Although we were not able to attend in person this year, there were so many new products being released around the IBC convention that we decided to devote this edition of our monthly DCS eNewsletter to announcements that came out of IBC. We also share a bit of member news with an update on Snehal Patel who is going off on new adventures in Virtual Production and Kim Snyder who has been honored by the HPA.

Another international mailing will follow this eNewsletter before the end of the month with news of some big updates to DCS including a whole new member accessible data base and a revamped DCS Member Discount page. We’re very eager to share the news, but all of the details still need to fall into place. So with that, please see the plethora of news that came out of IBC.

Industry News

ARRI Introduces SkyPanel X – a Modular, All-weather LED with RGBACL Full-spectrum Light Engine and 8 Pixel Zones per Panel

Whether it be cameras, lights, or lenses, ARRI never rushes products to market. They instead wait to get their products right and avoid too quickly making their previous versions obsolete, thereby allowing their customers to amortize their investment in ARRI products. It has been many years since ARRI first introduced their extremely popular and award winning SkyPanel line of LEDs. Now they are introducing a major update to be known as the SkyPanel X.  The new family of lights are a modular system configurable into different sizes (X21, X22, X23). SkyPanel X offers both native soft and hard light and includes a lux output and beam quality for medium to long throws. SkyPanel X also provides superior low-end dimming with flicker-free operation from 100 to zero percent for direct, close-distance key lighting.

The RGBACL full-spectrum light engine with the latest ARRI lighting color science enhances skin tones and achieves deep color reproduction. Eight pixel zones per LED panel meets the requirements of advanced console programming, visual effects, and virtual production environments. SkyPanel X offers built-in wireless control, two Ethernet ports, LumenRadio CRMX2, and Bluetooth 5.0, as well as integrated power. SkyPanel X is fully protected from rain, storms, or high-pressure jet cleaning, and is certified with an IP66 rating for all weather conditions.

SkyPanel X is configurable into different formats (landscape, square, vertical), to build a wide-aperture soft light, powerful hard light, or intense open-face light. Multiple units can be combined via the X Modular Yoke, featuring ARRI’s quick-lock system. There are three front attachments available for SkyPanel X, which natively fit to one single unit: the X21 Dome, (included with every lamphead,) provides native soft light, the S60 Adapter for all existing SkyPanel accessories, and the optional HyPer Optic for native hard light.

To learn more about the SkyPanel X series and its accessories, visit:

New Blackmagic Cinema Camera 6K with Full Frame Sensor, Native L-Mount, recording B-RAW + Proxies on CFExpress Cards

Blackmagic Design has announced a new addition to their camera lineup.  The form factor and menu structure are based on the Pocket 6K, but Blackmagic is referring to this as the “Cinema Camera 6K” in order to differentiate the many higher-end features.  These include a Full Frame 6K Sensor, Native L-Mount, and the ability to simultaneously record to both B-RAW + Proxies on CFExpress cards.  The camera is said to achieve 13 stops of dynamic range with a dual native ISO up to 25,600.   The sensor has a 3 x 2 aspect ratio which is well suited to anamorphic cinematography and also includes an OLPF.    The Blackmagic Cinema Camera 6K is available for purchase now at an MSRP of $2,595 US.  For more details, visit:

And to see some test footage shot by DCS member John Brawley, ACS, (the same DP whose previous samples convinced me to invest in the URSA 12K,) visit:


Sony Adds “BURANO” to CineAlta Line with Full Frame 8K Sensor and Image Stabilization with Either PL or E-mount

Sony has announced the addition of a new Full Frame 8K sensor camera to their CineAlta line. To be known as the “BURANO,” the new camera features a compact form factor with a convertible native PL or E-mount and Image Stabilization with either mount.  When using E-mount lenses there is full support for Fast Hybrid Auto Focus (AF) and Subject Recognition AF. Although more than three pounds lighter, it is said to share many of the specifications and designed to work alongside of the VENICE 2. The camera has an 8.6K full-frame sensor with dual base ISO of 800 and 3200 and 16 stops of dynamic range.

I had the chance to get my hands on the camera at a Sony launch event and was fairly impressed. It seems like a nice addition to their line-up in a smaller form factor, and about half the price of the Venice, but apparently able to intercut with it in most situations. Still, they are protecting their higher-end model by not including all the features of the Venice 2, (can you blame them?). I heard folks complaining about the viewfinder design, but hey, you have to give up something with the great price differential. (I believe the EVF on the Venice 2 goes for over $7K.) I was also a little disappointed to understand that the CFExpress Type B recording media is not compatible with my other Sony cameras or card readers.  These cards come in 960 and 1920RGB versions which can run up to almost $2,000 US per card.  All that said, this fills a gap in the CineAlta line, and I think it should be a pretty popular camera.

The Burano is expected to be available for delivery in Spring of 2024 at $25,000 US. For more details visit:–burano–the-newest-addition-to-sony-s-cinealta-family-of-digital-cinema-cameras/


Cooke Announces the New SP3 Extremely Compact and Affordable Full Frame Cine Lens Line

In advance of IBC, Cooke announced a whole new line of extremely compact cinema prime lenses that are designed to feature the character of the famous Cooke Speed Panchros in a modern design, optimized optically and mechanically for mirrorless cameras. The SP3 lenses will launch with five focal lengths – 25mm, 32mm, 50mm, 75mm, and 100mm, all T2.4. The lenses feature a native E mount and an RF mount will be available shortly after delivery, (which will be provided free directly from the manufacturer once they are available.)  L-Mount is available now as an accessory part and M-Mount will be introduced in early 2024. 

Optical coatings on each lens help control lens flares and create matched color across the entire set for a consistent look. A 9-blade iris full frame coverage, and a T2.4 aperture helps create a cinematic bokeh. Focus and iris rings across all focus lengths are aligned for efficient lens switching without needing to recalibrate follow focus motors. A 5-lens kit with a heavy-duty case includes —25mm, 32mm, 50mm, 75mm, and 100mm—. The SP3 range is available worldwide from the middle of September and priced at $4,500 US for a single lens and $21,375 US for the complete set of five lenses and carrying case.

I see a couple of good use cases for the SP3 line including for larger productions to have the ability to use very compact mirrorless cameras for gimbals but still maintain a consistent look to match their A-camera lenses like the Panchro/i Classic Primes. The affordable price also makes them a great entry level option for indie filmmakers to capture the character of Cooke lenses with industry standard mechanics. The ability to easily change mounts also allows for more flexibility to use with different cameras, which is valuable to owner operators as well as rental houses. Unlike most other mirrorless lenses, the SP3 line have no built-in electronics for integrated focus assist functions or meta-data capture, which I think is more of a design choice than a shortcoming.  The price, size, and quality level, make Cooke SP3 lenses a unique product offering to the market.



Angénieux fills out their Multi-format EZ Zoom Series with new EZ-3, a 45-165mm T2.3/T3 (S35) or 68-250 T3.5/T4.5 (FF)

Angénieux has announced the new EZ-3 Zoom lens in collaboration with Band Pro and Jebsen Products. The EZ-3 is third in a series of multi-format lenses with the flexibility to quickly convert for use covering different sensor sizes and lens mounts. The new 45-165mm T2.3/T3 (S35) or 68-250 T3.5/T4.5 (FF) EZ-3 uses Angénieux’s IRO (Interchangeable Rear Optics) Technology with dedicated rear optical groups customized for both S35 and Full Frame sensors and also provides interchangeable PL, RF, EF & E mount compatibility. The EZ-3 features a new quick user configurable IRO mechanism as well as a dual focus scale ring (feet/meters), that can be done in only 5 minutes. This new tele-zoom fills out the longer end of the EZ family and is compatible with the accessories of the EZ series.

Preorders are available now at a list price of $19,900 US. More information is available at:


Panasonic Introduces LUMIX G9II – Micro Four Thirds LUMIX G Series featuring PDAF technology

Panasonic has introduced the LUMIX G9II – the first camera in the Micro Four Thirds LUMIX G Series to feature PDAF technology. Phase Detection Autofocus paired with new AI-powered recognition technology improves autofocus accuracy, dependability, and speed. The G9II also features a brand new 25.2MP sensor and a new processor with twice the power for high-speed production of high-resolution images.  Designed to support photographers in all fields, this camera is compatible with lightweight LUMIX G Micro Four Thirds lenses for flexibility. Other highlights from the G9II’s improved imaging system:

  • Up to three seconds of continuous burst shooting at 60 fps in AFC mode, 75 fps in AFS mode when using the electronic shutter, and up to 1.5s of pre-burst recording
  • Autofocus now features 779 focus points for improved tracking ability and performance in difficult lighting situations
  • Robust image stabilization system with 8-stop Body Image Stabilizer, 7.5-stop 5-axis Dual I.S. with perspective distortion correction for video, and high mode for advanced Active I.S.
  • REALTIME LUT function enables personalized color palettes in addition to new preset modes such as LEICA Monochrome

Additional video focused features include:

  • 10-bit 4:2:0 bit depth at 5.8K (4:3) full sensor or 5.7K (17:9) recording at up to 60 fps for flexible framing options with different social media formats
  • Capable of up to 4K 120p for slow-motion video
  • Supports V-Log, a flat, neutral gamma curve and stated equivalent of 13+ stops of dynamic range
  • Supports ProRes 422 codec
  • Recording and playback are supported using an external SSD via USB
  • Up to four audio inputs when using optional XLR Microphone Adapter

MSRP for the camera body is $1,899.99 US.  For more info, visit :

Or to see the YouTube demo, visit:


Fujifilm Introduces a Hand-Holdable 24-300mm Addition to their Duvo Line of Dual Format Cine/Broadcast Zooms

The Optical Devices Division of Fujifilm has announced the introduction of the FUJINON Duvo HZK24-300mm Portable PL Mount Zoom Lens. With delivery to the U.S. market expected in Spring of 2024, the new lens supports both S35 and Full Frame sensors via a built-in expander that also serves to extend the focal length by 1.5 times to effectively cover 36mm-450mm. At 10.6 inches long and weighing only 6.5 pounds, the new Duvo is compact and lightweight enough to be utilized for shoulder-mounted operation, as well as with a Steadicam or remote crane arm.  It compliments the first in the Duvo line, a 25-1000mm F2.8-F5.0 PL Mount Cinema Box Lens that is currently in use by filmmakers as well as broadcasters who seek a shallower depth of field for a more cinematic look.  A wider angle portable zoom lens covering a focal length of 14-100mm is coming up next.

Other features of the Duvo include:

Access to a wide variety of accessories:

  • Duvo 24-300mm supports multi-camera operations to facilitate efficient production.
  • The lens can be connected to a third-party wireless lens controller, a setup commonly used for movie and TV commercial production, to remotely control focus, aperture and zoom. This also supports focusing by a dedicated focus operator. 
  • The lens focus ring has a gear pitch of 0.8M, which allows the use of all standard, third-party accessories for movie production.

Features electronic functions to support:

  • Duvo 24-300mm features Breathing Compensation Technology (BCT), which automatically corrects focus breathing (fluctuations in the angle of view) to produce natural footage while maintaining the subject being filmed in the established field-of-view during changes in focus.
  • The lens also features Remote Back Focus (RBF), which enables the control of the flange focal distance from either the control panel of the camera or the robotic system that supports the RBF feature. It allows for precise adjustment with a large, high-resolution monitor and controlled lighting in a studio control room or in an OB van/production truck as opposed to via the onboard viewfinder.
  • Duvo 24-300mm is compatible with the “ZEISS eXtended Data” system developed by ZEISS based on the open /i Technology standard. It enables the recording of lens metadata (focus, zoom, and iris position), as well as of lens distortion and shading corrections.

For more information on the Duvo Series of PL Mount Zoom Lenses, please visit

Canon Announces RF-Mount Full Frame CN-R Cine Primes Series: 14mm, 20mm, 24mm, 35mm, 50mm, 85mm, and 135mm

At IBC, Canon unveiled their CN-R Cinema RF-mount primes lens series.  The full line of seven full-frame primes include a 14mm T3.1, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.3, 85mm T1.3, and a 135mm T2.2.  They feature a native RF-mount for electronic communication with the option to also remain fully manual. The fast T-stops provide shallow depth of field and their optical design supports good peripheral illumination, suppresses chromatic aberration, and offers distortion correction, delivering up to 8K resolution with HDR.

What separates this series from previous Canon CN Primes, (previously available only in EF or PL mount,) is the native RF-mount which is designed specifically to work with mirrorless cameras. Having a shorter flange back distance of approx. 20mm (which is less than half of the distance on DSLR cameras), allows lenses to fit closer to the focal plane of the camera’s sensor. This short back focus not only allows the camera body design to be more compact, but also gives more freedom for optical system design improvements. When used on supported cameras, these lenses can take advantage of the 12-Pin Data Communication System which utilizes multiple channels dedicated to specific functions and enhances lens and camera cooperation for functions such as dual-pixel AF as well as generally improved focus precision and image stabilization. The CN-R primes feature 300º of focus rotation, glow-in-the-dark markings, the same standard front diameter of 114mm, and with exception of the 14mm, they feature 105mm filter threads for quick interchange of lenses and filters.

Canon is planning to release more of their cinema lenses with RF-mount options to enable native communication between their professional cine lenses and RF-mount cameras, like their currently available EOS C70 and EOS R5 C. The new CN-R lenses are expected to start delivering in early 2024 at a per lens MSRP below $4,000 US.


Blackmagic Announces Free App Bringing Their Digital Film Camera Controls to the Apple iPhone

Blackmagic Design has announced “Blackmagic Camera”, an app that brings Blackmagic digital film camera professional features and camera controls to the iPhone. Integration with Blackmagic Cloud allows creators to collaborate and share media with multiple editors and colorists around the world instantly.

Blackmagic Design’s user friendly interface allows the iPhone to be used in a fashion similar to a professional digital film camera. This means customers can adjust settings such as frame rate, shutter angle, white balance and ISO all in a single tap. The heads up display shows status and record parameters, histogram, focus peaking, levels, frame guides and more. Everything is interactive, allowing instantaneous visual change of settings without having to search through complex menus. Users can clear the heads up display to reveal the full screen image by swiping up or down with their finger.  Auto focus can be reset by tapping the screen in the area to be focused on. Users can shoot in 16:9 or vertical aspect ratios, plus customers can shoot 16:9 while holding the phone vertically if they want to shoot unobtrusively, (what Blackmagic terms “Stealth Mode”.)

There are also tabs for media management including uploading to Blackmagic Cloud, chat and access to advanced menus. Or record directly to Blackmagic Cloud in industry standard 10-bit Apple ProRes files up to 4K. Recording to Blackmagic Cloud Storage lets customers collaborate on DaVinci Resolve projects with editors anywhere in the world, all at the same time. The media tab has all the controls needed to browse or scrub clips for quick review, search and sort and view the upload status of their media. Customers can also link to their photos and select clips to upload to the Blackmagic Cloud. Integrating Blackmagic digital film camera control will also allow the iPhone to serve as a camera-to-cloud upload device. When shooting with Blackmagic Cameras, video capture can be instantly uploaded as a proxy file, followed by the camera originals, and saved to Blackmagic Cloud Storage. This means customers can start editing quickly using their proxies, speeding up their workflow.

Blackmagic Camera Features

  • Shoot in 16:9 or vertical aspect ratios.
  • Stealth mode for shooting 16:9 while holding phone vertically.
  • Capture in Apple ProRes, HEVC and H.264 with auto proxy generation.
  • Frame rate, shutter speed, exposure, white balance, tint and color space camera controls.
  • Focus assist, zebra, frame guides, histogram, 3D LUT monitoring.
  • Time of day or run time, timecode recording.
  • PCM, IEEE Float or AAC audio recording, 44.1 or 48 kHz sample rate.
  • VU or PPM audio meters.
  • Thumbnail view of all recorded clips in media tab.
  • Preview clips with scrubber, duration, timecode and file name display.
  • Fully integrated with Blackmagic Cloud and DaVinci Resolve.
  • Record to iPhone, select recorded clips to share via Blackmagic Cloud or sync automatically. 

Blackmagic Camera is available now as a free download from the Apple App Store.


Adobe Harnesses the Power of AI to Bring a Host of New Features to Premiere, After Effects, and

Coinciding with the start of IBC 2023, Adobe announced many new features and optimizations to several of their Creative Cloud applications.  Based on extensive user feedback, these innovations, which are largely made possible via the integration of AI technology, are included in new beta releases across Premiere Pro, After Effects and,  The idea is to allow AI-powered features to automate time-intensive tasks so editors and motion designers can concentrate on the creative aspect of their work while improving productivity.

Premier Pro:  The new Premiere Pro beta release adds features including Enhance Speech for quicker dialog cleanup, filler word detection and removal in Text-Based Editing, and improved Auto Tone Mapping for more consistent color output. The timeline is said to now be five times faster making all functions smoother and more responsive.  The “Enhance Speech” function helps correct sound recording scenarios like a poorly placed mic, excessive background noise or, low-quality archive footage which was previously very difficult to clean up. The use of the mix slider allows for incorporating some of the background noise to make it sound more natural.  A new Audio Category Tagging feature uses AI to determine which clips contain dialogue, which contain music, and which are sound effects or ambient noise. When each audio clip is selected, the most relevant tools are automatically displayed. Both of these features process in the background allowing the editor to keep working on other tasks. Text-Based Editing now includes filler word detection to automatically identify “ums” and “uhs” in dialogue. This allows for quick removal of those filler words, pauses or any other unwanted dialogue in one step using bulk delete.

After Effects:  New AI rotoscoping abilities streamline After Effects workflows by removing objects faster and more accurately while a new, true 3D workspace integrates 3D models for VFX composites and motion graphics. The new “True 3D Workspace” is said to open the door to an entirely new way to design in motion adding depth and dimension to compositions in a unified space with native import of 3D models. Image-Based Lighting realistically places models into a scene with complementary lighting and shadows using any image as a light source, making objects appear as though they naturally belong in the image. 3D motion graphics are generated using an advanced 3D renderer, with fast performance, high-quality antialiasing, and fantastic transparency. A unique way to combine 2D and 3D in a composition has also been added. Effects that reference another layer, such as Displacement Map, Vector Blur, or Calculations, can use a 3D model layer as a source to create highly stylized renders.  Another new feature is “AI-Powered Roto Brush” which helps deal with hard-to-isolate objects such as overlapping limbs, hair, and transparencies to separate from their background.  This addition is said to allow editors, motion designers, and VFX artists to shave off hours of tedious rotoscoping work to focus on the more creative aspects of their projects.

New in  A combination of AI and new partnerships are designed to help teams customize their workflows to accommodate the ever-increasing demands.  “ Storage Connect” accelerates collaboration and cuts costs for Enterprise customers needing solutions to scale, while maintaining full control of their assets via direct connection to AWS S3 storage with lightweight proxies available in Storage Connect will be available later this year for Enterprise customers. Comparison Viewer” allows users to quickly compare work over a wide range of assets and versions. The comparison viewer now supports viewing video, audio, photo, design file, and PDF assets side-by-side without leaving and users can compare any two matching asset types with access to commenting and annotations to carefully consider two different assets, or many versions of an asset or draft.  Meanwhile, Camera-to-Cloud continues to build momentum, now supporting over 200+ camera systems through a vast network of integrations.  New collaborations with companies such as Atomos and Fujifilm are allowing easy capture and automatic upload of high-quality 10bit 4K H.265 assets to after each take. Fujifilm’s new large-format mirrorless GFX-100-II allows photography and video teams to capture and upload 102MP RAW photos and up to 10bit 8K video clips remotely to from the 55mm CMOS II HS sensor (11648 x 8736 pixel). This camera boasts a native integration, requiring no additional hardware for camera-to-cloud. Additionally, Accsoon will unveil the SeeMo and SeeMo Pro devices allowing the use of iPhones and iPads as professional video monitoring devices with features similar to those offered by Atomos, Blackmagic Design, or SmallHD. The SeeMo, ideal for mirrorless cameras, attaches to cameras via HDMI. The heavier-duty SeeMo Pro attaches via HDMI or SDI and is perfect for ENG and mid-range cine cameras. With the new C2C integrations, both allow you to monitor, record, and upload lightweight HD H.264 video clips from your connected iPhone or iPad directly to

All these features are available now in beta and are planned to be generally available later this fall. For more information on how to access the beta apps, please visit the Premiere Pro (beta) ( and After Effects (beta) ( pages.



AJA Celebrates 30 Years With Several New Product Launches at IBC 2023

AJA has announced several new products and updates to coincide with IBC 2023 and the company’s 30 year anniversary. Designed to help media professionals keep pace with evolving formats, protocols, and codecs, the new solutions offer advantages like ultra-low latency, improved color management and quality control (QC) capabilities, NDI and 12G-SDI connectivity, and more.

Highlights include:

• The new KONA X I/O card features built-in streaming DMA with as low as subframe latency video capture/playback and the ability to be controlled with Desktop Software v17 for next-generation AI/AR workflows such as Virtual Production.

• An HDR Image Analyzer 12G software update version 3.0 offers new capabilities including Dolby Vision metadata 4.0 and 2.9 display, more 8K formats support, new multichannel analysis capabilities, and high bandwidth NDI analysis capabilities.

• New openGear cards offer 12G-SDI audio and HDMI conversion functionality built into an openGear rack frame-compatible form factor. The OG-12G-AMA is a 12G-SDI analog audio embedder/disembedder, and the OG-12G-AM is a 12G-SDI AES/EBU embedder/disembedder, as well as the OG-Hi5-12G and OG-HA5-12G for converting 12G SDI to HDMI 2.0 and vice-versa, with available fiber-enabled models. 

Many more details are available at the AJA website:

And an in-depth rundown of all the product news by AJA President Nick Rashby can be seen here:


IBC 2023 Blackmagic Design Product Announcements For Multi-cam and Live Production

In the run up to IBC 2023, Blackmagic Design CEO Grant Petty gave a live stream presentation detailing a host of new products to be released at the convention, (a recording can be found here:

DCS has extensively covered the Blackmagic Camera app, the Cinema Camera 6K, and many updates included in the latest Resolve 18.1, but wait, there’s more. Here are additional product updates that might be of particular interest to those engaged in multi-camera live and streaming productions:

Blackmagic Studio Camera 4K Plus G2 is a mini studio camera that features a 4K sensor with up to 25,600 ISO, MFT lens mount, 12G-SDI and HDMI, 3.5mm talkback, and 7″ LCD with sunshade. Advanced features include talkback, tally, camera control, built in color corrector, Blackmagic RAW recording to USB disks, and live streaming capabilities. Focus and zoom demand are also integrated for lens control. Available now at an MSRP of $1,345 US.

Blackmagic Micro Studio Camera 4K G2 is an ultra compact, Ultra HD live production camera with upgraded 4K sensor and 12G-SDI. The new 4K G2 represents the next generation model of the Blackmagic Micro Studio Camera 4K. The new model retains the same compact design of the original model, but now has an upgraded 4K sensor with a stated 13 stops of dynamic range and dual native ISO up to 25,600. The Micro Studio Camera 4K G2 also adds 12G-SDI for operation up to 2160p60, and a new USB-C expansion port for recording Blackmagic RAW to external disks as well as network control via Ethernet adapters. The 4K G2 will be available in October at an MSRP of $995 US.

The new Blackmagic Videohub 12G-SDI is a video router that allows connection of a large number and variety of equipment. Videohub routers support 12G-SDI so they allow you to connect and route any combination of SD, HD and Ultra HD on the same router at the same time. Plus they have zero latency, so they are well suited for live production and broadcast. The design features a front panel with LCD for labels and live video, shortcut buttons, and a machined metal spin knob that allows browsing between multiple video sources. Ethernet is also included to remotely control the router using a range of external hardware or software control panels. The new Videohub 80×80 is available now for an MSRP of $9,995 US.

The latest ATEM Advanced Panels offer professional control of multiple sources at affordable prices. The new ATEM Advanced Panels open up the power of ATEM and allow the setup of more complex effects. They can also offer a preferable way to work because they have physical broadcast quality buttons, knobs and a t‑bar fader to access all features in the switcher. The two new ATEM 1 M/E Panels now offer either 20 or 30 buttons with 2 system control LCDs, control of 4 upstream keys, 4 downstream keyers, and 4 M/E rows. Available now for MSRPs starting at $3,899 US.

For more details on these and other new Blackmagic Design products visit:


SIGMA Announces 100-400mm F5-6.3 DG DN OS and 23mm F1.4 DC DN Contemporary Lenses for Fujifilm X Mount System

SIGMA has announced the release of two new lenses for the Fujifilm X Mount camera system. The addition of the 100-400mm F5-6.3 DG DN OS | Contemporary and the 23mm F1.4 DC DN | Contemporary expands the line of SIGMA products for Fujifilm X Mount to six lenses. The 100-400mm F5-6.3 is the second zoom lens for Fujifilm X Mount, joining the compact 18-50mm F2.8 DC DN; while the 23mm F1.4 joins the fast F1.4 prime lineup, which also includes the 16mm F1.4 DC DN, 30mm F1.4 DC DN, and 56mm F1.4 DC DN Contemporary lenses. The X Mount versions of these lenses join the Leica L and Sony E-mount versions which are currently available for purchase through authorized retailers. The new lenses will be available September 21, 2023 at $949 US for the zoom and $549 US for the prime lens.  To learn more:

SIGMA 23mm F1.4 DC DN | Contemporary: 

SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary  

SIGMA X Mount: 


DCS Member News

Panavision President and CEO Kim Snyder Receives the HPA Alchemist Award

The Hollywood Professional Association recently awarded Panavision President and CEO Kim Snyder their Alchemist award, which recognizes a leader in the entertainment industry who spearheads the innovation of noteworthy technology in production, post or workflow, and who is dedicated to serving the community.  The Alchemist Award, an HPA League Honor, was presented during the HPA Women in Post summer lunch where she was the featured speaker. In a wide-ranging Q&A, Snyder spoke about overcoming obstacles while bringing new technologies to life, adapting to new trends in an ever-evolving industry, and fostering a culture of curiosity and risk-taking.

Snyder has led Panavision’s global portfolio of companies since 2012, after a long tenure at Eastman Kodak, where she served as president and general manager for the company’s Entertainment Imaging Division. Throughout her career, Snyder has been committed to supporting under-represented communities in the entertainment industry — clients, colleagues and coworkers. Under her leadership, Panavision has supported and helped spearhead a variety of industry initiatives, including as a founding partner of the Academy Gold Program, a multi-tiered educational and experiential diversity initiative, and a primary sponsor of the AFI Cinematography Intensive for Women, a tuition-free workshop for women early in their journey as directors of photography. Snyder is a graduate of the California University of Pennsylvania with a degree in computer science, and she holds an MBA from the University of Rochester William E. Simon Graduate School of Business.


Snehal Patel Forms to Educate the Entertainment Industry About Virtual Production

After many years representing such leading equipment manufacturing companies as ZEISS and ARRI, Snehal Patel has returned to his roots as a filmmaker to form Fearless Productions. While busy as a creative storyteller, he will also be exploring the latest technologies with an eye towards educating and advising other filmmakers in their use. For his most recent independent project, Snehal has taken on the herculean task of creating a Cyberpunk Music Video that features both action sequences and dance numbers set in virtual environments. With the help of a team of professionals and a bit of AI, he is diving head first into the complicated world of creating images with a mix of technologies including LED walls, Volumetric NERF, AR, XR and more. Snehal is sharing the lessons learned about the ever-evolving Virtual Production workflows and the Generative AI process through various social outlets. He can be followed as on TikTok, Instagram, YouTube, Facebook and LinkedIn. Besides his longtime participation in DCS, Snehal is involved at a leadership level with SMPTE, helping to create metadata standards for VFX and Virtual Production workflows. In addition to working as a technology consultant to various productions, he openly shares his knowledge by speaking at various events and film festivals.



Although we have currently paused the collection of member dues while we transition to a new membership system, we still are in need of your contributions to continue our mission and maintain our services to members. So if you can afford it, please take a few minutes to send a donation.  DCS is a 501(c)3 nonprofit and donations  can likely be claimed as deduction on your US federal taxes.  You can follow the convenient PayPal link, (using any major credit card, and you don’t need to be signed up for PayPal,) or you can send payment to our offices at P.O. Box 1973 Studio City, CA 91614, USA.

Donate to DCS:



As always, we want to send out a big thanks to all “Friends of DCS,” whose support makes it possible for us to continue the DCS mission of educating the entertainment industry about the advancements in digital and cine technology:

AbelCine – Adobe – AJA – Angénieux – ARRI – Avid – BB&S Lighting – Band Pro – Birns & Sawyer – Blackmagic Design – Brokeh – Canon – Cartoni – Cineo – Cinnafilm – Codex – Cooke Optics – CORE SWX – Dadco/SunRay – Dedolight California – Fiilex – Fomex – FootageBank – – Fujinon – Infinity Photo-Optical – K 5600 – Kino Flo – Leitz Cine Wetzlar – LiteGear – Litepanels – Luminys – MACCAM – Mole-Richardson – Nanlite – OWC – Panasonic Lumix – Panavision – Quasar Science – RatPac Controls – Rebel Marketing — Riedel – Rosco – SIGMA – SmallHD – SUMOLIGHT – Teradek – The Studio-B&H – TRP Worldwide – Tokina – Wooden Camera – ZEISS


Follow DCS on Social Media

Follow DCS on Facebook, Twitter and Instagram. Don’t forget that the Digital Cinema Society has a Facebook fan page. Check in for the latest news, event details and general DCS hubbub at:

On Twitter, you can follow us @DCSCharlene

On Instagram at: digitalcinemasociety


Our Home, The Digital Cinema Society:

“It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change.” Charles Darwin