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!

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!

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!

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.

As with its predecessor, the Sony A1 II sits at the top of the Alpha Series of cameras with the largest sensor, 8K HDR at 30p filming, and other superior features. The Sony A9 III comes closest and includes a global shutter (which the A1 II lacks) but features only a 24.6 MP stacked CMOS and 4K filming. You can check out our full Lab Test if you missed it. Let’s take a closer look at the newest flagship Alpha camera.

Sony A1 II – features

The Sony A1 II improves upon the original camera by adding the AI Processing Unit for fast, real-time Recognition AF. It can accurately recognize everything from people to animals and bugs to planes, trains, and cars. There is a 30% improvement in human eye recognition and 50% in bird eye recognition. AUTO mode recognizes subjects without switching the target settings. Sony has improved upon arguably one of the best autofocus systems on the market.

Sony also added some new features and enhancements for filmmakers, including two high-performance image stabilization modes to ensure smooth handheld shooting. Meanwhile, up to 16 user LUTs can be imported, and S-Log3 matching has been improved, which helps to match footage from Sony’s CineAlta line, including the VENICE and BURANO.

The full list of Sony A1 II features includes:

• 50.1 MP full-frame Exmor stacked CMOS sensor with BIONZ XR image processing engine.
• Improved image quality with ISO at mid-to-high ISO.
• AI Processing Unit assists with real-time Recognition AF for shooting video and stills.
• Advanced real-time tracking and wide, 759-point high-density phase detection AF.
• IBIS (in-body camera stabilization): Up to 8.5-step central and 7.0-step peripheral compensation.
• Smooth handheld shooting thanks to two high-performance image stabilization modes.
• RAW options include lossless RAW.
• 8K HDR at 30p (oversampling at 8.6K) 4:2:2 10-bit.
• 4K at 60p/50p (Super 35mm, 5.8K oversampling) plus high frame rates of 120p for 4K and 240p for Full HD.
• CODEC of XAVC S-I, 4:2:2 as minimum.
• Improved S-Log3 matching.
• S-Cinetone for cinematic color without the need to grade.
• Users can import up to 16 LUTs.
• UVC/UAC USB streaming up to 4K 30p.
• Quality still images can be created from clips.
• Composite RAW functions include NR Shooting settings and Pixel Shift Multi Shooting.
• Blackout-free shooting with AF/AE tracking, up to 30 fps of continuous shooting.153 RAW uncompressed RAW images.
• Pre-capture up to 1 second before the shutter button is pressed.
• Flash sync up to 1/400 s (APS-C 1/500 s).
• 4-axis multi-angle 3.2-type LCD monitor with 9.44 mil resolution EVF.
• Two CFexpress Type A compatible slots.
• Two batteries with 155 minutes of charging time.
• SuperSpeed 10 Gbps (USB 3.2 Gen 2), built-in WiFi 802.11ac 2×2 MIMO, and 2.5GBASE-T Wired LAN.
• Built-in microphone for voice memo.
• Sony E mount.
• Ergonomic grip and buttons.

Sony also announced a new 35mm full-frame lens, the Sony FE 28-70mm F2 GM. Learn more about the new lens here.

This is the flagship of Sony’s famed Alpha line, which improved upon the Sony A1 that came out in early 2021. The original is well-regarded for its sensor, latitude, features, 8K recording, fast autofocus, and subject recognition.

However, the new Sony A1 II largely carries over features from the first edition, including sensor, 8K HDR filming, and best-in-class AF and Recognition. While the AI processing unit is impressive, and user LUT import support is a huge addition, the new features and improvements – and the lack of a global shutter like the A9 III – may not be enough to justify purchasing it as a replacement for the legendary Sony A1.

Price and availability

The Sony A1 II will be available in December 2024 for $6,498 (€7,500). Check out Sony’s website to learn more.

What do you think of the Sony A1 II? Are there enough new features and improvements upon the original Sony A1 to justify a purchase? Let us know in the comments below!

While based on the GFX100 II, the GFX ETERNA includes modifications for filmmakers looking for flexibility across a range of video styles. Makoto-san explained that FUJIFILM chose to call this a “filmmaking camera” instead of a “cinema camera” to emphasize that it’s intended for a broad range of users beyond the cinema market. The goal, he said, was to create a versatile tool for anyone from documentarians to independent filmmakers who prioritize image quality without necessarily needing the full feature set of a traditional cinema camera.

Inside the FUJIFILM GFX ETERNA: familiar components, tailored for film

The GFX ETERNA is built around the same sensor and processor as the GFX100 II but with optimizations specifically for filmmaking. These include the new F-Log C gamma curve and more. Makoto-san clarified that while the core technology is similar to the GFX100 II, these updates support a better workflow for video capture, like having an internal ND filter, for example. FUJIFILM’s team also focused on optimizing rolling shutter performance, though Makoto-san noted that at that point, it remained similar to that of the GFX100 II due to the shared sensor.

Lens compatibility and potential for future lens development

When it comes to lens compatibility, the GFX ETERNA’s design works well with adapters for third-party lenses, including popular cinema mounts. While FUJIFILM is exploring feedback on adding more film-specific lenses, Makoto-san stated that filmmakers should already have broad access to compatible lenses through adapters, including options for PL and other mounts.

FUJIFILM GFX ETERNA – ARelease timeline and pricing considerations

Though FUJIFILM has not yet released specific dates, development is expected to wrap up by 2025. Pricing also remains under wraps, but the company aims to keep the GFX ETERNA accessible for professional users.

Is medium format a practical option for filmmakers?

By bringing medium-format imaging to filmmakers, FUJIFILM hopes to provide a new choice in an increasingly diverse camera market. Rather than targeting high-end cinema alone, the GFX ETERNA seeks to offer filmmakers practical versatility. Time will tell how this model fits into various shooting styles, and CineD will follow up with more coverage and tests when the camera is closer to release.

For a more detailed look, check out our full video interview with Makoto-san, where he discusses the thinking behind the GFX ETERNA and FUJIFILM’s broader goals for the medium-format category.

What do you think about this new filmmaking camera? Are you interested in exploring its capabilities even further? Please share your thoughts with us in the comment section below.

Surprise, surprise! In a move that promises to disrupt the world of filmmaking, FUJIFILM has just announced that they are developing their first-ever filmmaking camera.

FUJIFILM has come a long way, moving from being a company that makes photo cameras to a company that makes photo cameras that can shoot high-quality videos and, now, a company that caters to the needs of filmmakers by introducing a dedicated filmmaking camera. 

If you have been following our site for a while, bringing such a filmmaking camera to the market was a topic of some discussion and interviews between our CineD team and FUJIFILM’s leadership. In one of our recent polls, we even asked the opinion of our audience about the possibility of FUJIFILM bringing such a camera to the market and the results were very convincing: A FUJIFILM cinema camera would be a very welcome development. And now, a day before the official opening of Japan’s largest industry media and entertainment exhibition, InterBEE, the company unveiled their first-ever dedicated camera for filmmaking. 

We are on InterBEE’s show floor, and a comprehensive coverage of the new filmmaking camera will follow. For now, here are the facts from the press text: 

FUJIFILM GFX ETERNA

TOKYO, November 12, 2024 – FUJIFILM Corporation announces that it is currently in the process of developing its first-ever filmmaking camera, the “FUJIFILM GFX ETERNA” (GFX ETERNA), with plans for a release in 2025. The “GFX ETERNA” will feature a large format sensor, “GFX 102MP CMOS II HS”, which is approximately 1.7 times larger than a 35mm sensor, and the high-speed image processing engine “X-Processor 5”, enabling filmmakers to capture rich, true to life visuals and have enhanced flexibility in post-production. Both the “GFX 102MP CMOS II HS” sensor and “X-Processor 5” are the latest technologies featured in the mirrorless digital camera “FUJIFILM GFX100 II”, which delivers extraordinarily high image quality with its 102 million pixels.

Fujifilm will showcase the “GFX ETERNA” as a reference exhibit at the comprehensive media event “InterBEE 2024”, which will be held from November 13^th to 15^th 2024.

After its founding in 1934, the Fujifilm Group has played an important role in Japan’s film industry by developing and introducing domestically-produced positive film for movies. Through continuous innovation, Fujifilm has expanded its product range to include the motion picture color negative film “ETERNA series” and the cinema zoom lenses “Premista series” and “ZK Cabrio series.” For over 90 years, Fujifilm has been providing reliable products for the film production industry and beyond. In addition to its success with photographic films, cameras, and digital cameras, in 2017, Fujifilm introduced the groundbreaking mirrorless digital camera “GFX series,” featuring a large format sensor approximately 1.7 times larger than a 35mm sensor, delivering extraordinarily high image quality. Fujifilm has since made continuous improvements to the “GFX series,” including its video capabilities. 

The “GFX ETERNA,” currently in development, is set to revolutionize film production. Leveraging Fujifilm’s expertise and experience in the field of filmmaking, the company will combine the exceptional capabilities of Fujinon lenses with the advanced technology of the “GFX series.” Aptly named “GFX ETERNA,” it aspires to become a driving force in shaping a new era of filmmaking and is dedicated to contributing to the creation of timeless cinematic masterpieces.

In addition to the development of the “GFX ETERNA,” Fujifilm is also working on the development of a power zoom GF lens that is optimized for this G mount camera, planned to have an actual focal length of 32-90mm, and a mount adapter from G to PL mount lenses, widely employed in film production. 

What do you think about FUJIFILM’s move? Are you happy to see a filmmaking camera from them? Please share your thoughts with us in the comment section below.

In recent years, we’ve seen the market change. Stills-only cameras are all but extinct, except for some niche products, and some of the greatest conservatives turned their skin, ushering in the new age of hybrid. Nikon may be the most stark example. After years of relative neglect, the century-old Japanese manufacturer shocked the world with the 8K 60P Raw video capable Z 9 and has been churning out additional hybrids ever since. The new Z50 II is the most recent addition, bringing some of its big sister’s features to a much broader audience.

Specs and features of the Nikon Z50 II

The new Nikon Z50 II offers 10-bit 4K recording, allowing it to capture HLG or N-Log footage in what may just be its most significant upgrade over its predecessor. The camera can shoot uncropped 4K at up to 30P and will apply a rather significant x1.5 crop to its 4K 60P capture. FHD capture is available at up to 120P with no crop. These limitations stem from the rather old sensor, Nikon’s 20-megapixel APS-C unit. At the age of almost eight years since their first version with the Nikon D500 DSLR, it seems that Nikon managed to squeeze impressive performance out of it with its EXPEED 7 Image Processor, but it’s getting a bit long in the tooth compared with some of the competition.

As with all of Nikon’s current APS-C line, there’s no internal image stabilization. The company compensates for this shortcoming with a Vibration Reduction (VR) unit on each APS-C lens (DX in Nikon’s lingo). This may be enough for some, but it can’t offer 5-axis stabilization and won’t stabilize Nikon’s full-frame primes and other lenses. The camera offers an electronic stabilizer, albeit at the cost of quite a significant crop.

Autofocus

Another field in which the Z50 II significantly improves is its autofocus. The use of the current EXPEED 7 processor allows for the use of Nikon’s advanced AF algorithms, such as 3D tracking. The camera also boasts a product-oriented AF mode (as seen in some other entry level cameras from Sony, FUJIFILM, etc.). This will dictate quick AF pull whenever an object is placed in front of the camera, making product reviews a breeze.

Build and ergonomics

At first glance, the Nikon Z50 II and Z50 (1st gen) seem quite similar. But Nikon has implemented some significant changes to the control layout, adding more buttons, a full vary-angle LCD, and a headphone jack next to the mic jack. The new design also trimmed the EVF backward protrusion, so it’s now a bit more flush, contributing to the overall compactness. A front/top-facing Tally lamp is a welcome addition as well.

These changes may appear minor but significantly affect the usefulness of the new Z50 II, especially for video content creation. One button Nikon emphasizes is the direct image profile button, situated on the top plate. This will allow for quick access to the camera’s color profiles, as well as custom-made profiles created in-camera or downloaded.

Who is it for

The new Nikon Z50 II will cater to the needs of many. However, video and hybrid content creators will be the main winners here. Every upgrade seems to be tailored for this audience. Better video quality, better autofocus, vary-angle LCD screen, improved battery life, and direct picture profile access will all contribute here. The camera leaves much room to improve with 10-bit N-Log, waveform, and more.

Alternatives

The entry-level segment is usually quite crowded, and it seems Nikon is joining a new generation of cameras here. While lacking an EVF, the FUJIFILM X-M5 poses fierce competition, offering stronger video specifications with 6K open gate and less cropping in 4K. It has arguably better film simulation implementation and a more stylish design. FUJIFILM also offers a much deeper lens line with both entry-level and professional options. It’s also more affordable at $799. If you can forego the hype and vintage look, the Canon EOS R10 will provide you with relatively similar specs, wrapped in Canon’s UX and an RF mount for about the same price – $879. The Z50 II has the edge when it comes to high-quality video with better implementation of Log recording, color profile, and 10-bit workflow. Last but not least is the well-known Sony ZV-E10 II, packed with a newer 26 Megapixel sensor, 4K 60P, better internal microphone system, better battery, and a plethora of dedicated APS-C lenses and other accessories. The ZV-E10 II is a tad pricier at $998. The Sony lacks a viewfinder and easy picture profile access.

Price and availability

The Nikon Z50 II is available for preorder. Body only is priced at $907 / €852.69. Two kits are also available: one includes the NIKKOR Z DX 16-50mm f/3.5-6.3 VR Lens and will cost $1,047 / €1,003.34. The second kit will also include the NIKKOR Z DX 50-250mm f/4.5-6.3 VR tele-zoom Lens for $1,297 / €1,204.21.

Do you see the new Nikon Z50 II as a viable option for filmmaking or other video content? Let us know in the comments.

Can you believe it’s already been five years since the fp debuted? It was heralded as the world’s smallest and lightest full-frame mirrorless camera that could shoot in RAW and was aggressively priced at $1,899. The fp was a scalable camera that could use different accessories from both SIGMA and third parties.

My colleague, Johnnie Behiri, was able to shoot with a non-final firmware unit in Japan a week before the October 25, 2019 launch, and his early impressions are great to re-read. Check it out here. Also, be sure to read Johnnie’s review of the SIGMA fp L and the CineD lab test.

Celebration details, plus how to attend or watch

The SIGMA fp Day event is free and happening October 25, 2024, in Burbank, California, from 2 pm to 7 pm PST. They’ll have product demos, photowalks, giveaways of commemorative merch, food and beverages, and plenty of great guests. Those include Ambassadors Heather Larkin and Graham Sheldon, plus YouTube and social media filmmaker Sebastian Oropeza, and many others.

There is also an online sweepstakes you can enter here, where you can share your thoughts about the SIGMA fp and be entered to win a prize, including $1,000 SIGMA Gift Certificates. 

If you happen to be in the greater Los Angeles area, you can attend the free event at the SIGMA Burbank Showroom at 148 S. Victory Blvd., Burbank, CA 91502. Register here.

For those who would like to stream the event, you can do so on SIGMA’s social channels.

Take a stroll down memory lane with the features of the SIGMA fp and fp L Mirrorless Cameras

The SIGMA fp mirrorless camera was first announced in the summer of 2019 and officially released on October 25 of that year. It was a full-frame camera that could shoot RAW but could fit in a pocket. The SIGMA fp L debuted in 2021 and built upon the first camera. Let’s take a brief look at the features of both the fp and fp L.

SIGMA fp features:

• 24.6 full-frame BSI Bayer CMOS sensor (36mm x 24mm).
• Film in 4K30p with 12-bit CinemaDNG both internally (SD card) and externally (SSD).
• 49-point AF system.
• ISO 100-25,600, and can be expanded to ISO 6-102,400.
• Electronic shutter.
• Electronic image stabilization.
• 3.15″ (8cm) 2.1m-dot LCD touchscreen.
• Leica L-mount lens interface.

SIGMA fp L features:

• 61MP full-frame BSI Bayer CMOS sensor (36mm x 24mm).
• Optional EVF-11 Electronic Viewfinder.
• Film in 4K30p with 12-bit CinemaDNG both internally (SD card) and externally (SSD).
• True 24p and 23.976p.
• Hybrid Phase- and Contrast-Detection AF
• Crop Zoom.
• Save or Load settings via a QR code.
• Continuous power via USB-C.
• 3.15″ (8cm) 2.1m-dot LCD touchscreen.
• Leica L-mount lens interface.
• Check out the full list of features here.

After five years, how has the SIGMA fp or fp L helped you with shooting your projects? Will you be watching the livestream celebration? Let us know in the comments below!