In a comprehensive video essay, filmmaker Matt WhoisMatt Johnson traces Vimeo’s arc from the pioneering HD video platform that launched countless careers to its November 2025 acquisition by Bending Spoons, an Italian tech company known for aggressively restructuring its acquisitions. Johnson’s documentary-style breakdown, embedded below, captures the emotional weight of watching a beloved platform decline. But the full story, supported by financial filings, acquisition documents, and industry analysis, reveals that Vimeo’s wounds were largely self-inflicted, and the Bending Spoons acquisition may be less a death sentence than a consequence of years of strategic drift.

The golden era: when HD meant everything

Johnson, who has been creating videos since 2006, recalls a time when Vimeo represented everything YouTube wasn’t. While Google’s platform was stuck at a nearly unwatchable 320 by 240 resolution, Vimeo offered 720p playback, a massive leap that made it the obvious choice for anyone serious about their craft.

The platform launched on December 15, 2004, created by Jacob Lodwick and Zach Klein while both worked at CollegeHumor’s parent company Connected Ventures. The name “Vimeo” was coined as both a portmanteau of “video” and “me” and an anagram of “movie,” a clever bit of wordplay that captured the platform’s creator-first ethos. In October 2007, Vimeo became the first video-sharing site to support HD video, a technical achievement that would define its identity for the next decade.

The release of the Canon 5D Mark II in 2008 accelerated Vimeo’s rise. Johnson points to Vincent Laforet’s groundbreaking short film “Reverie” as a defining moment, a piece that showcased the camera’s cinematic potential and looked stunning in HD on Vimeo while YouTube was still struggling with standard definition. The platform became synonymous with quality, attracting filmmakers who wanted their work taken seriously. (Watch our “On The Go” talk show episode with Vincent Laforet and me driving through Las Vegas in 2017, where we talk about the impact of “Reverie” on his own life and career.)

Staff Picks: the playlist that launched careers

The Staff Picks program, launched in 2008 by Blake Whitman and dalas verdugo, became arguably the most influential curation in online video history. As Johnson describes it, inclusion meant instant exposure to Hollywood decision-makers and commercial directors, transforming unknown creators into industry professionals overnight.

The program’s impact is difficult to overstate. Filmmakers including “Daniels” (the team Daniel Scheinert and Daniel Kwan, who would go on to direct “Everything Everywhere All at Once“), Ari Aster (“Midsommar,” “Hereditary“), and the Safdie brothers all received early career boosts from Staff Picks visibility. For a generation of filmmakers, that badge on a video represented validation from a community that understood and valued cinematic craft.

Johnson highlights “The Story Behind the Still” contest as the peak of Vimeo’s community-building ambitions. It was a collaborative filmmaking competition where Vincent Laforet created the first episode, and subsequent winners would pick up the story from the previous episode’s final frame. The complete film premiered at Sundance. It was, as Johnson describes it, part reality TV show, part contest, part film festival.

What Johnson doesn’t mention is that the Staff Picks program has already been discontinued in EU and UK regions as of late 2024, a quiet retreat from the community-focused features that once defined the platform. The curation that launched careers is being phased out even before Bending Spoons can implement any changes of their own.

The corporate reality behind the indie brand

Here’s where Johnson’s narrative, while emotionally resonant, needs some corporate context. IAC (InterActiveCorp) acquired a 51% controlling stake in Connected Ventures for $21 million in August 2006, primarily interested in CollegeHumor’s 6 million monthly visitors, not Vimeo. When Google purchased YouTube for $1.65 billion just three months later, IAC pivoted to develop Vimeo as a strategic video asset.

Both founders were gone by 2008. Lodwick was fired in late 2007 after clashing with IAC’s corporate culture; Klein left shortly after. The scrappy, creator-first platform that filmmakers romanticize was already a subsidiary of a media conglomerate before most of its beloved features even launched. The indie ethos was always somewhat performative, a brand identity maintained by a corporation.

This matters because Vimeo’s eventual struggles weren’t simply a case of a pure-hearted startup being corrupted by capitalism. The tension between community values and corporate demands was baked in from nearly the beginning.

Where things started to unravel

Johnson correctly identifies the technical turning point: YouTube finally caught up. Google’s infrastructure of thousands of data centers worldwide meant that when the platform added HD and then 4K support, it could actually deliver on that promise. Vimeo’s 4K implementation became notorious for buffering issues and playback failures, even for users with fiber internet.

The platform that had built its reputation on superior video quality suddenly couldn’t compete on that front. Johnson’s frustration with Vimeo’s streaming reliability (videos pausing to buffer, failing entirely when skipping ahead) echoes complaints from countless creators who stuck with the platform out of loyalty long after the technical advantages disappeared.

Without explosive user growth to match YouTube’s billions of monthly viewers, Vimeo pivoted in 2017 toward a software-as-a-service model under new CEO Anjali Sud. The platform added features like client review tools, multi-platform distribution, and video editing capabilities. It acquired VHX (OTT platform) in 2016, Livestream in 2017, and Magisto (AI video creation) in 2019 for approximately $200 million.

The pivot made business sense. Trying to compete with YouTube for consumer eyeballs was a losing battle. But it fundamentally changed what Vimeo was: from a community of creators to a B2B enterprise tool that happened to still host creative work, and this marked the first time when many users felt like Vimeo betrayed filmmakers.

The copyright crackdown that alienated loyal users

Johnson’s account of the copyright enforcement period is damning, and the research supports his characterization. The platform’s retroactive approach to copyright claims devastated its core community. Vimeo deployed scanning software that analyzed every video, including private and unlisted uploads dating back to 2007, and issued strikes that could result in account deletion.

Wedding filmmakers who had used copyrighted music in the pre-Musicbed, pre-Artlist era (before affordable licensing options existed) found themselves facing multiple simultaneous strikes. Many woke up to discover their decade-old accounts had been deleted overnight. The timing was particularly cruel: these were users who had already reformed their practices years earlier, making old videos private rather than deleting them.

Johnson’s assessment is blunt: “Remember too, these were Vimeo’s most loyal users—people that uploaded videos to the site for over a decade—and Vimeo essentially eliminated them from the platform without thought. They destroyed this tightly knit niche community that they had so carefully built.”

The numbers bear this out. Self-serve subscribers, the individual creators and small businesses who embodied Vimeo’s original community, collapsed from 1.5 million in 2022 to approximately 53,500 by Q3 2024, a 96% decline. That’s not a gradual migration; it’s an exodus. And it happened before Bending Spoons was even in the picture.

The squeeze: pay up or lose your archive

Parallel to the copyright enforcement came increasingly restrictive hosting policies. In 2022, Vimeo imposed a two-terabyte monthly bandwidth limit on all users. For working professionals, this created an untenable situation where a viral video could essentially shut down their account.

Johnson describes being forced to reduce his own archive from hundreds of videos to just eight after transitioning from a paid Plus account to free tier. The message was clear: pay significantly more or lose your history.

Current pricing follows a seat-based model introduced in 2024: Free tier offers just 3 videos per month with 1GB storage. Starter costs $12 per seat per month. Standard runs $25 per seat per month. Advanced hits $65 per seat per month. Enterprise pricing is custom. For individual creators and small studios, these costs add up quickly and represent a dramatic shift from the platform’s origins as an affordable alternative to enterprise video hosting.

The IPO, the crash, and the real valuation story

Johnson states that Vimeo “went public and peaked with a valuation of $5 billion.” The actual opening figures were more dramatic: IAC spun off Vimeo on May 25, 2021, with the stock opening at $47.15 and a market capitalization of approximately $8.5 billion. The discrepancy may reflect different measurement points or metrics, but either way, the subsequent collapse was severe. At IPO, Vimeo reported 1.6 million paying subscribers, over 200 million registered users, and Q1 2021 revenue of $89.4 million, up 57% year-over-year. Here’s our report from 2021 about Vimeo’s staten.

The timing proved catastrophic. Tech valuations collapsed across the board, and Vimeo’s stock lost approximately 90% of its value over the following years. Multiple layoff rounds followed: 6% in July 2022, 11% in January 2023, and approximately 10% in September 2025. The company that went public at $8.5 billion was acquired for $1.38 billion, an 84% decline.

This context matters for understanding the Bending Spoons acquisition. Johnson frames it as a predator circling a wounded animal, and there’s truth to that. But Vimeo wasn’t just struggling; it had stabilized. By 2024, the company reported $417 million in revenue, $27 million in net profit, and record Adjusted EBITDA of $55 million. Enterprise revenue grew 47% to $83 million, with clients including Delta, Nissan, 7-Eleven, Adidas, and Datadog.

The $7.85 per share acquisition price represented a 91% premium over Vimeo’s 60-day average trading price. Shareholders approved the merger with 99.8% voting in favor. This wasn’t a fire sale; it was a strategic exit from public markets with a significant premium.

Bending Spoons: the acquisition track record

Johnson’s research into Bending Spoons’ acquisition history is accurate. The Italian company, founded in Milan in 2013 and valued at $11 billion as of October 2025, has followed a consistent operational pattern across its portfolio.

FiLMiC Pro, once featured in Apple keynotes as the premier mobile filmmaking app, was acquired in September 2022. The entire 22-person staff, including founder Neill Barham, was laid off by December 2023. The app converted from a $19.99 one-time purchase to a $40-50 per year subscription. Updates have been limited to bug fixes with no major features in over a year. Free alternatives like Blackmagic Camera and Final Cut Camera have risen to fill the gap.

Evernote, acquired in late 2022, saw 129 employees laid off in February 2023, then nearly all remaining US and Chile staff in July 2023 as operations moved to Europe. Prices increased 100-160%, with the Personal tier jumping from roughly $50 per year to $130 per year. The free tier was reduced from 250,000 notes to just 50 notes on a single device.

WeTransfer, acquired July 2024, saw 75% of staff (approximately 260 employees) laid off about six weeks after acquisition. Free transfers were capped at 10 per month, down from unlimited.

The pattern is consistent: acquire underperforming companies, significantly reduce headcount, convert to or increase subscription pricing, and restrict free tiers. Bending Spoons has stated publicly that it aims to make acquired companies profitable and sustainable, though the transition period has been painful for employees and longtime users of these products.

The uncomfortable question: did Vimeo betray filmmakers before Bending Spoons arrived?

To his credit, Johnson’s video doesn’t solely blame Bending Spoons; he spends considerable time documenting Vimeo’s self-inflicted wounds. But his framing positions the acquisition as the final blow to a wounded platform. The evidence suggests something more fundamental: the platform had already lost its soul years before the acquisition closed.

The copyright crackdowns that deleted loyal users’ accounts? That was Vimeo’s own decision. The bandwidth limits that forced creators to pay up or lose their archives? Vimeo’s choice. The pivot from creator community to enterprise SaaS? Vimeo’s strategic direction. The 96% collapse in self-serve subscribers? That happened under previous management.

Bending Spoons didn’t kill Vimeo’s creator community. Vimeo did, through years of decisions that prioritized enterprise revenue over the filmmakers who built its reputation. By the time of the acquisition, the platform had already transformed into something its early users wouldn’t recognize.

This context matters when evaluating concerns about Bending Spoons. Based on their track record, changes to pricing and staffing are likely.

But let’s be clear-eyed: the Vimeo that Johnson eulogizes, the ad-free haven with Staff Picks and a supportive community of filmmakers, had already faded years ago. What Bending Spoons acquired was an enterprise video platform with a legacy brand and a creator community that had already largely moved on.

The company also now owns Brightcove, a direct Vimeo competitor acquired in early 2025. Owning both major enterprise video platforms raises questions about market consolidation, though it could also enable operational synergies.

Current state: enterprise growth masking consumer abandonment

Vimeo’s recent metrics reveal a company with two very different stories. Enterprise revenue grew 47% to $83 million, with average enterprise revenue per user reaching $22,755. Major corporations are paying significant money for Vimeo’s services.

Meanwhile, the creator-focused business has collapsed. User sentiment on consumer review platforms hovers at 1.5 to 2.5 stars on Trustpilot, Sitejabber, and similar sites, with complaints about pricing changes, customer support limitations, and platform instability. Working professionals still using Vimeo report increasing technical issues: password-protected videos randomly failing, embedded players breaking, portfolio organization problems, and thumbnails resetting.

The company has invested heavily in AI features (our report here), announcing at its REFRAME 2025 conference new tools including natural language library search, AI video translation in 28+ languages, AI scriptwriting tools, and what it calls “Agentic Video” capabilities. A rebuilt Review 2.0 product launched with time-coded commenting and Adobe Premiere Pro integration.

These are genuine improvements, the kind of features enterprise customers will pay for. But they’re not the features that made filmmakers love Vimeo in 2009.

What happens next

If Bending Spoons follows its established operational approach, Vimeo will likely see significant workforce reductions, pricing adjustments, and changes to free-tier functionality. The enterprise business may continue operating (there’s real value there) but creator-focused features that remain may receive less investment. That said, Vimeo’s existing profitability and $417 million revenue base could warrant different treatment than smaller acquisitions like FiLMiC Pro.

For filmmakers still using Vimeo, the writing has been on the wall for years. Frame.io has captured much of the professional review and collaboration market. YouTube, despite its algorithmic chaos, offers unmatched reach and reliability. Platforms like Blackmagic Cloud provide alternatives for those willing to invest in their own infrastructure.

Johnson’s closing line captures the emotional reality: “This is how it ends. Not with a sudden shutdown of the website, but with a slow stutter of playback, failing to buffer before it pauses forever.”

But the more accurate version might be this: Vimeo ended years ago. The platform that exists today, and that Bending Spoons now owns, is something different. It’s a profitable enterprise video business with a prestigious legacy and a brand that still carries weight in creative circles. Whether that’s worth anything to the filmmakers who built that reputation is another question entirely.

The creator community has already answered with their feet. The 96% subscriber decline tells you everything you need to know about what Vimeo became, regardless of who owns it now.

Have you already migrated away from Vimeo, or are you still holding out? Do you feel like Vimeo betrayed filmmakers? Share your experiences in the comments below.

The UltraSharp line is where Dell typically places its higher-end displays. After introducing the UltraSharp 40-inch 5K model in 2024, the UltraSharp 52 pushes that approach further, shifting the emphasis toward more screen real estate and resolution, paired with a panel designed to maintain consistency across a much wider surface.

How the screen behaves in practice

An interesting part about the UltraSharp 52 is that it doesn’t behave like one large stretched desktop. Using picture-by-picture ((PbP) together with internal multi-stream handling, the monitor can present itself as several independent displays within a single panel, rather than one surface chopped into pieces.

In practice, that means you can assign different computers or workspaces to different parts of the screen, each with proper scaling and window behavior, without relying on external hardware or software tricks. It should feel closer to working with multiple monitors, just without the bezels or the cable sprawl.

Connectivity and desk setup

Once you stop thinking of the UltraSharp 52 as just a display, the rest of the setup starts to make sense. A single Thunderbolt 4 connection can power the panel and deliver up to 140 W back to a connected laptop, keeping the rest of the desk connections anchored at the monitor.

Peripheral connections live there as well: USB-A and USB-C ports, Ethernet, and additional video inputs, so the screen effectively becomes the hub for the desk. If you are moving between machines, the built-in KVM lets you use the same keyboard and mouse across all connected systems, switching focus without touching cables.

None of this is dramatic on its own, but taken together, it changes how fixed the setup feels. The monitor stops being something you plug into and starts acting like the center of the workspace.

Contrast, color, and surface treatment

What makes the UltraSharp 52 hold up for visual tasks, not just window management, is the panel itself. Dell is using IPS Black here, which pushes contrast to around 2000:1, noticeably deeper than standard IPS, and it helps keep blacks from washing out across such a wide screen. Color coverage is broad enough for most professional workflows, with 99% DCI-P3 and Display P3, and Dell quotes a Delta E below 1.5, which puts it comfortably into the accurate, predictable range rather than the flashy one. It is not positioned as a reference display for critical color grading or finishing, but it works very well for editing, review, and general visual work across a large continuous workspace.

The surface’s low-reflectance coating reduces glare from ambient light, which makes a difference on a display this large, especially if it sits near windows or other bright light sources.

The panel and viewing comfort

At 52 inches (132 cm) with a native resolution of 6144 × 2560 and a refresh rate of up to 120Hz, the screen balances scale with usability. Pixel density lands around 129 ppi, which keeps text and interface elements crisp at normal viewing distances without pushing scaling into awkward territory.

Dell also leans into long-session comfort here. The UltraSharp 52 includes an ambient light sensor that adjusts brightness based on the room, and it meets a high-tier hardware-based low blue light certification without relying on heavy color shifts. These are the kinds of features you forget about until they are missing, especially on a screen this large.

Key features

• 51.5-inch curved IPS Black display designed for large, continuous workspaces
• Wide 6K canvas with smooth motion for timeline and multi-window work
• Picture-by-picture with internal multi-stream handling
• Support for up to four connected systems on a single panel
• Built-in KVM for shared keyboard and mouse across systems
• Thunderbolt 4 connectivity with up to 140 W power delivery
• Integrated USB hub and Ethernet
• Ambient light sensor and hardware-based low blue light handling

Technical specifications

Display

• Panel type: IPS Black
• Screen size: 51-5 inches
• Aspect ratio: 21:9
• Resolution: 6144 × 2560
• Refresh rate: up to 120 Hz
• Panel curvature: curved
• Contrast ratio: 2000:1
• Color coverage: 99% DCI-P3, Display P3
• Color accuracy: Delta E < 1.5
• Surface treatment: low reflectance panel
• Eye comfort: TÜV hardware-based low blue light certification

Connectivity

• Thunderbolt: Thunderbolt 4
• Power delivery: up to 140 W
• Video inputs: Thunderbolt, HDMI, DisplayPort
• USB ports: USB-A and USB-C
• Ethernet: integrated

Physical dimensions and weight

• Monitor width: 48.16 in (1223 mm)
• Monitor height: 20.83 in (529 mm)
• Monitor depth: 4.41 in (112 mm)
• Height adjustment with stand: 22.7 to 26.25 in (577 to 667 mm)
• Weight with stand: 40.19 lb (18.23 kg)
• Weight without stand: 28.57 lb (12.95 kg)

Price and availability

The Dell UltraSharp 52 Thunderbolt Hub Monitor is priced at $2,899 and is available now. For more information, please see the Dell website.

Do you see a 6K ultrawide as a productivity tool, a creative workspace, or both? How important is built-in KVM functionality in your daily workflow? Let us know in the comments!

The ASC chose to nominate five directors of photography in the theatrical feature category this year, though rules allow between five and ten nominees depending on voting percentages. All five selected films also appear on the 98th Academy Awards cinematography shortlist, reinforcing the strong overlap between ASC recognition and Oscar contention. The winners will be announced at a ceremony on March 8, 2026, at the Beverly Hilton Hotel in Beverly Hills, California.

Durald Arkapaw earned her nomination for Ryan Coogler’s genre-bending horror film Sinners, which she shot using a groundbreaking dual-format approach combining 65mm and IMAX film acquisition. The cinematographer, who previously collaborated with Coogler on both Black Panther films, becomes only the fifth woman to receive an ASC nomination in the theatrical feature category across the organization’s four-decade awards history. Her work captured the Mississippi Delta setting of 1932 with rich period atmosphere while supporting the film’s ambitious tonal shifts between blues drama and supernatural horror.

Television categories span multiple formats

The television nominations demonstrate the Society’s recognition of exceptional work across half-hour comedies, one-hour dramas, limited series, and streaming productions. Adam Newport-Berra earned a nomination for The Studio episode “The Oner,” while Jessica Lee Gagne received recognition for Severance’s “Hello, Ms. Cobel.” The White Lotus, Andor, and Alien: Earth also secured nominations in the one-hour regular series category.

Michael Bauman achieved a notable double nomination this year, earning recognition for both the theatrical feature One Battle After Another (his collaboration with Paul Thomas Anderson) and the limited series Monster: The Ed Gein Story. The cinematographer shot the Anderson film on VistaVision, marking a rare revival of the premium widescreen format that helped define Hollywood’s technical ambitions in the 1950s.

The limited series category includes Matthew Lewis for Adolescence (here’s our behind-the-scenes article on this stunning production), which gained attention for its single-take approach in its second episode. Black Rabbit secured two nominations through the work of Pete Konczal, ASC and Igor Martinović on different episodes.

Documentary and music video categories

The documentary award nominees include Mstyslav Chernov and Alex Babenko for 2000 Meters from Andriivka, continuing recognition for Ukrainian cinematographers documenting the ongoing conflict. Brandon Somerhalder received a nomination for Come See Me in the Good Light, while Lars Erlend Tubaas Øymo and Tor Edvin Eliassen earned recognition for Folktales.

The music video category features several high-profile collaborations, including Jeff Cronenweth, ASC for Ariana Grande’s “Supernatural” and Rodrigo Prieto, ASC, AMC for Taylor Swift’s “The Fate of Ophelia.” Jon Joffin, ASC received two nominations in the category.

What about the feature film ASC Awards 2026 nominations?

Dan Laustsen, ASC, DFF earned his nomination for Guillermo del Toro’s Frankenstein, his latest collaboration with the director following The Shape of Water, Nightmare Alley, and Crimson Peak. The Netflix production employed the ARRI Alexa 65 to capture del Toro’s lavish Gothic vision, with practical sets and elaborate in-camera effects driving the visual approach. The film has already secured four Critics Choice Awards wins including Best Supporting Actor for Jacob Elordi, and it received five Golden Globe nominations.

Darius Khondji, ASC, AFC shot Marty Supreme for director Josh Safdie, capturing the frenetic energy of 1950s New York ping-pong culture. Khondji, whose previous credits include Se7en, Uncut Gems (also with Safdie), and Bardo, employed 35mm film with vintage Panavision C Series and B Series anamorphic lenses to recreate the mid-century period atmosphere. The A24 production starring Timothée Chalamet has emerged as a significant Oscar contender.

Adolpho Veloso, ABC, AIP earned recognition for Train Dreams, Clint Bentley’s adaptation of Denis Johnson’s beloved novella. The Netflix film starring Joel Edgerton follows a logger’s life across the early 20th-century Pacific Northwest, requiring Veloso to capture both intimate emotional moments and sweeping landscape photography.

Previously announced honorees

As we reported in December, the ASC will present several career honors at the ceremony. Robert Yeoman, ASC will receive the Lifetime Achievement Award for his extensive collaboration with Wes Anderson and other distinguished work. M. David Mullen, ASC will receive the Career Achievement in Television Award for his Emmy-winning work on The Marvelous Mrs. Maisel and other series. Cynthia Pusheck, ASC will receive the President’s Award, while Stephen Pizzello will receive the Award of Distinction.

The ASC Awards historically serve as a strong predictor of Oscar outcomes in the cinematography category. Mandy Walker, who became the Society’s first female president in 2024 and the first woman to win the ASC’s theatrical feature award for Elvis in 2023, presides over the organization during this milestone 40th ceremony.

Complete list of ASC Awards 2026 nominations

Theatrical Feature Film (Sponsored by Keslow Camera)

• Autumn Durald Arkapaw, ASC for Sinners

• Michael Bauman for One Battle After Another

• Darius Khondji, ASC, AFC for Marty Supreme

• Dan Laustsen, ASC, DFF for Frankenstein

• Adolpho Veloso, ABC, AIP for Train Dreams

Episode of a Half-Hour Series (Sponsored by RED Digital Cinema)

• Adam Bricker, ASC for Hacks – “I Love LA”
• Fraser Brown, CSC for Twisted Metal – “NUY3ARZ”
• Paul Daley for The Righteous Gemstones – “Prelude”
• Daniel Grant for Murderbot – “Escape Velocity Protocol”
• Matthew J. Lloyd, ASC for Government Cheese – “Trial and Error”
• Adam Newport-Berra for The Studio – “The Oner”

Limited or Anthology Series or Motion Picture Made for Television (Sponsored by ARRI)

• Michael Bauman for Monster: The Ed Gein Story – “Buxum Bird”
• Sam Chiplin for The Narrow Road to the Deep North – “Episode 1”
• Pete Konczal, ASC for Black Rabbit – “Isle of Joy”
• Matthew Lewis for Adolescence – “Episode 2”
• Igor Martinović for Black Rabbit – “Attaf**kinboy”

Episode of a One-Hour Regular Series (Sponsored by Panavision)

• Alex Disenhof, ASC for Task – “Crossings”
• Jessica Lee Gagne for Severance – “Hello, Ms. Cobel”
• Dana Gonzales, ASC for Alien: Earth – “Neverland”
• Ben Kutchins, ASC for The White Lotus – “Killer Instincts”
• Christophe Nuyens, SBC for Andor – “I Have Friends Everywhere”

Spotlight Award (Sponsored by Panavision)

• Steven Breckon for The Plague
• Mátyás Erdély, ASC, HSC for Orphan
• Karl-Walter Lindenlaub, ASC, BVK for Amrum

Documentary Award (Sponsored by Canon U.S.A.)

• Mstyslav Chernov and Alex Babenko for 2000 Meters from Andriivka
• Brandon Somerhalder for Come See Me in the Good Light
• Lars Erlend Tubaas Øymo and Tor Edvin Eliassen for Folktales

ASC Music Video Award (Sponsored by Nanlux)

• Jeff Cronenweth, ASC for “Supernatural” (Performed by Ariana Grande)
• Jon Joffin, ASC and Mitchell Baxter for “False Prophet” (Performed by Pillars of a Twisted City)
• Jon Joffin, ASC for “Visiting Hours” (Performed by Jon Bryant)
• Juliette Lossky for “Altamaha-ha” (Performed by Stacy Subero)
• Rodrigo Prieto, ASC, AMC for “The Fate of Ophelia” (Performed by Taylor Swift)

With Autumn Durald Arkapaw becoming only the fifth woman nominated in the theatrical category and Michael Bauman securing dual recognition across film and television, this year’s ASC nominations reflect both historic progress and technical diversity. Which cinematographers do you expect to take home the award, and are you hoping to see Durald Arkapaw make history as the second woman to win in the theatrical category? Don’t hesitate to let us know in the comments below what you think about the ASC Awards 2026 nominations!

There are different ways filmmakers use camera distance to shape meaning, and some are really punchy ones. We’ve already talked about extreme close-ups and their narrative craft (head over here to read about it). Now, it’s time to dive into the opposite. By shrinking the characters and objects to tiny dots on the screen, extreme wide shots shift our attention away from individual gestures and toward environments, events, and forces beyond human control. But it doesn’t stop there!

What are extreme wide shots?

So what’s the difference from a ‘normal’ wide shot, where the subject is also shown at full size? It comes down to scale and relationships. An extreme wide shot (also often called an extreme long shot) frames the subject as a tiny element within the image, surrounded and dominated by its environment. The character might still be visible, but only barely.

There is a student-made animated short I really like called “Pakan.” It has almost no dialogue and depicts the concept of the Hero’s Journey quite literally. How? Mostly through the deliberate visual choices. A lot of those are extreme wide shots:

Compare these two frames:

The first one (wide shot) focuses on the protagonist’s state. His posture, his movements, and the way he drags the bag instantly communicate his exhaustion to us. How long and tiresome his journey must have been to this point! In the second film still (extreme wide), we don’t see him clearly anymore. The character is reduced to a mere dot on the bottom of the frame, because the emphasis shifts from him to the huge sand storm, an incredible challenge that awaits ahead. Hits differently, doesn’t it?

Space, scale, and distance in extreme wide shots

The most obvious reason to use extreme wide shots is to present the audience with a sense of scale and distance, or the size of something. For instance, let’s take this scene from “Dune: Part Two,” where the protagonist Paul attempts to ride the sandworm for the first time and encounters one far larger than expected:

What are extreme wide shots here for? To emphasize the scale of the worm, compared to the tiny figure of Timothée Chalamet’s character. In the story, it’s a test of survival and belonging in a world that does not care who you are. The desert dominates the frame, and just like in the example of “Pakan” above, it dominates Paul’s destiny. His journey feels long, dangerous, and unavoidable.

Not to mention that the switch between emotional close-ups of the character’s faces to extreme wides creates a stronger contrast in this scene, and makes sure that its intensity stays high.

Oppression and overwhelming feeling

Most likely, the textbook example of the extreme wide shot comes from “Lawrence of Arabia,” another story set in a desert. The visual storytelling here also follows the idea that the world is bigger than the character. When you watch shots like these, how does it make you feel?

The film plays so much with distance in the vast, overwhelming environment of the desert world that it is almost impossible to watch on a small screen.

To demonstrate an example with a different location, here is a scene from Denis Villeneuve’s “Sicario.” Particularly interesting is a long take from 05:08:

The director Denis Villeneuve said in one conversation that he liked this extreme wide shot so much that he deliberately decided not to go for coverage. Why? Because the surroundings visibly oppress Emily Blunt’s character, and the way she moves in them expresses her vulnerability much better than any close-up could.  

Air and freedom in extreme wide shots

In “Nomadland,” extreme wide shots often show Fern as a tiny figure moving through vast landscapes. In my opinion, they come the closest to the feeling that I described at the beginning of this text. Compared to our previous examples, the environment doesn’t feel oppressive in this picturesque piece. On the contrary, the extreme wide shots here are full of air and light. They are open and liberating. At the same time, they emphasize the protagonist’s solitude.

Freedom and loneliness co-exist in the same frame. The world is wide open, but there is no clear place to belong. After all, as they say, we’re just renting this planet for a while. Chloé Zhao’s cinematographic choices in this Oscar-winning piece are no coincidence, and if you want to read more about it, head over here.

Extreme wide shots as establishing shots

Extreme wide shots have often been used as establishing shots, especially in 1990s-2000s TV sitcoms. What is an establishing shot? Here is a definition from the “Fundamentals of Directing” course on MZed:

As a filmmaker and educator, Kyle Wilamowski adds that, typically, establishing shots are on screen for only a very short time. Yet they suck us in really quickly and give us a lot of information and context about the story’s setting. Sometimes, an establishing shot has a character walking into the location. Other times, the location itself takes precedence, as in a shot of a city seen from afar.

The long journey ahead

So, yes, the context! That’s another thing that an extreme wide shot can give us really quickly. Remember Rey’s introductory scene from “Star Wars: The Force Awakens?” After lots of close-ups, we finally get a glimpse at her surroundings:

Take a closer look at these two frames again. What does it tell us within seconds?

She is alone, and she is tiny. Only the crushed cosmic ships remain. That introduction is not accidental. Rey starts the story as someone who has been left behind, forgotten by the world. By framing her this way, the film sets up her arc. The journey that follows is not just about discovering power, but also about growing in narrative weight and importance.

Do you use extreme wide shots in your films?

We could stay on this topic much longer and discover more and more impactful examples of extreme wide shots in films. Yet I have the feeling we already touched on the most important effects that they can create on the audience. They can express majestic scale or emphasize insignificance, freedom, destiny, isolation, loneliness, or imbalance. By pushing distance to its limit, filmmakers allow us to see the bigger picture. Sometimes literally. Sometimes emotionally. Without a single line of dialogue.

And what is your opinion about extreme wide shots? Do you use them in your projects to craft a specific impact? Or is it something you rarely include in the shot list? Let’s talk a little more in the comments below!

Full disclosure: MZed is owned by CineD.

Feature image: film stills from “Dune: Part Two” by Denis Villeneuve, 2024; “Star Wars: The Force Awakens” by J.J. Abrams, 2015; and “Nomadland” by Chloé Zhao, 2020.

It is the beginning of September. I am starting to pack my gear for the upcoming business trip to India, where I will mostly visit customers and speak at a conference. Still, I also plan to use an extended weekend to visit some special places in Goa with my dear Indian wildlife friends. This time, they recommended making a film about the Cotigao wildlife sanctuary, butterfly gardens, and their owners.

I consider myself very lucky to have made some close friends in the Indian wildlife community over the years, and this time, Parag Aklujkar, Jaayant Deshpande, and Vijay Gaikwad joined me. These guys have superb local contacts, which allow a depth of insight you won’t get if you just visit these places as a tourist – a very important aspect of any documentary.

While discussing the story and the animals/insects we wanted to cover, it became clear that this film would be a lot about macro shots, close-ups of butterflies, and also damselflies.

Damselflies are especially difficult to film as they move super fast, almost invisible to the naked eye. I quickly realized that 4K/120 frames per second (available on my LUMIX GH6) wouldn’t cut it.

Hence, I reached out to Nino and Johnnie and asked if there was any upcoming camera that could shoot higher frame rates. And as luck would have it, they were just about to leave for IBC 2025, where the Chinese startup PIXBOOM would exhibit the first two prototypes of their new high-speed camera, PIXBOOM Spark.

PIXBOOM quickly agreed that I could take one of the IBC prototypes with me, which effectively resulted in delivery of the camera on the night before my morning flight to India.

Which made me a little nervous. What if… I usually prefer to test any new camera before a shoot like this.

However, it turned out that the camera worked just fine, and I thoroughly enjoyed using it. It has a very organic, detailed image, and I shot all sequences in open-gate 4.6K, between 480 and 600 frames per second. Open-gate came in very handy, as it increased the frame size and thereby the chances of catching good shots. In hindsight, especially for the damselflies, I could have cranked up the frame rates even more, as 600 fps was still not enough for the starting / or landing sequences – but see for yourself.

Please have a look at our first-hand review of the PIXBOOM camera here and also our coverage at IBC 2025 here. Plus, we should mention that they received our best-of-show award there as well! Serial production units should start shipping sometime at the end of January, hence soonish.

As elsewhere around the globe, land-use conversion to farms, the use of pesticides, and changes in monsoon rhythms due to global warming are starting to have an impact on the insect and butterfly populations in Goa. Some butterflies are endemic to Goa, such as the Malabar Banded Peacock shown above.

But there are beacons of hope – local people who start conservation initiatives and build up butterfly gardens, often as a side activity to their official jobs on farms. My goal for this documentary was to bring these people in front of the camera and highlight that ordinary individuals can take action to help conserve nature. The Indian government has also designated areas for conservation, including the Cotigao Wildlife Sanctuary, which we visited.

There, I was quite amazed to see so many snakes. One venomous pit viper picked the bush next to our bungalow as its place to rest for the night. A bit scary initially, but very educational for me in the end. Snakes are not at all interested in getting close to us. Quite the opposite, actually. When a bamboo pit viper crossed the road on our way to the restaurant, there was just pure excitement on my end and no fear (somehow, if you put a camera between you and the animal, it feels safe …).

In total, I used three cameras for this film: the PIXBOOM Spark for all the high-speed shots, a LUMIX S1 for the interviews, and a LUMIX GH6 for close-up/macro shots. In addition, I brought a SIGMA 18-35mm F1.8, a Canon 50mm F1.2, and a Canon 100-400mm 4.5-5.6 IS II with a 1.4X teleconverter. I am glad nobody asked me to put my backpack on a scale before boarding my flights … it would have weighed around 23kg (vs. the allowed 8kg).

But now, let’s just put all technical aspects aside – if you are interested, I would be grateful if you’d watch my film!

If you are interested in pre-ordering the Pixboom, please click here.

Please let me know your feedback, and I am happy to answer any additional questions in the comments section below!

But this episode is not about camera specs. It’s an honest, wide-ranging discussion about generative AI and what it’s doing to culture, trust, and creative work. Oren shares why he believes public generative video models (like Sora) are fundamentally harmful—flooding feeds with “slop,” accelerating misinformation, and eroding shared reality. At the same time, he outlines a pragmatic middle ground: bespoke, closed-loop models trained on your own data, and specific use cases where AI could speed up workflows (without cutting artists out).

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We also cover:

• Why Hollywood struggles to adopt proven “lean production” methods—even when they work
  
• The state of theatrical cinema, what’s actually changing, and what still brings audiences back
  
• Why the AI hype cycle may be approaching a breaking point—and what “the last one standing” could look like
  
• The core belief underneath it all: humans still seek connection with other humans
  

If you’re worried about the future of human creativity—or trying to navigate what’s real versus synthetic—this conversation is essential.

Chapters and Articles in This Episode

(00:00) — Why This Conversation Matters
Why this episode goes beyond gear and into culture, trust, and creativity.

(01:24) — Introducing Oren Soffer
Cinematographer of The Creator and why this conversation exists.

(03:00) — How Oren Got Into Filmmaking
Early influences, film school, and learning through doing.

(06:45) — The DSLR Revolution Changed Everything
Affordable cameras and the democratization of cinema.

(09:15) — Small Cameras, Big Movies
Why size stopped mattering and flexibility won.

(11:40) — Breaking Into Hollywood
Oren Soffer’s path to large-scale narrative work.

(13:10) — Shooting The Creator Differently
Minimal crews, real locations, and a radical production mindset.

(15:20) — Why Studios Won’t Take the Same Risk
Institutional fear, IP pressure, and Hollywood inertia.

(18:00) — Hollywood’s Structural Crisis
Budgets, streaming, and fewer films being made.

(21:20) — The Reality of Movie Theaters Today
Why attendance and output don’t tell the same story.

(24:30) — How Generative AI Entered Filmmaking
Tech culture vs. film culture.

(27:30) — Three Camps Reacting to AI
Rejection, blind adoption, and cautious pragmatism.

(31:40) — Why Public Video AI Is “Ontologically Evil”
Slop, misinformation, and the collapse of trust.

(36:40) — Ethical vs. Unethical AI Use
Closed-loop systems and filmmaker-controlled tools.

(42:40) — Why Black-and-White Thinking Fails
AI isn’t yes-or-no — and never was.

(46:00) — Will AI Kill Jobs or Reshape Them?
Historical parallels and uncomfortable realities.

(49:30) — Practical AI Use Cases in Filmmaking
Storyboards, previs, and speeding up iteration.

(56:20) — The McDonald’s AI Ad Backlash
Why audiences instantly rejected synthetic people.

(58:50) — Why Replacing Everyone Is the Wrong Goal
Efficiency myths and worse results at higher cost.

(01:02:00) — The Growing Backlash Against AI Content
From curiosity to open hostility.

(01:07:20) — Creatives Are Not in the Driver’s Seat
The real problem with AI adoption.

(01:12:40) — Why This Moment Still Gives Hope
Community, craft, and shared values.

(01:17:30) — The AI Business Model Problem
Why most AI companies may not survive.

(01:22:00) — The Illusion of Intelligence
Why current models don’t actually “understand.”

(01:27:30) — What Real Intelligence Would Require
Vision, meaning, and embodiment.

(01:32:30) — Why Synthetic Experiences Fall Short
Cinema, concerts, and human presence.

(01:38:00) — Advice to Young Filmmakers
Ignore the noise. Focus on making.

(01:54:55) — Final Thoughts: Creativity Won’t Disappear
Why humans will always need to create and tell stories.

We hope you enjoyed this episode!
You have feedback, comments, or suggestions? Write us at podcast@cined.com

Earlier this week, SmallRig announced their new S70 Wireless Microphone System, and just a few months ago, they released an advanced camera cage kit for Nikon ZR, which sparked a lot of conversation among our readers. The launch of this long-range wireless repeater quietly happened a few weeks ago, but it’s time for us to cover it as well. One thing is clear: SmallRig is continuing to expand their lineup of tools aimed at remote and field-based camera operation.

What sets it apart: long-range control in the field

So what actually makes this wireless repeater interesting? It really comes down to range and responsiveness when you’re shooting outdoors. Using Wi-Fi 6 enables remote camera control at distances of up to 500m (1640 ft) in open environments, with a stable, unobstructed connection of up to 100m (328 ft) between the camera and the repeater itself.

App-based control is supported at distances of up to 300m (984 ft), with a claimed response time of 0.06 seconds, making it easier to react to changing moments while staying well away from the camera. According to SmallRig, the system is designed to remain reliable in field setups where standard camera Wi-Fi often starts to struggle.

Camera compatibility and multi-camera workflows

The repeater works with both DSLR and action cameras and can be used in a few different ways, depending on how complex the setup needs to be. You can control a single camera remotely, or operate up to five cameras at the same time in multi-camera configurations, either one-to-many or many-to-many.

This makes it easier to manage several fixed camera positions from a distance, which can be useful for wildlife or documentary shoots that rely on multiple viewpoints or extended coverage. It can also support low- and wide-angle remote camera placements that are difficult to achieve with telephoto lenses alone, allowing cameras to be set up in advance at ground level or within the environment. SmallRig also notes that on-demand recording can help conserve battery life and storage when working with several cameras in the field.

Design, power, and mounting

The repeater is designed for field use and features a compact, lightweight body weighing 235.5 g (0.52 lb) and measuring 63.8×38.4×15 mm (2.5×1.5×0.6 in). It has seven 1/4″-20 mounting threads, so it can be attached to tripods, clamps, or custom rigs based on the shooting configuration. SmallRig also lists the repeater as having a wide operating temperature range, from –40 °C to 60 °C (–40 °F to 140 °F), and describes it as shock-resistant.

The device does not feature an internal battery and relies on an external power source. According to SmallRig, it can be powered using the company’s Power Bank Mount (ID 2790) or a mini V-mount battery via the Mini V-Lock Mount Plate (ID MD2801B), with both accessories sold separately.

Key features

• Compatible with DSLR and action cameras
• Remote shooting at distances of up to 500 meters / 1640 feet
• Multi-camera synchronization with up to five cameras
• Seven 1/4″-20 mounting threads for flexible rigging
• External power required, with up to approximately 10 hours of operation when used with the Power Bank Mount (ID 2790) and a compatible battery pack

Price and availability

According to SmallRig, the system supports major camera brands including Sony, Canon, DJI, and Insta360. The Long-Range Wireless Repeater for Cameras is expected to be released soon and is currently available for pre-order. Pricing is set at $149.90, with more details available via the SmallRig online store.

How important is extended range compared to responsiveness when working outdoors? Are you an avid wildlife shooter, and would something like this fit naturally into your kit? Let us know in the comments below.

When I first laid my eyes on the FUJIFILM Instax Mini Evo Cinema, I thought it was one of those internet fake memes, mocking both the photographers’ ever-growing hunger for new features as well as the manufacturers’ everlasting quest to improve on already great gear. Merging Instax, perhaps the most stills-oriented segment, with Cinema just seemed too good (or ad) to be true. But it is true – in a sense.

What exactly is this camera?

To put it simply: The FUJIFILM Instax Mini Evo Cinema is a camcorder designed for short-form videos. Its workflow is based quite heavily on an adjacent mobile app for editing and uploading media. It sports a unique (and charming!) delivery method: After finalizing the video, one can choose a frame, add some text and basic graphics, and print an Instax Mini photo with an included QR code that will link to the video.

At the time of writing, tech specs are sparse, but this is hardly the issue with this camera. Things like resolution, frame rate, or sensor size may be of interest to aging millennials, maybe even GenX, but it’s not the target audience here.

Tech specs

Some specifications are available, and may say quite a bit about the camera:

• 15-second record limit per shot
• 28mm equivalent lens, f2.0, fixed focus (1.0m – infinity)
• Onboard mics seem to be stereo
• Onboard LED light
• 10 era-based effects, by decade
• 10 intensity levels per effect
• Built-in Instax printer
• Wi-Fi and Bluetooth connectivity

Add these to the list of undisclosed or non-existent specifications, and the general image becomes clearer:

• Sensor type and size
• Resolution
• frame rates
• ISO range
• Storage media
• Battery type or capacity

While I hope we’ll receive further info regarding this new and interesting device, it’s clear that FUJIFILM is targeting the kind of audience that won’t burden itself with this heavy, cold, techy numerical info. This camera is about vibe.

Design and ergonomics

The FUJIFILM Instax Mini Evo Cinema harkens back to the happy(?) days of the 8mm camcorder, specifically inspired by the FUJICA Single-8 from 1965. The thin vertical design used to accommodate film rolls now mostly houses the Instax cartridge that occupies the entire right side of the camera. On the front, under the lens, is the record button. It’s a press-and-hold trigger, well-suited for the short-form, 15-second shots the camera can produce. The back side includes a small, apparently low-resolution LCD screen, a dial, and four control buttons (OK, Menu, Back, and Play).

The left side houses the more radical control points. The “Eras Dial” may be a tad dramatic title for a filter dial based on different decades, but it is one of the camera’s main selling points. Each decade effect can be dialed up from 1 to 10, boosting the filter effect. An oversized print knob is also present, nicely designed like the film cover locks on old cameras. Another knob seems to control exposure compensation, and there’s a Still-cine selector switch and an on-off button.

Unique delivery system

The FUJIFILM Instax Mini Evo Cinema boasts one of the most specialized file delivery systems out there. Once recorded, the footage is wirelessly transferred to a mobile device. It’s then edited to a clip of no more than 30 seconds. You can then select a frame, add a title, and send it back to the camera to be printed as an Instax frame, complete with a small QR code that links to the uploaded video. At this point, I’m not sure if the mobile App part can be avoided. While this is arguably simpler than the mainstream memory card-computer-cloud method, I think it’s not as streamlined as it could be, and may slow things down. Add the cost of Instax film to the mix, and that may prove to be one of the Achilles heels for the Instax Mini Evo Cinema.

Happy New Year!

2025 was one of the most interesting years in terms of cameras. We’ve seen manufacturers experiment, reimagining the digital camera, combining stills and cine, and creating some of the most technically superior tools alongside the likes of the FUJIFILM X Half. 2026 has just begun, but this camera already poses a viable claim as the most unique camera of the year. If it proves as successful as its retro digital brethren or its Instax counterparts, it may change the market significantly. We’ll have to wait and see.

Price and availability

At the time of writing, no price or availability has been disclosed. We will update this article once additional information is available.

Will you opt for such a camera? Or do you see the FUJIFILM Instax Mini Evo Cinema as a gimmick? Let us know in the comments.

The Apple iPhone has become the de facto option for mobile filmmaking, especially since the introduction of the iPhone 15 Pro/Max. Now that the iPhone 17 Pro/Max is widely spread, offering internal ProRes RAW recording, Apple LOG 2 flat picture profile, and the ability to record to an external SSD, we were wondering what might make you change camps to an Android-based device.

The question arose following the introduction of the new Xiaomi 17 Ultra/Leica. Although this phone is primarily geared towards photography, it does offer some nice video recording features. On top of that, since CES, the world’s largest annual technology trade show, is currently taking place in Las Vegas, we wouldn’t be surprised if other mobile phone companies follow suit by introducing video-capable mobile innovations of their own.

In many ways, it seems as if companies like Xiaomi, Vivo, OPPO, Realme, Honor, and others are moving quickly to introduce photo and video-capable smartphones, often partnering with established brands such as Leica and ZEISS to help penetrate the market.

But what would it actually take to make you pull the trigger and jump ship to an Android-based Phone for filmmaking? A larger sensor? A different approach to lens implementation? Or simply parity with what the iPhone already offers (such as internal RAW recording and similar features)?

We are allowing multiple choices (two to be exact) for greater flexibility in answering.

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It will be great to know what you guys think. And if you have a minute, please leave a comment and share your thoughts with us.

The wireless microphone market has become increasingly crowded in recent years, with systems from RØDE, DJI, and Hollyland competing for the attention of mobile content creators. SmallRig, primarily known for its camera rigging accessories, is now making a serious push into audio with the S70 system. The company has clearly studied the competition and arrived at a feature set that checks most boxes for run-and-gun production while undercutting many rivals on price.

Compact transmitters with logo-free design

One of the S70’s standout features is the remarkably small form factor of its clip-on transmitters. Each unit measures just 1.1 x 0.3 inches with an 8.8mm microphone head, weighing only 8.6 grams. SmallRig has deliberately omitted visible branding from the transmitter body, which should appeal to any filmmaker or creator who want their audio equipment to disappear on camera during interviews and vlogs.

The transmitters feature built-in omnidirectional microphones and communicate with receivers via 2.4 GHz digital wireless technology. SmallRig rates the maximum operating range at 984 feet (300 meters) in optimal conditions, though real-world performance will likely vary depending on environmental interference. Each transmitter includes a mute switch for quick audio control during recording.

Audio specifications and processing

Under the hood, the S70 system utilizes an ATS3031 chip to deliver 48kHz/24-bit audio capture. SmallRig specifies a 70 dB signal-to-noise ratio and maximum sound pressure level of 120 dB, which should handle most vocal recording scenarios without distortion. The system includes an automatic limiter to prevent clipping during sudden volume spikes, a useful safeguard for unpredictable shooting environments.

Perhaps the most distinctive feature is the inclusion of nine professional EQ presets, which SmallRig claims were tuned by Grammy Award-winning sound engineer Luca Bignardi. These presets include General, Rich, Bright, Male, Female, Singing, Guitar, Violin, and Ambient modes, allowing users to optimize their sound profile without post-production adjustments. Whether these presets genuinely improve audio quality or simply provide convenient starting points remains to be tested in real-world conditions.

Noise reduction and mixing modes

The S70 offers three levels of noise reduction to help manage ambient sound in various shooting environments. Combined with five-level gain adjustment when connected to cameras (or three-level gain for mobile devices), users have reasonable control over their input levels without diving into complex menus.

Recording flexibility comes through three mixing modes: Mono, Stereo, and Safety Track. The Safety Track mode is particularly useful for solo operators who want a backup recording at reduced levels as insurance against unexpected peaks. One-tap switching between modes should make it straightforward to adapt to different production scenarios on the fly.

Receiver options and connectivity

SmallRig is offering the S70 system in multiple configurations to accommodate different workflows. The flagship S 70-A kit includes three receivers: a USB-C plug-in for Android devices and newer iPads, a Lightning plug-in for iPhones, and a camera-mount receiver with 3.5mm TRS output. Both mobile plug-in receivers support simultaneous device charging via pass-through, addressing a common pain point with similar systems.

The camera-mount receiver offers shoe-mounting capability for attaching directly to DSLR and mirrorless camera hot shoes. It outputs unbalanced audio via the 3.5mm TRS connection, which is standard for consumer and prosumer camera inputs. The system operates as USB Class Compliant, eliminating the need for additional drivers on most devices. A companion mobile app for Android and iOS provides additional control options.

Battery life and charging case

SmallRig rates each transmitter for up to 8 hours of continuous use on a single charge. The included charging case extends total system runtime to over 40 hours by recharging the transmitters between takes. For all-day shooting scenarios, this should provide adequate power without needing to hunt for wall outlets.

The S 70-A kit includes furry windscreens for outdoor use, a USB-C charging cable, a 3.5mm TRS audio adapter cable, and a carrying bag. SmallRig backs the system with a limited 2-year manufacturer warranty.

Pricing and availability

The SmallRig S70 wireless microphone system is available in Black and White color options. The full S 70-A kit with all three receivers is priced at $89.99, while a USB-C only configuration (S70-C2) comes in at $69.99. U.S. orders are expected to begin shipping on January 12, with other regions following on January 15. The system is currently available for preorder through SmallRig’s website and authorized dealers including B&H Photo.

At $89.99 for a complete two-person wireless system with multiple receiver options, the SmallRig S70 represents aggressive pricing in a competitive market segment. Will the Grammy-tuned EQ presets and compact design be enough to sway content creators away from established competitors? Don’t hesitate to let us know in the comments below!

As I wrote in my recent article about how the FX2 is actually Sony’s best stills body, and in other CineD coverage, I’ve noticed a recurring comment: “Sony is just using old stock to reheat an old camera”. I still think the FX2 is a worthy camera, capable of strong results, but with the arrival of the new a7V, along with broader competition from Nikon, Panasonic, and Canon, its shine quickly wears off. So did Sony trick us all?

I enjoy a good conspiracy rabbit hole as much as anyone, but this feels more like a matter of straightforward business priorities. Rather than diving too deep into speculation, let’s look ahead and talk about what might come next.

What we have

Leaning heavily on the foundation laid by the a7 IV, the Sony FX2 felt somewhat dated on arrival. The sensor architecture, rolling shutter behavior (Lab test here), and overall image character were all too familiar. Sony did add cinema-oriented ergonomics, active cooling, and professional connectivity, but the core imaging pipeline remained conservative. Nevertheless, the FX2 filled a much-needed gap between the FX3 and FX30, offering high-quality oversampled footage as well as cropped 4K from the Super 35 region. It clearly has its merits, but for some users, it arrives as too little, and quite late.

Add the a7V into the mix, and the FX2’s position becomes increasingly awkward. We now have a higher 7K oversample paired with a partially stacked sensor, effectively removing the readout time compromise. (Lab Test coming soon!)

What is happening on the other side

This “family affair” does not happen in a vacuum, as Sony is not the only player in the field. Nikon has announced the Nikon ZR, Panasonic introduced their partially stacked LUMIX S1II, and Canon has been working tirelessly, launching what could be seen as a power pairing: the cine-focused Canon EOS C50 and the hybrid EOS R6 Mark III.

Sony may be late to the hybrid party, but it did make a strong entrance with the impressive a7V. In the compact cine camera space, not the most clearly defined category to begin with, Sony’s lineup is starting to feel long in the tooth. Just imagine how different the market might look had the FX2 launched with the a7V’s “engine”, even if that release had come a little later.

What could have been

“What If” speculation is rarely productive, but it can at least be entertaining. Since most of us don’t have a seat at the table where these decisions are made, all we can do is speculate. I find it quite similar to football fans shouting at their TVs or across a packed stadium. The fact that they have no real influence takes nothing away from the fun.

So let’s play this game. Had Sony launched a beefed-up version of the FX2 instead of the allegedly “reheated” camera, we might now be looking at Canon as the one arriving late with the EOS C50. That would have shifted parts of the market dynamics, though it’s hard to say how much impact it would have had on real-world sales.

Sony has proven itself to be a strong sprinter, entering a market long dominated by Canon and Nikon and quickly capturing a substantial share. After that initial push, the company has settled into a phase of gaining some ground, then losing some. If we’re speculating, it’s worth asking what happens if Sony announces a successor to the Sony FX3 in the near future. Imagine the specs of the a7V packaged in a square, grey, cine-first body. Even if such a camera arrives later than expected, it could create real pressure for Canon, and perhaps even more so for Nikon. This game is far from over.

Are you a Sony filmmaker considering a new system? How long will you wait before you “lose hope” for a new and improved FX3? Will you opt for the hybrid a7V for serious cine work? Let us know in the comments.

The MT3 Series, consisting of the Base and Pro models, as well as Hohem’s first portable SSD, the SSD-001, has been officially released. Let’s take a closer look!

Hohem iSteady MT3 Pro – key features

• 2.5 kg (5.5 lb) Max Payload
• Built-in 2MP AI camera
• Object tracking for humans, pets, vehicles, buildings, and other subjects
• Adjustable follow speed from 1 to 100 per axis
• iSteady 10.0 stabilization system with 40 percent increased motor strength
• Up to 13 hours of battery life (rated under controlled indoor conditions)
• Second-generation fast vertical shooting switch
• Upgraded 2 MP sensor extending face-recognition distance to 8 m (26 ft)
• Detachable 1.4-inch touchscreen remote with live feed
• Up to 10 m (33 ft) wireless range
• Arca-Swiss compatible quick-release
• Teflon-coated contact surfaces for smoother balancing

The MT3 Pro sits firmly in the mirrorless category. The 2.5 kg (5.51 lb) payload is enough to support many common full-frame and APS-C camera builds paired with standard zoom lenses. Rather than chasing extreme payload figures, Hohem has focused on motor strength and stability, which tend to matter more in day-to-day shooting, especially when working with longer focal lengths or accessory-heavy rigs.

Hohem rates the MT3 Pro for up to 13 hours of operation under controlled indoor conditions, with the stabilizer properly balanced and AI tracking disabled. That places it comfortably in the range expected for a mirrorless-focused gimbal intended for long shooting days and continuous handheld use, rather than short, stop-and-start sessions.

AI tracking system and features

The most notable feature of the MT3 Pro is its built-in AI tracking system. Instead of relying on a smartphone or an external tracking module, Hohem integrates a 2 MP AI camera directly into the gimbal body. According to Hohem, this allows the system to recognize and follow a range of subjects, including people, pets, vehicles, and buildings, without additional hardware.

This kind of tracking starts to matter when you’re setting up on the fly, already rolling, and don’t have anyone else watching framing. Many shooters today are operating solo or with minimal crew, and features that reduce the gap between powering on and rolling camera are increasingly valuable.

The detachable touchscreen remote supports that same workflow. With live feed monitoring and camera control available at distances of up to ten meters, the MT3 Pro allows operators to work more comfortably from low or high angles or to step away from the camera when needed. Combined with the fast vertical switch and Arca-Swiss compatible mounting, the gimbal feels designed for constant transitions rather than static setups.

The company has also addressed smaller details that affect everyday use. Adjustable follow speeds on each axis allow the gimbal to be tuned for slower, more deliberate moves or faster, reactive shots. Teflon-coated contact points reduce friction during balancing, which can make repeated camera changes less frustrating over the course of a shoot.

Camera compatibility

Hohem lists compatibility for the iSteady MT3 Pro with many mirrorless cameras from Sony, Canon, Nikon, Panasonic, and Fujifilm. It is compatible with many common full-frame and APS-C bodies paired with standard zoom and prime lenses.

Camera control support varies by model and connection. Hohem notes that the list is updated over time, so checking compatibility for specific camera and lens combinations is recommended.

Comparison to the DJI RS 4

The iSteady MT3 Pro sits alongside gimbals like DJI’s RS 4, with both aiming to attract mirrorless shooters who need dependable stabilization and flexible workflows. Where they begin to diverge is in how they are used on the job. The MT3 Pro leans toward stand-alone operation, with built-in AI tracking and a detachable live-view remote that reduces the need for phones or additional accessories.

DJI’s RS 4 is rated for a higher maximum payload of around 3 kg (6.6 lb), which gives it more headroom for heavier camera and lens combinations, while the MT3 Pro’s 2.5 kg (5.5 lb) capacity sits more squarely in the mirrorless-focused category.

The RS 4 also benefits from DJI’s broader ecosystem and accessory integrations, which may appeal to shooters already invested in that platform. The MT3 Pro, by contrast, focuses on consolidating more functionality directly into the gimbal itself, which may be attractive to solo operators and small crews working quickly.

What’s in the box

The iSteady MT3 Pro ships with the core accessories needed to support multiple camera types and basic mounting configurations. The package includes the following items:

• Stabilizer
• Arca-Swiss compatible quick-release plate
• Phone clamp
• Action camera adapter
• Mini tripod
• Camera fixing screws
• USB-A to USB-C charging cable
• USB-C camera control cable
• Sony multi-camera control cable
• Lens support
• Thumb screw knob
• Hex key
• Documentation

The iSteady MT3 Pro Kit adds a bi-directional twist handle, remote mount, Spot Mini Motor with gear ring, motor holder, motor cable, and a carrying case.

Hohem iSteady MT3 – base model

Hohem has also released a base model, the iSteady MT3, for creators who need a lighter and more affordable option. The standard iSteady MT3 weighs under 770 g (1.7 lb) and supports a 1.36 kg (3 lb) payload, making it better suited for vlog cameras, action cams, and smartphones. It lacks the detachable touchscreen remote, instead featuring a built-in 0.4-inch OLED display for basic control. AI-powered human tracking is limited to 5 m (16.4 ft) compared to the Pro’s 8 m (26 ft) face recognition range. Battery life is rated at up to 13 hours. 

Hohem SSD-01 – the company’s first portable SSD

Alongside the MT3 Series, Hohem has introduced the SSD-01, a compact portable SSD designed specifically for mobile and professional creators. This marks Hohem’s first move into storage products, and the company has clearly built it with video workflows in mind.

The SSD-01 measures just 61 x 31 x 15.2 mm (2.4 x 1.22 x 0.6 in) and weighs only 28 g (1 oz), making it small enough to mount directly onto a gimbal or camera rig without interfering with the lens or adding significant bulk. Transfer speeds are rated at up to 2000 MB/s read and 1800 MB/s write via two USB 3.2 Gen ports, which should handle 4K and high-frame-rate video capture without bottlenecks.

What sets the SSD-01 apart from typical portable drives is its integrated hub functionality. Three Type-C ports allow the unit to serve as a hub for storage expansion, microphone receiver connectivity, and up to 65W pass-through charging, all without requiring additional accessories. For creators working with compact setups, this consolidation could simplify cable management considerably.

The drive also supports Apple ProRes RAW and Open Gate recording on the iPhone 17 Pro and iPhone 17 Pro Max, enabling full-sensor 4K 120 fps capture directly to external storage. An auto-save feature is included to protect files from unexpected interruptions during recording.

Build quality appears suited for field use, with water resistance and drop protection rated to 2 m (6.5 ft). The aluminum housing with ABS protection adds durability without significant weight. Cross-platform compatibility covers iOS, Android, HarmonyOS, macOS, and Windows.

Price and availability

The Hohem iSteady MT3 (Base model) is priced at $329, while the Pro version is priced at $449, with the MT3 Pro Kit listed at $549. The Hohem SSD-01 is available in 1 TB ($219) and 2 TB ($339) configurations.

The MT3 series will be available for pre-order on Hohem’s official online store starting from January 20. More information and full specifications are available from Hohem’s website.

Would you prioritize built-in AI tracking like this, or a larger payload and a broader ecosystem from brands like DJI? Let us know in the comments below.

The series is presented by Tito Ferradans, a CineD contributor who also develops filmmaking courses for MZed, CineD’s subscription platform. Tito has created several in-depth courses, including Anamorphic Cookbook Part 1 and Part 2, plus Anamorfake It Until You Make It. This YouTube video series sits alongside that work, focusing specifically on building clearer language around lens behavior and how it’s perceived on screen.

Each video in the series looks at a different piece of the puzzle, starting with optical behavior, moving into flares and coatings, and finally to how image circles and sensor formats shape the result. Throughout the series, visual examples are shown using DZOFilm PAVO and VESPID anamorphic lenses, which serve as practical reference points for the optical behaviors being discussed.

Video 1 – “Stop Saying ‘Character’: How to Describe What Your Lenses Actually Do”

The first video lays the groundwork by stepping back from specific lens choices and focusing instead on how we talk about lenses in general. While the discussion is rooted in anamorphic optics, the goal is not to single them out, but to use them as a familiar context for building a shared vocabulary around lens behavior. The emphasis is on giving filmmakers clearer language for what they are seeing, so personal preferences, whether that means creaminess, softness, or something else, can be expressed more precisely.

From there, the video explores how optical behavior shapes what is often described as character, including the distinction between highly corrected, clinical lenses and designs that leave aberrations visible. Rather than treating these traits as flaws, the discussion frames them as characteristics that define how an image feels, helping viewers connect visual impressions with commonly used optical terms and understand how those elements interact.

Video 2 – “The Science of Flares: Coatings Uncovered”

The second video takes a practical look at how lens coatings influence flare behavior, treating flares not as abstract “character,” but as the result of concrete optical decisions. Tito walks through the history and physics behind flares, then breaks down the different flare types as a shared vocabulary, showing how each behaves on screen. By connecting flare behavior to coating choices, including single and multi-coated designs and their visual effects, the video offers a clear framework for understanding and discussing flares as part of lens design rather than stylistic accidents.

Video 3 – “Image Circles, Coverage & Crop: How Sensors Shape Your Shot”

The third video steps back from lens design and looks at how image circles, sensor size, and aspect ratio interact beyond marketing terms. By moving through what an image circle actually is and how different film and digital formats have evolved, Tito shows how coverage and cropping change what a lens really delivers. Rather than treating format labels as fixed definitions, the video emphasizes how modern cameras interpret those standards differently, helping explain why the same lens can behave differently depending on how much of its image circle is actually being used.

From character to a clear, shared language

Taken together, the three videos (with a fourth one on the way) offer a way to move past vague descriptions and toward a shared language for talking about lenses, particularly anamorphics, but with ideas that apply more broadly. Rather than telling filmmakers what to like, the series focuses on helping them recognize what they are seeing and how to describe it more clearly, whether that means optical behavior, flare response, or format-related choices. For those who want to explore further, Tito’s broader work and related modules can be found under our own MZed courses and on his Anamorphic on a Budget website, where these topics are expanded in more detail.

Have you ever struggled to explain why one lens feels right for a project while another does not? When you describe a lens as having “character,” which specific optical traits are you responding to? Let us know in the comments below!

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The year 2025 proved both evolutionary and revolutionary for camera technology. Canon released three new bodies, Nikon delivered the ZR with RED inside, Sony launched the FX2, and Blackmagic squeezed their 12K sensor into the compact PYXIS. Most significantly, Panasonic introduced dual gain output technology on a full-frame sensor, delivering dynamic range results matching cameras costing ten times as much.

Canon’s mixed results

Canon entered 2025 with the EOS C400, EOS R5 Mark II, and EOS R1. The C400 delivered solid 9.5ms rolling shutter in 6K but disappointed with only 10.5 stops dynamic range in RAW and 8 stops exposure latitude, limited by horizontal line artifacts in pushed shadows.

The R5 Mark II showed similar characteristics with worse rolling shutter (17.3ms). However, the R1 represented a notable improvement: 8.3ms rolling shutter, 11.3 stops dynamic range, and 9 stops latitude. This puts the R1 on par with the Sony A9 III and represents Canon’s best sensor technology yet.

The revolutionary Panasonic LUMIX S1II

The Panasonic LUMIX S1II rewrote expectations. With Dynamic Range Boost disabled, you get 12.7ms rolling shutter and 9 stops latitude. Enable it, and rolling shutter increases to 27.5ms, but dynamic range jumps to approximately 13 stops with over 10 stops exposure latitude.
The ARRI Alexa Mini LF, costing around $40,000, achieves 10 stops latitude. The S1II matches this at approximately $3,200. The caveat is that 27.5ms rolling shutter in DR Boost mode, requiring careful shot selection for fast motion.

Nikon ZR: Solid but not exceptional

The Nikon ZR generated enormous buzz as the first Nikon/RED collaboration. Rolling shutter measured 9.4ms for full-frame 6K, dynamic range hit 10.2 stops, and latitude reached 8 stops, placing it squarely mid-pack among full-frame cameras.

We found that REDCODE RAW NE’s highlight recovery can produce yellowish skin tones in recovered areas, and exposure differs by one stop versus ProRes RAW. The compressed H.265 codecs showed extreme noise reduction eliminating fine detail. With three internal RAW options, 32-bit float audio, and no overheating at €2,200, the ZR offers tremendous value, though image quality is solid rather than exceptional.

Sony FX2 lets down

The Sony FX2 disappointed with 27.5ms rolling shutter (matching the S1II in DR Boost mode) but without the dynamic range benefits. Worse, a horizontal line artifact at 5 stops underexposure limits practical latitude to 7-8 stops. Without internal RAW recording and compared to the S1II at similar pricing, the FX2 struggles to justify its position.

Blackmagic PYXIS 12K: Compromises in a compact body

The Blackmagic PYXIS 12K fits the exceptional 12K sensor from the URSA Cine 12K LF into a compact body. Rolling shutter in 12K mode measured 24.1ms (double the URSA Cine), though switching to 8K improves this to 11ms. Dynamic range came in approximately 0.3 stops below the URSA Cine, with 9 stops latitude.

At $5,500 with DaVinci Resolve Studio included, it remains compelling for users who can work within its frame rate limitations.

What’s next

We are currently processing results for the Canon C50, Sony A7V, and iPhone 17 Pro. The iPhone has proven particularly challenging, with computational processing showing different behavior depending on settings. We are working with Apple to understand these characteristics before publishing.

The Panasonic LUMIX S1II has proven that professional-level dynamic range is achievable at consumer prices. What camera delivered the best value in 2025 for you? Don’t hesitate to let us know in the comments below!

Chapters and Articles in This Episode

00:00 – Intro

03:18 – evolution vs. revolution

08:40 – Canon EOS C400 Lab Test – Rolling Shutter, Dynamic Range and Exposure Latitude

https://www.cined.com/canon-eos-c400-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

13:14 – Canon EOS R5 Mark II Lab Test – Rolling Shutter, Dynamic Range and Exposure Latitude

https://www.cined.com/canon-eos-r5-mark-ii-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

17:17 – Canon EOS R1 Lab Test – Rolling Shutter, Dynamic Range and Exposure Latitude

https://www.cined.com/canon-eos-r1-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

20.44 – Panasonic LUMIX S1II Lab Test – Rolling Shutter, Dynamic Range, and Exposure Latitude

https://www.cined.com/panasonic-lumix-s1ii-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

34:08 – Nikon ZR Lab Test – Rolling Shutter, Dynamic Range, and Exposure Latitude

https://www.cined.com/nikon-zr-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

45:35 – Sony FX2 Lab Test – Rolling Shutter, Dynamic Range and Exposure Latitude

https://www.cined.com/sony-fx2-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

53:38 – Blackmagic PYXIS 12K Lab Test – Rolling Shutter, Dynamic Range and Exposure Latitude

https://www.cined.com/blackmagic-pyxis-12k-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/

We hope you enjoyed this episode!
You have feedback, comments, or suggestions? Write us at podcast@cined.com.

CineD is already a proud media partner of some of the leading trade shows in our industry, and now, alongside NAB, IBC, and eurocine, we are happy to announce our global media partnership with CP+.

CP+ 2026 will take place February 26 to March 1, 2026, at Pacifico Yokohama as a hybrid on-site and online event featuring 148 exhibiting companies and organizations, the highest number in the show’s history. The four-day photography and imaging festival features 43 new vendors and 38 global brands, with free admission available upon prior registration, which opened on December 10, 2025.

Organized by the Camera & Imaging Products Association (CIPA), CP+ has established itself as one of the world’s leading camera and imaging events. The 2025 edition attracted approximately 56,000 visitors to the physical venue and 420,000 viewers online, demonstrating the show’s continued relevance to both professional cinematographers and photography enthusiasts.

The 2026 edition operates under the theme “Make your world pop,” positioning the show to make every moment shine regardless of whether it captures an ordinary day or a special occasion. The event expands beyond traditional cameras and photo accessories, incorporating video production equipment, editing tools, drones, and related imaging technologies.

Registration and venue access

Visitors can register for free admission through the official CP+ website at https://www.cpplus.jp/. A new Quick Pass ticketing option launches December 22nd, offering paid priority entry through a dedicated lane and access during press hours on the opening morning of February 26. The show has also introduced QR code entry via smartphone, streamlining the admission process while maintaining traditional paper passes as an option.

General admission hours run 12:00-18:00 on Thursday, February 26, extending to 10:00-18:00 on Friday, February 27, and Saturday, February 28, with final day hours of 10:00-17:00 on Sunday, March 1. Online event footage will remain available as archived content through March 31, 2026.

Comprehensive talk program featuring industry professionals

CP+ 2026 will host over 800 stage events and workshops throughout the venue, featuring photographers, video creators, and industry experts. The program extends to video production professionals. The CREATORS EDGE Spring Edition brings together creators from advertising, editorial, web content, music videos, fashion, and film industries.

Photo exhibitions spanning from emerging to established artists

The ZOOMS Photo Exhibition continues its collaborative relationship with France’s Salon de la Photo, showcasing winners from both LES ZOOMS 2025 and ZOOMS JAPAN 2026 contests. Now in its ninth edition, ZOOMS JAPAN supports emerging photographers while promoting international growth. The exhibition will display works from both Press Award and Public Award winners, with ZOOMS JAPAN 2026 winners scheduled for announcement in February 2026.

The Cat Photo Exhibition returns with 100 images from cat photographers across Japan, curated by Toshimitsu Hoshino, who also served as CP+ 2025 director. The exhibition features popular social media photographers, including simabossneko, Masayuki Oki, Yoshinori Miyoshi, Masayoshi Yamamoto, MARCO, Miho Doi, and Hiroaki Hanibuchi.

Student work receives prominent placement through two dedicated exhibitions. Photo Koshien 2025 displays works from 18 high school photography clubs that advanced to finals from 11 regional blocks across Japan, selected from 518 participating schools nationwide. The Student Club Works Exhibition brings together 30 photography and film clubs from universities, including Keio University Camera Club, Waseda University Photo Society, Tokyo University of the Arts, and Osaka University of Arts.

Workshops targeting social media generation and families

CP+ 2026 offers 23 workshop sessions designed for social media-savvy attendees and family groups. Topics include smartphone vlog creation, photo frame keychain decoration, hair and makeup techniques for photography, and fluffy babushka or classical rosette crafting workshops presented by Sunny Cotton Candy.

The Plush Toy Studio debuts as a new feature area capitalizing on the trending plushie photoshoot culture popular among young photographers. The dedicated space offers both shooting opportunities and instructional workshops covering travel photography with plushies and smartphone photography techniques.

ZINES FAIR and CP+ Book Marche

The ZINES FAIR returns with an expanded scope, featuring over 170 creators across two days (February 28-March 1). Produced by flotsam books, the fair showcases independently published photography books created by artists’ choice rather than commission.

CP+ Book Marche complements the ZINES FAIR with 19 media partners presenting curated selections ranging from art books and hobby magazines to practical photography guides. The space emphasizes physical interaction with printed materials, positioning print media as a counterpoint to digital consumption.

Family-oriented attractions

The PLARAIL Giant Diorama returns in expanded form for 2026, offering both viewing and photography opportunities centered around the popular toy train system. The installation serves as a focal point for young visitors and train photography enthusiasts.

Exhibition scope and industry representation

The 148 confirmed exhibitors represent major camera manufacturers, including Canon, Nikon, Sony, FUJIFILM, OM Digital Solutions, Panasonic LUMIX, and Hasselblad. Lens manufacturers SIGMA, Tamron, COSINA, and various Chinese lens brands, including 7Artisans, TTArtisan, and Thypoch, maintain a presence alongside accessories companies Kenko Tokina, HAKUBA, ETSUMI, and international brands.

Video production equipment representation includes Blackmagic Design, DJI, Insta360, GODOX, NANLITE, Aputure, and Hollyland. Drone manufacturers HOVERAir Japan and exhibitors from the Oshin Drone School demonstrate aerial imaging capabilities.

The show accommodates emerging categories, including AI-powered editing software Evoto AI, image processing software DxO, storage solutions from Synology and Lexar, and smartphone accessories from TELESIN and Ulanzi.

Have you attended CP+ in previous years, and what exhibitors or programs are you most interested in seeing at the 2026 edition? Don’t hesitate to let us know in the comments below!

All of our authors actively work in the industry, and as you know, we always try to keep you up to date with fast-moving developments on the gear side, as well as with news and broader trends. (Check the CineD cameras of the year 2025 article here.) That said, each of us brings personal preferences and individual perspectives to the table. Please keep in mind that the subsequent text is a compilation of subjective opinions. They may be similar to yours, or completely different – so, chime in in the comments and share your 2025 highlights with us! 

Game-changing tools and shifts

On the technical side, seasoned cinematographer and co-CEO of CineD and MZed, Nino Leitner, highlighted autofocus adapters from Viltrox and Tilta as potentially game-changing tools. By making all manual cine lenses effectively “AF-capable,” these products may finally put an end to the long-running debate about whether autofocus belongs on professional sets. In Nino’s view, it will simply always be there as an option that works well. He adds, though, that both products are still very new, and we have yet to review them.

Nino’s second highlight from the 2025 recap is the Pixboom Spark camera. Its launch reflects a broader trend: Making niche tools like high-speed cinematography accessible to more productions. (Head over here to read more about this camera.)

For some, the highlights weren’t even specific products. Thus, our campaign manager and marketing expert, Jackie Schwarzinger, pointed out how important industry gatherings like NAB and IBC have become in this increasingly digital world. Meeting colleagues, partners, and readers face-to-face served as a reminder of why we do what we do in the first place, and I couldn’t agree more.

Zooming out even further, documentary cameraman and co-CEO of CineD and MZed, Johnnie Behiri, mentioned a more structural shift: the growing dominance of Chinese manufacturers. What started as cautious imitation has clearly turned into innovation, with many of these companies now shaping entire segments of the market.

What some of those Chinese companies are also doing right is building a solid fan base community, and when you have the customers behind you, nothing will stop you from growing.

Johnnie Behiri

On the software side of things

If 2025 was a quieter year for cameras, it was anything but for software.

For Florian Milz, the creator of the CineD Databases, Blackmagic Design’s decision to add Apple ProRes RAW support to DaVinci Resolve was a turning point he greatly appreciated. It ultimately led him to switch completely from Final Cut Pro to DaVinci Resolve “without looking back.”

French freelance director, editor, and colorist Jeff Loch spent a significant amount of time exploring and reviewing the last HAL Picture Diachromie and Diaphonie plugins. (You can find his entire overview here.) Beyond their aesthetic appeal, in Jeff’s words, the experience deepened his understanding of color theory and color spaces.

For me, personally, there wasn’t a specific software update or tool from 2025. I was rather glad to witness the growing tendency among NLE developers to incorporate more advanced AI tools to support and accelerate mundane workflows. With this focus in mind, we even launched an educational course series, “The Efficient Filmmaker” on MZed (our educational platform with 65+ filmmaking courses), and will continue to expand it in 2026.

Omri Keren Lapidot – content creator and teacher, based in Amsterdam, mentions the AI post-production tool he enjoyed writing about. Namely, Imagen AI’s new video model, because the company takes the LLM trend differently.

Instead of using intellectual property to replace creatives, using AI to learn each creator’s specific workflow to enhance the creative process.

Omri Keren Lapidot

Recap of our favourite CineD articles and reviews in 2025

When it comes to writing, several of our authors found themselves gravitating away from pure gear coverage and toward deeper analysis in 2025.

Nino, who wrote more than ever this year, highlighted his BILD Expo presentation “Ready Creator One,” where he shared an optimistic, creativity-driven outlook on AI workflows for filmmakers. The one that focuses on augmentation rather than replacement.

Seasoned photographer Alexandra Thompson really enjoyed writing about Netflix’s mini-series “Adolescence” and its impactful single-take approach to cinematography and storytelling. This show clearly resonated across the team, and you’ll see this title pop up again down below.

Johnnie’s favorite piece was his Canon EOS C50 review and mini-documentary, shot in Japan’s Kiso Valley. Beyond the camera itself, the human connection (particularly the conversation with Kana, who was featured in the film) turned the review into a story that felt personal and engaging.

Omri singled out his article promoting the adoption of flexible aspect ratios on cine cameras, an approach that further blurs the line between motion and stills practices.

As for me, I found myself torn between two educational articles: one on method directing and another on different approaches to coverage. Both pushed me to think more intentionally about directing and visual storytelling. In general, 2025 has been a year in which I enjoyed focusing on the “story first” approach, learning from the renowned filmmakers by analyzing classic and modern films, and diving deeper into such topics with the huge help of MZed.

Industry trends that worried us in 2025

When reflecting on the past year, “uncertainty” was a recurring theme across a lot of answers I gathered for this 2025 recap.

Several CineD authors pointed to shrinking budgets, reduced production volume, and an overall contraction in traditional film and commercial work. Nino described a noticeable shift toward lower-budget productions, alongside growing uncertainty about AI’s impact on many production roles. Or as Jackie puts it: while reshaping some workflows might be an exciting step, it also raises big questions about sustainability, originality, and how independent creators can keep up.

Florian went as far as to suggest that 2025 may mark the end of Hollywood as we’ve known it. After strikes, lawsuits, and financial turmoil, it seems likely that new players will drive future content production – and possibly from new geographical centers. (Not a bad thing per se).

Alexandra expressed concern about shortening attention spans and the risk of prioritizing quantity over meaningful storytelling. For her, the biggest question isn’t how we produce content, but what kind of stories will still be allowed space to exist. This is also where Omri shares the feeling of unease:

I held the rather naive hope that the cinema giants would fight the intellectual property war against AI firms, and have a chance to win. Now, with the Disney-OpenAI $1BN deal, this fantasy faded.

So, as you can see, AI, unsurprisingly, hovered over nearly all concerns. While few of us fear the technology itself, many worry about its misuse, resulting in both unethical and even dangerous content, and work that feels generic and soulless.

What excites us about looking toward 2026

Despite the challenges and concerns, there are a lot of things we are optimistic about and looking forward to.

On the gear side of things, Florian is hopeful that the relatively slow pace of camera innovation in 2025 means manufacturers have been holding back for something more substantial. So, he is excited about new products that could be on the horizon for 2026.

One development that gave Jackie hope is Disney’s plans to return to traditional hand-drawn animation. To her, this is a sign that even major studios still see value in human craft:

I hope this inspires the rest of the industry to find a balance between keeping up with the times and using AI where it makes sense, while still valuing human-created filmmaking as a craft.

Nino believes that the current disruption could necessitate a redefinition of how we work. Questioning long-established processes may open the door to more efficient and creative workflows in 2026, and he is excited about the new opportunities that arise.

In line with this, Florian shared a personal insight that I resonated with as well. He was, and still is to some extent, very hesitant and skeptical about the rapid and forceful entry of AI into most aspects of our digital lives. But at some point this year, he stumbled upon Foo Fighters frontman Dave Grohl’s keynote speech during SXSW 2013. One of his messages was: “Use it! Don’t be afraid of technology. Make it work for you.” This inspired Florian to look for ways to make AI work for him where it makes sense. Maybe this will inspire you, too?

After all, as Nino simply and beautifully summed it up: Intent matters most.

Films and series from 2025 that stayed with us

When it comes to watching films and series, our authors appear to share similar tastes, with several titles mentioned more than once.

As I mentioned above, “Adolescence” left a strong impression thanks to both its important subject matter and unconventional storytelling approach. The absolute leader from released films has been “One Batter After Another.” It stood out as a sharp, high-energy commentary on the current state of the world and blew some of our minds.

Alexandra and I also really enjoyed watching the finale of the “Andor” series with its exemplary storytelling and great visuals. Francesco highlighted “Stranger Things 5” for its scale and meticulous attention to detail. He adds: “The series has also come a long way, evolving into a true cult phenomenon that’s worth watching even if you don’t normally enjoy the genre.”

From lesser-known works, Florian featured Apple TV’s “Pluribus,” which deeply moved him. The way the main character, Carol, is written brought out many mixed emotions in him. I can only wholeheartedly agree and recommend it, thanks to its brilliant screenwriting and controversial topic approach. (Don’t read about the plot beforehand, or you may spoil the biggest twist for yourself.)

We wish you a Happy New Year!

This is how we recap and wrap up 2025! Our authors wish you a year full of curiosity, new ideas, solid collaborations, good surprises, a giant bag of positivity, and the courage to keep evolving.

On behalf of the CineD team, thank you for reading, engaging, and being part of this thoughtful community. We hope 2026 brings you inspiring projects, strong stories, and the space to tell them with intention. Happy holiday season and all the best for 2026!

What about you? What defined your 2025? How have your workflows evolved? Which films and series impressed you most? Let’s continue the recap and exchange further highlights in the comments below!

Full disclosure: MZed is owned by CineD.

Feature image: a background, generated and expanded with the help of AI, combined with images by Canon, Nikon, AppleTV+, Blackmagic Design, and Warner Bros.

The Nikon ZR, launched in late 2025 as Nikon’s first dedicated cinema camera co-developed with RED Digital Cinema, has quickly gained traction among solo creators and small production teams. The camera’s compact body measures just 1.19 pounds / 540 grams, making it one of the most portable full-frame cinema cameras available. However, its minimal built-in grip and single bottom mounting point create clear opportunities for expanded rigging options, which Tilta addresses with this new cage system.

Modular configuration system

The defining feature of Tilta’s approach is the dual-configuration design. Users can quickly switch between a full protective cage and a lightweight L-bracket setup using simple screw installation or removal. This modularity addresses two distinct shooting scenarios: the full cage provides comprehensive protection and maximum mounting options for complex rigs, while the L-bracket configuration maintains the Nikon ZR’s portability advantage for handheld work and gimbal mounting.

The L-bracket weighs 0.31 lb / 139 g, adding minimal bulk to the camera body. The full cage version (complete weight 0.42 lb / 189.5 g excluding cable clamp) provides comprehensive body coverage while maintaining access to essential controls. Both configurations share the same base mounting interface, allowing operators to reconfigure their setup on location without extensive teardown.

Ergonomic design elements

Tilta has incorporated a wooden side handle with an ergonomic curve designed to reduce fatigue during extended handheld operation. The composite wood material provides a natural grip texture while keeping the weight minimal. This handle attaches to the left side of the cage via integrated mounting points.

The cage design ensures unobstructed access to all Nikon ZR control buttons, the built-in microphone array, and the tally light. The bottom section doesn’t interfere with the camera’s lens adapter, a critical consideration for operators using PL mount cinema lenses with adapters. This attention to clearance maintains the ZR’s compact profile while expanding accessory mounting options.

Mounting and connectivity features

The cage incorporates multiple 1/4″-20 threads with locating points, providing secure attachment options for monitors, wireless transmitters, and other accessories. A cold shoe receiver is integrated into the top section, while a wrist strap receiver on the side handle enables additional support options. The cage also includes 3/8″-16 threads for heavy-duty mounting applications and a 3/8″-16 to 1/4″-20 screw adapter for versatility.

An Arca-Swiss quick-release base is built into the bottom of the cage, enabling rapid transitions between tripod and gimbal configurations without removing the cage. This feature particularly benefits hybrid shooting workflows where operators move between stabilization methods throughout a production day.

The cage includes a thumb-screw cable clamp that prevents accidental disconnection of HDMI and USB-C cables, addressing a common frustration with compact cinema cameras where cable stress can interrupt recording or power delivery. This simple addition provides reliable data transfer security during active shooting.

Kit configurations and accessories

Tilta offers three package options. The Base Kit includes the full camera cage only. The Pro Kit bundles the cage with a compact NATO top handle, left side wooden handle with attachment, and the Tilta Arca Height Adjustable 15mm LWS baseplate for rod-based accessories. This configuration suits operators building complete shoulder or tripod rigs.

The Power Kit combines the cage with Tilta’s recently launched Mini PD V-Mount Battery Plate with an adjustable Arca receiver. This battery plate, introduced approximately two months ago, eliminates the need for a full baseplate while providing V-Mount battery power and PD charging capabilities. The streamlined design maintains the camera’s compact form factor while extending runtime significantly beyond the Nikon ZR’s native EN-EL15C batteries, which provide approximately 90 minutes of HD recording per charge.

Tilta also offers a PL Mount Lens Adapter Support accessory designed to work with the Kippertie Z to PL mount adapter. This support bracket provides additional stability for heavier PL mount cinema lenses, addressing the mechanical stress that full-frame cinema glass can place on mirrorless lens mounts.

Specifications and materials

The cage measures 6.46 x 4.02 x 2.36 in / 164 x 102 x 60 mm. Construction combines composite wood, aluminum alloy, and SUS304 stainless steel components. The color option is black, matching the Nikon ZR’s industrial aesthetic. The cage includes a multi-functional screwdriver and silicone pads to protect the camera body from scratches during installation and operation.

Additional included accessories comprise four 1/4″-20 threads with locating points, 3/8″-16 threads, and the integrated cable clamp. The modular design philosophy extends to these components, all of which can be removed or repositioned based on specific rigging requirements.

Availability and pricing

Tilta is offering 10% off all Nikon ZR cage configurations during the End of Year Sale. The Full Camera Cage for Nikon ZR retails at $59.00 ($53.00 with discount). The Base Kit is priced at $89.00 ($80.00 with discount). The Pro Kit is available for $179, and the Power Kit configuration is available for $161. The PL Mount Lens Adapter Support costs $5.00 ($4.50 with discount). Orders placed during the pre-order period ship in three to four weeks.

For more information, please head to the Tilta Nikon ZR cage product page here.

Are you currently shooting with the Nikon ZR? Does the modular L-bracket to full cage design solve real workflow challenges for your productions? Let us know your thoughts in the comments below!

At a Beijing launch event, Xiaomi introduced the Xiaomi 17 Ultra alongside the Xiaomi Watch 5 Series, Buds 6, and various smart home appliances. The smartphone represents the first product born from Xiaomi and Leica’s new collaborative framework, which integrates Leica’s century-old expertise in professional optics and aesthetic philosophy from the product’s inception. This 8.29mm device is the thinnest Ultra model Xiaomi has released and the first in the Ultra line to feature a flat display. The triple-camera system consists of a 14mm ultra-wide lens, a 23mm Leica 1-inch ultra dynamic camera built on a Light Fusion 1050L sensor with LOFIC HDR technology, and a Leica 200MP 75-100mm optical zoom telephoto camera with Leica APO certification. The device is powered by the Snapdragon 8 Elite Gen 5 Mobile Platform, features a 6800mAh battery with 90W wired and 50W wireless HyperCharge, and includes a 120Hz LTPO display with 3500 nits peak brightness.

Xiaomi continues pushing the boundaries of mobile imaging with the 17 Ultra, following our coverage of the Xiaomi 15 Ultra earlier this year. The new model introduces several refinements in both industrial design and optical performance, positioning it as a compelling tool for content creators who need a capable secondary camera or a run-and-gun device.

Ultra-slim form factor with refined ergonomics

The Xiaomi 17 Ultra breaks new ground as the first model in the Ultra line to feature a flat display, departing from the curved screens of previous generations. At 8.29mm thick, the device achieves the slimmest profile in Ultra series history while maintaining a 6800mAh battery capacity. Xiaomi accomplished this through design refinements, including a micro-curved aluminum alloy frame, increased body curves, reduced camera module diameter, and higher camera module placement to improve ergonomics and in-hand balance.

The device is available in four color options: White, Black, Purple, and Green. For photography enthusiasts, Xiaomi offers two updated photography kits featuring a redesigned ergonomic form factor and magnetic attachment capability. An ultra-thin composite fiber case maintains a near-case-less feel for daily usage.

Leica 1-inch sensor with LOFIC HDR technology

The centerpiece of the imaging system is the Leica 1-inch ultra dynamic camera, built on a Light Fusion 1050L sensor incorporating LOFIC HDR technology. According to Xiaomi, this sensor delivers a full well capacity 6.3 times greater than the previous generation 1-inch sensor used in the 15 Ultra. The increased well capacity translates to improved highlight control and shadow detail retention in high-contrast scenes, particularly useful for backlit situations and night environments where content creators often struggle with exposure latitude.

The 23mm equivalent main camera addresses one of the persistent challenges in mobile imaging: maintaining detail in both highlights and shadows without resorting to aggressive computational processing that can introduce artifacts.

200MP telephoto with true optical zoom

Where the Xiaomi 17 Ultra distinguishes itself from competitors is the Leica 200MP 75-100mm optical zoom telephoto camera. Unlike digital zoom implementations that crop into a fixed sensor, this system employs three precisely matched lens groups and a prism, with the second and third lens groups moving independently to adjust focal length and focus. Throughout the entire 75-100mm equivalent range, the camera utilizes the full 1/1.4-inch telephoto sensor without digital cropping, maintaining native 200MP image quality.

The telephoto features a Leica APO optical lens design, using three custom glass material lenses to reduce chromatic aberration at the hardware level. This design ensures all colors converge at the same focal point, eliminating color fringing common in telephoto smartphone images. The lens significantly reduces purple and green fringing even in high-contrast scenes, and the exceptional optical quality earned the Xiaomi 17 Ultra the distinction of being the first Xiaomi flagship to receive Leica APO certification.

What about the ultra-wide camera?

Rounding out the triple-camera system is a 14mm ultra-wide lens designed for landscape and architectural photography. Across the entire camera array, Xiaomi 17 Ultra features a Leica UltraPure optical design with G+P lens group, significantly minimizing linear arc ghosting and contributing to more stable image quality in challenging lighting conditions.

While Xiaomi’s press materials focus primarily on still photography capabilities, the company has not yet detailed video specifications for the 17 Ultra. The previous Xiaomi 15 Ultra offered 4K/120fps recording, 10-bit Log support across all focal lengths, and Dolby Vision recording at 4K 60fps. Whether the 17 Ultra maintains or expands these video features remains to be confirmed.

Performance and display specifications

Under the hood, the Xiaomi 17 Ultra runs on the Snapdragon 8 Elite Gen 5 Mobile Platform, featuring an improved CPU structure and Adreno 840 GPU with ultra-large graphics cache. Xiaomi’s 3D Dual-Channel IceLoop System with a new capillary structure achieves a 50% improvement in thermal conductivity compared to the previous generation, important for sustained video recording sessions.

The display features a 120Hz LTPO refresh rate and 3500 nits peak brightness. Xiaomi’s HyperRGB technology enhances screen power efficiency, matching 2K display clarity with power consumption lower than typical 1.5K displays. Xiaomi Shield Glass 3.0 provides drop resistance up to 20 times that of ordinary strengthened glass.

Xiaomi 17 Ultra by Leica limited edition

Xiaomi also announced the Xiaomi 17 Ultra by Leica, a limited edition variant designed with direct involvement from the original Leica team. Inspired by classic Leica M-series cameras, the back panel features a dual-tone design with textured leather complementing a matte finish. The knurled middle frame is engraved with “LEICA CAMERA GERMANY” and features the prestigious Leica red dot badge.

The exclusive Leica Camera Ring reimagines classic camera operational logic for smartphones, with 20 high-strength ball bearings providing smooth tactile feedback for focus adjustment. Xiaomi has used a precision mechanical transmission structure with an internal detection of a minimum 0.03mm displacement. A dedicated sealing design maintains IP66/IP68/IP69 dust and water resistance ratings.

This edition features the exclusive Leica Essential mode, which recreates the image qualities of two iconic Leica cameras. The Leica M9 style uses a RAW-to-RGB Style Transfer model trained on hundreds of thousands of photos captured by actual Leica M9 cameras. The Leica M3 style digitally models the color response, tonality, and grain of Leica MONOPAN 50 film, producing authentic black-and-white film-like images.

The Xiaomi 17 Ultra by Leica introduces CAI Photo Authenticity Protection technology, which adds a digital signature to every photo through a dedicated security chip, verifying real origin versus AI-generated content. This edition exclusively features a dual-satellite system supporting both Tiantong and Beidou networks, allowing messaging and calling in remote areas with weak cellular signals.

Pricing and availability

The Xiaomi 17 Ultra is priced at RMB 6,999 yuan (approximately USD $960) for the 12GB+512GB configuration, RMB 7,499 yuan (approximately USD $1,030) for 16GB+512GB, and RMB 8,499 yuan (approximately USD $1,165) for 16GB+1TB.

The Xiaomi 17 Ultra by Leica is priced at RMB 7,999 yuan (approximately USD $1,095) for 16GB+512GB and RMB 8,999 yuan (approximately USD $1,235) for 16GB+1TB.

Both models will go on sale on Mi.com, Xiaomi Store, and other official channels at 10 AM on December 27th, 2025.

Can you see Xiaomi overtake Apple by introducing a better product to take photos and video? Don’t hesitate to let us know in the comments below!

If it feels like SmallRig has been especially active lately, that’s not accidental. A steady release cycle over the past year means a lot of relatively recent gear is now showing up with price reductions, which tends to make these seasonal sales more relevant.

Below is a closer look at selected items from the current promotion, with an emphasis on products CineD has already covered and categories where the discounts are likely to matter most in real-world use. This is by no means a comprehensive list of what’s included in the sale, so I encourage you to click the link to SmallRig’s promotion page at the bottom and see it all for yourself.

SmallRig holiday tripod deals

SmallRig’s tripod lineup has expanded noticeably, and the collaboration with Potato Jet has introduced a different design approach than many filmmakers may be used to. The hydraulic leveling system is aimed at reducing setup friction, particularly for smaller and lighter camera builds where speed often matters more than maximum payload.

For one-person crews, this type of design can simplify location work and make frequent repositioning less disruptive, especially compared to more traditional leg-locking systems.

Noteworthy deals:

• SmallRig x Potato Jet TRIBEX SE – 20% off – $319.99
• SmallRig x Potato Jet TRIBEX Carbon II – 20% off – $639.99
• FreeBlazer AD-80 aluminum video tripod kit – 30% off – $174.99
• CT150 travel video tripod kit – 30% off – $90.99
• Lightweight travel tripod AP-02 – 25% off – $104.25

The Potato Jet systems are the most distinctive entries here, but the lower-cost travel options also make sense for shooters transitioning from photo tripods into more video-oriented setups.

CineD covered the launch of the Potato Jet TRIBEX tripods, and they’re genuinely interesting from a design standpoint. The hydraulic leveling approach feels like a rethink of how quickly a tripod can get out of your way. I’ll admit I’m personally curious about them and am basically waiting for my current sticks to break so I have an excuse to try one. (Mostly kidding.)

SmallRig holiday lighting deals

SmallRig’s lighting products tend to sit in a space where price, portability, and flexibility intersect. These lights are generally aimed at filmmakers who need tools that are easy to move, quick to adjust, and uncomplicated to integrate into small crews or solo workflows.

Several models we have covered previously are now part of the holiday promotion.

Previously covered by CineD:

• Vibe P96 Pro RGB LED light – 15% off – $25.49
• Vibe P108 Pro RGB LED light – 15% off – $23.79
• RC 100B COB LED video light – 20% off – $159.99
• RC 60B COB LED video light – 15% off – $169.15

We previously covered the announcement of the Vibe P96 Pro and P108 Pro RGB lights, along with an early look at the RC 100B COB LED light. These releases helped frame where SmallRig is aiming with its lighting lineup: compact, flexible tools that are easy to throw into a bag without overthinking it.

Additional lighting discounts:

• RC 220B / 220D Pro COB LED – 20% off – $263.99
• RC 100C COB LED (Lite version) – 20% off – $183.99
• RA-D120 parabolic softbox – 20% off – $143.20

Within this group, the RC-series COB lights continue to illustrate where SmallRig is positioning itself: capable, adaptable fixtures without the pricing typically associated with larger studio systems.

SmallRig holiday power solution deals

Power is an area where SmallRig has been gradually filling in gaps rather than chasing a single headline product. The current discounts reflect that approach, covering both compact handheld options and more traditional V-mount batteries.

Previously covered by CineD:

• HPS99 handheld power stick and kit – 15% off – $127.49
• X99 smart triple-proof V-mount battery – 15% off – $254.99

Other discounted power options:

• VB99 Pro mini V-mount battery (99Wh) – 20% off – $199.99
• VB155 mini V-mount battery (155Wh) – 30% off – $237.99
• VB212 mini V-mount battery – 30% off – $307.30
• V-mount battery plate kits – up to 35% off

The X99 remains notable for its interface and monitoring features, while the HPS99 points toward SmallRig’s interest in compact, cable-light power solutions for smaller rigs.

CineD has also covered both the HPS99 handheld power stick and the X99 smart V-mount battery. Both point toward SmallRig’s ongoing push to make power setups feel a little less bulky and a little more modern, especially for smaller rigs that still need dependable power.

SmallRig holiday camera cage deals

Cages continue to be the backbone of SmallRig’s ecosystem. For mirrorless shooters, they are often less about protection alone and more about enabling practical workflows, from mounting audio accessories to supporting follow focus systems and external monitors.

The holiday promotion includes a wide range of camera-specific options.

Selected cage deals:

• Cage kit for Sony FX3 / FX30 – 20% off – $151.99
• HawkLock advanced cage kit for FX3 / FX30 – 20% off – $111.99
• Upgraded cage for FX3 / FX30 – 25% off – $67.49
• Black Mamba cage for Canon EOS R6 Mark II – 15% off – $84.99
• Cage for Sony A7 IV / A7R V / A7S III – 15% off – $67.99

The FX3 and FX30 cages reflect SmallRig’s modular approach, while the Black Mamba line continues to offer a slightly more streamlined alternative for shooters who want fewer protrusions on their rigs.

Where to find all the deals

The full list of discounted products, including additional categories and bundle options, is available on SmallRig’s official Holiday Deals page. You can also find these deals on SmallRig’s Amazon Store, and from B&H Photo Video.

Are you planning to pick up any new gear during this holiday sale? Which SmallRig releases stood out to you this year? Let us know in the comments below.

For months, we have reported on the looming possibility of a nationwide ban on Chinese-manufactured drones. With the passing of the FY25 National Defense Authorization Act (NDAA) and a series of Executive Orders in June 2025, the writing was on the wall.

Late yesterday, the Federal Communications Commission (FCC) made it official. In a press release issued December 22, the FCC announced that “unmanned aircraft systems (UAS) and UAS critical components” produced in foreign countries have been added to its “Covered List.”

This move, effective immediately, blocks new device authorizations, meaning future DJI drones (and likely other foreign brands) cannot be legally imported or sold in the US.

The FCC Ruling: What Happened?

The FCC’s decision follows a “National Security Determination” by an interagency body convened by the White House. The determination concludes that foreign-made drones pose “unacceptable risks to the national security of the United States.”

FCC Chair Brendan Carr, a long-time vocal critic of DJI, stated:

“I welcome this Executive Branch national security determination… Following President Trump’s leadership, the FCC will work closely with U.S. drone makers to unleash American drone dominance.”

Technically, this is not a “ban” on ownership, but a ban on FCC authorization. Since every drone needs an FCC ID to transmit wireless signals legally in the US, denying this authorization effectively stops any new model from entering the market.

Scope: “Foreign-Made” vs. Just “China”

While DJI is the clear target – holding roughly 70% of the global market – the language in the FCC’s fact sheet is surprisingly broad. It refers to “foreign-made UAS” and “UAS critical components produced in foreign countries.”

This vague wording raises massive questions for the industry. Does this apply to European or Japanese drones that utilize Chinese-made flight controllers or motors? The FCC notes that exceptions can be granted by the Department of Defense or Homeland Security, but the default status for foreign drones is now the “Covered List.”

The Good News: Your Existing Drone is Safe (For Now)

Crucially for filmmakers and production houses, the FCC explicitly stated that this ruling does not apply retroactively.

• Existing Fleets: If you already own a DJI Mavic 3, Mavic 4 Pro, or Inspire 3, you can continue to use it legally.
• Retail Stock: Retailers can continue to sell existing models that have already received FCC authorization.

However, once a new model is announced—say, a theoretical “Mavic 5” or “Mini 6″—it will be blocked from receiving FCC approval and cannot be sold in the US.

DJI’s Response: “Protectionism”

DJI has issued a statement expressing deep disappointment, arguing that the decision was made without the security audit mandated by Congress in the NDAA.

“Concerns about DJI’s data security have not been grounded in evidence and instead reflect protectionism, contrary to the principles of an open market,” a DJI spokesperson told the press.

DJI also confirmed that they will attempt to work with the Department of Defense to gain an exemption, though industry analysts are skeptical of their chances given the current political climate.

CineD’s Take: A Major Blow to Filmmakers

At CineD, we have always focused on the tools that help creatives tell stories. The reality is that DJI has no equal in the affordable, high-quality cinema drone space.

While U.S. manufacturers like Skydio have pivoted entirely to enterprise and military sectors, and Sony’s Airpeak remains a niche, high-end platform, DJI democratized aerial cinematography. The Mavic and Mini series are staples in almost every independent filmmaker’s gear bag.

If this ban holds, American filmmakers will face a stagnating market. We will be forced to rely on aging airframes while the rest of the world moves on to newer, better sensors and flight technology. Furthermore, the ban on “critical components” could make repairing existing fleets increasingly difficult if replacement parts like motors or gimbal cameras are seized at customs.

The stock price of American drone maker Unusual Machines soared following the news, but for now, no domestic manufacturer offers a product that competes with DJI on price-to-performance for cinematic video.

Key Takeaways for Filmmakers:

• Don’t Panic Sell: Your current DJI drones are still legal to fly.
• Availability: If you were planning to buy a drone soon, do it now. Retailers may see a run on existing stock.
• Future Tech: Do not expect to see new DJI models (like the rumored successors to the Mavic 3 Classic) in the US anytime soon.

We will continue to monitor this developing story, particularly how the “critical components” ban affects repairs and batteries for existing drones.

Are you affected by the DJI ban? Let us know your thoughts in the comments below.