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.

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.

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.

The end of February brings beautiful weather and blue skies to Yokohama, where CP+ is taking place. But we won’t really have the opportunity to enjoy it as we spend most of our time storming the show floor, cherry-picking the information worth sharing with you guys. One story that we were eager to learn more about is how the development of the FUJIFILM GFX ETERNA is proceeding. The camera was originally announced in November 2024 at InterBee, but now, three months later, we want to hear more. So, in a nutshell, here is what we have gathered:

Next to the usual 16×9 recording option, the camera will have a true 4K open-gate recording mode. This differs from the mode found in the GFX100 II as it will cover the entire 4×3 sensor. Next, it is dual ISO recording in either 800 or 3200. Working with either ISO value will ensure the highest possible dynamic range.

Next was a little surprise. The camera will have a 5-inch touchscreen monitor as part of the package. According to FUJIFILM, the monitor is being developed and produced internally. A dedicated EVF is also being considered, but we are only guessing.

In this interview, we discussed the rolling shutter performance of the camera, and it seems as if at 4K 16×9, 15ms will be achieved (similar to the GFX100 II).

The next opportunity to discuss this camera will be at NAB in April.

What are your expectations from the FUJIFILM GFX ETERNA camera? Please share your thoughts with us in the comment section below.

Following Nikon’s acquisition of RED last year, the Japanese company probably feels a bit of pressure to perform and prove that their products can live up to the demanding standards of the filmmaking community. And while the first RED cameras with Nikon Z mount are shipping already, Nikon never seems to forget about constantly improving their Z series mirrorless lineup via a strong firmware update game.

Indeed, at the end of last year and 3+ years after its initial release, the flagship Z9 received another major firmware update (V5.10), adding Shutter Angle and refined customization options for monitoring tools such as zebra, histogram, and waveform. Those same features are now being ported over to the Z8 and Z6III. Let’s take a look!

Firmware V2.10 for Nikon Z8 and V1.10 for Nikon Z6III – features

One of the most interesting features that comes with firmware V2.10 for Z8 and V1.10 for Z6III is the addition of a new Shutter Mode option. Essentially, this allows you to select whether your camera displays the exposure time in seconds or angle.

Using the Shutter Angle option can help you speed things up in the field, especially if you change your frame rate very often. When Shutter Angle is selected, the exposure time can be adjusted in 15 steps ranging from 5.6° to 360°.

Moreover, users now gain better control over the appearance of useful exposure tools. Indeed, you can now select the color of the zebra pattern among five available options (black/gray/red/green/blue) as well as adjust the size, transparency, and position of the histogram or waveform monitor. For me, the latter is a small but very welcome addition, as I noticed it’s easy for the waveform monitor to get in the way when using my Z6III.

Last but not least, the firmware adds new options for the Hi-Res digital zoom function as well as optimized controls for Power Zoom lenses. Hi-Res zoom can now be used even in DX crop mode, although only up to 2160p on the Z8 and 1080p on the Z6III, and can also be synced to the optical zoom of PZ lenses via a new Power/Hi-Res Zoom Collab menu item.

On the other hand, you can now change the rotation and range of the zoom ring on Power Zoom lenses, and you can also select different zoom speeds when performing a zoom using either the zoom lever on the PZ lens or the button controls.

Improved image quality for Nikon Z6III?

Among the release notes of firmware version V1.10 for the Nikon Z6III, we can read “Reduced noise in dark areas of N-Log videos.” Although I have never experienced any issue when shooting N-Log on my Z6III, I have read comments online of people complaining about some weird flickering/artifacts appearing in the shadow areas of N-Log footage, especially when shooting away from the native ISO values.

If that’s your case, I encourage you to test out the new firmware and see if your issue has been addressed. And please, don’t forget to report back on your findings in the comment section below!

Price and availability

The new firmware V2.10 for Nikon Z8 and V1.10 for Nikon Z6III are now available to download for free from the manufacturer’s website. Nikon has also made available two Supplement Firmware Update Manuals (Z8 / Z6III) to guide you in further detail through these new features.

For the full firmware release notes, please visit Nikon’s Download Center here.

Have you ever shot videos on the Nikon Z8 or Z6III? What do you think of these new features? Let us know your thoughts in the comment section below!

Today, Panasonic announced a new full-frame mirrorless camera, the LUMIX S1RII. As the name implies, this is indeed Panasonic’s high-resolution full-frame photography flagship. Six long years have passed since the release of the LUMIX S1R, and looking at the spec sheet for the new “mark II,” I have to admit it was well worth the wait.

Make sure to also check out the video of my colleague Johnnie, who sat down with Matt Frazer from Panasonic to ask him everything you need to know about the new camera.

While aimed primarily at photographers, this camera seems like it will not disappoint filmmakers either. Is this a hot candidate for the best hybrid camera of 2025? Let’s take a quick look at the camera’s features and specs.

Panasonic LUMIX S1RII – 44MP sensor with dual native ISO and IBIS

The new L-Mount camera LUMIX S1RII boasts a newly developed 44.3MP BSI CMOS image sensor. Additionally, the camera offers a handheld high-resolution mode, resulting in approximately 177MP stills.

When it comes to speed, the photo burst mode can achieve up to 40fps with AF tracking. There is also a pre-burst mode, which starts taking pictures before the shutter is fully pressed.

Regarding ISO, the sensor has a dual native ISO feature that uses different values for different color profiles (more about V-Log modes further down):

• Normal – low base 80, high base 400
• V-Log (dynamic range expansion off) – low base 200, high base 1000
• V-Log (dynamic range expansion on) – low base 400, high base 2000
• HLG – low base 320, high base 1600
• Cinelike A2, D2, V2 – low base 160, high base 800

The sensor features a new generation 5-axis stabilization (IBIS) with 8.0-stop shutter compensation. It also supports Dual I.S. when used with a compatible stabilized lens.

On par with Panasonic’s latest mirrorless cameras, the new S1RII has a phase Hybrid AF system with AI tracking and eye/face detection.

Video – 8K30, 6.4K open gate, 5.9K60, 4K120 full-frame

In my opinion, the video features of the new LUMIX S1RII are very impressive. Thanks to the high resolution, the camera can shoot up to 8K 30fps video, 6.4K 3:2 open gate, slow motion up to 5.9K 60fps and 4K 120fps in full-frame mode, or even internal raw video. The list of supported resolutions and framerates is endless, so I tried to pick the most important modes:

• 8.1K – 8128×4288 (17:9) – 24, 25, 30fps
• 8K – 7680×4320 (16:9) – 24, 25, 30fps
• 6.4K – 6432×4288 (3:2) – 24, 25, 30fps
• 5.9K – 5888×3312 (16:9) – 24, 25, 30, 48, 50, 60fps                 
• 5.8K – 5760×3040 (17:9) – 24, 25, 30, 48, 50, 60fps
• C4K – 4096×2160 (17:9) – 24, 25, 30, 48, 50, 60, 100, 120fps
• 4K UHD – 3840×2160 (16:9) – 24, 25, 30, 48, 50, 60, 100, 120fps

All of these modes are available in full-frame (full sensor) mode. The 5.9K or lower resolutions are additionally available in the pixel-to-pixel mode. Finally, there is also an APS-C mode, which is available for C4K and 4K UHD resolutions, as well as an additional 4:3 mode:

• 4.7K – 4736×3552 (4:3) – 24, 25, 30, 48, 50, 60fps

To offer maximum flexibility, depending on the resolution and framerate, you can choose one of the following codecs:

• MOV LongGOP H.264 10-bit 4:2:2 (bitrate from 100 to 300Mbps)
• MOV LongGOP H.265 10-bit 4:2:0 (bitrate from 100 to 300Mbps)
• MOV ALL-Intra H.264 10-bit 4:2:2 (bitrate from 400 to 800Mbps)
• MP4 LongGOP H.265 10-bit 4:2:0 or H.264 8-bit 4:2:0
• Apple ProRes 422 or 422 HQ (bitrate up to 1.9Gbps)
• Apple ProRes RAW or RAW HQ (bitrate up to 4.2Gbps)

In S&Q mode, the camera can achieve up to 5.9K 60fps or 4K 120fps in 10-bit 4:2:0 H.265 (some modes also in ALL-Intra 4:2:2), all in full-frame mode without crop.

Video – internal ProRes RAW, dynamic range, upcoming firmware update

Talking about internal ProRes RAW – the LUMIX S1RII can currently record only in one resolution – 5.8K 5760×3040 (17:9) in a pixel-to-pixel mode (with a slight crop) and in framerates of 24, 25, or 30fps. The good thing is that both standard and HQ flavors are available. The camera can record internal raw video to the CFexpress Type B card.

Regarding dynamic range, Panasonic claims the S1RII can achieve up to 13 stops in V-Log or up to 14 stops (when dynamic range expansion is enabled). It will be interesting to see how the camera performs in our lab test.

Panasonic did not forget to tease additional features that will come with a future firmware update later in 2025. The S1RII will get at least two more features:

• 8.1K (and 7.2K) open gate video recording mode
• Raw video output via HDMI to record to a compatible external recorder

I would personally like to see additional internal ProRes RAW modes added with a future update, such as 4K60fps.

For stabilization in video mode, on top of the IBIS, the camera offers electronic stabilization and a new cropless E.I.S. video distortion correction.

LUMIX S1RII – camera body, connectivity, audio

The LUMIX S1RII body closely resembles the S5II series cameras, but it adds a few clever features. First, there is the tilt and free-angle 3” LCD touchscreen monitor at the back, which allows for unobstructed positioning even when the cables are attached to the camera body.

The dimensions of the camera body are approximately 134.3 x 102.3 x 91.8 mm (5.29 x 4.03 x 3.61”), body only, excluding protrusions, and it weighs approximately 795g (1.75 lb) – body, hot shoe cover, battery, and one SD memory card, excluding body cap. There are two memory card slots – one SD and one CFexpress type B.

The S1RII has a magnesium alloy shell that is weather-sealed. Just like the LUMIX S5II series, this camera features an active cooling system. The EVF features an OLED screen with approximately 5.76M dots resolution with an eye sensor. This is perhaps one of the highest-resolution viewfinders I have seen recently.

In terms of connectivity, there is a full-size HDMI port, USB-C with power delivery, 3.5mm microphone input, and 3.5mm headphone output. The camera is also compatible with Panasonic’s DMW-XLR2 audio adapter, which equips the S1RII with 32-bit float audio recording. The USB-C port also supports video output directly to an external SSD.

LUMIX S1RII – Apps compatibility, camera to cloud

The LUMIX S1RII will be compatible with the LUMIX Lab app that enables LUT management (loading LUTs straight to the camera, etc.) and speeds up image transfer and color editing for quick sharing.

Additionally, a new LUMIX Flow app will be launched to enhance video production workflows. Panasonic says it will include a range of features from storyboard creation and shooting to file organization. The app will offer two different modes:

• Smartphone mode – helps with video creation, such as scripting and editing a short drama, documentary video, or dance video.
• External monitor – use a smartphone as an external monitor while shooting, with the possibility to change and adjust the camera settings on the mobile device.

LUMIX S1RII supports camera-to-cloud integration with frame.io and tethering via Capture One.

New battery grip DMW-BG2

Along with the new LUMIX S1RII, Panasonic announced a new battery grip, DMW-BG2, which provides extra battery life and enhanced ergonomics for vertical shooting. The battery in the battery grip can be exchanged while the camera is on (hot swap). The grip also helps power the camera when shooting in certain demanding modes.

Price and availability

The LUMIX S1RII can be pre-ordered now, and it should start shipping in late March 2025, according to Panasonic. The camera will be priced at $3,299.99 (around €3,650, including VAT in Europe).

What do you think about the new Panasonic LUMIX S1RII? Are you invested in the L-mount ecosystem? Do you see the LUMIX S1RII as a valid reason to switch to the L-mount system? Let us know your thoughts in the comments section underneath the article.

The LUMIX S1RII is here promising to be Panasonic’s hybrid flagship camera, and although in the above interview, we did not deal with the photo side of the new camera, Matt clearly indicated that the S1RII was designed with photographers in mind, too.

So here is a quick rundown of the questions asked in this interview:

00:43 – What took Panasonic so long to announce the new S1RII?

01:42 – Where is the LUMIX S1HII?

02:11 – Why it took Panasonic so long to introduce an 8K camera?

02:52 – What are the main features of the S1RII?

05:18 – Is the EVF found in this camera the same as in the LUMIX S9? (Joking, as the S9 has NO EVF)…

05:42 – Internal ProRes RAW recording, additional details

05:55 – Is the camera supporting the new CFexpress V4 cards?

06:26 – The sensor is new. What about the processor?

06:45 – Open-Gate recording and the upcoming firmware update

08:09 – Is it a “real open-gate” (or recording a “window” of the sensor)?

08:50 – All about external video recording (resolutions and frame rates)

11:20 – The new Cinelike A2 photo style

12:42 – Dual ISO explained

13:47 – Dynamic Range expansion explained

15: 14 – The enhanced camera stabilization capabilities explained

18:59 – Best in class autofocus?

21:37 – Does the autofocus work in a high frame rate recording?

22:36 – Where is the ARRI LogC3 picture profile?

23:40 – What is hybrid zoom?

25:13 – Camera menu revised. Was it hard to achieve?

27:44 – False color and frame markers explained

29:16 – The new LUMIX flow app explained

33:52 – App availability for iOS and Android and an explanation of how to use it without the S1RII camera

34:43 – Is this app similar to the Blackmagic Camera app?

35:04 – Will the app be available for other LUMIX cameras?

35:28 – Audio: 32-bit float audio recording explained

36:50 – What are the challenges of recording 32-bit float audio internally WITHOUT an XLR adapter?

38:46 – With so many new features, what is Matt’s favorite one?

40:08 – With a $3,300 price tag, what other cameras compete with the S1RII?

40:47 – Will the camera be available right after the announcement?

41:05 – Should we expect additional cameras to arrive this year?

41:45 – Did we forget to ask anything? (A quick talk about the photo capabilities of the camera).

Phew, it is a long set of questions and a very long interview, yet we hope that you guys can find the information you were looking for. What I take from this friendly conversation is that Panasonic will continue to push their envelope, enhance this new camera with future firmware updates, and bring more tools to the market. (It will be interesting to see what’s up their sleeve, as the S1RII is a pretty comprehensive device). With Panasonic promising 14+ stops of dynamic range, we are currently working hard on testing the camera for an upcoming Lab Test, and we will let you know as soon as we have anything to share with you guys.

Is the LUMIX S1RII the camera you have been waiting for? Would you consider buying it for your video needs? Please share your thoughts with us in the comment section below.

In a world of conservative camera design, where most cameras still follow the same design philosophy dictated by 35mm film cameras, SIGMA’s innovation is much appreciated. The company has a respectable tradition of innovation regarding design and user experience. While it won’t necessarily sway the masses, this approach challenges the rest of the market, rattling the boat and making us all rethink what could have been.

What exactly is the SIGMA BF?

One can try to put the SIGMA BF in the compact full-frame camera’s box. It will fit the premium product box nicely as well, with its all-metal, sleek aluminum body. The lack of a mechanical shutter may be too much for hardcore photographers, but it’s becoming somewhat of a common feature among hybrid cameras. However, the BF will hardy fit that box with no mic or headphone jack to be found. As with its most direct predecessor, the SIGMA fp, this camera occupies a segment of its own.

The bare specifications

The SIGMA BF spec list may not be leading-class, but it’s still quite impressive, especially considering the compact body housing it. The camera will be able to shoot 6K videos at up to 30P and FHD at up to 120P. The camera will have HEVC support and SIGMA’s L-Log on board. No other settings have been disclosed yet, and I wouldn’t get into gambling with such a unique camera. A 24-megapixel BSI CMOS is at the heart of the SIGMA BF. This one comes with PDAF sensors, so it should provide decent autofocus for both stills and video capture (as always – we’ll have to test it and see). The sensor has no mechanical stabilization, but the camera does have electronic stabilization for video.

Innovative user experience

The SIGMA BF features somewhat of a “closed-loop” design, with next to no ports, doors, or slots. The camera uses an internal 230GB memory, taking a page from Hasselblad, Leica, and Zeiss’ book, but unlike them, SIGMA completely omitted the card slot, so no direct backup can be made on the go. The battery bottom plate doubles as the battery door to minimize moving parts. The rear control buttons are touch-sensitive, haptic panels with a metal dial on top. Controls have been simplified to the essentials, with a deeper menu available if you wish to dive into it. The SIGMA BF is all about intuitive, streamlined operation guided by decisive design choices.

The glass ceiling

Be it the SIGMA BF or any other full-frame compact, the physics are straightforward: The larger the sensor, the larger the image projection circle, and the larger the lens. Whenever one calculates the weight and bulk of a new compact, the lens must be added. SIGMA has adorned the BF announcement with a series of silver “i” lenses to match its style. They do a great job, in my opinion. Not only will the lens look great, but the aperture ring may enhance the desired intuitive operation. However, no lens will maintain the same flush design or remain pocketable when attached to the camera.

Who is it for?

As mentioned above, the SIGMA BF can’t be easily assigned to any common segment. If I had to, I’d say SIGMA has launched a new subsegment of premium compact cameras. The Japanese manufacturer’s take implemented highly modern practices, creating a user experience more akin to smartphones than to legacy cameras. Some manufacturers have tried to walk this path before. The Zeiss ZX1 was probably the closest. Hasselblad’s X1D and its predecessors also incorporated some innovative features, and there are others. All have created impressive cameras, and some have even been quite successful, but SIGMA seems to go all the way with the BF, making it a unique camera that may cater to the needs (and desires) of a new generation of smartphone upgraders, design enthusiasts, and anyone who wants a visually striking camera.

Alternatives

Several cameras out there may challenge the SIGMA BF, at least on some fronts. Its closest competitor for the uniquely designed compact can only be its SIGMA stablemate – the fp (or the 60-megapixel fp-l). This duo offers an interesting design with some functional advantages. However, they can’t quite match the exquisite monoblock aluminum shell of the BF.

The Panasonic LUMIX S9 is also a contender with a comparable feature set and a more colorful design. It’s not built to the same standards, which probably helps it on the affordability front. Other alternatives may be found in the fixed-lens arena, with the likes of the Leica Q series or recent FUJIFILM X100 offerings.

Price and availability

The SIGMA BF is available to preorder for $1,999 in either black or silver. No shipping date has been disclosed as of the time of this article’s writing.

Are you intrigued by this radically simple, unibody design? How would you put such a unique camera to use? Let us know in the comments.

Today, the new M-Lite REVO was released – a DIY kit that can turn a Canon EOS M camera into a riggable box-style camera. It builds on the legacy of the first M-Lite kit, released in 2023, while improving the body, build quality, connectivity, and more. Let’s take a quick look at the details.

Why the EOS M?

As we have not posted much on the topic here at CineD yet, I thought I would first briefly explain the camera choice. Why does the M-Lite team bother to design a box-style rehousing kit for an “entry-level” mirrorless camera that is almost 13 years old from Canon?

The answer is that this little camera (by the way, Canon’s first-ever mirrorless camera) still runs the same software found in Canon’s DSLRs of that time. This means the EOS M can be enhanced with custom software called Magic Lantern. To my understanding, the newer EOS M series models came with different software, which made Magic Lantern very problematic or impossible to adapt.

Magic Lantern (ML) is third-party software (installed only at your own risk) that runs off a memory card and unlocks some very interesting features. One of those features is the ability to shoot up to 14-bit raw video in various resolutions, aspect ratios, and framerates from 2K up to 5.2K. Additionally, thanks to the EF-M lens mount, it is possible to use a variety of vintage and SLR lenses through adapters.

There are a few versions of ML, which I will not go into detail about in this article. Of course, using ML to shoot raw video requires a bit of learning, but it is quite fun once you get into it. If you are interested in learning more about it, there is a lot of content on YouTube on this topic, and there is a helpful forum as well. Long story short, thanks to Magic Lantern, the old EOS M got a second life and became a very interesting budget cinema camera.

M-Lite REVO

While it is, of course, possible to only use the Canon EOS M with ML to shoot raw video, there are a few shortcomings. Apart from the obvious limitations, such as rigging, connectivity, and power, there is also a heat dissipation issue. Because the EOS M has a tiny closed body, the camera gets hot quickly when shooting raw video as Magic Lantern pushes the camera’s CPU to the limit. The M-Lite kits include a built-in Noctua fan that helps keep the camera brain cool.

The company Filmatura, based in the Czech Republic, launched the first M-Lite DIY kit back in 2023 in collaboration with IMCE (AltCine), and its popularity mirrored the excitement around the EOS M filmmaking community. The new M-Lite REVO features a redesigned body with better CNC-machined mounting points, a custom-made carbon-fiber composite shell, and improved connectivity.

On the back, M-Lite REVO includes an NP-F battery plate, 12V DC barrel output, USB-C PD input, full-size HDMI output, and a 3.5mm jack input. On the sides are multiple mounting threads, cooling vents, and the original EOS M control panel. The camera’s display is on top, and an option to use an angled adapter is available. At the bottom are mounting threads for baseplates and a large opening to provide access to the SD card slot.

Filmatura builds every camera kit by hand in small batches in their workshop in the Czech Republic. According to the M-Lite REVO creator Tom Kamín, this helps to reduce the carbon footprint and to be environmentally responsible.

M-Lite REVO key features & specs

• Custom-made carbon fiber composite shell
• Professional grade inputs & outputs, including full-size HDMI and 3.5mm mic input
• USB-C charging input
• 12V DC barrel accessory power output (optional low-profile D-tap output available)
• Silent internal active cooling system
• Multiple pro-grade ¼-20” attachment points
• Fully integrated power distribution system compatible with Sony NP-F style batteries.
• Core to a growing array of custom accessories.

New accessories for M-Lite and M-Lite REVO

Additionally, Filmatura introduces new custom-designed and manufactured CNC-machined accessories, as well as a growing number of 3D-printed options for the M-Lite REVO and the original M-Lite. These aim to expand the camera’s rigging, power, and usability.

There are new handles, cheese plates for alternative power solutions, NATO rails, and an expanded top plate, for instance. Furthermore, angled screen adapters to improve ergonomics, or the D-Tap PowerPlate to add greater power flexibility are being added to the accessories portfolio.

Price and availability

The first batch of M-Lite REVO will be available on February 18, 2025, via the new Filmatura webpage. The whole DIY kit costs $299.95, including the camera housing and all the components and tools required for the conversion.

The only other thing required is, obviously, the Canon EOS M camera to use as the “brain” of the camera. These are currently available used online for around $150 to $300. That makes the resulting camera quite a bargain, in my opinion (if you get comfortable with ML).

Filmatura prepared an easy-to-follow video manual on how to do the conversion. As the creator of the M-Lite series, Tom, says, the conversion is quite straightforward and requires no drilling or soldering. It is also non-destructive, so the EOS M can be reassembled into the original housing again if required. There is a community group on Facebook around the M-Lite conversion kits, so feel free to join if you are interested.

What do you think about the new M-Lite REVO? Would you DIY your own cinema camera? Were you familiar with the EOS M and raw video capability? Let us know in the comments section underneath the article.