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Canon announces R7 and R10 EOS R crop sensor mirrorless cameras

Canon has expanded its EOS R mirrorless range to include two new crop sensor cameras; the EOS R7 and EOS R10. It’s also released new RF-S lenses; the RF-S 18-45mm F4.5-6.3 IS STM, and RF-S 18-150mm F3.5-6.3 IS STM.

Starting at $1499 AUD for the R10 body and $2349 AUD for the R7 body – RRP – these new cameras will attract a whole new group of enthusiasts that may have been holding off on the EOS R system.



Canon has expanded its EOS R mirrorless range to include two new crop sensor mirrorless cameras; the EOS R7 and EOS R10. It’s also released new RF-S lenses; the RF-S 18-45mm F4.5-6.3 IS STM, and RF-S 18-150mm F3.5-6.3 IS STM.

Starting at $1499 AUD for the R10 body and $2349 AUD for the R7 body – RRP – these new cameras will attract a whole new group of enthusiasts that may have been holding off on the EOS R system.

“Allowing a new audience of photography and videography enthusiasts to access the innovation that drives Canon’s more premium models, the EOS R7 is ideal for enthusiasts looking to upgrade their camera and push creative limits to make their images stand out,” says Brendan Maher, Senior Manager – Product Marketing at Canon Australia. 

“Additionally, the camera is suited for wildlife and sports photographers that need the added reach of the APS-C in addition to the outstanding speed and tracking autofocus inspired by higher models in the range.

“With its compact size and weight, the EOS R10 is the perfect all-rounder for those considering buying a camera to capture memories on the go with family or while travelling.”

Key Features EOS R7

·       32.5 -megapixel APS-C sensor

·       15fps continuous mechanical shutter, 30fps with electronic shutter

·       Deep Learning and Dual Pixel CMOS AF II

·       4K 60p and oversampled 4K 30p video from 7K

·       Up to 8-stops In-Body IS (IBIS)


Key Features EOS R10

·       24.2 -megapixel APS-C sensor

·       15fps continuous mechanical shutter, 23fps with electronic shutter

·       Deep Learning and Dual Pixel CMOS AF II

·       4K 60p (cropped) and oversampled 4K 30p video from 6K

·       Movie Digital IS

These cameras may have smaller sensors but they are still packed with EOS R features. The EOS R7 and EOS R10 inherit the intelligent autofocus technology featured in Canon’s high performance full frame models to the APS-C format. Featuring deep learning and Dual Pixel CMOS AF II, users can keep track of subjects including vehicles, animals and people, with precise head, face and eye detection over 100% of the frame. 

Offering AF in low light down to -5 EV and -4 EV respectively and operational up to f/22 with teleconverters, EOS R7 and EOS R10 make it easy to track birds in flight or athletes on the move. Both cameras feature Touch and Drag AF, whilst EOS R7 makes history as the first camera in the EOS R System to have a combined AF multi-controller and control wheel. This unlocks AF point control with fast and convenient setting and playback functions in one thumb movement or rotation of the dial. 

Both have the fastest continuous mechanical shutter of any APS-C EOS camera at 15fps, as well as 30fps and 23fps electronic shutter]. The EOS R7 offers a maximum of 1/8000th second mechanical shutter speed and 1/16000th for electronic shutter. Powered by the latest DIGIC X Processor, these are highly responsive cameras capable of high-speed image processing. The addition of a 30fps RAW burst mode allows photographers and creators to work with the images captured during continuous shooting as a movie file, for simple frame selection. When pre-shooting mode is enabled, they can also capture images 0.5 seconds before the shutter button is even pressed. 

In-Body Image Stabilisation (IBIS) in the EOS R7 joins the EOS R6, EOS R5 and EOS R3 in offering 8.0 stops of Co-ordinated Control IS. For the first time in EOS cameras, the IS system is used to level the horizon when the ‘Auto-level’ feature is enabled, and it also compensates for vertical shake when shooting in the newly added panoramic or panning modes. 

The newly designed 32.5 and 24.2-megapixel APS-C sensors within both EOS R7 and EOS R10 are ideal for sports and wildlife photographers that need to get closer to the action. Dual Pixel RAW alongside HEIF, Compact RAW and HDR modes unlock post-production options from simple to complex.

The EOS R7 and EOS R10 can shoot video in 4K 60p or 4K 30p which is down sampled from 7K and 6K respectively. This means better quality. It can be output at HDR PQ (YCbCr 4:2:2 10-bit) in-camera, or via HDMI. The EOS R7 includes an additional 4K 60p crop mode, to extend the reach even further – perfect for filming wildlife. 

Thankfully, both cameras can record past an individual 30-minute clip limit, and can shoot 4K 60p up to an hour. Both models support recording HDR PQ (YCbCr 4:2:2 10-bit BT.2020) movies that provide high dynamic range with minimal grading. 

The EOS R7 is the first APS-C EOS outside of the Cinema EOS line to employ Canon Log 3 and Cinema Gamut – allowing a more flexible editing process. 

The 2.36m dot electronic viewfinder has OVF view assist which helps DSLR owners make the transition to mirrorless with a familiar viewfinder experience. Customisable dials and a vari-angle LCD screen offer seamless handling, while in-camera focus bracketing and depth compositing make these cameras powerful creative tools. The EOS R7 features a 1.15x magnification viewfinder, allowing enthusiasts an immersive shooting or playback experience. 

The EOS R10 has a built-in flash while the F7 has Dual SD UHS-II card slots with instant back-up, separate image and movie storage or recording different formats to each card.

Both cameras have enhanced connectivity with Wi-Fi and Bluetooth. Creators can upload content to their final destination via and control the camera via the Camera Connect app either via a compatible USB Type-C cable or wireless connection. For streamers, both cameras offer clean HDMI output for streaming as well as ability to stream to YouTube via 

Users can also now directly upload RAW files to Canon’s new Cloud Image processing service on, which applies neural network image processing to further enhance image quality from a RAW file. The EOS R7 and EOS R10 are fitted with the new multi-function accessory shoe – a first for EOS APS-C models – which supplies power and high-speed communication to advanced new accessories.  

The EOS R7 and EOS R10 allow users to make use of Canon’s range of RF lenses.  Adapters can also be used with EF and EF-S lenses for a seamless transition from DSLR and mirrorless. Canon is launching two new RF-S kit lenses as mentioned earlier. The RF-S 18-45mm F4.5-6.3 IS STM and RF-S 18-150mm F3.5-6.3 IS STM. Offering a 35mm equivalent focal length, with optical IS, they are perfect for shooting everything from landscapes and portraits to food and vlogs. The RF-S 18-45mm F4.5-6.3 IS STM is the ideal multi-purpose lens for everyday shooting, thanks to its compact design and lens-retraction mechanism which makes it perfect for travelling around with. With a manual focus override and leadscrew-type STM for smooth, quiet movie autofocus, it is an essential lens for everyday photography and capturing video content. A high magnification zoom lens covering wide-angle to telephoto lengths, the RF-S 18-150mm F3.5-6.3 IS STM is capable of a maximum magnification of 0.59x in MF mode to explore macro photography in everyday scenes.

Featuring Canon’s advanced optical technology that minimises chromatic aberrations and offers distortion correction, these lenses deliver crisp, sharp images. Working collaboratively with (IBIS) in EOS R7 and Movie Digital IS in EOS R10, these lenses are equipped with Dynamic IS and in-lens optical image stabilisation, enabling up to 7-stops of IS in the RF-S 18-150mm F3.5-6.3 IS STM and 6.5-stops in RF-S 18-45mm F4.5-6.3 IS STM. With a 7-blade circular aperture, photographers can create beautifully soft backgrounds and sharp subjects.


LATE JUNE 2022 EOS R7 Body Only $2349 AUD RRP (Body + RF-S 18-45mm n/a) (Body + RF-S 18-150mm $2899 AUD RRP) 

JULY 2022 EOS R10 Body Only $1499 AUD RRP (Body + RF-S 18-45mm $1649 AUD RRP)  (Body + RF-S 18-150mm $2049 AUD RRP) 


JULY 2022 RF-S 18-45mm $569 AUD | RF-S 18-150mm $899 AUD RRP

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Move on From a Smartphone with the Sony ZV-E10 II



Sony’s second generation ZV-E10, the logically named Sony ZV-E10 II, will be available in August for A$1688 (discounted from $1,849). It’s a massive update to a very popular vlogging camera that makes a lot of sense for creators that want to ‘graduate’ from a smartphone.

Think about the numbers.

Say you add the just announced E PZ 16-50mm F3.5-5.6 OSS II lens for A$599, you’re pretty close to the iPhone 15 Pro Max in price, which starts at A$2,199. The triple camera is very good on the iPhone but it won’t deliver images as good as the Sony.

The new camera has an upgraded 26 megapixel (MP) (approx. effective) Exmor R CMOS sensor and adoption of Sony’s latest BIONZ XR image processing engine. Other updates include improved autofocus and video capturing capabilities like Cinematic Vlog Setting and a new vertical format user interface (UI). So if your content is destined for a 9:16 device, then the Mark II makes it a lot easier to capture that way at the time of recording. The menu will shift to a vertical orientation to save you tilting your head.

One excellent upgrade is the battery. The ZV-E10 II now accepts the larger-capacity Sony Z battery. If you’re in the Sony universe you’ll love this change.

But other extremely important upgrade – is 10-bit recording. It can capture 4K 60P at 4:2:2 ALL I. This makes this camera extremely enticing when compared with the previous model. The bump to 10-bit means way more flexibility in post production. You will notice the difference, especially when there’s a lot of blue sky.

The light APS-C body is a huge advantage when keeping a low profile on the streets and other busy locations. The ZV-E10 II maintains all the features creators enjoyed about the original, including Product Showcase Setting, Background Defocus and the vari-angle flip screen. When shooting videos and still images, users can instantly enhance their images by selecting from ten Creative Look options:

Standard (ST), Portrait (PT), Neutral (NT), Vivid (VV), Vivid 2 (VV2), Film (FL), Instant (IN), Soft Highkey (SH), Black & White (BW), and Sepia (SE).

With a single touch using the Cinematic Vlog Setting, the user can automatically adjust the aspect ratio, frame rate, and AF transition speed to optimal settings for cinematic video capture.

Sony’s iconic S-Cinetone picture profile is also included. This profile is absolutely gorgeous but you do have to nail the exposure in camera. It produces beautiful natural colours while also rendering a gentle highlight rolloff.

Like all cameras, the ZV-E10 II isn’t perfect. There’s no IBIS (In Body Image Stabilisation) but it does have electronic stabilisation. Although this is very good, it does crop your image. It also lacks an EVF (Electronic Viewfinder) but that’s completely understandable. Rolling shutter can be an issue too because there’s no mechanical shutter. It also doesn’t have 4K/120p but at this price, it’s not a concern.

Overall though, this is a fantastic camera for anyone who wants to up their vlogging game or pros that want a B camera that’s a Sony.


The new ZV-E10 II will be available in Australia from August 2024 for $1688 (discounted from A$1,849).

The E PZ 16-50mm F3.5-5.6 OSS II in black will be available in Australia from September 2024 for A$599. 

Camera Specifications
Specification Details
Model ZV-E10M2
Colors White, Black
Type Interchangeable lens digital camera
Mount E-mount
Sensor APS-C type (23.3 x 15.5 mm), Exmor R CMOS sensor
Number of Pixels (TOTAL) Approx. 27.0 megapixels
Number of Pixels (EFFECTIVE) Still images: Approx. 26.0 megapixels max.
Movies: Approx. 19.9 megapixels max.
Color Temperature 2500 K – 9900 K
File Formats JPEG (DCF Ver. 2.0, Exif Ver. 2.32, MPF Baseline compliant), HEIF (MPEG-A MIAF compliant), RAW (Sony ARW 5.0 format compliant)
Image Resolution APS-C L: 6192 x 4128 (26 M), M: 4384 x 2920 (13 M), S: 3104 x 2064 (6.4 M)
Video Format XAVC S: MPEG-4 AVC/H.264, XAVC HS: MPEG-H HEVC/H.265
Audio Recording LPCM 2ch (48 kHz 16 bit), LPCM 2ch (48 kHz 24 bit), LPCM 4ch (48 kHz 24 bit)
Video Resolution 3840 x 2160 (4:2:0, 10bit): 59.94p, 50p, 23.98p
3840 x 2160 (4:2:2, 10bit): 59.94p, 50p, 23.98p
1920 x 1080 (4:2:0, 8bit): 119.88p, 100p, 59.94p, 50p, 29.97p, 25p, 23.98p
1920 x 1080 (4:2:2, 10bit): 59.94p, 50p, 29.97p, 25p, 23.98p
Real-Time Tracking Yes
Real-Time Eye AF Yes
Hybrid AF Fast Hybrid AF (phase-detection AF / contrast-detection AF)
AF Points Still images: Max. 759 points (phase-detection AF)
Movies: Max. 495 points (phase-detection AF)
AF Sensitivity EV-3 to EV20 (ISO100 equivalent with F2.0 lens attached)
Subject Detection Human, Animal, Bird
AF Modes AF Level for Crossing (Still), AF Track for Speed Changes (Still), AF Subj. Shift Sensitivity (Movie), AF Transition Speed (Movie), Switch V/H AF Area, AF Area Regist., Circ. of Focus Point, Focus Map (Movie), AF Assist (Movie)
Metering Mode 1200-zone evaluative metering
Metering Sensitivity EV-3 to EV20 (ISO100 equivalent with F2.0 lens attached)
Exposure Compensation +/- 5.0 EV (1/3 EV, 1/2 EV steps selectable)
ISO Sensitivity Still images: ISO 100 – 32000 (expandable to ISO 50 – 102400), AUTO (ISO 100 – 6400, selectable lower limit and upper limit)
Movies: ISO 100 – 32000 equivalent, AUTO (ISO 100 – 6400, selectable lower limit and upper limit)
LCD Screen 7.5 cm (3.0-type) type TFT
LCD Resolution 1 036 800 dots
LCD Adjustments Opening Angle: Approx. 176 °, Rotation Angle: Approx. 270 °
Creative Modes Product Showcase Set, Background Defocus, Soft Skin Effect, Creative Look, Custom function, Picture Profile, Time-lapse, Cinematic Vlog Setting, My Image Style, Vertical Display
Clear Image Zoom Approx. 2x
Zoom Magnification Approx. 1.5x (4K), Approx. 2x (HD)
Shutter Type Electronic shutter
Shutter Speed Still images (Electronic shutter): 1/8000 to 30 s
Movies: 1/8000 to 1 s
Minimum Shutter Speed 1/30 s
Image Stabilization Still images: Image stabilization supported on lens
Movie: Image stabilization supported on lens (Standard Mode) / Electronic (Active Mode)
Flash Modes Pre-flash TTL
Flash Compensation +/- 3.0 EV (switchable between 1/3 and 1/2 EV steps)
Flash Compatibility Sony α System Flash compatible with Multi Interface Shoe, attach the shoe adaptor for flash compatible with Auto-lock accessory shoe
Continuous Shooting Hi+: 11 fps
Max. Frames in Continuous Shooting JPEG Extra fine L: 143 frames, JPEG Fine L: over 1000 frames, JPEG Standard L: over 1000 frames, RAW: 59 frames, RAW & JPG: 44 frames, RAW (Lossless Compressed): 22 frames, RAW (Lossless Compressed) & JPEG: 17 frames
Playback Functions Enlarg ed display mode, Protect, Rating, Shot Mark (Movie), Divider Frame, Crop, Photo Capture
Screen Reader Yes
Focus Assist Focus Magnifier, Focus Map (Movie), Peaking Display, Subject Recognition in AF, Touch Focus, Touch Tracking, Touch Shutter, Touch AE, Vari-angle LCD screen, Custom function, Enlarge Menu Screen
USB Connection Mass-storage / MTP
USB Speed Yes (SuperSpeed USB 5 Gbps (USB 3.2) compatible)
Wi-Fi Yes (Wi-Fi Compatible, IEEE 802.11a/b/g/n/ac (2.4 GHz band/5 GHz band))
Bluetooth Yes (Bluetooth Standard Ver. 4.2 (2.4 GHz band))
HDMI Output HDMI micro connector (Type-D), 3840 x 2160 (59.94p / 50p / 29.97p / 25p / 23.98p) / 1920 x 1080 (59.94p / 50p / 23.98p) / 1920 x 1080 (59.94i / 50i), YCbCr 4:2:2 10bit / RGB 8bit
Audio Interface Yes (with Digital Audio Interface)
Microphone Input Yes (3.5 mm Stereo minijack)
Headphone Output Yes (3.5 mm Stereo minijack)
Bluetooth Remote Control Yes
Remote Control via Smartphone Send to smartphone, Remote control via smartphone, Remote Shooting
Streaming Codec MJPEG, YUV420
Streaming Resolution 3840 x 2160 (15p / 30p), 3840 x 2160 (12.5p / 25p), 1920 x 1080 (30p / 60p), 1920 x 1080 (25p / 50p), 1280 x 720 (30p), 1280 x 720 (25p)
Streaming Audio LPCM 2ch (16bit 48 kHz)
Streaming Video Codec MPEG-4 AVC/H.264, MPEG-H HEVC/H.265
Live Streaming Resolution 3840 x 2160 (30p), 3840 x 2160 (25p), 2560 x 1440 (30p), 2560 x 1440 (25p), 1920 x 1080 (30p / 60p), 1920 x 1080 (25p / 50p), 1280 x 720 (30p / 60p), 1280 x 720 (25p / 50p)
Live Streaming Audio AAC-LC 2ch (16bit 48 kHz)
Live Streaming Protocols RTMP, RTMPS, SRT
Built-in Microphone Built-in, stereo
Built-in Speaker Built-in, monaural
Lens Correction Shading, Chromatic Aberration, Distortion, Breathing (Movie)
Battery Type One rechargeable battery pack NP-FZ100
Battery Life (Stills) Approx. 610 shots (LCD monitor) (CIPA standard)
Battery Life (Movies) Approx. 130 min (LCD monitor) (CIPA standard)
USB Power Supply Yes (Available with USB Type-C Terminal. USB Power Delivery compatible)
USB Charging Yes (Available with USB Type-C Terminal. USB Power Delivery compatible)
Power Consumption Still images: Approx. 3.2 W (with E PZ 16-50mm F3.5-5.6 OSS II lens attached)
Movies: Approx. 5.0 W (with E PZ 16-50mm F3.5-5.6 OSS II lens attached)
Weight Approx. 292 g / Approx. 10.3 oz
Dimensions Approx. 114.8 x 67.5 x 54.2 mm (from grip to monitor)
Approx. 4 5/8 x 2 3/4 x 2 1/4 inches (from grip to monitor)
Operating Temperature 0 – 40 ℃ / 32 – 104 °F
Included Accessories Rechargeable Battery NP-FZ100, Shoulder strap, Wind Screen, Wind Screen Adaptor, Body cap
Lens Kit Body + 16-50mm Power Zoom Lens (SELP16502)
Lens Kit Model ZV-E10M2K
Kit Accessories SELP16502, Rechargeable Battery NP-FZ100, Shoulder strap, Wind Screen, Wind Screen Adaptor, Lens cap

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Remodelled Fujifilm House of Photography Opens in New Sydney Location



Fujifilm Australia has moved and improved its experience store in Sydney. Now located at 263 George Street, Fujifilm House of Photography, is far more visible to walk in street traffic than it was near Town Hall.

There are only three Fujifilm House of Photography locations worldwide.

“Opening Australia’s flagship Fujifilm House of Photography in a new and improved location marks an exciting milestone for not only us, but also the creator community in Sydney,” said Ryuichi Matoba, CEO of Fujifilm Australia.

“Witnessing the phenomenal response to our original brand experience centre underscores the desire for consumers to explore the world of photography and we’re delighted that this growth has led to the opening of a significantly larger interactive hub. We look forward to welcoming creatives to our new brand experience centre in Sydney soon – and are excited to help capture their moments and imaginations, one frame at a time.”

Image Matrix Tech was on hand for the launch last night and it’s a massive improvement over the previous location. It feels more like a place where you can not only check out the latest gear, you can actually get things done.

If your’e a city-based business, the hireable studio could be the ideal solution for quick shoots.

It offers:

  • Hire by the hour (minimum two (2) hour hire)
  • Corner cyclorama for seamless backgrounds
  • Latest Fujifilm X Series and GFX System products also available for studio hire usage
  • Premium strobe lighting solutions
  • Product display stands and tripods
  • Consumers can try out Fujifilm cameras and FUJINON lenses in a studio environment.
  • Exclusive student discounts
  • Professional headshot service

The new Fujifilm House of Photography includes a new dedicated print room. Consumers are invited to explore the wide range of printing possibilities, including UV printer and photo gifting products. The Printing and Personalisation station features two photo printing kiosks with same-day printing and an extensive range of personalised products to order for delivery to home.

There’s also a dedicated events space and community hub where consumers can attend exclusive events, workshops, photowalks and collaborations with X-Photographers and influencers. The hub will also showcase new product launches, demonstrations, and presentations.

The new Fujifilm House of Photography is open for business from today 3 July, 2024 – 263 George St, Sydney NSW 2000. 

Opening hours:

  • Monday – Wednesday 10am – 6pm
  • Thursday 10am – 9pm
  • Friday 10am – 6pm
  • Saturday 10am – 6pm
  • Sunday 10am – 5pm

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WWDC 2024: Canon and Blackmagic Design to Help Push Apple Vision Pro Sales



Content is king and that’s why Apple needs Canon and Blackmagic Design cameras to capture high quality spatial and immersive video to wow potential buyers of Vision Pro headsets. We’ve been able to shoot Vision Pro spatial video for some time on the iPhone but soon professionals and expert amateurs will be able to capture better quality images, specifically for Apple’s premium device.

At WWDC Apple announced that Vision Pro will soon be selling in Australia, China, Hong Kong, Japan, Singapore, Canada, France, Germany, and the U.K. More markets means more content.

At a RRP of A$5,999, the Vision Pro needs to blow you away. Fortunately there will be more ways to gather stunning content thanks to Canon and Blackmagic Design. One for the enthusiasts and the other for pros only.

CANON RF-S7.8mm F4 STM DUAL lens for EOS R7

The lens shown by Apple in its keynote is the Canon RF-S7.8mm F4 STM DUAL lens for its popular APS-C R7 camera. It’s under development specifically for Apple Vision Pro spatial content. The new DUAL lens will be available between September and December this year.

The RF-S7.8mm F4 STM DUAL lens features a field angle that is similar to a person’s field of view and it’s equipped with a high-speed autofocus mechanism.

If you can’t wait for the Apple specific lens then try the one below.


The lens above is the (soon-to-be-released) RF-S 3.9mm F3.5 STM DUAL FISHEYE. It’s an APS-C (VR) lens and joins the RF 5.2mm F2.8L DUAL FISHEYE in the EOS mirrorless lineup.  

The lens will only be compatible with the EOS R7 camera at launch. The recording angle is 144-degrees but it results in a natural, forward-facing view of the world. It’s also the first 3D lens with Autofocus (AF) from Canon, with a One Shot Autofocus (AF). This helps a lot. You’ll also find a rear mounted filter holder for both screw-on and gelatin filters.  

The RF-S 3.9mm F3.5 STM DUAL FISHEYE is priced at A$1,999 RRP and should be available late June.

I’ve shot immersive 180 degree videos with Canon’s super-fast dual fisheye lens and although impressive, I really didn’t have anywhere to show them off. Although I tried my best in the Sky News segment below.

The Canon RF 5.2mm f/2.8L Dual Fisheye lens was the world’s first lens for digital interchangeable lens cameras enabling 180° VR shooting to a single sensor. Using a Canon R5 you could record 8K 30p. Resolution is extremely important when it comes to video on VR/AR headsets. The higher the better.

Apple Vision Pro’s ultra-high-resolution display system uses micro-OLED technology to squeeze 23 million pixels into two displays. Each one is the size of a postage stamp, delivering more pixels than a 4K TV to each eye.

That’s where Blackmagic Design’s URSA Cine Immersive camera system is set to reach new standards in immersive video quality on the Apple Vision Pro.


“We are thrilled to announce the first-ever commercial camera system and post-production software that supports Apple Immersive Video, giving professional filmmakers the tools to create remarkable stories with this powerful new format pioneered by Apple,” said Grant Petty, Blackmagic Design CEO.

“Built on the new URSA Cine platform, URSA Cine Immersive features a fixed, custom, stereoscopic 3D lens system with dual 8K image sensors that can capture 16 stops of dynamic range.”

Blackmagic URSA Cine Immersive uses a fixed, custom lens system pre-installed on the body, which is designed specifically for Apple Immersive Video. The sensor delivers a jaw-dropping 8160 x 7200 resolution per eye with pixel level synchronisation.

The custom lens system is designed specifically for URSA Cine’s large format image sensor with extremely accurate positional data that’s read and stored at time of manufacturing. This immersive lens data — which is mapped, calibrated and stored per eye — then travels through post production in the Blackmagic RAW file itself.

Cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file.

The camera comes with 8TB of high performance network storage built in. It records directly to the included Blackmagic Media Module, and can be synced to Blackmagic Cloud and DaVinci Resolve media bins in real time. This gives over 2 hours of Blackmagic RAW in 8K stereoscopic 3D immersive.

DaVinci Resolve with Apple Immersive video support for Apple Vision Pro will be released later this year. Blackmagic customers will be able to edit Apple Immersive Video shot on the URSA Cine Immersive camera. A new immersive video viewer will let editors pan, tilt and roll clips for viewing on 2D monitors or on Apple Vision Pro for an even more immersive editing experience.

Transitions rendered by Apple Vision Pro will also be able to be bypassed using FCP XML metadata, giving editors clean master files. Export presets will enable quick output into a package which can be viewed directly on Apple Vision Pro.

Blackmagic URSA Cine Immersive Features

  • Dual custom lens system for shooting Apple Immersive Video for Apple Vision Pro.
  • 8K stereoscopic 3D immersive image capture.
  • 8160 x 7200 resolution per eye with pixel level synchronisation.
  • Massive 16 stops of dynamic range.
  • Lightweight, robust camera body with industry standard connections.
  • Generation 5 Colour Science with new film curve.
  • Dual 90 fps capture to a single Blackmagic RAW file.
  • Includes high performance Blackmagic Media Module 8TB for recording.
  • High speed Wi-Fi, 10G Ethernet or mobile data for network connections.
  • Optional Blackmagic URSA Cine EVF.
  • Includes DaVinci Resolve Studio for post production.

DaVinci Resolve Immersive Features

  • Support for monitoring on Apple Vision Pro from the DaVinci Resolve timeline.
  • Ability to edit Blackmagic RAW Immersive video shot on Blackmagic URSA Cine Immersive.
  • Immersive video viewer for pan, tilt and roll.
  • Automatic recognition of Apple Immersive Video (left and right eye) for dual file stereo immersive content.
  • Option to bypass transitions rendered by Apple Vision Pro.
  • Export and deliver native files for viewing on Apple Vision Pro.

Availability and Price

Blackmagic URSA Cine Immersive and the update to DaVinci Resolve will be available later this year.

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