Cinelux Project SIXTEEN Hybrid Film and Digital Super 16 Camera – First Look

by Alexandra ThompsonJune 8^th, 2026

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At Cine Gear 2026, one of the more unusual cameras on the floor was neither fully digital nor fully film. The Cinelux SIXTEEN, developed by Cinelux Cinema Tools as part of its Project SIXTEEN concept, is being designed as a hybrid Super 16 camera that captures film and a digital file at the same time, giving productions a film negative alongside an immediately usable digital version.

The idea is ambitious, and the camera is not finished just yet. Cole Cyccone, founder of Cinelux Cinema Tools, described the SIXTEEN as a semi-working prototype. The menu system is running, and the major mechanical components, including the movement, shutter, mag, and motors, are working independently. The next challenge is firmware: getting those systems to work together reliably before the team is ready to show finished footage from the complete camera.

A small team building in secret

Cinelux Cinema Tools was founded by Cole, who is developing Project SIXTEEN alongside two engineering partners. Together, they have spent roughly two and a half years developing the camera, largely out of public view.

According to Cole, the team had a much rougher prototype last year, but chose not to announce it. He said he wanted to avoid making promises before he felt the camera was genuinely headed toward the market and worth showing. That caution still matters here because the current version works in parts, but the full system is still being finalized.

Film first, digital alongside it

Cole was clear that Cinelux SIXTEEN is intended as a film camera first. The digital side is not meant to replace the film image, but to make shooting film easier on modern sets. If the system works as planned, the digital file could be used for dailies, quick editing, backup, or as a way to reassure producers and directors who may be nervous about waiting for processed film and scans.

That is the practical appeal of the concept. Film gives the final negative, while the digital capture could let productions move faster during the shoot. Cole described it as a way to make a new generation of film cameras for a new generation of filmmakers, rather than forcing older film camera technology into modern workflows.

Sensor, processing, and recording

The digital side uses a Sony sensor, which Cole described as an off-the-shelf part also used in other cinema cameras. Technically, it is a Four Thirds sensor, but it’s windowed to the Super 16 gate size.

The image processing is still being developed in-house. The goal is to make the digital image respond as closely as possible to scanned film, so it can be used as both an exposure tool and a creative reference. Raw images should also be possible, but the final behavior of the digital pipeline is still part of the ongoing development.

For recording, the prototype points to ProRes 4444, Cinelux’s own Lux RAW format, and CinemaDNG. The camera is expected to support CFexpress Type B cards as well as internal storage, effectively giving productions both a film mag and a digital mag.

How the hybrid design works

Cole explained that the Cinelux SIXTEEN replaces the traditional ground glass and optical relay with a digital sensor. In a conventional film camera, the shutter mirror reflects the lens image to the ground glass. In Cinelux’s design, the digital side receives a feed from the lens during the part of the shutter cycle when the film is not being exposed.

The system uses independent motors for the film and shutter movement, with the goal of timing the mechanical and digital parts as precisely as possible. That is why firmware remains the next major step: Cinelux still has to make the mechanical and digital systems work together reliably before showing finished footage.

Why it matters

The Cinelux SIXTEEN sits in an interesting place because it tries to solve a real problem around shooting film today. Many productions like the look and discipline of film, but there’s a wait for processing and scans. A synchronized digital file could make the workflow feel less risky, especially for dailies and editorial prep.

Cole said the response at Cine Gear was encouraging, with filmmakers and DPs suggesting more possible uses for the digital file throughout the show. That interest makes sense. If Cinelux can make the system work reliably, the Cinelux SIXTEEN could become more than a novelty. It could offer a practical bridge between film capture and modern post-production expectations.

Price and timeline

Cinelux is aiming for a basic kit under $40,000, including the camera and one mag. Cole noted that used professional Super 16 cameras, such as an ARRI 416, can now cost around $60,000, which gives some context for the target price.

The film mags are expected to be lighter and less expensive than traditional mags because the pressure plate sits in the camera body rather than in the mag. As for timing, Cinelux is hoping to debut the camera in late 2027. Given the prototype status, that should be understood as a target rather than a fixed release date. For more information, please visit the Cinelux website.

Would a hybrid Super 16 camera with simultaneous digital capture make shooting film more practical for your work? Or would you still prefer to keep film and digital workflows separate? Let us know in the comments below.