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Here at CineD, we’re keeping the tradition alive by announcing our Camera of the Year! This year, we’ll be not only picking an “absolute winner” camera but also finding a camera that shines in a particular category. So, grab a seat, dive in, and feel free to share your thoughts in the comments – whether you agree or disagree with our choice. Just a heads-up: we’re focusing on the video capabilities of these cameras. For stills photos, we’ll leave that to the other sites which specialize in judging that.
2025 is wrapping up, and what a year it’s been! About 25 new cameras from well-known brands hit the market, and that’s just counting the cameras – mobile phones are another story! So, it’s been a busy and productive year for camera makers and fans, but let’s always remember that a new camera doesn’t automatically make you a better storyteller. We hope you’ll keep learning and honing your filmmaking and storytelling skills.
Nino, Gunther, Florian, and Johnnie really dug into the filming tool that caught their eye the most, and trust us, picking a winner this year was a real challenge. With so many great cameras out there, we had a lot of discussions, but we’ve got category winners and an overall winner to celebrate!
This past November, we also released and shared a poll with you guys as we were genuinely interested to hear your opinion regarding which camera deserves the crown. Hundreds of people participated, and the results did not surprise us at all. Our readers crowned the ARRI ALEXA 35 Xtreme (Cinema camera), Nikon ZR (Video-specific camera), LUMIX S1II (Mirrorless/Hybrid), and Apple iPhone 17 Pro/MAX (Mobile phone).
Nino, Gunther, Florian, and Johnnie will follow with highlighting cameras in the same categories, so let’s dive into it.
The contestants were:
In our poll, we had the PYXIS 12K in the “Video-specific Cameras” category, but after some reconsideration, we found it’s a better fit in this category, which is why it was moved.
Weighing all opinions by the team, CineD has decided that the RED V-RAPTOR XE 8K VV is the winner in the CineD Cinema Camera of the Year 2025 category!
Please read the individual decisions and statements from the team below.
Florian: In this category, I liked what ARRI did with the ALEXA 35 Xtreme the most, namely taking the camera with the best image quality in the industry and making it even better without charging more money, which is amazing for users.The PYXIS 12K is amazingly easy to use, and the camera is great when you like filming in high resolution and Blackmagic RAW, since it’s the only available codec.RED made their existing 8K VV V-RAPTOR camera more affordable by removing features, which is nice from a buyer’s perspective, but in my opinion, the V-RAPTOR XE 8K VV doesn’t move the needle from an innovation standpoint.I haven’t had a FUJIFILM GFX ETERNA 55 production unit in hand, so there is not much to report about yet besides the current public opinion. Personally, I really want this camera to succeed, though, since I’ve been asking for FUJIFILM image quality in a cinema body for what feels like a decade already, and FUJIFILM actually took the plunge, so kudos to them.
Gunther: For me, the winner is the RED V-Raptor XE. The most accessible full-frame RED camera up to now, featuring a global shutter sensor, superb image quality, and RED’s color pipeline & codecs, and even ProRes recording. And let’s not forget the Z-mount that adapts to virtually every lens out there. The only downside is that frame rates are limited to 8K60p or 4K120p.
Johnnie: Each of the nominated cameras is unique in its own way, but since I have to choose a single winner, I voted for the RED V-RAPTOR XE 8K VV. This camera is a streamlined, “Essentials” version of the flagship RED V-RAPTOR [X], removing some advanced features like Extended Highlights and reducing maximum frame rates. But the barebones remain! Next to recording in 8K resolution, this lightweight camera benefits from having a Full-Frame VV global shutter sensor (designed for cinema rather than taking full-frame still photos) and REDCODE RAW internal recording. The camera comes at a very acceptable price for a device in this category ($14,995) and, no less important, with a relatively flexible mount option (Canon RF or Nikon Z mounts).
Nino: After playing with the PYXIS 12K, I fell in love with the form factor and incredible value-for-money you get with this camera, including a sensor that shows a very high performance, albeit somewhat limited due to processing restraints in this camera compared to the URSA Cine 12K, which showed exceptional results. Yet, 12K is overkill for most productions, so shooting 8K or less with this camera is definitely a better idea in 95% of all cases. The ARRI ALEXA 35 Xtreme is upping the already-exceptional ALEXA 35 with high frame rates at the same (admittedly premium!) price, and basically offering an unexpected spec bump. With regards to the FUJIFILM GFX ETERNA 55, it’s a bit too early to tell if the large format sensor will yield exceptionally better results that justify the fact that internal RAW recording is not part of the package. Ultimately, considering all factors like range of features, acceptance in the market for actual cinema productions, price/performance, and usability, I also have to choose the RED V-RAPTOR XE 8K VV as this year’s choice for this category. Like Johnnie and Gunther already mentioned above, you get a remarkable set of features with few trade-offs at a very decent price, not only for a RED camera. The ability to have the Z-mount on this is an added bonus since it can adapt to virtually any lens in the market.
Weighing all opinions by the team, CineD has decided that the Nikon ZR is the winner in the CineD Video-specific Camera of the Year 2025 category!
Florian: In this category, the Canon EOS C50 is bringing a lot to the table. It’s seemingly missing nothing, except maybe dedicated buttons for WB, ISO, and shutter speed (which you can manually program to user buttons). The internal RAW and compressed video recording codecs are very solid, frame rates and image quality are bar-none. The included top handle is the cherry on top for me, adding excellent ergonomics, mounting options, and audio inputs and controls. In the end, I must hand the crown to the Canon EOS C50, since it is the more flexible and robust camera in my opinion.
Gunther: Nikon ZR – best bang for the buck, no overheating and IBIS! The biggest let-down of the Canon EOS C50 for me is the lack of IBIS and the lack of a viewfinder. The Nikon ZR at least offers a remarkably large built-in screen with a 4″ size, even though it’s also lacking the viewfinder. And for the FX2, it has the viewfinder, but otherwise is letting us down with the available codecs and resolutions for a camera in 2025.
Johnnie: Considering industry trends, the most important growing category is “video-specific” cameras. With most major camera manufacturers acknowledging the success of the Sony FX3, we can expect to see even more cameras from reputable brands entering this segment. Earlier this year, Sony introduced the capable FX2 (review here and thank you for including an EVF!), but for now, it is Canon with its EOS C50 and Nikon with its ZR cameras that grabbed the attention, and for a good reason. While I truly liked working with the Canon EOS C50 as it brings to the table a solid 7K resolution, open-gate internal RAW recording, and more, my winner for this video-specific camera category is the Nikon ZR.
Nikon did well by introducing a camera that appeals to both professionals and amateurs alike. In fact, it is one of those rare cases where a camera manufacturer managed to cause users to ditch their current brand and purchase something different. One of the main reasons is the flexibility of the Nikon Z-mount.
But of course, the crown of the jewel is the ability of the Nikon ZR camera to internally record in the RED R3D RAW codec. I think that you have to work with this codec to appreciate its flexibility and great coloring results that one can get when grading.
Top this with an industry-first 32-bit internal audio recording and a huge LCD screen, and you have a winner, especially when considering the camera price point. I would dare to say that $2,197 is making this camera a “no-brainer” for many, and we can certainly see this by the number of orders it received at our site vendors’ partners, B&H and CVP.
Nino: I don’t have much to add to what Johnnie said above. While the Nikon ZR is not a perfect camera (there isn’t any one perfect camera!!), especially when it comes to dynamic range and latitude performance, it’s simply remarkable what you get in this package for just around $2,000. The flexibility of the Z-mount is an added bonus that can be a “Trojan horse” for Nikon to garner disgruntled Sony E-Mount lens owners who have been asking for internal RAW for years and never got it. For me, it’s the clear winner in this category for being the one camera that really will push competition forward in this market for the years to come. The competition has to offer more for less now, and this is only good for us users.
Weighing all opinions by the team, CineD has decided that the Panasonic LUMIX S1II is the winner in the CineD Mirrorless/Hybrid Camera of the Year 2025 category!
Florian: I was impressed with the Panasonic LUMIX S1II because it provides great features (namely internal ProRes RAW, performant phase-detection AF, and flexible compressed codecs) inside of a light, ergonomic, and actively cooled body. I can recommend the S1II to everyone who is thinking of switching camera systems and needing an easy-to-use body with a clear user button layout and a strong feature set.
Gunther: For me, it’s clearly the Panasonic S1II. In typical Panasonic fashion, it offers an incredible array of options, including the special feature of dynamic range boost. Hence, you can select between fast readout speed (and the associated high frame rates) at very decent dynamic range or slow readout speed (on the level of an FX2) with superb dynamic range ( ARRI ALEXA LF level). All of that in a package costing only a bit more than 3000USD.
Johnnie: The Mirrorless/Hybrid category was a very busy one during this year. All the reputable camera manufacturers showed commitment and brought great tools to the market. For me, the runner-up is the Canon EOS R6 III camera, as it holds many of the video capabilities of the Canon EOS C50, but my personal category winner (which I also decided to nominate as the camera of the year winner) is the Panasonic LUMIX S1II. Now, after releasing a firmware update that helped with controlling overheating, this camera is a filmmaker’s “dream come true” filming tool. From high-resolution video recording to the great implementation of its partial stacked CMOS sensor, this camera shines. In need of open-gate (5.1K, 3:2) recording with anamorphic image desqueeze next to anamorphic IBIS support? You got it. How about an enhanced log recording option? Well, for a fee, one can record to an ARRI Log C3. But one of the most noticeable features is the “dynamic range boost” option. Use it when a greater dynamic range is needed, or turn it off for better rolling shutter performance.
Nino: We had an incredible amount of eligible cameras in this category, yet I found the choice very easy: The hands-down winner is the LUMIX S1II for me. Panasonic unfortunately stopped making “cinema cameras” in the past, namely the Varicam line and EVA1 (what “cinema camera” even means, we don’t know anymore – see our long podcast discussion on this subject in this episode), but in some way, they have created the most feature-complete mirrorless camera for filmmakers on the market. With latitude results close to ALEXA Mini LF territory thanks to the Dynamic Range Boost mode that fuses two ISOs, internal ProRes RAW, 6K60p, Open-Gate, and a viewfinder, there is little to be desired. Yes, there were reports of severe overheating, but with the most recent firmware updates, these seem to be under control for many users. All of that for around USD 3,000 is beyond remarkable.
Nino: Despite efforts on Android phones to deliver better and better images too, when it comes to professional-grade video from a smartphone, Apple is still singular in offering a Log mode, which really taps into the capabilities of the sensor. While we are still working on our iPhone 17 Pro / Max Lab Test – trying to figure out some “special processing” not unlike DGO that seems to be kicking in at various levels – it’s already clear to me that these phones take the crown when it comes to video images from a phone in 2025, mostly thanks to the Apple Log 2 mode, the openness to give app makers like Blackmagic Design full control of the video tech through APIs, and the greatly enhanced telephoto camera compared to its predecessors.
Johnnie: I’m still not there when it comes to fulfilling the absolute strengths of filming with a mobile phone. For now, it is more of a “father’s tool” serving as the “best camera is the one that you have with you”… Still, having a log picture profile (Apple LOG 2), next to the ability to record internally in ProRes RAW, is a great bonus to have. Somehow, something in me is saying that Apple will not stop here…
This year, numerous excellent cameras were released, making it challenging to choose the best one. Among the prime contenders, the Panasonic LUMIX S1II emerges as our camera of the year 2025. We extend our heartfelt congratulations to the talented team at Panasonic for their remarkable creation. We eagerly anticipate the company’s future endeavors. As a delightful hint, we all yearn for a video-centric “cinema camera” that can rival the Sony FX3, Canon EOS C50, Nikon ZR, and similar models. Surpassing our expectations is always a welcome surprise.
Guys, here you have it, the CineD camera of the year 2025 selection and choice. But what is YOUR camera of the year and why do you think it deserves the crown? Please share your thoughts with us in the comments section below.
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