Sony recently unveiled an exciting new camera – the FR7, part of their Cinema Line – that combines the DNA of their Alpha 7-series of full-frame mirrorless cameras with the flexibility, precision and control of a remote-controlled studio camera.

We recently had the chance to test Sony's new FE 70-200mm F2.8 GM OSS II lens on the FX3 Full Frame Cinema Camera.

We’ve known it’s been coming for some time, and now ARRI’s new 4K Super 35-format camera is finally here – meet ALEXA 35. The specs are impressive – a new 4K sensor, 17 stops of dynamic range, new REVEAL color science, and much more.

Canon recently announced the launch of a new line of full frame (aka full format) zoom lenses as part of their EF Cinema Lens lineup. These new lenses, called the Flex Zoom series, were developed to provide cinema-style productions with a full frame option leading to greater workflow efficiency. The first lenses in the series are the CN-E 20-50mm T2.4 L F/FP wide-angle zoom lens and the CN-E 45-135mm T2.4 L F/FP telephoto zoom lens. Both lenses are available in EF mount (the 'F' versions) or in standard PL mount (denoted 'FP').

Motion Impossible has just announced the new MagTrax drive-end upgrade for their AGITO robotic camera dolly. The MagTrax guidance system enhances existing AGITO Sports drive-ends, enabling operators to follow a magnetic strip laid on a surface, underneath a carpet, or embedded within a set. The magnetic strip can be arranged in various creative ways that are not possible with conventional dolly track.

Cooke announced the launch of a new line of Full Frame (aka Full Format) prime lenses – the S8/i series. These new flagship lenses slot in at the top of Cooke’s range of spherical Full Frame primes. The set will initially comprise focal lengths of 25mm, 32mm, 40mm, 50mm, 75mm, 100mm, and 135mm. Nine additional focal lengths are anticipated in Fall of 2022, including 18mm, 21mm, 27mm, 35mm, 65mm, 85mm MACRO, 180mm, 250mm, and 350mm.

Sony has announced a new version of their flagship full frame VENICE camera, VENICE 2. VENICE 2 shares much in common with the existing VENICE body, while bringing a host of new features and advantages, including an 8.6K sensor version (a 6K sensor version, as on the original VENICE is also available; both are full frame), true internal RAW and ProRes recording to AXS media, 16 stops of dynamic range, and new dual native ISOs of 800 and 3200.

It's official. One day after RED CEO Jarred Land teased some tantalizing images on his Instagram account, RED has launched their latest 8K digital cinema camera, V-RAPTOR. Featuring a new form factor (the first in the company's new DSMC3 line), a locking variant of Canon's RF lens mount, CFexpress 2.0 Type B media support, dual SDI outputs, and a new multi-format sensor similar in configuration to RED's MONSTRO sensor, the new camera system is a powerful and elegant optimization of RED's camera DNA, clearly incorporating design cues from their popular 6K KOMODO body.

In October of 2018, Canon introduced the EOS-R, the first in a new line of full-frame mirrorless still and video cameras along with a new lens mount, dubbed ‘RF’. Unlike the familiar EF mount, which debuted in 1987 with the original EOS series of film cameras, Canon’s new mirrorless mount provides a greatly reduced flange focal distance — also known as flange depth or registration distance — along with a higher bandwidth data pathway between bodies and lenses.