FUJIFILM GFX ETERNA 55 LEADS 2025’s CAMERA SURGE

2025 Camera Surge: From Pocket Shooters to 8K Cinema

This year has delivered a remarkable wave of digital camera releases, catering to everyone from casual content creators to serious image-makers. The Fujifilm X-E5 is a featherweight mirrorless model, perfect for travel photographers who want vintage styling and Fujifilm’s celebrated color science in a small, discreet package. It’s the kind of camera that makes you want to sling it over your shoulder for everyday adventures.

Sony, meanwhile, continues to blur the lines between consumer and pro with the FX2. Technically a cinema camera, its compact body, tilting electronic viewfinder, and workflow-friendly codecs make it a natural crossover tool—ideal for hybrid shooters who want to grow into cinematic production without breaking the bank.

Full-frame SONY FX2 Exmor R™ CMOS 33MP1 sensor and BIONZ XR™ image processor engine,15+ stops dynamic range in Log mode with Dual base ISO (800/4000), Flexible Log shooting modes — Flexible ISO, Cine EI, and Cine EI Quick, Angle-adjustable EVF, "BIG6" interface, AI-based Real-time Recognition AF for various objects, Log shooting mode for stills shares the same video post-production workflow, Up to 16 LUT files can be imported by memory card or Creator's Cloud, Uninterrupted movie recording capability up to 4K 60p (59.94p), 12 Creative Look profiles for in-camera visual moods, Anamorphic de-squeeze display for easy anamorphic monitoring, FPS menu for frame-rate control: 2.5x slow motion11 at 4K / 5x slow motion in Full HD12 and much more. $2,699.99

For creators pushing boundaries in immersive media, the Insta360 X5 refines the 360-degree capture experience. Better low-light performance and enhanced stabilization promise a more seamless VR/AR pipeline, extending its appeal beyond social media into documentary and even pre-visualization for filmmakers.

Nikon has doubled down on accessibility with the Z5 II, its new entry-level full-frame camera. With strong autofocus, improved EVF resolution, and better video options, it offers a gateway for still photographers and aspiring filmmakers alike. Pair it with the expected Nikon Z6 III, widely tipped as the best all-around full-frame of 2025, and Nikon’s mirrorless ecosystem looks very strong.

Drone cinematography has its own crown jewel this year: the DJI Mavic 4 Pro. Its triple-camera system, including a telephoto module and improved dynamic range, raises the bar for aerial storytelling. For travel films, documentaries, or even indie narrative establishing shots, this drone promises near-cinema quality from the sky.

On the enthusiast tier, the Fujifilm X100VI remains the darling of the fixed-lens world, blending portability with a classic shooting experience, while Sony’s highly anticipated A7 V and Canon’s EOS R6 Mark III round out the year’s lineup with pro-grade full-frame options in portable bodies. Nikon’s Z8 continues to tempt high-resolution seekers with a package that bridges medium-format ambition and mirrorless agility.

Canon EOS C50 – Compact Cinema, Pro Ambitions

If the consumer market this year feels like a buffet of choice, the Canon EOS C50 is the main course for filmmakers. Positioned as Canon’s most compact Cinema EOS body to date, the C50 does not trade size for performance—it’s a fully fledged cinema tool in a body designed for both solo shooters and small crews.

Core Features

At its heart is a new 32-megapixel full-frame CMOS sensor capable of 7K up to 60fps in 12-bit Cinema RAW Light. The C50 also supports open-gate 3:2 recording, unlocking anamorphic workflows and creative reframing in post.

High frame rate shooters will appreciate 4K120fps and 2K180fps modes, making it suitable for commercials, sports, and music videos. Dual base ISOs (800/6400) ensure flexibility across bright exteriors and low-light interiors.

Lenses & Mount

The C50 features Canon’s RF mount, which means it’s immediately compatible with Canon’s growing line of RF cinema and still lenses. With adapters, filmmakers can also draw on decades of EF glass—from affordable zooms to L-series primes—and even specialty cinema optics like anamorphics. For indie productions, this flexibility is golden: you can shoot a corporate interview with a 24–105mm f/4 one day, then mount a vintage 50mm for narrative work the next.

Applications

The design makes it versatile for: Documentary & run-and-gun shooters benefit from its light weight (~670g), Dual Pixel CMOS AF II with advanced subject tracking, and detachable XLR top handle for professional audio capture. Narrative & indie filmmakers gain the latitude of 7K raw and the ability to crop multiple delivery formats from a single master frame. Commercial & event creators can exploit the slow-motion frame rates for stylish b-roll, while its compact form factor slips easily onto gimbals and drones.

Price & Availability

Canon has positioned the C50 aggressively at around £3,299 (UK)—a price point that makes it accessible to indie filmmakers and production houses alike. In global markets, that translates to roughly $3,499 USD body-only. Availability is expected by late November 2025, with demand already high as it competes head-on with Sony’s FX2 and Panasonic’s cinema compacts.

Nikon ZR 6K Cinema Camera

By combining RED color science and Nikon engineering, the Nikon ZR 6K Cinema Camera is a first-of-its-kind powerhouse designed to capture stunning cinematic images in one compact body. This tiny Z-mount cinema camera allows you to use a variety of lenses, and internal stabilization provides a smooth, steady image with 15+ stops of dynamic range. Features include 32-bit float audio, advanced autofocus, dual-base ISO, and up to 6K60 video capture in REDCODE, Z-RAW, or ProRes RAW.

Features

- Bright, large display - Built-in 4-inch Vari-angle display with touch control

32-bit float audio. Wide dynamic range audio recording built-in.

- Easily integrated into RED post-production workflow.

- Footage shot in RED CODE RAW (R3D NE) unlocks the same space (REDWideGamutRGB).

- Log curve (Log3G10) as RED cameras.

- Custom in-camera LUT support - Load up to 10 LUTs into the Z and preview the look in real-time via the built-in monitor.

- Dual base ISO - More options for base ISO sensitivity: 800/6400 for both Log3G10 and N-Log.

- Built-in stabilization - Powerful built-in stabilization with any lens - up to 7.5 stops.

FUJIFILM GFX ETERNA 55 8K Cinema Camera & Fujinon 32-90mm T3.5 PZ Lens

The GFX ETERNA 55  utilizes a massive 43.8 x 32.9mm 102MP CMOS II HS sensor and an X-Processor 5 to capture footage in five primary formats—GF, Premista, 35mm, Anamorphic 35mm, and Super35mm—in resolutions up to DCI 8K. Codecs include ProRes 422, H.265, and H.264. The camera also supports twenty different Film Simulation modes.

The GFX ETERNA 55 is FUJIFILM’s first-ever “filmmaking” camera, taking the large format sensor of the GFX100 II and adding in a ton of video-first features like an internal variable neutral density filter (ND0.6 – ND2.1), Adobe Frame.io Camera to Cloud support, an optical low-pass filter, and greatly expanded I/O.

The primary “Sensor Formats” are GF 4K 4:3 Open Gate at 48p, as well as GF 8K DCI, Premista 8K DCI, 35mm 8K DCI, Anamorphic 2x Squeeze 8K, and Super35mm 6.3K, all of which max out at 24p or 30p. Most can go up to 60p when dropped down to DCI 4K resolution, as well as 120p in FHD.

GFX ETERNA 55 codec supports Apple ProRes 422 in HQ, regular, or LT, with linear PCM 24-bit stereo audio. The camera also has HEVC/H.265 recording in 4:2:2 10-bit, as well as ProRes Proxy and H.264 proxy options. You can use the HDMI output to get a 4:2:2 10-bit uncompressed feed or 12-bit RAW with a compatible external recorder.

Features

Large-Format 8K Sensor, Variable ND

4K48 4:3 Open Gate, 6.3K24 Super 35

14.5-Stop Dynamic Range, Dual-Native ISO

Internal ProRes 422 HQ, H.265, Proxies

Ext HDMI 10-Bit Uncompressed, 12-Bit Raw

5" 16:9, 3" 3:2 Touchscreen LCD Screens

20 Film Simulations, F-Log2/C 3D LUTs

FUJIFILM G and ARRI PL Lens Mounts

Ethernet, BLE with TG-BT1/ATOMOS AirGlu

CFexpress and SD Card Slots, USB-C Port

The consumer and professional market in 2025 is brimming with tools that reward every kind of shooter—from the casual traveler to the YouTube documentarian to the consummated filmmaker. But for those looking to take the leap into serious motion picture production without the weight and complexity of larger rigs, the Canon EOS C50 and the Nikon ZR6 represents the year’s defining release. They’re not just compact cinema cameras—there are gateway into a truly professional workflow at a price that’s within reach. Fujifilm’s  GFX ETERNA 55, represents the pinnacle of a perfectly designed tool for serious filmmakers. 

THE DEATH OF THE HELICOPTER SHOT?

The evolution of aerial cinematography is one of the clearest examples of how technology reshapes both craft and economics in filmmaking. For decades, the helicopter was the undisputed tool for sweeping aerials, high chases, and floating perspectives. With a Tyler mount or a gyrostabilized gimbal bolted to its frame, the helicopter delivered breathtaking imagery—at equally breathtaking cost. Productions without the budget often had to compromise, scaling down to cranes, cherry pickers, or even elaborate wire rigs to approximate the sensation of flight. That balance between vision and economics defined the aerial shot until drones.

By the early 2010s, the promise of drones was becoming tangible. At trade shows such as NAB and Cine Gear Expo, prototypes of quadcopters, hexacopters, and octocopters appeared, boasting greater lift capacity, more precise gimbal integration, and remarkably stable flight control. Freefly Systems, with its pioneering Mōvi and Alta platforms, showed that drones could carry not just lightweight DSLRs but also professional digital cinema cameras from ARRI, RED, Sony, Blackmagic, and Canon. For the first time, cinematographers could achieve helicopter-level shots without the prohibitive expense, logistical footprint, or risk of manned aerial operations.

This technical breakthrough coincided with a new generation of cameras. Manufacturers were designing smaller, lighter versions of their flagship systems, optimized not only for drones but also for Steadicam and handheld use. The result was a seamless workflow: aerial footage could now cut effortlessly into ground-based cinematography, with no mismatches in resolution, dynamic range, or color.

Meanwhile, on the consumer side, DJI—a little-known Chinese company at the time—introduced compact quadcopters with integrated cameras and intuitive controls. These accessible drones democratized aerial imaging for hobbyists, journalists, and low-budget filmmakers. Suddenly, anyone with a backpack-sized kit could capture shots once reserved for studios with deep pockets. DJI and its peers created a gateway that accelerated professional adoption and changed the vocabulary of aerial filmmaking forever.

By 2014, drones had gone from trade show curiosities to indispensable tools on major productions. What once required a helicopter and a half-dozen crew members could now be achieved by two operators: a pilot and a camera operator. Drones not only replaced many traditional aerial setups but also unlocked entirely new creative possibilities. Low-altitude tracking shots, dynamic car chases, and sweeping glides over water or rugged terrain became achievable without cranes, boats, or chase vehicles. The drone quickly evolved from a cost-saving substitute into a creative catalyst.

The ripple effects were profound. Established aerial cinematography companies such as PictorVision—celebrated for their award-winning Eclipse helicopter system—saw their once-dominant market shrink dramatically. The economics were undeniable: why spend tens of thousands on a helicopter rig when a drone could deliver 80% of the shot for a fraction of the cost? Within a few years, the balance of power in aerial cinematography had shifted irreversibly.

Drones also proved their versatility far beyond the film set. The ingenuity of the Ukrainian people in adapting consumer and custom drones for defense underscored the transformative potential of this technology. What began as a consumer tool for hobbyists and filmmakers became, almost overnight, a critical instrument of resilience and survival.

Today, drones are as essential to production as dollies, cranes, or Steadicams. Helicopters remain in use for extreme altitudes, heavy payloads, or long-duration flights, but for most applications, drones are the default choice—valued for their agility, accessibility, and ability to integrate seamlessly into digital workflows. The once “disruptive” tool has matured into a production standard, changing how we think about perspective, mobility, and storytelling.

Looking ahead, the next frontier will be autonomy. AI-assisted piloting, pre-programmed shot sequences, and advanced safety protocols are already entering professional systems. Just as drones replaced helicopters for much of aerial cinematography, these intelligent platforms may soon reduce the need for hands-on piloting altogether. What will never change, however, is the role of the cinematographer’s eye. Whether from crane, helicopter, or drone, the artistry lies not in the tool itself but in how it is used to tell the story.

KODAK UNVEILED REVAMPED VISION3 CAMERA NEGATIVE FILMS

Kodak announced new and definitive enhancements to VISION3 Color Negative films by introducing a new and enhanced VISION3 Camera Negative Film structure – without remjet backing. This new structure incorporates an Anti-Halation Undercoat layer (AHU). 

AHU is a gel-based layer that is coated beneath the emulsion layers of the film. It is manufactured as part of the emulsion-coating process and contains silver and other chemical components, which have been scientifically balanced for optimal sensitometric performance. AHU, which is also conveniently removed during processing, requires no workflow adjustments for processing, scanning or printing.

Here's What Makes It Significant:

No Remjet: The new AHU layer replaces the traditional remjet backing, a carbon black layer previously used to prevent light halos, resist static, and protect against scratches. The remjet layer required a separate removal step during processing, adding complexity to the workflow.

Simplified Processing: With the removal of remjet, the new AHU film structure allows for processing in standard C-41 chemistry, which is a significant advantage for labs and hobbyist photographers, simplifying the development process.

Improved Anti-Halation and Anti-Static Properties: The AHU layer is a gel-based layer located beneath the emulsion layers that effectively controls halation (light halos) and provides anti-static and scratch-resistance properties that survive the development process.

Diagram shows the new Vision3 stocks AHU & Anti-Static Protection layers.

Cleaner Scans: The anti-static properties of the AHU layer help minimize dust and dirt accumulation, leading to noticeably cleaner digital scans with fewer artifacts.u

Environmental Benefits: Eliminating the remjet layer and the associated removal steps is expected to result in significant reductions in water and energy consumption at labs, according to American Cinematographer.

Same Great Image Quality: Despite these changes, Kodak assures that the AHU version of Vision3 maintains the same high image quality and photographic performance as the original film stock.

Gradual Implementation: Kodak will gradually introduce the new AHU film structure for all Vision3 Color Negative films (including 500T, 200T, 250D, and 50D) across various formats, from Super 8 to 65mm.

No Workflow Adjustments: During the transition period where both remjet and AHU film structures are available, filmmakers can seamlessly combine them in their workflows without needing to adjust their processing, scanning, or printing procedures. 

This enhancement represents Kodak's commitment to innovation and addressing the needs of filmmakers, making film photography more accessible and environmentally friendly while maintaining the classic look and quality of Vision3 films. 

ARRI GROUP CONSIDERS OPTIONS TO SELL FULL OR PARTIAL STAKE OF BUSINESS

As Reported by Bloomberg Business, August 6, 2025

Arri Group, is considering options-including a full or partial- sale of the business, according to people familiar with the matter.

The management and owners of Munich-based Arri are in initial talks with potential advisers, the people said, asking not to be identified because the information is private. A deal could involve selling a majority or minority stake, they said. The firm has also been working with consultancy AlixPartners to streamline its business, the people said.

Arri is owned by the Stahl family, heirs of co-founder Robert Richter. The Stahl family acquired the remaining 50% from the heirs of the other co-founder, August Arnold, in 2012. No final decisions have been made and there’s no certainty the deliberations will lead to a transaction, the people said. Representatives for Arri and AlixPartners declined to comment.

The business of renting film equipment has come under pressure as a boom in production — driven by demand for movies and TV series from streaming services — abated. Projects were also delayed or canceled due to strikes by actors and writers in 2023. In the second quarter of 2025, worldwide spending on production fell 16% to $10.4 billion, according to industry tracker ProdPro.

Elsewhere, Herc Holdings Inc. has just sold its lighting and grip rental business Cinelease to private equity firm Zello. Cinelease’s second-quarter rental revenue fell nearly 40% from a year earlier, Herc executives said on a conference call with investors in July.

THE BEST ACTION CAMERAS FOR VIDEOGRAPHERS IN 2025

THE BEST ACTION CAMERAS FOR VIDEOGRAPHERS IN 2025: THE CINEMATIC EDGE

From early, rudimentary DIY setups in the 1960s to the pocket-sized powerhouses of today, action cameras have undergone a remarkable evolution. Innovators like skydiver Bob Sinclair and racing driver Jackie Stewart first strapped cameras to their helmets, but these were bulky, experimental setups. The true revolution began in 2004 with the introduction of the first commercially available action camera, the GoPro Hero 35mm. 

This analog camera, with its waterproof housing and wrist mount, made capturing personal adventures accessible to a wider audience and suddenly, POV footage became immersive. The transition to digital was a game-changer, with continuous improvements in image quality, stabilization, and form factor,  introducing higher frame rates, 4K (and now 8K) resolution, AI-enhanced stabilization, and wireless connectivity. Brands like DJI, Insta360, and Sony joined the race, focusing on creative versatility and gimbal integration for ultra-smooth footage—even at high speeds. 

Today's action cameras are not just for extreme sports; they are versatile, rugged, and feature-rich tools for everything from vlogging to big budget feature film production. Moreover, today’s action cams are compact studios—fitting in your palm yet capable of slow-motion, live streaming, 360° capture, and even drone-level stabilization.

Here is a rundown of some of the best action cameras on the market today, including those with advanced stabilization features like built-in gimbals.

The Best Action Cameras on the Market Today

DJI Osmo Action 5 Pro

The DJI Osmo Action 5 Pro is arguably the best all-around action camera on the market right now. Its standout feature is a large 1/1.3-inch image sensor, which delivers superior low-light performance compared to its competitors. This is a crucial factor for many videographers, as it means cleaner, more detailed footage in challenging lighting conditions. The camera also boasts a 10-bit color depth and a pressure sensor, making it a top choice for scuba diving and underwater filming. Its impressive battery life and robust magnetic quick-release mounting system are also big wins for fast-paced shooting. While it tops out at 4K resolution, its overall image quality and feature set make it a formidable contender.

Best for Vlogging and Cinematic Shots

Why it stands out:

•Dual full-color front and back screens

•4K/120fps with D-Cinelike color

•RockSteady 3.0 + HorizonSteady (100% horizon lock)

•1/1.3” CMOS sensor—fantastic low-light performance

•DJI Mic 2 compatibility

Gimbal compatibility: Designed for DJI’s Osmo Mobile 6 (with cage adapter) or magnetic vehicle mounts.Use Case: Urban parkour, travel vlogging, car interior mounts.

 Insta360 Ace Pro 2

The Insta360 Ace Pro 2 is a powerhouse for those who demand the highest possible resolution. As one of the only action cameras on the market that can record in 8K, it offers an incredible level of detail. The flip-up screen is a fantastic addition for vloggers and creators who need to see themselves while filming. This camera's low-light performance is also excellent, thanks to its large sensor. While the 8K resolution can sometimes lead to overheating and large file sizes, the ability to crop into shots and still maintain high-quality 4K footage for social media is a massive advantage.

GoPro HERO13 Black

GoPro, the original pioneer, remains a top choice for professionals and serious hobbyists. The HERO13 Black is known for its legendary HyperSmooth stabilization, which still holds the crown for delivering the smoothest, most artifact-free footage straight out of the camera. The HERO13 Black also stands out with its new modular lens system, which offers creative flexibility with ultra-wide, anamorphic, and macro lens mods. Its 5.3K resolution and advanced frame rates make it a versatile tool for cinematic slow-motion and high-quality capture. While its low-light performance may not quite match the DJI or Insta360, the overall user experience and robust ecosystem of accessories are hard to beat.

Best Overall Action Camera

Why it stands out:

•5.3K at 60fps, 4K at 120fps

•Emmy®-award-winning HyperSmooth 6.0 stabilization

•10-bit color and GP-Log profile

•Removable lens options (Max Lens Mod 2.0 for 177° field of view)

•Great ecosystem: magnetic mounts, Volta grip, waterproof mics

Gimbal compatibility: Supports external gimbals, though rarely needed due to built-in horizon lock. Use Case: Surfing, MTB, skydiving, rally driving.

Insta360 X4

If you want to capture everything and reframe your shot later, the Insta360 X4 is the undisputed king of 360-degree action cameras. Its ability to record in 8K spherical video allows for stunningly detailed reframed footage. The "invisible selfie stick" effect, which is a signature of Insta360, makes for incredibly dynamic and immersive third-person shots. It's a great choice for extreme sports where you want to capture the entire environment without having to worry about pointing the camera in the right direction. The camera's lens guards and robust design make it durable for tough conditions, and its battery life is impressive.

Best 360° Action Camera

Why it stands out:

•8K 360° video capture (new in X4)

•“Invisible Selfie Stick” AI removal

•FlowState stabilization + Me Mode (front-facing tracking)

•Shoot now, reframe later: perfect for unpredictable motion

Gimbal compatibility: Not required—built-in stabilization is superb for all angles. Use Case: Motorcycle riding, skiing, drone-mounted capture, creative B-roll.

Insta360 GO 3S

Best Tiny Cam for Creative Angles

Why it stands out:

•Magnetic design, wearable (even pendant mode)

•4K/30fps, timelapse, hyperlapse

•Modular Action Pod (acts like a remote display + charger)

•Auto editing and voice commands

Gimbal compatibility: Limited due to size, but fits seamlessly on helmet, glasses, or animal harness. Use Case: Climbing, fishing, cycling POV, pet cam.

Sony RX0 II

Best for Image Quality in a Tiny Package

Why it stands out:

•1-inch Exmor sensor (incredible dynamic range)

•4K internal recording, S-Log2

•Ultra-durable waterproof body

•Great for discreet or cinematic-style action shots

Gimbal compatibility: Works best with compact gimbals like the Zhiyun Crane M3. Use Case: Indie filmmaking in harsh environments, underwater B-roll, adventure doc work

Action Cameras with Built-in Gimbals

While most modern action cameras rely on electronic image stabilization (EIS) to achieve smooth footage, there is a dedicated category for cameras that feature a physical, mechanical gimbal for unparalleled stability. This is particularly useful for fast-moving vehicles or dynamic, cinematic shots where even the best EIS might introduce minor artifacts.

DJI Osmo Pocket 3

While not a traditional "action camera" in the same rugged sense as a GoPro, the DJI Osmo Pocket 3 is a powerful tool for filmmakers and creators who prioritize gimbal-stabilized footage in a compact form factor. It features a 1-inch CMOS sensor, which delivers incredible image quality, especially in low light. The 3-axis mechanical gimbal provides buttery-smooth, cinematic shots without any of the warping or digital artifacts that can sometimes plague EIS. Its rotatable screen and ActiveTrack 6.0 subject tracking make it an ideal choice for vlogging and capturing dynamic shots from a moving vehicle. The trade-off is that it is less rugged and waterproof than a dedicated action camera, so it's best for controlled environments or with the appropriate housing.

Specialized Picks for Gimbal + Vehicle Use

Feiyu Pocket 3

Tiny camera + gimbal combo with detachable handle

•Detachable 3-axis gimbal with remote monitoring

•4K60p, flow-motion mode

•Magnetic base for helmet/vehicle mounts

Ideal for: Motorcycle tanks, car hoods, chase scenes

 Insta360 Ace Pro

Co-engineered with Leica for optical clarity

•1/1.3” sensor with Leica optics

•8K time-lapse, 4K120 slow-mo

•Dual touchscreen interface

•AI Highlights Assistant

Mountable with gimbal grip or hard rig for fast vehicles.

 GoPro Max (for wide vehicular motion capture)

•360 capture + traditional HERO mode

•Ideal for immersive VR, interior car shots, and back seat narrative

Essential Mounts & Gimbals for Fast-Moving Vehicles

Accessory	Description	Best Used With
DJI Osmo Mobile 6	Smartphone/compact cam gimbal with magnetic mount	DJI Osmo, Insta360 GO
Zhiyun Crane M3	Lightweight professional gimbal	Sony RX0, Insta360 Ace
Feiyu G6 Max	Multi-device gimbal for mirrorless + action cams	GoPro HERO12, RX0
Suction Cup Mounts (GoPro, RAM)	Stable up to 150mph when mounted properly	All vehicle footage
Roll Bar & Chest Mounts	Ideal for rally driving or ATV	GoPro, DJI Osmo

In summary, the choice of camera depends on your specific needs. If you want the most well-rounded camera with excellent low-light performance, the DJI Osmo Action 5 Pro is a fantastic choice. For the highest resolution and a flip-up screen, the Insta360 Ace Pro 2 is a game-changer. 

For the best stabilization and a massive ecosystem of accessories, the GoPro HERO13 Black is still a professional's workhorse. And if you want the ultimate flexibility of shooting first and framing later, the Insta360 X4 is in a league of its own. For gimbal-stabilized perfection on a moving mount, the DJI Osmo Pocket 3 is the top pick, but with the caveat of needing a more careful approach to its use.