7Artisans is teasing a new MAX autofocus ultra-wide-angle lens. The clue they provided is the number 012456 – four of those digits are for the focal length and the aperture. Maybe 15mm f/2.4?
Previous coverage of 7Artisans can be found here.
The post 7Artisans is teasing a new MAX autofocus ultra-wide-angle lens appeared first on Photo Rumors.
John Freeman takes photography to an extreme resolution – literally. Learn how he creates gigapixel-level detailed photos that make their way to massive wall murals.
John FreemanCommunity member John Freeman, known as john80504 in the forums, loves peering into the distance at intricate landscapes, capturing them at the highest resolution possible, then framing multiple shots on a wall to admire. Some of his murals are as large as 15 feet by 50 feet, showcasing wide mountain ranges and vast river valleys.
According to John, he’s the only person in the world who teaches a workshop on Gigapixel Photography, the art of taking dozens or even hundreds of photos and stitching them together into a single image with a resolution that measures in the thousands of megapixels.
Editor’s note: because of the nature of the ultra-high resolution images Freeman creates, we don’t have a way to post the full versions to our site in a way that would let you sensibly view them. We’ve provided links to his website that let you experience them in all their glory.
Our ‘What’s in your bag?’ community spotlight series features readers sharing their favorite gear and photography, including from past DPReview collaborators. See below for what John has to share.
Home base: Longmont, Colorado, USA
Photography has been a lifelong pursuit for John, one that has evolved significantly over the decades. It eventually led him to a highly specialized niche that combines technical precision with artistic vision.
“For more than 58 years, starting at age 13, photography has been a central part of my life. My parents gave me a Kodak Brownie camera for Christmas the year I was in 8th grade. Over that time, I’ve explored many different genres and techniques, but few have challenged and rewarded me as much as gigapixel panoramic wall mural photography. My gigapixel photos are among the largest, highest resolution Fine Art Wall Mural Photos available on the internet.”
Gigapixel photography is the process of capturing hundreds – or sometimes thousands – of individual photographs and stitching them together into a single seamless image.
That specialization is gigapixel panoramic photography, a field he has spent more than a decade refining and pushing further with advanced techniques.
“When I first started doing gigapixel photos in 2011, I entered a niche market. Gigapixel photography is the process of capturing hundreds – or sometimes thousands – of individual photographs and stitching them together into a single seamless image. Over the past 10 years I have been doing focus bracketing/stacking of the individual images that are stitched into the final image. Adding focus bracketing/stacking has been the single most important skill that has improved my work.”
Favorite camera: Canon EOS R5 Mark II, though he still carries a Mark I for nostalgia.
“For the past five years, my main camera has been a Canon EOS R5, but before a trip to New Zealand this past April, I added a Canon EOS R5 Mark II to my bag. It has quickly become my favorite. I especially appreciate that it stores focus-bracketed images at 14-bit resolution rather than 12-bit, like the original R5, and that it captures focus-bracketed sequences much faster, which is a big advantage when photographing large landscapes. Most of the time, you’ll find my Canon RF 100-400mm F5.6-8 IS USM mounted on the camera.”
Lenses used across all cameras:
Any experienced photographer is going to have a set of gear that works well together and is ready to go at a moment’s notice. Apart from the cameras and lenses above, here’s John’s other interesting gear he takes with him on trips into the mountains.
Support gear: “For panoramic photography, I typically carry a Nodal Ninja M2 manual nodal head mounted to a SLIK carbon fiber tripod with a Really Right Stuff leveler, along with a Vello Wireless ShutterBoss remote shutter release to minimize camera shake. For longer hikes, I also pack granola bars, a CamelBak water bladder and a phone running the PhotoPills app for planning.”
Camera bags: “For many years, I used a Tamrac Expedition 9x backpack, which had plenty of room for all my gear but became too heavy for long hikes. Last fall I switched to a lightweight Mosiso backpack that’s just big enough for my camera, three lenses and the Nodal Ninja. It also has a side pocket for my tripod, although that part could be better.”
When John goes to a location, one of his goals is to shoot the largest, highest-resolution photo ever taken there – not just by him, but by anyone else.
“One of my most unique and difficult shoots was one I did in February 2026 of the frozen waves that occur in winter at Dream Lake in Rocky Mountain National Park. The frozen ice waves are an unbelievable wintertime phenomenon that is caused by freezing temperatures and strong, dry winds. It is called sublimation, the process in which solid ice changes directly into a gas without becoming a liquid first. The result is a 4.63 gigapixel focus-stacked, stitched image made up of 7090 individual focus-bracketed images. This yielded 225 focus stacked sets in a 9 row by 25 column array.”
While Dream Lake stands out as one of his most technically demanding projects, John is always planning his next destination in search of another record-breaking panorama. Earlier this year, that pursuit took him to New Zealand.
“My wife and I just returned from a second honeymoon trip, a 27-night camper-van tour of New Zealand, in April, 2026. During the trip, we visited both the North & South Islands. While not every photo met my 1 gigapixel requirement, I did manage to capture numerous photos of some of the most beautiful areas of New Zealand.”
“Even after decades behind the camera, I still find myself excited by the challenges and possibilities of gigapixel photography. One of my current projects is what I call Virtual Rocky Mountain National Park – a long-term effort to create immersive panoramic experiences throughout the park and to preserve these remarkable landscapes in extraordinary detail. This virtual tour of RMNP is free to the public to view and enjoy.
Projects like Virtual Rocky Mountain National Park have also pushed John to refine the technical side of his craft. One of the biggest hurdles comes when photographing scenes with an extreme range of light.
Unlike traditional photography, where HDR techniques can often solve these problems, focus stacking and HDR do not work together because the camera cannot perform both focus and exposure bracketing simultaneously
“One of the biggest challenges in gigapixel photography is dealing with scenes that contain both extremely bright and extremely dark areas. Unlike traditional photography, where HDR techniques can often solve these problems, focus stacking and HDR do not work together because the camera cannot perform both focus and exposure bracketing simultaneously. To overcome this challenge, I rely heavily on a technique called Expose To The Right (ETTR). This approach has become an essential part of my workflow, particularly when photographing complex landscapes that contain bright skies, deep shadows, waterfalls, and other high-contrast elements.”
“I always tell my workshop students, don’t be afraid to make mistakes, just make sure that you learn from your mistakes and avoid them next time.”
John really enjoyed participating in this spotlight article and would love to hear what you think of his photography and to answer any of your questions in the comments below.
You can check out John’s other work at abbascreationsphotography.com.
Editor’s note: This article continues a series, ‘What’s in your bag?’, highlighting DPReview community members, their photography and the gear they depend on. Would you like your photography to be featured in a future installment? Tell us a bit about yourself by filling out this form.
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The previously reported Viltrox 25mm f/1.7 AIR and the 35mm f/1.7 AIR lenses for Micro Four Thirds were officially released in China today. Pre-orders should open soon at B&H Photo, Amazon, and the official Viltrox store.
The post Viltrox 25mm f/1.7 & 35mm f/1.7 AIR lenses for Micro Four Thirds officially released appeared first on Photo Rumors.
It’s been nine years since the RX10 IV was launched. What does the RX10 V bring, other than some AF improvements?
Richard ButlerThe Sony DSC-RX10 V appears just as prices of the remaining RX10 IV started to get silly. Nearly nine years have elapsed since the launch of the Mark IV but despite first appearances, almost everything has changed in the new camera.
Both cameras are based around the same fundamental specs: a 24-600mm equivalent F2.4-4.0 zoom and 20MP Type 1 (116mm2) stacked CMOS sensors.
Sony says the lens is the same, despite reporting the focal lengths differently on the side of the barrel. Our understanding is the RX10 IV reports the effective focal length with corrections applied, whereas the RX10 V lists the literal focal lengths.
We were briefed that the sensor has been “updated” but without any specifics about what those changes are. The new camera has significantly more powerful processors and updated AF algorithms, so it’s hard to be sure which, if any, of the spec changes can be ascribed to sensor differences. It seems notable, though, that Sony no longer mentions DRAM, which it did in its description of the previous version.
The RX10 V’s ergonomics have been reworked, mostly for the best. It has a more comfortable grip, more prominent command dials on its shoulder and one of the large, easy-to-position AF joysticks we’ve seen on the last few generations of Alpha cameras. It loses its top-plate LCD and its focus drive mode switch on the front of the camera, instead getting an AF/MF switch on the side of the lens.
The net effect is a definite positive: the RX10 V feels a lot more like one of the more recent Alpha models, rather than a box full of goodies that you constantly feel you need a tin-opener to get at. It’s disappointing that all three of the camera’s dials (if you include the awkward little dial on the rear face) need to be controlled with the thumb: a front dial would have been a further boost, but overall it feels much nicer to control. And that’s before you get to the menus which, if nothing else, are much more sensibly arranged, with related options much more logically grouped and labeled.
The new camera has Sony’s latest AF system, which is a surprisingly large step forward. The RX10 IV was the first in the series to gain phase detection AF: delivering a big leap forward over previous models, and early instances of Eye detection and animal eye detection autofocus. In video it fell back on the older, clunkier ‘Center Lock-On AF’ system that required a degree of button-pressing and missed focus that seems unthinkable by modern standards.
The RX10 V illustrates just how far things have come in the meantime. The clutter of AF area modes persists, but it’s now backed up by a subject recognition system that can cope with a wider range of subjects, works more effectively and is available in video. The near decade-long lull in enthusiast compact cameras happens to have coincided with one of the most sustained periods of improvement in AF performance and ease-of-use,
Richard ButlerBoth the viewfinder and rear screen have been upgraded, compared with the RX10 IV. We wouldn’t be at all surprised to find some of this is down to old components no longer being available, but if it results in a better viewfinder, we’ll take it.
The RX10 V has a 3.69M dot EVF, meaning 1280 x 960px resolution, rather than the 1024 x 768px view of its predecessor. It’s a physically larger panel, too, with updated finder optics boosting the magnification from 0.7x to 0.78x.
The rear screen gets a more modest boost: 1.62M dots (900 x 600px) in a 3:2 aspect ratio that matches the camera’s sensor, rather than the 4:3 screen on the RX10 IV, which had 800 x 600px resolution, of which 800 x 533px would be devoted to previewing images. In both instances, the screens tilt up or down, but don’t hinge or tilt sideways.
For the most-part, the RX10 V’s movie capabilities are greatly enhanced: it can shoot 4K at up to 60p from the full width of its sensor (vs 30p on the old model), or 120p with a crop. The AF tracking is vastly improved, it gains Sony’s Auto Framing system that crops in and follows a subject around, to give movement to otherwise static shots, and it adds the ‘Active’ Steadshot stabilization mode. Above all, though, it gains the ability to capture 10-bit footage, making its Log files much more flexibile than before, particularly S-Log3. It also lets you shoot in S-Cinetone, and attractive, ready-to-go profile we’ve liked on other cameras.
Somewhat contraversially, the RX10 V doesn’t offer the 1000fps (960fps in NTSC mode) 1080 video capture of its predecessor. Whether this is a consequence of a lack of DRAM to buffer all that information, or because Sony has just refocused its attention on more mainstream video needs is unclear. The footage was never particularly good (not least because each frame of a 1000fps burst is made up from very little light), but it was a feature that wasn’t really available elsewhere.
As you might hope, the RX10 V now accepts UHS-II SD memory cards, letting it write and read data much faster than the older model, which had a UHS-I interface. UHS-II had started to appear in cameras nearly three years prior to the Mark IV, so this isn’t really a case of bringing the new camera up-to-date, and more of reaching the point the IV could have been at, nine years ago. The industry looks unlikely to ever use the newer UHS-III format and may even skip SDExpress, which is based on the same technology as the CF express cards Sony uses elsewhere in its range.
The Mark V does at least gain a modern USB connector, though. It can communicate at up to 10Gbps and can be used for charging the camera. It retains the Micro-B USB socket that the IV had, so that it’s compatible with the same accessories, but this port can no longer be used for charging.
Richard ButlerFinally, there’s the battery. The RX10 V makes room for the much larger NP-FZ100 battery, which has over twice the capacity of the NP-FW50 used in the Mark IV. This doesn’t result in double the battery life, perhaps because of the additional processing power and higher resolution viewinder, but still sees the battery life rating jump by more than 50%. Ratings of 570 shots per charge via the viewfinder and 630 shots per charge using the rear screen are well into the territory that it’s unlikely you’ll ever have to worry about battery life, as a stills shooter. As usual, we’d expect most people to get around double this number of shots, and still more if you shoot bursts.
It’s easy to look at the RX10 V, see that the lens and pixel count is the same and conclude it’s a minor update. In practice, just about every aspect of the camera has been improved. The RX10 V looks much more expensive, but a lot of that is because inflation – or, to put it another way, the devaluing of the money in your pocket – in the intervening nine years exaggerates the difference.
As always, it’s up to each individual to decide whether they think a product is worth the cost, but in terms of usability, performance and capability, the RX10 V is a big step forward.
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The company has upgraded its existing folding phones, and added a new model in-between them.
SamsungSamsung has announced three new folding phones, updating its existing models and adding a new one to its lineup, complete with a new form factor.
The flagship model is getting a rebrand. Formerly known as the Galaxy Z Fold series, this year’s entry is called the Galaxy Z Fold 8 Ultra. Like its predecessor, it has a 6.5″ display on the outside, and an 8″ one on the inside. As you’d expect from an “Ultra” phone, it has a triple-camera setup. The main “wide” and telephoto cameras are unchanged from the ones found on the Galaxy Z Fold 7, but the ultrawide has been upgraded from a 12MP Type 1/2.5 (25mm²) sensor with an F2.2 lens, to a 50MP one with an F1.9 lens, which Samsung says will let in 33% more light.
The company says it has enhanced its HDR mode for the main camera, as well as its low-light “Nightography” mode. The phone’s 8K video also now records in the APV codec, which Samsung says “gives users greater flexibility and quality for editing and production workflows.”
Aside from the upgraded ultrawide camera, Samsung has included the new Snapdragon 8 Elite Gen 5 processor with 12 or 16GB of memory (dependent on what storage size you get), along with a higher-capacity 5000 mAh battery, up 600 mAh from the one in the Z Fold 7. The company has also re-engineered the phone’s internal screen to make the crease less visible, while making it brighter and nicer-feeling to open. And despite all this, it weighs the same 215g (7.6oz) as its predecessor, and each half is a hair thinner at 4.1mm.
None of these improvements come cheap, though. Last year’s Z Fold 7 was $100 more than its predecessor, and Samsung has bumped the price again, with the Z Fold 8 Ultra starting at $2100 for the 256GB model.
There is, however, now a new option below it: the Z Fold 8, which takes on a slightly different form factor. While the Ultra has a relatively tall and narrow 3:7 outer screen and a nearly-square 1.11:1 inner screen, the new model’s cover is a wider, shorter 10:16, and the inner display is 4:3. The Z Fold 8’s outer display has a 5.5″ diagonal, while the inner one is 7.6″.
While the Z Fold 7 (which was, remember, moreso the predecessor to the phone now called “Ultra”) marked a turning point as a folding phone that didn’t come with big compromises to its camera system compared to its candybar counterpart, that trend hasn’t continued with the Z Fold 8. It drops the telephone camera entirely, and its main 23mm equiv. camera is smaller, slower and lower resolution than the one on the Ultra. The ultrawide, however, is the same 50MP model.
| Galaxy Z Fold 8 Ultra | Galaxy Z Fold 8 | Galaxy Z Fold 7 | |
| Main camera | 200MP Type 1/1.3 (72mm²) 24mm equiv. F1.7 (F6 equiv.) | 50MP, 23mm Type 1/1.57 (50mm²) 23mm equiv. F1.8 (F7.6 equiv.) | 200MP Type 1/1.3 (72mm²) 24mm equiv. F1.7 (F6 equiv.) |
| Ultrawide camera | 50MP Type 1/2.5 (25mm²) F1.9 (11.5 equiv.) | 50MP Type 1/2.5 (25mm²) F1.9 (11.5 equiv.) | 12MP Type 1/2.5 (25mm²) F2.2 (F13.3 equiv.) |
| Telephoto camera | 10MP Type 1/3.94 (10mm²) 67mm equiv. F2.4 (F22.7 equiv.) | – | 10MP Type 1/3.94 (10mm²) 67mm equiv. F2.4 (F22.7 equiv.) |
| Size (Folded) | 158 x 73 x 8.9mm | 124 x 82 x 9.7mm | 158 x 73 x 8.9mm |
| Weight | 215g | 201g | 215g |
| Battery | 5000mAh | 4800mAh | 4400mAh |
| Price | $2100 | $1900 | $2000 |
Not everything is a downgrade compared to the Ultra, though. The displays may be a different size, but are still just as bright, and the Z Fold 8 has the same processor and storage options. And while it’s thicker both folded and unfolded, it’s also a touch lighter. Even if you don’t prefer the more passport-style form factor, though, the price may be slightly more attractive than the Ultra’s, as the phone starts at “just” $1900.
Finally, Samsung has also updated its Z Flip 8, the smaller model that unfolds to be a similar size to a more traditional smartphone. The company doesn’t seem to have made any changes to its cameras – it still has a wide 50MP Type 1/1.57 (50mm²) and ultra-wide 12MP Type 1/3.2 (15mm²) – but it’s lighter and thinner than its predecessor. The company has also updated the processor to that same Snapdragon model (though there’s no option for one with 16GB of RAM like with the larger models), and has made improvements to the front screen’s interface, making it easier to use if you want to avoid opening your phone and potentially getting sucked in by feeds and apps.
The Z Flip 8 retains its position as Samsung’s least expensive foldable, but its $1200 price tag represents a $100 increase over its predecessor’s.
The Z Fold 8 Ultra, Z Fold 8, and Z Flip 8 are all available to pre-order today, and are set to become available on August 7th.
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I already reported that Viltrox will introduce a new line of Micro Four Thirds autofocus lenses. The first two Viltrox MFT lenses are expected to be the 25mm f/1.7 AIR and the 35mm f/1.7 AIR:
The first two Viltrox AIR lenses for MFT will be 25mm f/1.7 & 35mm f/1.7
Viltrox already has their teaser online:
Viltrox used to make MFT lenses (see listings):
The post Viltrox to announce new lens(es) for Micro Four Thirds tomorrow appeared first on Photo Rumors.
A comparison between the new Sony FX5 and the FX3A cameras can be found here:
The post Comparing the Sony FX5 and the FX3A appeared first on Photo Rumors.
Sony introduces the previously rumored FX5, the newest addition to the Cinema Line family. Designed to bridge the gap between the FX3 and FX6, the FX5 combines the portability of a compact body with advanced imaging technologies inspired by Sony’s flagship cinema cameras. Additional information on the FX5 is available here and here.
Pre-orders are now open at B&H Photo, WEX Photo, and Foto Erhardt.
The Sony FX5 features a newly developed full-frame stacked Exmor RS CMOS sensor and Sony’s latest BIONZ XR2 image processor, delivering more than 15 stops of dynamic range, three Base ISO settings, and introducing Open Gate recording and internal X-OCN RAW recording to the FX series for the very first time. The video recording options are up to 5K 60p, 4K 120p, and Full HD 240p,
Additional features include AI-powered Real-time Recognition Autofocus, enhanced in-body image stabilization, a larger multi-angle LCD with the CineAlta-inspired BIG6 interface, expanded professional connectivity, and new optional OLED viewfinder and XLR handle accessories with 32-bit float audio recording.
Check out the new FX5 accessories from Kondor Blue, Bright Tangerine, and Mid49:
Additional information:
A newly developed image sensor and the latest high-speed image processing engine
CMOS image sensor and the latest BIONZ XR2 high-speed image processing engine with a dedicated AI processing unit.High-precision AF powered by AI and detailed settings that support intentional shooting
Excellent operability and high mobility in a compact, lightweight body
High reliability and expandability to support professional production environments
ports accept timecode input through an optional timecode adapter cable and external power through USB Power Delivery (PD),[9] for stable long-duration shooting.
Planned Firmware Update ver. 2.0 (coming 2027)
A planned update will add higher resolution high frame rate shooting up to 240 fps in X-OCN, XAVC S-I recording in 3:2 (Open Gate shooting), an optimized interface for vertical shooting, and a frame grab function.
Accessibility and environmental considerations
Optional Accessories
0.58-type OLED Viewfinder “DVF-EL1”
XLR Handle Unit “XLR-H2”
The XLR-H2 carries two XLR/TRS combo terminals and supports up to 4-channel audio input. Dual AD converters digitize microphone signals with high precision across a wide dynamic range and record in-camera at up to 96 kHz, 32-bit float. It connects directly to the body through the Multi Interface (MI) Shoe for stable digital transmission.
Timecode Adapter Cable “VMC-BNCU1”
The optional USB-C to BNC timecode adapter cable feeds timecode from external devices into the camera. It synchronizes multiple cameras and external audio devices for timecode-based workflows across multicamera shooting, broadcasting, and filmmaking.
Applications Supporting Production with the FX5
Sony FX5 videos:
The post Sony FX5 cinema camera announced appeared first on Photo Rumors.
For this week’s question, we wanted to dive into the forums and ask our readers which sections they like to visit most often.
DPReviewThe DPReview forums have nearly 100 customized sections to discuss all your gear and photography interests. From reading official DPReview news to talking about camera brands and Nature and Wildlife Photography, there’s a space for everyone’s curiosity.
For visitors who are interested in buying or selling their gear, we also have the For Sale and Wanted forum section. And if you are a mobile phone camera user and love to share your on-the-go photos, not to worry, we have Mobile Photography Talk forum as well.
So, with that said…
Which forum sections are your favorite to visit for both camera brands and digital photography, and why?
I would also like to take this opportunity to ask you which forum sections you would like added that we don’t currently have?
Drop a reply in the comments section below, and if you’ve got a photo to include from your mentioned forum sections, it may be selected for next week’s showcase article on this topic!
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Sony supersedes the FX3 with something much closer to its pro cinema cameras
James TiradoThe Sony FX5 is a compact cinema camera capable of up to 4.5K120 and Raw video capture, aimed at independent videographers and small productions. It builds on the legacy of the FX3, adding a host of features we’ve not previously seen from Sony.
The FX5 will be available, body-only, for $4899, or $5499 with the XLR top-handle, which allows 32-bit float audio capture. Other optional accessories include a removable, tiltable viewfinder and a USB-C-to-BNC timecode cable. It will be available from August.
The FX5 is a surprisingly significant upgrade compared to the FX3, suggesting Sony is still working out what this type of camera needs to offer, and iterating. It nominally sits above the FX3 but looks like it’s trying to do what the FX3 did, plus a lot more, making it most directly comparable to the likes of Canon’s C50 cinema camera.
The most visible addition is its ability to capture Raw footage, but that’s just the most dramatic departure from the existing camera. There are also a host of features and UI changes that have come down directly from the company’s pro cinema products, to the degree that it represents not just a major upgrade but will also present an appreciable learning curve for existing FX3 users.
Interestingly, Sony doesn’t refer to the camera’s Raw mode in those terms, instead settling on the snappy X-OCN, which I’m sure we can agree is clearer. They tell us it’s a 16-bit linear Raw format, which is a lot more detail than we’re typically given about the other Raw video codecs. Linear encoding is a rather inefficient way of doing things but, in theory at least, gives the maximum flexibility in terms of highlight editing and reconstruction.
This “EXtended tonal range Orginal Camera Negative” gives you more flexibility in terms of correcting white balance, applying noise reduction, highlight and tonal adjustment and color grading. It’s a version of the format already used by the Burano and Venice cameras, so should be compatible with DaVinci Resolve, Adobe Premiere Pro, Avid Media Composer and Baselight software.
The FX5 uses the X-OCN LT (Light) version of the codec, used on the Burano cinema camera (and that’s even an option on the company’s flagship Venice 2 model).
James TiradoThe FX5 is based around a new stacked CMOS sensor. Sony quotes the pixel count as 16.6MP which, given the FX3 turned out to have a 48MP behind a 12MP color filter array, should make us wonder how similar it is to the 66.8MP sensor in the recent a7R VI.
Sony wouldn’t be specific about any differences, but the significantly higher output speeds make us assume that there’s DRAM or more complex readout circuitry built into the back of the sensor. We know that the a7R VI’s 4K video comes from combining quartets of pixels, so placing that same pixel architecture behind oversized color filters that extend across sets of four pixels would make a lot of sense. Even if you’re not that interested in video, this ability to produce variations of a sensor with different capabilities might still offer an interesting insight into the products we’ll see in the coming years.
In practice, the FX5 is faster at reading out a comparable region of its sensor (around 5.5ms in full-width, 16:9 5K modes, around 24% quicker than the 7.2ms that the a7R VI takes in its ‘5K sampled’ 16:9 modes). Open gate mode read out the full height of the sensor in 8.3ms (1/120 sec).
The FX5 has a “Dual Gain” mode, not to be confused with its three designated “base ISO” settings
Sony says the camera has a “Dual Gain” mode that boosts dynamic range by combining the low gain and high-gain signals being read off the sensor. It is available in the camera’s lowest native gain mode (ISO 800) and the modes derived from it (ie up to EI 3200). It can be used at up to 60p in most resolutions or up to 30p in open gate mode.
We’re told it may operate differently from the combined dual gain mode the a7R IV offers in video, though. We were briefed that the image is analysed and the high gain (low noise) data is only utilized in the shadow regions of the image, making the process faster than combining both gain settings for all pixels. Engaging the Dual Gain mode (via the ISO menu) increases the readout time by a factor of 2.1x, which is very similar to the proportion of increase we measured on the a7R VI.
Interestingly, Sony also says the FX5 has three “base ISO” settings: 800, 4000, 12,800. To make sense of this, it’s worth noting that there isn’t a fixed or universally shared definition of what ‘base ISO’ means. What it doesn’t directly refer to is conversion gain steps at the sensor level. So, for instance, the FX3 and a7S III had dual conversion gain sensors, but Sony says it does not consider them to be cameras with dual base ISO.*
Instead, Sony tells us its definition of base ISO relates to modes that offer the same dynamic range distribution between highlights and shadows, and have a near-identical noise floor, allowing footage to be intercut between the modes. This makes most sense when working in the camera’s Cinema EI mode, where the camera is locked to one of these “base” states and then delivers ISO settings up to two stops higher or lower by essentially under- or over-exposing the ‘base’ state, then including a metadata tag saying how light or dark the footage is meant to be rendered. This really comes into its own in a Raw workflow, as this is how it’s possible to adjust the “ISO” of footage, after the fact.
The decision of Sony to offer three “base ISO” states shouldn’t lead you to conclude that there are three distinct gain steps at the hardware level, nor should it be confused with the camera’s optional “Dual Gain” mode that combines the output of different hardware states.
*Just to make clear how slippery the concept is, the FX3’s firmware V2 added Cinema EI, including a setting called Base ISO, which has two settings. We are told the higher of these is officially considered a High Sensitivity mode, not a second base ISO.
Beyond these, the most radical change is to the user interface, with the FX5 gaining an all-in-one settings display borrowed almost directly from the Burano (and closely mimicking the displays that Panasonic borrowed from Arri, etc, etc). Its menus have also been re-worked to make them look more like Sony’s pro cinema models, which will add a bit of a learning curve for existing FX users but brings it closer into line with other production cameras.
The company says it will be adding a vertical version of the UI in firmware 2.0.
Also added are a host of tools that other brands have started offering but that have been absent from previous Sonys at this point in the market. So, in addition to options like the focus map, that highlights blocks of the image that are in and out of focus, the FX5 offers a false color display and waveforms for helping to judge exposure, and a vectorscope display for assessing color distribution. These come on top of tools such as zebras, focus peaking and a histogram, that were already available.
The camera is based around Sony’s latest Bionz XR2 processor, so gains all the subject recognition AF modes that we’ve become used to on the stills side of things, boosting autofocus dependability for run-and-gun shooting.
James TiradoAt first glance, the FX5 looks a lot like the FX3, but the changes reveal themselves, the closer you look. It’s a fraction larger, for a start, having grown a couple of mm in each direction but significantly the body of the camera itself is deeper, within those boundaries, so it feels bulkier. It’s also a fraction heavier, though Sony says it’s a less than 5% increase.
The layout of the camera’s six programmable buttons has been reworked and relabeled to better match what you’d find on the company’s higher-end cinema cameras. It also gains the multi-function dial from the Sony Burano, which can be used to navigate through menus, and make quick changes from the live view screen.
The FX5, like the recent Alpha cameras, gains a second USB-C socket. This can be used for a range of things, from tethering, powering the camera, data transfer or for accepting a timecode signal. As with other recent Sony cameras, the second USB-C socket is actually a USB 2.0 (480Mbps) socket, so can only be used for power and less data-intensive tasks.
The camera’s connectivity is further updated with an upgrade to Wi-Fi 6E, and the addition of an Ethernet port, which will likely find use in many houses of worship.
Sony has upgraded the rear tilting/articulating display to a 3.5″ model with a video-friendly 16:9 aspect ratio. Sony says the latter change makes it a much bigger upgrade to the 3″ display on the FX3 than it appears at first glance, as that screen’s 4:3 aspect ratio meant you were looking at a video that was really only 2.5″. Now, it can fill the entire screen, provided you’re not using an open gate or DCI (“17:9”) recording mode.
James TiradoThe FX5 has two slots, each of which take either CFexpress Type A cards or the slower UHS-II SD cards. The two card types don’t connect to the same connectors: one socket it essentially sited within the other.
James TiradoThe FX5 becomes the second camera to adopt Sony’s new 20.9 Wh NP-SA100 battery, following the a7R VI. This not only provides higher voltage and capacity than the NP-FZ100 batteries the FX3 used, but should allow for slightly longer record times. Sony says it can shoot for 130 minutes at 4K/60, while the FX3 caped out at 113. Of course, this change means that those with a large collection of batteries will need to spend quite a bit to rebuild it (provided they were running off an internal unit, rather than powering their cameras via an external V or Gold mount battery).
Despite the increased battery capacity, and smaller tweaks to the body like the addition of a second 1/4-20″ socket on the bottom plate to reduce the risk of rotating, Sony says the new camera is close to the FX3’s weight, coming in at 734g (25.9oz), versus 715g (25.2oz)
While the camera doesn’t have an integrated EVF – likely a concession to keeping its body as protrusion-free, and therefore gimbal-friendly as possible – Sony is making a removable one as an optional accessory. It features a 3.68M-dot panel that can reach up to 2500 nits peak brightness, and supports a wide color gamut to provide a more accurate preview. It’ll plug into a new port right above the multi-interface shoe, meaning you can’t have it attached if you’re also using the shoe. However, Sony says it’s working with a third-party to create an extension cable for it that will let you place it in more ergonomic position. The EVF, named the DVF-EL1, costs $698.
Another accessory is the XLR handle which, like the ones released for Sony Alpha-series cameras, will enable both the use of professional microphones as well as 32-bit float audio recording. The latter feature will an exciting addition for documentary and event shooters, as its different method for storing data essentially eliminates the risk of clipping, no matter what your gain levels are set to (though your microphone can still be overwhelmed). The handle can be purchased in a bundle with the FX5, or separately for $798
Like most of Sony’s previous cameras, the FX5 delivers all its compressed footage in output-ready 4K resolutions: with in the 16:9 UHD or ~17:9 DCI formats. However, in a detail borrowed from cameras like the Venice and Burano they are named in terms of the pixel region used to capture them. So, although the camera has “Imager Mode” options called 5K 16:9, the output is still the standard 3840 x 2160 UHD footage.
The Raw footage, by contrast, arrives in your editor in the resolution in which it was captured. So 5K means 5K.
One of these Raw modes is a 3:2 open gate mode, capturing the full area of the sensor to make it easier to output both landscape and vertical cuts from the same clip (if you can find a composition that’s sensible for both, that is). The camera can also apply a real-time desqueeze correction for anyone using anamorphic lenses, with 1.3x, 1.5x, 1.6x, 1.8x and 2.0x squeeze factors being supported.
When recording to its internal Raw X-OCN codec, the FX5 can shoot at roughly 5K in 3:2, ∼17:9 and 16:9, at up to 60p. There are three levels of compression for the codec, with the standard being “LT,” and C1 and C2 recording at increasingly lower bitrates to reduce file sizes. Sony says C1 will be around 25% smaller than LT.
The company says it plans to release a firmware update sometime in 2027 that will allow for recording 4K/240 footage in Raw, though it hasn’t provided any details on whether the mode will have a crop.
| FF 5K 3:2 (4992 x 3328) | FF 5K 17:9 (4992 x 2632) | FF 5K 16:9 (4992 x 2808) | FFc 3.8K 16:9 (3840 x 2160) | |
|---|---|---|---|---|
| X-OCN (LT, C1, C2) | 23.98, 25, 29.97, 50, 59.94 | 23.98, 25, 29.97, 50, 59.94 | 23.98, 25, 29.97, 50, 59.94 | 23.98, 25, 29.97, 50, 59.94 |
| Dual Gain available: | Up to 29.97 | Up to 59.94 | Up to 59.94 | – |
The camera needs to reboot in order to switch into or out of Raw mode. As we’ve seen on other cameras, it also needs to reboot to switch between 24p, PAL and NTSC modes, as the system clock needs to reset to work in multiples of 24, 25 and 29.97 frames per second. Because there’s no separation of Raw/Compressed or 24p/PAL/NTSC, it’s very easy to accidentally prompt the camera to reboot if you select the wrong shooting mode.
Likewise, the camera will only playback footage if it’s in the right system clock mode, and will only show you the Raw clips if you’re in Raw mode and only your compressed clips when in compressed mode.
The FX5 names its video modes by the areas that are sampled, rather than their output resolution. The camera’s “17:9” modes (5K and 4.5K) are output as DCI 4K (4096 x 2160), while the 16:9 modes (5K, 4.5K and 3.2K) are output as 3840 x 2160 UHD.
The DCI modes can only be shot in XAVC S-I (All-I H.264), whereas moving to 16:9 adds the option to shoot XAVC H (H.265) or XAVC S (H.264) with a choice of 4:2:2 or 4:2:0 chroma sub-sampling.
Sony says the FX5 will gain support for shooting 3:2 open gate in XAVC S-I will come as part of firmware 2.0, due in around October 2027.
| Outputs as DCI 4K (4096 x 2160) | Outputs as UHD 4K (3840 x 2160) | ||||
|---|---|---|---|---|---|
| FF 5K 17:9 (4992 x 2632) | FFc 4.5K 17:9 | FF 5K 16:9 (4992 x 2808) | FFc 4.5K 16:9 | S35 3.2K 16:9 (3264 x 1836) | |
| XAVC S-I (All-I H.264) 4:2:2 | 23.98, 24, 25, 29.97, 50, 59.94 | 23.98, 24, 25, 29.97, 50, 59.94 | 23.98, 24, 25, 29.97, 50, 59.94 | 23.98, 24, 25, 29.97, 50, 59.94 | 23.98, 24, 25, 29.97, 50, 59.94 |
| XAVC HS-L (H.265) 4:2:2 or 4:2:0 | – | – | 23.98, 24, 50, 59.94, 100, 119.88 | 23.98, 24, 50, 59.94, 100, 119.88 | – |
| XAVC S-L (H.264) 4:2:2 or 4:2:0 | – | – | 23.98, 24, 25, 29.97, 50, 59.94, 100, 119.88 | 23.98, 24, 25, 29.97, 50, 59.94, 100, 119.88 | 23.98, 24, 25, 29.97, 50, 59.94, 100, 119.88 |
| Dual Gain available: | Up to 59.94 | – | Up to 59.94 | – | – |
The FX5 also provides an option of cropping in to an APS-C-sized region of the sensor, providing compatibility with lenses designed for Super35 cameras. While the FX3’s APS-C mode was sampled from an 1080p region of the sensor, the FX5’s higher-resolution sensor means it can capture a 3.2K (3264 x 1836) region in 16:9. However, this is still output as 1080p when shooting in compressed modes.
The FX5 gains a whole host of video-specific tools meant to make it easier to get proper exposure and focus. It has a waveform monitor for clearer and more accurate exposure monitoring, a false color overlay that makes it easy to see at a glance whether your subject is properly exposed and whether any of your highlights and shadows are clipping, a vector scope for more information about your colors and a focus map overlay to assist with focus.
The company has also added more options for desqueezing the preview when shooting with anamorphic lenses, providing several options between a 1.3 and 2.0x ratio.
James TiradoThe FX5 is an evolution of the FX3 concept that tries to accommodate a wider range of users, and we doubt any one user will want or need the full range of its capabilities. Where the FX3 was essentially an a7S III in a more video-friendly format (or, perhaps, the camera the a7S III should have been, in the first place), the FX5 is a much more capable machine that tries to address multiple different workflows.
Small scale cinematographers can adopt its Raw workflow, while others might choose to shoot open gate and some users will output H.265 UHD files in S-Cinetone. Some people will build it into a rig, others will mount it on a gimble, while others will leave it on ‘sticks.’ The fact that the XLR handle and EVF module are optional suggests that these are option that some people will find essential while others would resent the bulk and cost of something they don’t want. Then there’s the Ethernet port, which allows the camera to be mounted and operated remotely, for applications such as churches, we’re told.
The interface and operational logic is likely to be something of a shock to anyone primarily familiar with the FX3
In doing so, though, Sony has made the camera a fraction larger, but probably not to the point that it would alienate many of the run-and-gun shooters who came to love the FX3.
However, the major changes to the user interface, including its frequent decision to reboot, if you accidentally select the wrong frame rate, while changing settings, are likely to make the camera seem surprisingly daunting to existing FX3 users.
Sony talked about adding features and capabilities that have been requested by users, but it also feels like the FX5 is much more a product of the cinema department, like the FX6, rather than having evolved from an Alpha model, as the FX3 appeared to. A lot of the features (not least Raw) might have trickled down from the Burano, but an awful lot of the interface and operational logic has done, too, which is likely to be something of a shock to anyone primarily familiar with the FX3 or 2.
It its favor, it’s stayed in the relatively compact body that has made the FX3 a success, but this means there isn’t room for the variable ND filter system that slides in filters from below the sensor on the bigger camera, that a lot of users were hoping for. Additional options like a USB timecode sync cable aren’t necessarily going to excite a lot of independent FX3 users, but they broaden the camera’s appeal.
It’ll be interesting to see whether Sony decides that the FX5 (or, rather, the existence of both the FX5 and FX2) means that it doesn’t need to create a direct replacement for the FX3.
Press release:
New Dedicated Viewfinder and Separate XLR Handle Unit Also Available
San Diego, July 22, 2026 – Sony Electronics introduces the FX5, a new full-frame camera in its Cinema Line series. A newly developed fully stacked CMOS image sensor raises sensitivity performance[1] with 15+ stops of dynamic range, three base ISO settings[2], and a Dual Gain shooting[3] mode. For the first time in the Cinema Line FX series, the FX5 supports Open Gate shooting and in-camera recording in X-OCN, Sony’s proprietary RAW format. It shoots 5K at up to 60 fps, 4K at up to 120 fps, and FHD at up to 240 fps. The result pairs the Cinema Line look[4] with production-ready operability in a compact, portable body. Also released are two optional accessories: a detachable OLED viewfinder and an XLR handle unit that records in-camera at up to 96 kHz, 32-bit float.
“The FX5 builds on Sony’s Cinema Line expertise, praised by cinematographers and video creators worldwide,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “We wanted to build on the FX3, taking it one step further with the inclusion of some VENICE 2 features, like internal RAW recording and Open Gate. Features like these have been highly requested and will allow creators more creative freedom with an easier workflow.”
Claudio Miranda, ASC, cinematographer of films including “Top Gun: Maverick” and “F1® The Movie,” conducted a test shoot with the FX5:
“I felt that FX5 is a camera that combines high quality image expression and mobility in a compact body, enabling people to use it across a wide range of shooting environments.”
Gareth Edwards, director of “The Creator,” “Rogue One: A Star Wars Story,” and “Jurassic World: Rebirth,” shot with the FX5 on a project spanning Cambodia, Thailand, and Nepal.
“Guerrilla filmmaking just went to the next level as the FX5 is the run-and-gun cinema camera to beat.”
The project is available on YouTube: https://www.youtube.com/watch?v=gVFG7m_seUg
A planned update will add higher resolution high frame rate shooting up to 240 fps in X-OCN, XAVC S-I recording in 3:2 (Open Gate shooting), an optimized interface for vertical shooting, and a frame grab function.
The XLR-H2 carries two XLR/TRS combo terminals and supports up to 4-channel audio input. Dual AD converters digitize microphone signals with high precision across a wide dynamic range and record in-camera at up to 96 kHz, 32-bit float. It connects directly to the body through the Multi Interface (MI) Shoe for stable digital transmission.
The optional USB-C to BNC timecode adapter cable feeds timecode from external devices into the camera. It synchronizes multiple cameras and external audio devices for timecode-based workflows across multicamera shooting, broadcasting, and filmmaking.
For main specifications and details, please visit the product website.
[1] Compared to “FX3”.
[2] Manual Base ISO selection is supported only in Cine EI and Flexible ISO modes. In Cine EI Quick mode, the optimal Base ISO is selected automatically according to the Exposure Index setting.
[3] Gain is limited to the equivalent of 18 dB. This function may not be available depending on shooting settings.
[4] Refers to visual expression, including the color and tone of images.
[5] Available only when recording in X-OCN.
[6] Compared to “FX3”. Based on Sony internal measurements.
[7] In Dynamic active Mode, angle of view is reduced more than in Active Mode, and Clear Image Zoom is not available. Dynamic active Mode is available up to 60 fps, and Active Mode is available up to 120 fps. The maximum gain in Dynamic active Mode is 26 dB. Depending on the codec and frame-rate settings, Dynamic active Mode may not be available.
[8] Cannot be used together with accessories attached via the Multi Interface (MI) Shoe, such as the handle unit.
[9] USB Power Delivery (PD) compatible external power supply and USB cable are not included.
[10] Features and specifications are subject to change without prior notice.
[11] Supported languages vary by sales region/country. Some menu items are not supported by the screen reader function.
[12] Based on Sony research. Applies to recycled plastic used in the product body.
[13] Production sites may change depending on the production period.
[14] Plant-derived nonwoven fabric may not be available depending on the production period.
[15] With a 50 mm lens at infinity, -1 m⁻¹.
[16] For further details and to download Monitor & Control, see: https://www.sony.net/ccmc/?cid=son-mandc—20260722. Download app at Google Play and the App Store. Network services, content, and operating system and software subject to terms and conditions and may be changed, interrupted or discontinued at any time and may require fees, registration and credit card information.
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Viltrox seems set to start selling lenses for the mount.
ViltroxViltrox seems poised to start selling lenses for Micro Four Thirds, according to a post on social media platform Xiaohongshu. It shows a puzzle piece about to be slotted into a hole labeled “M4/3,” and teases an announcement coming on July 23rd. While the company hasn’t posted about it on its Instagram pages, the Viltrox US account did comment on a Reddit post about the teaser, saying “Something new coming soon.”
The teaser doesn’t say what to expect, beyond having hashtags that translate to “lens.” But the idea of getting a Micro Four Thirds lens from Viltrox is exciting on its own; the company has become a major player in the world of third-party lenses, and it’s an interesting sign that it’s looking to throw at least some of its weight behind the mount, as we haven’t seen many others do so for a while.
ViltroxThere are a wide variety of companies, well known and not, making manual focus lenses for the system, and a few that continue to sell a handful of autofocus options, too. But beyond Panasonic and OM System, who also make cameras using the mount, there haven’t been any new Micro Four Thirds lenses from a major player in quite some time. Sigma used to have some options for the system, which you can still buy, but they haven’t been updated like we’ve seen with the company’s APS-C and full-frame offerings.
Of course, there are many ways to release a lens for a system. While Viltrox could come out with a lens custom-designed for Micro Four Thirds, with a sensible focal length and a small, compact size. It could also, however, just be swapping out the mount on one of its existing APS-C or, worse, full-frame designs (not that such a move would be unheard of). Even if it is a lens with a larger-than-neccesary image circle, though, it’s still a start. If whatever Viltrox releases ends up being successful, it could lead to the brand giving Micro Four Thirds more attention.
Or it could wind up being something completely unexpected, like a camera that uses the mount. It’s hard to put anything past companies at this point. Whatever it is, we won’t have to wait too long to find out.
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The world’s first Megadap M2RF autofocus lens adapter for using Leica M lenses on Canon RF cameras (previously reported here) is now available to order at:
More Leica M-mount lens adapters for the Canon EOS R mirrorless cameras can be found here.
Previous coverage of the Megadap M2RF is available here.
Additional information is available here:
The post The world’s first Megadap M2RF autofocus lens adapter (Leica M lens to Canon RF camera) is now available appeared first on Photo Rumors.
Meike officially announced the previously reported AF 85mm f/1.8 lens for Fujifilm GFX mount in Asia. Here are the details:
This is the latest Meike lens lineup:
Meike is teasing a new lens for Fujifilm GFX medium format cameras
The post Meike AF 85mm f/1.8 lens for Fujifilm GFX-mount officially announced in China appeared first on Photo Rumors.
“Lighting the way forward”
SonySony has released a teaser for a new product announcement in its cinema line. As always, the video is very short on details, showing just the silhouette of a camera, tally lights blazing and a top handle attached, and the tagline “lighting the way forward.”
The company is no stranger to posting teaser videos, but, unlike with the one for what turned out to be the RX10 V, it isn’t giving a lot of time for hype to build. The video says the announcement is coming on July 22nd at 7 AM PT (15:00 BST), which is just around 24 hours after the video was published. Whatever the camera is, it seems we won’t have to wait long to get more details.
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Godox launched a new Lux Junior II retro camera flash for Sony, Canon, Nikon, Fujifilm, OM System, and Panasonic cameras. Pre-orders are now open at B&H Photo. Additional information is available here:
Via FujiAddict
The post New Godox Lux Junior II retro camera flash launched for Sony, Canon, Nikon, Fujifilm, OM System, and Panasonic cameras appeared first on Photo Rumors.
ACR has a new feature that lets you see where your camera’s focus point was set to
AdobeThe latest version of Adobe Camera Raw, 18.4.1, started rolling out a few weeks ago, but it quietly introduces a feature that I’ve personally wanted for years: the ability to see where your camera’s focus point was set to. This makes it much easier to tell whether it was your camera’s autofocus system that messed up, or if you simply put the focus point in the incorrect place (which is especially important when, say, you review cameras for a living).
The way it works is relatively simple (if a bit of a finger workout): you open up a Raw in ACR, and press Ctrl + Alt + Shift + O on Windows, or Command + Option + Shift + O on Mac. You can also right click on the image and select the “Show Autofocus Points” option. After you do, ACR will draw a red box around the camera’s selected focus point or area.
Screenshot: Mitchell ClarkWhile the feature isn’t a fool-proof way of assigning blame for an out-of-focus image – if the box is in the wrong place, it could either mean that you put it there in error, or that your camera’s tracking failed – it’s still very nice to have access to this information without having to view it on your camera’s screen, or in camera makers’ own software. Sometimes it’s just nice to be able to check where you were trying to focus, or, to pick a random example, to see where the photographers from your favorite camera review site were focusing in the images they uploaded to their sample galleries.
Currently, the feature is available for Raw files from Canon, Sony and Nikon cameras. We confirmed that we weren’t able to see autofocus points from the most recent cameras from any other manufacturer, so hopefully Adobe will expand the models it’s available to in the future. We’d also hope that this feature, which is currently only available in Photoshop’s ACR module, makes its way to Lightroom and Lightroom Classic, too.
ACR 18.4.1 also adds a “presentation” mode that shows the photo you’re editing full-screen with a customizable matte around it, and which lets you use the arrow keys to move through the photos you currently have open within the tool. It also lets you use the company’s AI-powered “Generative Expand” feature to fill transparent edges, and improves bidirectional gradient masks, adding support for feathering and giving you more precise control over them. You can download the update through the Creative Cloud app, or via the standalone installer.
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Peak Design introduced a new modular field L-bracket system for Sony, Nikon, Canon, Fuji, and Leica cameras (with an AirTag pocket) and is currently crowdfunding the project on Kickstarter. In just the first few hours, they already raised over $200k:
Additional information can be found here and here:
The post Peak Design has a new modular field L-bracket system for Sony, Nikon, Canon, Fuji, and Leica cameras appeared first on Photo Rumors.
In addition to the new FX camera, Sony will also announce a new FE 100-400mm f/5.6-8 OSS lens that will have an integrated focus limiter switch (∞-3m) into the lens’s AF/MF switch (according to camerainsider).
Sony already has two 100-400mm lens models with different aperture ranges:
The post Sony to announce a new FE 100-400mm f/5.6-8 OSS lens with integrated focus limiter/AF/MF switch appeared first on Photo Rumors.
Sony just released a teaser for their upcoming FX camera that will be officially announced tomorrow (see listings at B&H Photo and Foto Erhardt):
Foto Erhardt is already taking deposits for the upcoming Sony FX camera
The post Here is the Sony FX camera teaser – announcement tomorrow appeared first on Photo Rumors.
A new enforcement push goes after suspected DJI clones and leans on the FCC’s recently expanded power to shut off previously‑approved gear.
XtraThe U.S. Federal Communications Commission (FCC) is proposing a retroactive ban on suspected DJI‑linked drones and cameras, affecting products sold under brands like Xtra and Skyrover. The move escalates last week’s announcement of proposed $25,000 fines against eight companies that allegedly ignored FCC inquiries about DJI‑related gear marketed in the U.S., penalties that were technically for non‑response rather than the hardware itself.
In the past, the FCC’s decisions generally couldn’t touch products that were already approved, but a recent rule adjustment changed that. As The Verge reported, in late 2025, the Commission amended its equipment‑authorization rules so it can now restrict the import and sale of previously approved devices from companies on its national‑security “Covered List,” without formally revoking those original approvals or disabling gear that’s already in users’ hands.
DJI itself was added to the Covered List in late 2025 after a national‑security review under the Secure and Trusted Communications Networks Act, a designation that already blocks new DJI radio‑equipped products from receiving FCC approval in the U.S.
This could be the first time the FCC uses its new power, with potential bans on products from Cogito, Fikaxo, Lyno Dynamics, Skyhigh Tech, Spatial Hover, SZ Knowact, WaveGo, Xtra and XAG. The Commission says those products “pose an unacceptable risk” to U.S. national security because they are suspected of containing DJI‑designed radio components under different brand names.
Those who already own products from the at-risk companies won’t be impacted by the FCC’s decision and can continue using them. However, affected drones and cameras are expected to disappear from major online retailers and from the brands’ own sites if the order is finalized, and unsold inventory in the U.S. could need to be written off.
The FCC is accepting public comments for 30 days, so the ban won’t take effect immediately. The Commission says it will consider “specific evidence” that might show the products are compliant, though, as The Verge points out, the organization doesn’t have a great track record of listening to public sentiment. If you would still like to voice your opinion, you can do so via the FCC’s Electronic Comment Filing System on the FCC website.
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