Fujifilm GFX ETERNA and FUJINON GF32-90mm T3.5 PZ OIS WR Zoom Will Soon Be In the Wild

In the run-up to IBC 2025, Fujifilm has announced that their GFX ETERNA digital filmmaking camera and FUJINON GF32-90mm T3.5 PZ OIS WR Zoom will soon be into the wild. Although Fujifilm has been in the motion picture image creation business for nearly a century with their motion picture film stocks and have been manufacturing electronic cameras for decades, this is their first electronic camera built from the ground up to capture high-end motion pictures. And the new GF32-90mm T3.5 PZ OIS WR with an internally integrated motorized zoom is tailor made to make the most out of the camera.

Large Format Open Gate:
The ETERNA features the large format GFX 102MP CMOS II HS sensor in 4:3 Open Gate is approximately 3x larger than that of 4-perf Super 35mm, bringing a great range of format flexibility and opportunities to create larger than Full Frame images with spherical lenses, or to take advantage of the massive 102-megapixel sensor squeezing more pixels into epic anamorphic images. The large image circle spans 43.8mm wide, 32.9mm high, and 54.8mm diagonal, making it one the tallest in the digital cinema camera world.

3D Film Simulations for Cinematic Visuals:
3D Film Simulation LUTs to F-Log2 C’s wide color gamut combined with the X-Processor 5 high-speed image processing engine is designed to offer filmmakers the ability to create rich visuals with enhanced flexibility in post-production with dynamic range of 14+ stops. The GFX ETERNA 55 also supports three Apple ProRes codecs: Apple ProRes 422 HQ, Apple ProRes 422 and Apple ProRes 422 LT. It also supports recording of H.265/HEVC as a light-weight codec option. When filming in Apple ProRes, the camera can use proxy video recording such as Apple ProRes 422 Proxy. Supporting a total of five codecs reduces the post workload to streamline the overall workflow and full Frame.io Camera to Cloud functionality is supported. The camera can also output 4:2:2 10bit uncompressed data and up to 8K/30P 12-bit video in RAW data via HDMI.

Additional Camera Features:
-The GFX ETERNA will feature a native G mount with a removable PL Mount adapter included.
-The camera is optimized for its large format sensor, adopting a four-point Optical Low-Pass Filter to reduce the potential for optical anomalies.
-GFX ETERNA 55 incorporates “DUAL-BASE ISO” with two base sensitivities, ISO 800 and ISO 3200.
-The camera features CFExpress Type B and SD card media slots.
-The body weight is approximately 4.4 pounds (2.0 kg).
-Built-in Variable ND Filter covering two to seven stops in 0.015 stop increments
-A 2000-nit 5” touch-enabled LCD monitor and 3-inch side monitors give both camera operators and camera assistants access to the camera menus.

Camera Pricing and Availability:
Initial shipments of FUJIFILM GFX ETERNA 55 are expected to begin in October 2025 at a Manufacturer’s Suggested Retail Price of $16,499.95 USD. Select dealers will be accepting pre-orders beginning September 15, 2025 at 12:00 a.m. Find out more about the camera here: https://shopusa.fujifilm-x.com/gfx-eterna-55-filmmaking-camera-16969715/

FUJINON GF32-90mmT3.5 PZ OIS WR Cinema Zoom Lens:
Released in tandem with the Eterna is the FUJINON GF32-90mmT3.5 PZ OIS WR cinema zoom lens. It is the first FUJINON motorized power zoom for the GFX System offering cinematic optical performance in a compact, lightweight design. The motorized zoom covers 32-90mm focal length (equivalent to 25-71mm in 35mm film format), from near wide-angle to standard and integrated motorized zoom control is available via the GFX Externa camera.

The GF32-90mmT3.5 PZ OIS WR measures just about 8.7 inches (222mm) in length and achieves a lightweight design at approximately 4.6 pounds (2.1 kg). The lens is equipped with a three-ring system that allows independent manual control of focus, zoom, and aperture with all operating rings using the same 0.8M gear pitch. The focus ring features a wide 200-degree rotation angle, allowing precise focusing with smooth torque even in shallow depth-of-field scenes. A 13-blade iris diaphragm achieves a nearly circular aperture shape to improve the roundness of bokeh even when slightly stopped down. Powerful image stabilization is achieved through improved shake sensing accuracy and optimized stabilization mechanism design.

Lens Pricing and Availability
Initial shipments of the FUJINON GF32-90mmT3.5 PZ OIS WR are expected to begin in October 2025 at a Manufacturer’s Suggested Retail Price of US$5,995.95. For detailed product specifications on the lens, please visit https://www.fujifilm-x.com/en-us/products/lenses/gf32-90mmt35-pz-ois-wr/.

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Blackmagic Introduces the Camera ProDock Offering Pro I/O for the iPhone Including Genlock, Timecode, HDMI Out, and Headphone & Mic Inputs

Blackmagic Design has announced the Blackmagic Camera ProDock, a new dock that adds professional camera connections to the iPhone 17 Pro and 17 Pro Max including genlock, external timecode, HDMI out, headphone and microphone inputs, external disk recording and more. The Blackmagic Camera ProDock works with the Blackmagic Camera app, allowing users to rig the iPhone 17 Pro and Pro Max for professional cinema production. It provides all the basic connections needed to build a custom rig including USB for external disks and power.

The Blackmagic Camera ProDock is available now from the Apple Store online and Blackmagic Design resellers worldwide for US$295, excluding duties.  Find more details here: https://www.blackmagicdesign.com/products/blackmagiccamera/#prodock

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Apple and Blackmagic Design Announce Support for Apple ProRes RAW with iPhone 17 Pro

Reviewers were not too enthusiastic about Apple’s release of the iPhone 17 if they were just considering the incremental improvements as a phone. They noted a little bigger screen, a little longer battery life, and a little faster processor.  However, filmmakers have a lot more to be excited about with the new capabilities of the iPhone as a motion picture capture device. Apple has introduced ProRes RAW and open gate recording support for iPhone 17 Pro and iPhone 17 Pro Max.

Meanwhile Blackmagic Design has announced that DaVinci Resolve 20.2 and Blackmagic Camera 9.8 public beta will add support for Apple ProRes RAW, including footage captured with the new iPhones. In addition, future updates for Blackmagic Camera and Blackmagic Video Assist 12G will add ProRes RAW recording file formats.

DaVinci Resolve 20.2 and Blackmagic Camera 9.8 public beta are available now free of charge from the Blackmagic Design website.

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Leitz Introduces New HEKTOR T2.1 Set of Six Prime Lenses for Mirrorless Cameras

Leitz Cine has announced that they are entering the mirrorless lens market with a new line of prime lenses. The Leitz HEKTOR lenses are a brand new set of prime lenses designed specifically for cameras using mirrorless mounts. The lenses come in six focal lengths: 18, 25, 35, 50, 73 and 100mm, all T2.1. The user interchangeable mount options include E, L, RF and Z. Since the lens mounts are passive they do not pass metadata or lens information to the camera, and due to their design, they will not be available in PL, LPL or Leica M mount. They are aimed squarely at the mirrorless camera market and are designed to prioritize two things image character and build quality.

The lenses are compact and lightweight with an 80mm diameter (all) and a 77mm screw-in filter thread (except the 18mm). Focus and iris ring locations match for quick lens changes with 120° and 49° rotations, respectively, making them easy to work with when operating and pulling focus. A nine-blade iris maintains a round shape through all stops for consistency in the out-of-focus areas.

More information can be found at: https://www.leitz-cine.com/product/hektor

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Canon Announces New EOS C50 7K Full-Frame Cinema Camera and RF-Mount RF85mm F1.4 L Hybrid Lens

At IBC 2025 Canon has announced the new EOS C50 cinema camera, the latest addition to their cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, designed to make it ideal for handheld and verité shooting.

The lightweight design and mobile form factor of the EOS C50 camera are designed to provide a more compact, ergonomic cinema camera for a variety of settings and shooting styles. The EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for more agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens. The new lens provides the ability for extreme background blurring with a F1.4 Maximum aperture, and well-controlled focus breathing.

EOS C50 Cinema Camera Highlights Include:
• 7K FF Back-Illuminated CMOS Sensor
• 7K 3:2 Open Gate, UHD 4K120, 2K180
• Dual-Base ISO: 800 and 6400
• Full-Size HDMI Output, DIN Timecode Port
• Dual-Pixel CMOS AF 1I
• Top Handle with XLR Audio Inputs
• Adjustable-Speed Zoom Rocker
• Simultaneous Crop Recording
• Frame.io Camera to Cloud Integration
• CFexpress Type-B and SD Card Slots

RF 85mm f/1.4 L VCM Lens Highlights:
• Full-Frame | f/1.4 to f/16
• Fast Portrait-Length Hybrid Lens
• Voice Coil Motor AF System
• De-Clickable, Manual Aperture Ring
• Custom Control Ring and Function Button
• UD and Aspherical Elements
• Super Spectra, SWC and ASC Coatings
• Rounded 11-Blade Diaphragm
• Weather-Sealed Design & Fluorine Coating

RF 85mm f/1.4 L VCM Lens Highlights:
• Full-Frame | f/1.4 to f/16
• Fast Portrait-Length Hybrid Lens
• Voice Coil Motor AF System
• De-Clickable, Manual Aperture Ring
• Custom Control Ring and Function Button
• UD and Aspherical Elements
• Super Spectra, SWC and ASC Coatings
• Rounded 11-Blade Diaphragm
• Weather-Sealed Design & Fluorine Coating

The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of US$3,899.00. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of US$1,649.00. For more information on these and other Canon products, please visit https://www.usa.canon.com/

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LAOWA Introduces Sunlight 2x FF Anamorphic Zoom Series – Two Lenses Covering 40mm to 135mm with a Constant 2x Squeeze

Claimed as the World’s First 2x Front Anamorphic Zoom series, Laowa has introduced the Sunlight Zooms. They are two lenses, 40mm-80mm and 70mm-135mm, T4.5 with a constant 2x squeeze. There is a choice of four Cinematic Flare Options from classic sci-fi blue, warm amber to evoke nostalgia, adaptable silver for dynamic color play, or elegant clear for clean light transmission. The lens flare ring clearly indicates the selected color, ensuring effortless creative adjustments on set. The calibrated parfocal design keeps focus consistent throughout the entire zoom range, and there is an integrated back focus adjustment to ensure optimal performance across various camera systems. Both lenses feature a 10 blade iris for smooth oval bokeh and focus breathing is said to be minimal.

The standard mount is ARRI PL with options for Sony E, Canon RF, Nikon Z, and L mount. This versatile zoom range and unique front anamorphic design at an affordable price will make full frame 2x anamorphic cinematography more accessible to a wider group of filmmakers. Separately, each lens has a suggested retail price of US$5,999 and US$10,999 for a bundle with both lenses.

More product details can be found here: https://laowacine.com/product/laowa-sunlight-2x-ff-anamorphic-zoom-series/

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ARRI introduces LPM-1 Live Production Monitor at IBC 2025

ARRI adds to their ALEXA 35 Live – Multicam System with the introduction of the LPM-1 Live Production Monitor.  The LPM-1 is a 10-inch onboard display and control interface designed to make the cinematic ALEXA 35 Live – Multicam System a seamless broadcast solution. Built to be robust and durable, the LPM-1 connects to the camera via an ARRI CoaXPress viewfinder cable, though an optional RS cable can provide additional power for maximum brightness. The 10-inch screen is an optimal size for live productions: big enough for accurate judging of focus, yet practical and unobtrusive on a tripod. Operators can be sure of a clear image at all times due to the high-bright display, wide viewing angle, and accurate color rendition.

In addition to its touchscreen interface, the LPM-1 features tactile rotary knobs for easy adjustment of contrast, color, brightness, and peaking, allowing operators to tweak the monitor image to their needs without affecting the production image. Alongside the rotary knobs are four configurable user buttons that can be assigned to camera or monitor functions for personalized, on-the-fly control. Initial setup of camera and monitor settings can be achieved either with the touchscreen or with buttons on the monitor’s rear. Also on the rear are strong mechanical interfaces for battery plates, VESA mounts, and other accessories.

Further aiding the professional operator are three physical tally lights and a specially designed Monitor Yoke Support MYS-2, which provides sturdy support and flexible maneuverability. An integrated NATO rail allows operators to slide the monitor back and forth and adjust its position on multiple axes with just one hand. The ARRI Live Production Monitor LPM-1 will be available to order in October 2025 with different accessory options. Learn more at www.arri.com/alexa35live

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OWC Announces the Launch of Thunderbolt 5 Dual 10GbE Network Dock for Multi-Network Workflows

OWC has announced the launch of a Thunderbolt 5 Dual 10GbE Network Dock designed to simplify multi-network workflows and unlock 20GbE NAS and Shared Storage with Two 10GbE, One 2.5GbE, and Multiple Thunderbolt 5 and USB Ports. This powerful dock enables users to connect to multiple high-speed networks, have access to extremely fast network-attached storage (NAS), and expand device setups via a single Thunderbolt cable.

The OWC Thunderbolt 5 Dual 10GbE Network Dock enables:
– Multi-Network Versatility: Dual, fully independent 10Gb/s Ethernet ports and a front-facing 2.5Gb/s Ethernet port let you connect up to three separate networks and/or high-speed network devices simultaneously
– Extreme Throughput: Bond the 10GbE ports with link aggregation and access your NAS at up to 20Gb/s from your notebook computer.
– One Simple Solution: Easily handle complex multi-network workflows, unlock high-bandwidth network storage connectivity, and expand your connectivity possibilities with this dock and included Thunderbolt 5 cable.
– Transformative: Experience workstation/server-class networking from your notebook and enable workflows that were previously cumbersome or impossible.
– Convenient Connectivity: Three Thunderbolt 5 and four USB 10Gb/s ports give you the flexibility to use both cutting-edge devices and legacy gear.
– More Devices: Create three separate daisy chains of devices – even bus-powered – and remove devices from one chain without affecting the other chains.
– Greater Visual Clarity: Enhance your efficiency with sharper details by connecting up to three 8K displays.
– Silently Cool: Fanless aluminum enclosure for quiet and cool operation.

The OWC Thunderbolt 5 Dual 10GbE Network Dock is immediately available and priced at US$499.00. To learn more and purchase, please visit: https://www.owc.com/solutions/thunderbolt-5-dual-10gbe-network-dock.

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DZOFILM Introduces Fully Upgraded Vespid Prime 2 Lens Set (18/24/35/50/85/105mm) T1.9 with VV Coverage

DZOFILM has announced the new Vespid 2 primes, a major update to the original Vespid series with faster apertures, metadata support, and more. Focal lengths of the 6-lens set include 18, 24, 35, 50, 85, and 105mm all at a T1.9 constant aperture across the set.

𝐊𝐞𝐲 𝐟𝐞𝐚𝐭𝐮𝐫𝐞𝐬:
-Full VV Coverage | Constant T1.9
-Lens Set (18/24/35/50/85/105mm)
-Definitive-Precision-Grinding ASPH：Edge-to-edge sharpness with minimal distortion
-Superior control in flare and chromatic aberration
-80mm Front Diameter | 800g weight
-Cooke /i metadata protocol support
-Enhanced Close Focus Performance and color consistency

Priced at US$1,199 per lens, (US$1,299 for the 18mm,) and US$6,289 for the 6 lens kit with hard case. Shipping began September 4, 2025. For more details, visit: https://www.dzofilm.com/en/products/vespid-prime2

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AJA Introduces Three New Products at IBC 2025: BRIDGE LIVE 12G-4, UDC-4K, and IP25-R

AJA has introduced three new products — BRIDGE LIVE 12G-4, UDC-4K, and IP25-R — which will be demonstrated at the IBC show from September 12-15, 2025.

BRIDGE LIVE 12G-4
BRIDGE LIVE 12G-4 is AJA’s new high-density encoding, decoding, transcoding, streaming, and remote production workflow solution, featuring four bidirectional 12G-SDI ports for multi-channel UltraHD workflows. It supports a range of codecs and protocols, including H.264, H.265, NDI, JPEG 2000, JPEG XS, SRT, RTMP, and HLS. Developed in collaboration with Comprimato, BRIDGE LIVE 12G-4 streamlines multi-channel UltraHD video transport, streaming, and contribution, all through an easy-to-use and feature-rich UI that can be accessed locally or across the LAN. For more details visit: https://www.aja.com/products/bridge-live

UDC-4K Mini-Converter
A new compact Mini-Converter that seamlessly bridges HD and 4K workflows, UDC-4K combines 12G-SDI and HDMI 2.0 I/O with high-quality up/down/cross-conversion, frame synchronization, utility frame rate conversion, HDR support, and much more. From control rooms to field production, it lets professionals easily move between formats and frame rates up to 4K60p with confidence. Built for reliability and precision, UDC-4K brings powerful conversion and operational simplicity to any broadcast, AV, or post pipeline. For more details visit: https://www.aja.com/products/udc-4k

IP25-R Mini-Converter
Powerful and compact, AJA’s new IP25-R 4K SMPTE ST 2110 to 12G-SDI and HDMI 2.0 Mini-Converter is designed to seamlessly merge hybrid IP and baseband infrastructures. It not only delivers up to 4Kp60 video with low latency but also offers ST 2022-7 redundancy, advanced HDR metadata management capabilities, and robust signal control. Plug in via dual SFP28 ports, assign ST 2110 video streams to 4x 12G-SDI or 2x HDMI 2.0, while managing it all from an intuitive browser-based UI. For more details visit: https://www.aja.com/products/ip25-r
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Sigma Introduces the 28-45mm T2 FF, Adding Auto Focus to Their Cine Zoom Line

Sigma has announced the introduction of the 28-45mm T2 FF, the first lens in the AF Cine Line. Equipped with a fast and quiet HLA linear focusing motor and a constant T2 aperture, this ultra-fast zoom provides incredible flexibility for documentary and event production. It puts the exceptional performance of the 28-45mm F1.8 DG DN | Art lens — already a filmmaker’s favorite — into a cinema housing, complete with industry-standard 0.8M-pitch gears for focus, zoom, and iris. Weighing in at 960g*, the 28-45mm T2 FF is only 60g heavier than the 28-45mm F1.8 DG DN | Art, and both lenses are the same length. The Sigma AF Cine 28-45mm T2 FF lens will be available in early November at authorized Sigma Cine Lens dealers in the US for Sony E-mount and L-Mount for a retail price of $3,399 USD.

Find out more about all Sigma products at: https://www.sigmaphoto.com/
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Cartoni Unveils the MIXO 21 at IBC — a New Fluid Head Designed for ENG & Field Productions

Cartoni is debuting the MIXO 21 at IBC 2025, a brand-new fluid head designed for fast-paced ENG operators & field productions. The MIXO 21 is compact and weighs just 3.6 kg (8 lbs), yet is capable of supporting payloads from 0 to 21 kg (46.29) with a tilt angle of +/-90° on a 100mm bowl or flat-base. The head features Cartoni’s patented continuous counterbalance system with a new 7-Step fluid drag mechanism, offering operators the perfect tactile experience. With 7+0 drag settings on both pan and tilt, users can dial in the precise resistance for any shot.

Find out more at: https://www.cartoni.com/products/fluid-heads/fluid-heads-100-mm/hm2100-mixo-21/

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The Long and Short of Fujifilm Broadcast Lens Announcements at IBC

Fujifilm is using the occasion of IBC 2025 to make a couple of important broadcast lens announcements. First off is the current availability of the new FUJINON LA30x7.8BRM Portable, a lightweight 4K Broadcast Zoom Lens. It delivers a relatively long 30x zoom range covering 7.8-234mm in a compact, lightweight design with a newly developed drive unit to support virtual and remote production. Initial orders are expected to begin shipping in October 2025 at a manufacturer’s suggested retail price of $7,299 USD.

The second big announcement from Fujifilm at IBC is the development of a much wider FUJINON UA22x4.8BERD broadcast zoom lens, designed for lightweight versatility. It is expected to be released in spring of 2026 and a prototype will be showcased under glass at IBC 2025.

For more information about these lenses, visit: https://www.fujifilm.com/us/en/business/cine-and-broadcast/portable-lens/4k-portable-lens

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Sigma Introduces New Lenses at IBC: a 135mm F1.4 Auto Focus Prime, a 20-200mm 10x FF Zoom, and a 35mm F1.2 Prime

Sigma 135mm F1.4 DG | Art lens
Sigma is introducing several new products and updates at IBC 2025. Let’s start with the Sigma 135mm F1.4 DG | Art, a large-aperture, medium telephoto lens with very high resolution and exceptional bokeh for a smooth, blurred backgrounds. As the longest focal length prime lens in the Art F1.4 series for full-frame mirrorless cameras, this lens is designed to create exceptionally smooth, beautiful bokeh, while enhancing composition by helping the subject stand out against the background.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking. Several features support a variety of shooting styles, such as an intuitive de-clickable aperture ring, and customizable AFL buttons located on the side and top of the lens. Outstanding edge-to-edge resolution is achieved, even at maximum aperture, by adopting an optical design of 17 elements in 13 groups, including 4 FLD and 2 aspherical glass elements. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum. The Sigma 135mm F1.4 DG | Art lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,899 USD.

Sigma 20-200mm F3.5-6.3 DG | Contemporary Zoom Lens
The Sigma 20-200mm F3.5-6.3 DG | Contemporary is a unique all-in-one zoom lens covering ultra-wide to telephoto in a single compact lens. Given its compact size, it’s rare to have a focal range that allows for shooting quickly and easily between expansive landscapes and establishing scenes, to close-up details or action shots. This lens’s 20mm starting range is much wider than the average high-power zoom lens, and weighs in at only 550 grams in a 4.5 inch body making it ideal for travel photography and documentary work. Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking.

The optical design, which properly positions four aspherical lenses, one FLD glass element, and three SLD glass elements, combined with an internal mechanism that precisely maintains each zoom group, enables high performance across the entire zoom range despite the high zoom ratio. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum. The Sigma 20-200mm F3.5-6.3 DG | Contemporary lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $999 USD.

Sigma 35mm F1.2 DG II | Art Lens
The Sigma 35mm F1.2 DG II | Art, evolving from the original 35mm F1.2 and following the need for a more compact lens to pair with mirrorless cameras, now features a much smaller footprint, comparable in size to the 35mm F1.4 DG DN | Art. Autofocusing performance has been upgraded, and overall optical quality has also been improved. With its bright F1.2 aperture, the lens is ideal for nightscape photography in addition to portraiture, landscapes, street photography, and many other genres that embrace the 35mm focal length. Thorough correction of axial chromatic aberration and sagittal coma flare contributes not only to the sharpness of the image plane, but also to the bokeh effect. The lens delivers beautiful bokeh without color fringing, double-line bokeh, or any other irregularities from its maximum aperture. The 11-blade rounded diaphragm maintains a circular bokeh shape even when the aperture is stopped down.

As a result of the optical and mechanical design incorporating the latest technology, the new 35mm F1.2 DG II | Art is significantly smaller and lighter than the previous model. The filter diameter has been reduced by two sizes from 82mm to 72mm; the overall length of the lens has been shortened by approximately 20%, and the weight has been reduced by approximately 30%. Additionally, focusing performance surpasses that of the previous model by adopting a floating focus configuration that moves two focus groups independently. The Sigma 35mm F1.2 DG II | Art lens will be available in late September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $1,549 USD.

Find out more about all Sigma products at: https://www.sigmaphoto.com/
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Blackmagic Announces New Lower Prices for their 12K LF and 17K URSA Cine Camera Kits

Blackmagic Design has announced a new, lower prices for their URSA Cine camera kits. Blackmagic URSA Cine camera kits are designed to include everything needed to start shooting large format digital film, including camera body, 8TB Media Module, top handle, baseplate, power supply and battery plate all packed into a pelican case.

For details of what’s included in each kit, please visit:  https://www.blackmagicdesign.com/products/blackmagicursacine/techspecs/W-URSA-64

The new prices, excluding duties, are listed below:
Blackmagic URSA Cine 12K LF was $14,995 now $9,495
Blackmagic URSA Cine 12K LF + EVF was $16,495 now $10,995
Blackmagic URSA Cine 17K 65 was $29,995 now $22,995
Blackmagic URSA Cine 17K 65 + EVF was 31,495 now $24,495

For user’s perspective see our DCS Road Test 2025 which prominently featured the Blackmagic URSA 12K LF:

https://dcsonline.org/essay/dcs-road-test-2025-lights-camera-action-plus-all-the-support-gear-to-make-it-happen/

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Laowa 8–15mm Fisheye Zoom Now Available for Medium Format in XCD & GFX Mounts

Laowa has introduced GFX and XCD mount options for its 8–15mm f/2.8 full-frame fisheye zoom lens. Originally designed for full-frame systems, this lens now brings its signature circular fisheye effect to Fujifilm GFX and Hasselblad XCD medium-format cameras. While the image doesn’t fully cover the larger sensor area, image creators can creatively crop to achieve their desired composition, unlocking new visual possibilities.

With a constant f/2.8 aperture throughout the zoom range, the lens performs well in low-light environments and enables faster shutter speeds—ideal for capturing dynamic scenes such as sports or action shots. Its close 16cm (6.3″) minimum focusing distance allows getting up-close and personal with subjects, producing dramatic compositions with bold fisheye distortion and immersive visual impact. Previously available in full-frame mounts including Sony E, Nikon Z, L mount, and Canon RF, the lens is now expanding its compatibility with the addition of GFX and XCD mount options for medium-format users. (GFX: 101.2mm*Ø76.4mm/ XCD: 96.36mm*Ø76.4mm).

Features include:

• Dual fisheye effect (circular & full-frame)
• Constant f/2.8 aperture
• Outstanding image quality
• Close focusing distance of 16cm
• Compact and portable design

For more details on this lens, please visit: https://www.venuslens.net/product/laowa-8-15mm-f-2-8-ff-zoom-fisheye-2/

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Major Updates From Blackmagic: Resolve 20.1.1 adding Support for Edit, Color, VFX, Immersive Video, and More, Plus a New Flexible DaVinci Resolve Studio License Management System for Blackmagic Cloud

When Blackmagic Design announces software updates, it is like a firehose of new abilities, added support, and innovations across their many related product lines including camera, edit, color, audio, and VFX. Read on for a brief summary of the many new features.

DaVinci Resolve 20.1.1
DaVinci Resolve 20.1 is a major new update that adds support for Apple Immersive Video workflows to DaVinci Resolve Studio for macOS. With this update filmmakers can edit, color grade, add visual effects, mix Spatial Audio, and deliver Apple Immersive Video captured using the new Blackmagic URSA Cine Immersive camera. A new immersive video viewer allows users to pan, tilt and roll clips for viewing on 2D monitors or directly stream to Apple Vision Pro for an even more immersive editing experience. This update also includes improvements for all DaVinci Resolve users including an update to the keyframe panel to make animation faster and more intuitive. Easing behavior has been refined across multiple keyframes, ensuring smoother transitions and more consistent results in both the timeline and inspector. Curve visibility has been improved, letting you adjust curves directly from either the keyframes or curves tray. This makes it easier to fine-tune keyframe and curve changes without switching views. Keyframes beyond clip edit points are now visible, making it easier to create extended animations. Plus, shortcuts can now be assigned to toggle between keyframe and curve views, and use the new vertical zoom slider for finer control in the curve editor.

There are also improvements to MultiText that make text formatting more intuitive and easier to use. You can now style individual characters or words with different fonts or colors. Additionally, you can apply paragraph level styling to easily align text left, center, or right, and apply indents for cleaner formatting. You can also import CSV files directly, which will be automatically arranged into column aligned MultiText text boxes for easy formatting and layout.

The DaVinci Resolve 20.1.1 update also adds faster loading times for Blackmagic Cloud projects with stacked timelines, making it easier and faster to reference and edit multiple timelines from the cloud. Clip copy and paste now remembers previous checkbox selections made in the paste attributes menu, allowing faster application of the same attributes across multiple clips without re-selecting options each time. Also, when importing PSD files from the Fusion import menu, layers and nodes will now appear in a cleaner, more organized layout, making it easier to view connections and work with detailed compositions.

DaVinci Resolve 20.1.1 update is available now as a free download from: https://www.blackmagicdesign.com/support/

Blackmagic Camera 9.7 Now in Public Beta
Blackmagic Camera 9.7 Public Beta adds support for the new Blackmagic URSA Cine Immersive designed for Apple Vision Pro. Sample video clips recorded on the Blackmagic URSA Cine Immersive camera are available to download to use with DaVinci Resolve Studio 20.1 for macOS and experiment with editing and color grading in immersive for the Apple Vision Pro. https://www.blackmagicdesign.com/products/blackmagicursacine/preorder#immersivevideo

Blackmagic Camera 9.7 Public Beta is available now as a free download from https://www.blackmagicdesign.com/support/family/professional-cameras

Fusion Studio 20.1 Update
Updates to Fusion Studio improve immersive video workflows with a new 360º views menu option, and new immersive patcher and immersive distort tools. These allow the user to adjust the shape and appearance of immersive images just like standard footage, making it easier to create and refine content for formats like Apple Vision Pro. This gives a faster, more intuitive workflow for spatial and immersive video in Fusion.

This update also adds support for AI Magic Mask 2, allowing you to click to select and track people, features, and objects in Fusion with far more accuracy. This makes it easier to apply your special effects, adjust settings and fine-tune your animations to objects moving in the frame. Fusion Studio 20.1 update is available now as a free download from https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion

Blackmagic has also announced a new way for individuals to rent DaVinci Resolve Studio with a license management system in Blackmagic Cloud. Previously, this was only available to larger organizations but now individual users can also rent licenses for short-term projects or to bring in additional help. Rented licenses can be activated using your Blackmagic Cloud ID, without the need for a dongle or activation code, and license usage across different computers can be managed directly within Blackmagic Cloud.

For access to these new features for Blackmagic Cloud customers and information on all the latest Blackmagic products, please visit: https://www.blackmagicdesign.com/
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Leitz Cine Expands Their Hugo Series with the Addition of a New 40mm T1.5 Prime Lens

Leitz Cine has announced the addition of a 40mm T1.5 lens to their popular Leitz HUGO series of prime lenses for cinematography. The new focal length brings the set to 14 total lenses ranging from 18mm to 135mm. The Leitz HUGO has gained a reputation with Cinematographers for a look that brings character and softness to modern digital sensors without the compromises found in older lenses. The glass in most HUGO lenses comes from Leica’s M rangefinder lenses and exhibits a similar gentle field curvature with a fall off toward the corners that brings the viewer toward the center of the image. While a 40mm does not exist in current Leica optics, it was created with support from Leica Camera’s designers to ensure on-brand performance. 

Other noteworthy lenses in the HUGO series include the 66mm T2.1 and the 50mm T1.0. The 66mm uses the same design as the fabled Leica ELCAN “Spy Lens” from the 1960s/70s, one of the rarest lenses ever produced by Leica. The 50mm uses the glass of Leica’s 50mm f/0.95 Noctilux-M, an iconic lens in the Leica Camera pantheon of optics.  The Leitz HUGO 40mm lens is scheduled to be delivered in Q4 of 2025 with preorders open now. For more details on all Leitz Cine lenses please visit: https://www.leitz-cine.com/

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OWC Launches Express 1M2 80G Portable SSD Capable of Peak Real-World Speeds Over 6000MB/s

OWC has announced the launch of the OWC Express 1M2 80G enclosure as a build-your-own or ready-to-run storage solution.
The OWC Express 1M2 80G is:
– Supremely Fast – Over 6000MB/s peak real-world speed
– Widely Compatible – Works with Macs, PCs, iPad Pros, Chromebooks, and Surface devices equipped with Thunderbolt 5, Thunderbolt 4, or USB4. Also works with Thunderbolt 3 Macs
– Exceptionally Flexible – Choose DIY “build your own” or up to 8TB ready-to-run solutions, with both being easily future upgradeable with a faster, higher capacity 2280 or 2242 NVMe M.2 SSD
– Innovatively Cool – Patent-pending heat-dissipating design offers rugged protection of your SSD while silently keeping the drive cool for consistent top speed
– Versatile – Easily handle daily data needs to pro-level creative projects while matching internal storage performance
– Convenient – Bus-powered via the included USB4 cable

The OWC Express 1M2 80G is now generally available (GA) through OWC.com and
Amazon.com and priced as follows:
0TB Enclosure – $219.00
1TB – $349.00
2TB – $499.00
4TB – $699.00
8TB – $1,299.00

For further information, please visit https://www.owc.com

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Two All New Ultra-fast Primes From SIGMA: 200mm F2 for Full-frame and 12mm F1.4 for APS-C Mirrorless

SIGMA has announced the addition of two all new prime lenses to their line, a Sports 200mm F2 DG OS for full-frame mirrorless and a Contemporary 12mm F1.4 for APS-C mirrorless cameras. The Sigma 200mm F2 is a telephoto prime lens designed for full-frame mirrorless cameras with an advanced optical design delivering corner-to-corner sharpness, even wide open at F2. The large bokeh and compression effect make this lens a good choice for portrait photography, and it is also ideal for shooting indoor sports with low-light and fast-moving subjects.

The linear motor HLA (High-response Linear Actuator) provides accurate, high-speed AF, and the 6.5-stop image stabilization supports comfortable shooting. Additionally, its dust- and splash-resistant structure, along with the robust design and advanced functionality of Sigma’s Sports line, makes it highly reliable in any shooting environment. Available in Sony E-mount and L-Mount. For more on the 200mm F2 DG OS visit: https://www.sigmaphoto.com/200mm-f2-dg-os-s

The Sigma 12mm F1.4 DC Contemporary is an ultra-wide-angle prime lens that achieves an extremely wide view with the latest optical design to deliver high resolution with a very large aperture. While maintaining uncompromising performance, the compact and lightweight design maximizes the mobility of APS-C cameras, enabling agile shooting. This large-aperture ultra-wide-angle lens combines high performance and portability, bringing new perspectives to a wide range of scenes, whether stills and video, including outdoor landscapes, travel, and street photography. The F1.4 series DC Contemporary line is available for Sony E-mount, Fujifilm X Mount, and Canon RF Mount. For more information, visit: https://www.sigmaphoto.com/12mm-f1-4-dc-dn-c

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New from NANLUX at IBC: Evoke 600C Powered by New Nebula C8 Color Light Engine

Nanlux is introducing a versatile new light, the Evoke 600C which will be powered by their new Nebula C8 Light Engine. The Evoke 600 is a powerful full-color point source light designed for professional productions. The Nebula C8 Color Light Engine allows for an ultra-wide 1,000K–20,000K range with outstanding color performance and new levels of skin tone rendition. IP66 protection ensures reliability in extreme conditions.

The fixture’s all-in-one magnesium-alloy housing makes it light, easy to transport, and durable. It has the new BE-mount, which can recognize compatible modifiers and control an optional motorized Fresnel. IP66 protection ensures reliability in extreme conditions. It is compatible with a wide range of Bowens mount accessories and, via an adapter, is also compatible with NL mount modifiers. It supports multiple control options including the NANLUX wired remote controller, NANLINK App 2.0, DMX/RDM, LumenRadio CRMX, Art-Net/sACN, and remote controller. Thanks to a built-in NFC function, it can also pair instantly with an NFC-enabled phone or tablet running the NANLINK App 2.0.

More on The Nebula C8 Color Light Engine
The industry-leading Nebula C8 engine builds on the established NANLUX RGBLAC six- color engine by adding deep red and indigo colors that fill the gaps in the spectrum found in traditional color engines. The Nebula C8 engine comprises dR (Deep Red), R (Red), A (Amber), L (Lime), G (Green), C (Cyan), B (Blue), and I (Indigo) colors. The Nebula C8 Color Light Engine achieves the industry’s widest CCT range of 1,000K–20,000K, covering all color temperature needs in production. The system now encompasses the B4 white light engine which, together with new C8 color light engine, gives users the freedom to choose which variant best suits their application.

For more information on all Nanlux products, please visit https://www.nanlux.com/#/en
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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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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:

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