Nextorage developed the world’s first memory card supporting both VPG1600 and VPG400 standards (Nextorage products are sold at Amazon and B&H Photo):
Kawasaki, Japan — November 13, 2025 — Nextorage Corporation (CEO: Katsuyuki Honda) today announced the development of the NX-B2PRO+ Series, a CFexpress Type B memory card compatible with both the new VPG1600 and the current VPG400 standards — the first of its kind in the world[1]. The NX-B2PRO+ Series is scheduled for commercialization in 2026. The product has already obtained official VPG1600 and VPG400 certifications from the CompactFlash® Association (CFA), and preparations for launch are currently underway.
Leading Innovation in Storage for Next-Generation Video Production
Nextorage has consistently delivered storage solutions with world’s first and No.1 in the world, supporting the evolution of video production. To ensure a seamless transition to next-generation standards, the company has leveraged its cutting-edge technology and experience in developing the NX-B2PRO+ Series. In today’s production environments, performance demands on memory cards vary widely depending on the project and equipment used. By supporting both the new VPG1600 standard and the existing VPG400 standard, the NX-B2PRO+ Series provides creators with a reliable bridge to the future of high-performance video recording technology.
About the VPG1600 Standard
The VPG1600, defined in Video Performance Guarantee Profile 5.0 by the CompactFlash Association on February 27, 2025, guarantees a minimum sustained write speed of 1,600 MB/s — a performance level designed to meet the requirements of future high–bit-rate video recording. By also supporting VPG400 (Video Performance Guarantee Profile 4.0), the NX-B2PRO+ Series maintains backward compatibility with current CFexpress Type B devices.
VPG Profile 4.0 Cameras
VPG Profile 5.0 Cameras
VPG1600 Memory Card
ー
VPG1600 Memory Card
ー
NX-B2PRO+ Series
The NX-B2PRO+ Series ensures stable recording performance even when paired with upcoming cameras designed for ultra–high bit-rate video capture.
Nextorage also offers card readers and portable SSDs optimized for CFexpress 4.0 to maximize the performance of its CFexpress Type B memory cards. Combined use of these products enables a more efficient workflow and a smoother content creation process.
NX-B2PRO+ Series Specifications
Series
NX-B2PRO+ Series
Model / Capacity[2]
NX-B2PROP1330G / 1,330 GB, NX-B2PROP660G / 660 GB
Form factor
CFexpress Type B
Interface
PCIe®4.0 × 2, NVMe 1.4
NAND flash memory
pSLC
VPG
VPG1600/VPG400
[1] Based on Nextorage research as of November 2025. [2] Capacity is based on 1 GB = 1 billion bytes. A portion of the memory is used for system files and may vary.
I captured this photo of a trio of metal sunflower sculptures while testing the Canon Powershot G9 X II back in 2017. I enjoyed the way these man-made objects blended into the natural environment.
This month, we're celebrating the power and creativity of the compact camera. Share your best shots taken with a camera with a built-in lens – no interchangeable lenses allowed! Our favorite images will be featured in an article on DPReview later this month. (Please note that photos taken with smartphones, drones or tablets do not qualify for this challenge.)
Photos can be submitted between Sunday, October 12, and Saturday, October 18 (GMT). The challenge is open to photos captured at any time.
Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to enter your photos for a chance to be featured on the DPReview homepage later this month.
One of the most well-rounded suites of creative software, this 12-month subscription to Adobe Creative Cloud Pro offers complete access to more than 20 applications for all your design, web, photography, video, and graphic creation needs. Including well-known and favorite applications, such as Photoshop, InDesign, Illustrator, Premiere, Lightroom, and Dreamweaver, alongside more specialized solutions like Adobe XD, Typekit, Audition, Spark, and After Effects, Creative Cloud Pro offers a versatile range of control to edit, produce, share, and manage creative projects.
As a cloud-based service, Creative Cloud Pro gives you unrestricted access to all of the applications on a download basis and also includes mobile versions of select applications for use on mobile devices. This design also helps ensure your applications always remain up to date with the latest features and tools, and it also helps sync settings and files across workspaces. In addition to the software access, this 12-month subscription also includes 100GB of cloud-based storage space for hosting your files.
Please note that this software may only be activated within the USA.
Design
A wide variety of design tools are available for working in a range of mediums to suit nearly any project, whether it be designing logos, posters, brochures, advertisements, or producing artwork. In addition to the beloved desktop applications you know, mobile versions of select applications are also available for sketching, drawing, and creating layouts on the go.
Photoshop for image editing and compositing
Illustrator for producing vector graphics and illustration
InDesign for page design and layout needs for both print and digital publishing
Illustrator Draw for vector drawing needs anywhere
Typekit offers thousands of typefaces from a variety of type foundries
Web and UX
Capable of producing all your web and online experience needs, a variety of applications can be used to design and prototype websites, create mobile apps, build interfaces, and more. Coding skills aren’t necessary with select visual-based design tools and access to thousands of typefaces enables you to refine the finished look of your sites.
Adobe XD for designing, prototyping, and sharing user experiences
Adobe Muse lets you design and publish websites without needing to write code
Dreamweaver is a fully-fledged web design and development asset
Typekit gives you access to a variety of typefaces from leading type foundries
Photography
The standard for photo editing, the well-rounded offering of photo-based applications lets you edit, organize, store, and share your photos from anywhere as well as transform and refine them into nearly anything you can imagine.
Photoshop is a robust editing and compositing tool to suit all of your imaging needs
Lightroom CC is a cloud-based photo service giving you access and editing controls wherever you are
Lightroom Classic is the desktop-focused version of this well-rounded image editing and management application
Video
Capable of handling everything from home movies and sharing to YouTube to producing feature films, a wide variety of video editing tools is available to suit all needs. Editing tools allow you to work anywhere from your smartphone to your workstation, motion graphics can be produced, and audio can be refined.
Adobe Premiere Pro is a full video production and editing solution capable of handling any job, big or small
After Effects lets you apply cinematic visual effects to your productions
Adobe Audition benefits audio recording, mixing, and sound restoration needs
Character Animation lets you animate 2D characters in real time
Adobe Story serves as a collaborative screenwriting and pre-production app
Premiere Clip can be used to edit your videos anywhere from your mobile device
Graphics
Capable of turning your ideas into graphics, web pages, and video stories, Adobe Spark is an intuitive trio of applications that even lets you apply your own branding elements, logos, and colors to projects.
Spark Post is a quick means for producing social graphics
Spark Page takes your words and images and turns them into dynamic web stories
Spark Video can be used to produce compelling animated content
On Tuesday, November 18th, from 12 p.m. to 3:00 p.m. Pacific Time, we'll join you in our forums to answer questions live and discuss the future of the community.
It preserves the camera’s original aesthetics through seamless integration.
Complete protection, high-quality workmanship
Made from high-strength 6061 aluminum with a hard-anodized finish to effectively protect your camera’s original look. The oxide layer is three times thicker than that of conventional camera cages. Note: A thicker oxide layer provides improved scratch resistance and greater protection.
Screen protection strips: Ensure a safe distance to prevent scratches when the camera is placed face down.
Low-profile design: Remains stable even with XCD28/38/55 lenses, protecting the lens from scratches.
Integrated AirTag-compatible slot. Double protection for your camera.
Protect your camera with a hidden AirTag tracking compartment and a Y-shaped security screw that can only be removed with a special tool to prevent theft.
Buttons, ports, and battery remain fully accessible. A sliding cover plate allows easy access to the shutter release cable and memory card.
Tool-free L-plate adjustment – the L-plate extension is easily adjusted via a knurled screw. L-plate screw holder.
Modular L-plate included, ready for any shooting situation – Full setup: Integrated Arca quick-release plate for horizontal and vertical shooting – Lightweight setup: Remove the Arca L-plate for compact handheld operation
Multi-point mounting system
Five standard 13 mm strap loops for shoulder and wrist straps, supporting multiple carrying options. * Easy to attach – no metal buckle to prevent scratches. Fits straps up to 13 mm wide.
CMOS alignment marks
Center mark (on L-plate & base plate of the camera cage): For precise image composition and alignment.
Plane mark (on the left shoulder of the camera cage): Serves as a distance reference for shift and adapter lenses.
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Canon brought an FSI sensor to a partially Stacked party.
Last week, Canon announced the EOS R6 III, an update to its enthusiast-tier full-frame mirrorless camera. It gains a new sensor, much more capable video specs and upgrades to the autofocus system.
Our initial review goes in-depth on how the EOS R6 III compares to its predecessor, so we'll largely avoid re-treading that ground here. Instead, we'll discuss the three major competitors: the Nikon Z6III, Panasonic S1II, and Sony a7 IV.
Price
In the US, the EOS R6 III, Z6 III, and a7 IV are all priced similarly, with the S1 II standing out as substantially more expensive than the rest. It's less of an outlier globally, though, with it and the EOS R6 III sitting at a few hundred pounds higher than the other two models.
Canon EOS R6 III
Nikon Z6III
Sony a7 IV
Panasonic S1II
MSRP (US / UK)
$2800 / £2800
$2700 / £2500
$2700 / £2400
$3200 / £2900
The one thing we'll note about the EOS R6 II is that Canon is keeping it in its lineup for $2299. It's still an extremely capable camera, and those mainly shooting stills will likely want to consider how much it's worth to gain better resolution and upgrades to its (still competitive) autofocus system.
Resolution and readout speed
33MP can capture a lot of fine detail.
Canon EOS R6 III | Canon 85mm F1.4 L VCM | F7.1 | 1/40 sec | ISO 100
The EOS R6 III and a7 IV are higher resolution models that utilize more familiar sensor tech, featuring 33MP FSI and BSI sensors, respectively. Nikon and Panasonic, meanwhile, both use a 24MP 'partially Stacked' sensor, which uses more complex circuitry to dramatically improve readout speeds compared to more traditional designs.
Canon EOS R6 III
Nikon Z6III
Sony a7 IV
Panasonic S1II
Resolution
33MP
24MP
33MP
24MP
Stills rolling shutter rate (ms)
∼13.5ms (12-bit)
∼14.6ms (14-bit)
∼67.6ms (14-bit)
∼14.6ms (14-bit)
Both the Canon and Sony offer an approximately 16% increase in linear resolution compared to the 24MP models, which isn't quite as large an improvement as you might expect just based on the numbers, but will still provide a benefit in capturing fine details.
While the EOS R6 III has the fastest readout speeds, it's worth noting that it achieves this by producing 12-bit Raws, compared to the 14-bit ones its competitors offer. This will limit its dynamic range and result in noise in the deepest shadows compared to its competitors, but it's worth noting that it will only be an issue when shooting in e-shutter mode (though that's also when rolling shutter rate is the biggest concern). While the Z6III also suffers from slightly noisier than typical shadows, that's instead due to its higher levels of read noise, an issue interestingly not shared by the S1II, at least in its mechanical shutter mode.
Rolling shutter rates are especially pertinent when it comes to the a7 IV, which has substantially slower readout speeds than its peers. These make it so you can't use its electronic shutter mode to capture most moving subjects without risking motion artifacts.
Autofocus
The EOS R6 III comes with an upgraded autofocus system, which Canon says uses the algorithms from its flagship EOS R1 and R5 II models. Like most of the other models, it's been trained to recognize several types of subjects, and has several options for selecting your autofocus point.
- Human - Dog/Cat - Bird - Plane - Car - Motorcycle / Bike - Train - Automatic
- Human - Animal - Bird
- Human - Animal - Plane - Train - Vehicles Motorcycle/ Bike
While the S1II lacks an automatic subject detection mode, the bigger concern is performance. In our tests, we've found it to be less reliable at tracking than we've come to expect from Nikon, Canon and Sony and, unlike its competitors, it doesn't fall back to generic tracking in subject recognition mode, so you have to be more aware of your settings for some types of shooting. It does, however, have an "Urban Sports" recognition mode designed to recognize humans even when they're in odd body positions, such as when they're breakdancing or skateboarding.
The Sony a7 IV isn't as far behind as the table may imply, as its tracking system is still extremely capable. However, it doesn't have Sony's latest AF system, which relies on a coprocessor and supports more subject types and complex human recognition.
Continuous shooting and pre-capture
One of the EOS R6 III's notable upgrades is the fact that its pre-burst capture mode no longer requires going into the special Raw Burst mode, which didn't capture JPEGs and stored captured images in a new, not widely supported format until you exported them into a standard Raw after the fact. Now, it's simply an option you can activate when in the "H+" 40fps drive mode and using the electronic shutter.
Canon EOS R6 III
Nikon Z6III
Sony a7 IV
Panasonic S1II
Burst rate
12fps mech. 40fps e-shutter
14fps mech. 20fps e-shutter 60fps JPEG-only
6fps lossless compressed Raw 10fps lossy Raw
10fps mech. 70fps e-shutter
Pre-burst capture
Yes, up to 0.5 sec
Yes (JPEG only)
No
Yes, up to 1.5 sec
The Canon, Nikon and Panasonic cameras all have some level of inflexibility when it comes to burst and pre-burst shooting. The Canon and Panasonic, for instance, don't let you adjust your framerates in each burst mode, though this is especially noticeable on the S1II, which has no options between the pedestrian 10fps and buffer-destroying 70fps. Nikon gives you more control in this regard, but its fastest burst rates and pre-burst options are JPEG-only, giving you less room for adjustments in post.
The a7 IV, meanwhile, hails from an era before pre-burst capture was standard in this class of cameras, and doesn't include any option for it. Its burst rates are also quite slow, as it has to rely on its mechanical shutter; its electronic shutter just isn't fast enough for continuous shooting.
Viewfinder and screen
The EOS R6 III's EVF and screen aren't bad, but they're no longer state of the art.
The Canon EOS R6 III uses the same EVF and rear display as its predecessor, both of which feel perhaps a bit behind the times compared to the larger, higher-resolution ones found on the Nikon Z6III and Panasonic S1II.
Canon EOS R6 III
Nikon Z6III
Sony a7 IV
Panasonic S1II
Viewfinder res/ magnification/ eyepoint
3.69M dot 0.76x 23mm
5.76M dot 0.8x 21mm
3.69M dot 0.78x 23mm
5.76M dot 0.78x 21mm
Rear screen
3.0" 1.62M dot Fully-articulating
3.2" 2.1M dot Fully-articulating
3.0" 1.03M dot Fully-articulating
3.2" 1.84M dot Tilt + Fully Artic.
What really sets the S1II apart, though, is its articulation mechanism. It lets you tilt it up or down in-axis with the camera's sensor, while also allowing you to fully articulate it for easier video shooting. The extra tilt mechanism also gives you more clearance if you have things plugged into the ports, such as headphones, microphones and HDMI. While the Z6III has a more standard full-articulating screen, the company says its viewfinder is the brightest out there, reaching up to 4000 nits.
The Canon, Nikon and Panasonic will emulate a blackout-free experience in some of their burst modes, but they operate by showing you the previous frame captured, rather than a live view of what you're shooting.
Video - resolution, framerates and workflow
The EOS R6 III's biggest upgrades come to its video recording capabilities. It catches up to the rest of the market, gaining internal Raw recording, tools like waveform and false color and, blessedly, the ability to set white balance live, without having to take a still first.
The EOS R6 III may be one of the best options for slow-motion shooters, as it offers not only oversampled, full-width 60p, but also full-width 120p. However, it presumably achieves this by sub-sampling the footage, which isn't necessarily the case with the cropped modes on the partially Stacked sensor cameras.
The S1II remains one of the most capable hybrid options on the market, offering pretty much every conceivable recording option and assistance tool. Perhaps its biggest leg up, though, is its internal fan, which helps push its recording times past what some of the other cameras on this list can handle. It's also the only hybrid mirrorless camera in this class to support 32-bit float audio recording, though you'll need an external XLR adapter to enable it (unlike Nikon's more video-focused ZR model, which can do it internally). It also has a Dynamic Range Boost mode that allows for greater dynamic range capture, at the cost of the rolling shutter rates jumping to above 30ms, making them not particularly practical for shooting most moving subjects.
Most cameras in this class excel at both stills and video
The Z6III is also very capable at shooting video, with the only real drawback compared to the EOS R6 III and S1II being its lack of an "open gate" mode, which provides more flexibility in post to reframe, or to take horizontal and vertical video from a single clip.
This option is also missing from the a7 IV, but it shows its age in other, more critical ways. Despite having a higher-resolution sensor, it tops out at 4K recording, though this is at least oversampled from 7K capture. It also doesn't offer internal Raw recording, and doesn't include many of the now-standard assistance tools.
Video - rolling shutter
The EOS R6 III has impressive rolling shutter performance for not having a partially Stacked sensor, even in its oversampled modes, which are derived from 7K capture.
Canon EOS R6 III
Nikon Z6III
Sony a7 IV
Panasonic S1II
Open-gate
17.9ms
—
—
∼14.8ms ∼33.7ms (DR Boost mode)
UHD >4K capture
14.3ms (4K, oversampled)
9.5ms (6K)
27.4ms (4K oversampled)
N/A
UHD 4K standard
7.2ms
9.5ms
—
12.5ms
The Panasonic, Nikon and Canon cameras all feature more than usable rolling shutter rates in all of their modes, with the exception of the S1II's DR Boost setting. This means you don't really have to worry about whether your subject or camera will be moving too fast for your specific settings.
The Sony is a different story, as the only mode it has capable of capturing fast-moving subjects without too much distortion is its 4K/60 mode, which comes with a 1.5x crop, dramatically changing its field of view. It's possible to work around this limitation, but it's definitely worth considering if you plan on doing a lot of video work.
Ports and storage
This section has perhaps the least to discuss, as most of the brands have settled into a relatively standardized layout. The EOS R6III, Z6III and S1II all have a CFexpress Type B slot paired with a UHS-II SD card slot, headphone and microphone jacks and full-size HDMI.
The odd one out is Sony. While the a7 IV has the same selection of ports, it opts for CFexpress Type A instead. This is a dual-format slot that can also be used with standard SD cards, which could make dual-card shooting cheaper, depending on your needs, but with the camera limited to UHS-II speeds.
Canon and Sony have also equipped their cameras with digital hotshoes, which can be used not only for flash, but with other accessories, such as microphones or XLR adapters.
Battery
The EOS R6 III uses Canon's latest battery, but it's clearly using a lot of power.
The one area where the EOS R6 III is noticeably worse than its predecessor is when it comes to battery life; the extra features come at a cost of it getting around 12-15% fewer shots per charge than the EOS R6 II.
Canon EOS R6 III
Nikon Z6III
Sony a7 IV
Panasonic S1II
Battery life EVF / LCD
270 / 510
360 / 390
520 / 580
360 / 320
As always, the CIPA ratings tend to under-represent the literal number of pictures you can capture with a single charge; it's not unusual to get double the rating in real-world use. However, it's clear that Canon and, to a lesser extent, Nikon and Panasonic have traded some longevity for their advanced features.
Sony, meanwhile, is the standout. While we might recommend bringing a spare battery or two for a weekend of heavy shooting with the EOS R6 III, Z6III or S1II, we'd be pretty confident leaving the house with only a single fully-charged battery for our a7 IV.
The extras
Like the Nikon Z6III and Panasonic S1II, the EOS R6 III's ergonomics are well-honed.
There are things that don't fit easily into a spec sheet. For example, while the cameras in this roundup are in roughly the same class when it comes to size and weight (though the S1II is the heaviest of the bunch by a fair margin), we find that the a7 IV doesn't feel quite as comfortable to hold as the other models in this roundup.
There's also the matter of HDR output, which is becoming an increasingly interesting option as the industry settles on broadly compatible image formats, and as more and more devices boast screens that can properly display HDR content. While all the cameras can record HDR video, it's worth noting that the a7 IV's HLG HEIF function comes at the cost of Raw recording. The other cameras in this roundup can capture both Raw and HDR HEIF files simultaneously, but Sony makes you choose one or the other.
It's also worth noting that both Canon and Nikon exert more control over what lenses get made for their mounts and Sony or Panasonic do; both companies have shown a willingness to disallow third-party lenses they don't want made. Sony, however, isn't entirely blameless in this regard either; while companies like Sigma, Viltrox, 7artisans and more have produced a wide array of third-party E-mount lenses, they're all limited to 15fps shooting, a restriction not placed on the L-mount versions.
Summary
At this point, it should be clear that the EOS R6 III is a competitive entry in the enthusiast-tier full frame camera market, though it's not entirely dominant. Each model in this range has some trade-offs compared to the others; choosing the Panasonic nets you one of the best display designs and suite of video features, at the cost of less reliable autofocus, while Nikon has great autofocus, but doesn't include things like open-gate recording or Raw stills shooting in its fastest burst rates. And both have less resolution than the Canon, but have faster sensors.
As has been a running theme, the a7 IV is really the odd one out at this point. It's far older than the others, and that age shows in quite a few aspects of its design and capabilities for both stills and video. Still, the selection of lenses available for it is unassailable, and its autofocus is still at least in the conversation with Nikon and Canon, despite being a generation behind Sony's best.
The new Pocket Printer in the Flash Print Bundle turns the Ace Pro 2 into an instant camera. Image: Insta360
Insta360 has unveiled four more accessory bundles for its Leica co-branded Ace Pro 2 action camera, along with updated firmware. The new print and videography kits, which include cinematic lenses, updated Leica color profiles, a screen hood, a portable printer and more, are aimed at helping users get more out of the tiny camera.
Perhaps the most interesting of the new accessories is in the Flash Print Bundle. The kit includes a pocket-sized printer that Insta360 says is the first portable printer made specifically for action cameras. Unlike many tiny instant printers, it doesn't use Instax Mini film. Instead, it creates three-inch, dye-sublimation prints from what Insta360 says is a "signature paper cartridge" with 10 sheets per pack.
Image: Insta360
Interestingly, the prints feature not just an Insta360 Ace Pro 2 logo on the edge, but also appear to list the camera's sensor size, aperture, and Leica-branded lens name. At the time of writing, you can only buy cartridge refills (for $10 per pack) through the Insta360 website, so it isn't clear how widespread or long-lasting support for the printer will be.
Beyond the printer, the Flash Print Bundle also includes a flip-up screen hood for the camera that promises to make it easier to see the screen even in bright light. It also comes with a leather case and the Xplorer Grip Pro kit (detailed below).
The Xplorer Pro Grip adds dedicated controls. Image: Insta360
Insta360 also released an updated version of its Xplorer Bundle, which was released earlier this year. The new Xplorer Pro kit is an all-in-one grip that features a built-in battery and camera controls. It allows users to adjust digital zoom (the lens itself is fixed), filters, exposure and modes from the grip itself, no menu diving necessary. There's also a more prominent shutter button with a removable, threaded design, allowing for customization. Insta360 says the Xplorer Pro Bundle is exclusive to the US.
Finally, the company also unveiled two video-focused bundles. The Videography Bundle Limited Edition comes in a custom-designed box and includes the Xplorer Grip Pro Kit and 'Cinematic' Lens. The lens allows users to create 2.35:1 widescreen footage, and Insta360 says it "delivers a film-like look straight from the camera."
Both video bundles come with the Cinematic Lens. Image: Insta360
The Ultimate Videography Bundle also takes advantage of the Xplorer Grip Pro Kit and Cinematic Lens. Additionally, it includes an ultra-wide lens and close-up lens, plus the flip-up screen hood.
In addition to hardware, Insta360 has released Firmware V2.0.3 for the Ace Pro 2. The new version adds two additional Leica color profiles: the Leica Eternal and Leica B&W High Contrast. Those join the existing Leica Natural and Leica Vivid options. There are also newly added in-camera film filters, such as Retro Neon and Vintage Vacation, that aim to provide a more polished look without color grading.
All of the bundles are available to purchase today. The Insta360 Ace Pro 2 Flash Print Bundle is available for $580, and the Xplorer Pro Bundle is $520. The video-centric kits are more expensive, with the Videography Bundle Limited Edition coming in at $605 and the Ultimate Videography Bundle at $740. You can also buy each of the accessories separately if you already own the Ace Pro 2.
A VistaVision camera on the set of Bugonia. Image: Variety / Focus Features
What are you willing to put up with to get the exact aesthetic you're looking for? For some Hollywood directors like Yorgos Lanthimos or Paul Thomas Anderson, the answer is a lot, at least according to The Wall Street Journal. The publication recently put out a story titled "The Biggest Diva in Hollywood Is a Camera," going over the on-set headaches brought on by using old VistaVision cameras on productions like Bugonia and One Battle After Another.
The issues are numerous: film jams and other "moody" behaviors that occasionally required some percusive maintenance to fix, and the racket that comes with running 35mm film horizontally, rather than vertically, through the camera. The article recounts ruined takes, on-set slowdowns and the need for insulated boxes and special software to keep the sounds of the camera from ruining dialogue. Overall, it turns out that using cameras whose heyday was in the 50s can be a bit of a pain.
Presumably, those issues didn't come as a surprise to the directors
Well... duh. I could've told you that, and I don't even have an IMDB page (yet). Presumably, those issues didn't come as a surprise to the directors and cinematographers who have chosen to work with them either. (Though the actors may be a different story.) So why did they choose to do it?
I'm sure part of it had to do with the experience. As with shooting stills, there's a texture to shooting movies with film that would take a lot of work and discipline to replicate with digital. To paraphrase Reed Morano in Side By Side*, people may take things a bit more seriously when they hear the money running through the camera, kind of like how photographers are more considered with their compositions when they only have 36 exposures.
Being shot in a novel format is also sometimes used in the movie's marketing.
Of course, you can get that experience using more modern film cameras that won't have so many issues. The WSJ goes a bit into why the artists chose VistaVision specifically, and cites a variety of reasons, with the foremost being the look. Shooting a movie on what is essentially a stills photography format gets you more detail than you'd typically be able to achieve with a 35mm movie camera, while still having the look of film.
The result is an aesthetic that's somewhat familiar, but grandiose, a callback to tentpole films like North by Northwest and The Searchers. Sure, there are modern digital cameras from Red and Panavision with similarly large sensors, but do they have the heritage?
Cinematographer Robbie Ryan hasn't been shy about discussing some of the downsides of shooting with VistaVision cameras.
Maybe not, though I am left wondering whether the audience will truly notice the difference. Certainly, those watching the movie on their phones during their commute or their uncalibrated TVs sitting right in front of a window won't, but there's also the argument to be made that we shouldn't make art for the lowest common denominator viewing experience. And realistically, if you want that specific aesthetic, you either have to go with old film cameras, spend a lot of time in post, bending digital footage to make it look like film, or shoot Imax. And the latter has a lot of the same problems unless, of course, you're Christopher Nolan and can just get Imax to make you an updated camera**.
The Wall Street Journal article is well worth a read, even though most people who have touched a camera before will likely be unsurprised by the initial premise. It's still an interesting look at the lengths some artists will go to fully realize their vision, and the eccentricities of the movie business and old tech.
I'd be interested in hearing from you, though. Do you often find yourself putting up with an annoying camera purely because of the look it produces? Do you find the look of VistaVision or other large film formats compelling enough that you totally get it? Are you happy to have left film behind forever? Let us know over on our forums.
* A documentary hosted by Keanu Reeves interviewing a who's who of cinematographers and directors about digital cinematography, which you should definitely watch if you've made it this far into this article.
The previously leaked and rumored DJI Neo 2 drone is now officially announced with hands-free gesture controls, LiDAR, faster flight, obstacle avoidance, longer flight time, and a bigger battery:
DJI has announced a new iteration of its tiny, beginner-friendly camera drone. The DJI Neo 2 introduces several changes designed to make the drone easier and safer to fly, such as obstacle sensing, a new display, and better wind resistance. DJI also gave a boost to the video specs, promising higher-quality footage from the palm-sized device.
DJI's Neo drone is the company's entry-level offering meant for true beginners. However, the original had a tendency to run into obstacles mid-flight, since it could only collect data about what was beneath it, rather than around it. The Neo 2, however, aims to make controlling the drone less stressful, as it can now sense obstacles in any direction, thanks to its "monocular vision system," forward-facing LiDAR and downward-firing infrared sensors. As a result, it's able to sense obstacles in real time to avoid collisions.
The Neo 2 still supports gesture control, or it can be controlled via the DJI smartphone app or compatible DJI controllers. Image: DJI
Another improvement that enables easier drone control comes from improved handling in windy conditions. The original Neo could withstand moderate breezes of 20–28 kph (13-18 mph) while the Neo 2 can handle winds of 29–38 kph (19-24 mph). It should be more stable in open environments, even with some gusty wind, as a result.
The Neo 2 keeps the 12MP Type 1/2 (30.7 mm²) sensor found in its predecessor, but the camera sees other improvements. It's now capable of 4K 100fps recording, up from 4K 30fps. Vertical recording is upgraded to 2.7K (compared to 1080p on the Neo). DJI also increased the aperture of the lens from F2.8 to F2.2.
DJI added a new two-axis gimbal on the Neo 2, which should provide better stabilization over the first version's single-axis gimbal. Additionally, DJI says it improved tracking performance with the new drone, enabling faster response time and better stability at speeds of up to 12 meters per second.
The Neo 2 features a small screen that displays the shooting mode. Image: DJI
The Neo 2 now features a small display on the front near the camera, which shows the current shooting mode to make operation easier when you're using the gesture and / or voice control modes without a controller. DJI has also increased the onboard storage from 22GB to 49GB. All of the new features and hardware changes come with some added weight, of course. The Neo 2 weighs 151g (5.3 oz), which is slightly more than its predecessor.
The Neo 2 keeps other useful beginner tools, such as a selection of "Quick Shot" presets that carry out a pre-programmed move and quick launch tools. It can also be paired with the DJI RC-N3 remote and used with the company's FPV goggles and motion controller for a more immersive experience.
US customers are, once again, out of luck. As with all other DJI releases this year, the Neo 2 will not be officially available in the US thanks to a looming DJI ban. For those outside of the US, the Neo 2 is available beginning today at a starting price of €239/£209 for the drone only.
DJI Launches Neo 2: Follow-Me Camera Drone Returns Safer with More Creative Ways to Fly
Omnidirectional Obstacle Sensing, Palm Take-off & Landing and Gesture Control combine for the ultimate beginner drone
13th November, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Neo 2. At just 151g1, Neo 2 is DJI’s lightest and most compact drone1 equipped with omnidirectional obstacle sensing1 to date. It features gesture control1, allowing complete operation by hand, SelfieShot for capturing moments with minimum effort and improved ActiveTrack1 to make low-altitude, follow-shooting during activities such as running or cycling even easier. Easy to fly for beginners, Neo 2 is ideal for family outings, outdoor sports, travel and FPV experience, always capturing best moments as a personal follow-me camera drone.
Master Content Capture in a Couple of Clicks
The Neo 2 features a new small onboard display to the left of the camera when facing the drone, which clearly shows the selected shooting mode. The drone can be launched from the palm1 by the user pointing it at themselves and pressing the take-off button. After completing the desired content capture, the innovative Return-to-Palm feature1 allows Neo 2 to precisely locate the user’s palm, return safely and land steadily, making flights easier than ever.
Gesture Control and Multiple Ways to Fly
When using Gesture Control, its direction and proximity can be controlled by using one palm or both. With a single palm, the drone’s left/right movement and altitude can be controlled; users just need to face the drone and raise hand with the palm directed toward the drone. With both palms facing the drone, users can move the hands apart to make the drone fly away, while bringing the hands together to make it approach. No remote controller is needed for camera angle adjustment.
The Neo 2 also supports voice control1, allowing flying commands to be sent by smartphone or Bluetooth headphones during any sporting or other activity. For those looking for a longer transmission range, Neo 2 can be paired with the DJI RC-N3 remote controller to achieve a maximum video transmission distance of 10 km1.
Whether the user is using the drone without a remote controller1 or is pairing the drone with a motion controller1 and goggles for an exciting FPV1 (first-person view) immersive experience, there are multiple ways to control Neo 2.
Smart Capture, Sharp Results
Neo 2 features a 12MP, 1/2-inch CMOS sensor with an f/2.2 aperture and high-performance image processor for clearer, low-noise footage stabilized by a new 2-axis gimbal. When combined with DJI’s signature ActiveTrack and new SelfieShot, subjects are automatically framed for smooth, hands-free shooting from start to finish. With multiple intelligent shooting modes unlocking fresh perspectives and with 4K video recording1 at up to 100fps1 for slow motion1 or 2.7K vertical video, Neo 2 delivers crisp, detailed and cinematic-quality footage.
The Neo 2’s enhanced tracking performance offers faster response and improved stability, enabling smooth and steady tracking for running, cycling and more. In open areas, it can track at speeds of up to 12 m/s1. Eight-direction tracking (forward, backward, left, right and four diagonals) produces more natural follow shots and expands creative possibilities. In complex environments, the drone can switch to rear tracking mode, steadily keeping the subject in focus and providing confident creative freedom.
When it comes to capturing solo or group moments hands-free, Neo 2’s new SelfieShot allows the user to effortlessly switch between waist-up, full-body and long shots without a tripod or any extra assistance. Whether it’s birthday parties, weekend picnics or family outings, Neo 2 automatically composes every scene and maneuvers the camera as needed to capture cherished moments with just a tap.
Intelligent Shooting Modes, Stunning Shots
Neo 2 supports intelligent shooting modes, such as Dolly Zoom, QuickShots and MasterShots, offering diverse perspectives and making standout footage simple to create.
Dolly Zoom: Supports Hitchcock effect and enables users to create stunning videos for social media.
QuickShots: DJI’s signature QuickShots includes Dronie, Circle, Rocket, Spotlight, Helix and Boomerang, allowing captivating cycling, skateboarding or any other activity follow shots to be created with ease.
MasterShots: Automatically captures diverse shots with creative camera movements, and intelligently edits with music to produce high-quality videos.
Triple Protection for Beginner Confidence
The Neo 2’s omnidirectional monocular vision system, combined with forward-facing LiDAR and a downward infrared sensing system, detects obstacles in real time for safe, confident flying. Coupled with an integrated propeller guard design, which provides all-around protection, beginners are given peace of mind when operating the drone. Furthermore, Neo 2 supports versatile flight1 with enhanced hovering and positioning capabilities over Neo, making it easier to navigate challenging environments such as indoor, close to buildings and over water or snow.
Create with Ease and Efficiency
With level 5 wind resistance, up to 19 minute1 flight time and 49GB internal storage, Neo 2 can save up to 105 minutes of 4K/60fps video, up to 175 minutes of 4K/30fps video or 241 minutes of 1080p/60fps video. Once saved, no extra data cables are needed to transfer the footage; connecting to a phone by Wi-Fi will quickly transfer it to the DJI Fly App at up to 80 MB/s1 enabling smooth post production and sharing.
1For more information, please refer to https://www.dji.com/neo2. All data was measured using a production model of DJI Neo 2 in a controlled environment, actual experience may vary.
“With help from Leica, we’ve redefined the action camera. It’s no longer just for capturing thrilling action sports—it has become a creative tool for serious photography.” said Max Richter Co-Founder & VP Marketing.
For the past five years, Insta360 has partnered with Leica to gather feedback on pro-level control, Leica color science, and accessories. The new bundles were recently unveiled at an exclusive event at Leica’s HQ:
Xplorer Grip Pro Kit: This upgraded grip provides tactile 1–2× slide zoom, exposure control, quick mode switching, and an integrated battery for extended shooting sessions.
Pocket Printer: Compatible with Insta360 Ace Pro 2, this portable printer—the first made for an action camera—delivers instant, memorable keepsakes from any moment.
Premium Lenses: Discover new Cinematic, Ultra Wide, and Close-Up lenses for versatile street, portrait, landscape, and macro photography.
New Leica Color Profiles: Access the new Leica Eternal and Leica B&W High Contrast profiles, alongside the existing Leica Natural and Leica Vivid.
Film-Style Aesthetics: Try the new Retro Neon and Vintage Vacation in-camera filters for stylized results without heavy grading.
Firmware Update for All Users: Every Insta360 Ace Pro 2 owner gets access to the new Leica Color Profiles and Film Filters as part of the new update (V2.0.3).
Xplorer Pro Bundle: Shoot with Precision. Shoot like a Pro.
Price: $518.99
Including: Insta360 Ace Pro 2 (Dual Battery) and Xplorer Grip Pro Kit.
The Xplorer Pro Bundle is crafted for photography and videography enthusiasts, urban travelers, and adventure seekers who want creativity and convenience on the go. By enhancing handheld controls and enabling on-the-go charging, Insta360 Ace Pro 2 becomes the ideal companion for street photography, vlogging, and everyday moments. With a Leica SUMMARIT lens, Leica color profiles, Dual AI Chip, leading low-light performance, a 2.5-inch flip touchscreen, and FlowState Stabilization, this portable setup delivers premium image quality and creative flexibility. It empowers creators to capture their vision anywhere, with ease and style.
Flash Print Bundle: Instant Prints, Anywhere.
Price: $579.99
Including: Insta360 Ace Pro 2 (Dual Battery), Xplorer Grip Pro Kit, Pocket Printer, Flip Screen Hood, and Classic Leather Case.
The Flash Print Bundle is built for young creators and trendsetters who want instant, playful content creation without heavy gear. It includes the first Pocket Printer made for action cameras*, enabling quick printing and sharing with Leica watermarks directly from the Insta360 Ace Pro 2 or through the Xplorer Grip Pro Kit for added control. Powered by Leica imaging and stylish accessories, this bundle offers an interactive, flexible way to capture and share your story wherever inspiration strikes.
*Refers to the first portable printer designed for action cameras, as of November 12, 2025.
Including: Insta360 Ace Pro 2, Xplorer Grip Pro Kit, Flip Screen Hood, and Cinematic Lens.
The Videography Bundle Limited Edition is tailored for creators who appreciate artistry, classic aesthetics, and a streamlined setup. Housed in a custom-designed box, it combines exclusivity and professional appeal with a minimalist approach. The bundle features a Cinematic Lens, delivering a film-like, cinematic look directly from the camera. A thoughtfully curated setup with one lens offers refined simplicity and portability—ideal for creative storytellers seeking distinct style and mood without extra clutter.
Including: Insta360 Ace Pro 2, Xplorer Grip Pro Kit, Flip Screen Hood, Cinematic Lens, Close-Up Lens, and Ultra Wide Lens.
The Ultimate Videography Bundle is designed for creators looking for a complete, versatile kit for any project—from travel to passion work. Featuring three premium lenses, this bundle maximizes creative possibilities with Insta360 Ace Pro 2 action camera. Each lens supports a different shooting style, unlocking new ways to create. With support from Leica expertise and advanced color profiles, this bundle encourages you to explore fresh perspectives, achieve cinematic results, and unlock new storytelling dimensions.
What's the most memorable photograph you've taken?
Last week, we asked you to look beyond specs and sensors and dig into the true heart of photography: the images that etch themselves into your memory. It wasn’t about the sharpest lens or the newest tech – it was about the stories and emotions behind the frame, whether born from quiet, unassuming moments or from rare, lightning opportunities (literally in our community's cases).
We invited you to share not just your photos, but the context behind them – what, where, who, and most importantly, why these moments stand out. True to form, the DPReview community responded with a dazzling assortment of personal stories. Some are dramatic, others gentle; together, they create a mosaic of what it means to be a photographer at any level.
In the spirit of our previous "Diamonds in the rough" feature – where beloved camera shops became the scene of fond memories and surprises – this week’s entries prove that the greatest treasures in photography are the stories behind the images.
View the above slideshow to check out the 10 selected memorable photographs.
Photo: Collage of entries for this week's Question of the week article
Sundre (Europe)
A fire performance, a flash of inspiration, and the birth of both an unforgettable image and a friendship.
"I took a photo and made a friend. One of my first fire shows, with a new camera (Sony A9), I wasn't sure what I was doing. Somehow, everything came together to create an image I only realized I had when I went home to edit. This entire sequence lasts around 3-4 seconds, and the performer is only visible among the flames from a very specific angle for maybe 0.5 seconds. That day, I happened to nail both the angle and the timing." - Sundre
pwmoree (Netherlands)
Rescue at sea, captured on film - a story as memorable as the photo itself.
"I found this mantaray in my anchor chain when sailing around the world about 44 years ago. The ray was realy stuck but I managed to save tne animal and also save my precious anchor. This was of the coast at Islas Perlas in the Gulf of Panama in 1981." - pwmoree
Tailwagger (USA)
An unexpected heron, perfectly still among rapids, makes a simple landscape session unforgettable.
"I turned around to return to my car and saw a heron, standing dead still in the rushing water just below a little dam, presumably waiting for lunch to come by. It remained so motionless that I was able to capture it with a long enough exposure amid the river's chaos.
The shot is memorable to me not so much for the image but as a reminder that around every corner, even when you're not looking for it, you can find something interesting, perhaps even extraordinary. No matter how good the equipment might get, it's the photographer who makes the result, though a combination of skill, awareness, and most especially luck. A thought I carry with me that helps me persevere whenever I'm out looking, but not finding anything I'm particularly satisfied with.." - Tailwagger
wvdvegte (Netherlands)
The stillness of a cold Polish morning brings lasting peace and a sense of nostalgia to an analog classic.
"Lagów, Poland, 2002. Visiting a conference, I decided to go for a morning walk before breakfast. Around 7AM, this tranquil scene of a solitary angler sitting on a frosted jetty caught my eye." - wvdvegte
DJ STU-C (UK)
Chasing storms at the coast, risking the elements for one amazing frame.
"This is my most memorable, as it earned a place in Practical Photography magazine as a double-page spread. Ironically, a friend and I went out to photograph sunset in the North Sea (Technically it's over land, but from certain parts of North Yorkshire it appears to set in the sea in summer), as we got there, the weather had taken a massive turn and a huge storm was circling overhead. We decided to set our cameras up near the cliff edge, just north of Staithes, and set the timer to shoot continuously. I'll never forget it." - DJ STU-C
MSTR Photography (USA, AK)
Proving that sometimes the most memorable glamour isn’t planned, but found after dozens of creative resets…and a golden rose.
"As a Glamour photographer for over 20 years, I always strive to create something special. Of all the images I have created, the attached image is one that took over an hour of shooting and reshooting with my model to make all the lines, curves, and perspective I envisioned. We started with the idea of capturing the model shaving her legs. Shooting in the bathroom just didn't seem to make the image special. We moved to the kitchen sink and shot about 40 images.
Between each shot, we moved props in and out of the image while adjusting the positions of the objects, paying careful attention to the alignment of the faucet, leg, arm, face razor, the curvature of the belt for the robe, and the angle of the light. But the final adjustment was adding the gold rose in a steel vase to the image. When we saw the finished image on the camera, we knew that we had captured a perfect image, and we broke out laughing." - MSTR Photography
mcxxrr (Italy)
History and destiny, revealed in a morning at Ground Zero.
"Hard question, but this image, taken in NYC back in 2007, showing Ground Zero, gave me Travel Photographer of the Year in 2008 and somehow opened my path as a photographer." - mcxxrr
Yanina G
Sometimes, the photograph that calls to you for years isn’t the sharpest or the boldest. It’s just…yours in the moment.
"The portrait of my grandmother, aged 95. She had finally agreed to pose. She'd never liked her looks, always dismissing my pleas for a "real" portrait: "Why do you want a photo of an old woman? You should shoot the beautiful young people," her shaking hand sweeping the room filled with kids, grandkids, great-grandkids.
She'd been ailing. Her hearing is all but gone. Once an avid reader and an exquisite seamstress, her eyes by then could only make out blurry shapes. A photo session would cheer her up, I thought. "Grandma," I said, "you are beautiful. When a young person is beautiful, they have only their parents to thank. The beauty of old people is earned by them."
The day of the shoot, we didn't have much time. My grandmother tired easily. In her tiny apartment, we helped her to a chair in front of the window. My 13-year-old niece Zoë was holding up a scarf as a backdrop. My 10-year-old niece Sophia diligently propped up a reflector, I shot off a dozen images. "Done," I said. My mother leaned in to hug Grandma, saying, "Good job." And my grandmother beamed up at me. I snapped this last image. The last image I would ever take of her." - Yanina G
Alan Grinberg (USA, CA)
The "most expensive photograph I have ever taken," shot during king tides, cost a camera and some bruises, but delivered drama and a story for the ages.
"I had my Sony a6500 and Zeiss 24 - 70 mm lens set at rapid fire to take 11 frames per second. I saw this wall of water coming over the edge, so I held the shutter button down to catch a series of images. Well, the water kept coming and coming, and within half a second, it pushed the deck furniture against the house, got me soaked, knocked me down, and pushed me through the alley gate. I cut my leg on something I don't know what, my eyeglasses went missing, and the camera was drenched.
I did not feel scared; actually, it was rather exhilarating...Fortunately, the SD card was still sound, and I recorded 7 frames of the event. This is the first photo. The last photo is a solid wall of gray." - Alan Grinberg
Bill Ferris (USA, AZ)
An adrenaline-spiked moment - catching a mountain lion in the wild, a reminder of why we adventure with a camera at our side.
"Just before 8 a.m., I'd quietly gathered & packed my gear, and made my way through the trees to an old logging road that paralleled the forest's edge. I planned to use the ponderosa pines as cover and work my way closer to the pronghorn. If lucky, they wouldn't see us hear me coming.
When I heard the sound of snapping branches as some unseen animal off to my right sprang into action, I instinctively reached for my camera, which was hanging on a shoulder strap against my right hip. My right hand wrapped around the D500's grip, index finger poised above the shutter release. My left cupped the 200-500mm zoom lens.
It was then that I saw the big cat - a mountain lion - leap across the road, no more than 100 feet from me, and continue its sprint. Raising the camera to my eye, I was pivoting at the waist to follow the cat's movement. I caught a brief flash of its head in the viewfinder, pressed my thumb against the AF-ON button, and mashed the shutter release while continuing to pan.
One second later, I lost the animal amidst a dense tangle of fallen branches, raised my head to peer over the camera, and saw the cougar sprinting up a slope toward the top of a low mesa.
Five seconds had passed since I'd heard the mountain lion break from cover. Now, it was gone. Had it been stalking the same pronghorn family I'd been watching?
My heart was racing, and I sat down at the base of a tree, trying to wrap my mind around what had just happened. Had I really just had a close encounter with a mountain lion?" - Bill Ferris
Meike announced a new SE series 85mm f/1.8 Mark II full-frame autofocus lens for Z/L/E mount. Compared with the previous Mark I version, the new 85mm f/1.8 SE Mark II features less CA, better image quality, faster focusing speed, and a closer focusing distance (0.65cm). Orders are now open at:
Meike has announced the SE Series 85mm F1.8 Mark II lens for full-frame L mount, Z mount and E mount cameras. The third-party lens manufacturer promises improvements across the board with the updated model, while maintaining its budget-friendly price.
Meike changed the optical design for the second iteration, with the new model featuring 11 elements in 7 groups. The company claims that it has reduced chromatic aberration and improved overall image quality as a result. There are also now 11 aperture blades, compared to 9 in the previous model, with Meike promising "outstanding bokeh."
Image: Meike
The lens can focus as close as 0.65m (2.1'). The previous model offered a minimum focusing distance of 0.85m (2.8'), so photographers who like to get close will get at least a little improvement on that front. It uses a stepping motor for autofocus, which Meike also says is improved for faster focusing compared to the first version.
Meike's 85mm F1.8 is compact and lightweight, coming in at 369g (13 oz) and 100.2mm (3.9") long. It features a 62mm filter thread and a USB-C port for firmware updates.
Connexion
Type B memory card compatible with both the new VPG1600 and the current VPG400 standards — the first of its kind in the world[1]. The NX-B2PRO+ Series is scheduled for commercialization in 2026. The product has already obtained official VPG1600 and VPG400 certifications from the CompactFlash® Association (CFA), and preparations for launch are currently underway.
