Camera World Explodes: 48-Hour Blitz of New Cameras, Lenses, and Shocking Industry Moves (Sept 9

Nikon’s First Cinema Camera: Nikon ZR debuts as a full-frame 6K/60p cine camera co-developed with RED Digital Cinema – featuring a new RED-based RAW codec, 32-bit float audio, and a $2,199 price tag.
Canon’s Compact 7K Shooter: Canon EOS C50 launches with a brand-new 7K sensor (up to 7K/60p), making it Canon’s smallest full-frame cinema camera ever. Canon also unveiled an RF 85mm F1.4 L lens and firmware updates bringing “bleeding-edge” features to its other Cinema EOS models.
Sigma’s Lens Trifecta: Sigma announced three full-frame lenses – a 20–200mm ultra-wide 10× zoom (world’s first starting at 20mm), an updated 35mm f/1.2 DG II Art, and a groundbreaking 135mm f/1.4 Art, the world’s first autofocus 135mm f/1.4 prime. All ship in late September.
Surprise Collaborations: Samyang (rebranded “LK Samyang”) and Germany’s Schneider-Kreuznach revealed a jointly-developed AF 24–60mm f/2.8 zoom for Sony E-mount ^[1] – their second co-engineered lens after a 14–24mm, officially to be unveiled at IBC 2025.
Leica Goes Cine Retro: Leica’s cinema arm Leitz introduced Hektor T2.1 prime lenses – a set of six full-frame cine lenses (18, 25, 35, 50, 73, 100mm) – with user-interchangeable mounts for Sony E, Canon RF, Nikon Z, and L-mount.
Third-Party Zooms & Updates: Tamron is developing a 25–200mm f/2.8–5.6 G2 all-in-one zoom for Sony full-frame, an evolution of its travel lens lineup. Meanwhile, Viltrox officially joined the L-Mount Alliance (becoming its 10th member) to expand lens support for Leica/Panasonic systems.
Firmware & Feature Boosts: Sony announced major free firmware (v7.0) for its FX3/FX30 cine cameras, adding the pro menu UI from Venice, a new “Big 6” quick setup screen, anamorphic de-squeeze options (1.5×/1.6×), and 12-bit RAW video output over HDMI (for Blackmagic RAW recording) ^[2] ^[3]. Canon’s firmware coming in Q4 will enable features like full-frame 3:2 open-gate recording on the EOS C400 and more.
Pro Video Innovations: Panasonic teased and then unveiled the AK-UBX100 “box” camera – a modular 4K camera that merges studio broadcast, cinema, and PTZ capabilities. Notably it’s the first 4K studio camera with fast phase-detect autofocus and AI tracking for live production ^[4] ^[5].
Market & Industry Moves: Across the industry, prices are climbing – by early September, Canon, Nikon, Sony, Fujifilm, Leica, Sigma and others had all enacted rounds of MSRP increases (often due to tariffs) ^[6]. Even holdouts Panasonic and OM System plan hikes by month’s end ^[7]. On a positive note, Nikon’s partnership with RED (for the ZR) and Viltrox’s L-mount entry signal new cross-brand cooperation.
Rumor Mill Highlights: Credible leaks proved true – Canon’s Sept. 9th teaser of a “boxy” camera ^[8] indeed materialized as the EOS C50. Nikon’s ZR launch was foreshadowed by leaked images positioning it squarely against Sony’s FX3 ^[9]. On the horizon, insiders hint Panasonic has another Lumix S camera in the wings, and debate swirls that Sony’s low-light A7S series may be retired (no A7S IV coming) ^[10]. In short, an action-packed two days set the stage for an exciting finish to 2025 in the camera world.

Major Camera Announcements and Releases

Nikon Enters Cinema: ZR Launch with RED DNA

Nikon stole headlines by unveiling the Nikon ZR, its first-ever digital cinema camera, on September 10. Nikon teamed up with RED Digital Cinema to infuse the ZR with true Hollywood DNA – even co-branding it with RED’s logo. The ZR packs a 24.5MP full-frame sensor (apparently the same sensor as the Nikon Z6III) but repurposed for video, minus any mechanical shutter. It can record up to 6K/60p internally and introduces a new “R3D NE” RAW codec based on RED’s Redcode RAW format. This means ZR users can seamlessly integrate footage with RED cinema cameras and even use existing RED LUTs and workflows. “We aren’t holding anything back – our first Nikon camera developed with RED has all the creative controls that filmmakers need, with features never seen in this level of handheld cinema camera,” said Fumiko Kawabata, Nikon’s Sr. VP of Marketing. Notably, the ZR is the industry’s first mirrorless camera with internal 32-bit float audio recording, allowing extreme dynamic range in sound capture without manual gain riding. It forgoes an EVF in favor of a huge 4-inch, 1000-nit rear display, and it’s designed in a boxy, modular form factor ideal for gimbals and rigs ^[11] ^[12].

The Nikon ZR clearly targets Sony’s FX3/FX30 and Canon’s new C50 (more on that next) – essentially bringing Nikon into the cine-camera arena. Priced at $2,199 body-only (about $500 less than Nikon’s own hybrid Z6III), it’s aggressively positioned to tempt indie filmmakers. Available October 20, the ZR will launch with kits including NIKKOR Z lenses (50mm or 35mm primes) in the mid-$2,700 range ^[13]. By leveraging RED’s color science and codec expertise, Nikon is “challenging the established video market” while signaling that its RED acquisition/partnership is bearing fruit.

Canon’s Cinema EOS C50 and New RF Lens

On September 9 (the day before Nikon’s ZR reveal), Canon pulled back the curtain on the long-rumored Cinema EOS C50. Billed as “a compact, full-frame cinema camera” with a new 7K CMOS sensor, the C50 is essentially Canon’s answer to the Sony FX3 and FX6 line. It records up to 7K/60P in Cinema RAW Light (or oversampled 4K/60p) and notably is Canon’s first camera to offer 3:2 “open-gate” video recording – using the full sensor area for creative reframing or anamorphic lenses. The C50’s form factor is indeed small and lightweight (Canon calls it the smallest cinema EOS ever) with a mini-EVF hump and a detachable top handle unit for XLR audio inputs. Unlike the older EOS R5 C hybrid, the C50 was built ground-up for video: it lacks IBIS and a mechanical shutter (so it’s purely electronic shutter for stills) and has active cooling vents, indicating video-first design. Canon is positioning it between the mirrorless R5 C and higher-end cinema models, to “compete in the mid-range production space against the likes of Blackmagic and Sony”. Pricing is expected around $3,899, with shipping in late Q4 2025.

Canon didn’t stop at the camera: it also announced a new lens, the RF 85mm F1.4 L VCM. This is a premium portrait prime designed to excel for both stills and video, featuring Canon’s new “VCM” focusing mechanism for fast, quiet autofocus and minimal focus breathing. It’s effectively an RF-mount successor to Canon’s old EF 85mm f/1.4L, now optimized for mirrorless. The 85mm f/1.4 L is set to ship within September at an estimated $1,649.

To round out its announcements, Canon revealed firmware updates coming to several existing Cinema EOS models (the EOS C400, C80, C70, and EOS R5 C). These updates – expected by end of 2025 – will bring features trickling down from the C50, such as full-frame 3:2 open-gate mode on the C400, improved view assist and focus peaking, customizable buttons, and other usability tweaks. Canon even surprised point-and-shoot fans by reviving a classic: a “new” PowerShot ELPH 360 HS (2016 model) reissued as the “ELPH 360 HS A”. The only real update is a switch from SD to microSD cards to suit modern users, but it shows Canon still sees demand for ultra-compact cameras. The refreshed ELPH ships in October for $379 in two colors.

Other Camera & Camcorder Reveals

Panasonic’s Hybrid Broadcast Camera: In the lead-up to Amsterdam’s IBC show, Panasonic unveiled the AK-UBX100, a unique “3-in-1” 4K camera. This box-style unit can operate as a studio broadcast camera (using a 2/3″ sensor and B4 mount for ENG lenses), as a cinema-style box camera, or even as a PTZ (pan-tilt-zoom) remotely-controlled camera ^[14]. The UBX100’s biggest innovation is its focus on automation – it’s the first studio camera to include phase-detect autofocus with AI subject tracking, a major departure from the manual-focus norm in broadcast cams ^[15]. Panasonic touts that this allows operators to “focus less on technical challenges and more on telling their stories,” in the words of product manager Jim Jensen ^[16]. In practice, the camera can keep fast-moving subjects tack-sharp through long zoom ranges, then allow a human operator to trim focus as needed – a game-changer for live sports and events. The UBX100 supports modern IP streaming protocols out-of-the-box (SMPTE ST 2110, NDI, SRT) ^[17], underlining its broadcast credentials. It’s slated to ship in Q4 2025, with Panasonic planning a firmware update to extend the new AF system to a sibling model by year’s end ^[18]. This launch signals Panasonic’s push to bridge broadcast and cinema tech – offering production teams one camera that can do it all.
Apple’s iPhone 17 Pro – ProRes RAW and Genlock: While not a traditional “camcorder,” Apple’s September 9 event deserves mention for its camera advancements. The new iPhone 17 Pro and Pro Max were announced with camera upgrades squarely aimed at professionals. Apple introduced Final Cut Camera 2.0, an app update that enables ProRes RAW video recording directly on the iPhone 17 Pro – making these the first smartphones ever to capture RAW video. Filmmakers can record genuine sensor RAW data in Apple’s ProRes RAW codec, then adjust exposure and color in post just like on a cinema camera. Even more surprising, the iPhone 17 Pro now supports genlock via a new accessory (Blackmagic Design’s Camera ProDock), allowing the phone’s footage to sync frame-accurately with other cameras in multicam shoots. Combined with a new 200mm-equivalent periscope telephoto lens (roughly 8× optical zoom), these features blur the line between phone and pro camera. Apple’s move essentially puts a “camcorder” in everyone’s pocket – one that can integrate into professional workflows. The industry is taking note, as Apple’s advances in mobile camera tech could pressure dedicated camera makers, especially for on-the-go video content creation.

Lens Releases: Glass Galore from Ultra-Wide to Ultra-Fast

Early September 2025 turned into a feast of new lenses, with major announcements from Sigma, Tamron, Samyang/Schneider, Leica’s Leitz division, and more. Here’s a breakdown of the most noteworthy lens news:

Sigma’s Triple Launch – 20–200mm, 35mm f/1.2 II, 135mm f/1.4

Sigma dominated lens headlines on September 9 by revealing three new full-frame mirrorless lenses, each targeting a different niche:

Sigma 20–200mm f/3.5-6.3 DG Contemporary: A one-of-a-kind 10× ultra-wide to telephoto zoom. This is the world’s first full-frame zoom to start at an ultra-wide 20mm focal length while reaching 200mm on the long end. In other words, it offers an unprecedented all-in-one range from sweeping landscapes to decent telephoto reach, all in a relatively compact 550 g package. Sigma is pitching it as the ultimate travel lens – at 20mm it’s significantly wider than typical 24-105 or 24-240 “vacation” zooms, yet it still hits 200mm for sports or wildlife. Impressively, it can achieve semi-macro magnification (up to 1:2 at mid-zoom) for close-ups. The lens uses Sigma’s latest HLA (High-response Linear Actuator) motor for snappy AF across the wide zoom range. It will ship in late September for $999 in Sony E and L-Mount versions. (Notably, Sigma has no Canon RF version due to ongoing restrictions – something not lost on Canon users.)
Sigma 35mm f/1.2 DG DN | Art (2nd Generation): An update to Sigma’s ultra-fast 35mm prime. The original 35mm f/1.2 Art (launched 2019) was beloved for its image quality but was big and heavy. The new DG II version retains the coveted f/1.2 aperture but shrinks the size and weight dramatically – about 20% shorter and 30% lighter than its predecessor. Sigma managed this by reducing the filter thread from 82mm to 72mm and incorporating new optical designs and materials. Despite the diet, they claim improved sharpness and bokeh quality, with better correction of axial CA and coma for cleaner bokeh with no color fringing. Autofocus also gets a boost: the lens employs dual HLA linear motors in a floating focus arrangement, which both speeds up AF and greatly reduces focus breathing, making it ideal for video use. Essentially, Sigma listened to feedback and made the 35mm f/1.2 more practical for mirrorless. The new model will cost about $1,549 (E-mount/L-mount) and arrive end of September.
Sigma 135mm f/1.4 DG | Art: Perhaps the most eye-opening, Sigma’s 135mm f/1.4 is the world’s first 135mm f/1.4 with autofocus for full-frame cameras. Until now, 135mm lenses topped out at f/1.8 (Sigma itself made a 135mm f/1.8 Art before). Achieving f/1.4 at this focal length is a technical tour de force, likely requiring a very large front element and advanced glass – indeed the design uses 17 elements (4 FLD and 2 aspherical) to control aberrations. The result is a portrait lens that Sigma touts as the new “bokeh king”, offering incredibly shallow depth of field and subject isolation. At f/1.4 and 135mm, backgrounds turn to dreamy mush and subjects “pop” with almost 3D separation. Sigma clearly targets wedding, fashion, and portrait pros with this lens. Despite the huge glass, it features the HLA motor for fast AF and includes niceties like a de-clickable aperture ring and AFL buttons. Build quality is typical Art-series tank-like, with weather-sealing and robust metal construction. The 135mm f/1.4 Art will launch at $1,899 (E-mount/L) in late September. Like the others, no RF mount version was announced – a point noted by Canon Rumors, which headlined the launch as “Sigma Announces Four New Lenses – None for RF”.

Sigma also quietly introduced a fourth product: a 28–45mm T2.0 autofocus cinema zoom (full-frame, in E and L mounts) as the first in its new “AF Cine” line ^[19]. However, this is more of a specialty cine lens (priced $3,399) so the general market buzz focused on the three Art/Contemporary lenses above. All in all, Sigma’s announcements underscore its commitment to mirrorless systems – especially Sony E and the L-Mount Alliance – with cutting-edge optics that in some cases one-up the camera makers’ own offerings. (Canon users, meanwhile, continue to watch longingly due to Canon’s closed RF system, a situation Sigma’s CEO has diplomatically lamented in interviews.)

Samyang & Schneider-Kreuznach Team Up for Zooms

Another intriguing development is the partnership between South Korea’s Samyang Optics (recently rebranded “LK Samyang”) and Germany’s legendary Schneider-Kreuznach. The two have been co-developing lenses, leveraging Samyang’s autofocus know-how and manufacturing with Schneider’s optical design heritage. Earlier in 2025 they launched a well-received AF 14–24mm f/2.8 FE ultra-wide zoom. Now, on Sept. 10, they announced their second collaborative lens: an AF 24–60mm f/2.8 FE standard zoom for Sony E-mount ^[20].

This 24–60mm fills the gap as a mid-range companion to the 14–24. It offers a constant f/2.8 aperture and is designed to be compact and lightweight, consistent with Samyang’s strategy of “Compact High-Performance Zooms” ^[21] ^[22]. At 60mm long end it prioritizes portability over reach (most standard zooms go to 70mm), presumably to keep size down. The lens will be formally unveiled at IBC 2025 in Amsterdam (Sept 12–16) ^[23], marking Samyang’s 5th year attending the pro broadcast show. Early info suggests the optical quality is high, with Schneider’s input, and it’s aimed at both photographers and video creators (vloggers, etc.) ^[24].

The Samyang-Schneider alliance indicates a trend of cross-continental collaboration to take on the big brands. Samyang (which also makes XEEN cinema primes) gains prestige and design help, while Schneider (famous for cinema and medium-format lenses) gains access to the lucrative mirrorless market via Samyang’s distribution. Their first joint lens (14–24mm) was noted as the world’s first front-filter-capable 14–24 for Sony E ^[25], and it “gained strong global recognition” per Schneider’s Photo/Cine division head ^[26] ^[27]. With the 24–60mm f/2.8, the duo will complete a two-lens zoom lineup covering 14mm to 60mm – possibly foreshadowing more collaborations (telephoto zoom next?). This co-branding approach mirrors partnerships like Panasonic-Leica or Sony-Zeiss in the past. No pricing was given yet, but more details are expected once IBC begins. Sony users, meanwhile, are benefitting from yet another third-party offering in the FE mount, even as other mounts (Canon RF in particular) remain comparatively restricted.

Leica’s Leitz Cine – Hektor Vintage-Style Primes

Leica enthusiasts received exciting news on Sept. 10 via Leica (Leitz) Rumors: Leica’s cinema lens arm, Ernst Leitz Wetzlar GmbH, released a new line of mirrorless-mounted cinema lenses called “Hektor”. Branded after a classic Leica lens series, the Hektor primes are full-frame T2.1 lenses with a twist – they’re built to intentionally exhibit vintage character. Leitz explicitly says they drew inspiration from Leica’s 1930s, 1950s, and 1970s stills lenses and even other manufacturers’ old glass, seeking “playfully interesting” optical flaws (flaring, field curvature, spherical aberration) but in a controlled modern package ^[28] ^[29]. In short, these lenses aim to give filmmakers a look that is “gorgeous on digital sensors” while avoiding the excessive sharpness or clinical look of modern lenses ^[30] ^[31].

The initial Hektor set comprises six focal lengths: 18mm, 25mm, 35mm, 50mm, 73mm, and 100mm – all at T2.1 aperture. They cover full-frame (image circle ~47.8mm) and notably use user-interchangeable mounts for E, L, RF, and Z. This means a cinematographer can swap the mount to use the same lens on, say, a Sony FX3, a Panasonic S1H, a Canon C70, or Nikon Z8 – a nod to flexibility that many indie filmmakers will love. The Hektors are fully manual focus/iris, with matched gear positions for easy swapping on a rig, and a 120° focus throw for precise pulls. Despite their classic image aspirations, they are built to Leitz’s usual top-tier cine standards in Wetzlar, Germany – essentially as robust as their $20k Summilux-C lenses, but aimed at a lower price tier (exact pricing isn’t public, but speculation puts them in the mid-five-figures for a set, rather than six-figures) for owner-operators.

Leitz highlights that 73mm was chosen as a nod to an iconic f/1.9 Hektor lens from the 1930s, and all Hektors feature a vintage-looking silver finish reminiscent of classic Leica screw-mount lenses. By combining old-school aesthetic qualities with modern convenience (like mirrorless mounts and minimized chromatic aberration via new coatings ^[32]), Leitz is targeting the growing trend of “character lenses” in cinematography – where flares and bouquet swirl can be as valued as sharpness. These lenses will appeal to high-end filmmakers who want Leica look with personality on their Red, Arri, or mirrorless cinema cameras. Given the mount options, even enthusiast shooters on Leica SL2 or Panasonic S1H bodies could use them (albeit manual-only). It’s a bold entry that underscores how even Leica is embracing the mirrorless video revolution.

Tamron and Others: All-In-One Zooms, APS-C Glass

Beyond the headliners above, a few other lens updates emerged:

Tamron 25–200mm f/2.8-5.6 Di III VXD G2: On Sept. 9, Tamron announced development of this “evolved G2” version of its popular travel zoom for Sony E-mount. The original 28–200mm f/2.8-5.6 (released 2020) was well-regarded as a do-it-all lens. The new 25–200mm G2 extends the wide end to 25mm, giving a bit more breadth for cramped interiors or vistas. Optical improvements and updated VXD autofocus are expected, though detailed specs are pending. By signaling development, Tamron hints release is a few months out (likely early 2026). This move shows Tamron doubling down on full-frame Sony users’ desire for convenience without sacrificing too much speed (it’s still f/2.8 at the wide end – unique among superzooms). Notably, Tamron has also been expanding support to Nikon Z and even Canon RF in some cases: in August, Tamron launched an 18–300mm f/3.5-6.3 for Nikon Z and Canon RF APS-C mounts, marking one of the first third-party autofocus lenses on RF (via an arrangement with Canon). The 25–200 G2, however, is only announced for E-mount at this time.
Viltrox AF 56mm f/1.2 Pro (X-mount) and more: Shenzen-based Viltrox continues its rapid rollout of fast aperture lenses. While Viltrox’s big news was joining the L-Mount Alliance (see next section), it’s worth noting they released a 56mm f/1.2 Pro portrait lens for Fujifilm X-mount in early September (teased on Sept. 1). This lens offers Fuji users an autofocus alternative to Fuji’s own 56mm f/1.2, and Viltrox claims improved optics in their new “Pro” lineup. Additionally, Viltrox’s roadmap (shown around Sept. 2) revealed upcoming “Air” series ultra-compact lenses: a 9mm f/2.8 APS-C and 14mm f/4 full-frame, both designed to be tiny and lightweight. These moves reinforce how third-party lens makers are aggressively filling gaps, especially in mounts like Fuji X, Nikon Z, and now L-mount – delivering fast primes and specialty pieces that camera makers might not prioritize.
Schneider Kreuznach Enters Sony FE (via Samyang): As covered above, the 24–60mm f/2.8 FE is co-branded with “LK Samyang” but also carries “Schneider-Kreuznach” in its name ^[33]. This marks one of the first times Schneider’s name has appeared on an autofocus Sony FE lens (previously Schneider made some manual lenses for MFT and Samsung NX a decade ago). It signifies a return of the storied German optics firm to consumer photography, now through collaboration. The trend of collaborations extends to other players too – e.g., Kodak branded micro four-thirds lenses made by a third party, or Leica partnering with Panasonic and Sigma in L-mount. For consumers, it means more choice and cross-pollination of expertise.

Firmware Upgrades and Feature Enhancements

Hardware wasn’t the only source of news – significant firmware updates were announced by major brands, bringing new capabilities to existing cameras:

Sony’s Major Firmware for FX3 & FX30

Sony delighted video shooters by announcing a sweeping firmware update (version 7.00 for FX3 and 6.00 for FX30) to be released in September. These updates effectively supercharge the FX3/FX30 – already popular compact cinema cameras – with features lifted from Sony’s high-end CineAlta line. According to Sony, the FX3/FX30 are getting the pro menu interface from the Venice and Burano cameras, including a new “Big 6” status screen that shows six key settings at a glance (for quickly checking and changing frame rate, shutter, ISO, white balance, etc.) ^[34] ^[35]. This UI overhaul addresses one of the few criticisms of the FX3/FX30, aligning their operation more with cinema workflows.

Even bigger news: the firmware adds anamorphic desqueeze options (1.5× and 1.6×) in the camera’s display ^[36]. Previously, using anamorphic lenses on the FX3/FX30 required an external monitor to see a correct aspect ratio. Now users can attach, say, a 1.5× anamorphic lens and the camera’s LCD or EVF will show the unstretched Cinemascope image – a huge boon for indie filmmakers experimenting with anamorphic glass. This kind of feature was once limited to $10k+ cinema cams, so it’s remarkable to see it in sub-$4000 bodies.

Furthermore, Sony unlocked 12-bit RAW video output over HDMI on these cameras ^[37]. The FX3/FX30 will output a full 4K RAW signal that can be recorded as Blackmagic RAW (BRAW) on compatible recorders (like Blackmagic’s Video Assist 12G HDR) ^[38]. This is a notable twist – Sony enabled ProRes RAW output back in 2021, but adding BRAW support (via collaboration with Blackmagic) gives users a more flexible, edit-friendly RAW option. It also reflects Blackmagic’s rising influence; essentially, Sony is acknowledging that many creators use DaVinci Resolve and might prefer BRAW to ProRes RAW. With this update, an FX3 paired with a recorder becomes a budget cinema camera capturing 12-bit RAW – something unheard of a few years ago at this price point.

Other improvements include touchscreen and LUT workflow enhancements and possibly some added codecs or AF upgrades (the detailed release notes were expected at firmware launch). Sony’s move earned praise in the community – as one outlet put it, these free updates give the FX3/FX30 features “typically reserved for much pricier cine rigs” ^[39]. It’s also a strategic response to new competition (Canon C50, Nikon ZR): Sony is ensuring its existing user base stays satisfied rather than switching.

Canon & Nikon – Firmware News

We already covered Canon’s planned Cinema EOS firmware (bringing open-gate and UI tweaks to the C400, C80, C70, R5 C) under the Canon C50 section. It’s worth noting that Canon specifically highlighted “bleeding-edge features” trickling down, like full-frame 3:2 video on the EOS C400 – likely meaning the C400 (a higher-end model) will get the C50’s open-gate mode, enabling use of its full sensor for anamorphic or extra vertical reframing. These updates are slated for Q4 2025, presumably timed alongside the C50’s release.

Nikon, for its part, didn’t announce major firmware on Sept 9–10 aside from minor updates. However, just prior (Sep 5) Nikon did temporarily suspend a new feature (Content Credentials in the Z6III) and promised a fix, and on Sept 4 Nikon introduced a “Film Grain” feature coming to the retro-styled Zf via firmware ^[40] ^[41]. These are smaller items but show Nikon adding creative options (the Zf’s grain simulation to enhance its analog feel).

One Nikon-related firmware tidbit during IBC: RED Digital Cinema announced that its new RED Connect Module will enable Nikon Z8/Z9 cameras to serve as 8K cinema cameras streaming R3D RAW video over IP. This ties into the Nikon-RED partnership and effectively could allow Nikon’s flagship stills bodies to output RAW video to a server or cloud. It’s a niche, forward-looking feature, but further evidence of lines blurring between camera categories.

Other Updates

Blackmagic Design (while not in the Sept 9–10 window exactly) had just released Camera Update 9.0 around IBC, adding support for a new URSA 12K camera and an EVF. And DJI was rumored to be readying a DJI Inspire 3 firmware to support Apple ProRes RAW directly, given Apple’s announcements (this would make sense as DJI often integrates Apple’s formats).

On the software side, Apple’s Final Cut Pro (Mac and iPad) is scheduled for updates (v11.2) to fully support iPhone ProRes RAW editing by November. And Adobe launched an update to Camera RAW/Lightroom around the same time with improved noise reduction profiles for new cameras like the Canon R6 Mark II and Nikon Zf.

In summary, the flurry of firmware news underscores that many advancements can be delivered to existing cameras via software. The competitive landscape is pushing manufacturers to offer ongoing value – whether it’s Sony adding pro video features to fend off rivals, or Canon/Nikon enhancing video modes in stills cameras to entice hybrid shooters. For camera owners, it’s a welcome trend of longer product vitality through updates, rather than forcing an upgrade for each new feature.

Business & Industry Developments

Beyond products, the camera industry saw notable business moves and market trends during this period:

Pricing Pressures and Tariff Impacts

One striking trend: price increases across the board. By early September 2025, virtually all major camera makers had implemented MSRP hikes on gear in certain regions (notably the US) ^[42]. Canon, Nikon, Sony, Fujifilm, Leica, Sigma – all have bumped prices at least once in 2025, partly to offset high inflation and the escalating cost of components ^[43]. Additionally, US import tariffs on Chinese-made camera goods (instituted in previous years) continued to pinch. Industry reports indicated that even holdouts like Panasonic and OM Digital (Olympus) would raise prices by end of September ^[44]. For consumers, this meant new camera bodies and lenses introduced this fall might cost ~5-10% more than expected. Nikon, for example, had already implemented a second price increase on some products as of September 1 in the US. Canon’s executives openly warned that US tariffs could cost the company ¥15–16 billion, much of which would “inevitably pass on to consumers” ^[45]. In short, the cost of photography is trending upward, squeezing enthusiasts’ budgets. This context makes the aggressively priced Nikon ZR ($2,199) and Blackmagic’s affordable offerings all the more significant in attracting cost-conscious creators.

Alliances and Collaborations

The period saw intriguing cross-company alliances:

Viltrox Joins L-Mount Alliance: In a notable move, Chinese lens maker Viltrox became an official member of the L-Mount Alliance on September 1, 2025 – as confirmed by Leica’s press release. Viltrox is now the 10th member of this alliance (which includes Leica, Panasonic, Sigma, DJI, Astrodesign, and others), which means it has access to the L-mount specifications to create fully compatible lenses for Leica/Panasonic/Sigma cameras. This is a win-win: the Alliance gains a manufacturer known for affordable autofocus lenses, and Viltrox gains a seal of approval (and a new market of Leica SL and Lumix S users to sell to). Indeed, Viltrox wasted no time – at the alliance announcement, it teased upcoming L-mount versions of its popular primes and zooms. With Viltrox on board, L-mount users can expect a greater variety of third-party glass at lower price points, something that can only help the platform’s appeal.
Nikon and RED Digital Cinema: Nikon’s partnership (and possible partial acquisition/licensing deal) with RED was manifestly evident in the ZR camera launch. This partnership, first hinted at in 2023 when Nikon and RED settled a patent dispute, has now flourished: the ZR uses a “RED inside” codec and carries dual Nikon+RED branding ^[46]. The synergy could reshape Nikon’s future – beyond just the ZR, it suggests Nikon might integrate RED tech (like RED’s color science and codecs) into other cameras or even develop a lineup of Nikon-RED cine products. Industry observers note this as part of Nikon’s strategy to differentiate itself. As one commentator put it, “Now we will see the fruits of the RED acquisition. … Nikon still sees themselves as the pursuers, and that hunger leads to better innovation.”. It’s a rare example of a still-camera company teaming so closely with a cinema camera company, and it could pose a real challenge to Sony and Canon’s dominance in the pro video segment if executed well.
Samyang & Schneider Collaboration: Already discussed under lenses, this partnership is a notable business development too. It underscores how medium-sized players are teaming up to compete with giants. Expect Samyang (now LK Samyang) to leverage Schneider’s prestige more, and perhaps Schneider will co-release some lenses under its own name for L-mount or others. It wouldn’t be surprising if more such tie-ups occur (could we see Tamron teaming with someone for RF mount? Or Tokina and Fujifilm partnership? The industry rumor mill thinks outside the box these days).
Videndum Refocus: Outside the consumer eye but notable in the industry, UK-based Videndum (formerly known as Vitec Group, owner of brands like Manfrotto, Gitzo, SmallHD, Teradek, etc.) announced plans to refocus on higher-end professional gear. They indicated some restructuring to double-down on the cinema and broadcasting equipment market, which likely means more innovation in products for studios and less on budget consumer accessories. For photographers and filmmakers, this could mean improved offerings from Teradek (for wireless video) or SmallHD (monitors) at the high end, but possibly fewer entry-level options from those brands. It’s a reminder that even accessory companies are adjusting strategies amid a changing market.

Market Shake-Ups and Rumors

The past 48 hours also came with a side of speculation and future gazing:

Panasonic’s Next Move: With Panasonic’s teaser of a new Lumix S camera (rumored around Sept 7), many anticipate an S1H Mark II or BS1H-style video camera announcement in the weeks after IBC. Panasonic has been relatively quiet on new bodies in 2025 (aside from the S5 IIX release), so a high-end full-frame video-oriented body is due. The rumor chatter points to a camera that might slot above the S1H – perhaps even a surprise L-mount camcorder. If Panasonic does launch something soon, it would enter a hot market now that Canon and Nikon have shown their video cards.
Sony A7S Line Uncertain: A notable rumor circulating (via Sony Alpha Rumors) claims Sony has no plans for an A7S IV and might fold the ‘S’ line entirely ^[47]. The rationale is that the A7S III (2020) and FX3 have been so successful, and Sony’s newer cameras (like A7 IV, A7R V) now have strong video capabilities, so the dedicated low-megapixel ‘S’ series may no longer be needed. If true, the A7SIII could be the last of its kind, with Sony perhaps focusing on the FX cinema line for video-centric users. Sony has not confirmed anything, but the absence of an A7S IV after 3+ years is telling. This rumor has sparked discussion – some feel an A7S IV is still necessary (for its 12MP sensor’s unrivaled low-light and 4K120 quality), while others think an FX3 Mark II might replace it. We’ll watch into 2026 if Sony announces something like an FX4.
Canon EOS R1 whispers: Separate from the immediate timeframe, but always simmering, are rumors about Canon’s future flagship EOS R1. Canon itself had executives mentioning that an R1 is being worked on (expected by the 2024 Olympics, which slipped, so now possibly 2025/26). In early September, no new R1 info dropped – but intriguingly, Canon did announce that the Canon Rumors founder (Craig) got to shoot with a prototype R1 (as per a blog comment). While not “news” per se, it fuels anticipation that Canon’s next big thing is nearing. However, Canon seems focused on bolstering video and APS-C lineups this year (there’s also a PowerShot rumor: Canon is likely launching a new PowerShot superzoom or vlogging camera by end of month, in addition to the ELPH we saw).
Medium Format Cinema? An interesting rumor from Imaging Resource suggests Fujifilm is planning a “GFX Eterna” medium format cinema camera in 2025. Fuji confirmed something is coming, but details are scarce. If Fuji enters digital cine cameras using its 44x33mm medium format sensor, it could carve a niche for ultra-high-quality video (some call it a “large format” look). Given Fuji’s strength in analog film simulation and color (Eterna is their cinema film stock), a GFX cinema camera could be a dark horse announcement later on. Not directly relevant to Sept 9–10 events, but a point of interest on the horizon.

Finally, it’s worth noting the overall tone in the camera world: these two days showed an industry very much alive and innovating. After a few years of supply chain woes and stagnation, 2025 has been a rebound – with retro revivals (Nikon Zf Silver) ^[48], cutting-edge video gear (Canon C50, Nikon ZR), bold lens designs (Sigma 135/1.4, Leica Hektors), and unexpected partnerships. As one outlet put it, “September 2025 is proving to be a feast for lens lovers and tech enthusiasts”, and it’s only the start of the fall product season. With Photokina long gone, companies are using events like IBC (for video) and their own online launches to make big splashes. The takeaway: photographers and filmmakers have a lot to look forward to, from new toys to new techniques – and competition is driving everyone to up their game. As the dust settles on this 48-hour news blitz, one thing is clear: the race to capture image-makers’ hearts (and wallets) is fiercer than ever.

Sources: Canon Newsroom; Nikon Press Release; DPReview; Leica Rumors; Canon Rumors; Sony Alpha Rumors ^[49] ^[50]; ts2.tech News Roundup ^[51] ^[52]; Apple Newsroom; American Cinematographer.

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References

Camera World Explodes: 48-Hour Blitz of New Cameras, Lenses, and Shocking Industry Moves (Sept 9–10, 2025)