. However, users should plan for additional accessories. While the camera provides a solid foundation, professional use may require a cage, external SSDs, ND filters, or external batteries. The Canon LP-E6 batteries have very limited runtime. For extended shoots, filmmakers should invest in V-mount or NP-F battery setups.

For more information on its capabilities, check out our original release coverage, including details on dual ISO performance and low-light footage here.

The bottom line

Blackmagic Design continues to make filmmaking tools accessible to more creators. This price cut makes the Pocket Cinema Camera 4K an even better choice for independent filmmakers or professionals looking for affordable gear.

There have been a lot of updates to the BMPCC 4K, and a bunch of 3rd-party accessories have been announced for this camera over the last 6 years. Give CineD a search and discover all of the great tools that have been made for this impressive camera since 2018.

Price and availability

The Blackmagic Pocket Cinema Camera 4K is available now from authorized resellers. Order your BMPCC 4K from B&H Photo for $995 and start your next project.

What do you think of the Blackmagic Pocket Cinema Camera 4K’s new price? Share your thoughts in the comments below!

Firmware details and download links

FUJIFILM’s latest firmware updates focus on enhancing autofocus performance across the X-T5, X-T50, X-S20, X100VI, and GFX100S II. Each update revises the AF algorithm to improve focusing accuracy and subject tracking, ensuring a smoother and more reliable shooting experience.

Here’s where to download the updates:

• X-T5 Ver. 4.10: Download here
• X-T50 Ver. 1.10: Download here
• X-S20 Ver. 3.10: Download here
• X100VI Ver. 1.20: Download here
• GFX100S II Ver. 1.10: Download here

These updates bring meaningful refinements to each camera, helping users achieve better results across a variety of shooting conditions. Be sure to download and install the latest firmware to take advantage of these improvements.

Exploring the upgraded FUJIFILM models

The FUJIFILM X-T5 is a versatile mirrorless camera loved for its 40MP sensor and ability to deliver sharp stills and video. Its robust design makes it a go-to for hybrid shooters. Priced at $1,599, it’s a solid option for enthusiasts and pros alike. You can check it out on B&H.

The X-T50, priced at $1,399, is perfect for beginners or anyone looking for FUJIFILM’s vibrant color science in a compact, user-friendly body. It’s a great starting point for creative photography. Learn more on B&H.

For creators, the X-S20 offers a lightweight design, 6.2K video, and a Vlog Mode, making it a fantastic tool for content production. It’s available for $1,299, and you can find it here on B&H.

The X100VI, priced at $1,599, is a sleek, compact camera with a fixed 23mm f/2 lens, ideal for street and travel photography. It’s a stylish pick for photographers who love a tactile experience. Check it out on B&H.

Finally, the GFX100S II delivers large-format digital photography in a surprisingly compact body, making it a top choice for professionals seeking the highest image quality. At $4,999, it’s an investment for serious photographers. Learn more on B&H.

FUJIFILM’s commitment to continuous improvement

FUJIFILM demonstrates their commitment to improving their cameras through regular firmware updates, ensuring they stay relevant to the needs of modern photographers and creators. By refining features like autofocus accuracy and subject tracking, these updates enhance both performance and usability.

This dedication echoes FUJIFILM’s efforts in past updates, as outlined in our previous article about firmware enhancements for models like the X-H2 and X-H2S. The latest updates for the X-T5, X-T50, X-S20, X100VI, and GFX100S II continue this focus, ensuring these cameras remain reliable tools for evolving creative demands.

If you’ve updated your camera, let us know your thoughts in the comments below! Are you noticing the changes in your work? We’d love to hear your experiences.

The Nikon Z 9 was released in 2021 and is their flagship full-frame, FX-format camera. It features a 45.7MP stacked CMOS sensor (35.9 mm x 23.9 mm) and can film up to 8K UHD (7680 x 4320) / 30p, 25p, and 24p.

Other features include shutter speed from 1/32000 to 30 seconds (slowest shutter at 900 seconds), best-in-class AF scene detection and fast and silent AF, ISO 64-25600, CFexpress Type B, XQD Type Memory, 20 fps shooting in RAW at full resolution, 30 fps with JPEG at full resolution, and 120 fps with JPEG at II Megapixel, and more.

Firmware update ver. 2.0 allowed the Nikon Z 9 to record internally 12-bit N-RAW up to 8.3K / 60p and ProRes RAW HQ up to 4.1K / 60p. Other firmware updates brought other video tools and enhancements, such as the Hi-Res Zoom function, Auto Capture, improved flicker reduction, minimum ISO for N-Log, and more.

Please make sure you read my colleague Johnnie Behiri’s review of the Z 9. 

Nikon Z 9 firmware update 5.10 – features

The biggest new feature is the addition of a shutter angle [Shutter mode], which will allow the shutter angle to be set 15 steps between 5.6° and 360°. There is no longer a need to select a shutter speed based on the frame rate. Simply set the shutter angle to get the best motion blur, no matter the frame rate. It works in [M] shooting mode.

Additionally, monitoring tools are now customizable, including changing the color of the zebra pattern display. Also, display position, size, and transparency of brightness information displays can be customized. This includes the histogram and waveform monitor and helps confirm appropriate exposure, including high-contrast shots.

With this new update, the Nikon Z 9 continues to be a powerhouse full-frame FX-format camera. The addition of the shutter angle and customizable video monitoring and assist tools will definitely please filmmakers.

Price and availability

The Z 9 firmware update 5.10 is available now and is free. To download and install for Mac or Windows, click here. Additionally, you can learn more about the Nikon Z 9 on their webpage here. The camera retails for $4,995.95, a savings of $500 (lens not included).

Are you shooting with the Z 9? Also, what are your thoughts on the new firmware update 5.10? Let us know in the comments below!

The Apple Vision Pro debuted in February 2024 and is the first major new product from Apple in several years. Those who have used the immersive headset have said it’s the best AR/VR headset on the market. It can be used not only for entertainment, but also work with its virtual computer desktop and apps.

Blackmagic URSA Cine Immersive – features

The Blackmagic URSA Cine Immersive was first introduced back in June during the keynote speech at Apple’s Worldwide Developers Conference (WWDC). Apple also revealed that DaVinci Resolve would soon support immersive editing and color grading. (Final Cut Pro 11 supports only spatial video editing for the time being.)

It is the world’s first commercial camera system to support spatial and immersive filmmaking. When the Vision Pro debuted, there weren’t many options available to support production. Similar to when 3D filmmaking became popular again in the late 2000s/early 2010s, it’s a much more complex process than standard filming. The Blackmagic URSA Cine Immersive is a huge step towards immersive production.

Features include:

• Captures ultra-high-resolution 180° Immersive video and Spatial audio, supporting the Apple Vision Pro.
• 8160 x 7200 resolution per eye with pixel level synchronization thanks to dual sensors of the same size (58.7 MP).
• Custom dual lens system specifically designed for the URSA Cine’s large format sensor with very accurate positional data.
• Lens projection data is calibrated and stored on device and is embedded in the Blackmagic RAW file, enhancing and streamlining post-production.
• 16 stops of dynamic range.
• Generation 5 Color Science with new film curve.
• Films up to 90 fps at 8K 3D immersive cinema content (per sensor) and saved to a single BRAW file.
• High-performance Blackmagic Media Module 8 TB included for recording.
• High-speed WiFi, 10G Ethernet, or mobile data for network connections.
• DaVinci Resolve Studio.

New DaVinci Resolve Studio features supporting Apple Immersive Video

Blackmagic also revealed some features that will be found in the updated DaVinci Resolve Studio that will support Apple Immersive Video editing for the Vision Pro.

• Monitoring with the Apple Vision Pro from the DaVinci Resolve Studio timeline.
• Supports BRAW Immersive footage shot on the Blackmagic URSA Cine Immersive.
• Immersive video viewer for pan, tilt and roll to view on 2D monitors or the Vision Pro.
• Complete post-production workflow for Immersive video with edit, color, audio, and graphics.
• Export and deliver native files for viewing with the Apple Vision Pro.
• Supports FCP XML metadata for transitions rendered by Vision Pro, resulting in clean master files.

Additionally, if you’re interested in filming for the Apple Vision Pro, please watch the CineD Focus Check podcast episode with Nino Leitner and special guest, filmmaker Christoph Tilley. They discuss the challenges of immersive filming for the Vision Pro and also the workflows associated with it.

Price and availability

You can pre-order the Blackmagic URSA Cine Immersive now, with orders starting to ship in late Q1 2025. The price is $29,995. Click here to learn more. With the URSA Cine Immersive and the updated DaVinci Resolve Studio debuting in 2025, immersive video could take the next giant step with original content, including shows, films, and more.

Are you interested in filming for the Apple Vision Pro and immersive media? Will you use the Blackmagic URSA Cine Immersive? Let us know in the comments below!

Following FUJIFILM’s recent announcement introducing their GFX ETERNA filmmaking camera, we took a closer look and noticed that Leica hasn’t followed ship in this category so far. The original Leica SL (Type 601) camera was introduced to the market nine years ago (in case you missed it, watch/read our review and see footage here), and since then, the company has introduced the SL2, SL2-S, and lately, the SL3.

Leica is a company that specializes in and is known for making high-quality photo cameras that can also shoot high-quality videos. So the question remains: Would you want Leica to come out with a dedicated CINE camera?

We are aware that Leica is a “photography first” company. Yet, we hope to see the company jumping on the wagon of innovation by offering such a box-type CINE camera. Also, this article is in no way being endorsed by the company and is purely to still our curiosity.

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Nexus Camera is a company run by Australian brothers Thomas and Timothy Boland, who planned to design and build a camera “by filmmakers and for filmmakers.” The Nexus G1 is a box form factor-style camera using the Blackmagic Design 6K Super 35 RAW imaging system that records in Blackmagic BRAW or Apple’s ProRes. After nearly a year, the final design has been released. Project Chief Thomas Boland released a YouTube video on his channel that goes into detail about the final design of the Nexus G1. The surprise at the end of the animation is a real-life prototype.

Features of the Nexus G1’s final design 

Some of the highlights include using a 0.71x speed booster (via the AutoLock module) to turn the camera into a full-frame equivalent. Meanwhile, the built-in LWS spaced 15mm rig rod mount system is a pleasant surprise and slides in and out of the camera body.

The Nexus G1 will be a fully modular camera, allowing for a variety of different setups. For example, they provide a variety of lens mounts, including PL and Micro Four Thirds. Additionally, there is an SDI module that adds a single 3G SDI in/out port. These proprietary modules from Nexus are sold separately.

The feature list includes:

• Blackmagic 6K Super 35 sensor and imaging system with 13.4 stops of dynamic range and dual gain ISO.
• Speed boosters (0.71x) give full-frame equivalent while 4K crop is close to Micro Four Thirds.
• Records in Blackmagic BRAW at 6K/50 fps, 2.8K/120 fps; or Apple ProRes at 4K/60 fps (6K downscaling) or 1080p/120 fps (2.8K downscaling).
• Magnesium alloy and carbon fiber construction with 64 mounting points for accessories.
• 5-inch touchscreen monitor with 1600 nit brightness.
• Integrated 4-inch touchscreen monitor with camera controls.
• Physical buttons also control the camera.
• Internal and adjustable LWS spaced 15mm rig rod mount system, which slide in and out of the body. 
• Built-in ND; the Electronic ND module has a range of 2-7 stops.
• Integrated FIZ control for a third-party electronic lens control system. Also integrates with the Nexus grip.
• Active EF lens mount with proprietary modules, including the AutoLock, to allow for PL and MFT.
• Integrated mini-V-mount bay; accepts Gold Mount, full-size V-mount and dual NPF with adapters. The company says the camera will run up to 11 hours.
• Internal backup battery (NP-F550) provides around 30 minutes of power.
• Storage includes Cfast 2.0, SD cards, USB-C, and the Nexus Maxdrive (520 MB/s).
• Built-in stereo microphone.
• Ports include full-size HDMI output, dual full-size XLR, touch monitor output, EVF, USB-C control, optional SDI, USB-C power output, D Tap power output, and an optional Lemo output.
• The SDI module adds one 3G SDI in/out port and supports camera control via SDI switches.

The Nexus G1 is bringing back memories of the initial specs release of the RED ONE during NAB 2006 and the release in 2007. Cameras have come a long way in the nearly 20 years since RED debuted their first cinema camera. And the G1 could capitalize on the technological breakthroughs we’ve seen in that time.

Price and availability

While they may have missed their 2024 release date goal, Q1/2025 appears to be when the Nexus G1 will be released. For the “expected price,” the Founders Edition will cost $2,980, while the normal price will be $3,300. That puts it in line with the Blackmagic PYXIS 6K.

The upgrade modules include AutoLock ($250), E-ND (Electronic ND, $380), a PL Mount (price TBA), EF FF (G1 becomes a full-frame equivalent camera, price TBA), SDI video port ($180), Maxdrive ($250), Lemo ($50), Nexus Grip ($230), and a Top Handle ($120).

Learn more and join the waiting list at the Nexus Cameras website. The company thanked their supporters, including Blackmagic, New Magic, Laowa, and Tilta.

What do you think of this major update to the Nexus G1? Have you added your name to the waiting list? Let us know in the comments below!

2024 is slowly but surely fading, and we are left with a bunch of new cameras that represent the pinnacle of current technology. In all honesty, when it comes to dedicated video or even mirrorless cameras, it is hard to find “bad” or even so-so cameras. We are currently at a level of overall picture quality, resolution, features (like autofocus, for example), AND price point that, a couple of years ago, we could only dream of. We will need to see a jump in sensor technology or a “must-have camera feature” to be impressed again. But still, when looking at what was offered during 2024 (see the list of cameras in our Camera of the Year poll here), these are the tools that managed to impress us, be it for their uniqueness and/or value for money. Based on this list, we have come to a conclusion.

Video-specific cameras

Blackmagic Design (PYXIS, Ursa Cine LF 12K), Sony (BURANO), Canon (EOS C400, EOS C80), and RED (V-Raptor X) are our candidates in this category. Every one of them has its strengths or limitations but at the end of the day, we chose the Blackmagic Design Ursa Cine LF 12K, the Canon EOS C80 and (ex aequo) the Canon EOS C400 as our cameras of the year in this category!

Blackmagic Design Ursa Cine LF 12K

This new camera represents Blackmagic Design’s commitment to catering to the higher end of our filmmaking market but at a much more comfortable price. There is no denying that some past offerings from Blackmagic suffered from some reliability issues or even a lack of performance consistency between cameras of the same type. Still, here, it seems as if we are talking about a completely different beast. I’m mentioning this because rental houses are understandably cautious about stocking cameras in their arsenal, which might cause issues. The last thing that they need is customers riding on their backs complaining about such things.

Now, in our opinion, with the introduction of the Ursa Cine LF 12K, it seems Blackmagic Design aims to achieve two key goals: 1) directly challenging established players like ARRI and RED, who have been dominating the larger production arena, and this time with a reliable filming tool and kind of “futuristic ecosystem” workflow. 2) allowing midrange production houses to purchase a “high-end” camera at a much more affordable price.

If you haven’t done so, we encourage you to dive into the lab test we conducted on this camera and see why we are impressed with what Blackmagic is offering here. As Gunther, our colleague, summarized in our lab test article: “This camera sets a new benchmark in terms of features and price”!

If you are considering getting this camera, please note that there is a learning curve. It has A LOT of buttons and a few screens. Even if many of those buttons have the same functionality (or can be assignable), it is still a bit overwhelming. Also, please remember that the camera records to a proprietary dedicated internal media module. While this massive 8TB storage solution allows for no compromise even when recording 12K open-gate up to 80 frames per second, it might be the Achilles Heel in the overall workflow. The module itself has no connecting input/output to a computer, so currently, to copy the material, you need to use the camera (not recommended due to limited transfer speeds) or Blackmagic’s Media Dock, which is far from portable. This Media Dock has three slots, and we hope to see a single-slot device that will allow DITs to manage the transfer of material in the field soon.

Congratulations to Blackmagic Design. All in all, they did a great job of offering a comprehensive filmmaking tool, which is tightly connected to a post-production and cloud workflow.

Canon EOS C80 and Canon EOS C400 – winning ex aequo

2024 represents the year of Canon’s comeback! After a long period of silence, a few solid offerings found their way to the market. But the biggest (pleasant) surprise was Canon’s new pricing strategy. Suddenly, from being a manufacturer known for charging premium prices for cinema cameras, it became a company that is offering great filming tools for prices that can make sense for many.

Here at CineD, we debated to the last minute which of Canons’ cameras to award. Both the EOS C400 and the EOS C80 bring very solid offerings for independent filmmakers. In the end, our inability to choose one of the two cameras over the other is a testament to Canon’s success in tailoring these cameras for distinct user groups – which is why we decided to award both cameras “ex aequo” with a CineD Camera of the Year 2024 Award.

Here’s my (Johnnie’s) reasoning for the Canon EOS C80, and below you find Nino’s reasoning for the Canon EOS C400.

Canon EOS C80 – the affordable full-frame 6K RAW recording one-man-band camera (Johnnie’s take)

For $2,500 less than the EOS C400, the EOS C80 offers fewer connectivity options and features but still includes all the essentials without feeling like you’re compromising much.

This camera brings what Canon is mostly renowned for: warm colors, good autofocus/lowlight performance, and internal RAW recording. Top this with a 6K full-frame sensor (found in the EOS C400, too) and add features that were missing from the EOS C70, and here you get a winner.

Please watch our full-camera review and mini-documentary here if you have a minute.

Canon EOS C400 – the versatility wonder stacking up very well against competition (Nino’s take)

The Canon EOS C400 features the same sensor and similar features to the C80, however it has a lot more connectors, making the camera much more versatile when used alongside other cameras in a multicam setup (Genlock, a 2nd SDI port, return port, 12-pin Port for Lens Control). On top of that, it can shoot up to 60fps in 6K (the C80 can do only 30p) and it records on CFexpress Type B cards instead of SD cards.

I find it funny that the C400 is mostly considered the “larger” camera where arguably, if you look at both cameras from the front, the C400 is smaller than the C80 and probably less intimidating for anyone being filmed. It also only weighs 200 grams more which is negligible.

Essentially, the C400 is competing with Sony offerings such as the FX6 or even FX9, and I have to say, it gives Sony a run for the money. For thousands of dollars/Euros/pounds less, you get a 6K RAW-internal recording, triple base ISO camera from Canon. The closest camera for internal RAW video from Sony is the BURANO which costs more than 3 times as much. Bravo, Canon.

In case you missed it, here are the results from our Canon EOS C400 Lab Test in the Camera Database (article will follow).

Congratulations to Canon. The company did their homework and presented us with a great value-for-money working horse. Now, give us a dedicated viewfinder for even more usability.

Mirrorless/Hybrid cameras

The “bare bone” of our industry continues to be mirrorless/hybrid cameras. These have grown to be extremely capable and, dare we say, very affordable. They also reflect the shift our industry has undergone. Heavy, bulky cameras are almost a thing of the past, and even more significantly, we’ve seen a consolidation of professions. Like it or not, in some segments of our business, mastering multi-functional skills that combine photography and filmmaking has become essential for survival. There is no better way to make the most out of this opportunity than working with these types of cameras. In this category, we had FUJIFILM (GFX100S II, X100 VI, X-T50, X-M5), Canon (EOS R1, EOS R5 Mark II), Leica (SL3), Nikon (Z6 III), Sony (Alpha a1 II, a9 III, ZV-E10 II), and Panasonic (LUMIX S9, LUMIX GH7). As you can see, most of the manufacturers were productive, offering different camera and sensor sizes and, of course, an assortment of functionalities.

This category’s runner-ups are the Sony a9 III and Nikon Z6 III. The Sony camera represents a quantum leap in sensor technology; after all, it is the first to have a global shutter solution for a mirrorless camera. One of our concerns was that the camera’s dynamic range would suffer because of this kind of sensor, but our lab test proved the opposite. The Sony a9 III is the best Alpha camera to date in video mode in terms of dynamic range!

And then, we have Nikon, a company that was perceived by many as very traditional and slow to react to some of the changes in our industry. And then earlier this year, in a surprising move, they acquired RED Digital Cinema. The full impact of this acquisition on our industry is yet to be seen, but for now, Nikon is continuing to deliver solid mirrorless cameras. What Nikon started with the Z9 (our Camera of the Year 2021), evolved into the Z8, a more affordable and user-friendly model. This year, Nikon has captured our attention once again with the introduction of the Z6 III. While this camera is more limiting for photographers compared to the Z8, when it comes to video, this camera is priced at around $2,197—$1,000 less than the Z8 and still gives a great run for the money comparatively. So, with ProRes and N-RAW internal recording next to 6K up to 60p (and 4K/120p), it is a great versatile compact tool aimed at creators of different levels. Please head to our camera database to find out more about the Nikon Z6 III.

So, let’s proceed to the winners of this category…

Panasonic LUMIX GH7 (full body size)

Panasonic had only two major camera releases this year, the LUMIX S9 and LUMIX GH7. We would like to concentrate on the formidable LUMIX GH7. By the time you read this article, we hope to have released our long-term GH7 review, but even if it’s not quite finished, we’d like to share a summary of our findings so far. Since its release, we’ve successfully used this camera on numerous projects. What really impressed us was how quickly Panasonic caught up with implementing excellent autofocus in this camera (next to their latest full-frame LUMIX S5 II and LUMIX S5II X offerings). Also, the stabilization functionality in this camera is one of the best (if not the best) on the market. Implementing an effective stabilization system in a camera with a smaller sensor (Micro Four Thirds) is certainly helpful, but this doesn’t take away from the significance of this achievement.

Moving forward to our lab test, here is what Gunther, our colleague, had to say: “Panasonic did it again – the LUMIX GH7 is in a class of its own considering the Micro Four Thirds sensor size! Not only does it show good rolling shutter values, but the dynamic range results don’t disappoint. They are quite similar to the recently tested Sony A9 III or the Canon EOS R5 C, for example. As mentioned, it plays in the league of recent consumer full-frame cameras with those results (a bit on the lower end, though)”.

More of our findings and conclusions about this camera can be found in our comprehensive lab test here.

Back to working with the camera. On a recent trip to Japan, as part of our review, I used it to film a mini-documentary (watch this space for the link). One of the things I wanted to check is how the footage looks if it is NOT working with Panasonic’s V-Log, as this camera has the alternative to record in ARRI’s LogC3 picture profile (Paid update). The results were very convincing. Finally, I was able to film and avoid the overall red-looking skin color that V-Log tends to give (at least for my taste). One thing to remember when filming with ARRI’s LogC3 is the imposed limitation of not being able to film ProRes RAW internally.

Last but not least, it seems as if Panasonic is one of the only mirrorless camera manufacturers that really cares about audio, as this is the first camera to allow 32-bit audio recording when using their optional DMW-XLR2 XLR unit.

The question of the LUMIX GH7 price is left a bit open. Yes, it is a very orientated and friendly filmmaking device, yet, at $2,198, it is already combating a niche of larger sensor cameras.

Congratulations to Panasonic. Here at CineD (and the filmmaking community as a whole), we are looking forward to seeing what 2025 will bring. Hopefully, it will be the successor of one of your aging flagship full-frame cameras.

And now, in a sharp turn, to our last winner.

FUJIFILM X-M5 (compact body size)

Surprise! As not all mirrorless cameras are created equally in size (and performance), we decided to give an award for a compact camera, too – one that is capable of producing good-looking videos, packed with conventional features, can go with you anywhere, doesn’t make you break a savings account, and has a surprising feature. For less than $1,000 ($799 to be exact), FUJIFILM X-M5, the latest in the company’s offering, ticked all those boxes (a review is coming soon). When we first got the camera, we could not believe how small it was. We have yet to find a photo that does justice to the unbelievably small camera size. Now, the “killer feature” of this APS-C camera is the ability to film internally in 4:2:2, 10-bit, 6.2K (up to 30p) open-gate. Top this with FUJIFILM’s 20 Film Simulation looks and the ability to send clips to the cloud (Frame.io, for example) with no additional grip, and you might have a winner here. Yes, of course, there are some limitations, like the absence of a viewfinder or limited recording data rate, but for a 355g/0.78lb compact camera that costs less than $800, we think it is an achievement.

Congratulations to FUJIFILM. It was a busy year for the company. Keep pushing the performance envelope, and please bring out a firmware update to help with the autofocus performance of more of your cameras.

That’s it for 2024. We haven’t touched the smartphone/action category. The iPhone 16 Pro is too close to its predecessor, and a new DJI Osmo Pocket 4 is nowhere to be seen. Next year, we promise to talk about the newly announced ARRI 265, Blackmagic Design Ursa Cine 17K 65, FUJIFILM GFX ETERNA, and MUCH more!…

What do you think about our Camera of the Year 2024 choices? Is it close to what you were hoping for or miles away from your observation and expectations? Please share with us your thoughts in the comment section below.

If you thought, “it’s the end of the year, we won’t see any new major camera announcements anymore”, or even, “We got the FUJIFILM GFX ETERNA announcement and the Blackmagic URSA Cine 12K as (super) large format cameras this year, that’s plenty!”, you have been wrong: Here we are, ARRI just dropped a new large format camera just before the holidays (but, spoiler alert: it’s not going to land under your Christmas tree).

ARRI ALEXA 265 – as small as an ALEXA 35, one third of ALEXA 65’s weight

Unexpectedly, we are seeing a “small” large format ARRI ALEXA with the new ARRI ALEXA 265, which is scheduled to be available in early 2025. It looks like this will be a rental-only camera just like the ALEXA 65, its predecessor, but it’s only marginally larger than the very popular ALEXA 35 (here’s our in-depth interview and here’s our detailed Lab Test including video), a Super35mm sensor camera, and much lighter than its predecessor (one third of the ALEXA 65’s weight). This should make large-format cinematography even more feasible for feature film and TV series production than ever before.

It’s save to say this camera is going to make a difference in the high-end market and we can’t wait to get our hands on one to put it through its paces in our renowned Lab Tests, with all the results of course also heading to the CineD Camera Database.

For the time being, I’ll leave you with the full press text from ARRI, and we look forward to your thoughts on this move in the comments below.

Full ARRI press text

ARRI announces the small and lightweight ALEXA 265 camera, revolutionizing 65 mm cinematography

• ALEXA 265 is one-third the size and weight of ALEXA 65
• Revised 65 mm sensor brings higher dynamic range and sensitivity
• Unique in-camera filter cartridge system
• Same LogC4 workflow and REVEAL Color Science as ALEXA 35

December 5, 2024; Munich – ARRI introduces ALEXA 265, a new-generation 65 mm camera that responds to feedback from users of the ALEXA 65, its predecessor. ALEXA 265 combines a small form factor with a revised 65 mm sensor, delivering higher image quality through 15 stops of dynamic range and enhanced low-light performance. Featuring the same LogC4 workflow, REVEAL Color Science, and accessories as ARRI’s state-of-the-art ALEXA 35, plus a new filter system, ALEXA 265 makes 65 mm as easy to use as any other format.

The ALEXA 265 camera body is based on the compact ALEXA 35 and despite containing a sensor three times as large, is only 4 mm longer and 11 mm wider. Using this body design means ALEXA 265 is less than one-third the ALEXA 65’s weight (3.3 kg vs. 10.5 kg) and takes advantage of ARRI’s latest cooling and power management technologies. While the camera’s small size and weight allow it to be used in ways never imagined for 65 mm—from drones and stabilizers to the most space-constrained locations—its efficiencies make it faster to work with on set. Boot-up time and power draw have been improved, and compatibility with the ALEXA 35 accessory set opens vastly more rigging options.

Feedback from ALEXA 65 users over the last decade made the dramatic reduction in form factor a design priority for ALEXA 265, but also determined the approach to image quality. Filmmakers wanted to retain the 6.5K resolution and large pixel pitch, but were interested in higher dynamic range and improved low-light performance. A brand-new and comprehensive revision of the 65 mm sensor was therefore developed for ALEXA 265, increasing the dynamic range from 14 to 15 stops and the sensitivity from 3200 to 6400 EI (ISO/ASA), with crisper blacks, greater contrast, and a lower noise floor.

Delivering this higher image quality is a simple and efficient workflow that utilizes ARRI’s latest developments. The new-generation LogC4 workflow and 3D LUTs introduced for ALEXA 35 are now shared with ALEXA 265, which records ARRIRAW in-camera to the Codex Compact Drives used in all current ARRI cameras. Standard drive readers and docks can be used, as can Codex HDE (High Density Encoding), reducing file sizes by up to 40% without diminishing image quality. On-set monitors can be set up in HD or UHD, displaying SDR or HDR, or both. ARRI is updating its SDK to ensure that ALEXA 265 images are compatible with all major third-party software tools.

A unique feature of the ALEXA 265 is its filter cartridge system, which allows special filter trays, encased in a protective cartridge, to slide in front of the sensor. ARRI FSND filters from zero to ND2.7 in single-stop increments will be available with ALEXA 265 at the time of launch, and many more creative filter options are in the works. An encoded chip on the filter tray conveys information about whatever filter has been inserted; this information is available in the user interface and is also recorded in camera metadata for use on set and in post.

ALEXA 265 images are processed in-camera using ARRI REVEAL Color Science, introduced with the ALEXA 35 and also compatible with ARRIRAW images from the ALEXA Mini LF. REVEAL is a suite of image processing steps that collectively help the camera to capture more accurate colors, with subtler tonal variations. Skin tones are rendered in a flattering, natural way, while highly saturated colors and challenging colors such as pastel shades are displayed with incredible realism. All ALEXA 265 and ALEXA 35 cameras are super color-matched to each other, simplifying color grading, and the ALEXA 265’s advanced LED calibration streamlines virtual production and LED volume work.

The list of ALEXA 65 films and filmmakers over the last 10 years is a roll call of the industry’s most visionary projects and people. While 65 mm may only be accessible to relatively few productions, this historic format inspires many and represents the pinnacle of mainstream image acquisition. Now, with the launch of ALEXA 265, a new era of 65 mm begins—one that will redefine the format’s creative possibilities.

ALEXA 265 will be available to productions from early 2025.

While we are busy gathering our thoughts regarding “Camera of the Year 2024”, we thought it would be great to hear your voice, too! We are fully aware that you guys usually work with a specific camera from a specific brand. Yet, it might be that you admire what a neighboring company is doing with their offering, which is why we are allowing multiple answers. (Two answers in each camera category, to be specific).

And just because some might ask:

• Cameras that have been announced but lack clear specifications are not included. (So, in other words, the FUJIFILM GFX ETERNA and the Blackmagic Design 17K 65, for example, will have to wait for next year.)
• We are including the Sony Burano and Sony A9 III here, too. These were announced during 2023 but were available for testing only within 2024.

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So, what caught your attention in 2024? What camera is the one that you liked and desired most? Please be kind enough to vote and comment in the section below.