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			    <title>Panasonic | Personal View news aggregator</title> 
				<link>http://www.personal-view.com/news/panasonic</link> 
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			<title>Panasonic has registered two new cameras in China!</title>
			<link>http://www.personal-view.com/news/articles/panasonic-has-registered-two-new-cameras-in-china</link>
			<description><![CDATA[Panasonic has officially registered two new cameras in China (Source: E8M on Weibo). According to the few details we got we can expect to get one nee entry level and one new high end camera. There is no way to know from the papers if one of these cameras is MFT or not. This is…]]></description>
			<pubDate>Mon, 09 Feb 2026 13:11:45 UTC</pubDate>
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			<title>Viltrox AF 16mm f/1.8 Released – Company’s First AF Lens for L-Mount</title>
			<link>http://www.personal-view.com/news/articles/viltrox-af-16mm-f18-released-company’s-first-af-lens-for-lmount</link>
			<description><![CDATA[After joining the L-mount alliance last year, Viltrox released its first autofocus lens for the system – the Viltrox AF 16mm f/1.8. This fast, ultra-wide, full-frame prime lens offers a weather-sealed, durable body, a 77mm front filter thread, built-in display, function buttons, and a 27cm (10.6in) minimum focusing distance. Available now for preorder, the lens will retail for $580, but you can get it for a limited time with 5% off.



Back in September 2025, the increasingly popular Chinese lens and camera accessories manufacturer Viltrox joined the L-mount alliance (which currently includes full-frame cameras from Panasonic, Leica, SIGMA, DJI, and Blackmagic Design). Personally, as a filmmaker and photographer fully invested in the L-mount ecosystem, I was quite happy to hear the news, as Viltrox offers quite a few interesting fast autofocus lenses in its lineup. At the moment, these are only available for Sony E-mount or Nikon Z-mount, but lenses such as the 35mm f/1.2 LAB promise to offer good image quality at an affordable price. I am curious to see how long we will have to wait for the majority of the Viltrox lenses to be released for L-mount.









Shortly after the September announcement, Viltrox communicated that the company will debut its L-mount lineup with two existing lenses:




Viltrox AF 16mm f/1.8 lens



Viltrox AF 28mm f/4.5 pancake lens




While it seems that we still have to wait a little longer for the tiny, affordable 28mm pancake lens, the fast, ultra-wide 16mm L-mount prime has been released. Let’s briefly recap what we know about the lens.



Viltrox 16mm f/1.8 lens for L-mount



The AF 16mm f/1.8 is an ultra-wide-angle prime lens that produces an image circle large enough to fully cover full-frame sensors. It comprises 15/12 optical elements (4 ED, 3 aspherical) and an STM autofocus motor.



AF 16mm f/1.8 lens for L-mount. Source: Viltrox



Viltrox claims the lens is weather-sealed and features a durable body. Like other LAB lenses from Viltrox’s lineup, the 16mm also features a physical aperture ring and a built-in LED display that shows the current focusing distance and the chosen aperture value. There are also two function buttons on the side, as well as an AF/MF switch.



The lens’s minimum focusing distance is 27cm (10.6 in) from the sensor plane. There is no optical stabilization, so you have to rely solely on the camera’s IBIS and steady hands. The lens offers a 77mm filter thread at the front.



AF 16mm f/1.8 lens for L-mount. Source: Viltrox



Viltrox AF 16mm f/1.8 L-mount – key specs




Lens mount: L-mount



Lens elements: 15/12



Focal length: f=16mm



Viewing angle: 105.6°



Aperture: F1.8-F22



Number of aperture blades: 9



Shooting distance: 0.27m-∞



Focus mechanism: Ultralight internal focusing



Focus motor: STM+Lead screw



Focus mode: MF, AF



Max. magnification: 0.1x



Lens size: Φ85.2x103mm



Weight: ≈550g



Filter size: Φ77mm




AF 16mm f/1.8 lens for L-mount. Source: Viltrox



Fast ultra-wide lens alternatives for L-mount



When it comes to other existing fast ultra-wide primes with autofocus for L-mount cameras, there are currently only a few options available:




Panasonic LUMIX S 18mm f/1.8 lens, which offers a closer minimum focusing distance (and therefore a higher magnification ratio).



SIGMA 20mm f/2 DG Contemporary lens, which is the most compact model in this category.



SIGMA 20mm f/1.4 DG DN Art lens



Sigma 14mm f/1.4 DG DN Art lens



Leica Super-APO-Summicron-SL 21mm f/2 ASPH. lens




Among these options, the new Viltrox AF 16mm f/1.8 lens is the most affordable.



Viltrox 28mm pancake &amp; Air prime lens line. Source: Viltrox



Future Viltrox L-mount releases



Until Viltrox officially releases a clear L-mount roadmap, it is difficult to guess which lenses the company will adapt next. Since they previously stated which two lenses would be the first, I suppose the next L-mount release will be the Viltrox AF 28mm f/4.5 pancake lens. After that, it is a pure guessing game.



Personally, I would like to see Viltrox’s Air full-frame line (20mm f/2.8, 40mm f/2.5, and 50mm f/2.0) adapted to L-mount sooner rather than later. As a LUMIX S9 owner, I would love to use these compact, fast primes with AF on the S9’s compact body. Unfortunately, there are very few compact autofocus primes for L-mount at the moment, so I think many L-mount alliance users would welcome the addition of the Viltrox Air line too.



Right after that, it would be nice if Viltrox adapted their top-of-the-line AF 35mm f/1.2 LAB and the AF 135mm f/1.8 LAB. Let’s hope that (unlike Samyang, which has adapted only ONE L-mount lens in almost three years since joining L-mount), Viltrox remains consistent in adapting its L-mount lineup and that we see many new lenses in the near future.



Price and availability



The Viltrox AF 16mm f/1.8 lens is now available for preorder. The retail price is $580 (€599 in Europe), the same as the existing E-mount and Z-mount versions. It is worth mentioning that if you preorder directly from the Viltrox online shop, you currently get a 5% discount.



Are you invested in the L-Mount ecosystem? What do you think about the Viltrox AF 16mm f/1.8 finally coming to L-mount? Which Viltrox lens would you like to see adapted next? Let us know your thoughts in the comments section underneath the article.]]></description>
			<pubDate>Mon, 09 Feb 2026 11:41:45 UTC</pubDate>
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			<title>Make M43 Look Full Frame with this Leica Lens Combo!</title>
			<link>http://www.personal-view.com/news/articles/make-m43-look-full-frame-with-this-leica-lens-combo</link>
			<description><![CDATA[Geeky nerdy tech tested the Panasonic Leica 10-25mm F1.7 and the Panasonic Leica 25-50mm F1.7 zoom lenses. These zooms give you that Full Frame “bokeh” look.]]></description>
			<pubDate>Thu, 05 Feb 2026 13:06:36 UTC</pubDate>
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			<title>Panasonic Q3 financial report: Sales and profit decreased, forecast cut.</title>
			<link>http://www.personal-view.com/news/articles/panasonic-q3-financial-report-sales-and-profit-decreased-forecast-cut</link>
			<description><![CDATA[Today Panasonic published the Q3 financial report. Q3 was a bad quarter for Panasonic. Sales and profit decreased and forecast for the whole company full-year operating profit was cut by 9.4% to 290 billion yen from 320 billion yen. The company cited heavy restructuring expenses and a “push to reform its group” as the primary…]]></description>
			<pubDate>Thu, 05 Feb 2026 04:12:49 UTC</pubDate>
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			<title>Panasonic has launched a special website for the CP+ show</title>
			<link>http://www.personal-view.com/news/articles/panasonic-has-launched-a-special-website-for-the-cp-show</link>
			<description><![CDATA[LUMIX has unveiled its CP+ 2026 theme: ‘DISCOVER YOUR COLOR‘. The booth’s floor plan is specifically designed around this concept, creating a space where creators can find the aesthetic and palette that best suits their style. While the official CP+ LUMIX website is now live, we are still waiting for the full seminar schedule. A…]]></description>
			<pubDate>Wed, 04 Feb 2026 13:24:43 UTC</pubDate>
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			<title>Panasonic LUMIX S9 Line Expands with New Color Models</title>
			<link>http://www.personal-view.com/news/articles/panasonic-lumix-s9-line-expands-with-new-color-models</link>
			<description><![CDATA[Panasonic’s LUMIX S9 is now available in additional color options, expanding beyond the original version. The camera itself isn’t new, but the updated White-Silver and Black-Silver finishes give buyers a bit more choice on the aesthetic side without changing anything under the hood.



We covered the LUMIX S9 in detail when it was first released. If you’d like a deeper look at the camera, you can find that article here and have a look at the video below. As a quick refresher, this is Panasonic’s compact full-frame entry in the L-Mount lineup. It pairs a 24.2MP full-frame sensor with a surprisingly small body and offers internal recording up to 6K at 30p, along with 4K60p in 10-bit. (6K, 3:2 open-gate video recording is supported too). That’s what made it interesting at launch. It brings fairly serious video specs into a camera that feels closer in size to an APS-C body.









A compact full-frame hybrid



The LUMIX S9 is aimed at hybrid shooters who move between stills and video and who don’t want to carry a larger body. It supports real-time LUTs for in-camera looks and includes multi-subject autofocus detection for people, animals, and vehicles. Panasonic removed the built-in electronic viewfinder to keep the body smaller, which is a pity, but it might make sense for a screen-based workflow. Surely it is not suiting everyone. In practical terms, portability is clearly the priority.



LUMIX S9 Black/Silver, front and back. Image credit: LUMIX



No hardware changes



The new colors do not introduce any technical differences. Sensor, codecs, stabilization, connectivity, and recording limits remain unchanged. This update is purely cosmetic.



Price and availability



The Black/Silver and White/Silver versions are available now and are listed at $1,597.99 / €1,443.83 with the 18–40mm kit lens. Other bundle configurations are offered with pricing varying accordingly.



For more information, please see the Panasonic website.



Would you choose a compact full-frame body over a larger model if image quality is comparable? Is the lack of a built-in EVF a dealbreaker for you? Let us know in the comments!]]></description>
			<pubDate>Mon, 02 Feb 2026 17:03:08 UTC</pubDate>
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			<title>Blazar Talon 1.5X AF Anamorphic Lenses Announced – World’s First 1.5x Squeeze Autofocus System</title>
			<link>http://www.personal-view.com/news/articles/blazar-talon-15x-af-anamorphic-lenses-announced-world’s-first-15x-squeeze-autofocus-system</link>
			<description><![CDATA[Blazar announces the Talon 1.5X AF, which the company claims is the world’s first autofocus anamorphic lens system with a 1.5x squeeze factor. The full-frame series launches with three focal lengths (35mm, 50mm, and 75mm in Sony E-mount), weighing under 690g each, and promises to deliver the visual character of a 1.8x anamorphic look while maintaining fast, precise autofocus performance.



The affordable anamorphic market has seen considerable activity in recent years, with manufacturers like Blazar and SIRUI introducing autofocus options for creators seeking cinematic character without the operational complexity of traditional cine glass. However, those AF offerings have been limited to 1.33x squeeze ratios, a format that delivers subtle anamorphic characteristics but falls short of the more pronounced look many filmmakers desire. With the Talon series, Blazar is stepping into new territory by combining the convenience of autofocus with a higher squeeze factor that promises more dramatic oval bokeh, enhanced horizontal flares, and wider compositional flexibility.



Blazar Talon 1.5X AF Anamorphic Lenses. Image credit: Blazar



How does it fit in the Blazar lineup?



Understanding where the Talon sits within Blazar’s existing anamorphic range helps clarify its intended use case. The company’s Remus series offers 1.5x squeeze with full-frame coverage in a traditional manual focus cine-style design, available in focal lengths from 33mm through 125mm with PL and EF mount options. These lenses are known for their classic anamorphic character with a balance of retro aesthetics and modern sharpness.



The Mantis series features 1.33x squeeze lenses with full-frame coverage and a unique oval-shaped 14-blade iris that creates 2x-style bokeh while maintaining the gentler squeeze ratio, making them versatile for both 16:9 and 3:2 sensors. The Apex series, which Blazar marketed as the world’s first autofocus anamorphic when it launched, offers 1.33x squeeze with autofocus capability, but those lenses are limited to Super 35/APS-C sensor coverage and claim to deliver a visual look closer to 1.5x. For shooters wanting true 2x squeeze, Blazar offers the Cato series with full-frame coverage and manual focus.



The Talon fills a gap that none of these options address: full-frame coverage with genuine 1.5x squeeze and autofocus capability. For shooters who found the Mantis and Apex squeeze ratios too subtle, the Remus workflow too demanding for solo shooting, or wanted stronger anamorphic character than what 1.33x provides, the Talon delivers that combination in a single package.



A closer look at the optical design



The Talon 1.5X AF series covers a full-frame 36 x 24mm image circle, making the lenses suitable for modern mirrorless cameras with larger sensors. All three focal lengths share a T2.1 maximum aperture according to Blazar’s specification table, though some documentation has only explicitly confirmed this for the 35mm.



What makes the Talon particularly interesting from an optical standpoint is Blazar’s claim that despite the 1.5x squeeze, the lenses deliver visual characteristics closer to a 1.8x anamorphic look. According to the company, this is achieved through optical design choices that enhance cinematic depth, produce pronounced oval bokeh, and enable wider compositions while remaining easier to frame and compose than traditional higher-squeeze systems. Early hands-on testing suggests the lenses produce notably textured bokeh with controlled distortion, though the silver-coated flare characteristics are more subtle than what you might expect from vintage Panavision or Atlas glass.



Blazar just published a short clip to demonstrate the bokeh of the Talar anamorphic lenses, this is a still from that video. Image credit: Blazar



Autofocus performance and handling



The autofocus system sits at the heart of the Talon concept. Blazar states that the lenses are engineered for fast, precise autofocus performance, including real-time subject tracking and advanced eye-tracking support. This positions the Talon series for documentary work, run-and-gun shooting, and hybrid photo-video workflows where continuous focus is critical and a dedicated focus puller is not available.



Early testing on adapted systems (using a Nikon Z8 with a MegaDap adapter) suggests the autofocus performs well with tracking sensitivity set to high and AF speed around 3 out of 5. Higher speed settings can introduce some jitter, so dialing in the right balance for your camera system will be important. The lens handles transitions smoothly when subjects enter and exit frame, though challenging conditions like strong backlighting or deep shadows can cause the tracking to struggle, which may be as much a camera limitation as a lens issue when shooting squeezed 1.5x images through phase-detect AF systems.



Each lens includes a physical AF/MF switch for quick transitions between autofocus and manual focus operation. The 360-degree focus rotation provides fine manual focus control when needed, though it is worth noting that the lenses do not feature pitch gears on the focus barrel. This design choice reinforces the series’ emphasis on lightweight, streamlined operation rather than traditional cine-style rigging with follow focus systems.



Compact form factor for mobile shooting



Weight and size have been critical considerations in the Talon design. All three lenses weigh under 690g (1.52 lbs), with the individual weights ranging from 664g for the 50mm to 689g for the 75mm, and 675g for the 35mm. Lens lengths vary by focal length: 118mm for the 35mm, 119.6mm for the 50mm, and 131.9mm for the 75mm.



The compact form factor makes the Talon series particularly suitable for gimbal work, handheld rigs, and portable setups where weight balance is essential. All three lenses share a consistent 80mm front diameter and accept 77mm screw-in filters, simplifying accessory management across the lineup. For filmmakers who work with variable ND filters or other front-mounted accessories, this standardization across focal lengths eliminates the need to swap filter sizes when changing lenses.



Small for anamorphics: The Blazar Talon AF anamorphic lenses. Image credit: Blazar



Close focus and iris characteristics



Close-focus distances vary across the lineup: the 35mm focuses down to 0.37m (1.2ft), the 50mm to 0.65m (2.1ft), and the 75mm to 0.73m (2.39ft). Early testing of the 50mm suggests the minimum focus distance allows for reasonably tight framing, which is appreciated for b-roll and detail shots.



All three lenses feature a 16-blade iris, which should contribute to smooth, rounded bokeh rendering at various aperture settings. The blade count is notably high for this price segment and suggests Blazar has prioritized out-of-focus rendering quality in the optical design.



Mount options and the open gate question



At launch, the Talon 1.5X AF series will be available exclusively in Sony E-mount. Blazar has indicated that additional mount options are planned for the future, but has not announced an L-mount version at this stage.



The E-mount exclusivity at launch raises an interesting question that several industry observers have noted: Sony mirrorless cameras do not currently offer open-gate recording modes that are commonly associated with anamorphic workflows. Cameras like the Panasonic S1H, Lumix S5 series, and various RED and ARRI models offer open-gate modes specifically designed for anamorphic acquisition, while Sony’s FX-series and Alpha cameras record in standard aspect ratios that require cropping when working with squeezed footage.



For shooters working with 16:9 sensors, the 1.5x squeeze will produce an ultra-wide aspect ratio similar to Ultra Panavision 70. On 3:2 sensors, you will get closer to a traditional 2.35:1 or 2.39:1 cinemascope ratio. The practical workflow currently involves recording to a standard aspect ratio and de-squeezing in post, which works but sacrifices some sensor real estate compared to true open-gate acquisition. Many shooters are hoping Blazar will add L-mount support to take advantage of the open-gate and anamorphic-specific features that Panasonic Lumix cameras offer.



Blazar Talon specs – from their website. 



Pricing and availability



Pre-orders for the Blazar Talon 1.5X AF anamorphic lenses open on February 3rd at 4:00 AM PDT. During the pre-order period, each lens will be priced at $999 USD, with shipping expected to begin in early February. Following the pre-order window, the retail price will increase to $1,099 USD per lens.



Blazar has also announced a loyalty discount for existing customers: those who have previously purchased lenses through the official Blazar store will receive an additional $100 USD discount, bringing their pre-order price to $899 per lens.



At under $1,000 per lens during pre-order, the Talon series positions itself aggressively against competitors. The combination of full-frame coverage, 1.5x squeeze, and autofocus capability at this price point could make the anamorphic look more accessible to a broader range of creators, though we look forward to testing the production units ourselves once they become available.



The Blazar Talon 1.5X AF represents an ambitious step forward in the affordable anamorphic segment, combining genuine 1.5x squeeze with full-frame coverage and autofocus convenience for the first time. 



Are you planning to pick up a set, or are you holding out for an L-mount version with proper open-gate support? Don’t hesitate to let us know in the comments below!]]></description>
			<pubDate>Mon, 02 Feb 2026 11:19:37 UTC</pubDate>
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			<title>Reddit users wishlist of Micro Four Thirds cameras</title>
			<link>http://www.personal-view.com/news/articles/reddit-users-wishlist-of-micro-four-thirds-cameras</link>
			<description><![CDATA[Within the Reddit MFT community members shared their list of cameras: Panasonic / Lumix Wishlist Lumix G9IIS: A specialized version of the G9II featuring a 16MP stacked sensor designed for maximum noise control, high-speed readout, and minimal rolling shutter for wildlife shooters. Lumix GX8ii: A modern successor to the GX8 with a 25MP sensor, PDAF,…]]></description>
			<pubDate>Fri, 30 Jan 2026 12:54:22 UTC</pubDate>
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			<title>The DJI RS 5 Is Here To Bring a New Level of Stability to Your Videography</title>
			<link>http://www.personal-view.com/news/articles/the-dji-rs-5-is-here-to-bring-a-new-level-of-stability-to-your-videography</link>
			<description><![CDATA[A videographer’s best friend is any tool or product that can make their lives easier. And the new DJI RS 5 does just that.An all-new lightweight commercial gimbal designed specifically for working videographers and filmmakers looking to add some extra stability and precision for their more kinetic projects, the DJI RS 5 is a strong follow-up to DJI’s RS 4 and RS 4 Mini models.The killer features include enhanced intelligent subject tracking (sophisticated, responsive, and fun), a stability and control mechanism that makes motion easier to control, and a longer runtime overall.The DJI RS 5 is HereAs mentioned above, this is a new, lightweight commercial gimbal that is designed for the modern, do-it-all videographer. Ideal for content creation or cinematic film sequences, the RS 5 offers a lot in terms of stability and efficiency, which working videographers will love.
It’s also quite notable for its enhanced (and advanced) intelligent subject tracking and the stable maneuvers it offers for those looking to frame live footage and track any subject right from the gimbal’s touchscreen.
Lightweight and easy to use, the DJI RS 5 weighs in at just 1.46kg with the battery grip and quick-release plates included. Despite its compact size, it can carry a payload of up to 3kg and is compatible with a wide range of mirrorless cameras and lens combinations, making it a solid option for whatever your camera loadout usually is.Enhanced Intelligent TrackingSo, while we’ll explore some camera maneuvers and other stability perks below, let’s start by looking at the enhanced intelligent tracking, which makes the RS 5 unique—as well as continue a trend of great AF tracking across DJI’s latest gimbals and drones.
As we saw with the RS 4 Mini, this latest generation of the RS Intelligent Tracking Module includes a wide range of new and impressive features.
This new module allows videographers to track objects other than people. Shooters can safely capture shots with vehicles, pets, or any other objects. For human subjects in particular, the RS 5 can maintain locked focus from up to 10 meters away, making it easy to track your subject even in crowded spaces or other hectic environments.
When putting together your RS 5 for the first time, you can install this Intelligent Tracking Module magnetically, without the need for an adapter or other accessories. This is awesome as it makes everything quick and easy, and you can pretty much start shooting your complicated camera shots and moves right away.Stable and EfficientOverall, as with most DJI products, the name of the game is ease of use, and the RS 5 excels with its subject tracking, easily acquiring subjects and improving efficiency in your shots. It also has many other features and perks that make your life as a videographer easier.
For example, the RS 5&#039;s new Electronic Briefcase Handle is super helpful, allowing shooters to capture new, diverse camera angles from above or below their subject while still offering electronic control of the footage as you record. 
The RS 5&#039;s design is quite ergonomic and comfortable to grip. Plus, thanks to its joystick and button controls, you can run around with this thing with one hand, freeing up your other hand to focus on directing or keeping objects (or people) out of your way.
On top of that, there’s a new on-screen Z-Axis Indicator that can suggest how you, as the videographer, can improve your walking gait or movement pace to help reduce image shake and further stabilize your shots overall.A Trusted Part of the DJI EcosystemIf you’ve never tried out a DJI gimbal before, this would be a great one to get started with, as it offers a nice mix of what makes DJI products great. It’s fun, easy, and efficient. It’s also quite reliable, especially now that it allows longer shoots: its standard battery delivers 14 hours of power and can be charged in just 1 hour.
You can push it further, too, as the new BG70 High-Capacity Battery Grip can extend the RS 5’s runtime to 30 hours, which can also help reduce your downtime and hours lost waiting for more power.
The RS 5 offers expanded camera compatibility for wireless control, with the RS 5’s Bluetooth shutter now supporting Panasonic and Fujifilm cameras, in addition to previously supported models from Sony, Canon, and Nikon.
As with previous DJI gimbals, the DJI RS 5 is also compatible with DJI’s comprehensive product ecosystem. In particular, when the RS 5 is paired with two DJI Focus Pro Motors, users can adjust the zoom via the joystick and the focus via the dial wheel. Additionally, the DJI SDR Transmission provides high-definition live feeds, remote gimbal and camera control, and more collaboration opportunities. Price and AvailabilityRegardless of whether you used the RS 4 or RS 4 Mini in the past, the RS 5 looks like it should be a hit with videographers looking for a helpful and easy option, either for the first time or as a nice upgraded version of a popular line that brings a lot of support for the things that videographers care about.
For more info, including price and availability, check out DJI’s website here.]]></description>
			<pubDate>Fri, 30 Jan 2026 00:30:03 UTC</pubDate>
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			<title>DJI RS 5 Announced – Enhanced Intelligent Tracking Module, 5th-Gen Stabilization, and One-Hour Fast Charging</title>
			<link>http://www.personal-view.com/news/articles/dji-rs-5-announced-enhanced-intelligent-tracking-module-5thgen-stabilization-and-onehour-fast-charging</link>
			<description><![CDATA[DJI just unveiled its next-generation commercial gimbal, the RS 5, introducing the new RS Enhanced Intelligent Tracking Module for object and subject tracking directly from the touchscreen, alongside a 5th-generation stabilization algorithm with 50% increased motor torque and significantly improved charging efficiency.



The Ronin lineup continues to evolve with DJI’s latest single-handed stabilizer, positioned squarely at videographers who work solo and need maximum flexibility without sacrificing professional performance. Building on the foundation established by the RS 4 series announced in April 2024, the RS 5 brings several meaningful upgrades while maintaining the compact form factor that made its predecessors popular among run-and-gun shooters and content creators alike.



The DJI RS 5 gimbal supports 5th generation stabilization for Ronin-series gimbals. Image credit: DJI



RS Enhanced Intelligent Tracking Module



The headline feature of the RS 5 is undoubtedly the new RS Enhanced Intelligent Tracking Module, which builds upon technology first introduced with the RS 4 Mini about a year ago. What sets this enhanced version apart is its ability to track not just people but also vehicles, pets, and arbitrary objects directly from the gimbal’s touchscreen, something that should prove particularly useful for documentary work and event coverage where subjects vary constantly.



Headline feature of the DJI RS 5 is the RS Enhanced Intelligent Tracking Module. Image credit: DJI



DJI claims the module can maintain locked focus on human subjects up to 10 meters away, even in crowded environments. If your subject temporarily leaves the frame, the system can automatically reacquire them when they return. The module attaches magnetically without adapters or additional accessories, reducing setup friction on location. For solo operators, this opens up shots that would typically require a dedicated camera operator or focus puller: surround shots, reverse tracking, and fixed-camera tracking sequences become achievable single-handed.



Touchscreen tracking for subject and humans via the module. Image credit: DJI



5th-generation stabilization algorithm



Under the hood, DJI has implemented its 5th-generation RS stabilization algorithm, which the company says improves peak motor torque by 50% compared to the RS 4. The practical implication is greater stability during fast-moving scenarios (walking, running, or rapid angle changes) and notably improved performance when shooting vertically, a mode that has become increasingly important for social media content production.



DJI claims greater stability during fast-moving scenarios with the RS 5. Image credit: DJI



The gimbal weighs 1.46kg with the battery grip and quick-release plates included, supporting payloads up to 3kg. That payload capacity positions it for mainstream mirrorless cameras with standard zoom lenses, though users running cinema glass or heavily accessorized rigs will still want to look at the higher-capacity options in DJI’s lineup. The extended tilt axis arm accommodates more camera and lens combinations while supporting ND filter installation without clearance concerns.



A new on-screen Z-Axis Indicator provides real-time feedback on vertical movement, helping operators adjust their gait and pace to minimize image shake. This is the kind of subtle feature that experienced gimbal operators will appreciate, particularly when training muscle memory for steadier walking shots.



The new Z-axis indicator on the right hand side of the screen gives real-time feedback on vertical movement. Image credit: DJI



Electronic Briefcase Handle and control improvements



The RS 5 introduces an all-new Electronic Briefcase Handle designed for capturing high and low angles with full electronic control. The handle includes a joystick and button controls accessible during one-handed operation, with smooth transitions designed to reduce wrist fatigue during extended shooting sessions.



The DJI RS 5 has a new Electronic Briefcase Handle that allows full control of the gimbal from the second grip, which is very convenient. Image credit: DJI



For camera control, DJI has expanded Bluetooth shutter compatibility to include Panasonic and FUJIFILM cameras alongside previously supported Sony, Canon, and Nikon models. This wireless control eliminates cable clutter while enabling remote recording triggers. The new fine-tuning knobs with Teflon interlayers on each axis arm provide smoother balancing, even with heavier professional setups.



New fine-tuning knobs with Teflon interlayers allow for quick rebalancing when performing a small change on the camera package. Image credit: DJI



Battery life and charging



Charging efficiency sees a significant improvement with the RS 5. A full charge now takes just one hour (with a 65W PD-protocol charger and the BG33 battery grip), representing a 60% improvement over the RS 4’s 2.5-hour charge time. The standard battery delivers 14 hours of runtime, up from the RS 4’s 12-hour rating.



For extended shoots, the optional BG70 High-Capacity Battery Grip pushes runtime to an impressive 30 hours, while also supporting 18W external power output through its bottom USB-C port. This means the grip can simultaneously power the gimbal and supply juice to accessories or even charge a smartphone during downtime.



The large – still optional – BG70 Gih-Capacity Battery Grip gives a whopping 30 hours of runtime. Image credit: DJI



Ecosystem compatibility



The RS 5 maintains compatibility with DJI’s broader professional ecosystem. Pairing two DJI Focus Pro Motors enables zoom control via the joystick and focus adjustment through the dial wheel. The Focus Pro Motor itself has seen a 40% speed increase over the previous generation while supporting 15mm universal rods with adjustable torque, direction, and speed settings.



DJI Focus Pro motor installed on the RS 5. Image credit: DJI



DJI SDR Transmission support provides high-definition live feeds and remote gimbal control, opening up collaboration possibilities on larger productions. The RSA Communication Port connects to the Electronic Briefcase Handle, RS Tethered Control Handle, and third-party ring handles, allowing operators to configure their preferred shooting combinations.



DJI SDR Transmission attached to the RS 5. Image credit: DJI



Existing DJI RS users will recognize the 2nd-generation Automated Axis Locks, which unlock when powering on and automatically lock during power-off or sleep mode. The 3rd-generation Native Vertical Switch allows switching to portrait orientation within seconds without additional accessories or plate swaps.



DJI’s very convenient Automated Axis Locks are of course still part of the RS 5. Image credit: DJI



For developers and third-party manufacturers, the open RS SDK enables custom function development, extending the RS 5’s capabilities beyond DJI’s standard feature set.



Price and availability



The DJI RS 5 is available now from authorized retailers and store.dji.com in two configurations:



The standalone DJI RS 5 retails for £485 / €569 and includes the gimbal, Quick-Open Tripod, Lens-Fastening Support, Screw Kit, Upper and Lower Quick-Release Plates, BG33 Battery Grip, and Multi-Camera Control Cable.



The DJI RS 5 Combo retails for £619 / €719 and adds the RS Enhanced Intelligent Tracking Module, Electronic Briefcase Handle, L-Shaped Cable, and a Carrying Case.



DJI Care Refresh protection plans are available, with the 1-Year Plan covering up to 2 replacements and the 2-Year Plan covering up to 4 replacements for accidental damage including collisions and water damage.



Package content of the DJI RS 5 Combo. Image credit: DJI



CineD video review and overview coming soon



We are currently starting to work on an extensive video review of the RS 5, which will include a comprehensive overview of the evolution of the Ronin ecosystem over the last decade. Expect that video towards the end of February 2026.



What do you think about the DJI RS 5? Does the enhanced tracking module address a gap in your current workflow, or would you prefer to see higher payload capacity at this price point? Let us know in the comments below!]]></description>
			<pubDate>Thu, 29 Jan 2026 11:59:56 UTC</pubDate>
			</item><item>
			<title>Hohem iSteady MT3 &amp; MT3 Pro Gimbal Review – Built-In AI Tracking and Pro Performance Without the Pro Price</title>
			<link>http://www.personal-view.com/news/articles/hohem-isteady-mt3-mt3-pro-gimbal-review-builtin-ai-tracking-and-pro-performance-without-the-pro-price</link>
			<description><![CDATA[Hohem unveiled the iSteady MT3 Series at CES 2026, and it immediately caught our attention. Not because it reinvents the gimbal, but because it packages features that typically require expensive add-ons, such as built-in AI tracking, wireless monitoring, and on the Pro model, a detachable remote control, into a sub-$500 package. For solo shooters and small crews tired of cobbling together phone mounts and transmission systems, this could be significant.



What’s clear from the start: The Hohem iSteady MT3 Standard and Pro gimbals take aim at DJI with built-in AI tracking and aggressive pricing. We spent several weeks with both the Standard MT3 and the MT3 Pro to find out if Hohem can deliver on its ambitious promises.



Hohem Standard MT3 and MT3 Pro – Image credit: CineD



Two Gimbals, Two Philosophies



Let’s be clear upfront: these are not two variations of the same product. The Standard MT3 and MT3 Pro share core DNA – the iSteady 10.0 stabilization algorithm, the Multi 5.0 quick-release system, and integrated AI tracking – but they target fundamentally different shooters.



The Standard MT3 weighs just 770 grams and handles payloads up to 1.4 kg. This is your travel vlogging companion: light enough for all-day carry, powerful enough for an APS-C mirrorless with a kit lens or compact prime. Think Sony ZV-E10, Canon R10, or a rigged smartphone.



The MT3 Pro tips the scales at 1.07 kg but extends payload capacity to a substantial 2.5 kg. That’s full-frame mirrorless territory – a Sony A7 IV with a 24-70mm f/2.8, a Canon R5 with an RF 15-35mm, or even a rigged Blackmagic Pocket 4K. More importantly, Hohem claims a 40% increase in motor torque over previous generations, which should help maintain authority during fast pans and windy conditions.



Specifications at a Glance



SpecificationiSteady MT3 (Standard)iSteady MT3 ProWeight770g (1.7 lbs)1.07 kg (2.36 lbs)Max Payload1.4 kg (3.1 lbs)2.5 kg (5.5 lbs)Battery Capacity4350 mAh4350 mAhRuntime~17 hours~20 hoursDisplay0.4″ OLED (fixed)1.4″ OLED touch (detachable)AI Tracking Range~5m (face/body)~8m (face/body/pet/object)Pan / Tilt / Roll360° / 270° / 320°360° / 290° / 320°Quick ReleaseMulti 5.0 (Arca-Swiss)Multi 5.0 (Arca-Swiss)Wireless RemoteNoYes (10m range)Mounting Points1x 1/4″-201x NATO, 3x 1/4″-20Price (approx.)$329$449



Detachable remote on the Hohem MT3 Pro Gimbal – Image credit: CineD



The detachable remote: the pro’s killer feature



If there’s a single feature that justifies the $120 premium of the Pro model, it’s the detachable 1.4-inch touchscreen remote. This isn’t a gimmick – it fundamentally changes how you can deploy the gimbal.



Docked magnetically to the handle, the remote displays live video from the built-in AI sensor, mode settings, and battery status. Undock it, and you’ve got wireless control from up to 10 meters away. Mount the gimbal on a jib arm, a car hood, or hand it to a grip while you operate the remote from the director’s chair. The joystick mirrors the handle’s controls, and you can trigger recording, adjust motor parameters, and initiate AI tracking by drawing a box around your subject on the touchscreen.



Detachable remote on the Hohem MT3 Pro Gimbal – Image credit: CineD



The key differentiator isn’t just tracking: DJI offers that with their RS Intelligent Tracking Module. It’s the wireless monitoring and remote control. To achieve similar functionality with DJI’s RS series, you’d need to add transmission hardware or tether a smartphone. Hohem bakes it in from the factory.



A caveat: the remote displays the feed from the 2-megapixel AI sensor, not your cinema camera’s output. This is sufficient for framing and tracking verification, but don’t expect to pull focus from it. Think of it as a framing tool rather than a reference monitor.



AI tracking module – Image credit: CineD



AI tracking: no phone required



Both models integrate a 2-megapixel vision sensor and an edge AI processor directly into the gimbal’s chassis. This matters. The gimbal tracks subjects using its own “eyes” regardless of what camera you mount. Vintage manual lens? Action cam? The AI doesn’t care. It sees the world independently.



The Standard MT3 focuses on face and body tracking with an effective range of about 5 meters. For vloggers who need to stay in frame while walking and talking, this works. The gesture controls—an “OK” sign to start tracking, an open palm to stop—eliminate the “walk of shame” back to the camera to stop recording.



The MT3 Pro extends this with multimodal tracking: humans, pets (dogs and cats specifically), vehicles, and arbitrary objects you select via the touchscreen. The face recognition range expands to approximately 8 meters. More importantly, the Pro claims improved re-identification logic—if your subject walks behind a pillar and emerges on the other side, the system should re-acquire lock rather than hunting aimlessly.



Testing the Hohem MT3 Pro – Image credit: CineD



In practice, we found the tracking reliable in good lighting conditions. The system struggled in low contrast scenarios and very dim environments, which is expected from a 2MP sensor. If you’re shooting a dark wedding reception, don’t expect miracles. That said, the built-in adjustable fill light (included with both models, with the Pro Kit adding a magnetic RGB unit) helps the AI maintain lock in marginal conditions.



Build quality and handling



Both gimbals feel well-constructed. The chassis combines aerospace-grade aluminum on the stress-bearing axis arms with high-impact composites elsewhere. The MT3 Pro, in particular, has a density and rigidity that inspires confidence when mounting expensive glass.



Coming from the DJI RS4 Pro, which I use regularly on shoots, the weight difference is immediately noticeable. The MT3 Pro at 1.07 kg feels remarkably light in hand compared to the RS4 Pro’s 1.45 kg (gimbal only) – and the Standard MT3 at 770 grams is lighter still. Over a full day of shooting, that difference translates directly into less arm fatigue and more usable takes. What impressed me is that Hohem hasn’t sacrificed stabilization performance for the weight savings. The footage quality and motor authority feel on par with what I’m used to from DJI’s flagship. For run-and-gun documentary work or event coverage where you’re handheld for hours, this is a tangible advantage.



Arca-Swiss compatible L-bracket – Image credit: CineD



The Multi 5.0 quick-release system deserves specific praise. It uses an Arca-Swiss compatible L-bracket, so you can transfer your camera between the gimbal and a tripod without swapping plates. The vertical-to-horizontal switch is genuinely quick—a few seconds with minimal rebalancing needed. For hybrid shooters delivering both 16:9 and 9:16 content, this efficiency adds up over a production day.



We noticed a Teflon coating on the sliding plates that reduces friction during balancing—a small touch, but appreciated by anyone who’s fought with sticky aluminum-on-aluminum adjustments. The leather-textured grip on both handles provides secure purchase even with sweaty hands.



The Pro model adds a NATO rail on the handle and additional 1/4″-20 mounting points (six total) for rigging external monitors, microphones, or wireless transmitters. The Standard MT3, reflecting its travel-oriented design, keeps things minimal with a single threaded mount.



Power and endurance



Both units share a 4350 mAh built-in lithium-ion battery. Hohem rates the Standard MT3 at 17 hours and the Pro at 20 hours. These are optimistic figures – real-world runtime depends heavily on payload weight, motor stress, and ambient temperature – but even at 70% of claimed capacity, you’re looking at all-day operation without reaching for a charger. For context, the DJI RS 4 Mini claims around 13 hours.



The USB-C port supports reverse charging (5V, 2A output), effectively turning the gimbal into a power bank for your camera. Given that many compact mirrorless bodies (hello, ZV-E10) struggle to record 4K for more than an hour on internal batteries, this feature can be a shoot-saver.



Testing the Hohem MT3 Pro in a low angle shot – Image credit: CineD



The built-in, non-removable battery is a trade-off worth acknowledging. It enables a cleaner, more weather-sealed design and likely contributes to structural rigidity. But it means you can’t swap cells on a multi-day remote shoot, and when the battery degrades after a few hundred cycles, repair options may be limited. It also complicates air travel: the gimbal must fly carry-on (lithium batteries of this size can’t be checked), eating into your cabin baggage allowance.



Competitive context



The MT3 Pro‘s most direct competitor is the DJI RS 4 Mini. DJI offers its own RS Intelligent Tracking Module – a compact 19-gram unit that magnetically attaches to the gimbal and delivers similar gesture-controlled tracking up to 10 meters. It’s an $85 add-on (or bundled in the Combo kit), so tracking capability is available on both platforms.



The distinction comes down to integration philosophy and specs. Hohem builds tracking into the chassis; DJI sells it separately (unless you buy the combo). On raw numbers, Hohem wins on payload (2.5 kg vs. 2.0 kg) and battery life (20 hours vs. 13 hours). The MT3 Pro’s detachable remote with live monitoring has no direct DJI equivalent in this class, because you’d need to add transmission hardware to the RS 4 Mini for similar functionality.



Removable remote on the Hohem MT3 Pro – Image credit: CineD



DJI counters with ecosystem depth, including LiDAR focus modules, the Transmission system, seamless integration with DJI cameras, and the software polish that comes from market leadership. For users already invested in DJI’s ecosystem, that integration has real value. For shooters starting fresh or prioritizing out-of-the-box capability, Hohem’s turnkey approach – and remarkably competitive pricing – is compelling.



The Standard MT3 competes against gimbals like the Zhiyun Crane M 3S. Hohem’s integrated AI tracking is the key differentiator here. Zhiyun’s tracking requires the ZY Play app and a mounted smartphone, which is clunkier, more battery-draining, and one more thing to balance.



Hohem MT3 Pro in use with a Panasonic LUMIX S1II – Image credit: CineD



Hohem iSteady MT3 review conclusion



The Hohem iSteady MT3 Series represents a genuine challenge to the stabilization status quo. By integrating AI tracking directly into the hardware and, in the Pro model, including a wireless remote with live monitoring, Hohem eliminates the accessory sprawl that plagues competitive workflows.



The Standard MT3 is an excellent choice for travel vloggers and creators upgrading from smartphone gimbals. Its light weight, long battery life, and phone-free tracking make it a practical daily driver for anyone working with compact cameras.



What’s in the box: the Hohem Standard MT3 Gimbal – Image credit: CineD



The MT3 Pro is the more interesting proposition for CineD readers. Its 2.5 kg payload capacity opens the door to full-frame cameras with professional glass. The detachable remote transforms it from a handheld stabilizer into a capable remote head for jibs, car mounts, and high-tripod setups. And the pricing is, frankly, aggressive: at $449, the MT3 Pro undercuts comparable DJI configurations significantly while delivering features that would otherwise require stacking accessories.



Neither gimbal is perfect. The AI tracking struggles in low light (bring that fill light). The non-removable battery is a long-term durability question mark. And the Hohem Joy app, while functional, lacks the refinement of DJI’s software.



But for independent filmmakers, documentary crews, and content creators who need professional stabilization without professional budgets, the MT3 Series delivers serious capability at a price point that makes sense. Hohem isn’t just competing anymore – they’re pushing the entire category forward.




What’s in the box: the Hohem MT3 Pro Gimbal – Image credit: CineD



Image credit: CineD




CineD Verdict



iSteady MT3 (Standard)




Best for: Travel vloggers, smartphone/action cam upgraders, APS-C shooters



Rating: Recommended




iSteady MT3 Pro




Best for: Solo filmmakers, documentary shooters, full-frame mirrorless users



Rating: Highly Recommended




The units are now available for pre-order on B&amp;H, and should start shipping in March 2026.



What do you think about the Hohem iSteady MT3 gimbals? Is it time for you to upgrade? Let us know in the comments below. ]]></description>
			<pubDate>Wed, 28 Jan 2026 15:48:17 UTC</pubDate>
			</item><item>
			<title>Hohem iSteady MT3 &amp; MT3 Pro Review – Built-In AI Tracking and Pro Performance Without the Pro Price</title>
			<link>http://www.personal-view.com/news/articles/hohem-isteady-mt3-mt3-pro-review-builtin-ai-tracking-and-pro-performance-without-the-pro-price</link>
			<description><![CDATA[Hohem unveiled the iSteady MT3 Series at CES 2026, and it immediately caught our attention. Not because it reinvents the gimbal, but because it packages features that typically require expensive add-ons, such as built-in AI tracking, wireless monitoring, and on the Pro model, a detachable remote control, into a sub-$500 package. For solo shooters and small crews tired of cobbling together phone mounts and transmission systems, this could be significant.



What’s clear from the start: The Hohem iSteady MT3 Standard and Pro gimbals take aim at DJI with built-in AI tracking and aggressive pricing. We spent several weeks with both the Standard MT3 and the MT3 Pro to find out if Hohem can deliver on its ambitious promises.



Hohem Standard MT3 and MT3 Pro – Image credit: CineD



Two Gimbals, Two Philosophies



Let’s be clear upfront: these are not two variations of the same product. The Standard MT3 and MT3 Pro share core DNA – the iSteady 10.0 stabilization algorithm, the Multi 5.0 quick-release system, and integrated AI tracking – but they target fundamentally different shooters.



The Standard MT3 weighs just 770 grams and handles payloads up to 1.4 kg. This is your travel vlogging companion: light enough for all-day carry, powerful enough for an APS-C mirrorless with a kit lens or compact prime. Think Sony ZV-E10, Canon R10, or a rigged smartphone.



The MT3 Pro tips the scales at 1.07 kg but extends payload capacity to a substantial 2.5 kg. That’s full-frame mirrorless territory – a Sony A7 IV with a 24-70mm f/2.8, a Canon R5 with an RF 15-35mm, or even a rigged Blackmagic Pocket 4K. More importantly, Hohem claims a 40% increase in motor torque over previous generations, which should help maintain authority during fast pans and windy conditions.



Specifications at a Glance



SpecificationiSteady MT3 (Standard)iSteady MT3 ProWeight770g (1.7 lbs)1.07 kg (2.36 lbs)Max Payload1.4 kg (3.1 lbs)2.5 kg (5.5 lbs)Battery Capacity4350 mAh4350 mAhRuntime~17 hours~20 hoursDisplay0.4″ OLED (fixed)1.4″ OLED touch (detachable)AI Tracking Range~5m (face/body)~8m (face/body/pet/object)Pan / Tilt / Roll360° / 270° / 320°360° / 290° / 320°Quick ReleaseMulti 5.0 (Arca-Swiss)Multi 5.0 (Arca-Swiss)Wireless RemoteNoYes (10m range)Mounting Points1x 1/4″-201x NATO, 3x 1/4″-20Price (approx.)$329$449



Detachable remote on the Hohem MT3 Pro Gimbal – Image credit: CineD



The detachable remote: the pro’s killer feature



If there’s a single feature that justifies the $120 premium of the Pro model, it’s the detachable 1.4-inch touchscreen remote. This isn’t a gimmick – it fundamentally changes how you can deploy the gimbal.



Docked magnetically to the handle, the remote displays live video from the built-in AI sensor, mode settings, and battery status. Undock it, and you’ve got wireless control from up to 10 meters away. Mount the gimbal on a jib arm, a car hood, or hand it to a grip while you operate the remote from the director’s chair. The joystick mirrors the handle’s controls, and you can trigger recording, adjust motor parameters, and initiate AI tracking by drawing a box around your subject on the touchscreen.



Detachable remote on the Hohem MT3 Pro Gimbal – Image credit: CineD



The key differentiator isn’t just tracking: DJI offers that with their RS Intelligent Tracking Module. It’s the wireless monitoring and remote control. To achieve similar functionality with DJI’s RS series, you’d need to add transmission hardware or tether a smartphone. Hohem bakes it in from the factory.



A caveat: the remote displays the feed from the 2-megapixel AI sensor, not your cinema camera’s output. This is sufficient for framing and tracking verification, but don’t expect to pull focus from it. Think of it as a framing tool rather than a reference monitor.



AI tracking module – Image credit: CineD



AI tracking: no phone required



Both models integrate a 2-megapixel vision sensor and an edge AI processor directly into the gimbal’s chassis. This matters. The gimbal tracks subjects using its own “eyes” regardless of what camera you mount. Vintage manual lens? Action cam? The AI doesn’t care. It sees the world independently.



The Standard MT3 focuses on face and body tracking with an effective range of about 5 meters. For vloggers who need to stay in frame while walking and talking, this works. The gesture controls—an “OK” sign to start tracking, an open palm to stop—eliminate the “walk of shame” back to the camera to stop recording.



The MT3 Pro extends this with multimodal tracking: humans, pets (dogs and cats specifically), vehicles, and arbitrary objects you select via the touchscreen. The face recognition range expands to approximately 8 meters. More importantly, the Pro claims improved re-identification logic—if your subject walks behind a pillar and emerges on the other side, the system should re-acquire lock rather than hunting aimlessly.



Testing the Hohem MT3 Pro – Image credit: CineD



In practice, we found the tracking reliable in good lighting conditions. The system struggled in low contrast scenarios and very dim environments, which is expected from a 2MP sensor. If you’re shooting a dark wedding reception, don’t expect miracles. That said, the built-in adjustable fill light (included with both models, with the Pro Kit adding a magnetic RGB unit) helps the AI maintain lock in marginal conditions.



Build quality and handling



Both gimbals feel well-constructed. The chassis combines aerospace-grade aluminum on the stress-bearing axis arms with high-impact composites elsewhere. The MT3 Pro, in particular, has a density and rigidity that inspires confidence when mounting expensive glass.



Coming from the DJI RS4 Pro, which I use regularly on shoots, the weight difference is immediately noticeable. The MT3 Pro at 1.07 kg feels remarkably light in hand compared to the RS4 Pro’s 1.45 kg (gimbal only) – and the Standard MT3 at 770 grams is lighter still. Over a full day of shooting, that difference translates directly into less arm fatigue and more usable takes. What impressed me is that Hohem hasn’t sacrificed stabilization performance for the weight savings. The footage quality and motor authority feel on par with what I’m used to from DJI’s flagship. For run-and-gun documentary work or event coverage where you’re handheld for hours, this is a tangible advantage.



Arca-Swiss compatible L-bracket – Image credit: CineD



The Multi 5.0 quick-release system deserves specific praise. It uses an Arca-Swiss compatible L-bracket, so you can transfer your camera between the gimbal and a tripod without swapping plates. The vertical-to-horizontal switch is genuinely quick—a few seconds with minimal rebalancing needed. For hybrid shooters delivering both 16:9 and 9:16 content, this efficiency adds up over a production day.



We noticed a Teflon coating on the sliding plates that reduces friction during balancing—a small touch, but appreciated by anyone who’s fought with sticky aluminum-on-aluminum adjustments. The leather-textured grip on both handles provides secure purchase even with sweaty hands.



The Pro model adds a NATO rail on the handle and additional 1/4″-20 mounting points (six total) for rigging external monitors, microphones, or wireless transmitters. The Standard MT3, reflecting its travel-oriented design, keeps things minimal with a single threaded mount.



Power and endurance



Both units share a 4350 mAh built-in lithium-ion battery. Hohem rates the Standard MT3 at 17 hours and the Pro at 20 hours. These are optimistic figures – real-world runtime depends heavily on payload weight, motor stress, and ambient temperature – but even at 70% of claimed capacity, you’re looking at all-day operation without reaching for a charger. For context, the DJI RS 4 Mini claims around 13 hours.



The USB-C port supports reverse charging (5V, 2A output), effectively turning the gimbal into a power bank for your camera. Given that many compact mirrorless bodies (hello, ZV-E10) struggle to record 4K for more than an hour on internal batteries, this feature can be a shoot-saver.



Testing the Hohem MT3 Pro in a low angle shot – Image credit: CineD



The built-in, non-removable battery is a trade-off worth acknowledging. It enables a cleaner, more weather-sealed design and likely contributes to structural rigidity. But it means you can’t swap cells on a multi-day remote shoot, and when the battery degrades after a few hundred cycles, repair options may be limited. It also complicates air travel: the gimbal must fly carry-on (lithium batteries of this size can’t be checked), eating into your cabin baggage allowance.



Competitive context



The MT3 Pro‘s most direct competitor is the DJI RS 4 Mini. DJI offers its own RS Intelligent Tracking Module – a compact 19-gram unit that magnetically attaches to the gimbal and delivers similar gesture-controlled tracking up to 10 meters. It’s an $85 add-on (or bundled in the Combo kit), so tracking capability is available on both platforms.



The distinction comes down to integration philosophy and specs. Hohem builds tracking into the chassis; DJI sells it separately (unless you buy the combo). On raw numbers, Hohem wins on payload (2.5 kg vs. 2.0 kg) and battery life (20 hours vs. 13 hours). The MT3 Pro’s detachable remote with live monitoring has no direct DJI equivalent in this class, because you’d need to add transmission hardware to the RS 4 Mini for similar functionality.



Removable remote on the Hohem MT3 Pro – Image credit: CineD



DJI counters with ecosystem depth, including LiDAR focus modules, the Transmission system, seamless integration with DJI cameras, and the software polish that comes from market leadership. For users already invested in DJI’s ecosystem, that integration has real value. For shooters starting fresh or prioritizing out-of-the-box capability, Hohem’s turnkey approach – and remarkably competitive pricing – is compelling.



The Standard MT3 competes against gimbals like the Zhiyun Crane M 3S. Hohem’s integrated AI tracking is the key differentiator here. Zhiyun’s tracking requires the ZY Play app and a mounted smartphone, which is clunkier, more battery-draining, and one more thing to balance.



Hohem MT3 Pro in use with a Panasonic LUMIX S1II – Image credit: CineD



Hohem iSteady MT3 review conclusion



The Hohem iSteady MT3 Series represents a genuine challenge to the stabilization status quo. By integrating AI tracking directly into the hardware and, in the Pro model, including a wireless remote with live monitoring, Hohem eliminates the accessory sprawl that plagues competitive workflows.



The Standard MT3 is an excellent choice for travel vloggers and creators upgrading from smartphone gimbals. Its light weight, long battery life, and phone-free tracking make it a practical daily driver for anyone working with compact cameras.



What’s in the box: the Hohem Standard MT3 Gimbal – Image credit: CineD



The MT3 Pro is the more interesting proposition for CineD readers. Its 2.5 kg payload capacity opens the door to full-frame cameras with professional glass. The detachable remote transforms it from a handheld stabilizer into a capable remote head for jibs, car mounts, and high-tripod setups. And the pricing is, frankly, aggressive: at $449, the MT3 Pro undercuts comparable DJI configurations significantly while delivering features that would otherwise require stacking accessories.



Neither gimbal is perfect. The AI tracking struggles in low light (bring that fill light). The non-removable battery is a long-term durability question mark. And the Hohem Joy app, while functional, lacks the refinement of DJI’s software.



But for independent filmmakers, documentary crews, and content creators who need professional stabilization without professional budgets, the MT3 Series delivers serious capability at a price point that makes sense. Hohem isn’t just competing anymore – they’re pushing the entire category forward.




What’s in the box: the Hohem MT3 Pro Gimbal – Image credit: CineD



Image credit: CineD




CineD Verdict



iSteady MT3 (Standard)




Best for: Travel vloggers, smartphone/action cam upgraders, APS-C shooters



Rating: Recommended




iSteady MT3 Pro




Best for: Solo filmmakers, documentary shooters, full-frame mirrorless users



Rating: Highly Recommended




The units are now available for pre-order on B&amp;H, and should start shipping in March 2026.



What do you think about the Hohem iSteady MT3 gimbals? Is it time for you to upgrade? Let us know in the comments below. ]]></description>
			<pubDate>Wed, 28 Jan 2026 15:48:17 UTC</pubDate>
			</item><item>
			<title>SWIT PowerCell Batteries Now Available for Sony, Canon, Nikon, and FUJIFILM Cameras</title>
			<link>http://www.personal-view.com/news/articles/swit-powercell-batteries-now-available-for-sony-canon-nikon-and-fujifilm-cameras</link>
			<description><![CDATA[After their debut at IBC 2025, SWIT’s PowerCell slot-in camera batteries are now shipping worldwide. The series covers four popular battery formats with Panasonic cells inside, USB-C charging capability, and pricing that significantly undercuts OEM options.



The third-party camera battery market has long been a mixed bag. While original manufacturer batteries offer peace of mind, their cost can quickly add up for filmmakers who need multiple packs per camera body. Budget alternatives often disappoint with inconsistent performance, inaccurate runtime readings, or sudden shutdowns during critical moments. SWIT, known for professional broadcast power solutions, is positioning the PowerCell series as a middle ground: broadcast-grade engineering at consumer-friendly prices.



We covered the PowerCell series when SWIT first introduced them at IBC 2025, and the company has since been conducting field trials with professional users before making them widely available.









What’s inside



The PowerCell batteries use Panasonic NCR1850 cells, the same class of internals found in many original manufacturer batteries. SWIT rates them at 7.2V with 2200mAh capacity (16Wh), and the company claims full compatibility with OEM chargers and in-camera battery communication protocols. This means cameras should display accurate runtime information rather than the guesswork often associated with third-party options.



Each battery features a four-level LED power indicator activated by touch, allowing users to check remaining charge without inserting the battery into a camera. The housing uses flame-retardant materials designed to withstand field conditions.



USB-C charging convenience. Credit: SWIT



USB-C charging convenience



Perhaps the most practical feature for working filmmakers is the integrated USB-C charging port. Rather than requiring dedicated chargers for each battery format, users can top up PowerCell batteries from any USB-C power source: phone chargers, power banks, laptop ports, or vehicle adapters. The charging circuit includes thermal management to prevent overheating during the charge cycle.



This approach aligns with how many professionals already manage their larger V-mount and Gold-mount batteries. Having the same flexibility for mirrorless camera batteries eliminates the need to pack format-specific chargers, and it means a charged battery is never more than a USB-C cable away.



Compatibility with Sony, Canon, FUJIFILM, and Nikon cameras. Credit: SWIT



Compatibility and models



The initial PowerCell lineup covers four widely used formats:



The Sony NP-FZ100 replacement works with the FX3, FX30, and Alpha 7/9 series cameras. Canon shooters get an LP-E6P option compatible with the R5 C, R5 Mark II, R6, R7, and other bodies using that format. Nikon users can pick up the EN-EL15c variant for Z8, Z9, and compatible Z-series cameras. FUJIFILM’s NP-W235 format is covered as well, supporting the X-T4, X-T5, GFX100S, and GFX50S II.



SWIT has indicated that additional formats, including Panasonic batteries, are in development.



Price and availability



The PowerCell batteries are now available through authorized partners worldwide, with pre-orders open at B&amp;H Photo. Pricing comes in well below OEM equivalents:



The Sony NP-FZ100 replacement is priced at $49 MSRP. Canon LP-E6P and Nikon EN-EL15c versions are both $39 MSRP. The FUJIFILM NP-W235 option comes in at $35 MSRP.



For comparison, original manufacturer batteries in these formats typically retail between $75 and $85, making the PowerCell series roughly 40-50% less expensive depending on the format. For filmmakers building out battery kits across multiple camera bodies, those savings accumulate quickly.



Have you tried third-party batteries for your mirrorless cameras, or do you stick exclusively with OEM options? Let us know your experiences in the comments below!]]></description>
			<pubDate>Tue, 27 Jan 2026 08:41:01 UTC</pubDate>
			</item><item>
			<title>Canon EOS C50 Lab Test – Rolling Shutter, Dynamic Range and Exposure Latitude</title>
			<link>http://www.personal-view.com/news/articles/canon-eos-c50-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude</link>
			<description><![CDATA[Following the announcement of the Canon EOS C50 in September last year, it took a while for a production camera to arrive at our CineD headquarters, where we could run it through our standard CineD lab test procedures. Hence, in a similar fashion to last year, we start the year of camera lab tests with a Canon C camera. Curious to see how it fares? Then read on …



For a detailed breakdown of specifications and features of this new member of the Canon C family, please head over to our article here – however, I have to give a special mention to the new 7K 12bit Canon RAW (CRAW in this article), 3:2 open gate mode which was a “first” with this camera in the EOS cinema line (the C400 is following with a firmware update).



Also, I have to explicitly draw your attention to the beautiful mini-documentary that my colleague Johnnie shot in Japan with the C50 here.



The Canon EOS C50 in our CineD lab. Image credit: CineD


Last but not least, I have to mention again my colleague Florian Milz, who helped to shoot and analyze this test – thank you, Florian!



Rolling Shutter of the Canon EOS C50 



As usual, we use our 300Hz strobe light to reveal the pattern of black and white bars – a typical artefact of rolling shutter sensors, which allows precise measuring of the rolling shutter.



For 7k 3:2 open gate full frame CRAW at 25fps we get a rolling shutter of 18.1ms (less is better):






This is good, but not exceptional. Image credit: CineD



Except for the 4K120 mode, which clocks in at 7.1ms of rolling shutter, all other 17:9 modes on the EOS C50 (CRAW or compressed) are at 14.3ms of rolling shutter in full frame and S35 modes.



Dynamic Range of the Canon EOS C50



If you are not familiar with how we test dynamic range, I strongly suggest you head over here first.



Let’s have a look at the waveform plot of shooting our Xyla21 chart using 7K CRAW 25fps, developed to CLog2 at ISO800 (the lower native ISO) in DaVinci Resolve in a 7K timeline:



Waveform plot of the Xyla21 chart using 7K CRAW 25p at ISO800. Image credit: CineD


This looks really noisy – quite typical of Canon RAW, which uses very little, if any, noise processing in camera. IMATEST reveals the following:



IMATEST result for 7K CRAW at ISO800. Image credit: CineD


We are getting 9.98 stops at a signal-to-noise ratio (SNR) of 2, and 11.2 stops at SNR = 1. This is half a stop less than the Canon EOS C400 in 6K CRAW at ISO800 (lab test here), 0.8 stops less than the Canon R5 Mark II in 8K CRAW (lab test here), and 1.3 stops less than the 6K CRAW Canon R1 (lab test here).



However, as shown in the bottom-right “Noise spectrum” in the diagram above, the EOS C50 maintains a very high amplitude at high resolutions (frequency), hence yielding a very detailed image!



At the second native ISO of ISO6400 CRAW, we get 8.7 / 10.1 stops at SNR = 2 / 1. Hence, we lose a bit more than a stop.



Quite strangely, moving to S35 / APS-C 5K CRAW at ISO800, we are getting 11 / 12.3 stops at SNR = 2 / 1. Basically, on a pixel-to-pixel level, the dynamic range in RAW should stay the same regardless of whether we crop into the sensor, and that’s what most cameras show in our tests. Not so here; hence, some kind of processing is happening here that yields better results. This fact can also be seen in the lower-left graph below, where the noise levels in the shadows are shown as “Noise (% of max. pixel)”. On the left side of the diagram, we see that the noise levels (of the RGB channels) range from 1.5 to 2. On the same diagram for 7K full frame, we see higher noise levels of around 3 (as shown in the IMATEST result above).



IMATEST result for S35 5K CRAW at ISO800. Image credit: CineD


Again, at the second native ISO of 6400 in S35 5K CRAW, we are now getting 8.9 / 10.5 stops at SNR = 2 / 1. Again, we lose more than 1.5 stops.



Now, using the internal compressed 4K XF-AVC 10-bit codec in full-frame mode at ISO800, we are getting 12.5 / 13.9 stops at SNR = 2 / 1. 



4K XF-AVC at ISO800 CLog 2 full-frame IMATEST result. Image credit: CineD


At the second native ISO of 6400, we get 10.8 / 12.6 stops at SNR = 2 / 1. About 1.5 stops less.



We are seeing the typical Canon philosophy at work here. 12-bit Canon RAW is mostly unprocessed, yielding the highest resolution but a lot of noise, whereas the internal compressed 10-bit codecs are quite noise-reduced / processed out of the box, yielding high values in the IMATEST analytics but limited in resolution (typically, noise reduction reduces higher-resolution details). Absolutely fine if you just want to use the internal compressed codecs out of the box without much post-processing.



Please head over to our camera database for results across all other shooting modes for this camera.



Exposure Latitude of the Canon EOS C50 using 12bit CRAW at ISO800



As mentioned earlier, latitude is a camera’s ability to retain detail and color when over- or underexposed and pushed back to a base exposure. This test is very revealing, as it pushes every camera to its absolute limit – not just in the highlights but mostly in the shadows.



Typically, we use the highest-resolution, bit-rate, and bit-depth codec for this test, which is 7K 12-bit Canon RAW, developed to CLog2 in the Camera Raw tab in DaVinci Resolve 20.3 at ISO800.



Our studio base exposure is (arbitrarily) set to an (ungraded) luma value of 60% on the forehead of our subject on the waveform monitor. In this case, my colleague Nino:






From here, we can overexpose by 4 stops and still keep Nino’s forehead just below the clipping point of the red channel:






In the Camera RAW tab in DaVinci Resolve, it’s very easy to push the files back to base exposure. Just use the exposure slider and adjust. Unfortunately, though, this only works from +3 to -3. Above or below that, ISO and the typical lift, gamma, and gain controls were used. Also, a 3-node tree was used: the first node converts the CLog 2 files to DaVinci wide gamut (via a color space transform), the middle node applies all adjustments, and the final node uses another CST to reach Rec709. Noise reduction was always made on the first node.



Now, let’s start to underexpose by closing down the lens iris in one-stop increments until T8; after that, the shutter value was halved.



Already at 2 stops under and pushed back (at 6 stops of exposure latitude), we see quite some chroma and luma noise creeping into the image. Nothing yet to worry about, but this came surprisingly early.



At 3 stops underexposed, pushed back, we cannot ignore the noise any longer:






We are at 7 stops of exposure latitude. The noise is still finely dispersed and can be cleaned up using noise reduction in post.



Now let’s move to 4 stops under, pushed back to base:






Noise is now all over the place in the moving image (the still above looks way better), and some sort of fixed patterns are showing up (faint horizontal and vertical lines). It’s easier to see this using noise reduction:






We are at 8 stops of exposure latitude, which was already state-of-the-art for consumer full-frame cameras a few years back. Can we push it to 9 stops of exposure latitude? Here you go:






At 9 stops of exposure latitude (or 5 stops underexposed and pushed back to base), noise is corrupting the image to an extent that it cannot be fully salvaged using noise reduction in post:






Faint fixed pattern noise (horizontal and vertical lines) is visible (much more pronounced in the moving image), and the image turns greenish. Also, the shadow side of Nino’s face cannot be recovered without overdoing it with noise reduction. All details are gone (look at Nino’s hair, for example). Game over.



For your reference, here is the 6 stops underexposed image (10 stops of latitude), pushed back to base:






Well, what should I say? It is 2026, and since 2019, we have seen consumer full-frame cameras that could do 8 stops of exposure latitude even with internal compressed 10-bit codecs. For example, the Panasonic Lumix S1 that was released in February 2019 … that is 7 years ago …, or the Lumix S5 that we tested in 2020.



In 2022 the APS-C camera FUJIFILM X-H2S (lab test here) already scored close to 9 stops, in 2024 the first Sony global shutter full frame camera A9 III scored 9 stops of exposure latitude (lab test here), and yes, even the Panasonic LUMIX GH7, with a sensor roughly four times smaller than the Canon EOS C50, measured 8 stops of exposure latitude in RAW mode in 2024.



Last year, the Panasonic LUMIX S1II (lab test here) scored a solid 10 stops of exposure latitude in 12-bit RAW mode, yielding effectively the same result as the ARRI Alexa Mini LF!



For your reference, the benchmark so far is the ARRI Alexa 35 camera with 12 stops of exposure latitude.



Summary



The Canon EOS C50 shows an average to lower-end performance in our lab test. The rolling shutter values are okay at 14.3ms for most DCI 17:9 modes, dynamic range puts it behind its siblings like the Canon EOS C80 or EOS C400, and even the R5 Mark II, and exposure latitude just confirms this further.



Compared to other cameras in this price bracket, I find it hard to see any standout features (in terms of the lab test criteria). It’s definitely a very capable gimbal camera or a less expensive B-camera if you already have a Canon EOS C80 or EOS C400 and want to seamlessly intercut between them.



Have you used the Canon EOS C50? What is your experience? Please let us know your thoughts in the comments section below.]]></description>
			<pubDate>Mon, 26 Jan 2026 13:55:54 UTC</pubDate>
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