Z9 firmware version 5.10 adds a handful of video features many professionals typically expect on a video camera. Nikon added a new [Shutter mode], allowing the user to set the shutter angle to one of 15 steps between 5.6° and 360°. The new shutter mode eliminates the need to select a shutter speed whenever the frame rate is adjusted, allowing users to always achieve optimal motion blur at the desired frame rate.

In addition, users can now change the color of the zebra pattern display and customize the transparency and display position of brightness information displays along with their size, such as the histogram and waveform monitor. Nikon added these capabilities to make video recording easier by allowing users to confirm appropriate exposure, even when recording high-contrast scenes.

Next, Nikon announced that NX MobileAir (Android version) now supports Frame.io, Adobe’s creative collaboration platform, and Camera to Cloud service. NX MobileAir, which enhances the efficiency of professionals’ workflow by providing high-speed image delivery without a computer, will now support video transfer.

This latest version of NX MobileAir will allow users to manually or automatically upload recorded video files to Frame.io, where the video files can be shared with others for real-time cloud collaboration. Additionally, when selecting video files for upload, they can be filtered by rating and/or file format. Support for Frame.io will provide a more efficient workflow by seamlessly connecting the entire video production process, from recording to final delivery. This feature is especially useful when speed is of the essence, such as with live event social media creation as well as news and sports reporting.

The Frame.io feature will be compatible with the Nikon Z9, Z8, and Z6III mirrorless cameras via the NX MobileAir App. In addition, Nikon will continue to provide software updates to satisfy the needs of those involved in video production and to contribute to the development of imaging culture with the hope of further expanding possibilities for imaging expression.

Nikon recently announced the new Z50II, a compact, fully-featured mirrorless camera with an APS-C / DX format. The Z50II is Nikon’s first APS-C / DX format camera to feature the powerful EXPEED 7 processing engine,

found in the pro-grade Nikon Z8 and Z9. The Z50II comes combined with EXPEED 7 processing, allows for blazing fast and precise autofocus, fast frame rates up to 30 fps, superb low-light capabilities, advanced video features, and extensive control of colors.  

Discover Color

The Z50II is the first Nikon camera to feature a dedicated Picture Control button, opening new possibilities for expressive color, with imaginative film-inspired looks. In a single press, a shooter can see in real-time the effects of up to 31 built-in color presets, which instantly change the color, tone and feeling of the scene.

Imaging Recipes can also be directly downloaded to their camera as Cloud Picture Controls directly through the Nikon Imaging Cloud. These recipes are custom presets with changes to color, brightness, hue and more, which have been developed by notable creators. Additionally, users can make their own Imaging Recipes and Flexible Picture Controls for truly limitless creative possibilities. Images can also be sent instantly to a user’s own cloud-based storage using the Nikon Imaging Cloud, or easily share images to a phone with Nikon SnapBridge.

Simply Powerful

The Z50II’s EXPEED 7 processing engine delivers surprisingly powerful performance. Advanced autofocus with nine types of subject detection quickly tracks and locks onto humans, pets, vehicles, and more. The system is precise with the rapid ability to detect and maintaining razor-sharp focus on a subject’s eyes, even as they move. Not only is it powerful, but it’s also smart, simplifying the operation of advanced camera functions. When in AUTO shooting mode, Nikon’s proprietary deep learning technology makes it possible for the camera to analyze and recognize the subject and scene, automatically optimizing autofocus, flash control, and exposure control values such as aperture, shutter speed and ISO sensitivity settings.

Nikon Z50II 4K Video

The Z50II records 4K from an oversampled 5.6K sensor for rich and beautiful details. The camera records in various frame rates and resolutions up to 4K60p, delivering colorful and sharp video with high-quality audio. The Z50II makes it simple to capture high-quality video with a 3.2” vari-angle LCD screen, which helps to keep you and your subjects perfectly in frame, in addition to a video self-timer to begin recording to minimize time spent editing. The Z50II also features a Product Review Mode that focuses on objects in the foreground, which is helpful for products, cosmetics, fashion and beauty reviewers.

The Z50II looks like an affordable way to take advantage of a fast camera for stills and motion with the option ofN-Log video that offers subtle and rich tonal gradation for higher-quality video recording with more exposure latitude for grading. It also has other helpful video features like a tally lamp, waveform monitor, headphone jack and a continuous record time of up to more than 2 hours.

Features of the Nikon Z50II

• 20.9-megapixel APS-C/ DX format sensor lets you capture high quality photos and videos, with gorgeous colors and amazing low light ability. 
• Dedicated Picture Control button allows for one-touch access to inspiring color presets, Imaging Recipes and custom Flexible Picture Controls, all in real-time. 
• EXPEED 7 image processing engine gives users access to powerful features and performance, including an advanced AF system with subject detection and 3D Tracking.
• Bright electronic viewfinder at 1000 cd/m2 (nits), is roughly twice as bright as the one built into the Nikon Z50, allowing users to easily check focus and compose even on the brightest of days.
• Rapid photo burst shooting with up to 30 fps with electronic shutter, or up to 11 fps with the mechanical shutter.  
• Features a Pre-Release Capture function capable of recording images buffered up to one second before the shutter-release button is fully pressed.
• Excellent low light capability produces sharp photos in minimal light with less grain thanks to a wide ISO range from 100–512002.
• Features made for all types of video content creators, such as N-LOG recording, product review mode, waveform monitor, microphone and headphone jacks.
• Built-in flash is useful in backlit situations as a fill-flash or in dark surroundings.
• Hi-Res Zoom3 during video recording, which allows users to zoom in on their subject with no loss in image quality, even when using a prime lens.
• An illuminated REC lamp (tally light) notifies the user and the subject when video recording is in progress.
• Support for USB streaming (UVC/UAC) allows plug and play connectivity for online meetings and live video streaming by simply connecting the camera to a computer or smartphone.
• Equipped with a large and clear 3.2-inch vari-angle monitor with a touch screen for intuitive operation and recording yourself and others.

MC-DC3 Remote Cord

The MC-DC3 is a remote cord compatible with the Z50II and later models equipped with a headphone/remote cord connector (3.5mm jack). The cord is approximately 3.1 ft/ 1m in length. It is useful in minimizing the effects of camera shake when using a tripod to photograph starry skies and nighttime scenes, or with commercial (product) photography. It can also be used for remote photography to release the shutter at a distance from the camera. The shutter-release button can be locked in the fully pressed position for long exposures (bulb shooting) or held down for continuous shooting. It can also be held halfway down for shooting with less release time-lag.

Nikon Z50II Price and Availability

The new Nikon Z50II will be available in late November 2024 for a suggested retail price of $909.95 for the body only. Kit configurations include the NIKKOR Z 16-50mm f/3.5-5.6 VR lens for $1049.95 SRP, or a two-lens kit with the 16-50mm and 50-250mm f/4.5-6.3 VR lenses for $1299.95 SRP. The MC-DC3 Remote Cord is scheduled for release later in 2024, for $36.95 SRP.

No, this was a blind date of lens goodness. The coupling was set up ahead of time without expectations. From the first shot, I could feel the sparks of our chemistry. In time, I lost time and control, snapping so many prime-style lens shots on a zoom that touched my heart.

I couldn’t keep my hands off the SIGMA 28-45mm F1.8 DG DN | Art Lens. Like a newlywed, I clung to it as it was the only lens that allowed me to see what I saw in the way I saw it. All joking aside, the Sigma 28-45mm F1.8 DG DN | Art Lens has something that the SIGMA 18-35mm F1.8 DC HSM | Art (for APS-C DSLR cameras) didn’t or really couldn’t give me.

Yes, on paper, the two match well. Both lenses have a constant F1.8 aperture throughout the entire zoom range, making both lenses great options for video shooters. Yet, the 18-35mm was designed for smaller APS-C DSLR cameras, and the SIGMA 28-45mm F1.8 DG DN | Art Lens was designed for full-frame mirrorless cameras. Sometimes, a larger image circle is actually better.

Love without compromises warms the heart and a lens like the Sigma 28-45mm F1.8 DG DN | Art Lens was made with love. Love of the prime lens comes through in the optical performance in the 28-45mm. By arranging the 3 aspherical lens elements and 5 SLD glass elements, the 28-45mm suppresses aberrations and gives use prime lens performance in a zoom.mI saw this performance in my photography. Each shot felt like it was captured with a prime lens, which I absolutely love.

Fast Autofocus

Not only does the Sigma 28-45mm F1.8 DG DN | Art Lens give images the appearance of being shot with a prime lens, but what also helps capture the love of shooters is Sigma’s HLA (High-response Linear Actuator) autofocus and optical design that minimizes focus breathing.

Make no mistake—the Sigma 28-45mm F1.8 DG DN | Art is well-suited for video work. Its weight and length also make it suitable for gimbal work.

Just as important as having a quick and accurate Autofocus is having a lens that doesn’t shift when the focus moves. That won’t fly for video shooters. Thankfully, the Sigma 28-45mm F1.8 DG DN | Art the focus breathing is well suppressed, allowing for smooth focus pulls between subjects.

Sigma 28-45mm F1.8 DG DN | Art Lens Aperture Ring

Recently, Sigma has added a click/de-click switch and lockable aperture ring to its lenses. I love this for two reasons. First, it’s all about the nostalgia of having an aperture ring. I tend to prefer a lens with an aperture ring, and that is the second reason. I prefer an aperture ring, especially the de-clicked version because it allows one to nail the exposure exactly.

Constant F1.8 Aperture

This Sigma 28-45mm F1.8 DG DN | Art Lens is the world’s first full-frame zoom lens with a maximum aperture of F1.8. Will we see other lens manufacturers make a constant F1.8 zoom lens? We might, but I doubt we’ll see one with the optical performance like the Sigma 28-45mm. This F1.8 on the Sigma 28-45mm F1.8 DG DN | Art Lens is a real-world F1.8, as there wasn’t any slight darkening of the image when zooming through the entire 28-45mm range. The F1.8, once reserved only for prime lenses, is proof in the pudding for Sigma’s design and optical performance they’ve created throughout the years. A lens like the Sigma 28-45mm only happens with years of experience and growth at a company that feels comfortable pushing to be better year after year.

Sigma 28-45mm F1.8 DG DN | Art Lens Performance

As I shot with the lens, I grew to love how it saw the world. The ghosting and flare are very much like Sigma’s other art lenses, and that is to say, they are very well controlled. The lens itself is not a big lens. Years ago, a lens like this would have been huge, but not the Sigma 28-45mm. There are two things that matter most to me. Is the lens easy to use, and does it help one take better pictures? The Sigma 28-45mm F1.8 DG DN | Art was a yes for both, and we’d been happily ever after.

SIGMA 28-45mm F1.8 DG DN | Art lens Features

• Lens construction: 18 elements in 15 groups (5 SLD, 3 aspherical elements)
• Inner zoom
• Inner focus system
• High-speed AF
• HLA (High-response Linear Actuator)
• Supports DMF and AF+MF
• Compatible with AF assist (for Sony E-mount only)
• Nano Porous Coating
• Super Multi-Layer Coating
• Water- and Oil-Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (2 locations)
• Focus Mode switch
• Support for switching between linear and non-linear focus ring settings (for L-mount only)
• Dust- and Splash-Resistant Structure
• Petal-type hood with lock LH878-06
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 11-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• “Made in Aizu, Japan” craftsmanship

natively and via various mount adapters.

Spanning multiple channels including print, point-of-purchase, social media, online advertising, and email marketing, the campaign is built around a crisp graphical treatment that delivers the message that there are exceptional SIGMA lenses compatible with all major camera systems, including full-frame and crop-sensor DSLRs, mirrorless interchangeable lens cameras, and cinema cameras from manufacturers including Canon, Fujifilm, Leica, LUMIX, Nikon, SIGMA and Sony.

“The ‘It Just Clicks’ campaign aims to connect photographers and videographers with SIGMA, and our broad selection of lenses in the Art, Sports and Contemporary lines compatible with the major camera platforms supported by SIGMA,” reports Mark Amir-Hamzeh, President of SIGMA America. “With over fifty lenses currently available for DSLR and mirrorless camera systems – from ultra-wide primes to super telephoto zooms, and everything in between – there’s sure to be a SIGMA lens that’s right for you, and we’re here to help you find your next favorite lens.”

Additionally, SIGMA Technical Representatives will be attending dealer events throughout November and December to help buyers choose the right SIGMA lens for their camera systems as part of the “It Just Clicks” campaign.

And for those who can’t make it to a local camera shop, there will also be a series of live sessions on social media platforms including Instagram and Facebook, where customers can ask the SIGMA team for lens buying advice. Creators in the Los Angeles, CA area can also book a demo session at the SIGMA Burbank showroom to test out lenses and get buying advice from the SIGMA team.

The full selection of lenses available by camera manufacturer can be viewed here:

https://www.sigmaphoto.com/it-just-clicks

Wireless video from a camera to a monitor has been one of my least favorite things to fiddle with during a shoot. When it works, life is grand. When it doesn’t, you live on a leash. Both are alright if I am being honest. I’ve been doing this for long enough not to be bothered by much. About all that bothers me is wasted time and slowing everyone down while someone finds a paperclip to reboot whatever wireless video kit you have on hand.

Recently, DJI launched a new video transmission system to make advanced software-defined radio (SDR) technology more accessible. DJI sent me a unit to test. After following their steps for updating the firmware on the then-yet-to-be-released unit, I turned on the DJI SDR, and it just worked. It was simple, quick, and easy.

DJI SDR Video Tranmission

DJI designed the SDR video transmitters for small and medium-sized crews. The exact crews you might have to sweat the wireless video tech when it doesn’t work because they can’t afford the best gear yet.

I’ve had the new DJI SDR Transmitter and Receiver on hand for a few weeks. The simplicity of the DJI SDR is a breath of fresh air in what can, at times, be a cumbersome process when it comes to Wi-Fi wireless video transmitters.

As with all things DJI, the new SDR Transmitter can be slid into and powered directly by the DJI RS 4 Pro, DJI RS 4, or DJI RS 3 Pro when mounted and used together. This eliminates the need for a separate battery for the DJI RS4 Pro gimbal because, obviously, their gear should work as an ecosystem and help us be better shooters.

Combining DJI SDR with RS Series Stabilizers

What you get when combining the DJI SDR and DJI RS Series Stabilizers is remote camera controls. The DJI SDR Transmission supports Force Mobile, virtual joystick, and gimbal recentering functions. When paired with a camera, it can support PTP control, displaying and adjusting aperture, shutter, ISO, and even triggering the camera’s photo-taking and video-recording functions through the app. It can also support CEC control of Sony cameras to bring Mirror Control mode into play.

My first test of the DJI SDR were not on a gimbal but in the hands of my seven-year-old daughter. I asked her to take the camera and SDR as far away as our backyard and common area allow, and she bounced out the back door and ran around, down a slight hill and to the greenway behind our neighborhood before I quickly called her back. More out of fear, she was out of my sight than out of DJI SDR transmitter range. This may be more of a funny anecdote, but I tend to find if my daughter can’t break it, or she can operate it, then nearly all crews will figure it out when the pressure is on. This is less of a scientific method and more of a bad parent method, but it works.

According to DJI, the SDR technology ensures stable video transmissions even in complex shooting environments. Think child bounding across a grass field, around a couple of fenced-in yards, and down a decent hill for my “complex shooting environments.” There is a trade-off for this reliability, and that is you only get HD. The DJI SDR transmits 1080p/60fps live feeds with a bitrate of up to 20Mbps and a delay as low as 35 milliseconds. I didn’t have quite the bad parent mind to let my daughter test out if the SDR transmits the full 3 kilometers (1.8 miles) away. She got around 500 feet away in a complex RF area, and the SDR did not fail.

The size of the DJI SDR is pretty amazing. It’s small. A single transmitter or receiver weighs only 145 grams or 5.1 oz. The DJI SDR will be your travel buddy. There are a couple of things I couldn’t test. I couldn’t test to see if the DJI SDR would connect to my iPhone because I am cheap and still holding onto my iPhone 11. I didn’t do any gimbal moves with the DJI SDR either because I didn’t have the right DJI gimbal on hand.

Lasting thoughts are pretty simple. The DJI SDR works very well and is easy to use. The size is small. Most importantly, the cost of a DJI SDR Tranmission Combo is only $549. In the world of wireless video $549 is pretty inexpensive.

Sigma 28-45mm T2.0 Cine AF Prototype lens

For those of us who have used Sigma Cinema Lenses in the past, this prototype may be a natural progression for Sigma Cinema Lenses. I often switch between using autofocus and manual focus during each shoot. I’d definitely prefer to have a more cinema-style manual lens when I switch away from AF. At 6 inches in length, this lens may be a perfect gimbal companion.

Clearly, Canon is building around the C400, as the C80 appears to be a near-perfect B Camera compared to the C400.

6K Full-Frame Back-Illuminated Stacked CMOS Sensor

The Canon EOS C80 camera features a 6K full-frame, back-illuminated CMOS sensor with triple-base ISO, allowing the camera to deliver low-light performance in a wide range of lighting conditions. The base ISOs of 800, 3200, and 12,800 maximize the camera’s full dynamic range.

The EOS C80 camera also features Canon’s latest Dual Pixel CMOS Autofocus, Dual Pixel AF II. The back-illuminated stacked sensor’s positioning offers superb light-capturing efficiency, widening the area of the sensor that can be used for autofocusing. The sensor also empowers fast readout speed and 4K image quality from 6K oversampling.

12-G SDI and a Variety of Interfaces

In addition to moving to a full-frame sensor, the EOS C80 camera has also improved over its predecessor by adding 12G-SDI output, which enables the uncompressed transfer of your video signal with a secure cable connection.

The camera’s design includes various other interfaces, including HDMI, mini-XLR audio inputs, time code, built-in Wi-Fi® connectivity, and Ethernet. This internet connectivity enables the camera to be controlled remotely via our IP-based XC Protocol using Canon’s RemoteCamera Control Application (available for free on the Canon USA Website) or our Multi-Camera Control App for iPhone (available for free on the App Store).

Canon EOS C80 Compact Design

The compact and lightweight EOS C80 camera is suitable for drones, gimbals, tripods, or any configuration where compact size and light weight are important. To me, the most likely setup is on a gimbal.

The camera is ergonomically designed with a new, lightweight handle assembly. The Multi-function Shoe is just above the LCD screen, and the joystick controller provides easy control and menu navigation.

Canon EOS C80 Recording Options

The EOS C80 camera can record up to 6K 30P in Cinema RAW Light. Other recording options include our standard XF-AVC codec, which can record in 10-bit 4:2:2 with oversampling from the 6K sensor. Furthermore, autofocus is enabled when recording in slow or fast motion at up to 4K 120P.

Additionally, the EOS C80 camera has two more recording codecs, XF-AVC S and XF-HEVC S. These formats were first introduced with the EOS C400 camera and feature an easy-to-manage naming system and folder structure while recording in the familiar MP4 format and preserving metadata.

Pricing and Availability

The Canon Cinema EOS C80 Full-Frame camera is scheduled to be available in November 2024 for an estimated retail price of around $5,499.00. For more information, please visit www.usa.canon.com.

, a compact and lightweight multi-purpose camera with a 2/3-inch 3-chip 4K image sensor that features global shutter function and offers high flexibility in terms of installation.

This camera inherits the features and performance of the existing multi-purpose camera Sony HDC-P50. In addition to SDI outputs from the camera body, it also supports IP transmission using SMPTE ST 2110, which is increasingly adopted in the broadcasting and live production industry. Furthermore, it can be connected to a camera control unit, enabling high frame rate shooting at up to four times in 4K. It also can be equipped with the optional HKC-VND50 variable ND filter unit. With its compact and lightweight design, it can be used in various scenarios such as shooting in hard-to-reach locations, aerial shots from helicopters, and shooting with jibs, cranes or wire support systems. 

With its built-in IP transmission, the HDC-P50A joins Sony’s ever expanding Networked Live ecosystem. It can be connected to the camera control network adapter CNA-2 to enable centralized monitoring and remote operations.

The HDC-P50A is equipped with the same 2/3-inch 3-chip 4K image sensor and prism as the HDC-3500 and HDC-5500 cameras, delivering the same color reproduction performance. This makes it easy to integrate into existing systems.

Support for IP Transmission with SMPTE ST 2110

With the optional license HZC-SFP5A, the HDC-P50A can directly output in IP using SMPTE ST 2110. This enables standalone camera compatibility with AMWA NMOS (Networked Media Open Specifications). It allows for direct IP output without the need for additional hardware and supports IP Tally, making it an ideal choice for IP-based studios. Additionally, by connecting to the IP camera extension adapter HDCE-TX50 or the camera control units HDCU-5000 and HDCU-5500, the camera delivers IP input/output and high frame rate output.

Flexible Functionality and Compact Lightweight Design Enable Versatile Use in Various Scenarios

This camera is compatible with the camera control units HDCU-5000 and HDCU-5500, as well as the IP camera extension adapter HDCE-TX50. The camera control units and IP extension adapter allow for long-distance connections of up to 10km using single-mode fiber. This is ideal for shooting locations that are a long distance from the replay system. When connected to the HDCU-5000 camera control unit, the HDC-P50A enables slow-motion shooting at up to four times speed in 4K and up to eight times speed in HD while maintaining the standard speed output, in both SDR and HDR operations. 

The compact and lightweight design offers high flexibility in installation, making it suitable for shooting in hard-to-reach or elevated locations. It can be used for simple shooting with a remote pan-tilt unit, as well as capturing various angles in sports and live events, among other scenes.

High Interoperability with the HDC-5000 and HDC-3000 Series

The HDC-P50A is equipped with the same 2/3-inch 3-chip 4K image sensor and prism as the multi-format HDC-5500 and HDC-3500 system cameras, covering a wide color gamut including BT.2020 and S-Gamut3.  It allows for easy color matching when added to existing camera systems. 

SIGMA 28-105mm F2.8 DG DN | Art

The SIGMA 28-105mm F2.8 DG DN | Art is a compact, full-frame, wide-angle to telephoto zoom lens with a fast constant aperture. Available for Sony E-mount and L-Mount, this lens covers several popular focal lengths from 28mm to 105mm, including the very popular 85mm focal length for portraiture, remaining at F2.8 through the entire range.

Featuring HLA (High-response Linear Actuator) autofocus and optical performance that lives up to the standard of Art line lenses, the SIGMA 28-105mm F2.8 DG DN | Art joins SIGMA’s selection of fast-aperture zoom lenses in the Art line, offering photographers and videographers a variety of premium standard zoom options depending on their personal style. Like the 24-70mm F2.8 DG DN II | Art and the 28-45mm F2.8 DG DN | Art, the new 28-105mm F2.8 includes a lockable aperture ring with click/de-click function, as well as two AFL buttons and a zoom lock switch. Additionally, the dust- and splash-resistant design and water-and oil-repellant coating on the front element makes it suitable for shooting both stills and video in inclement weather.

A minimum focusing distance of 15.8 inches (40cm) at all focal lengths, and maximum magnification ratio of 1:3.1 at the telephoto end add to the versatility of this new zoom lens. This lens also features a rounded twelve-blade diaphragm, which helps to keep the large-aperture unit as small as possible.

Measures have been taken to minimize changes in optical performance due to differences in zoom and focus positions, including the use of a difficult-to-process large-diameter FLD glass in the first group to suppress aberrations in each group. In addition, the use of 5 aspherical lens elements has enabled the lens to achieve both a wide zoom range of 28mm to 105mm and a large-aperture of F2.8, while reducing its overall size.

By thoroughly reducing the weight of each part, the lens is kept under 2 pounds while achieving both a wide zoom range and an F2.8 aperture. The lens barrel near the mount is made of magnesium rather than aluminum, ensuring rigidity while reducing the weight of these parts alone by two-thirds. The lens will retail for $1,499 and will be available in late September 2024.

SIGMA 10-18mm F2.8 DC DN | Contemporary

Additionally, The very popular SIGMA 10-18mm F2.8 DC DN | Contemporary was announced today for Canon RF Mount. Originally announced in October 2023, this lens was first released concurrently for L-Mount, Sony E-mount and Fujifilm X Mount, and is now available for Canon RF Mount. This compact, versatile zoom is a perfect partner for the SIGMA 18-50mm F2.8 DC DN | Contemporary, released for Canon RF Mount in June 2024. The new lens will be available through authorized retail partners in late September 2024 for a retail price of $659.

Check out Sigma’s video of the SIGMA 10-18mm F2.8 DC DN | Contemporary here:

latest G Master technologies to enhance overall performance.

latest Alpha series full-frame cameras.

Sony FE 85mm F1.4 GM II Quick Features

• Enhanced high-resolution and appealing bokeh
• Improved fast, precise, quiet AF
• High tracking performance
• Lightweight

High Optical Performance and Beautiful Bokeh

The refined optical design and advanced elements of the FE 85mm F1.4 GM II bring together smooth bokeh and enhanced high resolution, making it ideal for portrait photography. The lens offers advanced optics with two XA (extreme aspherical) and two ED (extra-low dispersion) elements designed to effectively suppress aberrations. This combination offers corner-to-corner resolution and rendering, resulting in outstanding image quality.

The FE 85mm F1.4 GM II also includes Sony’s original Nano AR Coating II technology, effectively subduing flare and ghosting for clear, crisp images. This lens’s 11-blade circular aperture produces the beautiful, soft bokeh that G Master lenses are known for.

Fast, Precise Autofocus and Subject Tracking

The AF capabilities of the next generation FE 85mm F1.4 GM II have drastically improved to maximize performance for its use cases like portrait photography and cinematic video. For stills, the AF is up to three times faster than the previous model, allowing users to accurately track moving subjects with high speed. In addition, subject tracking performance has improved by as much as seven times. With these improvements, this lens can enable features on Sony’s latest camera bodies, including continuous shooting of up to 120fps ​ on the Alpha 9 III.

Lightweight Design Without Compromises

Compared to the original 85mm F1.4 G Master, the weight of this next generation is about 20% lighteriv and 13% smaller in volume (approx. 642 grams, 22.7 oz), which is achieved through the latest mechanical technology and optical design. The FE 85mm F1.4 GM II has a filter diameter of φ77 mm, diameter of 84.7mm (about 3 3/8 in) and length of 107.3mm (about 4 1/4 in).

Ideal for Cinematic Content Creation

The FE 85 mm F1.4 GM II’s large F1.4 aperture and compact size make it a fitting lens selection for cinematic movie creation. Internally, the lens has an XD (extreme dynamic) linear motor with internal focusing, quiet AF, and linear response MF (manual focus). Focus breathing is minimal, and in-body focus breathing compensation is supported.

Due to the flexibility offered by Sony’s one-mount E-mount system, this lens can be used with Sony’s latest mirrorless Alpha cameras, as well as cameras in the Sony Cinema Line, including the Sony BURANO.

Designed to Maximize Operability and Durability

Externally, the FE 85mm F1.4 GM II has two customizable focus hold buttons and an AF/MF switch to offer flexible operability. It also has an independent aperture ring and Linear Response MF focus control button to provide intuitive control and streamline the creative shooting process. 

The front lens element features a fluorine coating, which makes it easy to remove fingerprints, dust, oil, and other contaminants from the lens surface. The dust and moisture-resistant design provides additional reliability for outdoor use in challenging conditions.

Pricing and Availability

The FE 85mm F1.4 GM II will be available in September 2024 for approximately $1,799.99 USD and $2,499.99 CAD.