In March 2023, Sony announced the ZV-E1, which is their flagship full-frame mirrorless camera for vlogging with many interesting AI-based features. If you missed it, my colleague Johnnie reviewed the ZV-E1 here.

However, as good as it can be, at over $2000, the ZV-E1 can be overkill for many content creators or vloggers who do not make a living from it. Sony just filled a hole in their lineup by releasing the ZV-E10 II, which features a smaller sensor, keeps most of the features from the ZV-E1, and is much more affordable.

Sony ZV-E10 II – features

The Sony ZV-E10 II sits between the ZV-E10 and ZV-E1 and weighs 295 g/10.4 oz. It is 11.4 x 6.7 x 5.4cm/4.48 x 2.63 x 2.12in and has a Z battery, which is the same battery as the ZV-E1. According to Sony, the camera should have a runtime of around 2 hours and 10 minutes.

Similarly to the FX30 and A6700, the ZV-E10 II features a 26MP Exmor R image sensor. The camera is powered by the same BIONZ XR image processing engine introduced in 2020 with the a7S III. The BIONZ XR can also be found inside the FX6/FX3/FX30 and the a7 IV/a7CII/a6700, to list a few. According to Sony, the rolling shutter of the ZV-E10 II should be reduced compared to the ZV-E10 thanks to twice as fast read-out speeds.

The Sony ZV-E10 II can capture footage in 4K, oversampled from the 5.6K image sensor, at up to 60 frames per second in 4:2:2 10-bit. If you drop the resolution to FHD 1920 x 1080, you can crank the frame rate to 120P. Please note that in 4K60P mode, you’ll get a slight 1.1x image crop.

Multiple recording formats are available, including XAVC S, XAVC HS, and XAVC S-I. You can choose 10/8bit, Long GOP/All-I, and H.264/H.265 file formats. All footage and images are stored on a regular SD UHS-II compatible memory card.

At the top of the camera, you’ll find a 3-capsule microphone, similar to the ZV-E1, that allows you to choose the built-in or external mic’s front/rear/omni-directivity in the camera menu. The camera doesn’t have an EVF but features a 3.0″ vari-angle touchscreen LCD. Compared to the ZV-E10, the Sony ZV-E10 II has a new Still/Movie/S&Q switch instead of a toggle button, making it easier and faster to change your recording mode.

Autofocus and image stabilization

The Sony ZV-E10 II autofocus system has 759 AF points and covers 94% of the image sensor. Like most Sony cameras, it can recognize and track human/animal faces and eyes. The camera also supports Focus Breathing Compensation, a handy addition when racking focus.

Unfortunately for filmmakers, the ZV-E10 II doesn’t have IBIS. Digital Image Stabilization, also known as Active Stabilization, is available, but it will crop your image by around 1.5/1.4x, depending on your recording frame rate and resolution.

Vlogging settings

The ZV-E10 II comes with multiple picture profiles, including the well-known S-Cinetone/S-Log3. Furthermore, you can choose from four different “look” settings, including Clean/Chic/Fresh/Mono, and combine them with five “mood” settings to change the color of your image. These moods are similar to the ZV-E1, including Auto, Gold, Ocean, and Forest. You can also import your LUTs inside the camera to preview your image.

If you want to avoid dealing with looks and moods for quick turnaround projects, the ZV-E10 II also comes with ten built-in image presets, including black-and-white, Sepia, Film, Neutral, Instant, Portrait, Standard, Vivid, Vivid 2, and Soft Highkey. The ZV-E10 II gives you access to the “Cinematic Vlog setting” that will bake in 2.35:1 cinemascope black bars in your 16:9 footage.

As a camera made for content creators and vloggers, the Sony ZV-E10 II can shoot vertical content and will flip the UI for more convenience. The Vertical Format UI supports touchscreen operation. Lastly, a new in-camera Time-lapse mode allows you to choose your recording frame rate and interval time from 1 to 60 seconds.

Connectivity

In terms of input and output connectors, the ZV-E10 II features one 3.5mm microphone input, one 3.5mm headphone output, and one micro-HDMI output port. Lastly, you’ll find a 5Gbps USB-C port that supports 4K30P/1080P60 streaming.

The camera has built-in 5GHz Wi-Fi connectivity and also supports live streaming via the RTMP/RTMPS/SRT protocols. Lastly, the ZV-E10 II can connect to Sony’s Creators App to transfer footage/pictures to your smartphone, adjust your camera settings remotely, and access live view from your camera.

Price and availability

The Sony ZV-E10 II is available for preorder now and should start shipping by the end of this month. The body will cost $998, and the kit with the new 16-50mm zoom lens costs $1,098.

For more information, please visit Sony’s website here.

What do you think about this compact vlogging camera? Does it make sense for you to purchase a dedicated vlogging camera? Do you miss all of the AI features from the ZV-E1? Don’t hesitate to let us know in the comments below!

June 2024 was quite a busy month for Canon, especially with the release of their newest RF-mount cinema camera, the EOS C400, which features a 6K Full Frame image sensor and can record in Cinema RAW Light at up to 6K/60P onto CFexpress memory cards. It also features a new 3.5″ full touchscreen LCD monitor, along with HDMI and SDI output ports.

However, Canon didn’t forget their loyal customers and announced many firmware updates for their cinema EOS cameras and the XA lineup.

Firmware updates for the Canon EOS C300 Mark III and EOS C500 Mark II

Let’s start with the latest firmware update, version 1.1.2.1 for the EOS C500 Mark II and 1.0.8.1 for the EOS C300 Mark III. Both firmware updates add [Sensor mode] as an option for assignable buttons. This lets you quickly and efficiently switch between Full Frame and Super35/Super16mm crop modes without navigating through the camera menu. Also, a new Normal or Large Focus Guide size option has been added for both cameras, as well as the display of Markers during playback.

For EOS C300 Mark III users, multiple new Cinema RAW Light recording modes will now be available, including RAW HQ, RAW ST, and RAW LT. Canon also added an Auto ISO/Gain function and enhanced security for FTPS connections.

Firmware updates for the Canon EOS C70 and EOS R5 C

Firmware update version 1.0.9.1 for the Canon EOS C70 adds the same Focus Guide/FTPS/Markers display during playback as the EOS C300 Mark III. You can also assign the Select Dial to adjust some settings, such as your shutter speed, aperture, ISO/gain, white balance mode, and subject selection. Last but not least, the Shutter Speed option can now be assigned to the Front and Rear Control dial, as well as your lens’ control ring.

For the EOS R5 C, the firmware update version 1.0.7.1 allows you to select between three different AF Frame thicknesses – Normal, Slightly Thick, and Thick -, reset the AF position by pushing the joystick or set buttons, and record both the peripheral illumination and chromatic aberration data when shooting RAW VR content with the Canon RF 5.2mm F/2.8L dual fisheye lens.

Firmware updates for the Canon XA75/70 and XA65/60

Lastly, firmware update version 1.0.1.0 for the Canon XA75/70/65/60 adds the ability to change the White Balance during recording and the ability to display the OSD data (date/time) during recording.

Price and availability

All these firmware updates are available to download now on Canon’s website, free of charge.

What do you think about these firmware updates? Have you already updated your camera? What feature do you feel is still missing from your Canon camera? Don’t hesitate to let us know in the comments down below!

ARRI’s ALEXA 35 was released in 2022, featuring a new Super 35 4.6K sensor, which offers 17 stops of dynamic range, improved low-light performance, and natural skin tones. We put it through its paces in our extensive Lab Test, and it passed with flying colors. Now, the addition of the ProRes 3.8K 16:9 format should make a lot of users happy.

ProRes 3.8K 16:9

This recording format, previously exclusive to ARRIRAW, is designed for projects using spherical lenses and aims to produce 16:9 videos with 4K UHD resolution (3840 x 2160), ideal for achieving a lower data rate in ProRes while meeting 4K UHD requirements. This format uses a smaller sensor area than the 4.6K 3:2 Open Gate, 4.6K 16:9, or 4K 16:9 modes. The smaller sensor area allows the image circle from most Super 35 lenses to fully cover the format, maintaining image quality.

AEM-1 output and playback monitoring

AEM-1 is used on many ALEXA 35 systems, and now, in conjunction with the updated AEM-1 V1.1G, users will have better monitoring options, including the ability to monitor inputs as they are routed and recorded in the system. Additionally, you can monitor recorded sound during playback through the AEM-1’s headphone jack. Please note that these features are only available after updating the AEM-1 software to V1.1G, which will soon be available on the ARRI AEM-1 webpage.

Other improvements with the ALEXA 35 SUP 1.3.0 software update

Starting with SUP 1.3.0, the dynamic metadata will now accurately reflect fps and shutter angle values, a more up-to-date software stack will provide Wi-Fi performance improvements and stability fixes, and a Lens Button menu has been introduced with 7 new lens user buttons in the menu to support ENG style lenses. In addition, the EBU R095 Frame Line is now listed as a default in the ALEXA 35 default list.

ALEXA 35 SUP 1.3.0 software update – overview of new features

• New Recording Format ProRes 3.8K 16:9
• AEM-1 Output and Playback Monitoring
• Improvements to Dynamic Metadata
• Wi-Fi Improvements
• Additional Lens User Buttons for ENG-style Lenses
• EBU R095 Frame Line

Bugfixes and stability improvements

The major bug fixes are as follows (minor ones are not listed):

• Override on a Master Grip was lost if the Hi-5 lost and re-established connection.
• The scale factor is now calculated individually for each frame line A/B/C, and the frame lines are (de)squeezed
  individually.
• The Rec/Info section of the Webremote now accurately represents a two-letter camera index.
• Switching from LDS to an LDA table no longer changes the iris limit.
• Occasional flickering of the first two lines in the MVF-2 OLED does not occur anymore.
• ECS devices can now start/stop recording even if a recording is started during active playback.
• Headphone monitoring now has audio even if both channels are set to “Internal Mic L.”
• Changing shutter or fps values no longer provokes a temporary wrong temperature warning.
• Return In displays a correct image in Open Gate Sensor modes.
• Clip recovery from a power loss during recording has been improved.
• The side display backlight turns off 3 seconds after being sent to sleep instead of 40.

Price and availability

This SUP update applies to all previously shipped ALEXA 35 cameras, but ARRI recommends that the cameras not be updated in the middle of a production. In addition, the company has stated: “SUP 1.3.0 contains a bug where the PreRecording duration can not be adjusted. If this is necessary for your workflow, please use SUP 1.2.3.” For more information, you can download and refer to ARRI’s release notes.

Do you work with ARRI ALEXA 35 cameras? Is this update something you’ve been looking forward to? Let us know in the comments!

During the X Summit Tokyo in February, FUJIFILM announced an upcoming firmware update that would add the REALA ACE film simulation to the X-H2, X-H2S, X-S20, X100VI, and X-T5. The update has been released now, and it also addresses autofocus issues. Cameras were giving users false positives when detecting faces, a problem that got worse with the previous firmware update. This new one finally improves the overall autofocus performance in the mentioned cameras.

FUJIFILM X-H2S firmware update 7.00 

Aside from the REALA ACE film simulation, which, according to FUJIFILM, ‘combines faithful color reproduction with crisp tonal gradations and is suitable for all kinds of subjects and situations,’ the update addresses the problem of the camera focusing on different parts of the face when the AF green box detects the pupil. 

It also fixes a bug that caused the camera to freeze on rare occasions when the shutter button was half-pressed at the same time as the “AF ILLUMINATOR” light metering operation.

Finally, FUJIFILM adds that a ‘minor bug’ has been fixed, but it does not specify which one.

FUJIFILM X-H2 firmware update 5.00

The update for the X-H2 includes the ones mentioned for the FUJIFILM X-H2s and some more:

• When the camera shake is large during movie recording under the following conditions, black edges will appear on the sides of the screen in rare cases.［Setting conditions］・MOVIE MODE: FHD 16:9・IS MODE (MOVIE): IBIS/OIS+DIS.

• When the shutter release button is pressed all the way down without pressing it halfway under the following conditions, the camera freezes in rare cases.［Setting conditions］・SHOOTING MODE: CH HIGH-SPEED BURST or CL LOW-SPEED BURST・SHUTTER TYPE: MECHANICAL, E-FRONT CURTAIN, ELECTRONIC・AF MODE: AF-S or AF-C・AF/MF SETTING: RELEASE・SHUTTER AF: OFF

FUJIFILM X-T5 firmware update 4.00 and FUJIFILM X-S20 3.00

The updates for both cameras include the REALA ACE film simulation, which addresses the bugs mentioned in the FUJIFILM X-H2s, plus this one:

• The camera freezes in rare cases while recording a movie with an external monitor connected under the following conditions.［Setting conditions］・MOVIE MODE: 4K 16：9/59.94P・MEDIA REC SETTING: H.264/422 MOV・IS MODE (MOVIE): IBIS/OIS+DIS・HDMI OUTPUT SETTING: HDMI OUTPUT INFO DISPLAY ON

FUJIFILM X100VI firmware update 1.11

The FUJIFILM X100VI, which we reviewed last month, already had the REALA ACE simulation, but it gets the same improvements as the X-T5 and the X-S20, plus one fix for the following issue:

• The camera freezes when assigning “ND FILTER” to the touch Fn function and runs the Fn function under the following setting conditions.［Setting conditions］FUJIFILM XApp Settings： Record Fn button operation＞Activity Record setting of the camera

Price and availability

All the firmware updates can be downloaded for free from the FUJIFILM updates page.

What do you think of this new update for these FUJIFILM cameras? Were you experiencing some of those issues? Let us know your thoughts in the comments below! 

Photogram is a UK-based startup that began working on the Alice Camera in 2020. In 2021, we interviewed the company’s CEO, Vishal Kumar, who explained the concept and what was behind the camera. At that stage, the company did not have the prototype yet, but we learned about the specs and the details that would make the camera different from others. Three years have passed since then, and now the company has announced the proposed shipping dates for the camera.

A quick look at the Alice Camera

As we learned from Kumar’s interview, the Alice Camera aims to be the bridge between mirrorless cameras and smartphones. While the smartphone works as a monitoring, controlling, and sharing tool, the camera will deal with everything else. It will allow the use of interchangeable lenses, a smartphone-like user experience, and on-camera AI-driven computational photography. 

Photogram is an official Micro Four Thirds system partner, so the camera meets the standard’s requirements. The Alice Camera features an MFT lens mount and a Sony 4/3″ HDR dual-native ISO CMOS sensor. Of course, its AI capabilities make the camera stand out, thanks to Qualcomm Snapdragon and Google Edge TPU chips as its primary processing units. They give the camera the power to run Photogram’s proprietary AI-driven computational photography algorithms and software-based image signal processing (ISP) pipeline directly on the camera. ISP will enable extra AI features to the existing cameras over time.

The Alice Camera’s smartphone app allows users to control the camera, manage files, and share content. Alice Camera OS, a Linux-based camera-specific operating system, allows for over-the-air software updates and open-access development. Photogram also encourages developers and businesses to contact the team if they want to build their algorithms and custom apps on the Alice Camera platform.

A challenging journey

Photogram has not reached this stage easily. Struggles like the COVID-19 pandemic and global lockdowns that caused severe chip shortages and delays in 2023 for consumer electronics regulatory testing were balanced by the team’s perseverance and the support of backers and investors.

We’re incredibly excited to finally bring the Alice Camera to the world. We set out to build the Alice Camera because we wanted to offer our customers a new type of mirrorless camera built specifically for a new era of content. We’ve developed a fundamentally new engineering paradigm for mirrorless cameras, with significantly novel implementations on hardware, software, and with AI algorithms. Alice Camera represents an innovative step forward in how mirrorless cameras are designed and how our users will process, capture and share their experiences. We can’t wait to see the amazing content created with the Alice Camera.

Vishal Kumar, CEO at Photogram.

Alice Camera Specs

• Body: CNC’d Aluminium
• Processor: Qualcomm Snapdragon with 8-core CPU, GPU, and DSP for computer vision
• AI Chip: Google Edge TPU
• Video: 4K @ 30fps & 1080p @ 60fps
• Mount: Micro Four Thirds
• Sensor: 4/3 Sony quad-bayer HDR and dual-ISO
• Pixel Size: 4.63µm
• Color: AI color science, HDR, LUTs
• Stabilisation: Electronic image stabilisation
• The 3 A’s: AI-driven auto exposure, auto white balance, and focus
• Storage: Micro SD card
• Charging: USB-C
• Audio: 3.5mm microphone jack
• Battery: 5000 mAh

Price and availability

Interestingly enough we were not able to find the current price for this camera on the company’s website, but in our previous 2021 interview, Vishal Kumar mentioned that the retail price for the Alice Camera would be $760. The only thing mentioned is that early bird orders are entitled to 30% off the retail price, without saying what it is…

For those who pre-ordered already, these are the proposed delivery dates:

• Cameras for the UK will begin shipping from 15th July 2024.
• Cameras for the US, Japan, EU, and Australia are scheduled to start shipping from 15th August 2024.
• Cameras for Canada, France, and the rest of the World will start shipping from Sept 2024.

For more information, please visit the company’s website.

What do you think about the Alice Camera? Did you back the campaign, or are you interested in the camera? Let us know in the comments section of the article below.

The concept of a compact, full-frame camera was always a challenging one. Various manufacturers have tried to produce high-end compacts over the years, but few have been successful. Still, the dream is there, generating demand, which in turn creates a constant flow of unique, clever, and original designs. But why is this concept so tricky?

Bigger is better?

We know that bigger sensors normally yield better technical image qualities. We also know that the best camera is the one you have on you, so we want it to be light and compact. The contradiction between these two vectors sets the stage for a challenging design journey. Many digital high-end compacts opted for a fixed lens solution. FUJIFILM’s X100 series is the poster child here, but recognition is due for some others. Sony’s RX1 series was probably the most compact full-frame offer. The Leica Q is quite popular, at least in Leica’s terms, and there was the lightroom-enabled ZEISS ZX1. Like its L-Mount counterpart, Panasonic took a more challenging path of the interchangeable lens compact camera.

The glass ceiling

The physics are straightforward: The larger the sensor, the larger the image projection circle, the larger the lens. A fixed prime lens may reduce the overall size but will forfeit systematic flexibility. While the LUMIX S9 will struggle to be as compact as an X100VI, it may be used in many more scenarios. One can choose to emphasize extreme compactness with the LUMIX S 26mm F/8, go for shallow depth of field with a SIGMA Art prime, grab a casual zoom, etc. Each choice has its drawbacks, but I personally prefer this approach over the fixed lens path.

The pricing

A quick look at the aforementioned compacts will show another segmentation issue. They’re all quite expensive compared to the LUMIX S9. This puts the S9 in a unique position. On one hand, it’s one of the most affordable full-frame cameras out there. Among the entry-level full-frame cameras, it’s arguably the best-looking option and the most compact. Its flush, rectangular, range-finder-inspired design is arguably more appealing than the utilitarian design of its interchangeable-lens competitors, such as the Canon EOS-R8 and the Sony a7C. Compared with the style-conscious bunch, such as the Leica Q3 or the FUJIFILM X100VI, it’s very affordable and provides an impressive spec list in terms of both video and stills.

So, is it a stylish accessory or a compact workhorse?

As with all interesting questions – there’s no right answer. As with all interesting cameras, the LUMIX S9 can do more than one thing. It will cater to the needs of aspiring content creators, documentary photographers, hybrid enthusiasts, and more. It can also fulfill the niche of a nice-looking accessory that will put smartphone footage to shame.

Unique features

With the LUMIX S9, Panasonic continues their tradition of including high-end features whenever possible. The result is a 6K, open gate, capable compact camera. On the stills side, we get Panasonic’s excellent 96-megapixel multi-shot, making the S9 great for landscape, architecture, and film scanning. And there’s also the tried and true 24-megapixel dual-gain sensor, a standard sweet spot for hybrid creation. The LUMIX S9 also offers a unique LUT system, letting you use your own custom LUTs with ease.

Unique shortcomings

Implementing such specs in a tight body dictates some compromises. Quite harsh shot-length limitation (10min for 6K, 15min for 4K) will limit the S9 use cases. On the still side of things, the lack of a mechanical shutter, combined with a rather slow scan speed, rules off flash photography and may induce some rolling shutter effects. Above all, I think the lack of an EVF may prove very limiting, setting this camera apart from their major competition.

Alternatives

Recent years have brought a rise in entry-level full-frame cameras, as well as the popularity of quality compacts. This means the LUMIX S9 faces some stiff competition:

• Sony ZV-E1: The ZV-E1 offers better autofocus, built-in microphone, and high frame rates. It falls short in terms of resolution (for both stills and video), stabilization, and, arguably, style.
• Sony a7C and a7C II: The older a7C is quite close regarding sensor resolution, but its video only goes as high as 4K 30p 8-bit 4:2:0 at 100 Mbps. The a7C II aims a bit higher in terms of specs and price. For $2,200, it offers a 33-megapixel sensor, 10-bit 4K, and more. Both cameras offer better autofocus, an EVF, and a chunkier grip. None goes as high as 6K video or Super Resolution multi-shot stills and none offers such vast and streamlined LUT functionality
• Canon EOS-R8: The EOS-R8 is, in my opinion, the toughest competition regarding content creation. It has better autofocus, sufficient stills and video quality, cropless 4K 60p, and a significantly faster 40fps burst rate for stills. The S9 has the advantage of mechanical IBIS and a slicker, better-looking design. While not as compact or stylish, the Canon is also more affordable at $1,200.
• Nikon Zf: The Zf challenges the LUMIX S9 in the style department; it harkens to classic Nikon film cameras, specifically the F3. Inside the beautiful design, Nikon managed to squeeze impressive specs. The stabilized 24-megapixel sensor will provide excellent stills and video files, up to 4K 60P at 10-bit, with overall better autofocus.

• SIGMA fp: Comparing any camera with the unique SIGMA fp is tricky. The LUMIX S9 offers a more mainstream approach with better autofocus and IBIS while the SIGMA punches way above its weight regarding unique features. Unique modular design, Cinema DNG recording straight to an SSD drive, and more make it perfect for those who need such features and quite challenging for those who don’t. While somewhat similar, these two target a completely different audience.
• LUMIX S5 II: While not as sleek or as stylish, the LUMIX S5 II provides meaningful upgrades. Virtually unlimited recording, dual card slots, and a decent EVF can make a ton of difference in actual use. The price difference is negligible considering what you get (assuming you can live without the compact design and color options).

So can the LUMIX S9 be a “video X100VI”?

It seems Panasonic really tried to make the S9 a jack of many trades and even a master of some. It combines some impressive features in an equally impressive form factor. Innovative as it is, the laws of physics are still there, so read into the limitations before jumping on board. This flexible design is what separates it from the FUJIFILM X100IV (our review here). FUJIFILM’s popular APS-C compact is unique for the opposite reasons. It’s decisive in design, aiming for a very specific user experience. While it may be used for various genres, it’s made to replicate a vintage, range-finder-style photography experience. The S9 can sometimes compete with that, with the right lens at least, but it won’t challenge the X100VI in its core market segment. I hope we’ll see a higher-end model someday and have a list of design features that may make it more competitive and hopefully more fun to use.

Will you opt for a LUMIX S9 as your main camera? Would you add one to your set? How will you use it? Let us know in the comments.

The Panasonic LUMIX GH6 was released back in February 2022. At launch, the Micro Four Thirds successor of the famous LUMIX GH5 had a lot to offer, including the ability to capture footage in 5.7K30P ProRes 422HQ internally, 5.7K60P in H.265, a full-size HDMI port, unlimited recording with an active cooling fan, and much more.

Over the years, Panasonic released multiple firmware updates for the LUMIX GH6 that added ProRes RAW external recording capabilities, direct SSD recording over USB, BRAW external recording and 4K 120P, and more recently, LiDAR-based autofocusing capabilities when used with the DJI RS3 Pro gimbal.

With the announcement of the LUMIX GH7 a couple of weeks ago, Panasonic surprised the filmmaking community again by adding internal ProRes RAW recording capabilities, 32-bit float audio recording, and much more. However, one addition that probably caught most of our attention is the partnership between Panasonic and ARRI, which implemented the famous ARRI LogC3 picture profile to the LUMIX GH7 via a paid upgrade key. Panasonic hasn’t forgotten their loyal LUMIX GH6 users, and the ARRI LogC3 picture profile is also coming.

Panasonic LUMIX GH6 – ARRI LogC3 support

Panasonic has released a free firmware update, version 3.0, for the LUMIX GH6. This update adds support for the DMW-XLR2 microphone adapter (without the 32-bit float recording function) and, according to Panasonic, “operational stability improvements.”

The most significant addition to this firmware update is the “Activation” function that allows you to enter an optional DMW-SFU3A software key. If you purchase this optional software key, the ARRI LogC3 picture profile will be added to your “photo styles.”

Similarly to the LUMIX GH7, the ARRI LogC3 curve for the LUMIX GH6 has been certified by ARRI. The only difference between the LUMIX GH7 and the LUMIX GH6 is that you can’t use the “Real Time LUT” function on the latest because it doesn’t support this functionality.

Price and availability

The Panasonic LUMIX GH6 firmware update version 3.0 can be downloaded free of charge now. The optional DMW-SFU3A software key is available to preorder now for $199.99 and should be available soon.

What do you think about adding ARRI LogC3 to the Panasonic LUMIX GH6? Do you think it’s worth paying for the upgrade? Don’t hesitate to let us know in the comments below!

Launched back in August 2018, the original Nikon Z 6 marked the beginning of a new chapter in the mirrorless era. Indeed, thanks to a partnership between Nikon and Atomos, it was the first camera – along with the Z 7 – to ever output RAW data over HDMI, effectively paving the way for many other camera manufacturers to join the Atomos ProRes RAW ecosystem as we know it today.

However, the Z 6 was lacking some key functionalities for video shooters, such as internal N-Log or 4K UHD 60p recording, for example. Some of these limitations were partially addressed with the advent of the Z 6II in October 2020 and subsequent firmware updates. But today, with the launch of the Z 6III, it looks like Nikon is willing to compete even more seriously in the filmmaking league. Let’s take a closer look!

Nikon Z 6III – New 24.5MP sensor paired with EXPEED 7 processor

To start off, the Nikon Z 6III packs a new 24.5MP (6048×4032 pixels) partially-stacked CMOS full-frame (35.9×23.9 mm) sensor, which is the world’s first. This is paired with the same EXPEED 7 processor found on the Z 8 and Z 9. And, according to Nikon, this combo should provide about 3.5x faster readout speeds compared to the Z 6II. Hopefully, we will be able to confirm these claims by putting the camera through its paces in our rigorous Lab Test in the future.

The sensor comes with 5-axis stabilization and Nikon claims that this should provide up to 8-stops of Vibration Reduction. On top of this, the Z 6III has a Focus Point VR feature that “prioritizes stabilization on the active focus point,” according to Nikon.

On the photo side, the camera can capture 24.5MP RAW images at up to 20fps using the electronic shutter or JPEG stills at up to 120fps. Moreover, a new Pre-Release Capture mode has been added to capture up to 1 second before you press the shutter button.

On the video side, the Z 6III can shoot N-RAW internally in 6K at up to 60fps, exploiting the whole full-frame sensor area without any crop. Moreover, ProRes RAW HQ (12-bit), ProRes 422 HQ (10-bit), and H.265 (10-bit) recording options are also available. However, these modes are limited to 6K30p, 5.4K30p, and 5.4K60p, respectively. Finally, an H.265 (8-bit) mode is also available. But that’s not all. Indeed, you can record slow-motion videos in 4K at up to 120fps with a 1.5x crop or Full HD at up to 240fps.

Just like with the Z 6II, the camera features two card slots, one supporting CFexpress Type B or XQD media and the other for SD/SDHC/SDXC UHS-II cards. Unfortunately, these cannot be used for simultaneous backup recording. The Z 6III still uses the same EN-EL15c batteries as the Z6 II and supports power delivery via USB-C. Moreover, you can use the camera in conjunction with the MB-N14 battery pack to further extend battery life.

According to Nikon, the autofocus system of the Z 6III is inherited from the Z 8 and Z 9 and is also enhanced by their Deep Learning technology. The AF system can automatically detect 9 different types of subjects, including people, dogs, cats, birds, airplanes, cars, motorcycles, bicycles, and trains.

Size, weight, fully-articulating LCD, and bright EVF

The design of the Z 6III seems to be the result of a hybridization between the Z 6/Z 6II and the Z 8 bodies. Indeed, the camera is a bit bulkier (138.5 x 101.5 x 74mm / 5.45 x 3.99 x 2.9in) and heavier (670g/1.47 lbs.) than the Z 6II, and, probably, this was partially done to accommodate the new 3.2” fully-articulating (finally!) touchscreen LCD display.

The blackout-free EVF has also been dramatically improved and now features a higher resolution with 5.760k dots, a wide DCI-P3 color gamut, and 4,000 nits of brightness, which is quite impressive.

When it comes to connectivity, the camera still has a 3.5mm jack input as well as a 3.5mm headphone output. However, the audio input can now receive line signals from external recorders and XLR accessories. A nice surprise is also the addition of a full-size HDMI port, which replaces the mini-HDMI of the previous generations.

Price and availability

The new Nikon Z 6III is now available to pre-order from B&H and CVP. The body-only option retails for about $2,499.95 / €2,650. Alternatively, you can purchase the camera bundled with the NIKKOR Z 24-70mm f/4 S lens for $3,099.95. The camera will be available in late June.

For more information, please visit Nikon’s website here.

Have you ever shot on the Nikon Z 6 or Z 6II? What do you think of this new model? Would you consider switching to Nikon for both your photo and video needs? Let us know your thoughts in the comment section below!

The Apple Vision Pro virtual reality headset was announced in June 2023 and was finally released in February 2024. However, creating content for Apple’s high-resolution immersive goggles is still complex, as you need to capture VR content in stellar resolutions, around 14K/100MP. A few months ago, even Canon claimed that no camera could create content for the Apple Vision Pro.

It’s not a secret that technology is moving fast. During the annual Apple WWDC 2024 conference, the tech giant mentioned working closely with Blackmagic Design to design capture and editing solutions for the Apple Vision Pro announcing the development of the URSA Cine Immersive.

Blackmagic Design URSA Cine Immersive – what we know

At the time of writing, Blackmagic Design announced the development of the URSA Cine Immersive, but we have limited information about it. However, we know the camera is based on the newest URSA Cine platform so you can expect the same input/output/connectivity in this new immersive version.

We can’t confirm if the URSA Cine Immersive is based on the URSA Cine Full-Frame 12K version or the URSA Cine 65mm 17K version. However, Blackmagic Design mentions that the camera sensor can capture 8K stereoscopic 3D footage with an “8160 x 7200 resolution per eye with pixel level synchronization,” with a whopping maximum framerate of 90fps stereoscopic.

The URSA Cine Immersive will feature a “fixed, custom lens system” specifically designed and calibrated for the camera. The footage will be captured in a new Blackmagic RAW Immersive with up to 16 stops of dynamic range.

DaVinci Resolve update

Blackmagic Design mentions that the new “Blackmagic RAW Immersive file format is an enhanced version of Blackmagic RAW designed to make immersive video simple to use through the post-production workflow.”

Regarding post-production, DaVinci Resolve will receive updates to support the new file format and a new Immersive Video Viewer to pan/tilt/roll clips for viewing on 2D monitors. Of course, it will also be possible to view and monitor clips directly on an Apple Vision Pro headset.

Lastly, Blackmagic Design mentions that “transitions rendered by Vision Pro will also be able to be bypassed using XML metadata, giving editors clean master files where the transitions are rendered in the Vision Pro. Export presets will enable output into a package that can be viewed directly on Apple Vision Pro.”

Price and availability

We have no information about the price or availability of the Cine URSA Immersive or DaVinci Resolve updates, but we will update you once we do.

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

What do you think about this new Cine URSA Immersive model? Are you interested in capturing Immersive content for the Apple Vision Pro? Don’t hesitate to let us know in the comments down below!

The new Micro Four Thirds video flagship camera from Panasonic, the LUMIX GH7, has just been announced. You can read all about it in our separate article right here. Panasonic, however, prepared a notorious “one more thing” kind of news for us. The company just announced that they licensed the ARRI LogC3 for the LUMIX GH7. This sounds exciting! Let’s take a quick look at the details.

ARRI LogC3 on Panasonic LUMIX GH7

ARRI LogC3 (logarithmic gamma curve to preserve more dynamic range and increase flexibility for post-production, simplified explanation) is used on ARRI cameras, and as the name implies, it is the third generation of ARRI Log. For instance, the latest ARRI ALEXA 35 already uses ARRI LogC4.

Unlike Panasonic’s own V-Log, the support for ARRI LogC3 will not be included in the camera for free (which makes sense because most GH7 users probably won’t ever need it). To get it, one will need to purchase a separate software upgrade key (DMW-SFU3A).

Panasonic says the image processing of the ARRI LogC3 curve on LUMIX GH7 has been certified by ARRI for the implementation of this function. The ARRI LogC3 can be used on the LUMIX GH7 for 10-bit recording modes in Creative Video mode.

The footage shot with the ARRI LogC3 on the GH7 can be easily converted to any look from the ARRI look library (you can check out the ARRI Look simulator here.) It is also possible to store the LUT package for 709 conversion (ARRI Look Library LogC3 to Rec709 3D-LUTs) in the LUT Library of the LUMIX GH7 and combine it with the REAL TIME LUT function to capture videos with ARRI LUTs straight out of the camera.

With the addition of the ARRI LogC3, the GH7 might become a viable option for special use cases (crash cam, drone cam, etc) on productions using ARRI ALEXA cameras. Panasonic claims that the ARRI LogC3 in the LUMIX GH7 employs a curve that conforms to the standard sensitivity of ISO 800 of the ARRI camera.

Last but not least, the upgrade key for ARRI LogC3 will also work on the previous model, LUMIX GH6 (with the exemption of the REAL TIME LUT function.)

Price and availability

The Panasonic LUMIX GH7 will start shipping in July 2024, and the price has been set to $2,197.99 / €1,961.23 for the body only. The kit, which includes a 12-60mm f/2.8-4 lens, will be priced at $2,797.99 / €2,450.65. The optional DMW-SFU3A upgrade key will be sold for $199.99.

What do you think about the new LUMIX GH7 so far? Do you think this might be a suitable crash cam (drone cam) for productions shooting ARRI ALEXA cameras? Let us know your thoughts in the comments section underneath the article.