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By admin, on February 13th, 2025
Today, the Z Cinema camera was officially announced. As we all know, RED Digital Cinema is now a subsidiary brand of Nikon. They have modified and relaunched the V-RAPTOR with a Z Mount and the KOMODO with a Z Mount.
We were the first ones to talk about the Z KOMODO [read our expectation article], and just a few months later, we received information about the RAPTOR. The context was that they were working on both series one after the other, and finally, they announced them today.
The new RAPTOR and KOMODO with the Z Mount feature inherit all the goodness of the Z Mount system. This means the autofocus performance has also been integrated into these cameras. So if you are using the recently announced Z Cinema lenses or Nikon Z Mount system lenses, there should be no problem. As we all know, the RAPTOR camera offers 20+ stops of dynamic range, and using it with improved autofocus lenses will be a game changer in the field of cinematography.
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RED DIGITAL CINEMA’S V-RAPTOR [X] AND KOMODO-X CAMERA SYSTEMS EXPAND CAPABILITIES WITH POWERFUL NIKON Z MOUNT
FOOTHILL RANCH, Calif. (Feb. 12, 2025 at 8p.m. PACIFIC TIME)—RED DIGITAL CINEMA® announced today that its groundbreaking V-RAPTOR [X] and KOMODO-X camera systems will also now be available with Nikon’s premier Z Mount, providing filmmakers with ultimate flexibility in lens choice and a complete capture solution from lens to sensor to codec.
“This marks the beginning of RED and Nikon’s collaborative products and it is the exciting first step in a new Z Cinema Series,” said RED Digital Cinema CEO Keiji Oishi. “By integrating the Z Mount, RED is providing more lens choices than ever before, empowering filmmakers with greater artistic flexibility. This development grants filmmakers the versatility of Nikon’s innovative Z lineup and PL options, as well as access to F Mount glass and many popular vintage lenses.”
With a shallower flange depth and a wider diameter, the Nikon Z Mount enables lens designs with higher sharpness and superior aberration control. The Z lenses can deliver unrivaled low-light performance and edge-to-edge detail as well as autofocus performance on both the V-RAPTOR [X] and KOMODO-X cameras.
Key Features, Pricing and Availability
RED’s V-RAPTOR [X] Z MOUNT, recognized for its unmatched low-light performance, dynamic range, resolution, high frame rates, and industry-leading 8K VV global shutter large format sensor, is available for a suggested retail price of $29,995.
RED’s KOMODO-X Z MOUNT features a 6K S35 global shutter sensor and frame rates at 6K 80P and 4K 120P, all in a form factor measuring only 4x4x5 inches and 2.6 lbs. The KOMODO-X Z MOUNT is available for a suggested retail price of $6,995.RED is also announcing all-new Z to PL Adapter Packs, which provide a robust PL mount solution and added flexibility for V-RAPTOR [X] Z MOUNT and KOMODO-X Z MOUNT shooters. Currently, there are four different Z to PL Adapter Pack options available, with shipments starting in spring 2025:
| Z to PL Adapter Pack Options |
Suggested Retail Price |
| RED V-RAPTOR Z to PL Adapter Pack |
$1,500 |
| RED V-RAPTOR Z to PL with Electronic ND Adapter Pack |
$3,500 |
| RED KOMODO Z to PL Adapter Pack |
$1,500 |
| RED KOMODO Z to PL with Electronic ND Adapter Pack |
$3,500 |
Both the RF and the all-new Z mount versions of the V-RAPTOR [X] and KOMODO-X cameras, and Z to PL adapter packs are available now on RED.com or through RED Premium Dealers.
RF Mount Transition
Filmmakers now also have the option to convert their RF mount versions of the V-RAPTOR [X] and KOMODO-X cameras to the all-new Z Mount systems. This transition costs $1,695 for the V-RAPTOR [X] and $1,595 for the KOMODO-X.
Trade-In Program
RED is excited to announce the return of its trade-in program, now available for the latest generation of RED cameras, including the new Z Mount models. Customers can trade in their existing RED DSMC, RAVEN, SCARLET-W, DSMC2, or RANGER cameras and receive a credit towards the purchase of a new, eligible RED V-RAPTOR XL [X] Pack or RED V-RAPTOR Pack [X] Pack with either the new Z Mount or RF Mount. For more information on the trade-in process and eligibility, please visit RED.com.
“We are committed to providing filmmakers with limitless possibilities for realizing their desired vision, and the fusion of RED and Nikon’s robust technologies and expertise will generate even more advanced tools, enhancing our filmmaking community’s creative capabilities,” added Oishi.
For more information on the V-RAPTOR [X] and KOMODO-X Z MOUNT camera systems, visit RED.com or RED Premium Dealers. Filmmakers can also visit the RED Studios Hollywood store location or any one of the RED Premium Dealers across the globe to schedule a demo and learn more about the products.
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By admin, on February 12th, 2025
So, that’s the teaser TTartisan has uploaded to its page. They are making very bold claims about their upcoming product on 27 February at the CP+ Show in Yokohama, Japan.
And the level of excitement they have is just amazing, you can see their Teaser text, a hypothetical chat that is full of excitement and no logic behind that 🙂 , that sounds fascinating and at the very same time it excites us too what coming next from these guys
Some rumors also state that they are about to announce their first Mirrorless Camera, is it is true then it’s a piece of very good news. Once they have started something other Chinese third-party lens makers will also follow soon, and after a while, we have a huge range of budget mirrorless camera options…. just a thought
Btw, we have to wait, and see what coming up Next from TTartisan at Yokohama on Feb 27, before that if we get any new updates about upcoming TTartisan cameras and lenses we will post an update soon.
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By admin, on February 10th, 2025
Before we begin, let me tell you one thing: both cameras carry almost the same core specifications like sensors, image processors, and other technical aspects, so the image quality and video quality will be the same.
Here comes the design part: if you would like a slightly retro-looking camera, you can go with the Olympus OM-3, the latest edition. But if you love to have the Olympus OM-1 Mark II, why would you love it? Because it has a deeper DSLR-style hand grip. Another thing is that due to the type of body construction, there is no overheating issue associated with this particular camera. Now, the OM-3 heatsink isn’t as good as the OM1 II, so it may be prone to overheating while recording 4K videos for a longer period.
Which Camera is Recommended for You?
If you love to have a DSLR-style hand grip and a professional-grade weather-sealed rugged body, then the OM-1 Mark II is the better choice. Another thing—yes, we do have some slight photography advantages inside the OM-1 Mark II, like an extended ISO range. Right now, we don’t have confirmation about the OM-3, but it does not have a very high-resolution electronic viewfinder of 5.76 million dots, as well as a mechanical shutter range up to 1/8000 of a second.
Professional grip easy to carry heavier lenses with the camera, and even makes feels you more and more comfortable when you hold this camera for longer hours for shoot, like shooting an event or wedding
Even the continuous shooting speed of the mechanical shutter is approximately 10 frames per second in the Olympus OM 1 mark II, which is limited to 6 frames in the OM-3. So, if you look at all the possible core specifications in both cameras, then for photographers who don’t bother about the type of design they are getting and are not inclined towards the retro-style camera, the best option is to buy the OM-1 Mark II.
The Olympus OM3 is even marketed as a street-style Retro camera. Most of the pics used for promotion showed people holding their cameras with straps and using a lightweight lens, but again professionals who hold their camera hands for longer periods will surely prefer the OM1 Mark II
For Videographers and Photographers
The best thing recently introduced in the new OM-3 camera is the OM-Cinema Mode. With the OM-Cinema Mode, you get a decent, slightly less-contrasty color picture profile, which is more suitable for displaying your captured videos on 4K HD televisions.
But again, you have to consider one thing—if you are a podcaster who records for longer periods, then you should go with the OM-1 Mark II, since it doesn’t have any limitations like the 120-minute recording limit in 4K on the OM-3.
If you are into longer recording sessions, then for sure, the OM-1 Mark II is the best choice. Additionally, it supports Full HD video recording at 240 fps for slow-motion shots.
Again, the Cinema Mode in the OM-3 can be easily adjusted in post-processing, so it’s not a big thing.
Olympus OM-1 Mark II vs. Olympus OM-3 Specification Comparison
OM System OM-3 Camera Body $1,999.99 [ Amazon.com | Adorama.com | B&H Store]
OM System OM-1 Mark II Camera Body $1,999.99 [ Amazon.com | Adorama.com | B&H Store]
Design & Build Quality
| Feature |
OM-1 Mark II |
OM-3 |
| Weight |
511g (1.1 lb) |
413g (0.9 lb) |
| Weather Sealing |
IP53 (dust/splash-proof) |
IP53 (dust/splash-proof) |
| Viewfinder |
5.76M-dot OLED (1.48x magnification) |
2.36M-dot OLED (1.23x magnification) |
| LCD Screen |
3″ 1.62M-dot fully articulating touchscreen |
3″ 1.62M-dot tilting touchscreen |
| Customization |
Rubberized dials, updated menus |
Custom Mode Labels + video light sync |
|
|
|
| Battery Life |
~500 shots |
~500 shots |
Design Winner: OM-3 for portability and custom workflows. OM-1 II for viewfinder quality and articulating screen.
Photography Performance
| Feature |
OM-1 Mark II |
OM-3 |
| Design |
Large DSLR style Handgrip |
Need and rig to make it comfortable for shooting longer hours |
| Sensor & Processor |
20.4MP Stacked BSI MOS + TruePic X |
20.4MP Stacked BSI MOS + TruePic X |
| Bit Depth |
14-bit RAW |
14-bit RAW |
| ND filters |
Built-in e-ND |
Built-in e-ND |
| ISO Range |
80–102,400 (extended) |
200–25,600 |
| Burst Shooting |
120 fps (electronic), 50 fps with AF/AE (10 FPS mechanical) |
120 fps (electronic), 50 fps AF/AE (6 FPS mechanical) |
| Autofocus |
1053-point Cross Quad Pixel AF + AI detection (birds, humans, vehicles) |
1053-point Cross Quad Pixel AF + AI (motorsports, pets, Astro) |
| Stabilization |
7.5 stops (Sync IS with lenses) |
7.5 stops (Sync IS with lenses) |
| Unique Tools |
Live ND, Vertical Video |
Starry Sky AF, Pro Capture Mode (70 pre-shot frames) |
Photography Winner: OM-3 for Astro, motorsports, and street photography. OM-1 II for wildlife, action, and low-light versatility.
Video Capabilities
| Feature |
OM-1 Mark II |
OM-3 |
| 4K Recording |
DCI/UHD 4K 60p 10-bit 4:2:0 |
DCI/UHD 4K 60p 10-bit 4:2:0 |
| Slow Motion |
240fps @ 1080p |
60fps @ 1080p |
| Audio |
16-bit/48kHz LPCM |
24-bit/96kHz LPCM |
| Cinematic Tools |
Vertical Video, OM-Log, HDR-HLG |
OM-Cinema Mode + IP Streaming |
| Recording Limits |
Unlimited (no overheating) |
120 mins (4K) |
| External Output |
12-bit RAW via HDMI |
12-bit RAW via HDMI |
Pros & Cons
| Camera |
Pros |
Cons |
| OM-1 Mark II |
✅ Best for action, wildlife & sports photography ✅ Superior slow-motion video (240fps @ 1080p) ✅ Live ND (up to ND128) for creative previews ✅ Unlimited recording time for long video shoots ✅ Higher ISO range (80–102,400) for low-light performance ✅ Higher-resolution EVF (5.76M dots) for better clarity |
❌ Larger & heavier than OM-3 ❌ No built-in electronic ND filter ❌ 16-bit audio instead of 24-bit |
| OM-3 |
✅ Lighter, more compact for travel ✅ Built-in e-ND filter (2–64 stops) for true optical ND effects ✅ 24-bit audio recording for professional sound ✅ Starry Sky AF & Pro Capture mode for astrophotography ✅ OM-Cinema mode & IP streaming |
❌ No unlimited recording time (120 min max) ❌ Lower ISO range (200–25,600) ❌ No ultra-slow motion (max 60fps @ 4K) |
By admin, on February 5th, 2025
Olympus OM3 camera announcements will happen on Feb 6, 2025. We now have the core specification of the camera as well as leaked images of the upcoming camera also available
New Olympus OM-3 camera
– Same 20MP sensor
– Metal body
– Price around $1500
– Rumored to be officially announced at CP+ in February 2025
– Various color profiles for video, similar to Fujifilm’s simulations
– Based on the OM-1
Olympus OM3 camera B&H Store | Adorama.com | Amazon.com
Stay tuned we will update you soon, with comparison and sample images once the camera gets officially announced.
imagecredit: 43rumors.com | Photorumors.com
By admin, on January 29th, 2025
According to the latest rumors surfaced from reputed rumor mills, the Panasonic S1R Mark II camera announcement date is now confirmed, and it is said to arrive in February 2025. Take look at the set of updated specification of the upcoming camera
Panasonic S1R Mark II Core Specification [Updated specs]
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- 44MP – Full frame CMOS Sensor
- No Optical low-pass (anti-aliasing) filter
- ISO 80 – 51200( expands to 40 – 102400)
- 5-axis Sensor-shift Image Stabilization
- 3.00″ Fully Articulated Screen
- 5760k dot Electronic viewfinder
- 9.0fps (40.0fps Electronic) continuous shooting
- 8K at 30fps , 4K at 60fps and FHD at 60fps Video Recording
- 10-bit 4:2:2 Color Sampling
- Built-in Wireless
- 800g. 134 x 102 x 92 mm
- Weather-sealed Body
Collaboration – Panasonic X Capture One – Panasonic has just collaborated to announce the S1R Mark 2 camera with Capture One. Capture One is industry-leading RAW editing software, so they have collaborated to bring out the maximum from the upcoming S1R Mark 2 camera.
One more Camera announcement is Due on April 2025
There is one more that Panasonic will be announcing a new camera in April 2025. The source of the rumor mill suggests is a very unique camera, although, after the Panasonic S1R Mark II update, we are waiting for the Panasonic S1H Mark II camera. Stay tuned, more updates coming.
We will publish more details very soon as we get any new updates.
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source SAR YT
By admin, on January 21st, 2025
Sony registered a new camera with the wireless certification agency, and the model code of the camera is WW277226. What we are expecting for now is the Sony A7 V camera, since if we pick up the rumors we just published recently [ Sony A7V surfaced at wireless certification agency and Sony A7 V and Sony 50-105mm F2.8 Lens Coming], it all indicates that Sony is planning to announce the A7 V camera in early 2025, as per the Sony rumor mill that the announcement may happen in March 2025. Generally, whenever camera makers like Sony, Nikon, or Canon register a camera with the wireless certification agency, they take 2–3 months to announce their product in the market. And since the Wireless certification details of the Sony A7V camera surfaced back in December it’s quite obvious that the camera is expected to arrive in March 2025.
Now about WW277226 – it’s one more camera in the two, WW277226 is not Sony A7V it’s something else although the name isn’t known yet. But since it has been surfaced today [on January 21st, 2025] the announcement of the Next ALPHA camera after the Sony A7V is expected sometime in April-May 2025.
Sony Upcoming Camera Model Codes 2025
1. WW 773396 – Sony A7 V [Registered on December 5th, 2024]
2. WW277226 – Model Name Unknown [Registered on January 21st, 2025]
We will update you when we get any new information about the upcoming Sony A7 V camera.
Check out more
Wild Rumors: Sony FX30 II, Sony FX30 R and Sony ZV-E1 II Coming in 2025 | Sony Upcoming Cameras 2025
Follow us on our social pages FACEBOOK | TWITTER | INSTAGRAM, If you have time –>see more Sony Alpha Rumor
By admin, on January 17th, 2025
We are comparing the Leica SL3-S camera side by side with the Panasonic S5 IIX. Before we begin, I must tell you that there is a significant price difference between them. Starting with the design part. Next, we will move to the photography part, where we will compare the major core specifications that build up a camera’s character map. This will help photographers decide which camera to buy. In the final part of the comparison, in the third table, we have the video core specifications compared against each other.
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Get Panasonic S IIX DEAL at Amazon.com
1. Design Comparison
| Feature |
Leica SL3-S |
Panasonic S5IIx |
| Lens Mount |
L-Mount |
L-Mount |
| Build Material |
Aluminum, Magnesium Alloy |
Magnesium Alloy |
| Dimensions (W x H x D) |
Not specified |
5.29 x 4.03 x 3.55″ (13.44 x 10.24 x 9.02 cm) |
| Weight |
4.72 lb (2139 g) with battery |
1.64 lb (744 g) with recording media |
| Monitor Display |
3.2″ Tilting Touchscreen LCD, 2,332,800 dots |
3″ Free-Angle Tilting Touchscreen LCD, 1,840,000 dots |
| Viewfinder |
Built-In Electronic OLED, 5,760,000 dots, Approx. 0.76x magnification |
Built-In Electronic OLED, 3,680,000 dots, Approx. 0.78x magnification |
| Eye Point |
21 mm |
21 mm |
| Weather Sealing |
Yes |
Yes |
| Wireless Connectivity |
2.4 GHz MIMO Wi-Fi, Bluetooth 5.0 |
2.4 / 5 GHz Wi-Fi 5, Bluetooth 5.0 |
| GPS |
Yes (via connected smartphone) |
No |
| Dual Card Slots |
1x CFexpress Type B, 1x SD (UHS-II) |
Dual SD (UHS-II) |
Conclusion: So, from the design part, it’s very clear that Leica excels with its design. The most visible thing is the red logo and tank-like design that promises a very well-built quality camera. Besides that, we have a superior resolution electronic viewfinder with 5.7 million dots and a higher-resolution display screen. But again, there are some limitations in the display. It is tiltable but cannot be used for filming yourself. So, for content creators, the Leica SL3-S is not made for you.
The biggest difference you can spot, apart from all this, is that the Panasonic S5IIx camera features an active cooling mechanism with a built-in fan inside the camera. That’s why the camera can handle heat, whereas the Leica SL3-S has no active onboard cooling mechanism.
Now let’s compare the photographic core specifications of both cameras.
2. Photography Comparison
| Feature |
Leica SL3-S |
Panasonic S5IIx |
| Sensor Resolution |
24.6 MP effective (Full-Frame BSI CMOS) |
24.2 MP effective (Full-Frame CMOS) |
| ISO Range |
100 to 200,000 (Manual Mode) |
100 to 51,200 (Extended: 50 to 204,800) |
| Image Stabilization |
Sensor-Shift, 5-Axis |
Sensor-Shift, 5-Axis |
| Shutter Speed |
Mechanical: 1/8000 to 30 sec, Electronic: 1/16000 to 60 sec |
Mechanical: 1/8000 to 60 sec, Electronic: 1/8000 to 60 sec |
| Continuous Shooting |
Up to 30 fps [Latger Buffer] |
Up to 30 fps for 200 frames (JPEG/RAW) |
| Autofocus Points |
779 (Phase Detection and Contrast Detection) |
779 (Phase Detection and Contrast Detection) |
| Metering Modes |
Center-Weighted, Highlight Weighted, Multi-Zone, Spot |
Center-Weighted, Highlight Weighted, Multiple, Spot |
| Aspect Ratios |
3:2, 16:9, 17:9 |
1:1, 2:1, 3:2, 4:3, 16:9, 65:24 |
| Image Formats |
DNG, JPEG |
JPEG, RAW |
| Bit Depth |
14-Bit |
14-Bit |
| White Balance |
Auto, Cloudy, Color Temp, Daylight, Flash, Fluorescent (Cool/Warm), Manual, Shade, Tungsten |
AWB, Cloudy, Color Temp, Daylight, Flash, Incandescent, Shade, Custom (4 presets) |
Conclusion: In our table, we can see that there is a kind of negligible difference between these two. But if you consider the Leica body, the superior electronic viewfinder, the higher-resolution display screen, and budget doesn’t matter to you, then for sure, the Leica SL3-S is a great camera between the two. However, if you love to save $2,000, then the S5IIx is the best.
The alternatives of the Leica SL3-S camera
The best alternatives to the Leica SL3-S camera in this price range are the Nikon Z8 camera and the Canon R5. These are some of the best cameras available. Specification-wise, these are far better than the Leica SL3-S, and you have to pay almost a similar or a bit less price compared to the two.
3. Video Comparison
| Feature |
Leica SL3-S |
Panasonic S5IIx |
| Max Resolution |
UHD 6K (5888 x 3312) at 23.98/25/29.97 fps |
5.9K (5952 x 3968) at 23.98/24.00/25/29.97 fps |
| Video Formats |
H.264/H.265 Long GOP, MP4 (4:2:0 8/10-Bit), ProRes 4:2:2 |
H.264/H.265, MOV/MP4, ProRes 4:2:2/4:2:0 8/10-Bit |
| External Recording |
4:2:2 12-Bit via HDMI |
4:2:212-Bit via HDMI |
| Frame Rates |
Up to UHD 4K (3840 x 2160) at 59.94 fps |
Up to UHD 4K (3840 x 2160) at 59.94 fps |
| Slow Motion |
Slow Motion Only |
Yes |
| Gamma Curve |
Rec709, Rec2020 |
Panasonic V-Gamut, V-Log |
| Built-In Microphone |
Stereo |
Stereo |
| Audio Formats |
AAC, LPCM |
MOV: LPCM 24-Bit, MP4: AAC 16-Bit |
| Recording Limit |
No |
No |
| IP Streaming |
No |
RTP, RTSP (up to 4K at 25 Mb/s) |
| Bitrate |
Not specified |
Up to 800 Mbps |
| Heat Management |
Not specified |
Active Cooling |
| Autofocus in Video |
Phase Detection |
Phase Detection with AI Tracking |
| HDMI Port |
Full-Size HDMI |
Full-Size HDMI 2.1 |
| Timecode Support |
No |
Yes |
| Vertical Video Support |
Yes |
Yes |
Conclusion: Both cameras offer 6k at 30fps, 4k 30FPS uncropped and 4k60fps with crop [1.5x]. Again, in the video core specification part, you can see there is very little difference to spot. Other than that, I prefer the Panasonic S5 series camera’s V-Log. At the same time, we also have an active cooling mechanism that prevents it from overheating. So, more or less, for video core specification-wise, the Panasonic S5IIx camera is more recommended.
Also see – Sony FX30 vs Panasonic S5 IIX
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