Canon News (Page 5)

Get this lens as soon as it hits the streets. Order the Sigma 17-40mm F1.8 DC Art Lens now from B&H | Adorama

From Sigma Corporation of America:

Sigma Corporation Announces the Versatile, Professional-Grade 17-40mm F1.8 DC | Art Lens, Pushing the Boundaries for Both Photography and Video

Ronkonkoma, NY, June 17, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the 17-40mm F1.8 DC | Art, the first Art lens for APS-C format since 2016, and the very first made exclusively for crop sensor mirrorless cameras.

This remarkable new lens is the direct successor to the groundbreaking 18-35mm F1.8 DC HSM | Art for DSLR cameras, offering the user a wider angle of view as well as more versatility at the telephoto end. With an updated optical design, it delivers the image quality and brightness of a prime lens, along with the versatility of a zoom. This fast, flexible lens is also designed with video shooting in mind, featuring an inner zoom, high-speed and silent linear autofocus, and minimal focus breathing, as well as a dust and splash-resistant structure for use in virtually any environment.

Significantly lighter than its predecessor, the 17-40mm F1.8 DC | Art lens weighs only 535g (18.9 oz.) and is stacked with features that will appeal to photographers, filmmakers and content creators alike, no matter what camera system it is paired with.

The Sigma 17-40mm F1.8 DC | Art lens will be available in mid-July at authorized Sigma dealers for Sony E-mount, L-Mount, Fujifilm X Mount, and Canon RF Mount for a retail price of $919 USD.

Exclusively for mirrorless cameras

Compatible with crop sensor cameras

ART 17–40mm F1.8 DC

• Standard zoom lens with a large aperture and rendering capability comparable to a prime lens
• Highly portable and versatile for any situation
• Functions to support video production

Available mounts: L-Mount, Sony E-mount, FUJIFILM X Mount, Canon RF Mount

Supplied accessories: Lens Hood LH728-02, Front Cap LCF-67 IV, Rear Cap LCR III, Pouch

Launch: L-Mount, Sony E-mount, FUJIFILM X Mount / July 10, 2025

Canon RF Mount / August 2025

* Product appearance and specifications are subject to change.

* L-Mount is a registered trademark of Leica Camera AG.

* This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

* This product is developed, manufactured and sold under license from Canon Inc.

#Sigma #Sigma1740mmArt #SigmaArt #SigmaArtZoom #SigmaDC #MadeInAizu

The Sigma 17-40mm F1.8 DC | Art builds upon the groundbreaking innovations of the Sigma 18-35mm F1.8 DC HSM | Art, which earned high acclaim as the world’s first F1.8 zoom lens in the photography and video industry. Thirteen years after its debut, this next-generation lens achieves not only superior optical performance but also a wider focal length of 17-40mm while reducing its weight by over 30%. This dramatically enhances the versatility of a large aperture standard zoom lens.

In addition to the fast and quiet autofocus driven by the HLA (High-response Linear Actuator), the lens incorporates an inner zoom mechanism and minimal focus breathing, ensuring outstanding performance for both still photography and video production. Sigma, the pioneer that stunned the world with the first-ever F1.8 zoom lens, has once again revolutionized the history of large aperture zoom lenses.

KEY FEATURES

Standard zoom lens with a large aperture and descriptive power comparable to a prime lens

Constant maximum aperture of F1.8

The Sigma 17-40mm F1.8 DC | Art has the convenience of a zoom with a constant aperture of F1.8 throughout the zoom range. Taking advantage of a large aperture comparable to a prime lens, the lens is suitable for low-light environments such as indoor and night scenes, as well as for expression using large bokeh.

Excellent optical performance

The optical design, realized through the latest design and processing technologies, including the use of high-precision aspherical lenses, achieves excellent optical performance.

By emphasizing the correction of axial chromatic aberration and sagittal coma flare, the lens achieves high resolution even at the wide-open F1.8 aperture, rendering textures and fine details with stunning clarity.

Flexible framing made possible

The range of the Sigma 17-40mm F1.8 DC | Art has been expanded from its predecessor the Sigma 18-35mm F1.8 DC HSM | Art, covering 25.5-60mm in 35mm format*. From wide-angle tabletop photography to portraits that fully utilize the telephoto angle of view, users can take full advantage of the expressive power of the large F1.8 aperture while freely framing their shots without the need to change lenses.

* Approximately 27.2-64mm for the Canon RF Mount version.

Designed to minimize flare and ghosting

Using advanced simulation technology and Sigma’s Super Multi-Layer Coating, flare and ghosting have been largely eliminated, ensuring that the lens renders rich, high-contrast results in all conditions.

Highly portable and versatile for any situation

Practical and stable inner zoom

Employing an inner zoom mechanism, the overall length of the lens remains constant when the focal length or focus distance changes. This means the lens is easy to use and highly stable when shooting hand-held, on a tripod or gimbal, and even more resistant to dust and water contamination.

Enhanced mobility with a compact and lightweight design

The Sigma 17-40mm F1.8 DC | Art is over 30% lighter and has a filter diameter of 67mm, which is one size smaller than its predecessor the Sigma 18-35mm F1.8 DC HSM | Art. Despite being a large aperture zoom lens, it is surprisingly portable. The expressive power of F1.8 can be used with a compact APS-C system, making it ideal for travel and everyday photography, as well as video production, where mobility is key.

Dust- and splash-resistant structure* / water- and oil-repellent coating

In addition to a dust- and splash-resistant structure, the frontmost surface of the lens has a water- and oil-repellent coating applied, so that the lens can be used safely even in harsh outdoor environments.

* The product is designed to be dust- and splash-resistant but is not waterproof. When using the lens near water, etc., take care not to allow large amounts of water to splash on it. If water gets inside the lens, it may cause a major malfunction and render the lens unrepairable.

Equipped with two AFL buttons*, two that can be assigned any function from the camera menu. By placing them on the side and top, users can easily operate the buttons in either landscape or portrait positioning.

* Functions can be assigned on supported cameras only. Available functions may vary depending on the camera used.

* The FUJIFILM X Mount version has an AF function button that can be used to select AF lock/AF operation via lens switch.

Functions that support video production

HLA-driven high-speed AF

The adoption of HLA (High-response Linear Actuator) enables quiet, high-speed, high-precision autofocus. The smooth, stable autofocus is perfect not only for still photography, but also for single-operator shooting with a gimbal or vlogging.

Minimal focus breathing

The focus breathing is suppressed, minimizing changes in the angle of view caused by focus shift and enabling smooth, natural-looking focus pulls when recording video.

Aperture ring with various functions

Equipped with an aperture ring* for intuitive control of the aperture. When shooting video, users can turn off the click switch for smooth, quiet aperture control. It also has an aperture ring lock switch** to prevent accidental changes to the aperture during shooting.

* The Canon RF Mount version has a control ring instead of an aperture ring. It does not have an aperture ring click switch or lock switch.

** If you turn it on in position A, the aperture ring will be locked in position A. If you turn it on in a position other than A, it will be locked in the range from open to minimum aperture, and it will not be possible to turn it to position A.

LIST OF FEATURES

• HLA (High-response Linear Actuator)
• Inner zoom
• Water- and oil-repellent coating
• Aperture ring¹
• Aperture ring click switch²
• Aperture ring lock switch²
• AFL button (2 locations)³
• Focus Mode switch⁴
• Dust- and splash- resistant structure
• Mount Conversion Service available
• Support for switching between linear and non-linear focus ring settings (for L-Mount only)⁵
• Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)
• Every single lens undergoes Sigma’s proprietary MTF measuring system

1. The Canon RF Mount version has a control ring instead of an aperture ring.
2. For the Canon RF mount, this is not equipped.
3. Functions can be assigned on supported cameras only. Available functions may vary depending on the camera used. The FUJIFILM X Mount version has an AF function button that can be used to select AF lock/AF operation via lens switch.
4. The FUJIFILM X Mount is equipped with an AF function setting switch for selecting the function to be used when the AF function button is pressed.
5. Only cameras that are compatible with the system are allowed to use the system.

KEY SPECIFICATIONS

Below figures are for L-Mount

Lens construction: 17 elements in 11 groups (4 SLD, 4 aspherical elements)
Angle of View: 79.7-39.1°
Diaphragm Blades: 11 (Rounded Diaphragm)
Minimum Aperture: F16
Minimum Focusing Distance: 28cm / 11.1in.
Maximum Magnification Ratio: 1:4.8 at f=40mm
Filter Size: ?67mm
Maximum Diameter x Length: ?72.9mm x 115.9mm / ?2.9in. x 4.6in.
Weight: 535g / 18.9 oz.

Through June 22, use Payboo (to save an extra 5-15% on select items at B&H.

Brands with the extra savings include Apple, SanDisk, Lenovo, and more. Over 1,000.00 items are included.

I always use Payboo at B&H.

B&H's Bild Expo 2025 starts tomorrow, and Canon has great show specials already available, including an extra $100.00 off numerous popular lenses.

Check out the full list of Canon deals at B&H.

B&H's Bild Expo 2025 starts tomorrow, but great show specials are already available. Your favorite brands are in the game.

Browse the Bild Expo Show Specials at B&H.

Note that some specials require promo code BHBILD25.

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Just posted: Sony FE 50-150mm F2 GM Lens Review.

This is one of the highest-quality and most-useful lenses ever released.

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Learn more about the new Manfrotto ONE Carbon Fiber and Aluminum Tripods, 500X Fluid Head, and Bags at B&H.

From Canon Inc.,

Canon makes its EOS VR SYSTEM compatible with "Apple Projected Media Profile" and "spatial photo" in an aim to expand the 3D VR market and strengthens collaboration with Apple

TOKYO, June 10, 2025—Canon Inc. announced today that two of its RF lenses for 3D VR video—the RF5.2mm F2.8 L DUAL FISHEYE (released in December 2021) and the RF-S3.9mm F3.5 STM DUAL FISHEYE (released in June 2024)—will offer compatibility with "Apple Projected Media Profile" (hereafter "APMP"), a QuickTime movie profile that will be supported by the Apple Vision Pro spatial computer developed by Apple Inc. (hereafter "Apple"). Canon has also announced that it will make its RF-S7.8mm F4 STM DUAL lens (released in November 2024) compatible with "spatial photo," and that it will help to further expand the 3D VR market through collaboration with Apple going forward.

Canon launched the EOS VR System for capturing VR video in 2021, and since then has met the needs for VR video production in diverse fields including entertainment, tourism, and education. In June 2024, the company announced the RF-S7.8mm F4 STM DUAL, a lens capable of recording “spatial video,” which is a type of 3D footage with a sense of depth, for the Apple Vision Pro. Through these developments, Canon has been helping to expand the range of expression available in 3D VR.

At the Worldwide Developers Conference (WWDC), hosted by Apple on June 9, 2025 (Pacific Standard Time), Apple announced visionOS 26, the newest OS for the Apple Vision Pro. In conjunction with this announcement, two of Canon’s RF lenses for 3D VR video, RF5.2mm F2.8 L DUAL FISHEYE and RF-S3.9mm F3.5 STM DUAL FISHEYE, will offer native playback of “APMP” which will be supported by visionOS 26, scheduled to be released in the latter half of 2025. Specifically, footage shot with these lenses and compatible cameras¹ can be converted to “APMP” using the EOS VR Utility² app, making it even easier for users to enjoy a high-quality, immersive experience with the Apple Vision Pro.

By updating EOS VR Utility, the RF-S7.8 mm F4 STM DUAL will also be able to handle not only “spatial video” but also “spatial photo,” which is a 3D image that allows users to enjoy a sense of depth as a still image, when combined with Canon’s mirrorless camera models EOS R7 (released in June 2022) and EOS R50 V (released in May 2025). Additionally, in mid-July 2025, the EOS R50 (released in March 2023) will also be made compatible with the EOS VR SYSTEM through a firmware update, thereby enabling both “spatial video” and “spatial photo.”

Going forward, Canon will further strengthen the EOS VR SYSTEM in collaboration with Apple to meet the creative needs of pro users who strive to produce stunning immersive video as they explore new ways of storytelling.

¹ RF5.2mm F2.8 L DUAL FISHEYE can be mounted on the following cameras: EOS R5 (July 2020), EOS R5C (March 2022), EOS R6 Mark II (December 2022), EOS R5 Mark II (August 2024), EOS C400 (September 2024), EOS C80 (November 2024). RF-S3.9 mm F3.5 STM DUAL FISHEYE can be mounted on: EOS R7, EOS R50 V. As of June 9th, 2025.

²“APMP,” “spatial video” and “spatial photo” are only supported by the macOS version of EOS VR Utility. Some features may require a fee.

*Apple Vision Pro, Quicktime, and visionOS are trademarks of Apple Inc.

The Canon EOS R50 V is here, and it is time to set up this camera.

1. Record serial number, and add camera to the insurance policy
2. Open the box, find the battery, place it in the charger, and plug it in.
3. Consider downloading and installing the latest Canon imaging software to gain support for the latest camera model(s).
4. Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
5. The language, date, time, and time zone setup display will show at the first startup. Use the rear control dial and set button to update this information.
6. The camera will prompt to connect your phone running the Canon Connect App. Follow the prompts as desired.
7. Set the camera to still mode
8. Shooting Menu, Tab 1: Image quality: Set RAW to "RAW", and set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
9. Shooting Menu, Tab 3: Color mode: Picture Style: change to Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides an in-camera histogram that best shows the available dynamic range. I change the Picture Style to "Standard" in DPP after capture.)
10. Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
11. Shooting Menu, Tab 5: Lens Aberration Correction: All options "OFF" (I test lenses, but you may appreciate enabling some options, including Chromatic Aberration correction)
12. Shooting Menu, Tab 4: High ISO speed NR: Low (noise reduction is destructive to images details, so I prefer to add noise reduction sparingly during post-processing)
13. Shooting Menu, Tab 6: Release shutter without card: OFF (only in a retail store would you want to press the shutter release without saving the image file)
14. Shooting Menu, Tab 7: Image review: Review duration: Off (I shoot next image priority most of the time, and the image review hinders composing the next shot)
15. Shooting Menu, Tab 8: Shooting info. disp.: Screen info. settings: Enable 1, 2, 3, and 4; edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
16. Shooting Menu, Tab 8: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
17. Shooting Menu, Tab 8: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
18. Shooting Menu, Tab 8: Shooting info. disp.: Electronic level size: Small (blocks less of the image on the display)
19. AF Menu, Tab 2: Subject to detect: Select Auto, People, Animals, Vehicles, or No priority as makes sense for your current shooting scenario
20. AF Menu, Tab 3: Preview AF: Disable (I don't want the lens autofocusing continuously)
21. AF Menu, Tab 5: MF peaking settings: On
22. Playback Menu, Tab 4: Playback information display: 1, 2, and 3 only; change view 2 histogram to RGB
23. Set-up Menu, Tab 1: Format card (always format a memory card in-camera before using it — all data on the card will be lost)
24. Set-up Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
25. Set-up Menu, Tab 2: Feature guide: Disable (novices may appreciate this feature)
26. Set-up Menu, Tab 2: Beep: Disable (probably no one wants to hear your camera's beep)
27. Set-up Menu, Tab 3: Power saving: Screen dimmer: Disable (I find the dimmer annoying — the LCD is as useful off as dimmed)
28. Set-up Menu, Tab 5: Copyright information: enter as desired
29. Customized controls, Tab 1: Touch Shutter: Disable (I want the camera to focus on what I touch but let me decide when to capture the image)
30. Custom Functions Menu, Tab 2: Retract lens on power off: OFF (prevents a carefully-selected focus distance from resetting when the camera auto powers off)
31. My Menu: Add My Menu 1; Register the following options: Expo.comp./AEB, Display simulation, Subject to detect, Format card, Date/Time/Zone (great for monitoring the time); reorder menu items as desired
32. My Menu: Add My Menu 2; Register the following options: Anti-flicker shoot., Shutter mode, reorder menu items as desired
33. Switch to video mode, and adjust desired video-related settings (mine vary significantly from shoot to shoot)

I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.

To copy this configuration means you intend to shoot as I do, including in RAW-only format. While this setup works optimally for me, you should adjust the camera setup to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when serviced or when acquiring an additional camera, the list will ensure all settings are quickly re-established.

More Information

Canon EOS R50 V Review

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Just posted: Canon EOS R50 V Review.

The R50 V delivers impressive performance at a low price point.

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Highlighting some just-arriving gear in the B&H Used Department:

Remember to use the B&H Payboo payment card to save the tax.

Image quality test results from a second lens tested with the Canon EOS R5 Mark II are now available on the Canon RF 35mm F1.4 L VCM Lens page.

I recently purchased this refurbished lens at Canon USA, and with a convenient opportunity afforded, I tested it. The second lens performs even better than the first one reviewed.

Here is the second lens vs. first lens comparison.

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As I shared at the Zeiss 50mm f/1.4 Otus ML Lens announcement, I welcome Zeiss introducing new products into the MILC space, especially under the high-end Otus brand, and I looked forward to reviewing these products.

With the RF mount Zeiss 50mm f/1.4 Otus ML Lens in the studio, the highest priority was to produce the Image quality test results, which are now included on the Zeiss 50mm f/1.4 Otus ML Lens page.

In general, the sharper the lens, the easier it is to establish perfect focus. When all visible colors are not focused on the same plane, establishing optimal focus is extremely difficult.

Do you see the color fringing in this lens's f/1.4 sample? It cost me hours of work. Rarely does a second round of testing improve the results, but I had to be certain that the results were accurate. They were. The second round of testing produced the same results.

Focus can be adjusted to remove the color blur from this lens's results, but doing so diminishes the sharpness of the resolution lines. Here is that example:

Color blur is not unusual, and we have seen similar results before from Zeiss:

Compared to the Zeiss Milvus 50mm f/1.4 Lens

However, modern lenses usually keep the plane of sharpest focus color-free. Here is a three-dimensional example from the Otus ML:

Stopping down even slightly significantly reduces the color blur.

Let's look at some comparisons.

Compared to the Zeiss 55mm f/1.4 Otus Lens

Compared to the Canon RF 50mm F1.4 L VCM Lens

Compared to the Sigma 50mm F1.4 DG DN Art Lens

Compared to the Sony FE 50mm F1.4 GM Lens

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I have a fresh-from-the-factory Canon PowerShot V1 in my hands, and it is time to set it up. I use the following steps to prepare a factory-initialized V1 for use.

1. Record serial number, and add camera to the insurance policy
2. Open the box, find the battery, insert it into camera, plug the camera into a USB-C cable that supports (Power Delivery), and connect the cable to a power adapter.
3. Consider downloading and installing the latest Canon imaging software to gain support for the latest camera model(s). Canon Digital Photo Pro (DPP), EOS Utility, and Lens Registration Utility are the options I install.
4. Insert a memory card (we'll format the card in a later step), and power the camera on.
5. The date, time, and time zone setup display will show at the first startup. Use the rear control dial and set button to update this information.
6. If your PowerShot V1 arrives with the wrong language selected, navigate to the second tools tab and select the second menu option on the list.
7. The camera will prompt to connect your phone running the Canon Connect App. Follow the prompts as desired.
8. Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options) and press the menu button.
9. Shooting Menu, Tab 1: Image quality: Use the lens ring to set RAW to "RAW", and use the rear direction keys or dial to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
10. Shooting Menu, Tab 3: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
11. Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting stills, though I often adjust white balance as needed during post-processing)
12. Shooting Menu, Tab 4: High ISO speed NR: Low (noise reduction is destructive to images details, so I prefer to add noise reduction sparingly during post-processing)
13. Shooting Menu, Tab 6: Image review: Review duration: 4 sec. (the Viewfinder review option is disabled by default, speeding the shooting process)
14. Shooting Menu, Tab 7: Shooting info. disp.: Screen info. settings: Edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
15. Shooting Menu, Tab 7: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
16. Shooting Menu, Tab 7: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
17. AF Menu, Tab 2: Subject to detect: Select Auto, People, Animals, Vehicles, or No priority as makes sense for your current shooting scenario
18. AF Menu, Tab 2: Preview AF: Disable
19. AF Menu, Tab 3: MF peaking settings: On
20. Playback Menu, Tab 4: Highlight alert: Enable
21. Set-up Menu, Tab 1: Format card (always format a memory card in-camera before using it — all data on the card will be lost)
22. Set-up Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
23. Set-up Menu, Tab 2: Feature guide: Disable (novices may appreciate this feature)
24. Set-up Menu, Tab 2: Beep: Disable
25. Set-up Menu, Tab 5: Power saving: Screen dimmer: Disable (I found the dimmer annoying — the LCD is as useful off as dimmed)
26. Set-up Menu, Tab 5: Power saving: Screen Off: Disable
27. Set-up Menu, Tab 5: Power saving: Auto power off: Disable (the focal length is reset when the camera powers off, highly annoying when carefully composing a scene (or test chart))
28. Set-up Menu, Tab 6: Custom shooting mode (C1-C3): Auto uodate set.: Enable (saves changes made to C modes
29. Custom Functions Menu, Tab 2: Default Erase option: [Erase] selected
30. My Menu: Add My Menu 1; Register your most-used menu options, such as Format card

I make additional menu and other setting changes based on current shooting scenarios, especially for video, but this list covers my initial camera setup process.

To copy this configuration means you intend to shoot as I do, including in RAW-only format. While this setup works optimally for me, you should adjust the camera setup to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when serviced or when acquiring an additional camera, the list will ensure all settings are quickly re-established.

More Information

Canon PowerShot V1 Review.

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Just posted: Canon PowerShot V1 Review.

Meet Canon's new flagship PowerShot camera. It wants to go everywhere with you.

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Numerous cameras and lenses were just added to the refurbished camera and refurbished lens inventory at Canon USA.

Order the Sony FX2 at B&H | Sony

From Sony Electronics:

Sony Electronics Introduces the FX2 Compact Camera, Expanding Cinema Line’s Versatility for Creatives

The new FX2 has the look and operability of Cinema Line cameras with the ability to shoot high-resolution photos and comes equipped with an articulating eyepiece

SAN DIEGO, May 28, 2025 – Sony Electronics Inc. is proud to announce today the latest addition to its established Cinema Line family, the FX2. The FX2 will offer a seamless entry point into the broader Cinema Line range, giving greater cinematic expression to independent creators or small crews needing a versatile camera.

"The hybrid cinema camera was created based on user feedback and is engineered with unique features to support filmmaking, a new eyepiece, and enhancements for versatile production needs. The FX2 is intended to continue the Cinema Line’s goal of preserving authentic emotion in every shot and empower creators across all areas of content production," says Theresa Alesso, President, Imaging Products and Solutions Americas, Sony Electronics Inc.

FX2 Features: Full-frame Photo and Video Capabilities

The FX2 comes with a full-frame sensor that delivers stunning imagery and beautiful bokeh effects. Equipped with a 33.0 effective megapixel¹ back-illuminated Exmor R™ sensor with up to 15+ stops of wide latitude using S-Log3, it captures impressive detail in both highlights and shadows.

Designed for versatile shooting environments, the FX2 offers Dual Base ISO at 800 and 4000, ensuring optimal performance in both bright and low-light conditions. Its ISO sensitivity for video can be extended up to 102400, making it ideal for challenging lighting scenarios. The camera supports a wide range of recording formats—including 4:2:2 10-bit All-Intra—and records in high-quality options, such as XAVC S-I DCI 4K at 24.00p, providing professionals with the tools needed for flexible, high-end production workflows.

The FX2 can also continuously record for up to 13 hours in 4K 60p² thanks to its internal cooling fan and effective heat dissipation structure. The FX2 offers variable frame rate settings, allowing up to 60 fps in 4K (for a maximum 2.5x slow-motion effect) and up to 120 fps in Full HD (for up to 5x slow motion). It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes, offering versatile workflows for different production needs. To further the cinematic expression of the camera, creators can import up to 16 user LUTs for on-camera preview, enabling precise color monitoring on set.

Filmmakers can also easily and quickly create in-camera cinematic looks, with S-Cinetone™ set as the default, along with a range of Picture Profile and Creative Look presets. A de-squeeze display function is available, supporting both 1.3x and 2.0x anamorphic lenses for accurate framing.

Improved Usability for Comfortable Solo Operation

The FX2 features the same compact, flat-top design as Sony’s Cinema Line FX3 and FX30 cameras, ensuring familiarity and compatibility across setups. Built-in mounting points (UNC 1/4-20 x3) support a cageless configuration, offering greater flexibility for rigging. An optional top handle (ILME-FX2) enhances mobility and control, especially during handheld or dynamic shooting. Its lightweight, portable build—measuring approximately 5 1/8 x 3 1/8 x 4 1/8 in and weighing approximately 1 lb 8.0 oz—makes it ideal for solo operators or small crew productions.

The camera offers advanced focus features designed for precision and creativity. Its new Real-time Recognition AF (auto focus) delivers fast and reliable performance with improved accuracy for human subjects, although its intelligent subject recognition extends to animals, birds, vehicles, and insects, with an Auto mode available for effortless detection. For even more control, tools like focus breathing compensation, AF Assist, and customizable autofocus transition speed and sensitivity give creators the flexibility to fine-tune focus for expressive, cinematic imagery. The FX2 comes with Active Mode and Dynamic active Mode, which is new to the Cinema Line, and are both designed to ensure smooth and steady handheld shooting.

The Auto Framing feature automatically crops and tracks a subject to keep them in a prominent position when the camera is mounted on a tripod, producing footage that looks like it was shot by an experienced operator. The Framing Stabilizer function automatically keeps the subject in the same position within the frame, which can be useful, for example, when the camera operator is moving alongside the subject.

From a still image perspective, the camera features an additional log shooting option with a newly added ‘Log shooting’ menu. This feature allows creators to shoot high-resolution 33MP stills, optimized for color grading in post-production. The FX2 also offers smooth operation with a MOVIE/STILL mode lever, allowing for a quick switchover between still and movie shooting. Depending on the selected mode, the displayed menu items will automatically adjust. Additionally, mode selection is made easy with a long press of the Fn button, which recalls and changes the shooting mode.

FX2 Features: Improved but Familiar Hardware Inherited From Sony’s Cinema Cameras

The FX2 is equipped with a new high-resolution 3.68-million-dot tiltable EVF³ (electronic view finder) designed specifically for video production, offering a wide viewing angle and enhanced immersion thanks to its included deep eyepiece. Complementing the EVF is a 3.0-type vari-angle touchscreen LCD, making it easy to frame shots from virtually any angle. Intuitively arranged controls on the top panel and grip, along with tally lamps for clear recording status, support efficient on-set operation. The camera also introduces a customizable “BIG6” home screen that provides quick access to essential shooting parameters, such as FPS, ISO, shutter speed (angle or speed), Look presets, white balance, iris, and neutral-density (ND) filter settings. Addressing the growing demand for vertical content creation, the FX2 supports vertical menu display during shooting—ideal for social media formats. The handle-equipped model further enhances professional usability with two XLR/TRS terminals and a 3.5mm stereo mic jack, enabling 4-channel, 24-bit digital audio capture.

The camera offers extensive expandability and connectivity options, including an HDMI Type-A terminal capable of outputting up to 4K 60p 4:2:2 10-bit video and 16-bit RAW⁴ for high-end recording and monitoring. For seamless data transfer and remote control, it supports dual-band Wi-Fi (2.4 GHz and 5 GHz⁵) as well as wired LAN via a compatible adapter⁶. Additionally, the USB Type-C port enables SuperSpeed USB up to 10Gbps data transfers and supports USB Power Delivery (PD)⁸, while built-in USB and network streaming support enables live broadcasting and remote production workflows⁷.

Social Responsibility

Aligned with Sony's global environment plan, 'Road to Zero', this product supports the company's vision for achieving a zero environmental footprint by 2050. The manufacturing process reflects this commitment through facilities powered entirely by renewable energy sources⁸.

The camera system incorporates comprehensive accessibility options, including a Screen Reader function⁹ and Display Magnification, to support visually impaired users across an expanded range of menu items. Additional intuitive controls enhance usability for all shooters, featuring:

• Real-time recognition autofocus that reduces manual adjustments
• Streamlined touch interface operations for direct menu navigation
• Tactile button design with clear differentiation

These inclusive design elements ensure professional imaging tools remain accessible to creators of all abilities while maintaining full operational capability

The FX2 will be available early August for a suggested retail price of $2,699.99 USD and $3,499.99 CAD body only or $3,099.99 USD and $3,999.99 CAD with XLR handle. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

FX2 (ILME-FX2B body only): https://electronics.sony.com/imaging/interchangeable-lens-cameras/all-interchangeable-lens-cameras/p/ilmefx2b

FX2 (ILME-FX2 with XLR handle): https://electronics.sony.com/imaging/interchangeable-lens-cameras/all-interchangeable-lens-cameras/p/ilmefx2

Notes:

¹ For stills. Max. 27.6 megapixels for movie.

² Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto power off temperature: High, Cooling fan: Auto. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit) Actual performance varies based on settings, environmental conditions, storage, and usage. ? Batteries are consumable products and their capacity degrades over time as they age. Sony does not guarantee the life span of the battery.

³ adjustable from 0° to +90° for flexible shooting angles.

⁴ The output image will be in the APS-C size /Super 35mm equivalent angle of view.

⁵ The 5 GHz band may not be available in some countries or region

⁶ A commercially available USB-LAN adapter is required.

⁷ A USB PD compatible external power supply device with 9V/3A or higher output capacity and a USB Type-C cable that can handle 3A or more is required

⁸ Further reducing environmental impact, the product utilizes recycled packaging materials that minimize plastic content without compromising protection. These sustainable practices demonstrate our dedication to eco-conscious production while maintaining the highest quality standards.

⁹ Download of compatible language file may be necessary. Please refer to the Help Guide for details.

Image quality test results are now available on the Sony FE 50-150mm F2 GM Lens page.

Does this lens rival a bag full of fast primes? The image quality test results help answer that question. Create comparisons.

Compared to the Sony FE 70-200mm F2.8 GM OSS II Lens

Compared to the Sony FE 28-70mm F2 GM Lens

Compared to the Sony FE 50mm F1.4 GM Lens

Compared to the Sony FE 85mm F1.4 GM II Lens

Compared to the Sony FE 135mm F1.8 GM Lens

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Canon EOS C500 Mark II firmware update version 1.1.5.1 is available for download.

Firmware Version 1.1.5.1 incorporates the following fixes and enhancements:

1. Fixes an issue in which markers, AF frame, focus position guide, and tally OSD do not display correctly when the main recording format is set to [XF-AVC] under certain conditions.

Get the Canon EOS C500 Mark II at B&H (save $5,000.00 and another $1,000.00 on used at firmware release time).