Sony has announced the FE 50-150mm f/2.0 GM lens. Sony has never announced such a lens before with a focal range from 50 to 150 and having a constant f/2.0 aperture range.
This is the best professional portrait lens a photographer can ever have in a Sony FE Mount camera. It will give unparalleled performance during a professional partner shoot, a wedding event, or even in sports photography.
Pre-order / Buy Sony FE 50-150mm f/2.0 GM Lens from B&H Store
Specification
Details
Focal Length
50-150mm
Maximum Aperture
f/2.0 (constant)
Weight
1340g
Length
200mm
Minimum Focus Distance
15.8 inches (0.4m) at 50mm, 29.1 inches (0.74m) at 150mm
Maximum Magnification
1:5 (0.2x)
Filter Thread
TBD
Mount
Sony E-mount (full-frame)
Price
~€4400 / ~$4000 USD
Shipment Start
Early June 2025
Let’s explore the key features of the 50-150mm f/2.0 GM lens.
Constant f/2.0 aperture: So it offers the best low light performance in its focal range, and at the same time, it gives you flexibility of 50 to 150mm. So it’s a kind of very unique combination of multiple prime lenses you are getting in a single zoom lens.
G Master optics: Sony has used the finest optical elements possible, which include extreme aspheric XA lenses that deliver edge-to-edge sharpness while holding minimal chromatic aberrations.
Fast and accurate autofocus: With the implementation of 4 XD Linear autofocus motors for rapid and silent focusing, the lens takes no time to lock autofocus on the moving subject.
Compact and lightweight: Why are we saying compact and lightweight for a lens that weighs 1340 grams? We are saying from a perspective—if you are buying a 135mm f/2 lens of Sigma for Sony E-mount, you have to carry approximately the same weight and the size too. In approximately the same weight and size, you are getting an amazing zoom lens in your hand which is capable of zooming in/zooming out from 50 to 150mm at f/2 aperture.
Rugged design: It’s completely weather-sealed so you can shoot in dusty and moist environments.
Why is this lens a game changer?
See, it is one of the unique and it’s better to say a revolutionary lens for many reasons. If we consider a single reason, that we are getting an f/2.0 aperture in a daily-use zoom lens which covers approximately 50–150mm distance, which was never possible before.
Tamron 35-150mm f/1.8–2.8 vs Sony 50-150mm F2.0
The Tamron 35-150mm f/1.8–2.8 lens. That’s the budget alternative, Sony 50-150mm F2.0. Centre sharpness-wise, Tamron will produce a great result. But if you want to have corner-to-corner sharpness and best-in-class optics, + brighter aperture at tele-end F2.0 vs F2.8, then for sure Sony is the best option.
The other major difference is the price tag. The Tamron 35-150 f/1.8–2.8 is available at $1599 at the B&H Store, whereas the Sony premium lens will cost you $4000. So if you can pay the price, then it’s completely okay. But if it matters, then Tamron is the best.
Who is this lens made for?
Sony 50-150mm f/2.0 lens is tailored for professional photographers—those who are into:
Wedding photography: So in wedding photography, it actually replaces the requirement of multiple prime lenses in your camera bag. Once you have this, it’s perfect and good to go for all kinds of candid and professional-looking portrait shots.
Portrait photographers: A portrait photographer generally carries lenses like 50mm, 85mm, and 135mm, and they pick and use the lenses depending upon the situation they are shooting in. So this lens will literally eliminate the requirement of having multiple prime lenses in your bag, and it will give you prime-like quality.
Event and concert photographers: If you do event or concert photography, specifically in dim light or low-light environments, then this lens is the best and the most versatile zoom lens available to you.
Indoor sports photographers: Compatible with teleconverters as well as features 4X linear autofocus motors, for blazing fast autofocus performance + AF tracking.
And finally, our Tamron 35-150mm—if you don’t want to spend that much, of course, Tamron is an excellent choice.
The article was published at 3:46 pm, Tuesday, 22 April 2025. By thenewcamera.com Team. You can follow us on our social pages FACEBOOK | TWITTER | INSTAGRAM, –>If you have time –>see moreSony Alpha Rumor Latest Camera News
If you are waiting for a massive discount on the Sony A7 series full-frame mirrorless camera or searching for the best deal on Sony A7 IV in 2025, this is the best time to grab the deal. B&H Photo Video is currently offering a massive discount of $500 on the Sony A7 IV camera body, bringing it down to the lowest price ever for Sony A7 IV.
This sudden price cut raises a big question: Is Sony preparing to announce the Sony A7V camera, the next-generation upgrade to the A7 IV? In general, before a camera successor or next-gen mirrorless model is announced, retail stores and online stores put a huge discount on old camera models to clear stock and make space for new Sony full-frame camera releases.
Since there is no sales season going on, it looks completely weird when you see a major Sony camera discount in 2025 without any ongoing sales event. So this is a very clear indication that with this random price drop on the Sony A7 IV, Sony is about to replace its 3+ year-old Sony A7 IV camera, the Sony A7V is about to arrive. Canon EOS R6 Mark III also about to arrive, so Sony has to be quick with their move in the competitive full-frame mirrorless camera market.
The article “Sony A7V Launch Near? Massive $500 Discount on Sony A7 IV at B&H” was published at 12:24 pm, Tuesday, 22 April 2025 GMT. By thenewcamera.com Team. You can Follow us on our social pages FACEBOOK | TWITTER | INSTAGRAM, If you have time –>see moreSony Alpha Rumor
Sony has registered a new model codeWW934774 in Shanghai Suoguang, China, as we now know most of the A7 series cameras / full-frame models have now shifted to Thailand. And now, mainly Sony is manufacturing the ZV series APS-C and Compacts in China. So, with the registration of Model Code WW934774.
Update May 2025: Finally, we got confirmation that the upcoming Model Code WW934774 is the Sony FX2 Camera.
Previous registration Full information – WW277226 (registered in Indonesia, manufactured in Thailand, possibly the Sony A7V or another E-mount camera) Sony registered a New Camera WW277226
The article “Breaking News: Sony Registered one More Camera – Model Code WW934774” was first published on thenecamera.com website, at 3:41 pm Monday, 21 April 2025, by the new camera team Follow us on our social pages FACEBOOK | TWITTER | INSTAGRAM, If you have time –>see moreSony Alpha Rumor
One of my fav megazoom cameras, the Sony RX10 IV has officially been discontinued. As a large-zoom fixed-lens camera in Sony’s lineup, it offered 25x optical zoom, enabling shooting needs from 24-600mm equivalent focal length, making it a top choice for many Sony users. However, this model has now been officially listed as discontinued by some Japanese e-commerce sites (although it is still in stock on overseas platforms like Amazon and B&H). According to current information, Sony has not announced any successor to this model. However, with the increasing popularity of large-zoom fixed-lens cameras from Panasonic and Nikon, whether Sony will release a new model remains to be seen. Are you looking forward to a new model in this series?
Let’s compare the specifications of the Canon R50V and Sony ZV-E10 cameras. We are also focusing on their video graphics features. Both specifications are up to date as of March 26, 2025. Enjoy the specs comparison between the two.
Specification Comparison Table: Canon R50V vs Sony ZV-E10
Category
Canon R50V
Sony ZV-E10
Release Date
March 26, 2025
July 27, 2021
Sensor
24MP APS-C CMOS
24.2MP APS-C Exmor CMOS
Processor
DIGIC X
BIONZ X
Lens Mount
Canon RF-S (compatible with RF lenses)
Sony E-mount
Native ISO Range
ISO 100-32,000, extendable to 51,200
ISO 100-32,000 (expandable to 50-51,200)
Video Specifications
Feature
Canon R50V
Sony ZV-E10
Max Video Resolution
4K 60p (cropped), 4K 23.98p (assumed uncropped based on preview footage)
4K 30p (1.23x crop), 4K 24p (uncropped, oversampled from 6K)
Full HD Capabilities
1080p up to 120p (implied from slow-motion options)
1080p up to 120p
Video Codecs
H.265, H.264 (10-bit 4:2:2)
XAVC S (H.264, 8-bit 4:2:0)
Color Profiles
C-Log3, custom picture profiles from Canon cinema series
S-Log2, S-Log3, HLG
Internal Recording
10-bit internal recording with C log
8-bit internal recording S Log
Streaming
4K 30p via USB-C (dedicated quick streaming button)
720p via USB-C (requires software setup, no 4K streaming natively)
Slow Motion
1080 120p Supported with option to bake in or exclude audio (specific frame rates not detailed)
1080p 120p (no audio baking options specified)
Recording Limit
Not specified / No limit
No recording time limit
Autofocus in Video
Dual Pixel AF II (fast, reliable tracking, eye detection)
Fast Hybrid AF with Real-time Eye AF, Tracking, Product Showcase mode
Stabilization
No IBIS, relies on lens IS (e.g., 14-30mm PZ) or digital stabilization (crops further)
No IBIS, Active SteadyShot (digital, ~1.44x crop in Active mode), lens OSS support
Cinematic Features
“Peter McKinnon mode” (baked-in cinematic bars)
No SCinetone mode
Audio Specifications
Feature
Canon R50V
Sony ZV-E10
Microphone Port
Yes (3.5mm)
Yes (3.5mm)
Headphone Port
Yes (3.5mm)
Yes (3.5mm)
Onboard Microphone
Standard stereo mic (not emphasized as vlogging-specific)
Directional 3-capsule mic with windscreen (optimized for vlogging)
Digital Audio Support
Digital hot shoe (24-bit, 4-channel audio with compatible Canon mics)
Multi-interface shoe (digital audio with compatible Sony mics)
Body Design
Feature
Canon R50V
Sony ZV-E10
Dimensions
116 x 86 x 69 mm
115 x 64 x 45 mm
Weight
~375g with battery
343g (with battery and SD card)
Viewfinder
None (EVF omitted to reduce cost)
None
Screen
3-inch vari-angle LCD 1.04 Mdot
3-inch fully articulated LCD (921k dots)
Tally Light
Yes (front-facing, with red box on screen)
Yes (red tally light on front)
Vertical Video Support
Quarter-20 mount on side for vertical tripod/gimbal use
No dedicated vertical mount
Weather Sealing
None
None
Ergonomics
Compact, lightweight, minimal grip
Compact, lightweight, minimal grip
Ports and Connectivity
Feature
Canon R50V
Sony ZV-E10
USB
USB-C (supports streaming and charging)
USB-C (supports streaming and charging)
HDMI
Micro HDMI
Micro HDMI
Microphone Port
Yes (3.5mm)
Yes (3.5mm)
Headphone Port
Yes (3.5mm)
Yes (3.5mm)
Remote Port
Yes (2.5mm)
No
Hot Shoe
Digital hot shoe (24-bit, 4-channel audio support)
Multi-interface shoe (digital audio support)
Wireless
Wi-Fi 5
Wi-Fi (2.4 GHz), Bluetooth 4.1
Battery and Storage
Feature
Canon R50V
Sony ZV-E10
Battery Type
LP-E17
NP-FW50
Battery Life (CIPA)
270 shots per charge
440 shots
Charging
USB-C charging supported
USB-C charging supported
Storage
Single SD slot UHS-II
Single SD slot UHS-I
Still Photography
Feature
Canon R50V
Sony ZV-E10
Resolution
24MP
24.2MP
Burst Shooting
15 fps (electronic), 12 fps (electronic first curtain)
11 fps (mechanical/electronic)
RAW Support
Yes
Yes
Image Stabilization
None (lens-based only)
None (lens-based only)
Price and Kit Options
Feature
Canon R50V
Sony ZV-E10
Body Only
$649
$699
Kit Option
$849 with RF-S 14-30mm f/4-6.3 PZ IS STM (22-48mm equiv.)
$799 with E PZ 16-50mm f/3.5-5.6 OSS (24-75mm equiv.)
Lens Ecosystem
RF-S (limited native APS-C lenses, full RF compatibility)
E-mount (extensive native APS-C and full-frame options, third-party support)
Additional Features
Feature
Canon R50V
Sony ZV-E10
Vlogging Features
Tally light, vertical mount, quick streaming button, cinematic bars, Canon’s own product showcase mode, and many new features
Product Showcase mode, Background Defocus button, directional mic
Customizability
Custom picture profiles from the cinema series
SCinetone Missing
Firmware Updates
Not applicable yet (preview model)
Regular updates (e.g., improved streaming with firmware v2.00)
Conclusion: Canon R50V vs Sony ZV-E10
The Canon R50 V camera features updated video recording capability, including 10-bit 4:2:2 internal recording and 4K video recording up to 60 frames per second (1.5x crop). However, the Sony ZV-E10 remains limited to 8-bit, and 60 FPS 4K mode is unavailable. Even in the live streaming option, the Canon R50 V can live stream up to 4K 60 FPS. Additionally, in the body, you get a vertical mount to record vertical videos for YouTube Shorts, Instagram, or other media networks.
The only reason Sony excels now is the vast lens found in the E-mount. We have a range of options, and nowadays, even Viltrox Air series lenses are available at very affordable prices and can be easily purchased for the Sony ZV-E10 camera. On the other side, in Canon R50 V, we have a very limited number of lenses, so you have to choose wisely—either go with a higher-priced Sony body like ZV-E102 and later buy affordable lenses or get the R50 V and pay for pricier lenses.
Sony just posted an teaser of their upcoming Fullframe cinema camera announcement, as per the leaked image its visible its scaled-down VENICE expansion module on March 26, 2025,
More over this – Sony itself accicxently leaked upcoming VENICE Extension System in a video which was removed later, the image you see below is The VENICE Extension System Mini (model CBK-3621XS) has a built-in 8.6K full-frame CMOS sensor that retains the image quality of VENICE 2
VENICE Extension System Mini
Approximately 70% smaller than the VENICE Extension System 2 (image block volume ratio). Flexibility is built into every corner of the compact design. A slim, soft, detachable cable brings greater freedom to filmmaking, while also opening up XR content creation and stitching shooting. The PL mount adapter supports more lens selection and metadata recording. Assignable buttons and numerous mounting holes allow photographers to mount and shoot to their preferences. This compact system is ideal for handheld, gimbal, and POV shooting.
The Sony FX3 camera was announced back on February 23, 2021. It was a full-frame mirrorless consumer cinema camera. It was made to make cinema cameras within the reach of more and more professionals—those who love to have a compact body with all the possible features of a professional cinema camera. The FX3, at the time of the announcement, had a 12.1-megapixel CMOS sensor that was used in the Sony A7S Mark III camera and featured 4K Ultra HD video recording up to 120 frames per second and 10-bit 4:2:2 XAVC S-I internal recording.
Limitations of Sony FX3
But at the time of the announcement, the camera was lacking an internal RAW video recording mode, and of course, the FX9 also does. But with the FX3, we do have an option to get 16-bit RAW video by the HDMI port, but again, no option to record RAW internally.
The other option that was missing inside the FX3 is open-gate recording, which is now available in almost all Panasonic and Fuji cameras. Even cameras like the Panasonic S9, S5 II, Fuji X-S20, and Panasonic S1R Mark II now offer open-gate recording.
What Rumor Mills Are Saying This Time
A lot of rumors indicate potential upgrades to the sensor, including a global shutter sensor, which is coming from SAR.com
New features are coming inside the FX3 Mark II camera, which will fill the gaps of the first version of this camera.
The first feature that we are about to receive in the FX3 Mark II is an open-gate recording in a 3:2 format, which is almost confirmed. After a very long wait, Sony professional users will be getting open-gate recording in their upcoming professional camera.
The other confirmed set of features includes 12-bit internal RAW internal video recording, which is about to arrive inside this camera. It’s really a kind of exciting moment to see these new features that we have never witnessed or seen in Sony’s professional consumer-grade cameras coming along with the FX3 Mark II announcement.
The Next Cinema Camera from Sony is FX3 II, Arriving before Q3 of 2025.
Why Do Internal 12-bit RAW and Open Gate Actually Matter to Professionals?
A RAW video that a camera records is uncompressed or minimally compressed data, which is directly coming from the sensor without passing through different algorithms, providing the maximum latitude possible for color grading and other post-production adjustments. 12-bit video offers color depth, allowing users to have smooth gradients as well as better dynamic range handling compared to other lower bit-depth or compressed video codecs. So, having these capabilities internally means filmmakers can enjoy filmmaking and can get the maximum possible advantage of the sensor being used inside the camera, which other camera makers are also giving right now.
Another important aspect, professional content creators nowadays use open-gate recording to handle the content for multiple platforms simultaneously. These content creators need to adapt footage for various platforms recording at the same time, and by recording the full sensor, they can crop out aspect ratios required for post-production without losing the video quality of the camera.
It’s a Time for Upgrade
Sony’s higher-end cameras like the FX9 and FX6 do not support internal RAW recording and require an external recorder to capture 16-bit RAW via SDI output, and that’s the most frustrating thing for many professionals out there. That’s why, possibly, they are migrating to different brands such as Panasonic Lumix at this moment. So, the market pressure from the competitors for having internal RAW video recording as well as the open gate has led Sony to innovate these features in the FX3 Mark II (based on the information we have ). If they fail to innovate, they will not remain competitive with others, and that will be a big mess for the brand’s consumer base. Given the success of the FX3 and the growing market demand for hybrid cameras as well as advanced video features, this is the best time for Sony to release the FX3 Mark II camera with extended capabilities.
The article “Sony FX3 Mark II to Feature Open-Gate and 12-Bit Internal RAW” was first published on TheNewCamera.com by TheNewCamera Team. Follow us on our social pages FACEBOOK | TWITTER | INSTAGRAM, If you have time –>see moreSony Alpha Rumor
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