Tilta is known for their camera accessories, including everything from rigs like their Hydra Alien Mini to smartphone accessories to camera cages for cameras like the Canon C400 and the Blackmagic PYXIS 6K. Expanding their lineup, they’ve now introduced a practical new addition—batteries with a dedicated charging case.

Portable charging station

The Tilta Charging Case is designed for both Sony and third-party NP-FZ100 batteries (as well as the NP-FW50 used by older Sony camera models) and has four slots for simultaneous charging. In addition to storing batteries securely, the case can also serve as an organized charging hub, reducing cable clutter. According to Tilta, a full set of four batteries in the case can provide up to 13 hours of recording or approximately 2,400 photos, though actual performance will depend on real-world use.

The charging case also supports 45W PD Fast Charging – the NP-FZ100 batteries charge in 3 hours, and the NP-FW50 in 2.1 hours. The company claims this is 68% faster than a standard single charger. It weighs 176 g (0.4lbs), and the dimensions are 121.5 x 57 x 76mm (4.8 x 2.3 x 4in). Note that the charging case does not have an internal battery and must be connected to an external power source to charge batteries.

NP-FZ100 and NP-FW50 batteries with USB-C charging

The Tilta NP-FZ100 and NP-FW50 batteries are designed for Sony cameras, and both offer direct USB-C charging. This eliminates the need for a dedicated charging dock, a feature that can be especially useful for travel or on-location shoots where carrying extra gear is impractical. The batteries are designed to be fully compatible with Sony cameras without triggering pop-up warnings, a common issue with third-party power solutions.

Another key feature is the built-in battery level display, which clearly shows remaining power. The batteries also have multi-core protection, allowing them to operate reliably in temperatures from -20°C to 60°C (-4°F to 140°F).

Practical and convenient

Tilta focuses on convenience with this setup. Direct USB-C charging reduces the need for extra accessories, and the charging case streamlines power management. How it compares to Sony’s own batteries and chargers will depend on durability, charge cycle longevity, and real-world performance. But for shooters looking for a more flexible and organized power solution, this could be worth considering.

Price and availability

The portable charging station and batteries are available now for preorder. The charging station is priced at $29, the NP-FZ100 USB-C Battery (2400mAh) is priced at $39, and the NP-FW50 USB-C Battery (980mAh) is priced at $16.

For more information, visit Tilta’s website.

What features do you look for most in camera batteries—longer runtime, faster charging, or something else? Would a dedicated charging case help you stay more organized on set, or do you prefer individual chargers? Let us know in the comments!

FUJIFILM is continuing with their tradition to tease upcoming X summits, and this time, it will happen in the capital of the Czech Republic, Prague. Yuji Igarashi-san did not say much but inviting followers to “look forward to exciting news”. Now, if you look closely right at the end of this short video, the subject of said exciting news pops up for a split second. There is a slight hint of a product, darkened, of course, but it looks like a slim, stylish camera body and a fixed lens…?

Last month at CP+ in Japan, I was happy to catch up with Yuji Igarashi-san and Makoto Oishi-san to talk about FUJIFILM’s new upcoming large-format cinema camera, the GFX ETERNA. In case you missed our friendly chat, you can head over here. Nino and I also discussed it in our podcast, so make sure to tune in.

We are looking forward to seeing what will be announced at this year’s FUJIFILM X Summit, and you can count on us to be there to bring you the latest news. So, stay tuned!

Are you curious to find out what FUJIFILM has planned? For example, would you like to see the company bring out an X100V equivalent in a large form factor under the GFX line? Please share your thoughts with us in the comment section below.

As far as we are concerned, up until now, Apple, with the iPhone 15/16 Pro, did not really have any notable competition when it comes to video features that cater to serious content creators. When we refer to “video features”, we look beyond resolution and frame rate, as those are indeed important, but only tell half of the story.

Now comes Xiaomi and with the support of Leica brings an interesting device to the table, and in all honesty, as an iPhone user, the Xiaomi 15 Ultra is the first “non iPhone device” that caught my attention and raised my curiosity.

Xiaomi 15 Ultra – video capabilities

The Xiaomi 15 Ultra allows for 4K video recording at 120fps with both main and periscope telephoto cameras. The phone incorporates Optical Image Stabilization (OIS) and Electronic Image Stabilization (EIS) to reduce shake and maintain video quality. It supports Dolby Vision video recording at 4K 60fps and 10-bit Log video recording across all focal lengths. According to the company, the Xiaomi 15 Ultra is Android’s first ACES Product Partner, it provides industry-grade color accuracy for professional videography. The device includes a 4-Mic array for immersive audio recording with multiple directional recording modes.

Much like with the 14 Ultra, Xiaomi’s new flagship has a quadruple rear camera laid out in a large, round module that dominates the design. It’s equipped with Leica Summilux lenses, offering focal lengths from 14mm to 100mm zoom.

In summary, not much has changed from last year’s 14 Ultra, but the 100mm telephoto lens, now equipped with a 200MP sensor. So, the 15 Ultra has four cameras/lenses: a 14mm ultra-wide camera (a 50MP sensor f/2.2), a 23mm main camera with a fast f/1.63 aperture (features a 50MP Sony LYT-900 1-inch sensor), a 70mm “floating telephoto” (50MP sensor f/1.8 aperture), and a 100mm ultra telephoto (200MP sensor 1/1.4″ sensor size, f/2.6 aperture). 10-bit Log video recording next to 4K/24/30/60p can be conducted across all focal lengths. 4K/120fps is supported when recording on both the main 23mm camera and 100mm periscope telephoto. The phone supports 4-axis OIS image stabilisation in the main 23mm camera, next to EIS for improved image stabilisation. According to Xiaomi, Dolby Vision can be enabled at any focal length to record a greater dynamic range.

On the audio front, the 4-Mic Array includes directional audio recording, omnidirectional audio recording, and audio zoom. Unfortunately, it seems as if the phone does not support external video recording to an SSD, although it features a USB-C 3.2 Gen 2 terminal.

The Photography kit

Here is where it gets a bit more interesting… Like with the Ultra 14 offering, the “Photography kit” (connection via the USB-C), will offer additional protection, a multifunctional camera grip (The grip can also be used as a power bank, it also supports charging your smartphone without removing it), a zoom lever, a dedicated video recording button and quick control over aspect ratio, exposure, and more. The kit includes a decorative metal ring, and after attaching the 67mm filter adapter ring, the lens can be equipped with 67mm ND, Variable ND filter or other camera filters. Last but not least, with the photography grip attached, the phone together with the grip meet the IP54 standard for dust and splash resistance.

I’ll let you guys decide if this new model is worth the upgrade over the 14 Ultra, but no doubt, the Xiaomi 15 Ultra is a good example of the rather incredible journey mobile phone manufacturers have been on. Now that they finally recognized that advanced video recording capabilities are just as important as photo, we might see even more manufacturers offering expanded video recording versatility, but will it be (even more) at the expense of traditional mirrorless cameras? Only time will tell…

The Xiaomi 15 Ultra phone will be sold for around $1,600 (€1,500). For more additional information, please head to Xiaomi’s website here.

The future of mobile phones for capturing images by Xiaomi

In an interesting twist, Xiaomi demonstrated their vision for the future by introducing what they call a “Modular Optical System”. As we can see in the above video, an f1.4 35mm lens backed by a Micro Four Thirds sensor is magnetically integrated to the phone, allowing streams of data to wirelessly be transferred to the phone. We also see how photos will be treated, but hopefully this kind of concept can be implemented for video too. There is no mention of when and if this concept will become a commercial product, but regardless of this, the direction of Xiaomi and others like RealMe is clear. As we mentioned many times before, when it comes to R&D budgets, it will be difficult for traditional camera manufacturers to compete.

Do you see yourself giving up on your Apple iPhone 15/16 Pro and using the Xiaomi 15 Ultra, and if yes, why? Please share your thoughts with us in the comment section below.

You asked, we listened! Back in June, when we launched the CineD-branded CFexpress Type B SE card, which was available for a limited time only, you have been asking us to launch a Type A card. We are excited to announce we have finally done it! For a limited time only, the AV PRO SE CFexpress A CineD Special Edition card is now available on the Angelbird website for $99/€99 (160GB) and $199/€199 (330GB). (Prices are excluding taxes and shipment costs, and depending on what country you are in, will be added to the cart)

CineD CFexpress card – key features

The CineD Edition CFexpress Type A card is designed for high-data-rate video, burst photography, and 8K RAW capture. It keeps up with demanding creative workflows. Optimized for Sony Alpha and FX models, it ensures smooth, reliable performance when you need it most.

Details:

• 160GB/330GB capacity
• Max. read speed: 820 MB/s
• Max. write speed: 730 MB/s
• Sustained read speed: 750 MB/s
• Sustained write speed: 650 MB/s
• Temperature sensor: can withstand temperature extremes
• Moisture, x-ray, shock & dust resistant

Price & availability

The AV PRO SE CFexpress A CineD Special Edition card is now available on Angelbird’s website only via this direct link, while supplies last.

• 160GB for $99/€99 (excluding taxes/shipment)
• 330GB card for $199/€199 (excluding taxes/shipment)

No code is needed. Please note, depending on the country you’re in, taxes and shipment costs will be added automatically.

Availability in the UK: This was a big request from you guys, and now it’s becoming reality. Starting from April onwards, the cards will also be available for customers in the UK.

We also recommend registering your card within 30 days after purchase to receive a 3-year limited warranty.

Additionally, with the purchase of these cards, you will receive the following benefits: a data-recovery service and free 10-day access to MZed Pro, our online education platform for filmmakers and creators with 60 courses.

Thank you all for your input and support! We appreciate it and are excited to see CineD-branded CFexpress cards in action (tag us on social media!). Let us know in the comments what other products you are waiting for.

Now is the time for innovation, for something completely new. Something that we are not even sure will be legal in some Western countries due to safety (or even security) regulations, but hey, it’s exciting to see how the car industry is evolving to support the democratization of content creation.

Lingyuan is a comprehensive system that includes the DJI Air 3S drone next to a drone hangar measuring 0.29 square meters when unfolded, a positioning module, a dedicated mobile app, and advanced AI recognition and image editing software. The drone boasts impressive capabilities, including dynamic takeoff and landing at speeds up to 25 kilometers per hour, the ability to follow vehicles at speeds up to 54 kilometers per hour, and an automatic return feature within a two-kilometer range. Additionally, the drone can self-recharge, efficiently recovering battery power from 20% to 80% in just 30 minutes.

The Lingyuan system, priced at 16,000 Yuan (approximately $2,200), is designed to be compatible with multiple BYD brand vehicles, including the Yangwang U8.

This isn’t BYD’s first EV SUV with a rooftop drone system technology. The main difference is that the current Lingyuan is much cheaper than the one that was introduced about a year ago.

What do you think about an integrated car/drone system? Can you see yourself using one while driving? Please share your thoughts with us in the comment section below.

When a matte box is impractical due to space constraints or lens compatibility, taping filters onto the lens is a widely used alternative. However, tape can detach over time, especially in hot or humid conditions, and removing it can leave adhesive residue. If the tape fails, filters can fall and break, which can be costly.

Taping filters: a common practice with limitations

The Bun-G-Ring is intended to address these issues by using elastic tension instead of adhesive. It consists of a reinforced polyamide ring with Dyneema-threaded bungee cords designed to hold filters in place. The manufacturer states that the system can be installed in under six seconds and supports stacking up to five filters at once.

Design and materials

According to the product’s specifications, the Bun-G-Ring weighs 61.7g (2.17 oz) and is made from glass fiber-reinforced polyamide and stainless steel. Dyneema®, a material commonly used in aerospace and sports applications, is used in the elastic cords for added strength.

The system is advertised as being compatible with all standard filter sizes, though the practical fit may vary depending on lens and filter combinations. The manufacturer has not specified whether the Bun-G-Ring can be used with all filter thicknesses or if certain setups may require adjustments.

Development and availability

According to the people behind the product, it was developed over a period of several years, with over 120 prototypes tested before reaching the final version. The design process involved practical testing on film sets to refine its functionality.

The Bun-G-Ring is being distributed exclusively by Second Reef, with two purchasing options:

• Standard kit (€495) – Includes three different-sized Bun-G-Rings and accessories.
• Triple kit (€495) – Includes three identical Bun-G-Rings with matching accessories.

More details, including compatibility information and user guides, are available on their official website.

Industry adoption remains to be seen

The Bun-G-Ring introduces a different approach to securing filters, but its performance in professional environments will depend on real-world use, and I am guessing the “taping filters” method is often applied due to improvisational needs on set – and I question whether one will have a Bun-G-Ring available when that spontaneous need arises. Whether it provides a reliable alternative to tape will likely be determined by feedback from cinematographers and camera assistants over time.

What do you think about the Bun-G-Ring? Are you taping filters to lenses regularly?

A lot of reviewers and critics write that this year’s ceremony went as predicted, almost boring, save for a few surprises. However, when was the last time we’ve seen a movie nominated in stunning 13 categories, live through the biggest change of fortune, and win just two awards? (I’m talking about “Emilia Pérez,” naturally, which took home trophies for Best Leading Actress and Original Song). A more interesting question: How long ago did another low-budget indie film score all the major wins at the Oscars?

Oscar winners 2025: four awards for Sean Baker

Oh yes, “Anora,” the Academy’s darling of the year. A satirical story that follows a sex worker in the Russian-Armenian neighborhood in Brooklyn, with vintage lenses, chaotic vibes, and a roller-coaster of emotions. The Award’s spotlight, though, was on the man behind the movie. In just one night, Sean Baker went from a filmmaker with no Oscars to a filmmaker with four Oscars, repeating the record of none other than Walt Disney. Baker picked up awards for the original screenplay and directing. Since he also edited and produced Anora, he had to take the stage two more times. That’s the kind of thing that’s more common in indie projects than in blockbusters, isn’t it? Either way, we appreciated his brief but heartfelt speeches.

Surprise, surprise

In total, Anora took home five Oscars, but one of the most talked-about surprises online was Mikey Madison winning Best Actress in a Leading Role over Demi Moore. There’s no debate – both delivered outstanding performances. While Mikey is just launching a career in Hollywood (and doing it spectacularly), Demi Moore’s intense and fearless portrayal of Elisabeth Sparkle marked an ice-breaker after years of silence. Yet, the recognition didn’t follow.

As someone wrote on Reddit: “It’s so ironic she loses for her role in The Substance to a 25-year-old.” (Which is probably the most “The Substance-y” thing that could happen to her). Maybe ironic, but surely not unfair. Again, Mikey’s performance in “Anora” was spot on, and I, personally, am very happy for her. However, many connect this decision to the Academy’s everlasting refusal to acknowledge horrors. Well, at least “The Substance” scored an Oscar for makeup and hairstyling, which they fully deserved.

Best cinematography winner

A 3,5-hour monumental movie about a Holocaust survivor, “The Brutalist” pocketed three Academy awards: for the Actor in a Leading Role (meaning the second Oscar for Adrien Brody), the Best Score, and its outstanding cinematography. I massively enjoyed watching the movie and admired Lol Crawley’s work. However, it’s a bummer that epic visuals of “Dune: Part Two” left empty-handed. Maybe because the masterful approach of Greig Fraser already got a cinematographer’s nod for the first part of this sci-fi beauty?

At the same time, “Dune: Part Two” went home with two well-deserved Oscars for the best sound and visual effects. To no one’s surprise.

The reactions follow

Well, this was a massive night for Sean Baker. His fans triumph all over the Internet, alongside indie genre lovers. Reactions have split into three groups. The first celebrates Anora‘s success and encourages others to explore Sean Baker’s earlier films, like Tangerine and Red Rocket – with some even arguing those are superior to Anora.

Commenters from the second group don’t understand the hype of this comedy drama and call it “a safe choice.” They either liked it but were surprised that it won so many awards or didn’t like it at all but admired its low-budget indie approach.

Indie film lovers, in turn, jubilate the fact that more and more indie productions get the Academy’s recognition. They hope that “Anora” resonates with studio executives, and this will increase financial support for independent projects. Let’s hope that too!

All Oscar winners 2025

You can find the full list with all winners in 23 categories here. 

What do you think about the Oscar race results? Were there any (un-) pleasant surprises for you? Which movie was left out unfairly, in your opinion? And what win brought you the most joy? Let’s discuss the Academy Awards in the comments!

Feature image source: ABC News / A.M.P.A.S. 2025.

I’m not sure how many of you have been to Yokohama, but if you haven’t, do yourself a favor and add it to your list. The town – especially the area around the Pacifico convention center – is always a pleasure to stroll through. And if you’re one of those crazy people who actually like to jog, you’re in luck – the whole place has a great sporty atmosphere and scenic surroundings.

CP+ highlights – the cameras

But let’s focus on the mission of highlighting some of the products we saw there. As expected, all the major Japanese camera companies were present at the show with impressive, well-designed booths. While OM is extremely popular in Japan (their booth is always packed) and Panasonic was proud to show their newly announced S1R II, Sony was busy letting people get hands-on with their new 16mm and 400-800mm G lenses. Nikon was showcasing the latest RED camera edition with Z-mount next to the newly announced Nikon 28-135mm f/4 PZ. (This lens looks cool on the Nikon Z 9…). I’m simplifying here as all companies had much more to present.

OK, so what caught our attention?

FUJIFILM: We’ve already widely discussed the development status of the upcoming GFX ETERNA. For those who missed reading the article or watching the interview, here is a short recap. FUJIFILM is on track to present the final product this year. Currently, the company has revealed that it will offer a 4K open gate recording mode next to dual ISO sensitivity (800/3200). The camera package will include a 5-inch touch monitor.

Canon: Somewhat quietly and under the radar, Canon announced and showcased the new PowerShot V1. According to the company, the target group for this 4K camera is clearly content creators. Personally, I think it was built to satisfy a wider range of users if you look at what it has to offer. Equipped with a 22MP 1.4″ image sensor, built-in ND, 10-bit 4:2:2 recording, Canon Log3, cooling fan (for extended recording time), front tally, zebra, 16-50mm equivalent f/2.8-4.5 lens, vari-angle LCD screen, and more (note that 4K/60p recording will suffer from a 1.4x crop). This easy-to-use, ergonomically designed camera might appeal to many. But before you rush out to get one, keep in mind that it’s currently available only in Japan, with a worldwide release planned later this year. In Japan, the camera costs 148,00 Yen, which is roughly less than $1,000.

SIGMA: It seemed as if SIGMA was the one to steal much of the attention. According to SIGMA themselves, they did not anticipate the hype surrounding the new BF camera and new lenses and were pleasantly surprised to see the level of interest shown by visitors. Although this camera is not breaking any world record in specifications, nor is it comfortable to hold, it is the look that attracted people. Made from a single solid aluminum block, it instantly became a fashion statement. Between the black or silver colors I find the latter to be nicer, but at the end of the day, it is really a matter of personal taste.

Speaking of which, I’m sure many of you have noticed the new SIGMA logo next to the different font the company has started using. How do you like it? Please share your thoughts in the comment section below.

Lenses

Sony, Laowa, Viltrox, ZEISS, 7Artisans and others showed their latest offering at the show. While some of these new products might be great, the two lenses that captured our attention were from LK Samyang x Schnider Kreuznach and SIRUI.

LK Samyang x Schnider Kreuznach: If you are sharp-eyed, you noticed that Samyang went through a rebranding phase and next to their new logo, the company’s name has changed to “LK Samyang”. As end-users we might not feel the difference, but I’m curious to learn more about why this happened. Currently, there are not too many details about this new E-mount lens, but it did get a lot of attention!

SIRUI: The company showed their upcoming 20mm 1.33x, S35 autofocus anamorphic lens, promising to improve the AF functionality after hearing concerns from users who purchased the 40mm AF anamorphic. All in all, with SO MANY photo/video/cine spherical lenses currently being brought to the market, I was happy to see something a bit different. When it comes to autofocus anamorphic lenses, I still think that BLAZAR with their two Apex 1.33x lenses are more suitable for filming, but for the occasional photo/video user the SIRUI might be the easier choice.

So that’s it! With another show wrapped up, we at CineD are now shifting our focus to preparing for NAB… :)

Did you follow CP+? If yes, what product was your personal highlight? Please share your thoughts with us in the comment section below.

Atomos has a history of producing monitors and recording devices aimed at streamlining professional video workflows. CineD has covered their products, including the original Shinobi and the Shinobi II, released last year, highlighting their focus on high-quality displays and practical tools for filmmakers.

The features

The Shinobi GO has a 5-inch display with 1920×1080 resolution, 10-bit color processing, and 1500 nits brightness for visibility in bright environments, and it retains the key features of the Shinobi II, including false color, zebra, histogram, waveform, and vector scope. The GO runs on Sony NP-F batteries (sold separately) or can be powered via USB-C with a power bank, making it convenient for extended use.

A locking connector adapter is included for HDMI and USB-C ports, and when paired with Atomos locking cables (sold separately), it helps prevent accidental disconnections. The Shinobi GO is also compatible with the same sun hood and accessories as the Shinobi II – so if you’re already using Atomos gear, that’s a plus.

The Shinobi GO features a SuperAtom IPS panel with capacitive touch for intuitive control. The monitor measures 151 x 91.5 x 20.8 mm (5.94 x 3.60 x 0.82 in), or 28.5 mm (1.12 in) in depth with the locking cable adapter attached. It weighs 210g (7.4oz) and features a 1/4-inch 20 mounting point with anti-rotation slots on the bottom. Built to withstand ambient operating temperatures of up to 40°C (104°F), its body is constructed from ABS polycarbonate plastic. For a detailed breakdown of all the monitor’s specifications, check here.

Price and availability

The Atomos Shinobi GO is priced at $249/€249 before taxes and is available now. For more information, and to compare the Shinobi GO with the Shinobi II, please see the Atomos website here. If you find you do require those extras, i.e. camera control, touch-to-focus, or EL ZONE, the Shinobi II is priced at $349/€349 and is also available now.

What features do you look for in a monitor at this price point? Do you think the Shinobi GO is a good addition to the lineup? Let us know in the comments!

Based on intoPix’s TicoRAW, Nikon’s compressed RAW format first made its debut in the Nikon Z 9 with firmware V2.0 and later found its way into the Z 8 and Z6 III (which, by the way, just got a major firmware update). Overall, N-RAW has proven to be a pretty flexible format but currently suffers from one major limitation. Indeed, at the moment, the only non-linear editing software that supports it is DaVinci Resolve and Edius.

In truth, the Adobe team had already been working on integrating N-RAW support into their video products, but shortly after Nikon acquired RED, they oddly halted the development. Now, they’ve reversed that decision. Let’s take a look!

Nikon N-RAW – coming to Adobe software later this year?

Just a few weeks ago, RED included full support for Nikon N-RAW in the latest release of REDCINE-X Pro (Beta), thus allowing Nikon users to process their N-RAW clips using RED’s IPP2 (Image Processing Pipeline 2) workflow chain.

At the same time, RED updated their SDK (Software Development Kit) to include support for N-RAW. So, technically, this means that any third-party developer could now integrate N-RAW processing into their software, including – but not limited to – Adobe.

As a result, Adobe engineers picked up right where they left off, as confirmed by Fergus Hammond, Principal Product Manager for Adobe Audio & Video, in this thread:

Hi all,
I have good news for people following this thread: we have restarted work on adding Nikon N-RAW support to our video products. We expect to release N-RAW support later this year. 

For the curious, N-RAW support is coming via an update to RED’s SDK. Adobe has worked closely with RED for many years to support RED’s R3D format, so we are delighted that the purchase of RED by Nikon has resulted in N-RAW support being added to the RED SDK.

As soon as N-RAW support is available in public beta, I will update this post. 

Fergus Hammond, Principal Product Manager for Adobe Audio & Video

For more information, please visit the original thread here.

Have you ever tried shooting in Nikon N-RAW? Do you use Adobe Premiere Pro for your video editing needs? If so, are these Adobe updates relevant to you? Let us know your thoughts in the comment section below!