A cinema camera can only record the image delivered by the lens in front of it. That sounds obvious, but it explains why choosing cinema lenses can become a more important long-term decision than choosing the camera body itself.

Image: Sony FX5 The arrival of the Sony FX5 makes the Cinema Line buying decision considerably more interesting. The FX3 is already established as a compact full-frame filmmaking camera. The FX6 has become a familiar production tool for documentary, corporate, commercial and location work. The new FX5 now sits directly between them — but it does not simply split the difference.

The Leica Q3 family takes an unusual approach to the premium full-frame camera. Instead of building a conventional interchangeable-lens system, Leica combines a 60-megapixel full-frame sensor with a permanently matched prime lens, compact body and deliberately focused shooting experience.

Sony's FE 100-400mm F5.6-8 OSS takes one of the most useful wildlife and sports focal ranges and puts it into a remarkably compact 654g full-frame zoom. Designed as a lighter and more accessible alternative to Sony's premium 100-400mm G Master, it combines Optical SteadyShot, dual Linear Motor autofocus, close focusing and teleconverter support in a lens aimed at photographers who want serious reach without carrying a 1.4kg telephoto zoom.

Bad audio can make even good footage feel unfinished. The DJI Mic Mini 2S is aimed at creators, filmmakers, interviewers and hybrid shooters who need a compact wireless microphone system without turning every shoot into an audio engineering session. This version, supplied as the DJI Mic Mini 2S (2 TX + 1 RX + Charging Case) , gives you two transmitters, one receiver and a charging case in a small kit designed for interviews, podcasts, social video, YouTube work, short documentaries, event coverage and mobile production.