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.

All three cameras will receive a similar firmware update, though the version numbers differ: X-H2 will update to Ver.7.10, the X-H2 to Ver.5.10, and the GFX 100 II to Ver.2.30. It’s important to note that while the updates share comparable algorithms, the results may vary depending on the hardware. Factors such as sensor design, lens compatibility, resolution, and sampling will influence performance, resulting in distinct outcomes for each camera.

Autofocus improvements

FUJIFILM cameras’ autofocus system fuels countless, long-lasting virtual debates. While the company may not be better than some of their competitors with its tracking performance, they offer continuous improvement. With the new firmware update, FUJIFILM claims to have improved autofocus tracking stability when shooting video. Such an update may be beneficial when shooting in less-than-ideal conditions and fast-paced, one-person-show scenarios. It will also help content creators film themselves with increasing trust in the tracking system. We will put the update through its paces and will draw the necessary conclusions soon.

F-Log2 C

FUJIFILM’s F-Log2 manages to extract quite an impressive amount of data, but the new F-Log2 C improves on that. The new color space expands the captured color gamut, thus improving the reproduction of high chroma colors that were difficult to reproduce with F-Log2. It also expands the color editable range in ACES space and BT.709. We’ll put the new F-Log2 C through our lab test ASAP.

USB-C Timecode

While timecode sync has long been implemented in many FUJIFILM cameras, this firmware update allows for USB-C synchronization in addition to Bluetooth. This welcome addition slightly expands the operational envelope, adjusting FUJIFILM’s X-H2, X-H2s, and GFX 100 II with additional sets and workflows.

The Kaizen path

The long, persistent path of improvement never ends. As FUJIFILM announces the development of a full-fledged cine camera, a big step in the way of filmmaking, the company continues to prioritize the small, incremental steps that drive meaningful progress. The recent firmware update brings significant, much-requested improvements, highlighting FUJIFILM’s commitment to engaging with their community—a key factor in the company’s ongoing success.

Price and availability

All updates are free and are available for download from FUJIFILM’s website. Please take the time to read the instructions before updating.

With this update, would you consider one of FUJIFILM’s hybrid flagships as your main camera? Let us know in the comments.

In today’s poll, we are trying to understand the level of interest in purchasing this camera and how much someone would pay for it. The price of a product always consists of many aspects, one of them is the prediction of quantities. Logically speaking, the more units that can be sold, the lower the price can be. Before you jump in and ask if FUJIFILM is behind this poll, the answer is NO. It is simply our genuine curiosity to understand how much people would be willing to pay for a new anticipated product and whether they would put a downpayment of, let’s say, $100 to secure a reservation.

Earlier this year, more than 1,800 of our followers voted in a poll we conducted where we asked about their interest in having a dedicated FUJIFILM cinema camera.

So, in today’s poll, we are asking two questions: Assuming that this is a filmmaking camera and it will have an open gate option (for example), how much would you be willing to pay for it? (fixed price points), and would you secure a reservation by making a small refundable downpayment?

We are allowing multiple votes, so please be kind and try to answer both questions.

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As always, we are very thankful to you guys for participating in our polls!

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.

Sony remains committed to their customers by continuing support for their Cine Line cameras. My colleague Nino had an interesting discussion with Nobutatsu Takahashi-san, General Manager of Sony Cinema Line, back at IBC 2023 regarding the Sony BURANO and the future of the Cinema Line, which you can watch/read about here. Sony’s support continues with firmware updates for the VENICE 2, FX3, FX6, FX30, and BURANO cameras.

“Firmware updates are an important way for Sony to continue to address the needs of our filmmaking community. Our Cinema Line is built for the future and the firmware will allow our products to continue to evolve with the needs of our filmmakers, especially at a time when the industry is undergoing incredible changes. This is yet another way Sony is looking to support the community,”

Theresa Alesso, President of Imaging Products and Solutions Americas, Sony Electronics.

The following firmware updates are free and will be available to download:

VENICE 2 Version 4.0

Since its introduction, the Sony VENICE Camera System has been widely used in over 500 productions across commercials, television, and feature films, and the VENICE 2 is a respected choice for cinematographers. The upcoming VENICE 2 Version 4.0 firmware update, expected in August 2025, will add:

• EL Zone System™ Support: Created by three-time Academy award-nominated Director of Photography Ed Lachman, ASC, the EL Zone System™ allows exposure values to be displayed using stops rather than IRE, enhancing the connection between lighting and lens settings. This comes in addition to the existing tools in VENICE 2.
• Customizable Frame Line Colors: Responding to user feedback, this update will introduce frame line color options, making it easier to capture images for various delivery formats.

Future updates are also planned – Version 5.0 is scheduled for 2026, and Version 6.0 for 2027.

FX3 Version 7.0 & FX30 Version 6.0

In response to user feedback, Sony will release a firmware update for the FX3 and FX30 cameras in September 2025. This update will standardize the menu system across Sony’s Cinema Line, streamlining the experience for users who combine their multiple level of cameras for production or switch between them for different projects. Other firmware features include:

• “BIG 6” Menu: Similar to the BURANO and VENICE, the BIG 6 menu will give quick access to check and adjust settings like ISO, frame rate, LUT, ND filters, and more.
• Anamorphic De-squeeze 1.5x: With the increasing use of anamorphic lenses, this feature adds flexibility in lens choice.
• HDMI RAW Output: Allows for Blackmagic RAW recording via Blackmagic Design’s Video Assist recorders.

FX6 Version 6.0

The update to the FX6 will now support SDI RAW Output for Blackmagic RAW recording with Blackmagic Design’s Video Assist recorder. FX6 Version 6.0 is planned for February 2026 and will include:

• “BIG 6” Menu: Similar to the BURANO and VENICE, the BIG 6 menu will give quick access to check and adjust settings like ISO, frame rate, LUT, ND filters, and more.
• Clear Viewfinder Display: Camera data will no longer overlay the image in the viewfinder, offering a clearer view of both the full image and essential data. Note: Sony advises users to check the update timing on Blackmagic Design’s Video Assist recorder.

BURANO Version 2.0

The BURANO Version 2.0 update, set for release in March 2025, will introduce several user-requested features and enhancements:

• New Recording Formats: Adds a 3.8K Full Frame crop mode, capturing nearly the entire sensor with frame rates up to 120 fps, allowing filmmakers to prioritize faster sensor performance when needed. Other recording formats include 24.00 fps to X-OCN 16:9, and the following additional frame rate options – Full Frame: 3.8K 16:9 Mode, up to 120 fps / Super 35: 4.3K 4:3 Mode (for Anamorphic), up to 60 fps / Super 35: 1.9K 16:9 Mode, up to 240 fps.
• 1.8x De-squeeze and High Frame Rate (S&Q) Modes: Adds a 1.8x anamorphic de-squeeze option, including 66, 72, 75, 88, 90, 96, and 110 fps.
• Enhanced Monitoring: Standardized SDI video output for consistent monitoring across X-OCN and XAVC, an improved on-screen display moving status information outside the image, and View Finder Gamma Display Assist while using S-Log3 for monitoring.
• Additional Exposure and Stabilization Tools: High/Low Key exposure tools from the VENICE system, expanded white balance presets (3 to 8), Active/High Image Stabilization support in Full-Frame 6K and Super 35 1.9K modes, and breathing compensation with image stabilization metadata in X-OCN.

Price and availability

As these updates become available, filmmakers can download them directly to their camera using a Mac or PC. For more information, please see their website here, or follow them on Instagram.

Which of these new features do you find most valuable for your work? With the new high frame rate options and de-squeeze ratios, are there new types of shots or projects you’re inspired to try? Let us know in the comments!

In addition to releasing their new Canon EOS R1 camera and several new lenses, Canon has also been listening to feedback from their Cinema EOS and pro camcorder customers. As a result, the company has announced several firmware updates, saying that all the updates are a direct result of the feedback they’ve received.

Canon firmware update – highlights

EOS C400 Camera

• Adobe Frame.io Camera to Cloud in-camera activation and transmission of proxy files via wireless or wired Ethernet.
• 1.5x anamorphic de-squeeze display assist option.
• To maintain exposure, shutter and ISO/GAIN settings can be added when saving the output frame rate “pull-down” 60<->60 (30-24) fps to an assignable button.
• Adds 1920 x 1080P output option for MON OUT (Monitor out) and HDMI interfaces.
• Supports communications with the new RF70-200 F2.8 L IS USM Z zoom lens and the RF24mm F1.4 L VCM and RF50mm F1.4 L VCM hybrid lenses.

EOS C80 Camera

• Adobe Frame.io Camera to Cloud in-camera activation and transmission of proxy files via wireless or wired Ethernet.
• Adds 1920 x 1080P output option for SDI OUT and HDMI interfaces.
• Supports communications with the new RF70-200 F2.8 L IS USM Z zoom lens and the RF24mm F1.4 L VCM and RF50mm F1.4 L VCM hybrid lenses.
• Displays digital tele-converter icon when activated.

EOS C500 Mark II/ EOS C300 Mark III Cameras

• Displays digital tele-converter icon when activated.

EOS C70 Camera

• Compatibility with the RF17-120 CINE-SERVO lens and the new RF70-200 F2.8 L IS USM Z zoom lens and the RF24mm F1.4 L VCM and RF50mm F1.4 L VCM hybrid lenses.
• Displays digital teleconverter icon when activated.

EOS R5 C Camera

• Support for RF17-120 CINE-SERVO lens and compatibility with the RF70-200 F2.8 L IS USM Z zoom lens and the RF24mm F1.4 L VCM and RF50mm F1.4 L VCM hybrid lenses.
• Displays digital teleconverter icon when activated.
• ·New subject tracking trigger.
• AF frame can be moved in the display by dragging or sliding to the desired location.

XF605 Camcorder

• Improved lens focus ring responsiveness.
• Improved headphone volume control.
• Displays digital teleconverter icon when activated.

Price and availability

In addition to these firmware updates, the Canon Multi-Camera Control App for iPhone and iPad has been updated to Version 1.2. Please note that this update requires iOS version 16.2 or later.

For more information on these Canon products and to download the firmware updates as they become available, please visit the Canon website here.

Are there specific improvements or features you still wish Canon would include in future firmware updates? Let us know in the comments below!