The resolution of 4K sensors means that there's easily enough detail to work well with anamorphic lenses for those cinematic ultra-wide aspect ratios

Ever since the new EOS-1D C was announced way back in April 2012, enthusiasts were abuzz over Canon’s first attempt to cross the 4K threshold in a DSLR form factor

Film always used to be the main thing that determined how a photograph looked. Now, it's the sensor. So camera manufacturers have taken on a huge extra responsibility!

Canon has released two new lenses to for its growing Cinema EOS System. The CN-E 14mm T3.1 L F and the CN-E 135mm T2.2 L F are aimed at a wide range of uses "from low to high-end", according to the lens and camera manufacturer

Here's a really good side-by-side comparison between Canon's EOS 5D mk III (with the Magic Lantern mod) RAW output and the Blackmagic Cinema Camera

The Canon 1DC is a curious camera. Based on a top-end DSLR design, with essentially only some additional firmware it becomes a 4K camcorder as well. But where does it fit into the increasingly complex matrix of options around high res, high dynamic range (i.e. RAW) devices that are available today at approximately affordable prices?

Phil Rhodes holds an F55 for the first time and tells us where he thinks it fits in the digital cinematography marketplace

Canon has announced a "Picture Style" preset for EOS cameras designed as a result of feedback from EOS video makers

British Telecom have released an incredible 320 gigapixel image that was taken last year from the top of the BT tower in London.

Ever wonder what a Canon 5D MK2, an NEX FS100 and a Blackmagic Cinema camera look like, side by side? Probably not because two of these are the old models and you'd more likely be thinking about a 5D MK3, an NEX FS700 and the Blackmagic camera. But that doesn't make this any less interesting