Videomaker

10 stories

VideomakerVideoCanon’s EOS R8 Mark II shoots 4K 60p oversampled from 6K Canon's EOS R8 Mark II records 4K 60p oversampled from 6K, adds 7.5 stops of IBIS and ships in the second half of October.

September 18

VideomakerVideoNanlite introduces bi-color FC1200B and full-color FC-1200C Nanlite's FC-1200B bi-color light and full-color FC-1200C pack 1,200W into an all-in-one design with no separate power supply.

September 17

VideomakerVideoBenQ launches Creative Pro PV50 4K monitors for video editors and post-production BenQ's new Creative Pro PV50 series brings two 4K monitors to video editors and colorists, the 32-inch PV3250U plus the 27-inch PV2750U.

September 16

VideomakerVideoSigma’s 85mm F1.2 Is the first with autofocus for E-mount E-mount and L-Mount finally get an autofocus 85mm F1.2. Here's what Sigma's new Art prime offers portrait and video shooters.

September 12

VideomakerVideoSigma’s 20-60 mm starts where most standard zooms stop A standard zoom that starts at 20 mm instead of 24 mm. Here's what the Sigma 20-60 mm F2.8-4 offers, and why F2.8 only covers 20 mm to 22 mm.

September 12

VideomakerVideoSony launches its first full-frame fisheye zoom for E-mount The FE 8-14mm Fisheye G is Sony's first full-frame fisheye in two decades. Constant aperture, internal zoom and a stereoscopic trick.

September 12

VideomakerVideoAputure’s fully tunable color Storm CS32 is as bright as a 4K HMI The Aputure STORM CS32 runs the company's BLAIR-CG light engine and claims output rivaling a 4kW HMI, in a package one person can carry.

September 12

VideomakerVideoFujifilm announces 400 mm super-telephoto prime lens with optical image stabilization A 609mm-equivalent super-telephoto you can shoot handheld all day. Here's what the Fujinon XF400mmF4.5 offers wildlife and sports shooters.

September 11

VideomakerVideoDJI launches Osmo 360 II with 14.5 stops of dynamic range DJI's Osmo 360 II adds native 8K60 video, 14.5 stops of dynamic range and swappable lenses. It ships Sept. 15 from €589, but not in the U.S.

September 11

VideomakerVideoGoPro announces merger with Starman Optical GoPro is merging with Starman Optical in a $285 million deal that clears its debt and pushes it into defense and AI optics markets.

September 11

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo