As we wrap up a very challenging year for DCS and our local filmmaking community, it is good to reflect on the positive. We can point to a few things, but primary among those is the simple fact that we are still here. At points throughout this last year, we were not sure we could continue to serve you, but with the overwhelming success of our recent financial appeal and the support of our members, we’ve recharged not only our bank account, but also our determination to keep DCS going. We’re starting to map out several events in the new year and plan to continue our annual coverage of industry trade shows like the HPA Tech Retreat, NAB, and Cine Gear Expo.  We’ve also got new episodes slowly making their way through post for our documentary series, The Language of Camera Movement.

We’re often asked, especially this time of year, what entertainment industry trends we see ahead. We decided to turn to one of the most insightful technology leaders we know and share his thoughts as this month’s DCS essay. We are very pleased to be publishing “Three Predictions for 2026” from Larry O’Connor, Founder and CEO of Other World Computing, (OWC). From his take on the over reliance on cloud computing to the implementation of AI, not as a replacement for creative endeavors, but in service of them, we think his analysis is spot on.

OWC also leads off our industry news with word that they have made a significant investment in the Cioni Brothers’ startup known as Strada with the cooperative goal of advancing peer-to-peer file sharing technology. Other news includes the introduction of the LiteWafer-UP150R, an ultra-slim panel with powerful output from Godox, a new tripod riser and operator platform named Ragno Pod from Cartoni, new camera firmware with major new features from both Canon and Blackmagic, Sigma’s first AF-compatible Full Frame Cinema 28-45mm T2 Zoom, a new title-shift 35mm macro lens from Laowa, and a collaboration between Nanlux and DoPchoice to release the SNAPBAG Octa5′, a 5 foot diameter shallow soft box with NL mount.

We’ve got some very sad news to report about the passing in late November of industry luminary, Dedo Weigert, a cinematographer, inventor, and manufacturer. In more upbeat news, we share a couple of great episodes from Michael Valinsky’s The Making Of podcast: an interview with A House of Dynamite Cinematographer Barry Ackroyd, BSC and another with The Last of Us Cinematographer Ksenia Sereda.

DCS wishes you all a very happy and prosperous New Year!

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OWC Makes Major Investment In Cioni Brothers’ Tech Startup Strada to Advance Collaborative File Sharing Tech

Two innovative DCS sponsors have come together to push peer-to-peer file sharing collaboration technology forward. Strada, the startup founded by brothers Michael and Peter Cioni, has secured a significant strategic investment from Other World Computing (OWC) designed to accelerate Strada’s product development roadmap. The idea is to use OWC’s extensive hardware ecosystem including high performance storage, memory, connectivity, and accessories working with Strada’s peer-to-peer collaboration platform to enable content professionals to access, share, and review large video files stored on local drives anywhere in the world without needing to upload anything to the cloud.

According to Michael Cioni, “Production teams will no longer need to rely on expensive and energy consuming cloud subscriptions in order to collaborate with their remote colleagues. As we continue to expand the Strada network around the world, OWC is a perfect partner because they understand the needs of remote video production teams and build solutions for every budget, every workflow, on every platform.”

Larry O’Connor commented that, “What Strada has built is revolutionary: their peer-to-peer technology is so powerful, I believe it has the potential to disrupt the more costly, less beneficial ‘existing status quos instantly enhancing the value of OWC products for every one of our customers.”

Over the coming months, OWC and Strada will commence co-marketing initiatives, including events and social media collaboration, and will extend special incentives to customers who purchase packages of OWC and Strada products. In addition, both companies will share a booth at NAB 2026 where DCS will use their latest remote collaboration technology for our annual coverage of the convention.

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Godox Introduces the LiteWafer-UP150R, an Ultra-Slim Panel Delivering Up To Twice the Output of Soft and Even Illumination

Godox has introduced the new LiteWafer-UP150R, designed to deliver strong performance in an ultra-slim body, producing 20,400 lux @1m with soft, even light that fits easily into tight spaces and mobile setups. Two units can be connected to form a larger, unified source offering flexibility on fast-moving shoots. Full HSI/RGBW control, a wide 1800K–10,000K CCT range, and 14FX effects make it a versatile tool for both studio and location work.

Combined with the Quick-Release Mounting System, it suits shooting environments where space and speed matter. The integrated V-mount plate allows direct battery use without external adapters. Paired with the lightweight control box and shoulder strap, the UP150R is ready for travel and on-location production. Two UP150Rs can be connected horizontally or vertically to create a bigger lighting surface and with the optional UP-C300 dual-light controller, both fixtures can be adjusted together for faster, more consistent setups.

With CRI ≈ 97 and TLCI ≈ 98, the fixture provides reliable, true-to-life color rendering, ensuring natural skin tones and consistent results across different shooting environments. The UP150R features a reinforced full-metal chassis that provides strong durability and efficient passive cooling, enabling the fixture to deliver steady, reliable output across long shooting days. The fixture offers quick NFC pairing for immediate control through the Godox Light App, while optional DMX support via the DMX-TRS1 adapter extends compatibility to studio-grade setups, making it suitable for both independent creators and professional crews.

The LiteWafer (UP150R) Light is now available at an MSRP of US$699.00

For more information, visit: https://www.godox.com/product-e/UP150R.html

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Cartoni Introduces New Ragno Pod Tripod Riser and Operator Platform

Cartoni has announced the Ragno Pod tripod riser & operator platform, a new portable system that elevates camera setup by over 2 feet (629mm), giving operators a clear, unobstructed view above crowds and obstacles. Designed for coverage of live events, news, sports, and performances, the Ragno Pod delivers solid stability, quick setup in minutes, and operation in any environment.

Constructed from aviation-grade aluminum, the Ragno Pod combines light weight with structural strength. Its wide tripod footpath supports all popular tripods equipped with floor or built-in spreaders and rubber feet. A single adjustable leg allows for perfect leveling on uneven surfaces, while a patented secure locking mechanism keeps the three legs firmly in place during operation.

The optional foldable standing platform provides a spacious, anti-slip surface for operators. By keeping the platform separate from the tripod base, vibration transfer is minimized, ensuring steady, professional shots. The platform attaches neatly to the Ragno Pod for transport and fits easily into the included padded carrying case for ease of mobility.

For more details, please visit: https://www.cartoni.com/?s=Ragno+pod

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DCS is Very Sad to Report the Passing of Dedo Weigert, Cinematographer and Luminary Lighting Inventor and Manufacturer

We are very sad to report the passing of our dear friend Dedo Weigert. Dedo, who was born on November 5, 1938 in Breslau, Germany and recently celebrated his 87th birthday, was best known in our community as a prominent lighting manufacturer and the founder of Dedolight. Prior to that, Dedo had a very long and distinguished career in other areas of the entertainment industry.

At a young age, Dedo began studying theater. He also studied German Literature and Psychology at Munich University before working in theater as an actor, assistant director and director. After some years as a camera assistant on international productions, he became a Director of Photography in 1964, and worked for many years in documentaries as a DP, director and producer in over 40 countries. His work also included some drama, art films, commercials, and a specialization in high-speed cinematography.

In 1981, he introduced high-speed video to Germany and had many other technical developments resulting in over 30 international patents – some for film cameras, but most for lighting technology. Dedo earned over 25 international prizes for his film work and was twice awarded by the Academy of Motion Picture Arts and Sciences, as well as earning an Emmy and several Cinec awards. In addition to being on the advisory board of DCS, he was a member of cinematographic associations including BVK, ACS, RGG, UGC, ASC (associate), and Imago. 

The company Dedo Weigert Film GmbH was founded in 1965 for film production, as a rental house, and as one of the major importers of film and video equipment to Germany and several other countries. The company came to be known internationally as Dedolight after one of his more popular luminaires, a small single source focusable tungsten unit with very innovative optics. The company went on to produce all manner of lighting equipment including HMIs, LEDs, and a reflector system known as Lightstream.

See one of the many DCS interviews that we were fortunate to have had with Dedo. This one was from when he was presented with our annual award at the 2019 DCS Cinema Lighting Expo:

https://vimeo.com/1141930683

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New Canon Firmware Adds a Host of Features for the EOS C400, C70, C80, and R5C Cameras

Firmware version 1.0.4.1 is now available for the Canon EMEA Pro Cinema EOS C400, C70, C80, and R5C cameras, bringing a range of meaningful updates and workflow improvements. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), among other features.

C400 Specific Updates:
Expanded Recording Options
Adds Full Frame 3:2 Open Gate sensor mode
CFexpress (Main video recording / RAW):
6000×4000 | 29.97P / 25.00P / 24.00P / 23.98P
The following formats can be recorded to SD (Proxy):
XF-AVC S / XF-HEVC S | 1920×1280 | Same frame rates.

Playback & Image Control:
LUTs can now be changed during playback
Focus peaking optimized to reduce noise at high ISO

Customization & Controls:
New assignable button options, including:
Tele-converter (x1.5 / x2.0 / x2.5 / x3.0)
Subject Detection (People / Animals)
AF Frame options (Small Zone, Zone, Large Vertical/Horizontal)

Frame.io upload:
Faster, more responsive joystick-driven AF frame movement

Lens & Workflow Enhancements:
Added support for Canon CINE-SERVO CN5x11 IAS lenses (RF & PL)
Metadata support (focal length, T-number, lens model)
T-number display
RF mount version also supports:
Canon Virtual Production System
Peripheral illumination, chromatic aberration & distortion correction
Dual Pixel CMOS AF & Focus Guide
Decimal focal length display

Additional Updates:
New communication setting for OpenLensIO-Equivalent Model selection
Look File descriptions can now be reflected in Custom Picture settings
Overall operational stability improvements

A great update for anyone focused on flexibility, precision, and smoother on-set workflows.

For more information and to download visit: https://www.usa.canon.com/support/p/eos-c80#idReference%3Dsoftware-drivers

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Laowa Introduces New Tilt-Shift Lens: 35mm f/2.8 Zero-D Tilt Shift 0.5x Macro

Laowa has announced the launch of a 35mm f/2.8 Zero-D Tilt-Shift 0.5× Macro lens. This versatile new optic is able to blend wide-angle perspective, tilt-shift functionality, and macro capabilities into a single, compact tool. Designed for full-frame mirrorless cameras and also compatible with GFX/XCD medium-format systems, the Laowa 35mm f/2.8 Zero-D Tilt-Shift 0.5× Macro provides precision imaging at an affordable price.

In full frame, the system offers an expansive ±10° of tilt for precise plane of focus manipulation and ±12mm of shift for advanced perspective correction, while the medium Format Systems (GFX/XCD) delivers ±10° of tilt and a robust ±8mm of shift, providing critical control without noticeable vignetting. These movements enable photographers to correct converging verticals in architecture, create stunning miniature effects, achieve extended depth of field across vast landscapes, and minimize reflections, all directly in-camera.

With 0.5x maximum magnification and a minimum focusing distance of just 22.8 cm, (said to be the closest in its class for tilt-shift lenses), this lens excels in macro photography. This close-focus ability, combined with tilt-shift movements, opens new avenues for detailed product shots, creative tabletop photography, and unique close-ups. Adjustable tilt-shift direction provides flexible composition adjustments with 15° clicks for precise control. Integrated Arca-Swiss Lens Support: A detachable support allows for quick and secure mounting to tripods, crucial for precise tilt-shift work. Another feature worth mentioning is the “Frog-Eye Coating,” Laowa’s water and dirt-repellent coating for easy cleaning and reliable performance in challenging environments.

The Laowa 35mm f/2.8 Zero-D Tilt-Shift 0.5× Macro will be available for purchase starting November 25, 2025 at the U.S. retail price of $1,249. For more information on this and other Laowa products, please visit: https://www.venuslens.net/

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The Making Of Podcast featuring “A House of Dynamite” Cinematographer Barry Ackroyd BSC

In this episode of Michael Valinsky’s The Making Of podcast, he interviews A House of Dynamite Cinematographer Barry Ackroyd, BSC. Barry is an Oscar-nominated cinematographer who has shot films in addition to A House of Dynamite, that include The Big Short, The Hurt Locker, Captain Phillips, Bombshell, Detroit, Jason Bourne, Green Zone, and United 93. In this chat, he shares details of his prominent career and working with director Kathryn Bigelow on multiple films. Barry also lends insights about cinematography and filmmaking in general.

Among the sponsors of this program are DCS supporters AJA, OWC, and ZEISS.

Listen to this episode here: https://themakingof.substack.com/p/a-house-of-dynamite-cinematographer

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Nanlux and DoPchoice Introduce the SNAPBAG Octa5′ Shallow Soft with NL Mount (SB-O5-NL)

Nanlux, in association with DoPchoice, has introduced the SNAPBAG Octa5′ Shallow Soft with NL Mount (SB-O5-NL). This professional softbox is designed for NL mount fixtures, meeting the high standards of professional productions for light quality, efficiency, and reliability.

Highlights Include:
– 155cm / 5ft diameter and two layers of diffusers for broad, even, and smooth soft light.
– High-quality eggcrate for more focused and precise beam.
– Compact & durable, quick to set up and collapse.
– Carrying bag included for portable and easy storage.

To learn more please visit: https://www.nanlux.com/#/en

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Blackmagic Camera 10.0 Firmware Update Adds Prerecord and Other Valuable Features

Blackmagic Camera’s 10.0 update adds support for up to 10 minutes pre-record on Blackmagic URSA Broadcast G2 and Blackmagic PYXIS 6K and 12K models.

Now you can record up to 10 minutes of action before you press the record button. The pre-record function lets the camera continuously record to the media card, ensuring any unexpected event will never be missed. Simply select the pre-record duration you need, from 5 seconds to a full 10 minutes, and that cached media will be added to the start of each file you record. This means every important moment is safely captured, critical for unpredictable or fast changing environments like documentaries, news or live events. 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 is preserved.

Also included in this update is support for 4 channel audio recording on Blackmagic URSA Broadcast G2, Blackmagic PYXIS 6K and Blackmagic PYXIS 12K models. This allows you to record two additional audio channels which is ideal for interviews, live events or documentaries where you might want separate mics for talent, ambient sound or scratch tracks, all perfectly synced within the video file.

In addition, this update adds new Camera Control REST API commands for Blackmagic URSA Broadcast G2 and Blackmagic PYXIS models. There is also improved Blackmagic Cloud functionality and B4 lens compatibility for Blackmagic URSA Broadcast G2.

Blackmagic Camera 10.0 update is available now as a free download from: https://www.blackmagicdesign.com/support/family/professional-cameras

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Sigma Introduces Their First AF-Compatible Full Frame Cine Zoom Lens: AF 28-45mm T2

Sigma has introduced the first in their new Cine Zoom Lens series with AF for full-frame cinema cameras. Building on the optical system of Sigma’s Art lenses, the AF Cine Line offers strong rendering performance, along with precision autofocus and excellent tracking capability. This is designed to allow for better handling in multiple shooting styles and on-set environments that were previously challenging with traditional still lenses or cine lenses.

This lens features a 28-45mm zoom with a 1.4x magnification ratio and T2 to T16 aperture range, and it has a switch that easily changes the lens from manual to autofocus. An 11-blade aperture provides a soft beautiful bokeh and the AF Cine Line adds cinema-style mechanics and operability. It features a limited-rotation focus ring, industry-standard 0.8M pitch gears, and a clickless aperture ring. With an MSRP of US$3,399, it is available in both L-mount and Sony E-mount.

Learn more at: https://www.sigmaphoto.com/28-45mm-t2-ff
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The Making Of Podcast featuring “The Last of Us” Cinematographer Ksenia Sereda

In this episode of Michael Valinsky’s The Making Of podcast, he interviews cinematographer Ksenia Sereda. Ksenia shot “The Last of Us”, as well as “Beanpole”, “Chernobyl: Abyss”, and “The Crowded Room”. In this chat, she shares about her early days, her pathway into cinematography, and about lensing “The Last of Us” series. Ksenia also discusses the tools and technologies used to craft her images, and offers filmmaking insights for students and cinematographers today.

Among the sponsors of this program are DCS supporters AJA, OWC, and ZEISS.

Listen to this episode here: https://themakingof.substack.com/p/the-last-of-us-cinematographer-ksenia

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DCS eNewsletter Guest Essay:

Three Predictions for 2026 From Larry O’Connor, Founder and CEO Other World Computing

Prediction 1: On-Prem Comes Back, Not as a Rebellion Against Cloud, but as the Sensible Default for Performance, Cost, and Control.

In 2026, more teams are going to rediscover the joy of having their data and workflows close to where the work actually happens. Not because the cloud is bad. The cloud is a great tool. It is just not the right answer for everything, especially when you are talking about performance, predictable costs, and keeping control of your own data.

What I am seeing is this: it is easy to move a workflow up into the cloud, and then you wake up one day and realize you are paying for every little thing, and you are also at the mercy of a lot of services you cannot fix or influence. If your internet is flaky, or the provider has an outage, or you get hit with egress costs at the exact moment you need your data, that is not a strategy. That is a hope. In 2026, the smart shops will keep cloud as redundancy and reach, but they will rebuild the core on-prem so they can get their job done with less drama.

Prediction 2: The Real Differentiator Will Be ‘Boring’ Infrastructure: High Performance Tech That Disappears into the Workflow.

I think 2026 is the year more people stop buying ‘fancy numbers’ and start buying results. Everybody can show a chart. Everybody can promise the sky. But in the real world, what matters is whether the product is low overhead, dependable, and actually makes your day easier. The best compliment we can get is that someone forgets we are there, because they are too busy getting real work done.

More buyers are going to get tired of the enterprise pattern where you buy the thing, and then you learn you need ten other modules, another server, and a pile of add-ons to get what you thought you already purchased. That is not delight. That is aggravation. In 2026, the winners are going to be the companies that show up, evaluate the environment honestly, and deliver what the customer actually needs, with the least amount of fuss. Under promise. Over deliver. And make it work in the real workflow, not just in a lab.

Prediction 3: AI Becomes a Creative Partner – but the Creativity Remains Human.

AI finally settles into its proper role for creatives, in 2026. It stops trying to be the artist and starts becoming the best assistant a cinematographer, editor, or photographer has ever had. The true creative spark still lives with the human, not in the machine. You can’t automate taste, timing, instinct, and storytelling. What AI can do is clear the runway so creators can spend more time making decisions that actually matter.

Those that rethink where AI lives in the workflow will be the teams that get this right. Instead of pushing raw footage and unreleased work into distant clouds, they will bring AI closer to the media and closer to the creator. When AI runs next to your storage, things happen at the speed of thought. You can test an idea, throw it away, try another, and never break your flow. That immediacy changes how people create. In 2026, the most successful creative teams will not be the ones chasing the biggest models. They will be the ones who build infrastructure that keeps humans in control, keeps their content private, and lets AI quietly do the heavy lifting in the background while the creativity stays exactly where it belongs.