Key Facts
- Canon teases new video-centric camera: Canon dropped a shadowy teaser for a September 9 launch, showing a boxy camera with a top record button and front tally light – strongly hinting at a high-end Cinema EOS-style mirrorless model [1]. The teaser, tagged “a new way to capture the world,” has industry watchers speculating about a compact pro video camera to rival Sony’s FX3.
- DJI’s full-frame camera rumor: Drone giant DJI is reported to unveil its first full-frame mirrorless camera (L-mount) on September 15. Leaks describe a Sony FX3-like body with an EVF [2]. “DJI’s Full Frame Mirrorless Camera Is Coming — Panic for Sony/Canon/Nikon,” FujiRumors quipped, signaling a potential shake-up of the pro camera market [3].
- Nikon halts authenticity feature:Nikon abruptly suspended the new Content Credentials authenticity service on its Z6 III after a security flaw was exposed. A photographer showed the Z6 III could be “hacked” to sign a composite image largely shot on an unverified camera [4]. Nikon acknowledged the issue and apologized, “temporarily suspended” the service to work on a fix [5].
- Pro video innovations from Panasonic & Sony:Panasonic unveiled the AK-UBX100 4K multi-purpose studio camera, a hybrid of broadcast, box, and PTZ cam designs with a 2/3″ sensor (B4 mount) and AI-powered autofocus for reliably tracking subjects with long lenses [6]. It’s slated to ship Q4 2025 alongside a new dual-joystick control panel at IBC. Meanwhile, Sony announced forthcoming firmware updates for its FX3 and FX30 cinema cameras: version 7.0/6.0 (due this month) adds a revamped “Big 6” home menu, 1.5×/1.6× anamorphic de-squeeze, and even enables external Blackmagic RAW recording via HDMI [7] – effectively trickling high-end Venice/Burano features down to these compact cine cams.
- Third-party lens bonanza: Lens makers are on the move. Venus Optics Laowa is teasing six new lenses to debut at mid-September’s IBC show, headlined by a long-rumored 200mm f/2 C-Dreamer telephoto that’s over 1 kg lighter than Nikon’s legendary 200mm f/2 [8]. In the cinema realm, DZOFilm launched its new Vespid² series of six full-frame cine primes (18–105mm, all T1.9) featuring improved sharpness, unified size/weight (~800 g each), and Cooke /i metadata support [9] [10]. For consumers, 7Artisans introduced an affordable 35mm f/1.8 autofocus lens for full-frame Sony E-mount with all-metal build, 11-blade aperture, and even a USB-C port for firmware updates, priced at $299 [11] [12].
- Market and industry shake-ups: Trade tariffs are impacting pricing – unverified reports say Panasonic Lumix and OM System (Olympus) will raise U.S. prices by late September to offset import tariffs [13]. These were among the last holdouts after Canon, Sony, Nikon, Fujifilm, Leica, and Sigma already enacted tariff-driven hikes [14]. In brighter news for buyers, Blackmagic Design slashed up to $7,000 off its high-end URSA cinema cameras after cutting production costs [15]. Meanwhile, an iconic tripod brand changed hands: UK-based Videndum (owner of Manfrotto, Gitzo, etc.) announced it’s selling Joby (GorillaPod) to China’s Vijim/Ulanzi group [16]. Videndum says the sale will let it refocus on pro markets [17], while Joby’s flexible tripods gain a new owner ready to expand the brand’s reach.
Canon Hypes a New Video-Focused Camera
Canon lit up the enthusiast community by teasing a new camera to be revealed September 9. An official Canon UK Instagram post warned that “something new is coming” and invited users to a livestream that day [18] [19]. Notably, Canon USA’s teaser used the phrase “a new way to capture the world,” hinting this isn’t a minor update [20]. The accompanying image, though deliberately obscured, speaks volumes: it shows a boxy camera body with no viewfinder hump, a prominent red Record button on the grip, and a front tally lamp [21] [22]. These are clear hallmarks of a video or cinema-oriented model. A red-ring RF lens is attached in the teaser, suggesting a higher-end RF-mount camera rather than a small camcorder [23].
Observers widely suspect this is a compact Cinema EOS-type camera – essentially Canon’s answer to cameras like Sony’s FX3. The form factor and features resemble Canon’s own APS-C vlog cam (the EOS R50 V) but with the pro touches (multiple control dials, the L-series lens) pointing to a more advanced full-frame device [24] [25]. The timing is also telling: the announcement comes right before Amsterdam’s IBC 2025 broadcast trade show, where video gear often debuts [26]. All signs point to Canon launching a new RF-mount cinema camera or high-end video-focused mirrorless. Rumors have even floated names like “EOS C50” or an EOS R6 Mark III – though Canon has kept details tightly under wraps. We’ll know for sure once the 3 PM CEST / 9 AM ET livestream kicks off on Sept. 9 [27].
(Canon Rumor Mill: In related chatter, Canon Rumors reports that Canon may also introduce a new PowerShot compact camera this month – possibly reviving the “ELPH” name for a truly pocketable model. While unconfirmed, it suggests Canon isn’t entirely abandoning compact cameras even as smartphones dominate [28] [29]. Additionally, many Canon watchers are eagerly awaiting an EOS R6 Mark III, and the teaser’s timing has some speculating that a stills-centric body might follow later in September. But as one industry pundit joked, “This must be the most boring year in Canon rumors history” so far [30].)
Nikon’s Authenticity Service Setback
Nikon faced an embarrassing hiccup with a headline feature of its flagship mid-range body, the Z6 III. The camera’s recent firmware 2.0 update introduced support for C2PA Content Credentials – a cryptographic “authenticity” signature meant to prove an image is unedited and genuinely from a Nikon camera. However, a longtime Nikon user (forum handle “Horshack”) discovered a fatal flaw: by using the Z6 III’s Multiple Exposure mode, he could combine a C2PA-signed photo with an unsigned one, resulting in a composite that the camera still marked as “authentic” [31] [32]. In a proof-of-concept, he created an image emblazoned with the words “Hacked by Horshack!” – and it passed Nikon’s verification as if it were legitimate [33]. The implication is severe: fake or AI-generated visuals could be made to look Nikon-verified, undermining the whole trust system.
Once alerted, Nikon moved quickly. On September 5, the company published a notice confirming “an issue has been identified” with the Authenticity Service and that “the service has been temporarily suspended while we work diligently to resolve the issue”. Nikon added, “We will provide an update as soon as the corrective measures are complete. We sincerely apologize for any inconvenience this may have caused.” [34]. In other words, Z6 III owners can no longer use Content Credentials until a firmware fix arrives. Nikon didn’t detail the exploit publicly, but it’s “almost certainly” the multi-exposure loophole described above [35].
Critics note that this misstep couldn’t come at a worse time: camera makers are trying to position authenticity tags as a bulwark against deepfakes and misinformation. “Anything that undermines that trust is a massive problem,” a PetaPixel analyst observed regarding Nikon’s flaw [36]. The good news is Nikon’s response was swift – acknowledging the issue within about a week of firmware 2.0’s rollout and promising a fix. Until then, the Z6 III’s authenticity feature is on ice.
In related Nikon news, U.S. customers are swallowing a bitter pill: Nikon enacted a second round of price hikes this year, driven by higher import tariffs [37]. For instance, the Z6 III’s MSRP jumped from $2,499 to $2,697 in the U.S. after the latest increase [38]. Nikon isn’t alone here (more on industry-wide tariffs below), but it underscores the current trend of rising costs. On a more upbeat note for Nikon fans, the company officially launched a special silver edition of the retro-styled Nikon Zf. The chrome-finish Zf (previously rumored) went up for pre-order in early September, with shipments set for later in the month [39]. Nikon also quietly introduced matching vintage-style accessories (like SmallRig grip plates and even a $200 add-on optical viewfinder) to complement the Zf’s film-era aesthetic [40] [41]. While these aren’t new camera models, they show Nikon tapping into nostalgia – even as it grapples with cutting-edge tech issues like the content credentials fiasco.
Drone Giant Eyes the Mirrorless Market – DJI’s Bold Move
A major new challenger may be about to crash the party in full-frame cameras. Multiple reports from credible outlets (including Imaging Resource and FujiRumors) say that DJI – the global leader in drones – is poised to announce its first ever mirrorless interchangeable-lens camera on September 15 [42] [43]. This rumored DJI camera is said to use the L-Mount (the lens mount alliance shared by Leica, Panasonic, and Sigma), immediately giving it access to a wide range of lenses. Crucially, it’s expected to have a full-frame sensor. If true, that spec alone puts DJI in direct competition with heavyweights like Canon’s EOS R line, Sony’s A7/A9 series, and Nikon’s Z series.
Leaked details paint a picture of a very video-focused machine. The camera purportedly has a boxy, rectangular body resembling Sony’s FX3 cinema camera, but “with an integrated EVF in the corner,” something the FX3 lacks [44]. In essence, imagine a hybrid of a small cinema camera and a stills camera. A blurry photo of a prototype has even surfaced online – though it’s too indistinct to glean much beyond the general silhouette [45]. Speculation is rampant that DJI will leverage its imaging expertise (honed through its drone cameras, the Zenmuse gimbal cameras, and ownership of Hasselblad) to pack this device with top-notch video capabilities. Observers expect features like gimbal-friendly stabilization and maybe even LiDAR autofocus (DJI developed the impressive LiDAR AF for Hasselblad’s latest X2D medium-format camera [46]).
The mere prospect of DJI entering this space has caused a stir. FujiRumors cheekily tweeted, “DJI’s Full Frame Mirrorless Camera Is Coming — Panic for Sony/Canon/Nikon, Zero Worries for Fujifilm” [47]. It’s a half-joking comment on how the Big Three might feel threatened, while Fujifilm (which doesn’t make full-frame cameras) can sit back with popcorn. Still, there’s truth underlying the humor: DJI’s move could disrupt the market. The company has enormous R&D resources and isn’t afraid to challenge incumbents – see its aggressive push in the action cam and gimbal markets. If DJI’s camera is real and launches this week, it will mark September 2025 as one of the most competitive moments in recent camera industry history. (Worth noting: September is packed with other releases too – Canon’s launch, Apple’s iPhone event, Sigma’s lens announcements – so DJI would be jumping into a very crowded news cycle [48].)
For now, DJI has not officially confirmed anything, so treat this as a well-substantiated rumor. But multiple leakers and even a brief teaser by a DJI affiliate have pointed toward Sept. 15 as the date to watch [49] [50]. The photography world will be watching to see if the drone king can take to the skies in the mirrorless camera arena.
Panasonic & Sony Target Video Professionals
It was a big week for professional video gear, with noteworthy announcements from Panasonic and Sony aiming at the higher end of the market.
Panasonic’s AK-UBX100: On Sept 3, just ahead of the IBC show, Panasonic Connect Europe announced the AK-UBX100, a 4K multi-purpose camera that bridges the gap between studio broadcast cameras, compact “box” cameras, and robotic PTZ (pan-tilt-zoom) cameras [51]. In essence, the UBX100 is a modular block-style camera head designed for everything from live TV studios and sports venues to houses of worship. It uses a 2/3-inch type sensor with a standard B4 lens mount, so it can accept all those big broadcast zoom lenses [52].
What really sets the UBX100 apart is technology normally unheard of in studio cams: fast, AI-powered autofocus. Panasonic is touting it as “the future of video production,” since traditionally, 2/3″ studio cameras are fully manual focus [53]. Here, the UBX100 can intelligently track subjects even when using long broadcast lenses, thanks to phase-detect AF and AI subject recognition [54]. This first-ever autofocus for a 4K studio camera is actually being introduced via firmware on Panasonic’s high-end AK-UCX100 studio camera, and the UBX100 will ship with it enabled by Q4 2025 [55] [56]. Panasonic’s aim is to free up camera operators – especially in fast-paced live productions – from fiddling with focus so they can concentrate on composition.
The new camera is also built for modern IP workflows: it supports IP video protocols like SMPTE ST 2110, NDI, and SRT out of the box [57]. It’s relatively lightweight (~1.9 kg) and compact, suited for mounting on robotic pedestals or even drones. To control multiple UBX100s, Panasonic also unveiled a new AW-RP200 remote control panel with dual joysticks and automation macros, which will debut at IBC alongside the camera [58]. In short, Panasonic is offering broadcasters a high-tech “Swiss Army knife” camera. As Panasonic’s product manager Jim Jensen put it, “the UBX100 is a powerful addition… giving production teams a lightweight, versatile tool that delivers consistent quality. Alongside our breakthrough auto-focus…, we’re empowering creators to focus less on technical challenges and more on telling their stories.” [59] Panasonic clearly sees automated features and multi-purpose flexibility as key to the future of pro video.
Sony’s FX3/FX30 firmware upgrades: Not to be outdone, Sony announced significant firmware updates for two popular members of its Cinema Line: the FX3 (full-frame compact cine camera) and FX30 (APS-C version). These cameras are already widely used by indie filmmakers and video creators, and the upcoming updates – v7.0 for the FX3 and v6.0 for the FX30 – bring a raft of high-end capabilities to them. First and foremost is a revamped user interface: a new “Big 6” home menu that prominently displays six key shooting settings on one screen for quick at-a-glance status [60]. This UI is borrowed from Sony’s top-tier Venice and Burano cinema cameras, which means more consistency across Sony’s lineup.
Another headline feature is support for anamorphic lenses: the firmware will add 1.5× and 1.6× de-squeeze options for monitoring [61]. Anamorphic shooters (who use specialized lenses for a wide cinematic look) will be able to preview the correct aspect ratio on the FX3/FX30 LCD – no external monitor needed. Sony is also enabling external RAW video recording on these cameras: after the update, the FX3/FX30 can output a RAW video stream over HDMI that is compatible with Blackmagic Design’s Blackmagic RAW codec [62]. In practical terms, with an external Blackmagic Video Assist recorder, users can capture 12-bit BRAW footage – a big deal for color grading and post-production flexibility. (Notably, Sony’s move here one-ups its rivalry with Atomos/ProRes RAW and shows an openness to supporting Blackmagic’s format.)
Beyond those marquee items, the update includes many quality-of-life improvements, from finer control in Slow & Quick modes to better magnified focus assist during bright monitoring [63]. Overall, Sony is trickling down features from $10,000+ cinema cameras into $2–3k bodies [64], blurring the line between professional and prosumer gear. It’s an aggressive play to keep filmmakers tied into the Sony ecosystem as competitors (like Panasonic and potentially DJI) turn up the heat. The firmware is expected to roll out in mid-September 2025, and underscores how even cameras released 2–3 years ago can gain major new capabilities through free updates – a trend videographers certainly welcome.
Glass Galore: Lenses Announced and Anticipated
The past few days delivered plenty of news for lens enthusiasts, spanning both forthcoming releases and new products already hitting the market.
Venus Optics (Laowa) – Six Lenses Incoming: Laowa, known for its niche and innovative lenses, is gearing up to unveil six new lenses at the IBC 2025 show (mid-September). According to an early look by Digital Camera World, the lineup covers everything from still photography to cinema. The spotlight is on a long-rumored Laowa 200 mm f/2 “C-Dreamer” telephoto [65]. If specs hold, this would be an ultra-bright tele lens that, remarkably, weighs only ~1.6 kg – over a kilogram lighter than the famous (and pricey) 200mm f/2 lenses Nikon and Canon made in the DSLR era [66]. Laowa seems to be positioning it as a comparatively hand-holdable fast tele for sports, wildlife, and astrophotographers. Other lenses Laowa plans to show include specialty optics: expect some new macro and tilt-shift options, and intriguingly, two full-frame anamorphic zoom lenses (reportedly 40–80 mm T4.5 and 70–135 mm T4.5, both 2× squeeze) aimed at indie filmmakers [67]. Laowa has built a reputation for out-of-the-box designs, and this bold multi-lens rollout underscores that. Photographers and DPs will be watching for Laowa’s official announcements to confirm mounts, pricing, and availability.
DZOFilm – Vespid² Cine Primes: In the cinema lens arena, DZOFilm officially launched its Vespid² prime lens series. These are six full-frame cine primes ranging from 18 mm to 105 mm, all with a fast T1.9 aperture [68]. The Vespid² are updated successors to DZO’s original Vespid primes, now boasting sharper optics with minimal chromatic aberration. A huge selling point is their unified design – each lens in the set is identical in size, weight (~800 g each), front diameter (80 mm), and gear position [69]. This makes swapping lenses on set much faster, since follow-focus, matte boxes, and balance don’t need adjustment between lenses. They also include /i Technology contacts to transmit lens metadata (focus distance, iris, etc.) to compatible cameras [70] – a boon for VFX workflows and virtual production that rely on that data. DZOFilm has priced them aggressively: around $1,199–1,299 each, or about $6,289 for the whole six-lens kit [71]. That undercuts many cinema lens competitors, especially given the feature set. The lenses will initially come in PL mount, with adapters for EF, L, and E mounts. For up-and-coming filmmakers, the Vespid² primes offer an affordable path to a complete, professional prime set with modern features.
7Artisans 35mm f/1.8 AF (Sony E): In the consumer/full-frame world, Chinese manufacturer 7Artisans announced a new AF 35mm f/1.8 lens for Sony E-mount – and it’s aimed squarely at budget-conscious shooters. At $299 USD, this 35mm is priced well below first-party or even Samyang/Sigma offerings [72]. Yet it doesn’t skimp on build or features: it has an all-metal body, an optical formula of 11 elements in 8 groups (including 2 aspherical and 1 ED element) [73], and an 11-blade aperture for smooth bokeh. Unusual for a budget lens, it includes a clickless aperture ring, an AF/MF toggle switch, and even a customizable function button on the barrel [74]. 7Artisans also built in a USB-C port for firmware updates – a sign of the times as third-party lens makers refine their autofocus algorithms via user-applied updates [75]. The trade-off? A somewhat hefty weight of 426 g and 94 mm length [76], making it larger/heavier than Sony’s own FE 35mm f/1.8. Early user feedback notes the heft but also the surprising feature set at this price. The lens is available now for Sony; (Interestingly, some users have spotted it being sold for Nikon Z and L-mount as well, though 7Artisans hasn’t officially announced those mounts [77] [78].) For photographers wanting a fast 35mm without breaking the bank, this is a noteworthy new option.
Viltrox 56mm f/1.2 Pro (APS-C): In another release, Viltrox – which has been expanding rapidly – introduced a 56mm f/1.2 Pro portrait lens for APS-C mirrorless (available in mounts like Fuji X and Sony E). This lens caters to APS-C shooters seeking a high-quality portrait prime equivalent to ~85mm full-frame. According to DPReview, the 56mm f/1.2 Pro promises excellent sharpness and has a premium build, yet comes in at an “affordable price” relative to Fuji’s own XF 56mm f/1.2 lens [79]. (Exact pricing wasn’t cited, but Viltrox tends to significantly undercut first-party glass.) Notably, Viltrox also signaled interest in the L-Mount Alliance around this time – indicating its lenses might soon be offered for Leica/Panasonic/Sigma users as well [80]. This reflects a broader trend of third-party lens makers stepping in to fill gaps, often cooperating with camera makers’ mount licensing programs (as Sigma, Tamron, and Viltrox have done recently with Nikon Z and others).
Sigma “Master of Optics” Teasers: Looking ahead, Sigma has been teasing a special launch event dubbed “Master of Optics” for Sept. 9. Leaks and the rumor mill suggest Sigma might unveil a new 135mm f/1.4 Art lens, a wildcard 20–200mm ultra-zoom, and possibly a 35mm f/1.2 Art DG DN II (second-generation version of its popular 35mm f/1.2) [81]. If true, portrait and bokeh fans have reason to be excited. Sigma’s Art line is famed for combining stellar image quality with relatively accessible pricing, and a 135mm f/1.4 would be a bokeh monster to rival – or exceed – the classic 135mm f/1.8 lenses from Canon/Sony. We’ll know in a day or two if these rumors pan out. Either way, September 2025 is proving to be feast for lens aficionados, with options exploding across focal lengths and mounts.
Industry Trends: Tariffs Bite, Companies Adjust Course
Beyond product news, several industry-wide developments during this period are influencing the camera market’s economics and landscape:
- Tariff-driven price hikes: The ongoing trade war tariffs between the U.S. and countries like China and Japan continue to affect camera gear prices. By now, most major brands – Canon, Nikon, Sony, Fujifilm, Leica, Sigma, and others – have implemented price increases in the U.S. to offset higher import costs [82] [83]. Notably, Panasonic and OM System (Olympus) had held out longer, but rumor has it both will institute price hikes by end of September (Panasonic) and early October (OM System) this year [84] [85]. That means virtually every camera maker has adjusted U.S. MSRPs upward in 2023–2025 due to tariffs. For consumers, it’s a reminder that global politics can hit the wallet; for companies, it’s a delicate balance between maintaining margin and not alienating customers. Some relief may come from recent moves like Blackmagic Design’s huge price cuts on its URSA Cinema Camera line – Blackmagic said it managed to reduce manufacturing costs by relocating production, allowing it to knock thousands of dollars off high-end camera models and “pass the savings on” to creators [86]. For example, the 12K URSA Mini Pro dropped from ~$31.5K to ~$24.5K overnight [87]. While Blackmagic is a niche player, its bold price drop puts pressure on rivals in the digital cinema space and shows that not all price trends are upwards.
- Mergers & acquisitions – Joby finds a new home: A notable corporate shake-up came with Videndum plc (formerly Vitec Group) agreeing to sell its Joby brand to Vijim, part of China’s Ulanzi camera accessory group [88] [89]. Joby, of course, is famous for the GorillaPod – those flexible mini tripods that were a must-have for vloggers a few years back. Videndum, which also owns premium brands like Manfrotto, Gitzo, and Lowepro, stated that “this sale supports the company’s strategy to focus on core professional markets.” In other words, Joby’s consumer-focused products no longer fit Videndum’s high-end portfolio [90]. Vijim/Ulanzi, on the other hand, has been a rising star in affordable lighting and accessories, and acquiring Joby gives it a globally recognized brand to expand. Under new ownership, we may see Joby tripods and accessories become more widely available and potentially more diverse (Ulanzi could integrate lights, phone accessories, etc., with Joby’s designs). It’s also a symbolic shift: an influential photo accessory brand moving from Western to Chinese ownership, reflecting the broader industry trend of Asian (especially Chinese) companies gaining ground by buying legacy brands (as we saw with DJI/Hasselblad, Yongnuo/Meike collaborations, etc.). For end users, there’s no immediate change – Gorillapods will still exist – but it will be interesting to watch if Vijim injects new innovation or lower prices into the Joby lineup. Videndum, for its part, will double down on its pro gear division, which includes everything from Teradek wireless video systems to SmallHD monitors. This streamlining might help those brands innovate faster in their niches.
- Market outlook: The flurry of rumors and releases in early September suggests camera makers are positioning their year-end lineups. Historically, September is a big announcement season (thanks to events like IBC and the lead-up to the holidays). This year we’re seeing a mix of incremental upgrades (e.g. firmware boosting existing models), entirely new entrants (DJI, possibly), and niche expansions (specialty lenses, new video tools). The enthusiast community is abuzz not only with what did happen on Sept 7–8, but what’s scheduled just beyond – Canon and Sigma on Sept 9, Apple on Sept 12, DJI on Sept 15, and hints of a Nikon announcement on Sept 10 (Nikon Rumors hints at a mysterious “Zr” model or perhaps the Z6 III’s sibling) [91]. The competitive pressure is clearly on. Camera companies are innovating on multiple fronts – from computational tricks (see Google’s AI zoom comparison getting mainstream tech press attention [92]) to retro-inspired designs (Nikon Zf) to creator-focused video gear (Canon and Sony). For consumers and professionals alike, it’s an exciting time, with more choices and capabilities than ever – albeit at generally higher prices. The next few weeks promise to deliver even more clarity on who will lead the pack in late 2025 and into 2026.
Sources: Manufacturer releases and social media (Canon UK/USA teaser posts via DPReview [93] [94] and DigitalCameraWorld [95]); industry news outlets DPReview [96] [97] and Digital Camera World [98]; FujiRumors via Imaging-Resource [99] [100]; PetaPixel [101] [102] and Nikon Rumors [103]; TS2 Space weekly industry reports [104] [105] [106] [107]; No Film School (Panasonic quote) [108]; Imaging Resource and DigitalCameraWorld (lens news) [109] [110]; DPReview product announcements [111] [112]; Digital Camera World and Videndum PLC statements on Joby sale [113].
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