DCS UPDATE
In DCS news, please note that we have postponed our annual DCS Cinema Lighting Expo; it will now take place on Saturday, October 18th returning to the Grip’s Local stage in Burbank, CA. Read on for details of the latest industry news including a new addition to the ARRI cinema camera line, the high frame rate capable Alexa 35 Xtreme, which comes along with an extremely efficient new recording codec to be known as ARRICORE. Godox has also recently introduced a couple of new KNOWLED lighting fixtures, the AM1600R RGB Inflatable 8’x8’ LED Light Mat and the M300R, a multi-purpose Full-Color RGBWW LED.
Meanwhile, OWC has launched two new storage product lines with an emphasis on speed, reliability, and content security. The first is a USB-C hardware-encrypted portable SSD in a very compact form factor holding up to 4TB with transfer speeds up to 1,000MB/s. Their other new addition is the Express 4M2, a four-slot NVMe M.2 SSD USB4, ThunderboltTM compatible enclosure capable of housing up to four NVMe M.2 SSDs (2230, 2242, or 2280) and achieving real-world speeds up to 3200MB/s along with flexible RAID options.
We also want to tell you about the new Fujifilm ‘GFX Challenge Grant Program 2025’, an awards contest designed to support visual creatives in bringing their imaging projects to life with the use of Fujifilm cameras and lenses, tech support, and generous cash prizes. For his “One DP’s Perspective” essay this month, James Mathers shares his anxiety over the rise of AI and ponders what he can do to remain active in the entertainment industry. In DCS Member News we share that filmmaker and motion picture trade journalist Jay Holben has written a new book, The Director’s Guide to Everything. His latest book is designed to be a comprehensive masterclass on how to turn cinematic vision into reality.
DCS NEWS
DCS Cinema Lighting Expo Rescheduled to Take Place on Saturday, October 18th – SAVE THE DATE!
There are a lot of moving parts that need to align in order to produce the DCS Cinema Lighting Expo, our biggest event of the year. We feel we’ll be better prepared for a more successful event by postponing another month from our previously announced date. We are now planning to hold the event on Saturday, October 18th. (Please note: the event was previously scheduled for September 6th.)
We will be returning to the Grip’s Local 80 stage in Burbank, CA and it will again be a full-day affair with the opportunity to get hands on with the gear and see presentations from vendors, lighting experts, and renowned cinematographers.
This year’s Dibie Award will be presented to Pat Grosswendt, one of the founders of Litepanels who was largely responsible for integrating LED fixtures into motion picture lighting.. More details and special guests will be announced as they are confirmed, but we wanted to let everyone know to please save this new date: Saturday, October 18th, 2025.
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INDUSTRY NEWS
ARRI Announces the ALEXA 35 Xtreme Cinema Camera and the New Highly Efficient ARRICORE Codec
ARRI has announced a major upgrade to its Alexa 35 Cinema Camera. The new ALEXA 35 Xtreme is designed to offer superior image quality, ease of use, and reliable operation along with the ability for much higher frame rates. Along with the camera announcement, comes a new highly efficient codec that reduces data rates, which also makes for much longer pre-recording times, lower power consumption, and significantly improved WiFi capabilities. ALEXA 35 Xtreme is available as a new camera or as an upgrade to existing ALEXA 35 cameras.
The new model is able to deliver frame rates of up to 660 fps, removing the need for a secondary high-speed camera on most shoots. This can streamline production workflows, save both time and money, and ensure that high-speed footage matches seamlessly with standard-speed shots in post production. These benefits are enabled by a powerful new main processor, equipped with more and faster on-board memory. Frame rates up to 330 fps retain the camera’s full 17 stops of dynamic range, while a new Sensor Overdrive mode allows frame rates up to 660 fps at a dynamic range of 11 stops.
The new ARRICORE RGB codec is designed to deliver the camera’s full image quality at a more accessible cost by reducing data rates. At the same time, flexibility in post is assured, since sensitivity, white balance, and tint are not baked in. Switching to ARRICORE is easy because on-set and post workflows remain consistent with existing ALEXA 35 codecs and drives. The ARRI Look File ALF4, ARRI Textures, metadata, the MXF wrapper, and audio will behave in a familiar way. ARRICORE is launching in beta to actively engage users and drive rapid enhancement of its capabilities through direct feedback. Most third-party tools that already support the current ALEXA 35 codecs will also support ARRICORE.
Pre-recording times are now five times longer with the ALEXA 35 Xtreme; the ALEXA 35 Xtreme pre-recording time is 30 seconds when shooting 24 fps Apple ProRes 4444 in the highest resolution (4.6K Open Gate), or a full five minutes when shooting 24 fps Apple ProRes 422 HQ in HD. These are the longest pre-recording times available in any cinema camera.
The ALEXA 35 Xtreme will be available in sets that include either a Base license or a Premium license. Existing feature licenses for the ALEXA 35 Base can also be applied to the ALEXA 35 Xtreme Base, offering additional functionality on a weekly, monthly, yearly, or permanent basis. The pricing for ALEXA 35 Xtreme sets and licenses will remain consistent with current ALEXA 35 prices.
To protect customer investment, ARRI will upgrade any ALEXA 35 Base, ALEXA 35 Premium or ALEXA 35 Live camera to an ALEXA 35 Xtreme for €15,900. The upgrade can be carried out at selected ARRI Service Centers and will retain any installed licenses. ALEXA 35 Xtreme cameras and upgrades will be available from August 2025.
To learn more about the ALEXA 35 Xtreme camera system, visit www.arri.com/alexa35xtreme
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Godox Introduces the KNOWLED AM1600R RGB Inflatable 8’x8’ LED Light Mat
Godox has introduced the KNOWLED AM1600R, an 8′ x 8′ RGB Inflatable LED Light Mat. It offers a versatile full-color lighting solution for large-scale film and television set lighting. The AM1600R is made up of a durable inflatable butterfly frame that does not require any truss support for overhead use. This IP54-rated light allows for 8-PSI high-pressure quick inflation and can be suspended for up to 15 days without reinflation. The AM1600R also features multiple lighting modes and allows CCT selection from a wide 1800 to 10,000K, as well as +/- green/magenta color correction. The large 8′ x 8′ body produces bright, yet soft, lighting with two included diffusers, packing various other modifiers such as a pancake lantern, a grid,
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Laowa 10mm T2.9 Zero-D VV Cine Lens Now Available in PL Mount
Laowa has announced a PL mount version of their 10mm T2.9 Zero-D VV Cine Lens. This new version is designed to meet the demands of high-end cinematography with the widest rectilinear full-frame lens that is said to be zero distortion for large-format cameras like ARRI LF, RED V-Raptor 8K VV, and more. With well-controlled distortion and good corner sharpness along with an ultra-wide 130.3° field of view and compact form factor, (weighing only 530 grams,) this lens makes a compelling choice when you’re looking for exaggerated perspectives or dramatic foreground emphasis. The lens features a T2.9 maximum aperture, a 14-blade iris, and a minimum focus distance of only 4.7 inches (12cm) along with standard 0.8M gear rings on both focus and iris, a 113° focus throw, and a 77mm front filter thread.
The optics of the PL mount version remain unchanged, but this lens is important because it adds to Laowa’s expanding ultra-wide cine offerings. Their ultra-wide full-frame cine set currently includes a 9mm T5.8 VV – Widest angle (134.8°), but the slowest maximum aperture, a 10mm T2.9 Zero-D VV, a 12mm T2.9 Lite Zero-D VV that is smaller, lighter, with only a slightly narrower FOV, and a 14mm T2.6 Zero-D VV.
To learn more visit: https://laowacine.com/
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OWC Launches Two New Product Lines With an Emphasis on Speed Reliability, and Content Security
Guardian USB-C Hardware-Encrypted Portable SSD
Other World Computing, more commonly known as OWC, has launched two new product lines. The first is the Guardian series designed to offer both data security and ease of use. It is compatible with USB-C Macs, iPad Pros, and PCs. Users are able to connect the device, enter a password using the built-in color touchscreen, and then transfer files via drag and drop. There is no software installation required, and performance remains smooth without compatibility issues. The OWC Guardian uses 256-bit AES OPAL hardware encryption to automatically encrypt data during writing and decrypt it upon authorized access. The touchscreen allows PIN or passphrase entry, and additional features include multi-user access, read-only mode, secure erase, and randomized keypad layouts. The Guardian is suitable for users handling sensitive data and supports compliance needs without adding workflow complexity. With up to 1000MB/s in real-world transfer speeds and capacities up to 4.0TB, it can support large file backups, media transfers, and 4K video editing.
OWC Guardian Features and Benefits include:
– Easy Encryption – Data is automatically encrypted when written and decrypted when read
– Secure and Efficient – 256-bit AES OPAL hardware encryption for the highest level of data security with no impact on computer processor performance
– Speeds up to 1000MB/s real-world read and write speeds
– Intuitive Operation – Color touch screen for smartphone-like operation
– Password Protected – Programmable password access and attempts with numeric PIN or passphrase modes to prevent unauthorized data access
– Platform Independent – Data is encrypted regardless if used with a Mac, iPad Pro, or PC
– Anodized aluminum body for optimal heat dissipation and impact protection
– Bus-powered with included USB-C cable
Priced similarly to HDD models, the OWC Guardian provides double the performance at an affordable price point starting at $219.99 for 1.0TB, $329.99 for 2.0TB, and $529.99 for 4.0TB. To learn more and purchase, please visit: https://www.owc.com/solutions/guardian.
Express 4M2 – Four-Slot USB4 (40Gb/s) External Storage Enclosure for NVMe M.2 SSDs
The second recently announced OWC product line is the Express 4M2, a four-slot NVMe M.2 SSD USB4, ThunderboltTM compatible enclosure offering improved performance, thermal protection, and expanded compatibility for an improved near-silent operation. The Express 4M2 is designed for demanding work, whether it’s backing up footage on set, editing 8K video, or sorting through thousands of high-res photos. It supports up to four NVMe M.2 SSDs (2230, 2242, or 2280) and achieves real-world speeds up to 3200MB/s – and, with flexible RAID options, i.e., 0, 1, 4, 5, and 1+0, users can create the setup that works best for their workflow. It’s fully compatible with USB4, Thunderbolt, and USB-C for working on a Mac or PC.
OWC Express 4M2 Features and Benefits Include:
– Up to 3200MB/s real-world performance
– Compatible with USB4, Thunderbolt, and USB-C Macs and PCs
– Aircraft-grade aluminum offers rugged protection of installed SSDs, plus effective heat dissipation
– Near-Silent Operation with smart, adaptive fans that activate only when needed or under heavy load
– DIY Setup holding up to 4 x NVMe M.2 2230, 2242, or 2280 SSDs
– RAID Ready, (certain models include OWC SoftRAID, the fastest and most flexible RAID 0/1/4/5/1+0 (10) tool;)
– Supports Apple Disk Utility RAID, Windows Disk Management RAID, and Windows Storage Spaces
– Complete Packages Includes certified 40Gb/s USB-C to C cable
– 2-Year OWC Limited Warranty
The OWC Express 4M2 is available now for pre-order and will be shipping next week, with pricing as follows: $239.99 0GB, $379.99 0GB with 3-year SoftRAID included. For further information and to purchase, please visit: https://www.owc.com/solutions/express-4m2.
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Fujifilm Announces the ‘GFX Challenge Grant Program 2025’ to Support Content Creators With Gear and Cash Awards
Fujifilm has announced the launch of the ‘GFX Challenge Grant Program 2025’, an awards contest designed to support aspiring creatives in bringing their imaging projects to life. Submissions are currently being accepted for creative project proposals. Winners of the Global Grant Award and Regional Grant Award will receive a grant and have the opportunity to use FUJIFILM GFX System gear to gain experience. The program is open to both amateur and professional photographers and filmmakers.
A total of five Global Grant Awards will be given in the amount of $10,000 each, and an additional ten Regional Grant Awards in the amount of $5,000 each will also be given. All selected projects will have access to GFX System camera bodies and GF lenses as well as technical assistance from Fujifilm technicians and product experts. Proposed projects may be submitted as still photography or in a movie format. At the conclusion of the production period in May 2026, the award recipients’ final content will be showcased on the fujifilm-x.com website. An exhibition series is also planned to showcase the work in various countries.
The application period runs from June 30, 2025 (Mon) to August 31, 2025 (Sun). For more details on how to apply visit: https://www.fujifilm-x.com/global/special/gfx-challenge-program/2025/
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Godox Introduces the KNOWLED M300R, a Full-Color RGBWW LED for Professional Cine Lighting
Godox has introduced the KNOWLED M300R, a full-color RGBWW LED light designed for use in professional film, broadcast, and commercial productions. The M300R expands the KNOWLED series with enhanced color control, output strength, and compatibility across lighting setups. It supports a CCT range from 1,800K to 10,000K, along with full HSI color control, allowing precise adjustment of color temperature, hue and saturation across the 360°color spectrum with a CRI and TLCI of 95+
Measured at 1 meter without modifiers, the RGB output levels are as follows: 3,450 lux for red, 7,270 lux for green and 2,070 lux for blue. The fixture’s full-color output falls within a performance range comparable to or above typical 600W-class LED lights. However, the weight is only 3.6kg (body without yoke) and features a compact design for easy handling and transport. An integrated yoke with quick-release locks is designed for fast, secure setup, while support for both AC and V-mount battery power.
The M300R control options include on-board, CRMX, DMX, Bluetooth control via KNOWLED App and Ethernet control. Equipped with a Bowens mount, the M300R is compatible with a full range of accessories including softboxes, projection attachments, and reflectors.
For more details, please visit: https://www.godox.com/product-e/KNOWLED/M300R.html
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One DP’s Perspective
I Shoot People — Confessions of a Veteran DP and His Anxiety Over the Rise of AI
by James Mathers
Cinematographer and Founder of the Digital Cinema Society
I shoot people. To clarify, this is not the confession of a hitman, but just to affirm that my cinematographic specialty over the years has been capturing images of people. Whether it be narrative, documentary, or promo work, I’ve managed to use my skills to support my family and serve as a professional member of the entertainment industry. Lately, however, I have to confess that several factors including the rapid rise of AI technology have conspired to challenge my ability to earn a living and it is making me a bit nervous.
AI filmmaking is getting a lot of attention recently, and for good reason. It is truly mind boggling what this relatively new image generation technology can accomplish. Based on a short description, or “prompt,” followed by a few refinements, whole photorealistic worlds can be created in short order. It is both amazing and terrifying, especially if you’re someone whose livelihood is threatened.
There is no shortage of impressive examples of AI filmmaking, but one group that has caught my attention is the Dor Brothers, the Berlin based production company responsible for those outrageous viral videos of people like the Pope and several recent US presidents holding machine guns, getting arrested, robbing liquor stores, and other misdeeds. If you’re a newshound like me, you’ve likely seen all the iterations of these deepfakes reported by the media. They are attention grabbers, even if they are preposterous, but do serve to make the public aware that they can’t always believe everything they see online or on TV.
Produced about a year ago, these deepfake videos are technically pretty crude. However, compared to their current work, they serve as excellent examples of how fast the technology is advancing. In a more recent sample, the Dor Brothers don’t seem to take themselves too seriously, which is evidenced by their AI generated send up of all the surrounding hype and backlash to their work: https://www.youtube.com/watch?v=WgMuNmHyHDU
Still, it is a serious situation and something entertainment industry workers need to be paying attention to. Many jobs will be majorly transformed, and others completely eliminated. As just one example, Unilever, a manufacturer of everything from mayonnaise, toothpaste, deodorant, shampoo, detergent, ice cream, and soap, to Vaseline, have largely transitioned away from producing live action TV commercials. Instead they are using digital clones of their products for all manner of visual marketing, including not only AI generated TV commercials, but also integrating that imagery into the social media feeds of “influencers.”
They claim to be creating product marketing content twice as fast and with up to an 87% reduction in content creation costs while maintaining better brand consistency. And if that is not reason enough to use the technology, they have found that the AI generated content is more effective at delivering the follow-through necessary to generate sales. So, how can you blame them? I don’t, but at the same time, I can’t ignore the writing on the wall.
As other advertisers follow, there will surely be a significant reduction in traditional production of TV commercials. Living in the Los Angeles area, or “Hollywood,” if you will, we have already seen a dramatic decrease in available work due in large part to what we call here “runaway production.” Projects are lured to other locales for cost savings and more lucrative governmental incentives. Commercials, not usually subject to such incentive offers, and increasingly seen on streaming platforms, have been one relatively healthy segment of local production, but that may now change. And this change will not just be here, but worldwide.
It is not just filmworkers who are feeling the pinch, but also service providers and manufacturers. And of course, it is not all due to AI; there are plenty of other factors contributing to the downturn in cinematic production. These include an uncertain global economy fueled by fluctuating tariffs and the change in content delivery preferences, such as large segments of the audience choosing to view programing in short bits streamed to their mobile devices.
I’m acutely aware of this downturn since, like most of my colleagues, I have been severely underemployed over the last year. I also see it in my role running DCS when reaching out to some of our longtime, and loyal sponsors, who are struggling financially and can no longer support the group. Many rental houses have been forced to shut their doors and a lot of stages remain all too available. After the pandemic, industry strikes, and fires, the local entertainment industry was ready to get back to work, but it just has not materialized.
I don’t want to sound like Chicken Little screaming that the sky if falling, but it has become concerning. One thing that personally gives me a bit of hope is that like I say in the title of this essay, “I Shoot People,” and replicating human facial emotion with AI is just not quite there yet. The faces are near perfect, perhaps too perfect, but they have yet to feel completely real or organic. However, at the rate AI is advancing, that advantage may not last very long.
Another hopeful sign is that manufacturers keep innovating and making better and better visual storytelling tools available to us. From new digital cinema cameras, lenses, and better workflows, to the constantly improving array of lighting instruments. And I need to remind myself that it doesn’t need to be an either/or situation, using AI enabled tools together with traditional motion picture techniques can harness the best of both worlds.
I don’t know what the complete answer is, (of even if there is one,) but for me, giving up the business I grew up in is not an option. And since I’m not ready to pack it in, I believe the key to my survival in this industry, as Darwin’s theory of evolution suggests, is to adapt. So, I intend to stay nimble and as up-to-date on technology as I can. And if I’m underemployed, I can’t say I don’t have the time to learn new skills. There is actually quite a bit of educational content on AI now available online and much of it is absolutely free. You can find some examples of free basic courses here:
NVIDIA: https://academy.nvidia.com/en/course/ai-for-all-from-basics-to-genai-practice/?cm=81220
Harvard University: https://pll.harvard.edu/subject/artificial-intelligence
Other resources include:
“AIography, a regularly updated online journal covering AI technology in the motion picture industry produced by veteran Editor and Technologist Lawrence Jordan, ACE. You can follow along at: https://aiography.beehiiv.com/
Another great resource is Curious Refuge founded by the husband and wife team of AI Educators, Caleb and Shelby Ward. They offer paid classes to master the latest AI tools, and host a collection of user generated short film samples on their Curious Refuge website: https://curiousrefuge.com/ai-film-gallery
And just to keep up with some of the most advanced samples of AI filmmaking, you can bookmark the Dor Brothers website: https://www.thedorbrothers.com/
PS: Write if you find work.
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DCS Member News
Jay Holben Authors Comprehensive New Filmmaking Book: The Director’s Guide to Everything
Acclaimed filmmaker, motion picture trade journalist, and prolific author Jay Holben has written a new book, The Director’s Guide to Everything. It is offered as the ultimate road map for mastering the craft, and more than just a guide, it’s meant to be a masterclass in how to turn cinematic vision into reality. The Director’s Guide delivers a comprehensive, no-nonsense education in the art and science of directing — with practical knowledge drawn from decades of experience in the trenches of motion picture production.
The Director’s Guide to Everything includes:
• The language of every department — how to understand and speak it fluently.
• Deep dives into producing, writing, acting, cinematography, production design, editing, color, sound, and beyond.
• Tips for building trust, loyalty, and artistry across your cast and crew.
• Manage the pressures of a real-world set — budget, time, communication, and safety.
• Proven strategies for avoiding costly mistakes on set!
The Director’s Guide to Everything is available now from Adakin Press. For more details and to order visit: https://www.adakinpress.com/the-directors-guide
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You Can Now Follow DCS on Bluesky
DCS has recently joined the over 25 million users who have moved to the social media platform known as Bluesky. Please follow us at dcsonline.bsky.social
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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/
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SUPPORTING DCS
Although we continue to make member dues optional due to the financial stress felt by so many at this time, we are very much in need of your contributions to continue our mission and maintain our services. So, if you can afford it, please take a few minutes to either donate via PayPal here: https://www.paypal.com/donate/?hosted_button_id=8GUYNUBCKR2HU or send a donation via US$ check (made payable to: The Digital Cinema Society) to our office at P.O. Box 1973 Studio City, CA 91614, USA.
Please note: DCS is a 501(c)(3) nonprofit organization and donations made to us can be claimed as a deduction on your US federal taxes.
If you’d like to renew your annual DCS membership, please do so at: https://joinit.com/
We are very grateful for your support.
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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 – Anton/Bauer – ARRI – Atlas Lens Co. – Band Pro – BB&S Lighting – Blackmagic Design – Canon USA – Cartoni – Cineo – Cinnafilm – Cooke Optics – Dedolight California – DoPchoice – DZOFILM – Fujifilm – Godox – GVM – Infinity Photo-Optical – Kondor Blue – Kino Flo – Laowa – Leitz – LiteGear – Litepanels – Nanlite – Nanlux – OConnor – OWC – Panavision – Rebel Marketing – SIGMA – Strada – The Studio-B&H – Tiffen – TRP Worldwide – 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
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