Check those old lenses and bodies you have stashed away…

From my experience, photographers and videographers are a hoardy lot. They don’t at all like to throw anything away.

And they especially hold onto older beloved cameras and lenses, often having a glass cabinet to showcase them.

Well after reading this, you may want to have a closer look at what you have might have tucked away in there.

Y’see, an old Nikkor lens has been auctioned off in Germany, and the previous owner made a few quid out of the deal.

About $150K to be exact.

The lens in question is a Nikon Nikkor-O Auto 58mm f/1 lens, created around 1970 and the only lens of its kind.

Before the sale, the lens was listed with an estimated value of 15,000 to 20,000 euros. However, it eventually sold for a hammer price of 150,000 euros and when you add the auction fees that ballooned to 180,000 euros.

Not bad if you can get it.

Also sold on the day was a Leica M series that went for 687,500 euros. Although this was a prototype making it worth more, I now weep at the loss of my Dad’s Leica Ms that went due to those evil death duties around in the 70s.


FUJIFILM announces new FUJINON HZK25-1000mm broadcast zoom lens

FUJIFILM has announced the development of the FUJINON HZK25-1000mm (HZK25-1000mm) broadcast zoom lens, which boasts the world’s highest*1 40x zoom and the world’s longest focal length*1 of 1000mm.

The HZK25-1000mm is a box-type broadcast zoom lens in the dual format, supporting two types of large image sensors. It can be mounted on cameras equipped with the Super 35mm sensor or the even larger sensor equivalent to 35mm full frame*2. The lens achieves optical performance which exceeds 4K. It also facilitates the use of cinema cameras which is becoming increasingly common in the broadcast industry, offering cinematic visual expressions such as shallow depth-of-field for beautiful bokeh in live coverage of sporting events and music concerts. The HZK25-1000mm is due to be released in the spring of 2023.

Today, in the broadcast industry, cinema cameras equipped with a sensor larger than the industry’s mainstream sensor*3 are increasingly used in live coverage of sporting events and music concerts, amidst the growing needs for immersive cinematic expressions involving the use of bokeh and high dynamic range. However, cinema camera lenses are optimised for shooting movies and TV commercials, and therefore have a smaller zoom magnification ratio than that of broadcast lenses. They also require a specialist in focus operations, which is uncommon in the broadcast industry. For these reasons, there has been a demand for a high-magnification zoom that supports a large sensor and can be operated in the same way as box-type broadcast lenses.

The new HZK25-1000mm is a broadcast zoom lens that uses optical technology, nurtured over many years, to deliver the world’s highest 40x zoom and the world’s longest focal length of 1000mm. It is designed in the dual format, supporting two types of large sensors. The lens normally works with the Super 35mm sensor, and also supports a sensor equivalent to 35mm full frame by way of activating the built-in expander*4 to expand the image circle by 1.5 times. It offers the added benefit of maintaining the same angle of view in both sensors.

On the wide-angle side, the lens provides F2.8 aperture, enabling cinematographic visual expressions with shallow depth-of-field and resulting beautiful bokeh. The use of large-diameter aspherical lens and fluorite lens*5 controls various forms of aberration thoroughly to achieve optical performance which exceeds 4K. The lens maintains the operation of broadcast lenses involving zoom demand and focus demand even when mounted on a cinema camera. It can also be used with a variety of existing accessories*6. Furthermore, the lens features an image-stabilisation mechanism based on FUJIFILM’s unique “ceramic ball roller” system to accurately compensate for on-set vibrations and wind-induced movements for operation stability.

Following many years of developing and supplying broadcast lenses that address broadcast camera operators’ refined needs, FUJIFILM became the first in the world to release a 4K-compatible broadcast lens in 2015. The company has since established a lineup of 8K-compatible broadcast lenses to lead the industry in raising video image quality. In the cinema industry, FUJIFILM began building its lineup of cinema camera lenses in 2009 with the launch of the HK Series. Of five lens series currently on offer, the Premista Series of cinema camera zoom lenses compatible with large-format sensors*7 is embraced by frontline producers of movies and TV commercials due to its superior image resolution and advanced operability. FUJIFILM will continue to develop and supply high-performance lenses and accessories that facilitate their easy operations, thereby catering to the diversifying needs of frontline video professionals.

FUJINON HZK25-1000mm broadcast zoom lens

Main features

(1) World’s highest 40x zoom and world’s longest focal length of 1000mm

  • This is a broadcast lens, developed with optical technology nurtured over many years. It delivers the world’s highest 40x zoom covering from 25mm in wide angle to the world’s longest 1000m in ultra-telephoto.
  • The use of the built-in expander shifts the focal length by 1.5 times to 37.5mm–1500mm, allowing users to capture a far-away subject in the size as intended.

(2) Supporting the Super 35mm sensor and a sensor equivalent to 35mm full frame

  • This is a dual format lens, compatible with two large sensors that are mainstream among cinema cameras. The lens normally works with the Super 35mm sensor, and also supports a sensor equivalent to 35mm full frame by activating the built-in expander to expand the image circle by 1.5 times.
  • When mounted on a camera equipped with a sensor equivalent to 35mm full frame, the lens delivers its maximum optical performance while maintaining the same angle of view as that of the Super 35mm sensor.

(3) Cinematic visual expressions with beautiful bokeh

  • With the use of large-diameter aspherical elements and fluorite elements, polished precisely, various forms of aberration are controlled thoroughly to achieve optical performance which exceeds 4K. Ghosting, lens flair and colour bleeding are also suppressed to deliver natural yet high-definition footage.
  • The lens has the maximum aperture of F2.8 on the wide-angle end despite being a high magnification lens that supports a large sensor. This enables filming in low-light conditions, such as an indoor concert.
  • The optical design application “FOCUS,” developed by FUJIFILM, has been used to simulate how the background is rendered out of focus. Out-of-focus areas were separated into several layers to examine bokeh textures to achieve bokeh that naturally goes out-of-focus from the focal plane into the background. This produces the cinematic expression which makes the subject stand out.

(4) Latest image-stabilisation mechanism

  • The lens is equipped with an image stabilisation mechanism based on FUJIFILM’s unique “ceramic ball roller system”. It not only provides advanced image stabilisation against on-set vibrations and wind-induced movements, but also controls swing-back to facilitate stable filming.

(5) Operations involving zoom demand and focus demand

  • The lens can be used in the same style as broadcast lenses involving zoom demand and focus demand while being mounted on a cinema camera. It can also be used with existing accessories designed for box-type broadcast FUJINON lenses.
  • It also supports multi-camera operations, filming with multiple cameras at the same time to support efficient live production.

FUJIFILM will be showcasing the HZK25-1000mm in the “InterBEE 2022” international broadcasting equipment exhibition at Makuhari Messe (Chiba Prefecture, Japan) from November 16 to 18, 2022.

New After Effects features shipping and in public Beta

The latest release of Adobe After Effects is now shipping with new features to address the needs of modern motion designers. Highlights include Selectable Track Mattes, which make working with mattes dramatically easier while also keeping compositions smaller. Native H.264 encoding gives users the option to export files directly from After Effects. We’re also including over 50 new presets created by professional designers to accelerate common creative tasks. Everything in this release, as well as features now in public Beta, is based on feedback from the After Effects community.

Selectable Track Mattes

Matte layers define areas of transparency within a design, allowing users to combine visual elements with precision. Previously, motion designers had to create individual mattes for each layer to be matted, making compositions more difficult to manage. Now, with Selectable Track Mattes, users can apply one matte to as many layers as they want, regardless of where each layer sits in the layer stack. This makes it easier to edit mattes and make global changes, resulting in faster workflows with fewer layers.

“I am absolutely LOVING the new Selectable Track Mattes,” says motion designer Nick Greenawalt, who shares After Effects tips and tricks on his YouTube channel, Motion by Nick. “This feature cuts my layer counts significantly and makes projects so much simpler to navigate. New users will never know what it was like to work with hundreds of matte layers, but I sure do. Selectable Track Mattes is a game changer.”

Over 50 new Presets for faster animation workflows

Great motion design can require detailed work, often involving repeated steps. Presets help users save time by providing building blocks for common tasks. The new release introduces over 50 new animation presets, built by professionals and designed to make day-to-day tasks easier. They include fun, flexible animations for text, animated elements like map pins, convenient design elements like a 2D text box, and more.

Along with the new animation presets, After Effects 23.0 has new composition presets that make it easier to start new projects. Composition presets provide frame rate and frame size for common deliverable formats. There are new and updated presets for social platforms, vertical video, and Ultra HD.

Native H.264 encoding

New hardware-accelerated native H.264 encoding lets users export H.264 files directly from After Effects. Depending on the project and available resources, motion designers can export right out of After Effects or offload the task to Adobe Media Encoder so they can continue working on their compositions while exports are in progress.

Focused keyframe navigation

Perfecting an animation requires reviewing keyframes and making fine adjustments until the desired result is achieved. Keyboard shortcuts allow motion designers to navigate keyframes efficiently and new commands now allow users to focus on the keyframes for specific properties or layers. At any time, the user can switch back to navigating all of the visible properties or layers in their animation using the existing commands.

200 percent faster template performance in Premiere Pro

Premiere Pro now supports multi-frame rendering of animated title and motion graphic templates (MOGRTs) from After Effects. This improves preview playback and render performance by 200 percent or more, depending on the template and the user’s system.

More user-requested features in public Beta

We’ve also introduced a few more features in After Effects Beta

  • 3D Model Import (Beta) is for motion designers who need to combine 2D and 3D assets in their compositions. With this functionality, users can Import 3D models into their projects without requiring third-party plugins.
  • Context sensitive Properties Panel (Beta) shows you only the controls you need to edit the currently selected item. That means you spend less time twirling through layer hierarchies or opening different panels and more time creating.
  • OpenColorIO and ACES color management (Beta) allows users to work at the highest levels of image quality throughout their pipeline using OpenColorIO color management, including Academy Color Encoding System (ACES) workflows.

Install the latest release of After Effects now from the Creative Cloud desktop application.

Learn more about the latest release of After Effects

Find out what’s new in the latest release of Premiere Pro

Adobe Announces Expansion of Creative Cloud

Adobe has announced at Adobe MAX the expansion of collaboration tools within Adobe Creative Cloud and Document Cloud, enabling new workflows that will empower creators to meet ever-growing content demands across multiple platforms. Content now fuels the global economy, and the rise of remote work means more content is being created by distributed teams, making seamless collaboration critical to delivering content with speed and scale.

According to a recent Adobe study, more than 165 million people have joined the Creator Economy since 2020, and roughly one in four people are contributing photography, videography, creative writing and other digital content. As many creators now have the flexibility to work remotely, they expect their tools to enable collaboration with their stakeholders and organizations, whether they are in the same room or halfway across the world.

“Creativity today is a team sport. To deliver a successful project on deadline, a team needs to share everything from creative inspiration to assets to feedback,” said Scott Belsky, chief product officer and executive vice president, Creative Cloud at Adobe. “The innovations we’re announcing today enable seamless collaboration throughout the creative process.”

Photoshop and Illustrator Introduce New Share for Review Collaboration Capabilities

Incorporating stakeholder feedback is key to delivering successful projects, and designers want to easily and seamlessly manage what they share with stakeholders during the review process. Now available in beta for Adobe Photoshop and Illustrator, Share for Review (beta) eliminates the tedium and inefficiency of the review and feedback process while providing creators with full control over what they share and with whom:

  • Share for Review allows creators to share a version-specific link to a Photoshop or Illustrator file, then see reviewers’ comments and conversations automatically flow back into their app, eliminating the need to juggle between tools to address feedback.
  • Creative teams can use Share for Review to complete work faster and with greater creative control, deciding which version of a file to share and when to push changes.
  • Collaborators do not need to sign up or sign in to comment.
  • Reviewers can highlight, pin and make comments on specific parts of images or illustrations.

Adobe Previews World’s First Camera to Cloud Integration With RED and Fujifilm

Now used globally by more than 5,000 productions, Adobe Camera to Cloud (powered by ignited the transition from external drives to cloud-based camera workflows, and fundamentally changed the way video is created. Today, Adobe is previewing new Camera to Cloud integrations built into RED Digital Cinema’s V-RAPTOR and V-RAPTOR XL camera systems and Fujifilm’s X-H2S mirrorless digital cameras to further revolutionize collaboration in production workflows.

Adobe’s first-to-market Camera to Cloud technology enables production teams to automatically transfer media from the production set to the cloud, letting the post-production team start work on the footage immediately. The newly announced Adobe Camera to Cloud integrations further streamline the process by transferring media directly from cameras to organized folder structures, without the need for intermediate devices, saving both production costs and time. This new in-camera evolution is anticipated to become a standard within the next decade.

“The RED team is proud to build on our history of working with, becoming the first cinema camera company to bring this groundbreaking advancement to the filmmaking community,” said Jarred Land, president and co-owner of RED Digital Cinema. “As we introduce this technology to deliver direct RAW and proxy files directly to edit via the cloud, we are excited for users to start unlocking the benefits that cloud collaboration can bring to productions at all levels.”

“Natively integrating Adobe’s Camera to Cloud with Fujifilm’s X-H2S mirrorless cameras removes a huge time barrier between production and post for photographers and videographers,” said Masato Yamamoto, general manager, Imaging Solutions Div. at FUJIFILM Corporation. “It’s not just ground-breaking, it’s game changing. We’re honored to bring this technology to mirrorless digital camera users around the world, and we’re excited to see what comes next.”

More PDF Collaboration and Productivity

PDF has been the standard for document-based collaboration for decades. Over the last year alone, users opened 50% of PDFs in Acrobat on mobile and web devices than the year prior and Adobe processed over eight billion digital signatures. Today, Adobe is announcing improvements to how users collaborate in digital documents, including an all-new viewer that streamlines access to Acrobat tools for collaboratively creating, editing, e-signing and reviewing PDFs, plus Core Accessibility enhancements, including Read out Loud and High Contrast support, that will enable more team members to comfortably participate in collaborative projects.

As interest in virtual work and the opportunity to leverage virtual and augmented reality to improve collaboration continues to expand, Adobe is developing Acrobat for Meta Quest, enabling users to fully use PDF documents within virtual and augmented productivity spaces. In addition to enabling PDF viewing, editing, converting, compressing and sharing, Acrobat for Meta Quest will support collaboration through commenting, highlighting and drawing – the same Acrobat features people love on the web are coming next year to immersive mixed reality.

The newly announced features and integrations add to Adobe’s powerful existing collaboration features and tools, including:

  • for Creative Cloud, the industry’s first post-production review and approval workflow directly integrated with Premiere Pro and After Effects, which allows key stakeholders (editors, producers, agencies and clients) to collaborate seamlessly in the cloud, reaching final approval faster and easier than before.
  • Invite to Edit for Photoshop and Illustrator, allowing users to save time and maximize efficiency by co-editing and commenting on Photoshop and Illustrator live cloud documents directly within the app.
  • Microsoft Teams Integrations for Adobe Document Cloud, the next milestone in advancing modern documents is the only integration of its kind for sending documents and creating e-signatures without leaving Teams.
  • Collaborate across teams or across the globe, with Adobe Workfront. Teams and stakeholders can work seamlessly together to plan, produce and deliver projects in real time, whether they are across the office or across the ocean.

Adobe Unveils Powerful New Collaboration and AI Capabilities in Photoshop

Adobe has announced at Adobe MAX  new innovations in Photoshop that make the world’s most advanced image editing application even smarter, more collaborative and easier to use across surfaces. Share for Review (beta) enables users to conveniently collaborate on projects without leaving Photoshop, and new features make editing images in a browser far more powerful. Additionally, the flagship Photoshop desktop app adds breakthrough features powered by Adobe Sensei AI, including selection improvements that enhance the accuracy and quality of selections, and a one-click Delete and Fill tool to remove and replace objects in images with a single action.

“In a world where everyone can be a creator, Adobe is ensuring that Photoshop evolves to serve all creators across platforms and devices,” said Scott Belsky, chief product officer and executive vice president, Creative Cloud at Adobe. “This year, we’ve made Photoshop smarter and more collaborative so you can easily get feedback and create spectacular images even faster.” 

Collaboration First

Seamless collaboration has become critical for creative workflows in today’s increasingly digital economy. Supporting collaborative work from anywhere, the new version of Photoshop introduces Share for Review, enabling convenient collaboration between creators and stakeholders: All feedback is managed and incorporated directly within the Photoshop app.

This new feature lets creatives easily share a preferred version of their work in the form of a web link. Collaborators can review the project and comment right in their browser, even without a Creative Cloud subscription. Whether creators are sharing work for stakeholder review, or collaborating with their coworkers, Share for Review syncs comments across devices, and works wherever users do – at the office, at home or on the go.

AI Innovations Make Creation Faster, Easier and More Powerful

New AI features launching today in Photoshop include:

  • Selection improvements that enable users to hover over, detect and make detailed selections of complex objects with a single click, creating higher quality and more accurate selections of elements such as skies, foregrounds, subjects and hair, while preserving detailed edges.
  • One-Click Delete and Fill selects and removes objects from images, filling the removed area using content-aware fill, in a single action in Photoshop on the web.
  • Photo Restoration Neural Filter (beta) helps Photoshop on the web users bring old or damaged photos back to life, using machine learning to intelligently eliminate scratches and other minor imperfections on old photographs.
  • Remove Background is now available in Photoshop on the web (beta), enabling one-click background removal.
  • Masking and Brushing are also now available in Photoshop on the web (beta) and make precise adjustments faster and easier from a web browser.

Photoshop and Lightroom AI image-editing features were used over 1.3 billion times in the past year. These innovative tools power mundane Photoshop tasks, such as selecting detailed objects, changing a person’s expression or removing blemishes from a portrait. By simplifying complexity and speeding up time-consuming processes, Neural Filters and other AI-powered features give Photoshop users more time to do what they love – create.

Improved Multi-Surface Experiences

Photoshop delivers an approachable and intuitive experience across desktops, iPads and browsers, enabling creators to work wherever and whenever inspiration strikes. Photoshop on the iPad continues evolving to ease creation on tablets. iPad users gain access to Photoshop’s powerful one-tap Content-Aware Fill and Remove Background features, using AI to accurately replace unwanted elements in photos so creators and editors can work faster.  

Is it art? Or just an eyesore? Perth made docco “The City of Art” aims to find out.

Local Perth filmmaker Wayne Waples tells me that he has made a documentary called “The City of Art” that explores street art around that city in Western Australia.

Featuring seven different artists, one subject that is looked at is graffiti – just because some artwork has been done illegally should it be considered art or not? The documentary also explores the legal pathways for young people and look at what local council programs are available.

The documentary will premiere at the Backlot Perth on the 27th of October and all the details can be found here.

Later in November it will be broadcast on SBS and will be available on SBS on Demand.

Here is a trailer for the program.

For those interested in the technical side:

The time taken for thr shoot was 3 months with a further 2 months editing time.

ARC EDIT and ARC FILM Upgrade Technology Solutions With Digistor

ARC EDIT is one of Australia’s most successful and forward-thinking facilities. Along with ARC FILM it boasts 13 premium Avid offline suites, an SDR and HDR/Dolby Vision colour suite and screening theatrette with audio monitoring in stereo, 5.1 and 7.1.4 Dolby Atmos plus three Flame online/VFX Linux rooms available across Sydney and Melbourne. There are two 1Gbps connections at both sites, along with Colourfront remote-session technology. Their studios have been architecturally designed and specifically tailored to create a welcoming environment that fosters creativity and collaboration for the industry’s very best storytellers. Recently the company moved Sydney premises and expanded their technology offering. For that they turned to Digistor.

ARC EDIT co-owner, Joe Perkins, explained, “We undertook a big move from Darlinghurst to Alexandria and as part of that move upgraded our technology facilities and offering. We chose to deal with Digistor as we needed the reassurance of a company who had significant expertise along with comprehensive and reliable support options. Part of the move was also to officially set up their new dedicated film company, ARC FILM.”

ARC EDIT has grown consistently over the last six years. Part of that growth came from the long form and film community. Thus, the company decided to establish a dedicated film arm.

Perkins added, “Digistor and their key account manager, Olivier Jean, helped us acquire another two Avid NEXIS high-performance NAS bringing our total to four. In truth, most long form projects require their own dedicated NEXIS and workflows, so this very much was a key requirement. We also used Digistor to rebuild and upgrade the server room in our new Alexandria facilities. Digistor’s expertise was key in building a dedicated 25GB fibre network that could comfortably handle 4K, HDR and Dolby Vision files in our DI, Online & VFX departments. We also signed up for the Gold Digistor Customer Assurance Plan for ongoing peace of mind.”

Digistor is an Avid Elite Solutions Partner with expertise across the full range of Avid solutions including integration with other post software such as Blackmagic Resolve and Autodesk Flame plus networking and storage infrastructure.

ARC FILM’s Sydney studio contains five premium Avid offline suites and four large support rooms comfortable enough for multiple assistant seats or production spaces. It’s fair to say that ARC EDIT and ARC FILM can handle, manage and work with almost any kind of footage and format.

Perkins continued, “As our editing solutions doubled to number over 30 Avid offerings, Digistor also built us a 10GB Ethernet network which further helps our entire operation run smoothly and seamlessly.”

Within their commercial workflow, their editors typically work off a NEXIS Pro, then send media and AAFs to Colour and Online Editorial before they are mastered out.

Perkins explained, “For the most part TVCs have an SDR workflow but we have spent a lot of time and money also installing and establishing an HDR workflow that can seamlessly handle long-form requirements.”

As a result of their investment ARC EDIT is one of the only market leaders able to colour Dolby Vision (HDR) workflows and monitor the audio in 7.1.4 Dolby Atmos simultaneously.

This intentional technology-based approach also means that all ARC EDIT can grade and finish all kinds of traditional, online, social and digital productions.

Perkins said, “We put a great deal of thought into our technology offering. As a result, amongst other things, we are able to offer HDR finishing for commercials, do all kinds of VFX jobs with multiple looks and feels and handle every size and shape of production.

It’s clear that Perkins along with fellow co-owners Peter Sciberras and Drew Thompson ASE, share the view that only the best technology and the best technology partners will suffice at ARC EDIT and ARC FILM.

Perkins concluded, “Price is never the deciding factor when we purchase technology and we only ever choose the right tools for the job. Avid is the most perfectly built and truest tool that a storyteller can use, hence our significant investment in Avid. Resolve is also another solution that’s making serious strides in the industry with more and more people moving to use it. Bearing this in mind our relationship with Olivier and the Digistor team is an incredibly important one. They are reliable, knowledgeable and offer very good service and support. This in turn helps ARC EDIT and ARC FILM be the best we can be and stay at the leading edge of innovation when delivering results for our clients.”


BMD ATEM Mini Pro. 2 years on, still as brilliant – and cheaper. Read why YOU need one!

Two and a half years ago I reviewed the Blackmagic Design ATEM Mini Pro. At the time, I waxed lyrical at its features and the amazing price for what you get. I later wrote a few tutorials, and these have consistently been our highest read pieces on the website. Indeed, the one entitled “Tutorial: Setting Preview and switching in Blackmagic ATEM Mini Pro” has been our #1 story week after week for over 60 weeks now!

(You can read it here if you like)

I just checked out of curiosity, and the price has dropped of the Blackmagic Design ATEM Mini Pro and you can now get it for as low as $698 if you shop around (that price is at Videopro but I am sure others will price match).

For those who are not familiar with the Blackmagic Design ATEM Mini Pro here is a quick run down of what it does:

  • Allows input connectivity of up to 4 HDMI input devices
  • Allows you to connect one HDMI output monitoring device
  • Allows input of 2 x 3.5mm based audio devices with volume control
  • Allows you to switch between input devices, complete with built in dips, fades and transitions
  • Allows previews before switching so you cue up correctly
  • Lets you stream directly via Ethernet port straight to YouTube, Facebook, Twitch etc without any software intermediary
  • By attaching a camera to the USB-C port it becomes a web cam with all above controls operational
  • The built in USB-C port can have an SSD hard drive attached and streaming sessions can then be recorded for later use.

With optional (and free) ATEM Software Control,

  • Allows control of Blackmagic Cameras
  • Allows up to 20 graphics to be stored in memory (eg lower thirds, titles etc) and switch these in and out as you require
  • Allows both upstream and downstream keying
  • Has built in multiview so all HDMI input devices can be viewed simultaneously
  • Gives you an audio desk for controlling on-camera audio as well as mic input audio
  • Allows control of colour, LUMA and Chroma, plus patterns in graphic overlays

… and much more besides

If you have the slightest interest in anything the Blackmagic Design ATEM Mini Pro (or its siblings the ISO and Extreme) have to offer, I suggest you download the 180 odd page English language manual (other languages are also available in the one PDF document) to get comprehensive information. Get it here.

Be prepared to be amazed. Seriously.

For more info on the Blackmagic Design ATEM Mini Pro, see the Blackmagic Design website here.



Fujifilm Launches USD$100,000 Grant Challenge Program

Fujifilm has announced the opening of the GFX Challenge Grant Program 2022, to help discover new creative talents and foster their biggest photographic dreams. 

From 9th September 2022 to 30th November 2022, aspiring content creators in selected regions across the globe will be invited to submit their most creative project proposal to Fujifilm, with the opportunity to receive a grant and gear support to bring their creativity to fruition. 

There will be five global award recipients, each receiving USD $10,000, as well as 10 regional award recipients, each receiving USD $5,000. All Fujifilm grant holders will also receive GFX gear on loan to support their projects. The completed projects will be showcased on in September 2023. 

Full details of the GFX Challenge Grant Program 2022 can be found on this page from 9th September here.

Applicants from Australia and New Zealand will be asked to submit their proposal on this page from 9th September 2022. The full T&C’s are available here

Image Credit: The Great Little Life ©Krittanun Tantraporn


Sony launches the FR7

“The world’s first[i] PTZ camera to combine a full-frame image sensor, lens interchangeability, and remote shooting functionality”

[i] As of Sept 6th. 2022 product announcement, compared to cameras with integrated pan/tilt mounts, Sony survey.

Sony announces today the latest addition to its Cinema Line, the ILME-FR7, an E-mount interchangeable lens camera with a full-frame image sensor and built-in pan/tilt/zoom (PTZ) functionality. Its versatile remote control and cinematic features open creative possibilities in studio, live production and filmmaking settings.

A high-performance full-frame image sensor and the expressive scope of Sony’s extensive E-mount lens[i] line-up work with remote pan/tilt/zoom control, high flexibility in zoom capability and wide angle shooting to break through location and space limitations. It also offers the cinematic look and operability that have made Sony digital cinema cameras push the boundaries of the filmmaking industry, plus versatile connectivity and efficient multi camera workflow support.

Jun Yoon, Head of Digital Imaging ANZ commented: “The FR7 is a ground-breaking new product that delivers on both the growing demand for remote PTZ cameras, and on the trend and desire to produce cinematic images for broadcast and live production. Whether it is capturing the emotion of a live concert/event or the drama of a reality TV scene, the FR7 will open up new ways for creators to deliver more engaging content”.

Uncompromised image quality in a PTZ form factor

The FR7 features a back-illuminated 35mm full-frame CMOS image sensor Exmor R™ with approximately 10.3 effective megapixels and wide 15+ stop latitude[ii] in a pan tilt zoom (PTZ) camera for the first time. In addition to wide dynamic range, low noise, and cinematic full frame bokeh, this amazing sensor also delivers high sensitivity that allows ISO to be expanded up to 409600[iii] when shooting in low light. The FR7 features Sony’s E-mount and can mount a wide range of E-mount lenses2, including the G Master™ series with stunning resolution and bokeh effect. A choice of focal lengths ranging from 12 mm to 1200 mm[iv] gives users comprehensive creative control.

A number of Cinema Line features are built into the camera to deliver a cinematic look and feel including:

  • The Sensitivity setting allows ISO to be expanded up to 4096004 when shooting in low light.
  • A 15+ stop latitude3 allows smooth highlights and low noise levels.
  • A number of preset scene files are included including S-Cinetone for natural mid-tones that are essential to healthy-looking skin colour, plus soft colours and gorgeous highlights. Since the target look can be created while shooting, time can be saved in post-production. In the Cine EI mode, base sensitivity can be set to either ISO 800 or ISO 12800 to match lighting conditions and to minimise noise while maintaining a consistent look. This mode is ideal for post-production, as it allows the use of Sony’s original S-Log3 gamma, wide S-Gamut3 and S-Gamut3. Cine colour spaces.
  • Shooting in up to 4K 120p[v] slow-motion is possible, again creating that emotional possibility offered by a cinematic look.

Easy operation for storytelling from new angles

With a new dedicated web application, pan, tilt, zoom, focus, record, playback, and all camera settings can be intuitively controlled from a tablet or computer web browser. Multiple people can monitor FR7 footage remotely at the same time. Multi camera monitoring is also enabled, allowing multiple cameras to be viewed remotely on one device. With its integrated remotely controllable pan/tilt mechanism, the FR7 can be mounted on a tripod, on a ceiling with the dedicated CIB-PCM1, or in other locations with limited access so that subjects can be unobtrusively followed and recorded from unique viewpoints.

It is also compatible with Sony’s RM-IP500 remote controller[vi] for multi-camera production, expanding creative potential while reducing the need for dedicated staff in production studios and other shooting situations. A single RM-IP500 unit can remotely control up to 100 PTZ cameras and provide precious joystick-controlled pan, tilt, and zoom operation. The supplied infrared remote controller will also support the FR7’s simple operation.

Variable PTZ movements for smooth camera work

Pan and tilt speed can be continuously varied from 0.02 degrees per second to 60 degrees per second, supporting a wide range of stable and smooth camera movements. The pan angle range is from -170° to +170°, and the tilt angle range is from -30° to +195°.

Up to 100 preset camera positions

The FR7 can memorise up to 100 camera position presets. The built-in web application and optional RM-IP500 remote controller allow up to 100 camera position presets to be recalled. Presets include camera direction, zoom, and focus, and can be recalled at the touch of a button.

The FR7 will also support S700 protocol via Ethernet, enabling control of this product from Sony’s Remote Control Panel (RCP) and Master Setup Unit (MSU) with a firmware update[vii].

Real-time Eye AF and Real-time Tracking

Fast Hybrid AF and pan/tilt/zoom functionalities combine to focus on static or fast-moving subjects precisely and smoothly over a wide area, to avoid blurred images, even when a shallow depth of field is used.

The integrated BIONZ XR™ engine realises detection performance for pinpoint eye focus even when subjects are looking at steep angles, allowing the operator to concentrate on composing the best shot. Touch Focus can be used to initiate focusing with Real-time Tracking on the desired subject when using the FR7’s web application, with Real-time Eye AF if an eye is detected.

Sony’s built-in electronically controlled Variable ND filter

The built-in electronic variable ND filter allows seamless ND adjustment. An Auto ND function keeps exposure constant by automatically adjusting the ND filter to match changing light. Remote control is also possible, allowing exposure control at a distance from the camera.

Versatile interfaces for various production workflows

The FR7 is built to integrate and adapt to many workflow scenarios, from simple plug and play to more complex high-end productions, thanks to a comprehensive selection of video inputs and outputs, IP streaming, power supply, and synchronisation with other devices.

Internal XAVC recording /External RAW output

A rare feature in a PTZ camera, the FR7 also features dual media slots that support CFexpress Type A and SDXC memory cards. The ability to record high-quality XAVC-I footage with metadata makes the FR7 an excellent choice for a wide variety of video production applications.

CFexpress Type A cards are particularly well suited to high bitrate 4K movie production, with high-speed write capability that ensures stable recording of high volume, high frame rate data. Simultaneous recording, relay recording, interval recording, and proxy recording are also supported.

The SDI output can deliver a 16-bit RAW signal to a compatible external recorder (sold separately).

Professional Video/Audio Interface

HDMI Type A and 12G-SDI connectors are provided for video output as well as optical output[viii] for long transmission.

The AUDIO IN (XLR type 5-pin) connector will receive signal from an external microphone or audio device. AUDIO CH-1 and CH-2 use a single connector.

Ethernet connectivity

Camera control, video and audio transfer, and power supply can also be carried out via a single LAN cable, simplifying cabling requirements.

The FR7 LAN (network) connector supports a variety of streaming protocols, including RTSP, SRT and NDI ® |HX[ix], perfect for working in an IP based environment.

The FR7 can be powered from an external PoE++ (Power over Ethernet Plus Plus)[x] device via a standard network cable, eliminating the need for separate power supply cabling.

Multicamera production synchronisation

The Timecode IN connector receives timecode for synchronization with an external device, while the GENLOCK receives synchronization signals in multi camera setups.

Additionally, red/green tally lights are provided on the camera’s side panels, allowing performers and staff to easily identify the on-air and preview cameras in multi camera setups in studio or on location.

The FR7 will be showcased for the first time on Sony’s booth at IBC 2022 in Amsterdam from September 9th to 12th.

Price & Availability

The FR7 will be available in Australia from late November 2022

SRP: AUD$14,999.00

[i] When using the SEL100400GM, SEL200600G, SEL400F28GM, and SEL600F40GM, please use after fixing the pan/tilt with the locking mechanism of the camera.

[ii] S-Log3 recording. Sony measurement.

[iii] Custom mode.

[iv] SEL20TC teleconverter is required.

[v] 10% crop, approximately.

[vi] Sold separately.

[vii] Update in early of 2023.

[viii] Optical output requires SFP+ module (sold separately).

[ix] NDI® is a registered trademark of NewTek, Inc. NDI®|HX is a technology of NewTek, Inc. An NDI®|HX Upgrade must be purchased from NewTek.

[x] Conforms to IEEE802.3bt (Type 4, Class 8). Internal recording and playback are not available when PoE++ power is used.