Vue lecture

Just announced: AstrHori 6.5mm f/2 fisheye 192° super wide angle lens for E/X/Z/RF/MFT ($129)


The previously reported AstrHori 6.5mm f/2 fisheye 192° super wide angle lens for E/X/Z/RF/MFT is now officially announced with a price of $129:

Additional informtion:

  • APS-C | f/2 to f/22
  • 10mm (Full-Frame Equivalent)
  • Fast, Ultra Wide-Angle Prime
  • Manual Focus Design
  • ED, Refractive Lens Elements
  • 9-Blade Diaphragm




The post Just announced: AstrHori 6.5mm f/2 fisheye 192° super wide angle lens for E/X/Z/RF/MFT ($129) appeared first on Photo Rumors.

DaVinci Resolve's latest version adds more than 100 new features

NAB-2025-Update-2-13-25-screenshot
Image: Blackmagic

The NAB 2025 show is underway, with plenty of announcements related to broadcasting and filmmaking coming out. Among those was a lengthy livestream from Blackmagic Design that revealed multiple new products and software tools, including the latest version of its video editing platform. Blackmagic calls DaVinci Resolve 20 "a major new update which adds over 100 new features." Unsurprisingly, many of those new features are AI-related and aimed at speeding up and simplifying the editing process.

The updates cover just about every step of the editing process and touch most aspects of the editing program. You can see all of the update details in the press release below, but there are some standout features worth mentioning. First, AI IntelliScript can automatically create timelines based on the original project script. This is done by first creating an automatic transcription of the video files and then uploading the original script text file. DaVinci Resolve chooses the best takes but provides alternative takes in additional tracks so that you can easily review those as well.

davinci-resolve-20-update-transcript-timeline
Image: Blackmagic

The company says the IntelliScript doesn't require an exact match to the original script, as similar wording is matched. You can also create a script after the fact by uploading the transcription of the master take and using that as the basis for the timeline. In a similar vein, AI Multicam SmartSwitch promises to automatically switch between multiple camera angles based on the active speaker in each scene.

Also coming to DaVinci Resolve 20 is a tool for animating subtitles. The AI Animated Subtitles feature uses the transcription tool to generate a subtitle track on a timeline, automatically animating them with highlighted text as things are spoken. AI Detect Music Beats will analyze "beat-driven music" and automatically place markers on each beat, making it easier to edit clips to the beat of the music.

davinci-resolve-20-update-animated-subtitles
Image: Blackmagic

Blackmagic also announced AI Set Extender, which sounds similar to Adobe Premiere Pro's Generative Extend. Blackmagic didn't provide extensive information on the feature but says it "creates a scene extension to fill an entire frame based on a simple text prompt."

While many of the standout features are AI-related, there are plenty of updates to hands-on tools as well. For example, Blackmagic Cloud support will now offer better collaboration tools. Blackmagic also changed the cut, edit and color pages when working with a vertical timeline or project, aimed at optimizing the vertical viewer without wasted space or needing to constantly zoom.

davinci-resolve-20-update-voiceover
Image: Blackmagic

The voiceover palette tool makes it easier to record voiceovers directly into the timeline, providing cue, record and stop controls. Plus, there's quick access to voice isolation and dialogue leveling tools. Blackmagic also added a "full audio mixer with professional loudness metering" to the cut page, allowing users to mix and monitor audio while recording, editing and finishing their content.

“This is a massive update this year, with AI tools and new features that help to speed up every stage of our customer’s workflow” said Grant Petty, Blackmagic Design CEO. “By automating tasks that take a long time manually or are tedious, with features such as keyframe editing, voice over palettes, live overwrite and multi-layer compositing tools, our customers are free to spend more time than ever being creative. The new processing code we’ve been rewriting over the last few years is an amazing base to be able to build these new features on. It’s exciting to see how we can provide tools with DaVinci Resolve to help our customers spend more time exploring their creativity.”

You can see a comprehensive list of all the features on the DaVinci Resolve 20 product page, or in the press release below. DaVinci Resolve 20 public beta is now available for download from the Blackmagic Design website. The standard version is free to download, however you'll need DaVinci Resolve Studio 20 for $325 to unlock the advanced editing tools.

Press release:

Blackmagic Design Announces DaVinci Resolve 20

Massive update adds over 100 new features including DaVinci AI tools, keyframe editor, voice over palettes, multi-layer compositing tools plus chroma warp, Magic Mask 2 and more!

NAB 2025, Las Vegas, USA - Friday, April 4, 2025 - Blackmagic Design today announced DaVinci Resolve 20 a major new update which adds over 100 new features and AI tools such as AI IntelliScript, AI Animated Subtitles, AI Multicam SmartSwitch and AI Audio Assistant, as well as keyframe editing, voice over palettes, multi layer compositing tools, new optical flow vector tools and major updates to Magic Mask and depth map. DaVinci Resolve 20 public beta is available for download now from the Blackmagic Design web site.

The DaVinci Resolve 20 will be demonstrated on the Blackmagic Design NAB 2025 booth #SL216.

DaVinci Resolve 20 introduces more than 100 new features including powerful AI tools designed to assist customers with all stages of their workflow. Use AI IntelliScript to create timelines based on a text script, AI Animated Subtitles to animate words as they are spoken, and AI Multicam SmartSwitch to assemble a timeline with camera angles based on speaker detection. The cut and edit pages introduce a dedicated keyframe editor and voiceover palettes, and AI Audio Assistant analyzes the timeline audio and intelligently creates a professional audio mix. In Fusion, explore advanced multi layer compositing workflows. The Color Warper now includes Chroma Warp, plus Magic Mask and Depth Map have huge updates.

New features in Blackmagic Cloud include Cloud folders, which lets customers easily share extra clips, images or graphics for a project with other collaborators. All cloud content appears as virtual clips and folders until used in a project, after which it is synced locally. Customers can access large amounts of media while keeping their media pool organized.

Customers can also now review projects in Presentations with clients who don’t have a Blackmagic Cloud account. To activate guest access simply generate a URL link of the Presentation customers want to review and share it with clients. Customers can review clips, make notes on the timeline using markers and even group chat.

Cloud storage has also been updated with an icon view that displays thumbnails of all clips so customers can visually identify them and manage their media. Hovering over thumbnails lets customers scrub through the content for quick media preview. The inspector panel displays camera and clip metadata, as well as production notes.

On the cut, edit and color pages, when a vertical timeline or project is loaded, the page layouts automatically rearrange to optimize working with a vertical viewer. Tools and palettes are moved to ensure that customers have maximum use of the screen without wasted space and without the need to constantly zoom.

The voiceover palette on the cut page records a voice over track during timeline playback. Customers get cue, record, and stop controls, plus quick access to voice isolation and dialogue leveling tools. A dedicated track is added automatically. Customers can load and work with a prompter script and a countdown.

A dedicated keyframe editor in the cut and edit pages allows for finer parameter animation. Use the keyframe curves and parameter modes to edit keyframes and customize animation shape with ease controls. Customers can also use the keyframe tray below the timeline to review and navigate timeline keyframes.

The Text+ tool has been updated to include the layout’s point, text box, circle or path styles giving customers more refined control over the layout of their text graphics. When working with PSD files on a timeline, customers can choose to split the PSD layers in place in order to work with each individual layer.

The MultiText tool creates multiple text layers in one place for greater flexibility. Customers can use the inspector tabs to set individual style parameters within each text layer, including appearance, layout, warping and keyframe animation. The text list lets customers navigate, rearrange, lock, and delete layers.

On the cut page, customers can now drag directly in the viewer to live overwrite a camera angle directly into the timeline. With the sync bin active, or when in multi source mode, customers can drag horizontally to live paint at the playhead, or drag down to turn the angle into a draggable clip.

The cut page now also has a safe trimming mode to prevent crucial edits from being accidentally overwritten. Customers can drag trim points to quickly fill gaps in the timeline. When they reach a cut point, DaVinci Resolve will pause. If they do want to overwrite the edit, just keep dragging to trim the adjacent clip.

A full audio mixer with professional loudness metering has also been added to the cut page. Each channel strip has a left-right pan slider, fader, solo, and mute buttons, plus professional panning, EQ, Dynamics, and FX controls. Now customers can mix and monitor audio while they record, edit and finish their show.

On the edit page, the voiceover tool lets customers record directly into the timeline. There are quick controls to set file name, audio input and destination track. With automatic track selection and customization options like countdown and input monitoring, creating a voice over has never been easier.

On the color page, new chroma warp lets customers intuitively adjust color and saturation with a single motion in the viewer. The stroke control moves colors in one direction, while the point to point mode isolates regions for more precise hue correction. Customers can add pin points to isolate regions customers do not want to affect.

When streaming remotely, customers can choose to display power windows and other overlays on the reference monitor. This is helpful for remote workflows where the grading system is in a separate location from the colorist, or their client, and their local monitor. Customers can also now stream H.265 4:2:2.

Fusion now offers deep image compositing tools, so customers can access the depth data found in deep image EXR files. A range of new nodes allows customers to merge, transform, resize, crop, recolor, and generate holdouts. Render from Fusion’s 3D environment and export deep EXR’s with the Fusion saver node.

Support has also been added for multi-layer images across all nodes. Fusion can read multi-layer EXRs or photoshop files, preview the layers in the viewer, and access and manipulate any layer in any node. Now artists have seamless layer interaction without needing independent renders of a source file.

Vector warp, vector transform, and vector denoise are new optical flow vector tools integrated within Fusion. These tools enable intricate temporal effects by leveraging motion vectors. Utilizing a clip's natural movement for warping and denoising presents a powerful time saving solution for artists.

Fusion’s PanoMap, spherical stabilizer, LatLong patcher, 3D VR camera and the 3D viewers have been updated to support 180-degree angle of view to allow production of immersive content. Customers can also render 3D scenes to VR180 using a spherical camera and Renderer3D for a simplified production process.

The enhanced Dome light is a 3D tool that simulates natural ambient lighting in a 3D scene. It allows the integration of 360 HDRI images for accurate reflections and global illumination. Now customers can create more realistic environments, ensuring their 3D models respond convincingly to light conditions.

Customers can now preview color page clip grades directly in the Fusion page viewer through the MediaOut node. This will give customers a better representation of their final composition and save customers time by not requiring customers to leave the Fusion page every time customers need to review the final look of a clip.

Clip EQ now features 6 bands on the cut, edit and Fairlight pages. This allows for more tonal control at the clip level, and matches the track EQ in the mixer. So now customers can easily copy and paste settings between the clip, track and EQ plug-in for more consistent, flexible and precise control.

Fairlight has two new clip processing options that lets customers adjust a target clip’s audio to match a reference clip’s level or tonal spectrum. EQ match is dynamic and is automatically automated across their clip to maintain a tonal match. Level Matcher lets customers seamlessly intercut clip sections without manual changes.

If customers have a favorite group of plugins that they need to apply together, customers can now build a Chain FX to include them, each with customized settings and saved as presets. Customers can have up to six effects within a chain and also combine Chain FX plugins for longer chains in the channel effects slots.

Fairlight now features per-channel automation mode selection allowing for more flexibility and creative control when mixing their projects. In a single pass customers can now dynamically adjust multiple individual tracks and have some channel automation settings in Snap, some in Latch, and others in Trim.

The AI Set Extender creates a scene extension to fill an entire frame based on a simple text prompt. Highlight the area customers want to extend, and missing regions caused by limited clip angles, blanking and cropping will be auto generated. Customers can even create new backgrounds behind foreground objects.

DaVinci Resolve Studio 20 also introduces powerful new features for Apple Immersive Video on Apple Vision Pro. Filmmakers can effortlessly edit, color grade, mix Spatial Audio, and deliver Apple Immersive Video captured using the new Blackmagic URSA Cine Immersive camera, which is starting to roll out to an initial set of customers. Customers can pre-order URSA Cine Immersive here.

Customers can use AI IntelliScript to automatically generate timelines based on the original project script. AI IntelliScript will match the transcribed audio in media clips to the script and construct a timeline of the best selected takes, with any alternative takes placed on additional tracks for editor review.

AI Dialogue Matcher is a powerful tool that automatically matches the tone, level, and room environment of dialogue. Customers can match audio from two totally different clips for audio consistency. Match dialogue recorded in different environments, on different devices, or on shoots spanning several days.

Automatically adjust a music track’s length to fit a video using AI Music Extender. The audio clip is analyzed and a music edit is extended or shortened to match. Customers get four versions to chose from, visual edit indicators, and the ability to decompose sections. It’s a fast, flexible way to tailor music to visuals.

Keep a viewer’s attention in videos with subtitles that are animated as words are spoken using AI Animated Subtitles. Use the transcription tool to generate a subtitle track on their timeline and then drag the animated Fusion title templates onto the track header to change the appearance and animation style of the text.

In the edit page, AI Multicam SmartSwitch automatically switches multi-cam angles based on the active speaker in a scene. After creating a multi-cam clip, click SmartSwitch in the multi-cam viewer. SmartSwitch analyzes and automatically selects clip angles based on audio, and lip movement in the video.

The revolutionary AI Voice Convert tool applies a pre-generated voice model to an existing voice recording, retaining its inflections, pitch variation, and emotion. Improve their own voice if recorded in a noisy environment, or create perfect ADR using the original actor’s own voice.

DaVinci Resolve’s SuperScale now features 3x and 4x enhanced upscaling, ensuring the highest visual quality of all media in a project, regardless of source resolution. Perfect for working with archival material or stock footage that needs to be matched to the deliverable resolution.

AI Magic Mask has been updated for even more accurate tracking within a single mode. Use points to select people, objects and regions, and paint tools to refine the selection faster than ever. Magic Mask intuitively tracks the motion of a selected area, even around obstructions and in low quality clips.

The AI Depth Map effect has been updated for faster scene analysis and more practical mattes. Quickly isolate foreground characters to make them pop against their environment or apply lens blur to the background of a shot. Customers can refine the resulting matte and isolate specific depths for grading.

AI IntelliCut provides powerful clip-based audio processing, automating time consuming tasks in seconds. Remove silence removes low level or silent areas for a cleaner audio track. Customers can split dialogue into a separate track per speaker for individual mixing and create an ADR list to replace dialogue.

When a timeline has audio elements that are not mixed or balanced, AI Audio Assistant can automatically create a professional audio mix. Audio Assistant organizes tracks, evens out dialogue levels, adjusts sound effects and music to the dialogue track, and automatically creates a mastered final mix.

When editing to the beat, customers can use the AI Detect Music Beats function to analyze audio clips containing beat-driven music and automatically place markers to indicate beats. Customers can use these as visual indicators for cut points, or drag to snap clips to the beat’s markers at the nearest frame.

“This is a massive update this year, with AI tools and new features hat help to speed up every stage of our customer’s workflow” said Grant Petty, Blackmagic Design CEO. “By automating tasks that take a long time manually or are tedious, with features such as keyframe editing, voice over palettes, live overwrite and multi-layer compositing tools, our customers are free to spend more time than ever being creative. The new processing code we’ve been rewriting over the last few years is an amazing base to be able to build these new features on. It’s exciting to see how we can provide tools with DaVinci Resolve to help our customers spend more time exploring their creativity”

DaVinci Resolve 20 Features

  • Import Blackmagic Cloud Shared folders to media pool.
  • New optimized UI layouts option for vertical videos on cut, edit and color pages.
  • Voiceover palette with cue, voice tools and teleprompter.
  • Improved keyframing with dedicated curve view and timeline drawer.
  • Text+ paragraph, line wrapping and bounding tools.
  • MultiText tool with layers and easy transform, clip and wrap controls.
  • Live overwrite now supports edit keys and search dial.
  • Mouse drag to live overwrite multi source and sync bin.
  • Trim with safe edit avoids overwriting adjacent clips.
  • Full featured audio mixer added to cut page.
  • Voiceover tool with record and monitor options in edit page.
  • Chroma Color Warper grading.
  • Display viewer overlays for remote monitoring.
  • Stream and monitor H.265 4:2:2 on supported hardware.
  • Deep image compositing toolset.
  • Multi layer pipelining for OpenEXR, PSD and stereoscopic 3D.
  • Vector warping toolset for image patching and cleanup.
  • Fusion support for 180 VR.
  • 3D Scene Dome Light.
  • View color page grade in media out node on Fusion page.
  • Clip EQ now features 6 bands.
  • EQ and Level Matcher processes match tone and clip levels.
  • EQ and Gain now also available as Fairlight FX plugins.
  • Fairlight Chain FX to create and restore frequently chained plugins.
  • Resolve FX AI Set Extender.
  • AI IntelliScript creates timelines with a user provided script.
  • AI Dialogue Matcher matches clip tone, level and reverberance.
  • AI Music Editor automatically edits music to desired length.
  • AI animated subtitles highlights or animates spoken words.
  • AI Multicam SmartSwitch for automatic angle switching.
  • AI Voice Convert with built-in and user trainable models.
  • AI SuperScale now includes 3x and 4x enhanced upscaling.
  • AI Magic Mask v2 with paint brush.
  • AI Resolve FX Depth Map v2.
  • AI IntelliCut to remove silences.
  • AI IntelliCut to checkerboard dialogue by speaker.
  • AI IntelliCut to generate ADR Cues using transcription speaker info.
  • AI Audio Assistant automatically creates a finished mix.
  • AI Detect Music Beats displays and allows beat snapping.

Availability and Price

DaVinci Resolve 20 public beta is available now for download from the Blackmagic Design web site.

Nikon Z5II pre-production sample gallery: a time-tested sensor

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Sample gallery
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This week, Nikon announced the Z5II, its entry-level full-frame camera. It uses a 24MP BSI sensor we've seen in plenty of other cameras, such as the Zf and Z6 II, but that's not a complaint – in the past, it's provided excellent image quality.

We spent a day shooting with a pre-production Z5II. While rainy weather doesn't always make for the best samples, it was just enough to add a bit of ambiance. Do keep in mind that although the samples provide an idea of how the camera performs, they may not exactly reflect the output of a final production model. We'll be looking to get ahold of one of those when they become available, so stay tuned.

See the sample gallery

Here we go: Blackmagic Design increased prices in the US only



Blackmagic Design officially announced a price increase only for the US as a result of the new Trump tariffs (check the new prices here):

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


Blackmagic just announced a new 12k Pyxis camera ($4,995) at the 2025 NAB show in Las Vegas (additional information available here, (see all new product announcements from the 2025 NAB show on this page).

How will the new Trump tariffs impact the camera and lens imports to the US?

The post Here we go: Blackmagic Design increased prices in the US only appeared first on Photo Rumors.

New: SG-Image 25mm f/1.8 lens

SG-Image will soon announce a new 25mm f/1.8 lens (SG-Image lenses are sold at Ali Express and Amazon JP):

  • Ultra-lightweight design
  • Weight: 145g
  • Lens height is only 32mm
  • Four-color: black/red/silver/titanium

Via FujiAddict

The post New: SG-Image 25mm f/1.8 lens appeared first on Photo Rumors.

Songraw 50mm f/1.2 full-frame AF lens announced (E/Z/L)



The previously reported Songraw 50mm f/1.2 "Moonlit" full-frame AF lens for Sony E, Nikon Z, and L-mount is now officially announced at the 2025 NAB show. Here are the details:

  • First Chinese 50mm F1/2 full-frame autofocus mirrorless camera lens
  • For Sony E, Nikon Z, and L mount
  • Aluminum body
  • Weight: 900g/1.98 lbs
  • Two switches: AF/MF and de-click option
  • Lens design: 15 elements in 10 groups, including two aspherical lens elements
  • Aperture diaphragm with 13 blades
  • Minimum focusing distance: 52 cm/20.4 in
  • Filter size: 72mm
  • Shipping will start at the end of April
  • Price between $950 - $1,100
  • SongRaw showcased the lens at NAB 2025, emphasizing its "Moonlit" branding, inspired by its low-light performance



Coming soon: new Songraw 50mm f/1.2 full-frame AF lens

Via cined

The post Songraw 50mm f/1.2 full-frame AF lens announced (E/Z/L) appeared first on Photo Rumors.

B&H Photo and Nextorage NAB specials



B&H Photo launched a new site with specials for the 2025 NAB show (see all new product announcements from the show on this page).

Nextorage is also running special savings on memory cards (up to $450 off) during the 2025 NAB show, starting from April 5th until April 13th:

Nextorage announced the world’s first VPG800-compliant CFexpress Type A memory cards


Via NikonRumors

The post B&H Photo and Nextorage NAB specials appeared first on Photo Rumors.

RGB: Our April editor's challenge is open for submissions

RGBIV

This photo was taken at a train station in France from the safety of the platform. I was testing out Sony's latest ultra-wide lens, and was very excited that I could get the red bumper posts, the rails, and the parked train all in the shot.

Sony a7C R | FE 16mm F1.8 G | F1.8 | 1/60 sec | ISO 100
Photo: Mitchell Clark

Our April editor's photo challenge is now open for submissions. The theme this month is red, green and blue, and we're looking for photos that utilize all three colors.

Some examples: an apple orchard under a blue sky, a color-coordinated bookshelf, a parrot – anything with a tri-chromatic color palette utilizing the three colors that form the basis of all our digital images. Our favorites will be featured on the DPReview homepage at the end of the month.

This challenge is open to photos taken at any time. The last day for entry will be Saturday, April 12th (GMT).

IMPORTANT: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know 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 read the full rules and to submit your photos for consideration. Please remember to include a caption or your submission will be deemed ineligible, and we'll ask you to resubmit it.

Visit the challenge page to read the rules and submit your photo

Sony announced new HVL-F46RMA & HVL-F28RMA flash units


 
 
It seems that SonyAddict was the only website that noticed and reported on the new Sony HVL-F46RMA and Sony HVL-F28RMA flash units that were announced a few days ago:

Sony HVL-F46RMA

  • Compact GN46 Wireless Radio Flash
  • Compatible with Sony ADI / P-TTL
  • Up to 1/80,000 sec Shutter Speed w/ HSS
  • Up to 320 flashes w/ 2 sec Recycle Time
  • 0.1-2.5 sec Recycling Time
  • Auto Zoom Control
  • TTL, Manual, and Multi Flash Modes
  • Wireless Control up to 98.4′
  • Built-In Modeling Lamp
  • Uses 4 AA Alkaline or Ni-MH Batteries

Sony HVL-F28RMA

  • Compatible with Sony ADI / P-TTL
  • 2.4 GHz Radio Transceiver, 115′ Range
  • Guide Number: 92′ at ISO 100 and 50mm
  • Wireless TTL Ratio Controller/Remote
  • Control Up to 15 Flashes/5 Groups
  • Tilts from 0 to 120°
  • Manual Output Adjustment: 1/1 to 1/256
  • HSS and Multi-Flash Modes
  • Dust- and Moisture-Resistant
  • Metal Foot and Rugged Side Frame



Via SonyAddict

The post Sony announced new HVL-F46RMA & HVL-F28RMA flash units appeared first on Photo Rumors.

Accessory roundup: a lightstand with a trick, and some big upgrades

AccessoryRoundup h5studio-myriad-blackmagic-luna-lightstand
Images: Zoom, Cutasunda, BlackMagic, 3 Legged Thing

Happy weekend, everyone. We're deep into camera news season, but the accessory makers haven't been slacking at all. Today, we'll be taking a look at a big update to a solid audio recorder, a new take on the light stand and a host of other accessories – but first, the deals.

Canon deals

Canon EOS R6 II sensor
Photo: Dale Baskin

Canon's mid-range full-frame camera, the EOS R6 II, is currently on sale for $200 off. When we tested it, we were very impressed with how well-rounded it is, combining excellent autofocus, great ergonomics and solid performance.

Eos r5 ii in hand
Photo: Richard Butler

Speaking of cameras we were impressed with, the EOS R5 II is also on sale for $300 off its MSRP. It takes everything that's good about the EOS R6II and turns it up to 11, with a higher-resolution sensor, faster burst rates and more.

Not just a light stand

3-legged-thing-luna-lightstand
Image: 3 Legged Thing

3 Legged Thing is getting into the light stand market. On the surface, its new product, the Luna, looks like a standard piece of grip equipment, but if you look closer, you'll notice it's made of carbon fiber. The company says this makes it light, stable and compact when folded up. It has a maximum height of 2m (79").

That's not its only trick, though: you can also detach the center column from the legs and use it as a boom pole for recording audio or getting your camera closer to a hard-to-reach subject. While the head features a 3/8"-16 thread, common for lighting and microphones, it's actually retractable: push down the outer sheath, and it'll reveal a 1/4"-20 thread, which can be used to mount a wide variety of accessories.

$149 at 3 Legged Thing

Even more grip

impact-3-stage-baby-folder-roller
The Impact 3-stage Baby Folder Roller is just one of the products in the new KeyGrip series.
Image: Impact

If you prefer more traditional light stands, Impact has you covered. The company has announced a new KeyGrip lineup, which it says is supposed to provide rugged, flexible designs at a relatively affordable price. The lineup includes everything from small, sturdy stands meant to hold camera sliders to three-stage stands on rollers that can extend up to 3.35m (11') tall.

Buy at B&H

Video Performance Guaranteed

Nextorage a2Pro vpg-800
Image: Nextorage

If you're a videographer who shoots on Sony cameras and have to be absolutely sure your storage media is fast enough for any resolution, codec or framerate, you have a new option. Nextorage has announced its NX-A2Pro series of CFexpress Type A cards, which it says are the first of their kind to comply with the Video Performance Guarantee (VPG) 800 standard. That means the cards can write at least 800MBps of data continuously.

Of course, the cards' peak write speeds are much higher, at 1900 MBps. Both speeds, however, are well above what you'll need today. The manual for Sony's flagship a1 II says that even the camera's highest-bitrate modes only require a VPG200 or higher card. Nextorage says the NX-A2Pro is designed for "the high-end camera market in the future."

If you're not looking for future-proof storage, the company also announced its NX-A2AE line, which has a VPG400 rating. Both cards will be available starting in "late April."

NX-A2Pro:

Buy at B&H

NX-A2AE:

Buy at B&H

A new school way to shoot old-school

Myriad Film Holder
Image: Cutasunda

While shooting film gives you a completely analog experience, if you're doing so in 2025, you'll probably want to digitize your photos at some point. The Myriad film holder by Cutasunda, which got a shout-out from PetaPixel this week, promises to help make that process a little easier. It has a diffusion panel to help ensure your film is evenly backlit, and its top panel makes sure your film is flat, even if months in a canister have given it a tendency to curl up. Its adjustable film guides support film sizes from 110 to 6x9, so it'll work with pretty much whatever you're shooting.

It's not a complete package – you'll still need a quality backlight to put behind it, a camera with a macro lens and a tripod – but it plays an important part in bringing your film from the analog world into the digital one.

Buy at Cutasunda

A legend improved

Zoom-h5studio
Photo: Zoom

Zoom's Handy Recorders – especially the H4 and H5 lines – have been popular among videographers for years, as they provide a versatile way to capture audio wherever you are. Now, the H5 has gotten an upgrade: the new H5studio includes an even better stereo microphone capsule, as well as the ability to record in 32-bit float audio, which essentially means you don't have to worry about your audio clipping.

Like the standard H5, the H5studio has a "capsule" system that lets you attach various microphones and inputs to it. It comes standard with a stereo XY capsule that features "the largest mics ever" included in the Handy Recorder lineup, which can capture around 130dB of dynamic range. The recorder's body also features two combination XLR / TRS inputs, line and headphone out jacks, and USB-C. If you swap the capsule, though, you can add two more XLR inputs or even a dual-channel wireless receiver or shotgun microphone. The H5studio can record up to six tracks, which you can monitor via its LCD screen.

Buy at B&H
Buy at Amazon

A slew of software updates

final-cut-pro-adjustment-clip
Finally, an end to copying and pasting color boards or having to use compound clips.

This week, Apple released an update for its Final Cut Pro editing software. The free 11.1 update includes a few minor improvements and integrates one of the company's new AI features, but the biggest addition is Adjustment Clips. If you've ever edited in Premiere Pro or Davinci Resolve, you'll likely be familiar with the concept: it's a layer you can put over multiple other clips to apply the same effect or transition to them. This can be especially useful with color grading; if you have clips that all need the same grade applied, you can simply apply it to an adjustment clip layered over them rather than having to apply them to each clip individually.

As big as that is, it pales in comparison to what BlackMagic has been working on. The company announced a new version of its Resolve editing software that adds an AI tool for creating animated subtitles, a dedicated keyframe editor and an even easier-to-access audio mixer.

blackmagic-tracking-autofocus
Photo: BlackMagic

Its blockbuster announcement, though, is the Blackmagic Camera 9.5 Update, which is currently in beta but provides a massive upgrade to the autofocus system for the Blackmagic Cinema Camera 6K. When it launched, the camera just had single autofocus – the camera could focus once but wouldn't update if your subject moved. The new update, though, adds continuous autofocus, which will work to keep whatever's under its selected focus point sharp. It also supports tracking autofocus, where it will attempt to keep its focus point on a selected subject, even if it moves or the framing changes, as well as face tracking autofocus. These changes should make the camera substantially more useful for smaller productions or even single-shooter setups with no dedicated focus puller. The company says it'll be bringing the feature to its other large-sensor cameras as well.

Read last week's roundup

Moonlit magic: SongRaw’s 50mm F1.2 lens makes its grand entrance

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Image: SongRaw

A new lens company hailing from China has popped onto the scene, promising even more autofocus lens options for mirrorless cameras. Named SongRaw, the company's slogan states, "Crafted with Dedication, Honoring Your Passion and Love," adding that it "is dedicated to polishing every detail of the craft." To kick things off, it has announced a fast 50mm lens that it claims is the first Chinese 50mm F1.2 full-frame autofocus mirrorless lens.

SongRaw's debut lens is a full-frame offering that provides that classic 50mm focal length with a wide aperture for a shallow depth of field and better low-light performance. The lens features 13 aperture blades, which SongRaw says promises "beautiful bokeh." It offers autofocus powered by a stepping motor, which SongRaw says is compatible with eye-tracking. It can focus as close as 0.52m (20.5") and is compatible with 72mm filters.

The optical design comprises 15 elements in 10 groups. The information on special elements is a bit mixed, with one piece mentioning two aspherical elements and another including two extra-low dispersion elements. It wouldn't be out of the question to see both in the same lens, though. SongRaw didn't provide any details as to the size or weight of the lens.

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Image: SongRaw

The lens is marked with "Moonlit," and the company's barebones website includes that branding. Photos of the lens show an aperture ring, along with a switch labeled "click," suggesting the aperture ring can be clicked or de-clicked. There's also an AF/MF switch and what could be a function button.

SongRaw says the 50mm prime lens will be compatible with FE-mount, Z-mount and L-mount, but that it is prioritizing the Sony model. Nikon and L-mount users may need to wait a bit longer. SongRaw is showing the lens off at NAB, so anyone headed to the show could check it out in person. The lens will be priced at around $1000 and should be available by the middle or end of April.

Sticker shock: Fujifilm film prices bumped as high as 52% in Japan

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Photo: Abby Ferguson

Unfortunately, this Film Friday brings some disappointing news. Price hikes are in the news everywhere right now, and that includes film prices, at least for those in Japan. Earlier this week, Fuji Rumors shared that, along with a redesign of a disposable camera, Fujifilm is increasing the price of its film in Japan.

Fujifilm Japan's press release explains that the prices are increasing because of the costs of making and transporting the film. "As the prices of materials, raw materials, and transportation costs for photographic film continue to rise, we have been working to absorb costs by improving production efficiency and cutting expenses, but as it is difficult to absorb the costs through corporate efforts alone, we will be revising the prices of some of our photographic film products," a machine-translated version of the release states.

Price change date Selected products Size
April 1 Color Negative Film 135 Approximately 21% to 22%
April 1 Disposable Film Camera 135 Approximately 44%
April 1 Reversal Film 135/120 Approximately 31-52%

The release says that 35mm color negative film prices have increased by around 21 or 22%, while 35mm and 120mm reversal film prices increased by roughly 31 to 52%. The QuickSnap disposable camera is also around 44% more expensive. While the new prices took effect on April 1, it was not an April Fool's Day joke. A search on Bic Camera, one of Japan's largest electronics retail chains, currently has a single roll of 135 Velvia 50 priced at 6050 yen, or $41.57. If you want a five-pack of 120 Velvia 100 in Japan, you're looking at 23,650 yen, or $162.51.

Color negative film isn't nearly as bad, but it's still extremely expensive. A single roll of 135 Fujifilm 400 – typically considered a beginner-friendly budget option – is listed at 2420 yen, or $16.63. For comparison, that same film is listed at B&H in the US for $8.39.

Fujifilm hasn't said whether the pricing outside of Japan will be affected, but it seems possible that the higher costs will be implemented elsewhere. Given the recent tariffs, that seems especially likely in the US. If you're an analog photographer, it may be a good time to stock up on some film.

Zoom versatility in a probe: Laowa shares more details on its Zoom Probe lens

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Image: Laowa

Venus Optics released a teaser of sorts in January for its first zoom probe lens, with a promised release date of sometime in Q2 this year. Details were slim at the time, but now, in conjunction with NAB, the company has revealed more information on the unique Probe Zoom macro lens.

The new full-frame probe lens from Laowa uses a modular design with four interchangeable front modules and two rear tubes. The rear tubes offer slightly different focal ranges, coming in at 15-24mm T8 and 15-35mm T12. Laowa says it is the "widest and largest range probe lens" available, with a 110.5° angle of view and a 2.3x zoom range.

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Images: Laowa

The four front modules allow users to switch between a direct view, periscope, 35° view, and a new 90° view. Each module can rotate 360° independent of the focus and zoom ring with Laowa's patent-pending rotation design. Combined with the two rear tubes, this set enables eight combinations, making it a versatile option for macro content. The probe is 40cm (15.7") long, helping it reach subjects in tricky locations. Plus, the barrels are waterproof, opening up even more possibilities.

The January announcement promised a Q2 release, but things appear to be slightly delayed. The company now says that it will be available to ship in Q3 of this year, so macro enthusiasts have to wait a bit longer. Laowa did provide some details on pricing now, however. The Probe Zoom Macro 15-24mm T8 Direct View lens will be $3,499, and the 15-35mm T12 Direct View lens will be $3,999. Laowa says more details on the lens and pricing will be announced soon.

In addition to the new lens, Laowa also announced it is offering 10% off select products from April 3 to 13 on the Laowa Cine website and to selected resellers, including B&H.

Press release:

Laowa Debuts Its First-Ever Probe Zoom Macro Lens at NAB Show 2025 & Adds Its New 90-Degree Module to the Set

Las Vegas, US – April 3, 2025 – Laowa, renowned for its legendary probe lenses over the past decade, is proud to announce the debut of its highly anticipated Probe Zoom Macro Lens at NAB Show 2025 in Las Vegas. The new Probe Zoom features two focal lengths – 15-24mm T8 and 15-35mm T12 with 4 interchangeable front modules including the Direct View, Periscope, 35° View and 90° view. The 90-degree module is designed with a user-friendly 360° rotation mechanism while maintaining precise focus and zoom control. Visitors can try on the show at North Hall Booth N2823.

Alongside this groundbreaking innovation, Laowa will also unveil its first-ever broadcast lens and showcase a selection of its newly launched lenses and popular series. Attendees will have the opportunity to experience Laowa’s latest optical advancements firsthand and have a chance to win the popular 10mm f/2.8 Zero-D FF lens on site.

In celebration of Laowa’s continued innovation in the realm of optics, customers around the world can enjoy an exclusive, limited-time 10% online discount on selected products across NAB period, available only on the official laowacine.com website and selected US resellers.

Laowa Probe Zoom Macro Lens: A Revolutionary Addition

The Laowa Probe Zoom Macro Lens set is an innovative addition to Laowa’s industry-renowned Full Frame probe lens lineup, featuring the 15-35mm T12 and 15-24mm T8. Being the widest and largest range probe lens on the market, it boasts a 110.5° angle of view and a 2.3x zoom range for significant changes in magnification and perspective. The 40cm-longest waterproof tubular design empowers filmmakers to capture deep, hard-to-reach subjects with unparalleled flexibility and top-notch image quality.

Key Features:

  • 15mm Ultra-Wide Perspective
  • 2.3x Zoom Range with Parfocal Design
  • 4 Versatile Modules: Direct, Periscope, 35° View and the additional 90° View
  • Up to 2.3x Magnification for extreme close-ups
  • Unrivaled Sharpness & Superior Image Quality
  • Waterproof, Long Tubular Barrel for versatile shooting conditions
  • 360° rotation for front modules

The lens set features a modular design with 4 interchangeable front modules and 2 main barrels, allowing users to switch between Direct View, Periscope, 35° View, with one more 90° perspective announced. The rear tubes come in two focal ranges: 15-24mm T8 and 15-35mm T12, offering 8 unique combinations.

With a maximum T8 aperture, 15mm ultra-wide perspective, up to 2.3x magnification, and a waterproof barrel, this lens excels in extreme close-ups (as close as 5mm), low-light conditions, and underwater filming. It’s a versatile tool for advertising, wildlife documentaries, and cinema production, delivering unmatched storytelling potential.

A unique 360° rotational ring is installed in front of the lens body, this patent-pending front rotation design allows the tube to rotate independently from the focus and zoom ring, and users can produce sweeping and dynamic shots while being able to control the focus and zoom ring.

The Laowa Probe Zoom Macro Lens will debut at NAB Show 2025—visit us for a hands-on experience!

Pricing and Availability

Laowa Probe Zoom Macro Series will be available to ship by 2025 Q3. The US Price for the Probe Zoom Macro 15-24mm T8 – Direct View lens is $3,499 and 15-35mm T12 – Direct View lens is 3,999. Pricing varies in different countries. More details on the price and updates will be announced soon.

ProGrade's latest card reader is made to be mounted on your phone

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Image: ProGrade

ProGrade Digital has announced three new products aimed at making storage extra portable. The company unveiled two highly compact SSDs that each promise fast speeds and excellent reliability, along with a memory card reader meant to work with the iPhone 16 line of phones to unlock 4K 120p recording.

ProGrade CFexpress Type A Mobile Reader

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Image: ProGrade

Smartphone cameras are capable of impressive video quality, which is why many content creators rely exclusively on their phones to record video. But those files quickly eat up storage space. Plus, some formats are only unlocked with external recording, such as the iPhone 16 Pro/Pro Max 120 fps ProRes recording mode. The new PGM12 CFexpress Type A mobile card reader from ProGrade aims to make it easier for users to take full advantage of their phone's recording capabilities.

The PGM12 card reader is a single-slot CFexpress Type A reader that ProGrade says offers the same performance as its full-sized card readers despite its more compact size. That means promised transfer rates of up to 1.25GB/s. It features a patented magnetic base and metal mounting plates with a flexible cable, making it feasible to mount to your phone or rig in multiple ways. The card reader is small enough to be attached to the back of an iPhone while also using a MagSafe charger, ensuring you don't run out of storage or battery.

"Our customers can now record video onto low-power, CFexpress Type A memory cards, at the highest possible quality, and not have to worry about running out of storage space, that might be experienced with a fixed capacity storage device," says ProGrade.

The PGM12 reader is available for preorder now for $80 and will ship at the end of April.


Buy now:

Buy at B&H

ProGrade Pro Mini USB 4.0 Solid State Drive

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Image: ProGrade Digital

The ProGrade PG10.5 Pro Mini SSD is a compact SSD that, like the above card reader, is equipped with ProGrade’s patented magnetic base. It also comes with an adhesive metal plate, so you could mount it to any work surface or to ProGrade PG20 Pro Hub.

It uses USB 4.0 technology, resulting in a promised maximum bus speed of up to 40Gbits/sec. ProGrade says it will offer read speeds of 4000MB/s, a write speed of up to 3500MB/s. It should also provide a sustained write speed of 1250MB/s, which is critical for high-resolution video workflows. It's compatible with Thunderbolt 4, Thunderbolt 3, USB 3.2 and 3.1 Type-C ports.

"The PG10.5’s small physical size and robust design also allow it to be easily removed from the workstation, studio environment, and easily used in more mobile, non-studio environments," said Wes Brewer, CEO and founder of ProGrade.

The PG10.5 Pro Mini SSD is now available for preorder. It comes in 1TB, 2TB and 4TB capacities and is priced at $180, $300 and $550, respectively.


Buy now:

Buy at B&H

ProGrade PG30 Ultra-Portable SSD

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Image: ProGrade

SSDs keep getting smaller, as is the case with the ProGrade PG30 Ultra-Portable SSD. This tiny device looks like a classic thumb drive but should offer better performance and reliability. After all, thumb drives aren't typically meant to be used as working drives, and they often don't last for extended periods, either.

The ProGrade PG30 Ultra-Portable SSD, though, is more up to the needs of creative professionals. It uses USB 3.2 Gen 2 technology, and ProGrade promises read and write speeds of up to 1000MB/s and a sustained write speed of 300MB/s.

The tiny SSD features tethered caps that protect the Type-A and Type-C ports, while the IP65 rating provides water and dust resistance. It's also X-ray and shock-proof and comes with a three-year warranty.

"The PG30’s relatively small die-cast aluminum body, dual USB Type A and C connectors, coupled with an impressive IP65 dust and water rating, make it an ideal choice for all imaging professionals seeking the compatibility and reliability that ProGrade is known for," said Josh Brewer, Product Manager of ProGrade.

The ProGrade PG30 Ultra-Portable SSD will be available for purchase at the end of April and comes in 500GB, 1TB and 2TB capacities.

Support for Nikon's N-Raw is coming to Adobe Premiere Pro

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Nikon announced the Z5 II mirrorless camera last night, but in addition to that announcement was another exciting update for Nikon videographers. The company revealed that Adobe will finally offer support for Nikon's N-Raw video format in Premiere Pro.

N-Raw is Nikon's proprietary 12-bit Raw video format. It supports Rec2020 color gamut and allows users to adjust white balance in post-production, much like what's possible with Raw photo files. As a result, it provides more flexibility during the editing process. Despite that extra data for editing purposes, it also produces smaller file sizes compared to Apple ProRes Raw. It's ideal for those who need editing flexibility while saving space on memory cards and hard drives.

DPReview's 2025 wishlist included increased N-Raw codec support from software makers since such a limited choice of editing programs reduces the value of that in-camera Raw capture. The only other options for editing N-Raw files are DaVinci Resolve and RedCine-X Pro, so it is great to see Adobe getting on board.

While support for N-Raw in Premiere Pro is certainly welcome news, users will have to wait until "the end of 2025." Nikon didn't provide more specifics than that, simply saying it will come with an updated version of Premiere Pro coming later this year.

Press release:

NIKON’S N-RAW VIDEO FORMAT WILL BE SUPPORTED IN ADOBE’S VIDEO EDITING SOFTWARE PREMIERE PRO®

MELVILLE, NY —

Nikon Inc. is pleased to announce that Adobe will add support for Nikon’s N-RAW video format to its video editing software, Premiere Pro®, with a new version scheduled for release by the end of 2025.

N-RAW is Nikon’s proprietary high-quality RAW video format that provides users with a large amount of imaging data in order to enable more freedom and flexibility, including a wider Rec2020 color gamut in 12-bit N-RAW with its billions of colors captured and software-modifiable white balance, in post-production. Adobe Premiere Pro® is a popular video editing software widely used by professional creators and filmmakers, and support for the N-RAW format opens up extensive new possibilities for video and film production using Nikon cameras. Premiere Pro® support for the N-RAW format has been realized via the addition of Nikon N-RAW support to RED’s R3D SDK.

Nikon will continuously meet the needs of those involved in video and film production, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.

We interviewed Fujifilm's executives about the GFX100RF and Content Credentials

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Makoto Oishi, Yuji Igarashi and TJ Yoneda, all holding the GFX100RF.

GFX100RF | F5 | 1/90 sec | ISO 12800
Cropped and processed in ACR to taste.
Photo: Mitchell Clark

Last week, Fujifilm announced the GFX100RF, a fixed-lens camera with a 102MP medium format sensor. The company graciously flew us to Prague to cover the event live, and we got the chance to sit down and discuss the launch with three of the people who helped make it happen: Makoto Oishi, senior manager of GFX product planning, Yuji Igarashi, Manager of Fujifilm's Professional Imaging Group and TJ Yoneda, assistant manager of GFX product planning.

Our conversation mostly centered on the new camera and the design decisions that went into it, but we also talked a bit about the company's content authenticity efforts as well.

Who is the GFX100RF for?

According to Makoto Oishi, the GFX100RF is made for a different kind of photographer than most of the company's other medium-format cameras. "The GFX 100 II and the 100 S II are mainly for current GFX users who shoot landscapes, portraits or commercial. The GFX100RF is a little bit more for street photography or documentary, because we developed this one to be as small and lightweight as possible."

It's designed to be a luxury camera...

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Photo: Richard Butler

At first glance, the GFX100RF looks a lot like a larger X100VI, especially with respect to its controls and rangefinder styling. However, according to Oishi, the company didn't set out to design a camera with a family resemblance. "It's not that we didn't care, but we didn't design this camera with too much respect to the X100."

Part of the reasoning is that the GFX100RF is a much more expensive camera than the X100VI, which means it needs to feel more premium. "At the beginning, when we discussed how we should design the camera, we already knew about the price point. So this camera should be more luxurious to match the price point," said Oishi.

"Milled aluminum is the top end of manufacturing"

A major factor in its luxury design is the top plate, which is milled out of a single block of aluminum—it's the first time Fujifilm has used this type of manufacturing process. "Milled aluminum is the top end of manufacturing," said Oishi. Because you're milling from the block, you can have a lot of unique designs—more flexible designs," said Igarashi. Oishi agreed, saying, "With milling, we can develop any complicated, complex shape."

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A display at Fujikina showing the stages of production for the GFX100RF's milled aluminum top plate.

Photo: Mitchell Clark

Later, during the Fujikina event, Yoneda told us that turning an aluminum ingot into a GFX100RF top plate takes around five hours. Even the side of the hot shoe mount is milled. "It has many special parts," said Oishi.

The company also redesigned the lens hood, creating an adapter ring that only goes one way, which the rectangular hood then attaches to normally. "With the X100VI, it just attaches by screwing on, which can be quite tough to align. This one has tabs affixed on the lens," so it aligns perfectly every time.

... while still being as compact as possible

"This is not an interchangeable lens, so we can be kind of flexible on the design of the sensor and the lenses," said Yoneda. "So the rear element of the lens is really close to the sensor, which is almost covering the sensor size. That's one of the reasons we can create such a small lens."

"We actually have considered several options for the focal length and aperture, and this was what we can make the most compact lens with the best image quality." It also lets you get away with hand-holding the camera at lower shutter speeds, which is important given the camera's lack of stabilization for the sensor or lens. Unsurprisingly, the exclusions were made to make the camera as small as possible – the company said that adding IBIS would've made the camera noticeably larger and heavier.

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Photo: Richard Butler

And if you want a closer field of view? "Since it has the 102-megapixel sensor, we can use the digital teleconverter for the telephoto side," said Yoneda.

As for whether the GFX100RF will ever get add-on optical lenses to change its field of view, similar to those for the X100 series, the company says it thinks the digital teleconverter is the way. "At this moment, we think that because of the 102MP, the digital teleconverter works," said Yoneda. "But depending on the users' feedback, we can, of course, consider any possibility of the wide-angle and teleconverter."

On the aspect ratio dial

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The aspect ratio dial has ten options – the nine aspect ratios the camera supports, and a "C" setting that lets you control it with one of the camera's control dials.

Photo: Richard Butler

One of the most prominent features of the GFX100RF is its large dial for controlling the aspect ratio of your JPEGs. While the company's GFX cameras have long let you emulate aspect ratios from some of its most famous medium format film cameras, this is the first one with a dedicated physical control for it. "I think this analog dial is kind of a connection between the digital technology and the film cameras we have," said Igarashi.

"We are trying to grab new customers with respect to our medium format cameras," said Yoneda. "So we thought this camera was the best one to install that kind of homage to those cameras."

"We are trying to grab new customers with respect to our medium format cameras"

It's also part of the company's philosophy of helping you produce pleasing images straight out of camera. "We wanted to offer to use this to change the aspect ratio not in post-processing, but when you're starting out with the subject," said Yoneda.

As for why it's a dial? "Actually, I wrote the nine types of format vertically," said Oishi. "And when we discussed how the user should choose between these formats... in a menu, it's quite tough. Even assigning it to a function dial or button or something like that... hmm. And then someone said, 'If we can implement it as a dial, is it easier?' And everybody said, 'Oh yeah, that's it!'"

Why there's no hybrid viewfinder on the GFX100RF

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The GFX100RF uses an OLED EVF with 0.84x equiv. magnification.

Photo: Richard Butler

Several of Fujifilm's photo-focused cameras feature a hybrid viewfinder, which can act as both an optical viewfinder with an electronic overlay or as a purely electronic one. While it doesn't allow for true rangefinder focusing, it does provide a rangefinder-like experience... which is why we were initially confused that the company didn't include it on a camera whose name explicitly refers to a rangefinder design.

According to Yoneda, there are good reasons for it. "The hybrid viewfinder's structure is a little bit complicated, which means the magnification would be much smaller for such a high-resolution camera," he said. Those differences weren't just theoretical, either. "Of course, we created mockups with the hybrid viewfinder installed."

"Another reason is the digital teleconverter. If it comes with an OVF, we'd have to cover 20mm of range when using the teleconverter, which would make the guide-lines much smaller. So, from a practical point of view, we decided to install the EVF."

Will the GFX100RF get support for content credentials?

At its X Summit event announcing the camera, Fujifilm also mentioned that it had begun testing tools for dealing with content credentials, which can help authenticate a photo as being real versus AI-generated and can also provide a record of how a photo was edited. The company is part of the Content Authenticity Initiative and the Coalition for Content Provenance and Authenticity.

"We are still developing and investigating how to implement the CAI and the C2PA," said Oishi. "Unfortunately, we haven't decided on the final specification yet. But we believe this is a very important thing for photography."

"We have to, as an industry, come up with a standard"

As for whether the tech will come to existing cameras like the GFX100RF, Oishi says it depends on the details. "If we have to pay to implement it, or if users have to pay... not so many will want it. Then it'll only be for professional agencies or something," he said. "But if it is free, then we can manage the picture generation – what is real photography? And that is quite important."

"I think, of course, that will become more and more important, so we can't ignore it," said Igarashi. "So we have to, as an industry, come up with a standard. And be aligned, so we can at least define what AI is and photography is, and we can separate the images that we create."

To him, it's not necessarily about AI versus photography; it's about transparency. "We're not saying AI is not good or anything. It's just knowing what has been done through the process; I think that's important."


Interview conducted by Mitchell Clark at the Fujifilm X Summit in Prague, Czech Republic. Answers edited for flow.

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