Newsshooter’s Favorite Products of 2024

2024 was a busy year and despite the continuing downturn in the industry, many new products were released.

So, what are our favorite products of 2024? Well, Erik and Matt have assembled a list of what most impressed them during 2024. Their picks are personal choices based on what gear is relevant and useful for the type of work they do. At least in our opinion, it is impossible to award the best products because people’s needs and requirements differ so much. What might be a great product for you won’t be a great product for someone else.

We would also love to hear from our readers about their favorite products of 2024. Feel free to tell us what your favorites were in the comments section.

Now, the criteria for these selections were as simple as following a few rules:

• The product needed to be officially announced for the first time in 2024
• You had to be able to purchase and have the item ship in 2024

Erik and Matt have both picked a winner and one or two honorable mentions. Just to be crystal clear, these selections are personal choices otherwise they may have still been debating (or arguing!) over the winner of each category.

The categories are:

• Digital Cinema Camera
• Budget Digital Cinema Camera
• Mirrorless Hybrid Camera
• Light
• Lighting Accessory
• Lens
• Audio Product
• Camera Accessory
• Camera Support Device
• Innovation
• Software

Favorite Digital Cinema Camera

MATT’S PICK: Blackmagic Design URSA Cine 12K LF

This was a hard decision because there were a few impressive digital cinema cameras announced in 2024. I went with the Blackmagic Design URSA Cine 12K LF because I think it is a solid offering that offers excellent value for money given its specification and feature set.

The new URSA Cine 12K features a 12K full-frame 36 x 24mm sensor with a claimed 16 stops of dynamic range and Blackmagic RAW capture up to 12K 3:2 open gate. The camera features Wi-Fi and SRT live streaming, built-in ND filters, LEMO and Fischer standard control/power connections, and high-speed networking for cloud storage and M.2 SSD media, and it comes default with an industry-standard PL mount.

MATT’S HONORABLE MENTION: Canon EOS C400

In June, Canon announced the Canon EOS C400. The RF-mount EOS C400 6K Full-Frame Digital Cinema Camera has a new 6K full-frame, back-illuminated CMOS sensor. The C400 features three ISO bases of 800, 3200, and 12,800 and it blends high-resolution imagery with both cine-style and broadcast features like an optional Cooke/i PL mount, return video, and both Super35 and Super16 modes with solo shooter-friendly functions such as Dual-Pixel CMOS AF II, internal ND filters, and a compact, lightweight form.

This is a very solid camera that can be used for a wide array of applications. It is very well priced given its feature set and I arguably believe it is Canon’s best offering in years.

ERIK’S PICK: Canon EOS C400

No surprise here, I’m sure! I’m a Canon shooter, and the C400 is a significant update from Canon. New 6K FF Back-Illuminated CMOS Sensor,
Triple-Base ISO: 800, 3200, 12,800, and you don’t need to choose a PL version with the availability of a PL-RF adapter that screws onto the body for a stable mount. The body is even smaller than the C300 mark III. One miss is no EVF option. This one hurts.

Favorite Budget Digital Cinema Camera

MATT’S PICK: Blackmagic PYXIS

While far from perfect and not featuring any internal ND filters, there is a lot to like about the Blackmagic PYXIS. You would be hard-pressed to find a better digital cinema camera for under $3,500 USD.

The Blackmagic Design PYXIS 6K Cinema Box Camera features a full-frame 36 x 24mm sensor 6K sensor with a claimed 13-stops of dynamic range. The camera can record both Blackmagic RAW and H.265 proxy files to the cloud or even stream directly to social media platforms via Ethernet or mobile 4G/5G technology. The PYXS can film up to 6K Open Gate 3:2 video at 36 fps or 6K Anamorphic 6:5 video at 60 fps, among other selectable resolutions.

There are numerous third-party rigging options available and Blackmagic Design also has an affordable monitor and EVF that can be used with the camera.

ERIK’S PICK: Canon C80

The Canon C70 is a nice camera, and I use it a lot as it is compact and has ND filters; plus, it’s a great B-cam to the C300 MKIII. I wish it had an EVF but that is the compromise I suppose. This year, along came the Canon C80, now with a new 6K full-frame sensor and triple-base ISO, oh, and SDI out that is on the top side of the camera for clean cabling to an external monitor or external EVF. Yes, I upgraded, and so far, I love it!

Favorite Mirrorless Hybrid Camera

MATT’S PICK: FUJIFILM GFX100S II

This is arguably not going to be a popular choice, but I like the concept behind this camera and its small compact size.

The GFX 100S II Medium Format Mirrorless Camera utilizes a newly developed 102MP CMOS II sensor with the X-Processor 5. It has an upgraded 5.76m-dot EVF, and a rear 3.2″ three-way tilting touchscreen LCD. The camera has the ability to capture 4K/30p in 4:2:2 10-bit with an improved data rate of 720 Mb/s. A wide variety of file formats are available, including ProRes and Blackmagic RAW. Native Frame.io Camera to Cloud compatibility allows for easier collaboration on projects by helping to centralize reviews and simplify workflows.

MATT’S HONORABLE MENTION: Sony ZV-E10 II

The ZV-E10 II features the exact same 26MP APS-C Exmor R CMOS Sensor same sensor that is found in the FX30 and a6700

The camera features built-in creative shooting modes, a 3-capsule directional microphone, and a 3″ articulating LCD touchscreen with vertical orientation support and integrated tally light. Other notable upgrades with the ZV-E10 II include a 759-point phase detection autofocus system, Cinematic Vlog mode, and compatibility with larger-capacity NP-FZ100 batteries.

This is a decent offering for under $1,000 USD.

ERIK’S PICK: Fujifilm X100VI

What can I say, I love this little camera! I had the Fujifilm X100 V, and it went with me on vacations and casual travel. I like it because it’s small and takes great pictures, plus the shooting experience is fun. Sure, an iPhone also has a great camera, but a real camera is so much better if you like taking photos. The 40.2MP APS-C X-Trans CMOS 5 HR Sensor has plenty of megapixels, and its image is great. The fixed Fujinon 23mm f/2 Lens is sharper than the former version. I like the limitation of no zoom lens. It makes you think about composition more. More around to get a better frame. All in all, it’s just a fun camera to use.

The big issue is they are practically impossible to purchase with it being on backorder constantly. I ordered one on the first day it was released, and it took months to get one finally.

ERIK’S HONORABLE MENTION: iPhone 16 Pro Max

While I do prefer to use a proper camera, such as my fav pick, the Fujifilm X100VI, you just can’t deny the best camera is the one you have with you, and the iPhone 16 Pro Max has one heck of a camera.

• 48MP Fusion: 24 mm, ƒ/1.78 aperture, second‑generation sensor‑shift optical image stabilization, 100% Focus Pixels, support for super‑high‑resolution photos (24MP and 48MP)
• Also enables 12MP 2x Telephoto: 48 mm, ƒ/1.78 aperture, second generation sensor‑shift optical image stabilization, 100% Focus Pixels
• 48MP Ultra Wide: 13 mm, ƒ/2.2 aperture and 120° field of view, Hybrid Focus Pixels, super-high-resolution photos (48MP)
• 12MP 5x Telephoto: 120 mm, ƒ/2.8 aperture and 20° field of view, 100% Focus Pixels, seven-element lens, 3D sensor-shift optical image stabilization and autofocus, tetraprism design
• 5x optical zoom in, 2x optical zoom out; 10x optical zoom range
• Digital zoom up to 25x

These are crazy good specifications, and you can text your friends, too.

Favorite Lens

MATT’S PICK:

There were a lot of lenses released in 2024 and like every year, this category was a very hard one for me to pick. I ended up selecting the ARRI Ensō primes as they offer some intriguing capabilities and excellent optical performance.

They are smaller and lighter than Signature primes and they feature the ability to be used with a new set of rear elements. They also have very good close focus.

The complete Ensō series consists of the following focal lengths:

• 10.5mm T2.8
• 14mm T2.5
• 18mm T2.1
• 21mm T2.1
• 24mm T2.1
• 28mm T2.1
• 32mm T2.1
• 40mm T2.1
• 47mm T2.1
• 58mm T2.1
• 75mm T2.1
• 105mm T2.1
• 150mm T2.5
• 250mm T2.8

All of the lenses, except the 10.5mm, 14mm, 150mm, and 250mm are T2.1.

The 250mm T2.8 comes in a package with a 1.4x and 2x extender. So effectively you can have a set of full-frame lenses that goes from 10.5mm to 500mm. At least to my knowledge, this would give the Ensō series the largest focal range of any set on the market. Having 14 focal lengths offers a lot of versatility.

MATT’S HONORABLE MENTION: DZOFilm Arles

I reviewed these lenses and they offer very good optical performance at a relatively affordable price. They punch well above their weight and if you are after a solid set of fast full-frame cine prime lenses then they are hard to beat.

While the Arles primes are hardly groundbreaking in terms of coming up with an affordable full-frame cine prime lens set, the consistency in terms of build quality, mechanics, and optical quality is something we arguably haven’t seen at this level. If you have a stigma about affordable Chinese-made cine lenses not being any good, you should think again.

MATT’S HONORABLE MENTION: Blazar Lens Cato 2x Anamorphic

I chose a second honorable mention in this category which was the Blazar Lens Cato 2x Anamorphic primes.

These are the first ‘affordable’ 2x full frame anamorphic lenses. The initial focal lengths consist of 40mm T2, 55mm T2, 85mm T2.8, and 125mm T4.

The lenses while far from optically perfect offer decent build quality, nice characteristics, all in a lightweight and compact form factor. At inder $1,300 USD per lens they are an intriguing option for owner/operators.

ERIK’S PICK: Canon RF 70-200mm f/2.8 L IS USM Z Lens

I’m going to cheat a little as the Canon RF24-105mm F2.8 L IS USM Z is really my pick, but it’s a bit of a grey area as it started shipping late December. However, the Canon RF 70-200mm f/2.8 L IS USM Z Lens is also a great lens with the same design, making the pair a heck of a combo.
I have the RF 24-105mm F2.8 L IS USM Z, and it’s a fixture on my C70 and now my C80. It’s a lens I have dreamed about and works so well for my work. While it’s not technically parfocal you can pull off very nice pushes and pulls that stay in focus. The bummer is you must spend an extra $999 to get the zoom controller.

Favorite Light

MATT’S PICK: Aputure STORM 1200x

Lighting is a very hard category. I reviewed a lot of lights this year and picking just two was a tall order. My winner was ultimately the Aputure STORM 1200x. Its versatility, color accuracy, and output make it hard to beat if you are looking for a versatile lighting fixture.

The new BLAIR light engine provides excellent daylight performance. The STORM 1200x is well made, and reasonably compact for a light with that much power draw.

MATT’S HONORABLE MENTION: Kelvin Epos 600

The Kelvin Epos 600 Full RGB LED Light, is a follow-up to the very impressive Epos 300.

Encased in 6mm thick aluminum plates, the Kelvin Epos 600 is a full-color spectrum 600W LED COB studio light, engineered, and handmade in Norway.

The Epos is fully featured, extremely versatile, and it produces a really nice quality of light. A lot of thought has gone into this fixture and the attention to detail shows.

The light has more output and better photometric performance than the competition and that is what currently puts it in a class of its own. At least in my opinion, there isn’t a better full-color fixture with this power draw on the market than this one.

MATT’S HONORABLE MENTION: Nanlite PavoSlim 240CL

Nanlite’s PavoSlim panel lights are a hybrid mix of a flexible panel light and a traditional panel light. They utilize a lightweight hard backing material that is very thin, but robust.

The Nanlite PavoSlim are solidly made, well-thought-out lights with a good amount of output and good color rendering scores. The 240CL is the latest addition to the line-up and it is a 4×1 LED full-color panel light that draws 260W. It has a CCT range of 2700K to 7500K, with the added benefit of green/magenta adjustment.

The light is solidly made, and well-thought-out, and it has a good amount of output and good color rendering scores.

It produces a beautiful soft light, especially when used with its built-in soft bix and diffusion. The output is extremely impressive given the light’s relatively low power draw. That high output really helps when you want to create a more diffused lighting source, but you still require a decent amount of punch.

ERIK’S PICK: Aputure STORM 1200x

I was impressed with the STORM 1200x. We gave it Best of Show at IBC 2024. The fixture is the first to utilize its new BLAIR light engine and hefty new Bowens mount, which is super secure and much faster to mount. The output and color are impressive.

ERIK’S HONORABLE MENTION: Godox ML100Bi Bi-Color Portable LED Light

Having a small punchy light is always handy to have in your kit and the Godox ML100Bi Bi-Color Portable LED Light fits the bill. It’s very compact and can be used with a small softbox or the included 15° Lens Reflector. Being Bi-Color is icing on the cake.

• Output: 3670 Lux at 3.3′ (5600K)
• 2800-6500K CCT
• AC or Battery Power
• Onboard & App Control
• CRI 97 | TLCI 98
• Compact & Portable Design
• Godox Mount, Optional Bowens Adapter
• Includes 15° Lens Reflector & AC Cable
• Optional Power Bank Holder

Favorite Lighting Accessory

MATT’S PICK: NANLUX NL70 Parallel Beam Reflector

Barrel Beam Reflectors are not a new concept, but we have started to see quite a few companies now bringing them out for high-power LED lights. One of these options is the Nanlite NL70 Parallel Beam Reflector which was designed for professional productions that require a high-intensity parallel beam.

The NL70 parallel beam reflector features a beam angle of 6°. It is fitted with an internal grid design, and when combined with its snoot, it effectively reduces spill light, ensuring a focused and even light output.

MATT’S HONORABLE MENTION: DoPchoice AIRGLOW

While this is arguably a little on the niche side, I enjoyed using the DoPchoice AIRGLOW and I found it produced nice results.

DoPchoice announced AIRGLOW back in February. AIRGLOW is an inflatable SNAPBAG for LED 2×1 panels such as the Creamsource Vortex8 and Vortex8 Soft, ARRI Skypanel X21 and S60 Classic. There is also a smaller 1×1 version and a larger 2×2 version.

AIRGLOW is an inflatable solution that was designed to create a simpler answer to booklight-style illumination.

AIRGLOW is a way to create indirect light from a single fixture without having to utilize anything else.

ERIK’S PICK: Matthews Studio Equipment Grip Rail

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I love me some grip gear! The Matthews Studio Equipment Grip Rail is an innovative product that makes getting the right size speed rail easier.

Matthews Studio Equipment Grip Rail is designed to offer a new way to mount equipment on location, in the studio, or on the fly. The system allows you to telescope out the rail to get it just the right size instead of cutting speed rail for a particular situation. This saves time and waste on set.

The telescoping 1 1/4″, and 1 1/2″ Grip Rail comes in two lengths, 41-72″ and shorter, 26-42″.

Favorite Audio Product

MATT’S PICK: Ambient Slot Mount

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Sometimes the simplest things are the best. Attaching wireless microphone slot receivers to cameras can be tricky and you can often end up with a Frankenrig. That is why Ambient came up with the Slot Mount.

It doesn’t matter whether you use Lectrosonics, Wysicom, or Sound Devices, any slot-size receiver will fit into the new mount thanks to the standardized screw positions and can be flexibly attached to all sides of a camera. It was designed to be attached to the camera with a 3/8” threaded screw. 

MATT’S HONORABLE MENTION: Hollyland LARK M2

Like most budget wireless audio systems the LARK M2 utilizes 2.4G wireless Adaptive Frequency Hopping (AFH) technology.

Most of the small-sized budget wearable wireless audio systems have all had a small square or rectangular-style design. The LARK M2 bucks that trend and Hollyland has managed to make a very small and round wireless audio TX with a built-in microphone.

While it certainly isn’t the first wireless microphone system to feature round, circular TX units, it is, at least to my knowledge, the first one to be this small.

The small, round design of the TX unit is a welcome change to the larger style square and rectangular versions that have saturated the market in recent years. You have to applaud Holland for thinking out of the box (pardon the pun) and coming up with something that, at least in my opinion, draws far less attention than the larger square TX units that have branding all over them.

ERIK’S PICK: Sennheiser Profile

Small wireless microphone systems are very common these days and are hard to stand out. The RODE Wireless Pro is such a good product that I use frequently, and I would have picked it, but it came out in 2023. The Sennheiser Profile is a great system that is well thought out and backed by a very established company in the audio world. The portable case that doubles as a charger and handheld mic is cleaver. I like the 32-bit recording option with the safety feature that will start recording when the signal weakens. It actually works! One downside is the receiver’s cold shoe mount isn’t very secure.

ERIK’S HONORABLE MENTION: Deity PR-2 Pocket Recorder

The Deity PR-2 Pocket recorder is a small recorder with a lot of features. The 32-bit float option is a powerful plus for the PR-2 or any recorder that offers it. Currently, only one camera, the GH7, has internal 32-bit float audio options. 32-bit float offers a lot of headroom, so you can’t clip the audio. It can’t fix improper mic placement that will distort the microphone, but the recording level can be adjusted a lot in post, just as long as you don’t blow out the microphone.

It also has timecode that can be wirelessly synced from the Deity TC-1 timecode generator boxes.

Favorite Camera Accessory

MATT’S PICK: Kinefinity Eagle SDI e-Viewfinder

This is a really hard category because there are so many choices to choose from. I ended up choosing the Kinefinity Eagle SDI e-Viewfinder. There have been very few decent and affordable (of course this is subjective) third-party EVFs on the market. Kinefinity has set out to change this, and their Eagle SDI e-Viewfinder offers a lot of features and functionality in a compact and relatively affordable package.

The Kinefinity Eagle SDI e-Viewfinder is very well made, and the quality of the image and lack of any delay is great. It is good to finally see another quality universal EVF come to market, as arguably up to now, the only good option was from Zacuto. For its price, there is nothing better that is currently on the market.

MATT’S HONORABLE MENTION: Tentacle Sync TIMEBAR Timecode Slate

The Tentacle Sync TIMEBAR Timecode Slate is a modular kit that includes the TIMEBAR (a multipurpose timecode display) paired with a high-quality board, clapper sticks, and a custom holder, that also serves as a mount for the TIMEBAR.

It is a modular system where you can screw a Tentacle Sync Timebar into a clapper board that becomes a fully functioning wireless timecode slate. The system was made in collaboration with Forty One Thirty and FILMSTICKS.

Overall, the Tentacle Sync TIMEBAR Timecode Slate is a great solution, and while there are a few things that could be improved, it represents very good value for money as it is significantly more affordable than other competing solutions on the market. The versatility is unmatched when compared to other slates that are available and that is what makes it stand out.

MATT’S HONORABLE MENTION: Accsoon CineView 4K Master

This is the first compressed wireless video transmission system that truly has what I would call minimal latency.

Wi-Fi-based systems have continued to get better and better over the last few years and they are popular because they are significantly more affordable than uncompressed zero-delay options.

The Accsoon CineView Master 4K is very well-built and it offers a lot of functionality and features. Having a system that features both SDI and HDMI and the ability to wirelessly transmit UHD or HD images makes this a very versatile product. Having the ability to wirelessly transmit and receive a UHD signal makes a big difference if you need to get critical focus.

The latency is the best I have seen from any Wi-Fi-based compressed video transmission system and depending on what you are transmitting you certainly could use it to pull critical focus for some applications (as long as you are using SDI 1080 50/60p). What you clearly need to be aware of is that any system that isn’t sending uncompressed video is going to have some latency, and this is why certain systems cost more than others. In saying that, the low latency of the Accssoon system certainly makes it a far more compelling choice than other competing systems.

ERIK’S PICK: Portkeys BM5IV WR

Portkeys have come a long way with their monitor offerings. In the past, it was hard to find a good and affordable one, and many were just garbage. The BM5 IV WR is a rugged and fully featured 2000 nits 10-bit (8+2 FRC) 5.5-inch touchscreen monitor with DCI 4K60P HDMI input/output ports, 3G-SDI input/output ports, wired and wireless camera controls, and a full suite of professional monitoring tools.

The new CINENORM OS really ties it all together, giving the monitor excellent functionality. The ability to control your camera is also nice. At $749, it isn’t cheap, but I think you get a lot for your money. The BM5 IV without the wireless camera control feature retails for $599.

ERIK’S HONORABLE MENTION: Accsoon CineView 4K Master

Accsoon hit it out of the park with the WiFi-based CineView 4K Master wireless video system. So many systems are available, but the Achilles heel is latency, and the CineView 4K Master outperforms the pack. Yes, it’s on the bigger side, but it’s packed with features at a fair price.

Favorite Support Device

MATT’S PICK: Vinten Versine 360

The Versine 360 is a new pan and tilt head designed for fixed camera positions without box lenses. Versine 360 was developed in collaboration with major outside broadcast companies to address the specific requirements of live television production. It is a replacement for the Vision 250.

There are a multitude of improvements over the Vision 250 and a lot of thought has gone into the design. It is a really impressive piece of kit.

MATT’S HONORABLE MENTION: Tiffen Steadicam Axis

Tiffen’s new Steadicam Axis, is a professional body-worn stabilizer with integral three-axis Volt stabilization. It is a great solution for small to mid-sized digital cinema cameras such as the Sony FX6, Canon C400, RED KOMODO, etc.

The Steadicam Axis has a payload capacity of up to 20 lbs / 9kg when paired with a Steadicam A-30 Arm & Vest.

ERIK’S PICK: SmallRig x Potato Jet TRIBEX Hydraulic Carbon Fiber Tripod

This is a tough category, as we have seen so many tripods this year, and I tend to buy one and be done. Unfortunately, the good ones cost a lot, and people tend to buy cheap camera support and regret it after a few uses.

The SmallRig x Potato Jet TRIBEX Hydraulic Carbon Fiber Tripod Kit looks like a good product priced low at $799 and includes the fluid head. The big feature is the Hydraulic system that makes adjusting the legs super fast. It also features a counterbalance, so you can use a lot of different cameras that weigh and balance differently.

Innovation

MATT’S PICK: Jungle Power JKD Solar Marquee

Jungle Power is a new Australian company whose goal is to bring sustainable clean power solutions to transform energy storage and distribution for media and entertainment. 

One of their solutions is the JKD Solar Marquee is a versatile shelter that is equipped with integrated solar panels, offering 600 watts of renewable energy. It is ideal for powering video villages or support areas on set, the JKD significantly reduces reliance on combustible generators, cutting emissions and costs while providing a quiet, efficient power source.

The marquee features durable IP65-rated, heat-resistant materials to withstand varying weather conditions, ensuring comfort and performance in any season.

Directly compatible with the J5 and easy to assemble, the 10×10 FT (3x3m) tent provides ample space for equipment like monitors, laptops, and cameras, while its hexagonal aluminum frame ensures stability. Customizable with adjustable panels, ventilation, and additional accessories, the JKD Solar Marquee is your reliable, sustainable power solution for on-set and remote environments.

ERIK’S PICK: iFootage Shark Slider Nano 2

I saw the Shark Slider Nano 2 at IBC and was impressed. The big feature is the ability to add the DJI Ronin RS2, RS2 Pro, RS3 Pro, RS4, or RS4 Pro gimbals and program pan and tilts for impressive camera movement. This makes the slider come alive with a proven gimbal instead of a motion control device. It’s also simple to program the slider itself. I prefer to use a simple slider to add some movement, but if you want to do more, this is the ticket.

Favorite Software

MATT’S PICK: Blackmagic Design DaVinci Resolve 19

The gift that keeps giving. It is truly remarkable what Blackmagic Design has done with DaVinci Resolve. It is continuously being updated and improved and it isn’t subscription-based!

This has to be almost an annual occurrence for me to pick DaVinci Resolve!

MATT’S HONORABLE MENTION: Final Cut Pro 11

While hardly a massive update, there’s still a lot of people using Final Cut Pro. The new version also features updates to Final Cut Pro for iPad, Final Cut Camera, and Logic Pro. Offering new tools like Magnetic Mask and the Transcribe to Captions. Final Cut Pro 11 for Mac also supports the import, edit, and delivery of spatial video projects directly to Apple Vision Pro.

ERIK’S PICK: Adobe Premiere Pro 2025

While many love to hate on Premiere Pro, I have to admit I also throw mud on them for lots of crashing and poor updates that break things more than fixing issues and adding new features, but… Things have really improved over the year, and I find myself working on it without crashing. I still think FCP, in general, has better performance, but that magnetic timeline is something I just can’t get used to.

ERIK’S HONORABLE MENTION: Blackmagic Design DaVinci Resolve 19

You can’t beat the free version and the full-featured DaVinci Resolve Studio version is only $249. Like Final Cut Pro, you don’t have to pay for updates. It’s a true bargain for powerful software.

So there you have it; there are Matt and Erik’s favorite products of 2024. Again, these are very much personal choices and not products of the year. Please let us know what your favorite products of 2024 were in the comments section below.

Happy Holidays to all our readers and their families.