NAB 2025: Cameras, Lenses, and More (Part 1)

Camera Systems and Lenses That Define the Future

At Luminous Landscape, we love to keep track of video and film production advancements alongside photography gear. The lines between these mediums continue to blur, with most modern cameras offering amazing capabilities in both still and motion capture. While NAB (National Association of Broadcasters) naturally focuses on broadcast and video production, I find it valuable for photographers to keep a finger on what’s happening in these adjacent formats.

NAB 2025 just wrapped up, showing us exactly where imaging technology is headed. It featured lots of innovations – let’s take a look at some highlights.

Photography Breakthroughs: Still Image Innovation

Versatile Glass for Different Needs

Sigma continues to push boundaries with their 16-300mm f/3.5-6.7 DC OS, creating an impressive 18.8× zoom range for APS-C cameras. At 24-450mm full-frame equivalent in a 615g package, this lens serves as an exceptional single-lens solution for travel photographers. The 1:2 macro capability at 70mm focal length means you can shoot everything from landscapes to close-up details without changing lenses.

For professionals who need serious reach, Sigma’s new 300-600mm f/4 DG DN maintains a constant f/4 aperture throughout its zoom range—a significant technical achievement. Wildlife and sports photographers will appreciate having both the light-gathering capability of prime super-telephotos and the framing flexibility that rapidly changing subjects demand.

Nikon’s Award-Winning Hybrid

Nikon surprised many by taking home Videomaker’s Best Camera of NAB 2025 with the Z5II. At $1,699, this camera introduces capabilities previously restricted to much higher price points.

The Z5II combines a 24MP BSI full-frame sensor with Nikon’s EXPEED 7 processor from their professional Z8/Z9 models. Its internal RAW video recording (both N-RAW and ProRes RAW) directly to an SD card represents a significant advancement for hybrid shooters. Nikon’s collaboration with RED allows users to apply official RED LUTs for a distinctive cinematic aesthetic.

With 4K 30p from a full sensor readout (oversampled from 6K), fast autofocus with 3D subject tracking, and 5-axis IBIS up to 7.5 stops, the Z5II offers remarkable value for photographers who also need professional video capabilities.

Cinema Camera Innovations

Blackmagic’s 12K Compact Solution

Blackmagic Design introduced their PYXIS 12K cinema camera, packing a global 12K Super35 sensor into a surprisingly compact form factor. This global sensor eliminates rolling shutter artifacts completely—essential for fast action, quick pans, and environments with strobe lighting.

With 16 stops of dynamic range, 10G Ethernet, and faster USB-C connectivity, the PYXIS transforms high-resolution workflows into practical production tools. The interchangeable L, PL, or EF lens mounts provide flexibility for various lens collections.

For visual effects work, this camera delivers exceptional detail for compositing and green screen work, while the global shutter ensures every pixel is captured simultaneously—crucial for complex VFX integration.

Fujifilm Enters the Cinema Market

Fujifilm is making a significant entrance into cinema with their GFX Eterna, built around the substantial 102MP, 44×33mm medium-format sensor from the GFX100. This camera brings medium format aesthetics to motion capture.

A standout feature is the built-in variable electronic ND (2-7 stops), eliminating the need to swap filters during changing lighting conditions. The dual base ISO (800 & 3200) offers flexibility in low light, while the internal CFexpress Type B + SD dual slots provide robust recording options. The Frame.io integration enables automatic proxy uploads to edit suites during shooting, streamlining post-production workflows.

Canon’s Strategic Two-Camera Approach

Canon arrived with a well-executed two-camera strategy: the flagship EOS C400 and its compact sibling, the EOS C80. Both feature the same full-frame 6K BSI sensor with Triple Base ISO (800/3200/12800) for exceptional low-light performance.

The C400 targets high-end productions with its modular design and professional I/O package, while the C80 brings identical image quality to a body weighing just 2.9 lbs—ideal for gimbal operators and documentary filmmakers who need cinema quality in a smaller package.

Canon’s ecosystem approach allows productions to mix C400 and C80 bodies while maintaining consistent color science and image characteristics. At $7,499 for the C400 and $5,499 for the C80, these cameras compete effectively with Sony’s FX line.

Sony’s Broadcast-Cinema Convergence

Sony continues to merge cinema and broadcast technologies with their HDC-F5500V and HDC-P50A cameras. The F5500V incorporates a Super 35mm sensor with global shutter and PL-mount compatibility into broadcast environments—bringing cinematic depth-of-field to live productions.

Their electronic variable ND technology in a broadcast-ready system offers significant advantages for live events with varying lighting conditions. The compact HDC-P50A “POV” camera with direct IP connectivity provides options for unique angles that enhance production value in sports broadcasts.

This represents a notable aesthetic convergence between cinematic and broadcast imaging that’s reshaping viewer expectations for live content.

ARRI’s Accessible Flagship

ARRI announced their ALEXA 35 Base Model, featuring the same exceptional 4.6K Super 35 sensor with 17 stops of dynamic range as their premium system. The innovation here is a license-unlock approach that reduces the entry price by approximately $30,000.

The Base version delivers 4K 60p ProRes as standard, while advanced features like ARRIRAW, anamorphic modes, and 120fps high-speed recording can be added through paid licenses when specific productions require them.

At $54,590 compared to the previous ~$81,680 package price, this represents a meaningful shift in accessibility for what many consider the industry standard digital cinema system.

Optics Innovations: Cinema Lenses

Premium Cinema Glass

NiSi introduced their “Aureus” line of T1.4 cinema primes across five focal lengths (18mm, 24mm, 35mm, 50mm, 85mm). These full-frame lenses maintain edge-to-edge sharpness even wide open at T1.4, while featuring identical physical dimensions across all focal lengths—a significant advantage for assistant camera operators and gimbal setups.

ARRI’s new Ensō Prime lens family covers an impressive range from 10.5mm to 250mm, with most lenses maintaining a consistent T2.1 aperture. Their innovative “Vintage Elements” system—rear optical inserts that modify the lens character while preserving metadata communication—allows cinematographers to adapt the same lens for different aesthetic requirements without changing their entire kit.

Specialty Lenses for Creative Applications

DZOFilm’s X-TRACT 18-28mm T8 Probe Lens addresses specific creative challenges with its ultra-wide-angle macro capabilities. The rotating barrel section enables 360° roll while filming—beneficial for product cinematography and creative transitions. With a minimum focusing distance of just 6mm from the front element, cinematographers can achieve unique perspectives that add visual interest.

Meanwhile, DZOFilm updated their popular Vespid prime lenses with a Version 2 set of seven lenses. The new Vespid IIs maintain full-frame coverage but are now faster at T1.9 (improved from T2.1), lighter, and more compact. A key addition is lens metadata communication, transmitting focus distance, iris, and zoom data to compatible cameras—essential for VFX and post-production.

Laowa’s Proteus anamorphic zoom lenses tackle a persistent challenge—making anamorphic shooting accessible for smaller productions. Their 2× squeeze factor delivers the characteristic oval bokeh and horizontal flares in a lightweight package suitable for independent filmmakers. The zoom functionality eliminates frequent lens changes that typically slow down anamorphic productions.

Stay tuned for Part 2, where we’ll explore the software advancements, production hardware, and lighting innovations that complete the content creation ecosystem in 2025!