When was the last time a camera announcement – regardless of price – actually excited you?
For me, it was the ARRI Alexa 35 back in 2022. The anticipation was electric, and the early buzz promised something close to cinematic perfection. But in the real world? The results aren’t very different from what you get with the ALEV III sensor. In fact, I still prefer the out-of-camera look of the ALEV III.
Sometimes too much of a good thing isn’t good. It’s like buying a fast Ferrari – only to be stuck driving 50 miles an hour.
In this article, we’ll look at three new cameras announced at NAB 2025 and see if they offer more than just incremental upgrades. Can they tell us something meaningful about where cinema cameras are truly headed?
Blackmagic PYXIS 12K
Their early 12K cameras never gained traction – hardly anyone films and grades in 8K, let alone 12K. So what did Blackmagic do?
They doubled down on 12K.
At NAB 2025, the Blackmagic Design PYXIS 12K was the most headline-grabbing launch. This full-frame camera is aimed squarely at high-end feature production. But then again, that’s exactly what Blackmagic says about all of their cameras. Sadly, they’ve been crying wolf for so long I never believe the hype. Let the cameras speak for themselves.
Here are the specs in a nutshell:
- Sensor size: 35.64 x 23.32 mm
- Resolution: 12,288 x 8040 up to 40 fps and 12,288 x 5112 up to 60 fps
- Best frame rate: 8192 x 3408 up to 112 fps
- Recording media: Dual CFexpress Type B slots
- Lens mounts: L, EF, PL
- Claimed 16 stops of dynamic range
- You can shoot all the way down to 4K in full frame mode.
The camera is expected to be shipping in a few months from the day this article is published, and you can pre-order it now.
My Thoughts:
If you compare it with the PYXIS 6K, the main differences are (other than resolution):
- 6K at 36 fps and 4K at 60 fps
- 13 stops of dynamic range
Considering the price difference isn’t all that high, the PYXIS 12K seems like a no-brainer over the PYXIS 6K. Here’s a comparison I made of the PYXIS 6K:
If the PYXIS 12K can even deliver even 75% of its promised capabilities, it will be a winner. The price is great, and the camera should be what anyone wants for anything – except high frame rate filming. The only thing I find lacking is a 6K or 4K 120fps option. But 112 fps isn’t too bad, so that’s nitpicking.
On paper, there’s nothing to complain about. All you have to do is wait for the real-world results and reliability tests. If I were you, I’d avoid all the early paid reviews and only listen to real world honest experiences where it is clear no free camera or money exchanged hands.
If the camera works as advertised, I wouldn’t hesitate to use it myself. As a professional, I know how to separate the camera from the manufacturer.
RED Z-Mount Komodo-X
This was expected, considering Red is now owned by Nikon. The Komodo-X is a capable camera with a global shutter, and you can read my thoughts and comparisons on it here:
My Thoughts:
The new Z-mount provides access to a broader range of lenses – but how many cinematographers have Z-mount lenses or want to invest in them? Nikon has been out of the serious video and cinema-picture for so long – even I’ve divested myself of all my Nikon gear.
I can see people wanting to use the Komodo-X but groaning because they have to buy Nikon lenses now just for that camera. You see the problem?
They had a year to come out with something unique and takes full advantage of the synergy – but this announcement was underwhelming. It’s not easy to come up with something new so quickly, so maybe next year.
At the very least the Komodo-X should offer world-class autofocus and stabilization performance – on par with the best Nikon mirrorless cameras. Only that would make it truly special and unique.
Fujifilm GFX ETERNA
Fujifilm’s GFX ETERNA is a medium-format mirrorless camera that integrates the company’s legendary ETERNA film simulation profiles. That’s a unique selling proposition I can get behind.
According to Fujifilm:
Both the “GFX 102MP CMOS II HS” sensor and “X-Processor 5” are the latest technologies featured in the mirrorless digital camera “FUJIFILM GFX100 II”
The GFX100 II doesn’t have great video features to write home about:
- 43.8 x 32.9 mm sensor with 5-axis image stabilization.
- Via HDMI – 12-bit 4:2:2 Apple ProRes RAW or Blackmagic RAW in resolutions of up to 8K 30p.
- Internally – Apple ProRes 10-bit 4:2:2 in resolutions of up to 8K 30p.
- Video ISO from 100 to 12,800.
- Full width of the sensor only up to 4K/60p.
- G-mount, but a lens adapter from G to PL mount lenses is in the pipeline.
We don’t know how much the Eterna will deviate from the GFX100 II (Amazon, B&H) because Fujifilm said they use the same processor. Can they unlock full frame 8K or at least 6K? Can they give internal RAW recording?
As of now, there’s no confirmation on anything, and the image you see is of a prototype, subject to change.
But I have thoughts!
My Thoughts:
The fact that there’s no native PL or LPL mount shows maybe Fujifilm is just testing the waters with a minimum viable product. Things might change between now and the final camera, but I remain skeptical.
To be honest, the video quality of the GFX100 II (Amazon, B&H) is nothing spectacular (it’s great, but so is every other camera in 2025). The sensor is larger than full frame, but not by much, and definitely not enough to rival 65mm. And, its low-light performance won’t trouble many cameras today.
The GFX Eterna has one unique thing going for it – the film profiles. I believe the price point will be the deciding factor. The GFX100 II costs about $7,500, so the Eterna will be priced north of that. That’s a hard sell, is all I’m going to say.
But I’ll wait for the camera and real world tests – maybe Fujifilm will surprise us all!
What NAB 2025 Tells Us About the Future of Cinema Cameras
Imagine a few years from now, and all three manufacturers deliver on all their promises:
- The PYXIS 12K actually turns out to have no major issues!
- The new Red-Nikon camera comes out with autofocus and color science that is unique!
- The Fuji Eterna has incredible dynamic range and color.
Is it still better than:
- The Sony FX3 and Sony lenses? Or whatever Sony will come up with next?
- The Canon C80 and Canon lenses? Or whatever Canon will come up with next?
- The older Alexa LF Mini?
Or let me extrapolate that in more general terms:
What can any new camera do that will make us so excited we have to buy it?
NAB 2025 made one thing crystal clear: the future of cameras lies in divergence, not convergence. One manufacturer is going for resolution, the other for autofocus, and the third for color and sensor size.
Some manufacturers are doubling down on a modular form factor, while others are opting for a full cinema-camera form factor. Some are still torn between the two.
In the current economic climate, 8K sounds like a distant necessity – for cameras or TVs. Consumers don’t want it. Streaming platforms don’t want it either. 12K sounds like a cruel joke for today.
Today’s cameras are no longer about the “film look” – they’re hubs for entire digital ecosystems, with integrated cloud workflows, real-time previews, and customizable configurations.
The new 65mm cameras have a practical problem, too – lenses, or the lack of availability thereof. This will be fixed eventually, but by then today’s cameras will become obsolete. We can’t buy a camera for the future today. Why not just buy it when there’s an actual demand for its features?
For filmmakers, this is good news. It means the freedom to choose a cheaper camera that best serves the story you’re trying to tell.
Bottom line, what the new camera announcements over the past three years have shown me, is the camera industry itself is still confused.
So, my advice is:
Don’t invest in new cameras unless you know for sure it will make money for you. If you’re buying a camera for a film, don’t. Let a producer pay for it.
Or better still, buy used:
Is the Camera Industry Healthy?
There’s tons of demand for new content. OTT platforms continue to raise the bar for visual quality, and the affordability of powerful cheap cameras from 2022 is empowering independent filmmakers to meet those expectations.
The recent camera launches and announcements show that camera manufacturers are struggling to find products that really exceed expectations that existing cameras are good enough to meet.
In simpler words: There’s no demand for better cameras now. Maybe you want it, but the film market as a whole doesn’t. Audiences don’t care – streaming and cinema chains don’t care – distributors and producers don’t care – and all the major stars are happy with how they look with available cameras.
You could release a 12K 20-stop DR camera today and it wouldn’t move the needle in any film or video market – unless the price is so low it risks driving the manufacturer out of business. The prices of parts and labor (and dare I say, tariffs?) are going up and up – and people want things cheaper and cheaper.
Cameras will get better. But for the industry to survive this economic climate, it will have to dig deep and simplify.
What do you think?
