Sony FX5 announced \u2013 full-frame 5K open gate, internal X-OCN RAW, three base ISOs, and 4K 240p<\/p>\n
Read more: Sony FX5 Announced \u2013 Full-Frame 5K Open Gate, Internal X-OCN RAW, Three Base ISOs, 4K 240p<\/a><\/p>\n (01:26 in the episode)<\/p>\n It\u2019s a big release for Sony: the FX5 is the company\u2019s first full-frame camera with 5K open gate capture and internal X-OCN RAW recording, packing three base ISOs and 4K up to 240p into a very small body. Sony is one of the last major manufacturers to bring internal RAW to its mirrorless-sized cameras \u2013 Canon, Panasonic, and Nikon all got there first \u2013 but with the industry\u2019s biggest installed user base of video shooters, the FX5 is likely to make a bigger splash than any of them. Sony specifically stated the FX5 is not replacing the FX3, and the FX6 also remains in the lineup, which sparks a discussion about where the Cinema Line goes from here.<\/p>\n Sony FX5 review \u2013 finally, a compact camera worthy of the Cinema Line name<\/p>\n Read more: Sony FX5 Review \u2013 Finally, a Compact Camera Worthy of the Cinema Line Name<\/a><\/p>\n (05:51 in the episode)<\/p>\n Both Philip and Johnnie reviewed the FX5, and the verdict is remarkably aligned: for Johnnie, it\u2019s \u201cthe first compact Sony camera that really deserves the Cinema Line badge \u2013 it felt like a mini VENICE or a mini Burano,\u201d while Philip calls it \u201cprobably the best video camera Sony has released\u201d in this price bracket. The UI is now pure Cinema Line (FX6\/Burano\/VENICE rather than Alpha), which cost both reviewers a couple of days of head-scratching before things clicked. The internal X-OCN comes in three compression flavors \u2013 LT, C1, and C2 \u2013 and the efficiency is remarkable: C2 in 4K 24p sits around 232 Mbps, actually smaller than Sony\u2019s XAVC S-I at around 240 Mbps, so you can shoot RAW without filling up your cards.<\/p>\n The triple base ISO (800, 4,000, and 12,800) plus a new dual gain mode make this, in Philip\u2019s words, the best low-light camera he has ever used \u2013 with the 12,800 base cleaner than on the FX3 and controllable noise reduction. There are quirks, though: the beautiful 4K 240p (1.3x crop) that Philip shot with is part of the Version 2 firmware that won\u2019t officially arrive until August 2027; there is no photo mode at all despite a physical shutter button; 32-bit float audio only works with the optional XLR handle; the new tiltable EVF (approx. \u20ac750) occupies the same spot as the handle so you have to choose between them; and all anamorphic modes disable both IBIS and autofocus. Philip also floats an interesting theory: the FX5\u2019s 16.6MP sensor may be the A7R VI\u2019s sensor with quad-binned pixels \u2013 unconfirmed by Sony, and a question Johnnie plans to raise in his upcoming interview with the product planner in Tokyo. Watch Johnnie\u2019s review on CineD and Philip\u2019s review on his channel \u2013 both are linked in the article above.<\/p>\n A24 defends its $75M Google DeepMind AI deal after fan backlash<\/p>\n Read more: A24 Defends Its $75M Google DeepMind AI Deal After Fan Backlash<\/a><\/p>\n (54:14 in the episode)<\/p>\n The studio behind \u201cEverything Everywhere All at Once\u201d and \u201cMarty Supreme\u201d took a $75M investment from Google DeepMind \u2013 Google\u2019s first stake in a major movie studio \u2013 and the backlash from fans was immediate, including canceled AAA24 memberships and flooded socials. A24 insists this is not an IP deal: no data training, no production mandate, and the library stays locked \u2013 a key difference from Lionsgate\u2019s licensing deal with Runway or the Disney vs. Midjourney lawsuit. The first project will be an AI storyboarding tool via A24 Labs. Philip and Nino take the discussion further into where generative AI is actually headed in production \u2013 from AI-generated interview \u201canonymization\u201d in a Netflix documentary that destroyed its emotional credibility, to the hopeful counter-trend of audiences flocking to see \u201cThe Odyssey,\u201d shot on 65mm IMAX film with almost no VFX.<\/p>\n ByteDance Seedance 2.5 API goes live \u2013 30-second single-shot clips, 50 reference inputs, and 3D camera blockouts<\/p>\n Read more: ByteDance Seedance 2.5 API Goes Live \u2013 30-Second Single-Shot Clips, 50 Reference Inputs, and 3D Camera Blockouts<\/a><\/p>\n (01:01:16 in the episode)<\/p>\n ByteDance has opened the API for Seedance 2.5, its latest and most capable generative video model \u2013 the successor to the one behind the infamous Brad Pitt vs. Tom Cruise fight scene. API access means third-party AI video services like Artlist and Higgsfield can plug it in, and the technical bar moves up: clips of up to 30 seconds in 4K with 10-bit quality. ByteDance frames it for social media, but Philip isn\u2019t buying any of it (\u201ceverything you see is just slop\u201d), while Nino sees a few defensible uses \u2013 generated backplates for virtual production and impossible transitions between unrelated shots \u2013 and argues for legal disclosure requirements whenever generated humans are shown, because the pushback shows audiences don\u2019t want to be fooled.<\/p>\n Read more: EBU Sport Publishes \u201cRaising the Bar\u201d \u2013 Camera Guidelines for Respectful Coverage of Women\u2019s Athletics<\/a><\/p>\n (01:06:15 in the episode)<\/p>\n Developed together with female Olympic athletes, this free PDF is a shot-by-shot camera and replay guideline against the sexualization of women athletes in athletics coverage \u2013 and it carries weight, since the EBU counts 113 members in 56 countries. It shows, per event type, how to position cameras and how not to, including specific guidance on slow-motion replays. Philip wonders how practical it will be for directors switching between cameras live, while Nino appreciates that it\u2019s framed as a tasteful guideline rather than a rulebook \u2013 though both agree the athletics authorities should perhaps also revisit the athletes\u2019 dress codes themselves.<\/p>\n Tamron 12-20mm f\/2.8 announced \u2013 compact ultra-wide zoom for Sony E and Nikon Z full-frame cameras<\/p>\n Read more: Tamron 12-20mm f\/2.8 Announced \u2013 Compact Ultra-Wide Zoom for Sony E and Nikon Z Full-Frame Cameras<\/a><\/p>\n (01:11:35 in the episode)<\/p>\n An interesting choice of focal range: most ultra-wide zooms stop short of 20mm, and 12mm is seriously wide on full frame. Philip owns several Tamron zooms and likes them, but the lack of a front filter thread is a dealbreaker for him \u2013 his Laowa 12mm f\/2.8 autofocus prime takes filters, which is exactly why he\u2019d reach for that instead. Nino sees gimbal work as a prime use case, which also suffers without front filters, while Tamron itself showcases astrophotography. Not a cheap lens either: $1,700 for Sony E and $1,800 for Nikon Z.<\/p>\n Viltrox AF 26mm f\/2.8 EVO full-frame pancake lens announced for Sony E and Nikon Z<\/p>\n Read more: Viltrox AF 26mm f\/2.8 EVO Full-Frame Pancake Lens Announced for Sony E and Nikon Z<\/a><\/p>\n (01:13:27 in the episode)<\/p>\n A tiny always-on lens for staying really compact with your E or Z mount camera \u2013 Viltrox shows it on the A7C II, clearly targeting the lifestyle crowd. At around $300 (\u20ac320 incl. VAT) it\u2019s affordable, and unlike many pancakes it actually covers full frame.<\/p>\n NiSi 16mm f\/2.8 medium format lens for FUJIFILM G and Hasselblad XCD announced<\/p>\n Read more: NiSi 16mm f\/2.8 Medium Format Lens for FUJIFILM G & Hasselblad XCD Announced<\/a><\/p>\n (01:15:22 in the episode)<\/p>\n A fully manual, very wide lens (roughly a 12\u201313mm full-frame equivalent) for a mount that arguably still needs more glass. At $1,400 it\u2019s notably affordable for medium format, with astrophotography as the marquee use case \u2013 and NiSi\u2019s optics reputation (Athena primes, variable NDs) works in its favor.<\/p>\n Read more: Godox KNOWLED AM800R Released \u2013 800W Full-Color Inflatable 4\u2019\u00d74\u2032 Mat Light<\/a><\/p>\n (01:17:18 in the episode)<\/p>\n An inflatable 1.2 \u00d7 1.2m RGB mat light that packs down to almost nothing and weighs just about 5kg \u2013 a welcome smaller sibling to Godox\u2019s existing 8\u2019\u00d78\u2019 and 4\u2019\u00d78\u2019 models. It ships with several diffusion strengths rather than the usual one or two, offers strong color rendering scores, app control, DMX and wireless CRMX, and multiple units can be ganged into a bigger surface. At around $4,000 it\u2019s aimed squarely at professional use, but the size and weight make it a light you can take anywhere.<\/p>\n HD Air Studio HALO modular gimbal debuts \u2013 15kg payload, 360\u00b0 roll and pan, handheld-to-remote head<\/p>\n Read more: HD Air Studio HALO Modular Gimbal Debuts \u2013 15kg Payload, 360\u00b0 Roll and Pan, Handheld-to-Remote Head<\/a><\/p>\n (01:19:20 in the episode)<\/p>\n A Polish company enters a space long dominated by the aging DJI Ronin 2 \/ Freefly M\u014dvi XL duopoly: the HALO is a modular, made-in-EU gimbal with a 15kg payload (enough for an ALEXA), 360\u00b0 roll and pan, weighing about 6kg handheld or 4kg converted into its remote head configuration. No price, shipping date, or transmission specs yet \u2013 for now it\u2019s an early sign-up \u2013 but it\u2019s encouraging to see movement in a category high-end operators have been begging to see innovation in.<\/p>\n edelkrone Krone X Compact announced \u2013 up to seven axes of motion in a backpack<\/p>\n Read more: edelkrone Krone X Compact Announced \u2013 Up to Seven Axes of Motion in a Backpack<\/a><\/p>\n (01:24:01 in the episode)<\/p>\n The Turkish manufacturer\u2019s new dolly-jib-remote-head system offers up to seven motorized axes that fit in a single backpack, at $5,500 (with a 30% launch discount). The built-in wheels let the whole rig drive itself around a subject \u2013 edelkrone demonstrates a studio car shoot with pre-programmed motion control moves \u2013 though it\u2019s naturally limited to very flat surfaces. Nino has always loved edelkrone\u2019s ideas while having mixed reliability experiences with some past products, so here\u2019s hoping it works as advertised.<\/p>\n Zaxcom publishes white paper on Narrow Band Direct Conversion<\/p>\n Read more: Zaxcom Publishes White Paper on Narrow Band Direct Conversion \u2013 New Receiver Architecture Promises Better Interference Rejection<\/a><\/p>\n (01:26:21 in the episode)<\/p>\n One for the audio folks: with wireless frequencies getting more crowded everywhere \u2013 anyone who has fought transmission dropouts on a trade show floor knows the pain \u2013 Zaxcom\u2019s white paper explains why that happens and how their narrow band direct conversion receiver architecture works around it, implemented in their four-track 32-bit float recorder\/automixer with USB-C interface. It\u2019s a manufacturer white paper, so the claims are unverified, but the pain points it describes are real.<\/p>\n Read more: LIT OS 0.9 beta4 for the LIT DUO 1 Light Meter Released \u2013 Higher Spectrum Resolution, CRI and SSI, New \u0394EV Mode<\/a><\/p>\n (01:27:45 in the episode)<\/p>\n The LIT DUO 1 \u2013 whose founder Johnnie interviewed in episode 112<\/a> \u2013 gets a major beta update: 2.5\u00d7 spectrum resolution, CRI and SSI readings (SSI on a pocket meter is genuinely new), an exposure-difference \u0394EV sub-mode, Color Engine 2.0, and reworked encrypted BLE for upcoming apps. The final release lands in mid-August, but you can install the beta now via simple USB-C drag-and-drop \u2013 it can\u2019t brick the device and doesn\u2019t void the warranty. A European hardware startup that ships and iterates in public is rare and worth celebrating.<\/p>\n Log Cam and RAW Cam bring open gate RAW and log video to older iPhones \u2013 a skeptical look<\/p>\n Read more: Log Cam and RAW Cam Bring Open Gate RAW and Log Video to Older iPhones \u2013 A Skeptical Look<\/a><\/p>\n (01:29:35 in the episode)<\/p>\n A one-person studio in Croatia is bypassing Apple\u2019s ISP to record open gate CinemaDNG, MCRAW, ProRes, Log, and HEVC on iPhones as old as the iPhone 13 \u2013 including non-Pro models that never got Apple Log. Both apps are a one-time purchase of around $12\u201313, and the developer claims true Apple Log 2 (the curve and gamut are published, though Apple\u2019s per-sensor characterization is not). The fun anecdote: in a blind test, every viewer preferred a four-and-a-half-year-old iPhone 13 mini running Log Cam over an iPhone 17 Pro shooting ProRes RAW. Honest caveats remain \u2013 no autofocus while recording, unreliable manual focus at slow shutter speeds, and freezes on base hardware \u2013 but MCRAW\u2019s lossless RAW at a third of the storage, mounting as virtual CinemaDNG in Resolve via the Motion Cam tools, makes this worth watching.<\/p>\n Read more: CineD Best-of-Show Awards at IBC 2026 \u2013 Submit Your Product\/Innovation Now!<\/a><\/p>\n (01:32:18 in the episode)<\/p>\n Submissions for our Best-of-Show Awards at IBC 2026 are now open \u2013 manufacturers, send in your products! Categories include AI innovation, audio equipment, battery innovation, broadcast, camera, camera control and accessories, camera support, lenses, lighting equipment, monitors, and recording\/streaming\/cloud (we reserve the right to move submissions into a better-fitting category). Winners will be announced during the show.<\/p>\n Sony Future Filmmaker Awards 2027 open for entries \u2013 new Immersive category, Snapdragon Shorts Award, free entry worldwide<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/ai\/wp-content\/uploads\/2026\/07\/Sony-FX5-review-no-text-900x506.jpg\")
Holding the new Sony FX5 \u2013 Image credit: CineD<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/ai\/wp-content\/uploads\/2026\/07\/EBU_Sport_raising_the_bar-03-900x534.jpg\")
EBU\u2019s \u201cRaising the Bar\u201d Camera Guidelines give clear instructions which kind of angles are okay, and which ones aren\u2019t. Image credit: EBUEBU Sport publishes \u201cRaising the Bar\u201d \u2013 camera guidelines for respectful coverage of women\u2019s athletics<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/ai\/wp-content\/uploads\/2026\/07\/Godox-KNOWLED_AM800R-featured-900x506.jpg\")
KNOWLED AM800R \u2013 Image credit: GodoxGodox KNOWLED AM800R released \u2013 800W full-color inflatable 4\u2019\u00d74\u2019 mat light<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/ai\/wp-content\/uploads\/2026\/07\/LIT-Duo-Firmware-featured-900x506.jpg\")
LIT DUO 1 gets a feature-heavy firmware update. Image credit: LIT SystemsLIT OS 0.9 beta4 for the LIT DUO 1 light meter released<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/ai\/wp-content\/uploads\/2026\/07\/CineD-Best-of-Show-IBC-2026-Submissions-Open-900x506.jpg\")
Image credit: CineDCineD Best-of-Show Awards at IBC 2026 \u2013 submit your product or innovation now!<\/p>\n