Blackmagic Design made some very interesting announcements at this year’s NAB, including the PYXIS 12K camera and matching accessories. The Blackmagic Design URSA Cine Immersive Camera was announced in June 2024 and has been available for preorder since December 2024; however, it hasn’t started shipping yet. We stopped by Blackmagic Design to talk with Matthew DeJohn about the company’s progress on the camera and software development.

Blackmagic Design URSA Cine Immersive – features

The URSA Cine Immersive looks like nothing else on the market. Indeed, this camera combines two 12K image sensors to provide the high-resolution imagery needed for Apple’s Vision Pro. While it remains to be seen if “immersive video” will catch on meaningfully, it is always good to see manufacturers working together to bring new experiences to audiences, and we know that there has been demand for that as it has been quite complicated to shoot for the device up until now. Please check out our special podcast episode of Focus Check on the challenges of shooting immersive video for the Vision Pro.

However, the dual-fixed lens design “upscales” a classic approach to stereoscopic imagery: two lenses of fixed distance and a fixed focus depth. The URSA Cine Immersive captures data inside and outside of the viewer’s field of view, allowing viewers to look around within the captured video, for a viewing angle of over 180 degrees. Each 12K sensor uses an 8K image circle.

This helps explain why Apple’s Vision Pro has such demanding capture requirements. Indeed, the Apple Vision Pro requires 8K resolution to be captured per eye. The footage must be recorded at 90fps, and the codec must be camera raw (BRAW in this case). Together, all of these requirements should produce the effect of “being there” for the audience member.

Apple and Blackmagic Design collaborated on the product and the post-workflow to ensure seamless integration with the Vision Pro headset. Of course, all of that data needs to be stored somewhere. Blackmagic Design includes an 8TB media module, which holds about 90 minutes of footage. Media modules are available in 8TB and 16TB capacities.

Monitoring on the URSA Cine Immersive

The touchscreen on the camera allows you to monitor your shot. It overlays the captured image with a custom frame guide. You can see the 180-degree field of view that the camera captures. The Apple Vision Pro’s field of view is inside that. You can toggle to switch between the left and right eye or tap to punch in.

Currently, you cannot live monitor the camera’s signal using Vision Pro, as the firmware is still in beta. However, they are optimistic that there will be a way to stream directly to a Vision Pro from the camera in the future. If you want to monitor your image externally, you can send an SDI signal out from the camera into DaVinci Resolve for live monitoring.

DaVinci Resolve integration

Blackmagic has also been hard at work on the post-production side. DaVinci Resolve has a new workflow named “Apple ProIM.” This makes the timeline into a stereoscopic timeline. You’ll see tools for tweaking each “eye” and export settings to export movies for the Vision Pro.

The Apple ProIM workflow is distinct from other stereoscopic workflows because it passes Vision Pro-specific metadata from capture through post and into the device itself. The key portion of this metadata is the lens calibration information that gets preserved in the BRAW file. This explains why Apple had to work so closely with Blackmagic to get the whole immersive pipeline working correctly.

Apple Vision Pro integration

Apple just released a free app called the Apple Immersive Video Utility that allows users to “import, organize, package, and review Apple Immersive video media on their Mac.

Pricing and availability

The Blackmagic Design URSA Cine Immersive is now available to pre-order. It was originally priced at $29,995, but prices may be higher in the US due to the new tariffs.

For more information, please visit Blackmagic Design’s website here.

What do you think of the URSA Cine Immersive? Would you be interested in getting one and shooting unique content with it? What kinds of stories would you want to tell? Let us know in the comments below!

FUJIFILM GFX ETERNA – the company’s upcoming box-style cinema camera – is still under development. During this year’s NAB show in Las Vegas, we again met with the FUJIFILM team to get more new updates on the project. Let’s take a look at what the ETERNA promises to bring to the table once released.

FUJIFILM GFX ETERNA – what we know so far

The last update on the development of this interesting camera was back in February 2025 when Johnnie met with the team behind the camera at the CP+ trade show. Back in Yokohama, FUJIFILM told CineD that the camera would have the following features:

• Dual native ISO of 800 and 3200.
• 4K open gate mode (the whole 4:3 sensor)
• A 5″ touchscreen monitor, which will come with the camera
• Sensor readout speed will be similar to the GFX100 II, resulting in around 15ms in 4K 16:9.

New information from the NAB show floor

We said we’d have more confirmed features to share around NAB in April 2025, and here’s what FUJIFILM revealed this time at the Las Vegas Convention Center. The GFX ETERNA will have:

• Variable electronic ND filter system – ND density is planned to be ND0.6 – ND2.1 in 0.1 increments (2-7 stops). The filter will move in or out of the frame mechanically and then the intensity can be controlled electronically (this sounds the same as the Sony FX6 ND system).
• Internal NP-W235 battery compatibility in addition to external power support. This will enable hot swapping of external batteries or provide enough time for uninterrupted transition to DC input. The NP-W235 battery will be automatically charged via an external power source.
• Internal memory card support – CF Express Type B and SD media
• The camera itself will have internal microphones for scratch audio and one 3.5mm jack audio input. On top of that, it will be compatible with the TASCAM XLR microphone adapter accessory which brings support for expanded audio inputs (such as XLR) and more.
• Supporting Adobe Frame.io Camera to Cloud. Utilize a built-in network interface (WiFi or Ethernet) for an internet connection to authenticate to a Frame.io project and upload files securely to a central location for immediate accessibility.
• Last but not least, we now know that the GFX ETERNA will have autofocus. John told us it should be on par with existing GFX cameras.

Price and availability

It would have been an even more interesting update if FUJIFILM had told us more information about the price and availability of the camera as well, but this is unfortunately not the case yet. The only thing we know is that the camera will be officially launched this year.

What do you think about the specs and features promised in the FUJIFILM GFX ETERNA? Is there something you think the camera has to have to succeed on the market? Would you add such a camera to your kit? Let us know your thoughts in the comments section underneath the article.

As Craig pointed out, the new Blackmagic PYXIS 12K has virtually the same camera body as the PYXIS 6K introduced last year. It features the same ergonomics, body, connectivity, side touchscreen display, three lens mount options (L, EF, PL), etc. Only this time, the camera sports the 12K full-frame RGBW sensor from the Blackmagic URSA Cine 12K.

RGBW versus Bayer sensors

One of the unique things about the new PYXIS 12K sensor is the RGBW technology, which allows for uncropped internal Blackmagic RAW video recording in various resolutions from full 12K down to 4K using the full width (and/or full height) of the sensor.

Compared to the Bayer sensor (which usually has to crop into the sensor when recording lower-resolution raw video), Blackmagic Design’s RGBW sensor offers a different kind of processing to provide full sensor readout. Craig explained that in the PIXYS 12K, this is not done through line skipping, but there is a different kind of processing happening. Without getting too technical here, Blackmagic Design claims the 4K image is more detailed than what a simple line skip image would have been. As a bonus, the available frame rates increase as the resolution goes down.

On top of multiple resolutions, the camera can also leave out the top and bottom sections of the sensor to offer even higher framerates – from open gate mode, down to 16:9, or even 2.4:1, depending on the needs of the production.

Sensor readout speed, rolling shutter performance

The readout speed of the 12K sensor in the PYXIS body is slightly reduced compared to the URSA Cine 12K camera. This is simply due to the fact that the URSA Cine offers faster image processing with better cooling. Craig told us the readout speeds are roughly double in each recording mode when compared to the URSA Cine 12K.

In fact, Blackmagic Design posted a helpful table on the BMD forum, which shows the readout speeds of various Blackmagic cameras. The PYXIS 12K manages 24.12-15.34ms in 12K and 13.51-8.59ms in 8K and 4K, depending on the aspect ratio (how many lines the camera has to read). Needless to say, we will perform our own tests in the CineD lab once the camera arrives in our office.

OLPF, IR cut, and no internal ND filters

We naturally had to ask Craig about the lack of internal ND filters, which many of our readers perceived as disappointing. As expected, he told us the camera body is identical to the PYXIS 6K, so it was not possible to fit an internal ND filter system in the camera without significantly changing the body design, increasing its price, and so on. He hopes this can get added to the next generation of BMD cameras.

The good thing is that just like the PYXIS 6K, the 12K also features an OLPF (Optical Low-Pass Filter) to reduce moire. The IR cut is now also matched to the 12K sensor.

Autofocus

As we heard on Friday during the announcement, the Blackmagic Cinema Camera 6K now has a capable autofocus with the latest firmware update (public beta); Blackmagic Design certainly is aiming to bring this capability to more cameras in the lineup. As Craig told us, however, there is still quite a lot of work to be done.

Currently, BMD wants to collect feedback on how the continuous phase-detection AF works in the BMCC 6K. The next logical step would be to bring the continuous AF for the original PYXIS 6K, as it uses the same sensor as the BMCC 6K.

The PYXIS 12K is, however, an entirely different sensor technology (RGBW versus Bayer), so bringing a capable phase detect AF to the 12K model will require a certain amount of engineering work. In other words, it might take some time.

Power consumption, media

First, the power consumption of the PYXIS 12K does not decrease when shooting in lower resolutions, as the camera always reads in 12K scan mode. Craig told us the camera takes between 60-80W of power depending on the current setup, accessories, etc.

The monitor and the EVF take roughly the same amount of power through that USB-C port. The USB-C connection is the same as with the PIXYS 6K, so you can connect either the Blackmagic EVF or the PYXIS monitor. There is no way to connect multiple screens to the one USB-C port.

In terms of media, there are two CFexpress slots and another USB-C port that can save the recorded footage to an external SSD. The bitrate of the least-compressed 12K recording mode is, however, fairly high, so it might cause some dropped frames if the used media is not fast enough and the internal cache is filled. The camera, thankfully, offers an option to stop recording if it detects a dropped frame.

Audio, gyroscope

Just like the 6K model, the PYXIS 12K is also limited to a single-channel audio input. The way I see it, this is more like a scratch audio channel to help sync the video footage to externally recorded high-quality audio (when not using timecode). Otherwise, the PYXIS cameras also feature a BNC timecode input port.

The PYXIS 12K sports a built-in gyroscope that records data for post-production stabilization. This is embedded as metadata directly in the recorded footage.

Price and availability

Blackmagic PYXIS 12K will ship in July 2025, and it can now be pre-ordered. As we already informed you in a separate article, the US price of the PYXIS 12K increased since the announcement by 32% in reaction to the newly imposed tariffs by the current US administration. The announced price of $4,995 has now been corrected to $6,595. In other regions, the price has remained the same, so in Europe, for instance, the PYXIS 12K can be pre-ordered for around €4,855 plus VAT.

Do you have experience working with the original Blackmagic PYXIS 6K camera or the URSA Cine 12K? What do you think about the new PYXIS 12K? Let us know your thoughts in the comments section underneath the article.

Initially, Blackmagic Design’s CEO Grant Petty said in the livestream that the camera body (regardless of the selected lens mount) would sell for $4,995. Now, the camera is listed on the US version of the Blackmagic Design website with a new price tag of $6,595 which is a 32% price increase.

Many US product prices increased

We will, of course, ask Blackmagic Design representatives about the price increase during our interview at NAB. The official statement from Blackmagic Design on the company’s Facebook account says:

We wanted to post a quick note on USA prices and the new government tariff changes. Most products in the USA have increased and please check our web site for details. DaVinci Resolve and Blackmagic Cloud prices remain the same. It’s also worth noting that price increases only affect the US and prices in other countries are currently unchanged.

While it was expected beforehand that the Trump administration would announce some new tariffs, nobody knew how high these would end up being and which products and regions would be included. That is why Blackmagic Design only increased the price after the announcement.

At the time of writing this article, B&H still has not updated the PYXIS 12K price or other product prices, but it should happen shortly.

Of course, this means that many other products will also increase in price. Here is a price comparison when changing regions on the Blackmagic Design website between the US and Austria – the PYXIS 12K in Austria and other countries in Europe still shows the price of €4,855 plus VAT. The PYXIS Pro Handle will sell in Europe for €999 plus VAT and in the USA it will cost $1,185 (innitially announced for $895).

Pre-order now or wait?

While it remains to be seen what the long-term effects of the newly imposed tariffs will be, the short-term effects will include a significant price increase for most imported products for US consumers. This will most likely also include products that are assembled in the US, but rely heavily on imported parts.

The other question is how long these tariffs will remain in place. Judging by the rhetorics and latest actions of the current US administration, I think the word “turbulent” might even be an understatement.

What is your opinion? Those of you based in the US and who were planning on investing in the new PYXIS, will you pre-order despite the new price tag or will you wait it out? Let us know your thoughts in the comments section underneath the article.

Blackmagic Design CEO Grant Petty has traditionally introduced new products in a livestream shortly before the NAB Show. We divided this up into three articles:

• Blackmagic Design hardware news – ATEM, HyperDeck, etc
• Blackmagic Design camera news – PYXIS 12K
• Blackmagic Design DaVinci Resolve 20

In this article, we will focus on the new camera updates. If you are interested in the other news, feel free to click on the corresponding link. Now, let’s take a quick look at what is new with Blackmagic Design cameras.

Firmware updates for Blackmagic cameras

Firstly, Grant Petty talked about new firmware updates for selected BMD cameras.

The Blackmagic camera 9.5 update will bring better AF capability with continuous AF, object tracking AF, and face tracking AF to select cameras. In fact, the public beta of the 9.5 update is now available for download for the Blackmagic Cinema Camera 6K. The company promised to bring this to more camera models in the near future.

Another firmware update is the camera 9.6 update. This will initially come to the PYXIS and URSA Broadcast G2 cameras. It adds the pre-record feature. This can be either always-on or activated each time with a long press of the record button.

Finally, the third upcoming camera 9.7 update will bring support for the Blackmagic PYXIS monitor to be used on the Blackmagic Micro Studio 4K camera G2. The connection will be provided by the camera’s USB-C port, so just like with the PYXIS, both image and power can be transferred with one cable. This will enable interesting clean rigs, in my opinion.

Blackmagic URSA Cine 17K body

Also unsurprising, considering it follows the earlier announcement of the URSA Cine 12K body-only announcement from a while ago. The URSA Cine 17K camera will now also be available as a body-only option. This time, however, the camera still comes with the 8TB media module with the built-in 10G ethernet port.

The camera will be priced at $21,995, and it is available for pre-order now.

Blackmagic PYXIS 6K broadcast accessories

Before talking about the whole new camera model, Grant Petty introduced a set of new accessories for the PYXIS 6K camera aimed at ergonomics for broadcast use.

• There is a new Blackmagic PYXIS Pro Handle that includes a built-in EVF at the back as well as a microphone at the front, along with controls and rockers. The handle will be available in June 2025 for $895.

• Another new accessory is the Blackmagic PYXIS Pro Grip, which attaches to the right side of the camera and brings a zoom rocker along with a record button and a strap. The Pro Grip will cost $119 and will be available in June 2025 as well.

Blackmagic PYXIS 12K

Finally, the new camera model is called Blackmagic PYXIS 12K, and it brings the full-frame RGBW 12K (12288 x 8040) sensor from the URSA Cine into the smaller PYXIS body. The available frame rates, however, are a bit limited compared to the URSA Cine.

The PYXIS 12K can record the following framerates and resolutions:

• 12K (3:2 open gate) up to 40 fps
• 12K (16:9) up to 45 fps
• 12K (17:9) up to 50 fps
• 12K (2.4:1) up to 60 fps
• 12K (6:5) up to 40 fps
• 9K (3:2 Super 35) up to 50 fps
• 9K (16:9 Super 35) up to 65 fps
• 9K (17:9 Super 35) up to 65 fps
• 9K (2.4:1 Super 35) up to 80 fps
• 9K (6:5 Super 35) up to 50 fps
• 8K/4K (3:2 open gate) up to 72 fps
• 8K/4K (16:9) up to 84 fps
• 8K/4K (17:9) up to 90 fps
• 8K/4K (2.4:1) up to 112 fps
• 8K/4K (6:5) up to 72 fps

The advantage of the RGBW sensor is that it offers full-frame mode in lower resolutions, too.

As Grant Petty also told us, the USB-C port at the back of the camera is now faster, so it supports recording of the high-resolution high-bitrate modes straight to a compatible SSD drive.

Otherwise, the camera body is identical to the PYXIS 6K model, including the touchscreen monitor on the side, multiple rigging points, dual CFexpress B slots, and so on.

Just like the PYXIS 6K, the new 12K camera comes in either EF, PL, or L Mount version.

Price and availability

The Blackmagic PYXIS 12K camera will be available starting July 2025, and it will cost $4,995 regardless of the lens mount version.

Do you have experience working with the original Blackmagic PYXIS 6K camera? What do you think about the new 12K model? Can you imagine adding this new model to your kit? Let us know your thoughts in the comments section underneath the article.

The original PYXIS (full-frame, 6K) was announced a year ago. It was Blackmagic Design’s first attempt to create a true box-style camera. As much as people loved the form factor, there were always some concerns about the camera using an older sensor inside it (BM Cinema Camera 6K to be exact. In case you missed it, our Lab Test is here).

Now, it looks as if Blackmagic Design was listening carefully and decided to upgrade the camera to have their great 12K sensor in it (Lab Test). Presumably, this will be the sensor found inside the URSA Cine 12K (price is now reduced to $6,995). If this is indeed the case, it will not come as a surprise, simply because the company is earning in two possible ways. One: putting a new sensor in a desirable camera body, and two: reducing the price per sensor as more of those will be produced and purchased by the company.

Now, you might be asking yourself what are we basing our article on? Well, traditionally, Blackmagic Design has HUGE posters covering outdoor walls at NAB. And apparently, this year is no exception. Unfortunately, we have no name to credit for this picture, but as you can see, the words PYXIS 12K can be clearly seen.

Tune in to CineD tomorrow as we will be steaming Blackmagic Design’s announcement when it happens.

Photo Credit (featured image): Steven Guyot

What do you think about a PYXIS 12K camera? Is it something that ignites your imagination? Please share your thoughts with us in the comment section below

The Nikon Z5II features the EXPEED 7 processor, previously found in Nikon’s high-end cameras like the Z9. According to Nikon, this upgrade was necessary for improved autofocus performance. The new 24.5MP back-illuminated CMOS full-frame/FX-format sensor delivers cleaner images with reduced noise across the ISO 100-64000 range ( ISO 51200 for video recording). Together, these components enable high-resolution imaging, speeds up to 30 fps, detection of nine subject types, and enhanced low-light performance with up to 7.5 stops of image stabilization.

The Z5II includes a fully articulating touchscreen for flexible viewing angles and a viewfinder that’s three times brighter than the original Z5. It maintains dual SD card slots with UHS-II compatibility.

Nikon Z5II for video

For video, the Z5II records UHD 4K at up to 60 fps and Full HD at up to 120 fps. Recording times extend to two hours, and features include a video Self-Timer, electronic Vibration Reduction, and HDMI output to external recorders. In-camera time-lapse can generate UHD 4K video directly. It is also the first Nikon Z series camera to support internal recording of N-RAW video to an SD card.

The camera incorporates a 5-axis sensor-shift Vibration Reduction system providing up to five stops of stabilization with any lens, or up to 7.5 stops with compatible lenses. Electronic VR further helps stabilize handheld video recording.

In addition, the camera supports Hi-Res Zoom with video recording that allows users to zoom in on their subject with no loss in resolution when using a prime lens or when the telephoto end of a zoom lens doesn’t quite reach. In order to use this feature the following conditions must be met: recording at H.265 10-bit, H.265 8-bit, or H.264 8-bit. The image area is set to FX, at 1920×1080/30p, 1920×1080/25p, or 1920×1080/24p. N-Log is also supported when H.265 10-bit (MOV) or N-RAW 12-bit (NEV)] are selected. The new camera is also equipped with “Product Review Mode”, with which the camera automatically switches focus to the object in front of it, and Video Self-timer, with which the camera automatically starts recording video after a preset delay when the record button is pressed.

Key features summary

• 24.5MP FX-Format CMOS Sensor
• EXPEED 7 Image Processor
• ISO 100-64000, Up to 30 fps Shooting (ISO 51200 for video recording)
• UHD 4K and Full HD Video Recording
• 3.6m-Dot OLED Electronic Viewfinder
• 3.2″ 2.1m-Dot Vari-Angle Touchscreen LCD
• 9-Type Subject Detection AF
• 5-Axis Sensor-Shift Vibration Reduction
• Built-in Wi-Fi and Bluetooth
• Dual SD UHS-II Card Slots

Nikon Z5II vs the Nikon Z6III

It seems as if Nikon did their homework well, yet the Z6III is positioned as a more video-centric hybrid camera, while the Z5II is more photo-oriented with decent but more basic video capabilities.

Pricing and availability

The camera is now listed at B&H ready for pre-ordering at $1,696.95. It can also be purchased with a 24-50mm f/4-6.3 lens, or a 24-200mm f/4-6.3 lens. The camera is expected to hit the shelf towards the end of April.

What do you think about the new Nikon Z5II? Does it have all the video features you have been looking for at a lower price when compared to the Nikon Z6III? Please share your thoughts with us in the comment section below.

Just like in previous years (15 to be exact, but who is counting…), CineD will be covering NAB inside and out, and of course, we expect to see innovation and new filming tools made by some of the leading camera manufacturers in our industry.

But what about you guys? What are you expecting in terms of new camera announcements during the show? Do you think Blackmagic Design will surprise us with a new camera? (Last year, the company presented no fewer than three!), or will it be Sony with a new generation of FX cameras? And what about Canon? The EOS C400 was only announced a year ago – is it too soon to reveal another new Cinema EOS? Wait, and what about FUJIFILM? We know more details about the GFX ETERNA are on the way – but could FUJIFILM have a small surprise in store as well? And the list goes on: Are we finally going to see a “dedicated cinema camera” from DJI? Maybe a different version of the “star of the moment” Ronin 4D? Oh, and Panasonic, maybe a new “super capable” LUMIX camera will finally be revealed? And (Nikon) RED? Will it become “Z CINEMA” and surprise us with more affordable box-style cameras?

There are lots of questions and uncertainties right now, but it’s a good moment to align expectations and hear you guys out. We are also allowing a multiple choice (three to be exact) in case you suspect that more than a single company will be introducing something new.

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Please be kind, take a moment to share your thoughts, and leave a comment in the section below.

The VENICE Extension System Mini is approximately 70% smaller than the current extension system and weighs just half a kilogram. This dramatic size reduction required Sony to redesign the ND filter system. Rather than incorporating the traditional internal ND filter wheel found in the VENICE camera body and previous extension system, the Mini features a slot on top that accepts individual ND filters. Each Mini comes with a complete set of filters ranging from clear to 2.4 ND.

VENICE Extension System Mini comes with 8.6K sensor unlike Rialto

Unlike the previous extension system where users removed the sensor from their VENICE camera and installed it in the extension unit, the Mini comes with its own built-in 8.6K full-frame sensor. Additionally, VENICE 2 owners with the 6K sensor variant effectively gain an 8K sensor option when purchasing the Mini. The system maintains 100% compatibility with the VENICE 2 body, regardless of whether the camera contains a 6K or 8K sensor.

Thinner, more flexible and detachable cable

The Mini also features significant cable improvements with a thinner, more flexible cable that’s now detachable from the sensor unit. The standard cable length has been increased to 4.5 meters, which exceeds the previous system’s 3-meter cable, and users have the option to extend this to 12 meters if needed.

The detachable cable design directly addresses user feedback, allowing easier rigging and cable routing in complex shooting scenarios. This seemingly simple improvement solves real production challenges where operators previously struggled to thread the permanently attached cable through tight spaces during setup.

Mount options and example applications: stereo and POV rigs, gimbal, 360 capture

The Mini comes with an E-mount by default and includes a PL mount adapter in the box. Sony has confirmed they are working with third-party manufacturers to develop additional mounting options and accessories for various production needs.

Due to its compact size, the Mini enables several specialized shooting configurations that were difficult or impossible with larger systems. Two units can be placed approximately 65mm apart—roughly the distance between human eyes—creating an ideal stereo 3D rig without excessive bulk. This capability makes the Mini particularly valuable for creating content for platforms like Apple Vision Pro, as the combined resolution of multiple units easily exceeds the 16K resolution required for that headset.

The Mini also works perfectly for the “Cyclops” point-of-view helmet setup, and can easily be balanced on a “prosumer” gimbal like the DJI RS 4 Pro.

The small size of the VENICE Extension System Mini also allows for using it in camera arrays used in 360° or volumetric capture. The compact size allows for multiple units to be arranged closely together, creating more seamless immersive content.

Why not bundle VENICE Extension System Mini with a “sensorless” VENICE 2?

I was surprised to hear they haven’t considered bundling the VENICE Extension System Mini with a “sensorless” VENICE 2 yet, because essentially, that would make a fully-blown cinema camera as well, with the added flexibility of the Mini sensor block, and minus the extra cost of the “default” sensor block on a VENICE 2. If bundled with an even shorter cable, it could be easily built into a “standard” shoulder or tripod camera as well, and a setup like that would potentially attract new groups of rental houses and productions that might already be invested in ARRI or RED ecosystems for more traditional productions.

Availability and pricing

According to Sony, the VENICE Extension System Mini is scheduled to ship by the end of July. Pricing is expected to be slightly below $/€25,000, which includes the Mini unit itself, the PL mount adapter, a complete set of ND filters, and the 4.5-meter cable. The optional 12-meter extension cable will be available as a separate accessory.

The significant size reduction combined with the full feature set of the VENICE 2’s 8K sensor represents a notable advancement for filmmakers requiring high-end image quality in extremely space-constrained shooting environments. As productions continue to demand impossible camera positions with uncompromised image quality, Sony’s Mini extension system appears to directly address these evolving industry needs.

What do you think about the Sony VENICE Extension System Mini? Let us know in the comments below!

This interview took place in Prague and features a discussion between Johnnie and Makoto-san about the new GFX100RF camera. The conversation primarily focuses on the camera’s technical specifications and video capabilities.

Makoto-san explains that the primary challenge in designing the camera was making it as small and compact as possible. The camera is a fixed-lens design weighing only 735 grams, targeting street photographers and documentary professionals. The fixed focal length 35mm f/4 lens is particularly noteworthy, designed to balance size and optical performance.

Johnnie and Makoto-san discuss the camera’s video features in-depth, noting that it uses the same 102MP large sensor as the GFX100 II, allowing for 4K recording in 16:9 (or 17:9) formats. However, the camera has some limitations, such as no RAW video output and restricted HDMI connectivity due to its compact size. (So video output to an external recorder via micro HDMI is possible, but not in a RAW form). Makoto-san suggests that while some advanced features like open gate recording or recording portion of the sensor are technically challenging, they won’t be implemented in this device for various reasons. Some are mentioned in this interview. On the other hand, F-Log 2C film simulation might come to this camera too at a later stage.

Johnnie shares his experimental use of the camera by attaching an anamorphic adapter to the fixed lens and appreciating the camera’s digital image stabilization. While Makoto-san was surprised by such creative usage, he remained receptive to user requests for additional features.

The interview concludes with Makoto-san positioning the camera as ideal for quick snapshots and street photography video, rather than professional filmmaking. Despite some technical constraints, both Makoto-san and Johnnie express enthusiasm about the camera’s compact design and versatility.

What do you think about the GFX100RF? Do you like the form factor and the technical specifications it brings? Please share your thoughts with us in the comment section below.