CineD Cameras of the Year 2025 – Panasonic LUMIX S1II (Overall Winner), Nikon ZR, RED V-RAPTOR XE 8K VV, iPhone 17 Pro

Right here at CineD, we’re maintaining the custom alive by saying our Digicam of the 12 months! This 12 months, we’ll be not solely selecting an “absolute winner” digicam but additionally discovering a digicam that shines in a specific class. So, seize a seat, dive in, and be at liberty to share your ideas within the feedback – whether or not you agree or disagree with our alternative. Only a heads-up: we’re specializing in the video capabilities of those cameras. For stills photographs, we’ll go away that to the opposite websites which concentrate on judging that.2025 is wrapping up, and what a 12 months it’s been! About 25 new cameras from well-known manufacturers hit the market, and that’s simply counting the cameras – cellphones are one other story! So, it’s been a busy and productive 12 months for digicam makers and followers, however let’s all the time keep in mind that a brand new digicam doesn’t robotically make you a greater storyteller. We hope you’ll continue learning and honing your filmmaking and storytelling expertise.Nino, Gunther, Florian, and Johnnie actually dug into the filming software that caught their eye essentially the most, and belief us, selecting a winner this 12 months was an actual problem. With so many nice cameras on the market, we had quite a lot of discussions, however we’ve obtained class winners and an general winner to have fun!The 4 classes for CineD Digicam of the 12 months 2025Cinema Digicam of the 12 months 2025Video-specific Digicam of the 12 months 2025Mirrorless/Hybrid Digicam of the 12 months 2025Smartphone Digicam of the 12 months 2025This previous November, we additionally launched and shared a ballot with you guys as we had been genuinely to listen to your opinion concerning which digicam deserves the crown. Lots of of individuals participated, and the outcomes didn’t shock us in any respect. Our readers topped the ARRI ALEXA 35 Xtreme (Cinema digicam), Nikon ZR (Video-specific digicam), LUMIX S1II (Mirrorless/Hybrid), and Apple iPhone 17 Professional/MAX (Cell phone).Nino, Gunther, Florian, and Johnnie will comply with with highlighting cameras in the identical classes, so let’s dive into it.RED V-RAPTOR XE 8K VV. Picture credit score: CineDCinema Digicam of the 12 months 2025The contestants had been:ARRI ALEXA 35 XtremeBlackmagic PYXIS 12KFUJIFILM GFX ETERNA 55RED V-RAPTOR XE 8K VVIn our ballot, we had the PYXIS 12K within the “Video-specific Cameras” class, however after some reconsideration, we discovered it’s a greater match on this class, which is why it was moved. Cinema Digicam of the 12 months 2025 – Class winner: RED V-RAPTOR XE 8K VVWeighing all opinions by the crew, CineD has determined that the RED V-RAPTOR XE 8K VV is the winner within the CineD Cinema Digicam of the 12 months 2025 class! CineD crew member verdicts on Cinema Digicam of the 12 months 2025Please learn the person choices and statements from the crew under.Florian: On this class, I favored what ARRI did with the ALEXA 35 Xtreme essentially the most, specifically taking the digicam with one of the best picture high quality within the {industry} and making it even higher with out charging more cash, which is wonderful for customers.The PYXIS 12K is amazingly straightforward to make use of, and the digicam is nice while you like filming in excessive decision and Blackmagic RAW, because it’s the one out there codec.RED made their current 8K VV V-RAPTOR digicam extra inexpensive by eradicating options, which is good from a purchaser’s perspective, however in my view, the V-RAPTOR XE 8K VV doesn’t transfer the needle from an innovation standpoint.I haven’t had a FUJIFILM GFX ETERNA 55 manufacturing unit in hand, so there may be not a lot to report about but apart from the present public opinion. Personally, I actually need this digicam to succeed, although, since I’ve been asking for FUJIFILM picture high quality in a cinema physique for what looks like a decade already, and FUJIFILM truly took the plunge, so kudos to them.Gunther: For me, the winner is the RED V-Raptor XE. Essentially the most accessible full-frame RED digicam thus far, that includes a worldwide shutter sensor, very good picture high quality, and RED’s coloration pipeline & codecs, and even ProRes recording. And let’s not overlook the Z-mount that adapts to nearly each lens on the market. The one draw back is that body charges are restricted to 8K60p or 4K120p.Johnnie: Every of the nominated cameras is exclusive in its personal means, however since I’ve to decide on a single winner, I voted for the RED V-RAPTOR XE 8K VV. This digicam is a streamlined, “Necessities” model of the flagship RED V-RAPTOR [X], eradicating some superior options like Prolonged Highlights and decreasing most body charges. However the barebones stay! Subsequent to recording in 8K decision, this light-weight digicam advantages from having a Full-Body VV world shutter sensor (designed for cinema moderately than taking full-frame nonetheless photographs) and REDCODE RAW inner recording. The digicam comes at a really acceptable worth for a tool on this class ($14,995) and, no much less essential, with a comparatively versatile mount possibility (Canon RF or Nikon Z mounts).Nino: After taking part in with the PYXIS 12K, I fell in love with the shape issue and unimaginable value-for-money you get with this digicam, together with a sensor that exhibits a really excessive efficiency, albeit considerably restricted resulting from processing restraints on this digicam in comparison with the URSA Cine 12K, which confirmed distinctive outcomes. But, 12K is overkill for many productions, so taking pictures 8K or much less with this digicam is certainly a greater thought in 95% of all instances. The ARRI ALEXA 35 Xtreme is upping the already-exceptional ALEXA 35 with excessive body charges on the similar (admittedly premium!) worth, and principally providing an surprising spec bump. Close to the FUJIFILM GFX ETERNA 55, it’s a bit too early to inform if the big format sensor will yield exceptionally higher outcomes that justify the truth that inner RAW recording shouldn’t be a part of the package deal. In the end, contemplating all elements like vary of options, acceptance out there for precise cinema productions, worth/efficiency, and usefulness, I even have to decide on the RED V-RAPTOR XE 8K VV as this 12 months’s alternative for this class. Like Johnnie and Gunther already talked about above, you get a outstanding set of options with few trade-offs at a really respectable worth, not just for a RED digicam. The flexibility to have the Z-mount on that is an added bonus since it may possibly adapt to nearly any lens out there.Man at work with the PYXIS 12K. Credit score: CineDVideo-specific Digicam of the 12 months 2025The contestants had been:Canon EOS C50Nikon ZRSony FX2Video-specific Digicam of the 12 months 2025 – Class winner: Nikon ZRWeighing all opinions by the crew, CineD has determined that the Nikon ZR is the winner within the CineD Video-specific Digicam of the 12 months 2025 class!The Nikon ZR wins in our CineD Video-specific Digicam of the 12 months 2025 class. Picture credit score: CineDCineD crew member verdicts on Video-specific Digicam of the 12 months 2025Florian: On this class, the Canon EOS C50 is bringing lots to the desk. It’s seemingly lacking nothing, besides perhaps devoted buttons for WB, ISO, and shutter velocity (which you’ll be able to manually program to person buttons). The interior RAW and compressed video recording codecs are very strong, body charges and picture high quality are bar-none. The included prime deal with is the cherry on prime for me, including glorious ergonomics, mounting choices, and audio inputs and controls. Ultimately, I need to hand the crown to the Canon EOS C50, since it’s the extra versatile and strong digicam in my view.Gunther: Nikon ZR – finest bang for the buck, no overheating and IBIS! The largest let-down of the Canon EOS C50 for me is the shortage of IBIS and the shortage of a viewfinder. The Nikon ZR at the very least provides a remarkably giant built-in display with a 4″ measurement, regardless that it’s additionally missing the viewfinder. And for the FX2, it has the viewfinder, however in any other case is letting us down with the out there codecs and resolutions for a digicam in 2025.Johnnie: Contemplating {industry} traits, an important rising class is “video-specific” cameras. With most main digicam producers acknowledging the success of the Sony FX3, we will count on to see much more cameras from respected manufacturers getting into this phase. Earlier this 12 months, Sony launched the succesful FX2 (assessment right here and thanks for together with an EVF!), however for now, it’s Canon with its EOS C50 and Nikon with its ZR cameras that grabbed the eye, and for a very good motive. Whereas I really favored working with the Canon EOS C50 because it brings to the desk a strong 7K decision, open-gate inner RAW recording, and extra, my winner for this video-specific digicam class is the Nikon ZR.Nikon did effectively by introducing a digicam that appeals to each professionals and amateurs alike. The truth is, it’s a type of uncommon instances the place a digicam producer managed to trigger customers to ditch their present model and buy one thing completely different. One of many principal causes is the pliability of the Nikon Z-mount.However after all, the crown of the jewel is the power of the Nikon ZR digicam to internally document within the RED R3D RAW codec. I feel that it’s important to work with this codec to understand its flexibility and nice coloring outcomes that one can get when grading.Prime this with an industry-first 32-bit inner audio recording and an enormous LCD display, and you’ve got a winner, particularly when contemplating the digicam worth level. I’d dare to say that $2,197 is making this digicam a “no-brainer” for a lot of, and we will actually see this by the variety of orders it acquired at our website distributors’ companions, B&H and CVP.Nino: I don’t have a lot so as to add to what Johnnie stated above. Whereas the Nikon ZR shouldn’t be an ideal digicam (there isn’t anybody good digicam!!), particularly on the subject of dynamic vary and latitude efficiency, it’s merely outstanding what you get on this package deal for simply round $2,000. The pliability of the Z-mount is an added bonus that may be a “Malicious program” for Nikon to garner disgruntled Sony E-Mount lens house owners who’ve been asking for inner RAW for years and by no means obtained it. For me, it’s the clear winner on this class for being the one digicam that actually will push competitors ahead on this marketplace for the years to come back. The competitors has to supply extra for much less now, and that is solely good for us customers.Mirrorless/Hybrid Digicam of the 12 months 2025The contestants had been: Canon EOS R6 IIICanon PowerShot V1Canon EOS R50 VFUJIFILM X-T30IIIFUJIFILM X-E5FUJIFILM GFX100RFLeica SL3 ReporterNikon Z5IIPanasonic LUMIX S1IIPanasonic LUMIX S1RIIPanasonic LUMIX S1IIESIGMA BFMirrorless/Hybrid Digicam of the 12 months 2025 – Class winner: Panasonic LUMIX S1IIWeighing all opinions by the crew, CineD has determined that the Panasonic LUMIX S1II is the winner within the CineD Mirrorless/Hybrid Digicam of the 12 months 2025 class!CineD crew member verdicts on Mirrorless/Hybrid Digicam of the 12 months 2025Florian: I used to be impressed with the Panasonic LUMIX S1II as a result of it gives nice options (specifically inner ProRes RAW, performant phase-detection AF, and versatile compressed codecs) inside a light-weight, ergonomic, and actively cooled physique. I can advocate the S1II to everybody who’s pondering of switching digicam methods and needing an easy-to-use physique with a transparent person button format and a robust function set.Gunther: For me, it’s clearly the Panasonic S1II. In typical Panasonic trend, it provides an unimaginable array of choices, together with the particular function of dynamic vary enhance. Therefore, you may choose between quick readout velocity (and the related excessive body charges) at very respectable dynamic vary or gradual readout velocity (on the extent of an FX2) with very good dynamic vary ( ARRI ALEXA LF degree). All of that in a package deal costing solely a bit greater than 3000USD.Panasonic LUMIX S1II. Picture credit score: CineDJohnnie: The Mirrorless/Hybrid class was a really busy one throughout this 12 months. All of the respected digicam producers confirmed dedication and introduced nice instruments to the market. For me, the runner-up is the Canon EOS R6 III digicam, because it holds most of the video capabilities of the Canon EOS C50, however my private class winner (which I additionally determined to appoint because the digicam of the 12 months winner) is the Panasonic LUMIX S1II. Now, after releasing a firmware replace that helped with controlling overheating, this digicam is a filmmaker’s “dream come true” filming software. From high-resolution video recording to the nice implementation of its partial stacked CMOS sensor, this digicam shines. In want of open-gate (5.1K, 3:2) recording with anamorphic picture desqueeze subsequent to anamorphic IBIS help? You bought it. How about an enhanced log recording possibility? Properly, for a payment, one can document to an ARRI Log C3. However one of the noticeable options is the “dynamic vary enhance” possibility. Use it when a better dynamic vary is required, or flip it off for higher rolling shutter efficiency.Nino: We had an unimaginable quantity of eligible cameras on this class, but I discovered the selection very straightforward: The hands-down winner is the LUMIX S1II for me. Panasonic sadly stopped making “cinema cameras” up to now, specifically the Varicam line and EVA1 (what “cinema digicam” even means, we don’t know anymore – see our lengthy podcast dialogue on this topic on this episode), however in a roundabout way, they’ve created essentially the most feature-complete mirrorless digicam for filmmakers available on the market. With latitude outcomes near ALEXA Mini LF territory because of the Dynamic Vary Increase mode that fuses two ISOs, inner ProRes RAW, 6K60p, Open-Gate, and a viewfinder, there may be little to be desired. Sure, there have been stories of extreme overheating, however with the latest firmware updates, these appear to be underneath management for a lot of customers. All of that for round USD 3,000 is past outstanding.Apple iPhone 17 Professional. Picture credit score: CineDSmartphone Digicam of the 12 months 2025: iPhone 17 Professional / MaxNino: Regardless of efforts on Android telephones to ship higher and higher photos too, on the subject of professional-grade video from a smartphone, Apple remains to be singular in providing a Log mode, which actually faucets into the capabilities of the sensor. Whereas we’re nonetheless engaged on our iPhone 17 Professional / Max Lab Take a look at – attempting to determine some “particular processing” not in contrast to DGO that appears to be kicking in at numerous ranges – it’s already clear to me that these telephones take the crown on the subject of video photos from a cellphone in 2025, largely because of the Apple Log 2 mode, the openness to provide app makers like Blackmagic Design full management of the video tech by APIs, and the tremendously enhanced telephoto digicam in comparison with its predecessors.Johnnie: I’m nonetheless not there on the subject of fulfilling absolutely the strengths of filming with a cell phone. For now, it’s extra of a “father’s software” serving because the “finest digicam is the one that you’ve with you”… Nonetheless, having a log image profile (Apple LOG 2), subsequent to the power to document internally in ProRes RAW, is a superb bonus to have. By some means, one thing in me is saying that Apple is not going to cease right here… General CineD Digicam of the 12 months winner – Panasonic LUMIX S1IIThis 12 months, quite a few glorious cameras had been launched, making it difficult to decide on one of the best one. Among the many prime contenders, the Panasonic LUMIX S1II emerges as our digicam of the 12 months 2025. We lengthen our heartfelt congratulations to the proficient crew at Panasonic for his or her outstanding creation. We eagerly anticipate the corporate’s future endeavors. As a pleasant trace, all of us yearn for a video-centric “cinema digicam” that may rival the Sony FX3, Canon EOS C50, Nikon ZR, and related fashions. Surpassing our expectations is all the time a welcome shock.Guys, right here you will have it, the CineD digicam of the 12 months 2025 choice and selection. However what’s YOUR digicam of the 12 months and why do you assume it deserves the crown? Please share your ideas with us within the feedback part under.