NEWSLETTER – SEPTEMBER 2026
DCS UPDATE
As we prepare this eNewsletter, the date is September 11th, the twenty-fifth anniversary of the terrorists attacks, but on a more positive note, it also marks the start of IBC 2026 in Amsterdam. We were not able to attend this year, but there is plenty of industry news and product releases in the lead up to the convention as you can see from the long list of news items below. However, before we get to all that, we have some DCS news: James Mathers will be speaking at USC later this month, and for his One DPs Perspective essay this issue we feature a DCS Road Test – Taking Infinity’s Latest MikroMak Probe Lens Kit for a Spin.
- New From FUJIFILM at IBC 2026: Viewfinder for GFX ETERNA 55 and Remote Control App
- ARRI Introduces SNAPGRID CORE – Precision Light Control for Omnibar
- Blackmagic Announces Major Price Reduction on Full Frame 6K Cameras
- Leitz Cine Introduces the Leitz iD Mount Enabling Metadata Interface for Leitz HUGO and Leitz SUMMILUX-C Lenses
- OWC Announces Expanded Line of Docks, Hubs, and Cables plus Jellyfish Enhancements at IBC 2026
- Blackmagic Announces DaVinci Resolve 21.1 with Major AI Assistant Integration and New Color Tools
- Sigma Announces Two New Lenses: 20-60mm F2.8-4 DG Contemporary Wide Zoom and 85mm F1.2
- AJA Debuts OG-FiDO-4 openGear Four-Channel SDI/Fiber Conversion Cards
- Sigma Adds Three New Lenses to Aizu Prime Lineup: 21mm T1.3 LF, 100mm T1.3 LF, 125mm T1.3 LF
- HONOR Robot Mobile Device Debuts with ARRI Color Science Implemented
- AJA Introduces FS8 – Next-Gen 12G-SDI/SMPTE ST 2110 Media Processor
- ARRI Introduces LiOS 3.3.0 Firmware for SkyPanel Pro, SkyPanel X, and Orbiter
- Laowa Introduces Aksen — a New Full-frame Parfocal Zoom Ultra Macro Lens Series
- OWC Announces Express 4M2 Ultra – Fast and Compact Thunderbolt 5 NVMe RAID Solution
- AJA Announces Io Xpand, a Compact and Portable Thunderbolt 5 Expansion Chassis
- Blackmagic Announces Camera 10.2.2 update for Cinema Camera 6K Adding Support for Phase Detect Autofocus
- Laowa Announces 180mm Macro AF Now Available in Fujifilm X-Mount and Nikon F-Mount
- Blackmagic Design Announces New Line of UltraStudio Mini 12G Capture and Playback Solutions
We also have several interesting episodes of Michael Valinsky’s “The Making Of” Podcast to recommend: the first episode features Tom Fletcher, a true pioneer in the areas of sports production, cine, and broadcast technology, who is also a founding member of DCS and past President of the Midwest Chapter in addition to co-creating, along with Gary Adcock, the famous Camera Comparison Charts. Plus, we want to tell you about an episode featuring the creative team behind the Apple TV series Widow’s Bay including the DP, Editor, and Production Sound Mixer. In addition, we are highlighting an episode that features cinematographer Nik Summerer, ASC, best known for his work on the series Dark, as well as the feature film Color Book. Among the sponsors of these podcasts are DCS supporters AJA, OWC, and ZEISS.
One DP’s Perspective
DCS Road Test – Taking Infinity’s Latest MikroMak Probe Lens Kit for a Spin
by James Mathers
Cinematographer and Founder of the Digital Cinema Society
As regular readers of my essays will know, when I’m asked to evaluate gear, I like to create real world scenarios that I call DCS Road Tests. These Road Tests give me the opportunity to really judge performance and show the results in just the way I would be using the tools in my work. I was already a user and fan of Infinity Photo-Optical Micro/Macro lenses, so when they asked me to take a look at a new kit they had put together to be easier to use and with greater range of focus and magnification, I set about devising a series of shots that would really put these lenses to the test.
I invited my good friend and regular collaborator, Cinematographer Cameron Cannon, to join me. To my good fortune, he is always happy to try out new gear, stay current with the latest technology, and share his professional evaluations. I strung together some of our shots, followed, for comparison, by another short sequence done at 940fps on a Phantom camera by another frequent collaborator, Cinematographer Enrique Del Rio, with an earlier Infinity model TS-160. Please view these shots before reading on at: https://vimeo.com/1211440631
The MikroMak Prime Probe Lens set consists of 40mm, 50mm, 70mm, 90mm and 125mm prime lenses along with a 25mm front field expander for the 40mm lens. Additionally, the MikroMak/RO 120mm prime probe lens and its 55mm front field expander rounds out the set.
In a real shoot there is never enough time, and so to make these evaluations as realistic as possible, I decided to place some limits on the time allotted. Cameron and I spent only about two and half hours doing three interior shots, and the following day, I ventured into our backyard with DCS Executive Director and would-be reptile wrangler, Charlene Mathers, along with our pet gecko, Herbie.
Herbie is a veteran performer, having not only starred in a myriad of previous camera tests, but had gotten his start in front of the camera some 30 years ago in a Monkees reunion TV movie on which I served as DP. After three decades in front of the camera, Herbie is still a temperamental talent, which, as I will explain, actually served us well for this test. I also managed to get a quick shot of a hummingbird which was even more flighty, (pun intended). I didn’t want to hang around too long outdoors that day because it was really hot, but it worked out because the flower shot is from a dragon fruit bloom that only opens up like that for a short time on a very sunny day. At any rate, I don’t think we were shooting for even an hour on all of our exterior shots, which helps to make the point that they are now much faster and easier to use.
We decided to use my Blackmagic URSA Mini Pro 12K Camera. It is one of the original S35 sensor models, as opposed to the newer full-frame version. Although this camera is capable of 12K, we didn’t require any more than 4K for these tests, so we captured in 4K BRAW. This resolution flexibility is one of the features I really like about this particular camera, and although it is not the very latest model, it still serves me quite well.
This particular body has a PL mount, but the Infinity lenses are fairly agnostic about mounts; the system’s Universal T2 Mount (M42 x 0.75) easily adapts to a variety of professional standards including the Sony E-mount, L-mount, EF-mount, and more. Only one specified adapter is included in each kit, but they are relatively inexpensive and with so many cameras and mounts in the field today, it is probably a good investment to have a few on hand to give the kit maximum versatility. I should note that these lenses can also cover a variety of sensor sizes from Super-35/APS-C to Full-Frame, maintaining a flat field over most formats and mounts.
In contrast to this relatively modern camera, for our first set up, I picked a few subjects as props from my collection of vintage 8mm and 16mm film cameras. Some of the cameras in my collection date back to the 1940s and are still operational, and that is a stark contrast from today’s digital cameras which are usually considered long in the tooth when they are just a few years old. To my way of thinking, if they still do the job as my 12K URSA keeps doing, I have no reason to put them out to pasture.
It is not so hard to hold everything in focus in a locked off shot, so I always try to add a little movement to highlight the abilities of these lenses with a slider, jib-arm, or motion control rig. However, none of those were handy for this little shoot, so I grabbed an old record player to use as a make-shift lazy-susan turntable and we also did a little panning to add some movement to the shot.
Having previously shot with Infinity lenses, Cameron and I had a bit of an advantage, but we were also greatly assisted by some basic operational instructions and charts they call a “Roadmap” which are now included in the kits. Since the MikroMak lenses don’t work like any average lenses, the process for setting up a shot is also different. It seems counterintuitive at first, but as the Roadmap instructions indicate, instead of focusing on your subject, you first find something in the far distance and set focus to infinity. You then lock a small set screw that seems to function like a flange adjustment on a modern zoom lens. This sets the lens into a deep focus mode, after which everything from infinity to within inches from the front element is in focus.
I like to refer to these Infinity kits as optical erector sets, because you can build out the many included pieces to serve innumerable types of unique shots. However, with so many pieces comes a lot of complexity which is another reason I found the Roadmap so instructive. With the vintage cameras and water shots we were hoping to demonstrate the deep focus abilities of these lenses, creating a good bit of distance between the furthest object and the closest, holding focus, without racking, as we moved through the shot. This would normally be quite a challenge at that kind of magnification, but I think we were successful in making our point, which is again, that these lenses hold a hell of a lot of depth-of-field, especially for macro lenses.
This deep focus at high magnification was also really helpful for the exterior shots; I was jumping between the 40mm and 90mm. The 90mm allowed me to back off and not be so close to the subject, yet hold a very high magnification. The hummingbird would not have visited the feeder if I had tried to set up as close as this lens seems to suggest. The 40mm made for a little wider field of view even with the lens just a few inches from the subject. This was helpful when Herbie tried to dart off out of frame and ended up giving us a great view of his full scaly body as he slithered away. Meanwhile, the inside of the flower holds focus deep into the bloom even though it was necessary to be only a few inches from the tip of the petals to get the right angle.
Having a choice of focal lengths and the guide to help you make the right choices makes set up faster and easier. Let me share an anecdote as a point of comparison between the new kit and the luxury watch commercial test I helped Enrique shoot using an earlier version of the lenses. At that kind of magnification, it is not easy to even find your subject in the frame. When we first started setting up the watch shot we couldn’t figure out the strange looking squiggly image on the monitor until we realized we were well inside the face of the timepiece and just looking at part of a letter in the fine print of the watch’s name.
So, setting up Enrique’s watch demo took a little more effort, but the capabilities of the Infinity lenses still proved really valuable. He was able to maintain extreme magnification, filling the frame with the watch face, and hold a deep focus as the subject swung back and forth spinning through frame.
Overall, with the well organized kit and Roadmap instructions, it is much faster to get started using Infinity MikroMak Prime probe lenses. However, I’m not one to sing the praises of any type of gear without giving at least mention of any challenges. In this case, although the lenses are faster to set up, they are still slow in the sense of light transmission. They don’t have any t-stop markings, but if they did, it would be closed beyond a T22. Now, that’s a lot of necessary illumination, yet not something that can’t be handled relatively easily these days.
Modern digital cinema cameras keep getting more sensitive and LED lighting becomes more efficient with greater output. We only used a Litepanels Astra running on a camera battery as our key-light for our interiors, and Enrique was able to shoot 940fps with only a single 1,200 watt LED that could plug into a household circuit. Another minor thing, hardly worth mentioning, is that some of these lenses vertically flip the image. For me, this has never been an issue since I operate off an 8” monitor that can flip the image back to the desired orientation with a quick switch. Infinity also makes what they call the “Flipper,” an optical accessory designed to invert the image as needed. It is not included in this kit, but I wouldn’t use it if it were, not wanting to ever put more glass in front of the sensor than necessary.
We didn’t have time to test each of the innumerable combinations possible with this kit, but suffice it to say that if you are aiming to shoot in the micro/macro range, this kit will have you covered. The Infinity MikroMak Prime Probe lens kit is well organized with clear roadmap instructions that make it fast and easy to get going and explore the world of micro/macro image making.
DCS News
James Mathers to Speak at USC on the Enduring Attributes of Shooting Movies on Celluloid
Cinematographer and Founder of DCS, James Mathers, will make a presentation for students at USC, with a limited number of DCS guests also invited to attend. James will give a brief history of film and digital formats comparing modern motion picture acquisition technologies and highlighting the qualities that help to keep film a viable tool for motion picture cinematography. The presentation will be followed by a Q&A led by Matt Scott, Adjunct Professor at the USC School of Cinematic Arts.
The session is presented by the USC SMPTE Student Chapter in cooperation with the USC School of Cinematic Arts and will take place on September 21st, starting at 5:30PM, in the Michelle and Kevin Douglas IMAX Theatre on the USC campus. Non-students interested in attending can email us at: Charlene@DigitalCinemaSociety.org with your name and contact details, so that we can confirm your rsvp and save you a seat.
INDUSTRY NEWS
New From FUJIFILM at IBC 2026: Viewfinder for GFX ETERNA 55 and Remote Control App
FUJIFILM is expanding the GFX ETERNA 55 ecosystem and has a couple of interesting announcements at IBC 2026 including a 4:3 electronic viewfinder and a remote camera control app. The VF-GFXC2 Electronic Viewfinder is engineered specifically for large-format open gate cinema and features a native 4:3 panel (2048 x 1536 resolution) with 1,000-nit peak brightness and 1.0x optical magnification. Housed in a rugged machined aluminium chassis, it provides critical focal evaluation without letterboxing or downscaling. It will be available to buy before the end of 2026.
Learn more about VF-GFXC2 at: https://shopusa.fujifilm-x.com/discover/vf-gfxc2-electronic-viewfinder-for-fujifilm-gfx-eterna-55
The ETERNA ProRemote App for iOS & iPadOS is a dedicated control application offering full remote camera parameter adjustments, Touch AF, power zoom driving, and low-latency live feeds with professional exposure tools (Waveform, Vectorscope, Parade). It connects via Bluetooth, Wi-Fi, or Wired LAN across single- or multi-camera setups. It will be free to download before the end of September 2026.
Learn more about ETERNA ProRemote at: https://shopusa.fujifilm-x.com/discover/eterna-proremote-for-fujifilm-gfx-eterna-55
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ARRI Introduces SNAPGRID CORE – Precision Light Control for Omnibar
In their continuing effort to build out accessories for their Omnibar, ARRI is working with DoPchoice and introducing SNAPGRID CORE at IBC 2026. Said to be a first-of-its-kind, the flexible hard grid system has a 40° honeycomb-style structure, designed for precise light control with Omnibar 2 and Omnibar 4. Compatible with the Omnibar Flat Diffuser and Intensifier, SNAPGRID CORE adds even more flexibility creating a soft, controlled light. It can also be combined with the Intensifier for increased output and precise spill control. SNAPGRID CORE attaches quickly without restricting access to Omnibar’s built-in magnets or flexible rigging options.
Find our more about Omnibar accessories and interchangeable optics at: https://www.arri.com/en/lighting/led-linear-lights/omnibar-accessories#403946
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Blackmagic Announces Major Price Reduction on Full Frame 6K Cameras
Blackmagic has announced a reduction in the price of Blackmagic PYXIS 6K models and Blackmagic Cinema Camera 6K by over US$1,000. According to Blackmagic, these lower prices have been made possible by securing better pricing on parts. This means full frame 6K digital film cameras are now more affordable, which is great if you’re in the market to buy one, but not such good news if you already own such a camera.
These models feature a sensor with a native resolution of 6048 x 4032 allowing for shallow depth of field or use of anamorphic lenses un-cropped. They also feature dual native ISO up to 25,600 and the ability to shoot up to 36 fps at full sensor resolution or 120 fps windowed. The Blackmagic PYXIS 6K and Cinema Camera 6K can shoot in all standard resolutions and frame rates from HD up to DCI 4K as well as 6K. Mount choices include L-Mount, EF or PL.
The new prices are listed below:
Blackmagic Cinema Camera 6K has been reduced from US$2,715 to US$1,595.
Blackmagic PYXIS 6K L has been reduced from US$3,080 to US$1,995.
For more details visit: https://www.blackmagicdesign.com/media/release/20260904-01
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OWC Announces Expanded Line of Docks, Hubs, and Cables plus Jellyfish Enhancements at IBC 2026
OWC is using the occasion of IBC 2026 to announce a long list of new and enhanced products including a new Thunderbolt 5 Dock with Dual HDMI and Thunderbolt 5 (USB-C) cables, a USB4 Hub with USB4 40Gb/s active optical cables in 3-Meter and 5-Meter Lengths, and major enhancements to their Jellyfish network-attached storage solutions.
New Thunderbolt 5 Dock with Dual HDMI and Thunderbolt 5 (USB-C) Cables are now available in 1.5-Meter Length. Now one connection provides the displays, storage performance, networking, power, and connectivity of an enterprise-class desktop workstation – without the need for a pile of adapters and workarounds.
Key features include:
● Two HDMI 2.1 ports built right in. Any monitor that has HDMI plugs directly into the dock with zero compatibility guesswork.
● Everything Through One Cable: A single Thunderbolt 5 connection delivers dual displays, wired networking, storage, card readers, and full laptop charging simultaneously.
● 140W Power Delivery: Keeps MacBook Pros and high-performance Windows laptops fully charged and the front USB-C port delivers up to 30W of charging for your smartphone or tablet while you work.
● Fast, Stable Wired Networking: 2.5GbE delivers the throughput needed for NAS workflows, large file transfers, and secure corporate environments.
● Pull Media Directly from Cards: UHS-II SD and microSD slots let photographers and video editors offload footage without a separate card reader.
● Built for What’s Next: Supports dual HDMI displays at up to 4K 240Hz or dual 8K 60Hz with DSC on Thunderbolt 5 hosts. A third display is possible via Thunderbolt or USB-C.
● Works with the Whole Fleet: Compatible with Thunderbolt 5, Thunderbolt 4, USB4, USB-C, and Thunderbolt 3 (Mac) hosts across Mac and Windows environments.
● OWC Innergize™ Enabled: A complete health, performance, and field update management app when using OWC Atlas SD memory cards with the dock’s SD memory card reader.
● One-Click Safe Disconnect: OWC Dock Ejector unmounts every connected drive in a single click. On macOS, an included driver also enables Apple Super Drive support through the dock.
The OWC Thunderbolt 5 Dock with Dual HDMI will be generally available (GA) in November and priced at US$349.99. To learn more, please visit: https://www.owc.com/solutions/thunderbolt-5-dock-with-dual-hdmi
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OWC USB4 Hub and USB4 40Gb/s Active Optical Cables in 3-Meter and 5-Meter Lengths
OWC has announced the expansion of its USB4 product portfolio with the addition of the OWC USB4 Hub and USB4 40Gb/s Active Optical Cables in 3-Meter and 5-Meter Lengths. The OWC USB4 Hub is designed for creative professionals, heavy storage users, and hybrid workers, as well as anyone using a modern laptop as their primary computer who wants full desktop connectivity without the clutter. In short, it gives users the portability of a laptop without connectivity compromises when they sit down to work.
OWC USB4 Hub Key Features:
● One Cable Desk Setup: Up to 40Gb/s of total bandwidth, high resolution and high refresh rate display output, and industry leading charging, all through a single USB4 cable.
● Fast USB4 Speed.
● Native HDMI 2.1 Connectivity via a built-in HDMI 2.1 port to directly plug in any modern HDMI display up to 4K 120Hz, 4K 240Hz with DSC, or 8K 60Hz without adapters or dongles.
● Two 10Gb/s USB-C Ports: Two additional USB-C ports for drives, adapters, and accessories.
● Compatible with Thunderbolt 5/4/3, USB4, and USB-C Mac, Windows, Linux, and iPad Pro hosts and devices.
● Silent and Cool by Design: The fanless aluminum housing dissipates heat efficiently for quiet, throttle-free operation.
In addition the OWC USB4 40Gb/s Active Optical Cables are now available in 3-meter and 5-meter lengths. The cables deliver:
● NEW! DisplayPort Alt Mode Series Support: Compatible with both Thunderbolt displays and USB-C displays using DisplayPort Alt Mode.
● Uncompromised Speed: Work and play faster with up to 40Gb/s of stable data transfer speed over long distances.
● Versatile Connections: Connect to externally powered Thunderbolt 40Gb/s and USB4-equipped docks/hubs, displays, eGPUs, PCIe expansion, RAID storage, and more.
● Power: Lab-certified for safe power delivery from Thunderbolt and USB-C devices that provide power delivery to a host machine.
● Diverse Displays Compatibility to support high-resolution Thunderbolt displays up to 8K, including Apple Pro Display XDR, Apple Studio Display, LG Ultrafine, and other Thunderbolt-based displays.
● If It’s Lit, You’re Legit: Features LED indicators on both ends that confirm your connection status at a glance.
The OWC USB4 Hub will be generally available (GA) at the end of October and priced at $129.99. To learn more, please visit: https://www.owc.com/solutions/usb4-hub
The OWC USB4 40Gb/s Active Optical Cables will be generally available (GA) in mid-October in 3-meter and 5-meter lengths, and priced at $98.99 and $129.99, respectively. To learn more, please visit: https://www.owc.com/solutions/usb4-cables
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Last, but not least, the new Jellyfish Network-Attached Storage has major enhancements designed specifically for video and creative teams.
The Jellyfish enhancements include:
● OWC Jellyfish Connect 4: Dramatically improved automatic setup process makes connecting and reconnecting Mac and PC workstations during productions faster, easier, and far more seamless
● OWC Jellyfish Manager 3.2: Centralized interface for configuring, administering, and monitoring OWC Jellyfish storage systems, users, permissions, networking, and system health
● OWC Jellyfish Media Manager 3.2: Media workflow tool that helps creative teams browse, search, preview, organize, and prepare content stored on Jellyfish for editing and production.
● Ultra High-Speed SMB Performance: ATTO SmartNICs and ThunderLink adapters, including a custom-cooled dual 25GbE NIC integrated into Nomad, enabling ultra high-speed SMB ingest and playback from single workstation for bandwidth-intensive workflows.
The OWC Jellyfish Manager 3.2 and Ultra High-speed SMB Performance for the Nomad are now generally available and the Jellyfish Connect 4 and Media Manager 3.2 will be rolled out during Q4 2026. To learn more about OWC Jellyfish NAS please visit: https://www.owc.com/solutions/jellyfish
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Laowa Announces 180mm Macro AF Now Available in Fujifilm X-Mount and Nikon F-Mount
Laowa is expanding its 180mm f/4.5 1.5X Ultra Macro APO lineup with a new Fujifilm X-mount and Nikon F-mount version. Previously launched in other mounts (Sony E / Nikon Z / Canon EF / Canon RF / L-mount), the lens now brings its versatile and ultra-compact tele-macro performance to Fujifilm photographers and marks Laowa’s first autofocus lens for the Fuji X system.
Key Features:
• Laowa’s first autofocus lens for the Fujifilm X-mount system.
• Compact and lightweight design for macro, telephoto, portrait, wildlife, and travel photography.
• 180mm focal length, providing a 270mm full-frame-equivalent field of view on Fujifilm APS-C cameras.
• 1.5× ultra-macro magnification for highly detailed close-up images.
• Minimum focusing distance of 30cm (11.8 in.) and a minimum working distance of 14.7cm (5.8 in.).
• Autofocus from 1.5m to infinity, with limited autofocus assistance for macro stacking.
• APO optical design with 12 elements in 9 groups for high sharpness and reduced chromatic aberration.
For more details visit: https://docs.google.com/document/d/1TwuisDOjv1ONYI_1aZvlghr7SUtUaGfe/edit
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Leitz Cine Introduces the Leitz iD Mount Enabling Metadata Interface for Leitz HUGO and Leitz SUMMILUX-C Lenses
Leitz Cine has introduced the Leitz iD Mount, an optional mount with a metadata interface for Leitz HUGO and Leitz SUMMILUX-C lenses. Compatible cameras can recognize the lens and record a package of static /i metadata with every clip, including the lens name, focal length, serial number, distortion map, and shading map.
By keeping this information with the footage through dailies and post production, the iD Mount can reduce manual lens logging, make it easier to identify the exact lens and focal length used for reshoots, and give visual effects teams immediate access to useful optical data. The recorded maps can support plate undistortion, compositing, lens matching and emulation, and reapplication of the original lens characteristics after visual effects work is complete.
Note: The iD Mount provides persistent lens identity and characterization data rather than full lens telemetry. It does not transmit live, frame-by-frame focus or iris positions, or calculations based on changing lens settings.
New HUGO and SUMMILUX-C lenses can be ordered with the optional iD Mount installed and programmed at the factory. Owners of existing lenses can purchase mounts as upgrades. The SUMMILUX-C version uses a PL mount, while the HUGO version uses an LPL mount. The Leitz iD Mount is priced at €500 per mount. The Leitz iD Mount Update Base is priced at €320 for either the PL or LPL version.
More information can be found at: https://www.leitz-cine.com/product/id-mount
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Blackmagic Announces DaVinci Resolve 21.1 with Major AI Assistant Integration and New Color Tools
Blackmagic Design has announced the release of DaVinci Resolve 21.1. This major update introduces AI assistant integration, expanded support for still photography and camera formats, plus over 100 new tools and controls for faster editing and color grading workflows. DaVinci Resolve Studio 21.1 now supports integration with AI assistants such as Claude, Claude Code and ChatGPT Codex, allowing you to analyze projects, organize media, adjust settings and batch render using everyday conversational language. You can ask your AI assistant to create highlight edits from long-form video, remove unwanted clips and render deliverables, so you can spend more time being creative rather than getting bogged down in repetitive tasks.
The Photo page now supports a wider range of camera formats including Fujifilm’s GFX and X Series, Leica’s SL-System, and additional Sony Alpha models, so you can take advantage of DaVinci Resolve’s professional color tools without converting files. Image settings can now be adjusted using Blackmagic Design’s color panels, including the Micro Color Panel, giving you hands-on control for faster, more precise adjustments. Edit page multicam workflows receive significant enhancements, including a new timeline viewer multicam mode button, the ability to split multicam clips at timecode gaps and new keyboard shortcuts for up to 25 multicam angles. The updated trim editor on the edit page allows direct dragging in the viewer for precise frame-level adjustments, and you can now display clip durations alongside their names in the timeline, making it easier to identify clips at a glance.
On the color page, Multimaster Trim now supports individual trim passes for Dolby Vision, HDR10+ and HDR Vivid workflows, enabling you to grade each HDR format independently rather than sharing a common trim. This means colorists working on multiple deliverables can fine-tune each version without compromising the others. There are also over 25 new Krokodove tools that dramatically expand the 3D and shape toolkit, along with new Fusion macro controls, updated Blackmagic Cloud Presentations collaboration tools, expanded format and codec support and 20 new scripting APIs with built-in console support.
Blackmagic Cloud Presentations has also been updated with subtitle support, annotation sharing and comment replies, making it easier for customers to collaborate with clients on review and approval.
DaVinci Resolve 21.1 is available now as a free download from: https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion
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Sigma Announces Two New Lenses: 20-60mm F2.8-4 DG Contemporary Wide Zoom and 85mm F1.2
Sigma has announced two new lenses, the Sigma 20-60mm F2.8-4 DG Contemporary, a standard zoom lens for full-frame cameras, covering an ultra-wide 20mm to a standard 60mm, and an 85mm F1.2 DG Art, a large -aperture medium -telephoto lens for full-frame cameras.
The 20-60mm zoom is designed to deliver both a wide-angle perspective and exceptional portability with uncompromising sharpness and impressive close-up capabilities. At 20mm, this zoom lens starts at a focal length significantly wider than most other standard zooms; the field of view gained from 20mm, compared to 24mm, is quite substantial on the wide end. This makes for a lens that can capture everything from sweeping landscapes to portraits, and the bright F2.8 aperture on the wide end allows for nightscape and accessible indoor photography. An impressive short-focusing distance expands shooting versatility even further, with a minimum focusing distance of 15.8cm at the 28mm mark and a maximum magnification ratio of 1:2.3 at the 35mm mark. Weighing in at only 385g, the 20-60mm F2.8-4 offers considerable full-frame flexibility without sacrificing lightgathering capabilities and bokeh.
The 85mm F1.2 DG Art lens features a focal length widely regarded as ideal for portrait photography. With a bright F1.2 aperture and 13 aperture blades, this 85mm is designed to deliver exceptional bokeh while maintaining good portability. This lens is Sigma’s third F1.2 prime lens designed for mirrorless camera systems, rounding out the common trio of wide-angle, standard, and medium-telephoto focal lengths.
Both lenses will be available in the US beginning October 6th and are offered in L -Mount and Sony E-mount. The 20-60mm F2.8-4 DG Contemporary will retail for US$849, and the 85mm F1.2 DG Art will have a suggested retail price of US$1,599.
Find out more at: https://www.sigmaphoto.com
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AJA Debuts OG-FiDO-4 openGear Four-Channel SDI/Fiber Conversion Cards
AJA has unveiled OG-FiDO-4, a new line of openGear-compatible cards offering four channels of conversion between 12G-/3G-SDI and fiber. Available in nine models, the OG-FiDO-4 family enables reliable, uncompressed SDI transport over LC fiber and is designed to help deal with the growing complexity across broadcast, live production, and proAV environments with practical, cost-efficient solutions offering signal integrity, and dependability that mission-critical environments demand.
Key OG-FiDO-4 feature highlights include:
• Nine models are available to choose from, including the base card and AJA Fiber SFP variations such as 12G-SDI, 3G-SDI, single-mode, and multi-mode models.
• Independent, isolated SDI-BNC connectors enable different rates to be carried simultaneously.
• An integrated rear I/O card unlocks high-density transport, up to 40 channels in an openGear frame.
• DashBoard software support streamlines installation, configuration, monitoring, and service updates on Windows and macOS.
• Support for HDR (High Dynamic Range) video and pass-through of SDI metadata.
• Input Present and Input SMPTE Lock LEDs.
• Automatic data rate detection and reclocking.
• Compatibility with current AJA FIBERLC TX and RX SFP Modules, as well as the OG-X-FR and OG-3-FR openGear frames.
• Hot-swappable design.
• Power consumption maximum of 8 watts.
• Five-year warranty and access to AJA’s highly respected technical support,
Pricing and Availability:
The OG-FiDO-4 family will be available soon for purchase through AJA’s network of resellers starting at US$2,295 and US$2,695 MSRP. For the full list of model options, additional product details, and pricing, please visit https://www.aja.com/products/og-fido-4
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Sigma Adds Three New Lenses to Aizu Prime Lineup: 21mm T1.3 LF, 100mm T1.3 LF, 125mm T1.3 LF
In the lead-up to IBC, Sigma introduced the Aizu Prime 21mm T1.3 LF, 100mm T1.3 LF, and 125mm T1.3 LF, three new lens additions to the Aizu Prime lineup. Sigma first announced the Aizu Prime, a large-format cinema lens line, in June 2025. Of the 12-lens lineup featuring a consistent T1.3 aperture across the full range from 18mm to 125mm, three new lenses—21mm, 100mm, and 125mm—now join the 8 lenses from 25mm to 75mm previously released.
Features include:
• A consistent T1.3 across all focal lengths.
• Optical design for the demands of cinema, maintaining modern sharpness while delivering a natural, organic look.
• Extremely large perspective range coverage.
• 46.3mm image circle to ensure full coverage not only for full-frame and Super 35 formats, but also large-format cameras.
• High-impact close-up expression enabled by short minimum focusing distance.
• Compact and rugged design for precise operation and durability.
• Compatible with the Cooke /i + ZEISS eXtended Data.
These three new Aizu Primes will be available from Sigma authorized US cinema dealers beginning November 2026 for a retail price of US$9,799.
More details are available at: https://www.sigmaphoto.com/cine
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HONOR Robot Mobile Device Debuts with ARRI Color Science Implemented
ARRI has announced the debut of the HONOR Robot phone with elements of their Image Science being integrated, the first time in a mobile device. Working collaboratively, ARRI and HONOR have implemented ARRI LogC3, ARRI Wide Gamut 3, and ARRI Looks into the HONOR Robot Phone image pipeline with the idea of delivering more cinema-style image quality, greater creative control, and professional workflow options.
This integration of key elements of ARRI Image Science represents a new species of smartphone. It will carry the “co-engineered with ARRI” designation and bring ARRI’s established imaging expertise into mobile content creation empowering mobile content creators with easier access to professional imaging technologies.
For more details, check out their website: https://www.arri.com/en/company/press/press-releases-2026/arri-honor-phone
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AJA Introduces FS8 – Next-Gen 12G-SDI/SMPTE ST 2110 Media Processor
At IBC 2026, AJA Video Systems unveiled the FS8, a video and audio processor that bridges SDI and IP infrastructures in broadcast, production, and proAV. FS8 reliably powers up to eight channels of HD or four channels of UltraHD image processing, including frame sync, up/down/cross conversion, and IP gateway functionality. The 1RU solution features an intuitive, node-based web UI and wide-ranging connectivity, including 12G-SDI, ST 2110, Dante, and MADI, offering modernized tools that streamline productions.
Key FS8 feature highlights include:
- UltraHD and HD Vid Proc Modes, allowing the mix and match of up to four channels of 4K/UltraHD or up to eight channels of 2K/HD frame sync, processing, and IP gateway functionality – including HDR conversions.
- Expansive video I/O options, including 12G-SDI over coax and fiber and ST 2110-20 w/ST 2022-7 redundancy with audio disembedding and embedding.
- Audio I/O options, including Dante, MADI, ST 2110-30, and embedded SDI audio, with each audio input offering sample rate conversion and every I/O offering delay, level, phase adjustment, creating a 459 x 448 matrix of audio processing.
- Flexible HDR and SDR color transforms for dynamic range and wide color gamut conversion, with each video processor able to independently select from integrated NBCU, User 3D LUT, or Dynamic LUT Modes, or licensable Colorfront and BBC HLG LUT Modes.
- 33-point 3D LUT processors with tetrahedral interpolation.
- 4K/UltraHD/2K/HD video processing and up, down, cross-conversion.
- Configurable HDR metadata for output SDI VPID and ST 2110 SDP.
- Test signal generator, including SDR and HDR test patterns, moving box, custom text overlay per video processor, and audio tone generators per mono audio channel output.
- Region of Interest (ROI) scaling and positioning.
- Motion adaptive deinterlacer.
- Up to 60 frames of configurable video delay in HD, 30 frames in UHD and 2.5 seconds of configurable audio delay.
- Ultra-low latency video processing mode, less than half of a video frame.
- Simple frame rate conversion.
- Configurable analog reference output.
- Ancillary data grooming.
- Intuitive input and output routing matrix controls
- System and component-level presets.
- Four audio down mixers, from 5.1 or 7.1 surround to stereo.
- AJA’s legendary five-year warranty and technical support with no contracts, recurring software maintenance fees, or ongoing feature subscriptions required to access core functionality.
Pricing and Availability:
AJA FS8 will be available soon through AJA’s worldwide network of resellers for US$14,995 MSRP, with optional licenses for Colorfront Engine and BBC HLG LUTs running US$1,995 and US$295 respectively. For a complete overview of FS8’s full capabilities, connectivity, and IP features, visit www.aja.com/products/fs8
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ARRI Introduces LiOS 3.3.0 Firmware for SkyPanel Pro, SkyPanel X, and Orbiter
ARRI introduces LiOS 3.3.0, the latest firmware update for SkyPanel Pro, SkyPanel X, and Orbiter that brings enhanced DMX Live View functionality, smoothing for DMX Zone Modes, and further reliability improvements and bug fixes. With LiOS 3.3.0, ARRI continues to refine lighting workflows and improve the reliability of its LED fixtures.
Highlights include:
• Enhanced DMX Live View functionality
• Smoothing for DMX Zone Modes
• Further reliability improvements and bug fixes
Download LiOS 3.3.0 and find the full release notes on: https://www.arri.com/en/lighting/apps-tools/software/lios
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Blackmagic Announces Camera 10.2.2 update for Cinema Camera 6K Adding Support for Phase Detect Autofocus
Blackmagic Design has announced a Camera 10.2.2 update for the Blackmagic Cinema Camera 6K. Among other improvements, it adds support for phase detect autofocus, making it easier to keep subjects in focus, even as they move, with options added for continuous autofocus, object tracking, or face tracking modes. This update also adds support for Blackmagic Cloud stream routing. This allows for routing a live stream from the camera directly into your studio, or stream to multiple platforms at the same time using Blackmagic Cloud.
In addition, this update adds support for up to 10 minutes pre-record on the Blackmagic Cinema Camera 6K. Now users can record up to 10 minutes of action before they press the record button. The pre-record function lets the camera continuously record to the media card, ensuring that any unexpected event will never be missed. By only saving what’s needed, pre-record also helps reduce storage use because even though you are constantly recording, only the section before you press record until you cut is preserved.
Also included in this update is support for 4 channel audio recording allowing two additional audio channels which is ideal for interviews, live events or documentaries where separate mics for talent, ambient sound or scratch tracks are desired, all perfectly synced within the video file.
Blackmagic Camera 10.2.2 is available now as a free download from: https://www.blackmagicdesign.com/support/family/professional-cameras
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Laowa Introduces Aksen — a New Full-frame Parfocal Zoom Ultra Macro Lens Series
Laowa has introduced Aksen — a new Full-frame Parfocal Zoom Ultra Macro lens series designed to fill a long-standing gap in the 1–10x Ultra Macro category. The current series consists of the Aksen 45mm f/2.8 1–5x Ultra Macro APO and the Aksen 17.5mm f/1.7 5–10x Ultra Macro APO, each available in both photo and cine variants.
Beyond the headline 1–5x & 5–10x ultra-high magnification, the lens set distinguishes itself with its parfocal zoom design. Unlike traditional macro lenses, the Aksen maintains focus as the magnification ratio changes, which means no refocusing is required when zooming in or out. This eliminates the need for readjusting the entire setup, including camera position, working distance, and lighting placement and avoids interrupting the workflow which reduces setup time. The Aksen series maintains a fixed working distance of 40.35mm (1–5x) and 22.48mm (5–10x), while its internal zoom mechanism keeps the lens barrel completely stationary throughout the entire magnification range. No more extended barrel interrupting the flash diffusion setup — or potentially damaging the subject.
The Aksen 5–10x features a coaxial block built directly into the lens, a technology traditionally reserved for machine vision, now made accessible for all photographic purposes. This optical configuration heightens contrast at the target’s edges and provides shadowless illumination, and can be used on its own or combined with other techniques to create unique images.
The Aksen features a specially designed tripod collar* that attaches directly to any Arca-Swiss compatible tripod. Via the 15mm rods, users can mount a variety of accessories — including a follow focus. All 5–10x lenses also include a Ø8mm Coaxial Light Adapter for secure and convenient coaxial light attachment.
The series will be available for purchase starting July 31, 2026 at an MSRP of US$1,499 for the Cine version and US$1,599 for the Cine Coaxial Light version. For more on these and other Laowa products, visit: https://www.venuslens.net
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OWC Announces Express 4M2 Ultra – Fast and Compact Thunderbolt 5 NVMe RAID Solution
OWC has announced their new Express 4M2 Ultra, designed to combine everything creative professionals need in one high-performance desktop RAID solution. It features massive all-flash NVMe storage capacity, flexible RAID configuration, and improved workflow efficiency for Thunderbolt 5 bandwidth. Built for demanding creative pipelines, it delivers up to 6622MB/s of performance that turns massive 12K RAW video files, 8K multi-cam sequences, and monster photo libraries into effortless workflows. From backing up media cards on set to working through intense VFX compositing in post, the OWC Express 4M2 Ultra delivers the speed, capacity, and reliability to keep projects humming from capture to final delivery.
OWC Express 4M2 Ultra features include:
- Blazing Speed – 6622MB/s for 12K RAW video and 8K multi-cam workflows
- Small Yet Scalable – 32TB per unit, expandable to 128TB via daisy chaining
- More Connectivity – Second Thunderbolt 5 port connects five more devices
- Future-Ready – Upgrade to faster, larger NVMe SSDs anytime
The OWC Express 4M2 Ultra NVMe SSD Solutions are now generally available (GA) and priced as follows starting at US$449.99 for the DYI chassis only, 4TB at US$2,399.99, 8TB at US$3,799.99, 16TB at US$5,579.99, and all the way up to 32TB at US$10,299.99.
To learn more and purchase the OWC Express 4M2 Ultra NVMe SSD Solutions, please visit: https://www.owc.com/solutions/express-4m2-ultra?sku=OWCTB5ULT4MT04
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AJA Announces Io Xpand, a Compact and Portable Thunderbolt 5 Expansion Chassis
AJA has announced Io Xpand, a new compact Thunderbolt 5 expansion chassis offering a professional video solution with the features, flexibility, and reliability of AJA KONA and Corvid I/O cards. Designed for creative, broadcast, audio, and post-production workflows, the Io Xpand enables users to connect a full-height, half-length PCIe card to Mac, Windows, or Linux computers with Thunderbolt or USB4 ports. Modern laptops and small-form-factor systems deliver impressive processing power but often lack the PCIe expansion required for professional I/O, networking, storage, and media workflows. Io Xpand solves this by offering a x8 PCIe* 4.0 slot, support for single- or double-width cards, and up to 6000 MB/s bi-directional PCIe bandwidth.
This lightweight aluminum PCIe card enclosure protects the installed PCIe card in demanding production situations, while providing quiet operation under load in a temperature-controlled environment. The Io Xpand is available with three optional KONA PCIe I/O card bundles offering cost-effective choices to match your needs. From single channel HD I/O with the KONA 1 to our flagship KONA 5, the Io Xpand bundles offer up to 4K HDR production proven solutions.
Key Features Include:
• Up to 6000 MB/s of bi-directional Thunderbolt 5 performance to the installed PCIe card
• Supports KONA and Corvid PCIe cards
• Supports full height, ½ length, x4 Gen 4 PCIe cards
• Supports double-width PCIe cards and PCIe cards with daughter cards
• 6 pin auxiliary power connector and cable for cards requiring additional power
• Compatible with PCIe 4.0, 3.0, 2.0, and 1.1 cards
• Nearly silent operation via temperature-controlled fan
• Thunderbolt 5, 4, 3 and USB4 compatible
• Includes Thunderbolt 5 cable and securing bracket
• Thunderbolt daisy-chain via second Thunderbolt port
• Lightweight and rugged aluminum enclosure
• Windows, macOS, and Linux compatible
• Two-year warranty
Learn more: https://www.aja.com/products/io-xpand
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Blackmagic Design Announces New Line of UltraStudio Mini 12G Capture and Playback Solutions
Blackmagic Design has announced the UltraStudio Mini 12G family of compact video capture and playback solutions for Thunderbolt computers. Each of the three models is designed for extremely high quality broadcast use. The UltraStudio Mini Monitor 12G model plays back to 12G-SDI and HDMI. The UltraStudio Mini Recorder 12G model captures from 12G-SDI and HDMI. Completing the family, the UltraStudio Mini Replay 12G model supports both 12G-SDI capture and playback, with dual independent 12G-SDI fill and key outputs, plus a separate dedicated 12G-SDI monitoring output. The replay model also supports live action replay features in DaVinci Resolve. All models work in SD, HD and Ultra HD video standards up to 2160p60.
UltraStudio Mini 12G Features:
• 3 powerful models for capture, playback and capture/playback.
• High-speed Thunderbolt 4 connection.
• Includes dual 12G-SDI outputs for fill and key on output models.
• UltraStudio Mini Replay 12G supports simultaneous capture and playback.
• Broadcast quality uncompressed 10-bit capture and playback.
• Works with all popular video software, including DaVinci Resolve 21.
• Supports all SD, HD and Ultra HD video standards up to 2160p60.
• Includes free developer SDK for Mac, Windows and Linux.
UltraStudio Mini 12G is available now from US$395 from Blackmagic Design resellers worldwide. For more information, please visit: https://www.blackmagicdesign.com/products/ultrastudiomini
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DCS Recommended Web Content:
“The Making Of – Sports” Podcast featuring: Entertainment Technology Leader Tom Fletcher
In this episode of Michael Valinsky’s The Making Of – Sports or “TMO Sports” podcast, he interviews Tom Fletcher, a true pioneer in the areas of sports production, cine, and broadcast technology. Tom is also a founding member and past President of the Digital Cinema Society Midwest Chapter in addition to co-creating, along with Gary Adcock, the famous Camera Comparison Charts.
In this interview, Tom reflects on his career—from Fletcher Chicago and Fletcher Sports to leadership roles at Fujifilm and FUJINON, where he helped advance the technologies behind today’s cine and live broadcast lenses. More recently, Tom is the co-founder of Momento, a company that captures authentic fan reactions to game-changing moments and transforms them into personalized keepsakes for fans, teams, and venues. He also shares insights into the evolution of sports technology, the innovations shaping live production, and offers advice for young professionals entering the industry.
This program is presented by DCS supporter AJA Video Systems
Listen to this episode here: https://tmosports.substack.com/p/tom-fletcher-on-sports-tv-innovations
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“The Making Of” Podcast featuring: “Widow’s Bay” Cinematographer, Editor & Sound Mixer
In this episode of Michael Valinsky’s The Making Of podcast, he interviews the creative team behind the 19-time Emmy-nominated Apple TV series Widow’s Bay. Guests include cinematographer Christian Sprenger, ASC, editor Isaac Hagy, ACE, and production sound mixer Kevin S. Parker. In this conversation, Christian, Isaac, and Kevin give a behind-the-scenes look at the production of the series, sharing how they helped create its distinctive blend of horror, comedy, mystery, and character.
The trio breaks down the elements that shape the world of Widow’s Bay, while exploring their collaboration, and the tools and techniques behind some of the series’ most memorable moments. They also offer advice for students and filmmakers looking to improve their craft and grow their careers.
Listen to this episode here: https://themakingof.substack.com/p/widows-bay-cinematographer-editor
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“The Making Of” Podcast Featuring “Dark” Cinematographer Nik Summerer ASC
In this episode of Michael Valinsky’s The Making Of podcast, he interviews cinematographer Nik Summerer ASC, best known for his work on the critically acclaimed series Dark, as well as 1899 and the feature film Color Book, now streaming on Netflix. In this conversation, Nik shares his journey into cinematography, reflecting on his influences and the path that led him behind the camera. They take a deep dive into the making of Color Book, exploring his visual storytelling approach, the techniques he employed, and the tools he used to bring this striking black-and-white drama to life. Nik also offers real-world advice for students and emerging filmmakers looking to build a career in the industry.
Listen to this episode here: https://themakingof.substack.com/p/dark-cinematographer-nik-summerer
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THANK YOU TO OUR SPONSORS
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:
AJA – Angénieux – ARRI – Band Pro – Blackmagic Design – Canon USA – Cartoni – Fujifilm – GVM – Infinity Photo-Optical – Laowa – Leitz – OWC – Sigma – SmallHD – Strada – Teradek – The Studio B&H – Wooden Camera – ZEISS
DCS Member Discounts
See All The Available DCS Member Discounts:
See all the Professional Industry Offers Available to Current Members along with Access to FunEx for Exclusive Member Discounts on Theme Parks, Movie Tickets, Hotels, Gym Memberships, and Much More on the DCS Member Discount Page: https://dcsonline.org/member-discounts/
How to Claim Your DCS Member Discounts on FunEx for THEME PARKS, MOVIE TICKETS, HOTELS, GYM MEMBERSHIPS, and More
The Digital Cinema Society has partnered with FunEx to offer an amazing discount platform for our U.S. members. Once registered on Join It current DCS members will receive access to 100,000+ discounted offers at up to 55% off. Save on theme parks, movie tickets, hotels, gym memberships, retail and dining nationwide. Check out the daily deals on everything from apparel, electronics, mental wellness, pet insurance, and much more today on your DCS FunEx member portal. Current US based members can visit the DCS page on Join It to register: https://app.joinit.com/o/digital-cinema-society/members. If you are not currently a member, you can apply to join DCS here: https://dcsonline.org/apply-to-join-dcs/
THANK YOU TO OUR SPONSORS
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:
AJA – Angénieux – ARRI – Band Pro – Blackmagic Design – Canon – Cartoni – Fujifilm – GVM – Infinity Photo-Optical – Laowa – Leitz – OWC – SIGMA – Strada – Teradek – SmallHD – The Studio B&H – Wooden Camera – ZEISS
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“It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change.” Charles Darwin