DCS UPDATE
• ZEISS Introduces Aatma Lenses: a Set of 9 High-End Full Frame T1.5 Cinema Primes
• ARRI Announces Collaboration with AI Integrator HONOR to Extend Cinematic Image Science and Workflows to Consumer Devices
• Netflix announces the Acquisition of InterPositive, a Production Technology Company Founded by Ben Affleck to Develop AI-powered Tools to Assist Filmmakers
• OWC Announces Storage and Connectivity Solutions To Stay Ahead of the Curve for Apple’s Latest MacBooks, iPads, and Displays
• New Lenses From Sigma: Wide Angle AF 28-105 FF Cine Zoom and Compact APS-C Mirrorless Primes
• Two New Blackmagic Updates Now Available: DaVinci Resolve 20.3.2 and Blackmagic Cloud Store 1.8.1
• Nanlux / Nanlite to Host the 4th Annual Project Spark — a Contest to Inspire and Support Short Film Projects
• Canon Announces RF 7-14mm F2.8-3.5 L Fisheye STM Zoom and RF 14mm F1.4 L VCM Prime Lenses
• Godox Introduces Two New Motorized G-Mount Accessories: a Fresnel Lens and a Zoom Beam Bracket
• DCS Congratulates the Winners and Honorees of the 40th ASC Awards
• ZEISS Expands Otus ML Lineup with the New 1.4/35
• NPR Feature: Hollywood’s Love Affair with VistaVision
• The Making Of Podcast featuring the Cinematographer of Train Dreams, Adolpho Veloso, ABC, AIP
• “The Making Of” Podcast featuring: Zach Kuperstein, DP on films such as Barbarian, Woman of the Hour, and Buddy
• The Making Of Podcast featuring All the Empty Rooms DP Matt Porwoll on the Oscar-Nominated Doc Short
One DP’s Perspective
Hooray for Horror: Celebrating Some of the Behind-the-Scenes Talent That Make Indie Horror Such a Successfully Enduring Movie Genre
by James Mathers
Cinematographer and Founder of the Digital Cinema Society
I’m currently in early discussions with a director about shooting his indie horror feature. I’m excited at the possibility of work, but if I’m honest, horror is not my favorite genre, even though I have worked on plenty of them. My first feature behind the lens was the indie horror Sole Survivor, not as DP, but as Production Manager with cinematography handled by another first-timer, Russell Carpenter, ASC, who went on to win an Oscar for Titanic. The last feature I shot, The Windigo, was also horror, and I have far too many in between to mention them all. Although only a few scored a domestic theatrical release, most still made a good return on investment.
While indie horror remains a very successful recipe for success, that is not always the case for larger budgeted pictures. Scream 7, with a reported budget of $45 million, was the domestic box office champ the weekend it opened on February 27th with almost $64 million in ticket sales, however, The Bride, opening to only $7 million domestically with a reported $80-90 million budget, could be considered a disaster.
Indie Horror doesn’t always get the respect it deserves, but according to author and film industry data research analyst, Stephen Follows, the horror genre, among all the various types of indie features, makes the best case for a financial success. He believes that horror is structurally cost-effective because it lends itself to contained locations, smaller casts, and tension built through craft rather than spectacle. Horror is also less dependent on star power, depending more on a strong hook.
That said, the upside can be asymmetric where modest investments can generate outsized returns, without needing blockbuster scale budgets to get there. Horror also benefits from community and word of mouth building momentum in ways other genres struggle to replicate. Horror’s global fundamentals are strong since fear is a universal language adapting well across cultures and territories, whether the release path is theatrical, streaming, or both. Find out more in Stephen’s report, Building the Business Case for Horror Movie Investment, included with the Film Pro Edition of The Horror Movie Report. (Links to follow this essay.)
Jason Blum, a fantastically successful Producer, whose name is synonymous with horror, has over 200 credits to his name, and was recently honored with the Producers Guild of America’s Milestone Award for his “historic contributions to the entertainment industry.” He has also successfully ventured into some larger scale productions, Get Out, The Invisible Man, and even some non-horror features like BlacKkKlansman and The Lost Bus, starring Matthew McConaughey. However, he has said that he doesn’t want his company Blumhouse Productions to lose the capacity to make low budget and super low budget movies at the sub-million dollar budget level. This from a man who knows how to make profitable movies.
Another example of Horror success is Iron Lung, a film written, directed, and self-financed by YouTuber “Markiplier,” (Mark Fischbach.) It became an indie sensation in early 2026, earning over $21.7 million worldwide against a budget under $3 million. By bypassing traditional studio systems and leveraging fan based demand from his established YouTube following, the film nearly matched major studio productions at the box office. So, in the parlance of the genre, you might say horror seems like the “beast that wouldn’t die.”
When talking about movies, you will usually hear about the stars or director, but I’m more interested in what goes on behind the lens, so let’s explore a couple of modestly budgeted indie horror movies, the cinematographers who shot them, as well as the tools and techniques they used. They actually have a lot in common, with relatively short shooting schedules, (18 and 20 days,) and in a big plus for such projects, they both took place almost entirely in a singe location. Their success can be measured by the fact that they are both now receiving a theatrical release, (which doesn’t always happen for these smaller pictures.) I had the pleasure of separately interviewing the two cinematographers who shot these movies. My friend, Steven Poster, ASC, lensed Scared To Death and Kevin Duggin shot The Mortuary Assistant.
Steven Poster is a veteran cinematographer and past President of the ASC as well as of the International Cinematographers Guild. He is responsible for shooting scores of major motion pictures including Donnie Darko, Rocky V, and Someone to Watch Over Me. He has also shot a number of horror classics such as Amityville: The Awakening, (which was produced by the aforementioned Jason Blum.)
Compared to the long and storied career of Steven Poster, Kevin Duggin might be considered more of an up-and-coming DP, although he already has a number of horror credits to his name, (even if you might not recognize the titles.) These include Truth or Dare, Untitled Horror Movie and Jester 2, as well as a lot of music videos and commercials. He is a graduate of the Cinematography programs of both the Brooks Institute of Photography and AFI.
Scared to Death, lensed by Poster, is what you might call a “horror/comedy,” mixing laughs and jump-scares. It’s the story of a young filmmaking team who decides to research a movie involving a seance by taking part in a real one only to be trapped inside a haunted house by a sinister force. Steven employed the Canon C500 MKII camera with Canon Flex zoom and Sumire prime lenses, along with Tiffen filters. He also tried the DJI Ronin for the first time.
Meanwhile, The Mortuary Assistant, based on a popular video game, is the story of a newly hired mortician’s first overnight shift at the morgue who falls victim to possession from a demonic entity. Kevin Duggin shot mostly on the ARRI Alexa 35 and Optica Elite 2X Anamorphic lenses, but he also used a 16mm Bolex, a Blackmagic Pocket 6K, and even a VHS Handicam for select scenes. In addition, he extensively used the Infinity Photo-Optical TS-160 Micro/Macro series of lenses for several extremely unique sequences. For lighting, he took advantage mainly of Cineo Quantum IIs and an assortment of GVM Pro units as well as K5600 800w Jokers, (more on that to follow.).
I wanted to get more detail and find out from each of them why they chose some of the tools they used on these features. Let’s start with Mr. Poster, whose approach was influenced, not only by a tight budget, but also by the unique practical location, which was as much of a character in the movie as any of the actors. It was quite a stately, but decrepit old house with three stories plus a basement and an attic. The very narrow stairs would have been quite a challenge for dragging a dolly up and down stairs, which led him to try the Ronin for the first time instead. It became somewhat indispensable, not only allowing for a lot of fluid motion, but also for serving as a remote head.
Spending a lot of time on the Ronin, he wanted a relatively compact camera and chose the Canon C500 Mark II based largely on its image science and ability to capture exceptionally clean filmic images even at the very high 3200 ASA that he regularly likes to shoot at. Color science is extremely important to Steven Poster. In fact, he has spent the last few years consulting for 6P Color, a company developing systems to accurately transport and display all the vivid colors humans can perceive. He is particularly fond of Canon’s image science, because, as he explained, they add more voltage to the chip as you up the ASA. This allows them to keep a consistent noise floor even at high ASA levels. He explained that they also have a trick of randomly firing their photo-sites, so when they start to exhibit a bit of noise, it mimics the film grain we all love.
He shot the entire Scared to Death movie at 3200 ASA, just as he had on the bigger budgeted Amityville picture. In this case, working at such a high camera sensitivity allowed him to use small battery powered lights which also helped to keep set-ups moving quickly. As the former President of the IA Camera Local 600, he was proud to say that they never needed to go into overtime, a feat he also credits to his long and close relationship with his Gaffer, Jim Plannette.
For lenses, Poster also went with Canon, in this case using the Flex zoom lenses and Sumire primes. The two C500 MKII cameras were largely outfitted with the Flex zooms, one with a 20-50mm wide and the other with a longer 45-135mm. This combined range and the relatively fast T2.4 stop meant the Sumires didn’t see too much action. Steven also pointed out that these lenses have almost completely imperceptible breathing. Interestingly, although not a factor on his movie which was shot full frame, these lenses are user-convertible to cover S35mm at an incredibly fast T1.7, the very fastest zoom that I know of. In this case a T2.4 was plenty fast enough considering he was shooting at 3200 ASA.
Steven Poster likes the control he gets using filters, especially when shooting digitally, and believes that images should be modified before they enter the lens rather than in post. He feels that taking the harsh edges off of digital imagery helps to convey a more impressionist view of the world which is beneficial for storytelling. On this movie, he used Tiffen Black Fog and Tiffen Night Fog filters. There were very few daylight exterior shots on Scared To Death, but he also shared that when he does shoot outdoors he always uses a polarizer, not only to get rid of unwanted reflections, but also to make colors more vibrant and help bring out the features of faces by removing the glare you can get on an actor’s skin while shooting outside.
Now, let’s take a look at the tools that Kevin Duggin had up his sleeve to capture The Mortuary Assistant. Even though I’m not the biggest horror fan, I enjoyed the screener and especially Kevin’s masterful cinematography. For his A-Camera, Kevin chose an ARRI ALEXA 35, mostly due to its wide dynamic range and the way it handled the blacks at the higher ISOs. He shot open-gate 2x anamorphic with the main lenses being an Elite Anamorphic S7 prime set. However, he was not afraid to completely mix camera formats and lenses when called for in certain scenes. He employed a Blackmagic Pocket 6K Pro when he needed an extremely compact camera using a Metabones PL adaptor in order to fit the Elite anamorphics. For flashback sequences he shot film, taking advantage of a 16mm Bolex that he owns, managing to fit an anamorphic projector lens on his vintage 25mm Kerr lens.
Duggin even shot a sequence with a VHS Handicam for a scene that was to be played back practically on a VHS deck on the TV within a scene. Kevin tells me that one of the lead actors was a little nervous when he showed up for his first shot in the movie and all he saw for camera gear was the Handicam. It was a low budget production, but not as low budget as this actor may have feared. First impressions can be deceiving, but it all turned out well and the actor was quickly won over by the professionalism exhibited by Kevin and his crew.
Some of the most unique shots Duggin captured were care of the Infinity Photo-Optical TS-160 Micro/Macro series of lenses. One planned super macro shot so impressed the director that he and Kevin designed a whole motif and created numerous shots to take advantage of these lenses’ capabilities. From an extreme macro shot of an eye pulling out through a small hole to reveal that a victim is trapped in a coffin, to a shot of a jaw being wired shut that is so close you feel you’re inside the mouth. (Several snippets are featured in the trailer at the link following this essay.)
I’ve used the Infinity Micro/Macro lenses quite a bit myself, and like to say that having a TS-160 kit is like having an optical erector set. These lenses open up so many micro/macro, probe, and periscope configuration possibilities, along with their ability to hold almost unlimited depth of field, so they can really stimulate a cinematographer’s creative instincts. However, working with these lenses does present some challenges, mostly due to their requiring more exposure than usual. Kevin acknowledged the challenge, but with the sensitivity of the ALEXA 35, and the ability to plan his lighting accordingly, they didn’t cause him any great concern.
Having been based on a video game, the story had lots of threads that didn’t always tie neatly together, however, this gave Kevin lots of interesting scenarios to light. Aside from just a few night exteriors, the remainder of the 18 shooting days were on sets that were custom built for this production on a warehouse stage in Missouri. Working with Production Designer Chelsea Turner, Duggin was able to strategically place windows and practical lighting while the sets were being built.
Soft overhead lighting was care of two Cineo Quantum II and a whole host of GVM Pro LED fixtures, (650B, 500B, 300B, 300C), and Astera Titan tubes, as well as numerous practicals all controlled wirelessly on the set via DMX by Gaffer Marcus Batton on his iPad. Marcus spent a few days building the DMX plots in prep so that he could quickly bring up practical effects like lightning and flame on cues as called for. This, and basically being in one location, helped them to move quickly and make the most of their schedule.
The pre-programmed wireless DMX was especially helpful when shooting with the Infinity probe lenses. As mentioned, they allow for some wonderfully unique and creative shots that would be hard or impossible to get any other way, but they do require a lot of exposure. When jumping within a scene between the Elite lenses shooting around an F4 to the probe lenses, which can require something akin to an F32, it would have been really tough to maintain a consistent look. However, Gaffer Marcus Batton could simply do a couple of swipes on his iPad while they swapped out lenses and they would be ready to go. It was also helpful that the large Cineo Quantum II units had such a great output allowing the ambient light to be easily dialed up and down as needed. Although mostly shot on a set, Duggin did have a couple of large night exteriors to contend with. I was very impressed with his DYI creative solution for nighttime ambiance. He brilliantly bounced his K5600 800w Jokers off of two 12′ diameter helium filled weather balloons purchased for a very reasonable price online. They floated over the set tied down with black zip line that was actually in the shot but not visible as long as it was not back lit.
Indie horror movies only seem to get acknowledged when they make a huge return on investment. However, I think the kind of creative problem solving that can make dimes look like dollars on the screen is largely thanks to the below-the-line talent. So, let’s hear it for the unsung heroes of indie horror, and especially the DPs who make such modestly budgeted productions successful.
Links:
The Mortuary Assistant theatrical trailer on YouTube: https://www.youtube.com/watch?v=YtY6JoPX5MU
Scared To Death theatrical trailer on YouTube: https://www.youtube.com/watch?v=Lh53-BQQXzk
James Mathers’ complete interview with Steven Poster, ASC: https://vimeo.com/945053627
Stephen Follows’ The Horror Movie Report 2.0: https://horrormoviereport.com/
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INDUSTRY NEWS
ZEISS Introduces Aatma Lenses: a Set of 9 High-End Full Frame T1.5 Cinema Primes
ZEISS has chosen the opening of the BSC Expo in London to introduce their new Aatma lenses, a set of nine high-end full frame T1.5 cinema primes (18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm) designed to marry the benefits of modern optical design with the nostalgic image characteristics that are popular today. The Aatma Primes draw inspiration from some of the most beloved ZEISS lenses of the 20th century, combining an emotion-driven look with the mechanical reliability, data integration, and workflow compatibility that’s expected for current production.
Aatma lenses balance character with versatility, producing organic, emotionally resonant images while remaining suitable for a wide range of cinematic applications. Their rendering enhances texture and atmosphere, enabling filmmakers to infuse personal style into each frame while retaining the precision required for contemporary productions. This aesthetic will allow cinematographers to achieve a nostalgic yet refined look that supports storytelling without compromising control and repeatability.
The nine Aatma lenses – 18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm, all T1.5 – are available as a complete set or individually. ZEISS Aatma lenses are available to order now, with deliveries expected to begin June 2026 from authorized ZEISS Cinema dealers. To find out more please visit: https://www.zeiss.com/photonics-and-optics/en/cinematography/lenses/aatma-lenses.html?
ZEISS 65mm Format Lenses Are on the Way
Also of note, ZEISS Panoptes 65mm format lenses are on the way and will be ready for delivery in summer 2026. This lens set is inspired by ZEISS’ modern full-frame lenses and will cover the larger sensor area of the ARRI ALEXA 265, ARRI ALEXA 65, Blackmagic URSA Cine 17K 65, etc. There will be 10 focal lengths: 25, 35, 40, 45, 55, 70, 90, 110, 135 and 180 mm — all T2.2.
In a related DCS member content contribution by Matthew Duclos, he covers the ZEISS Aatma
Those looking to dig a little deeper into these lenses might want to see an independent analysis and assessment by cine lens expert Matthew Duclos of Duclos Lenses. Matthew devotes this issue of his informative blog, The Cine Lens to the Aatma. You can find it online here: https://thecinelens.com/2026/02/11/zeiss-introduces-aatma-primes-heritage-influence-modern-intent/
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ARRI Announces Collaboration with AI Integrator HONOR to Extend Cinematic Image Science and Workflows to Consumer Devices
ARRI has announced a strategic technical collaboration with a mobile AI specialist known as HONOR to integrate ARRI’s renowned Image Science into consumer devices. ARRI’s color rendering, highlight roll-off, and image pipeline consistency have set the bar for digital cinema camera color science with insights gleaned from their pioneering work developing ARRI film scanners. Their original ALEXA cameras still make beautiful pictures and they have only improved on that image technology over the last couple of decades.
Two years ago at Cine Gear Expo, it was announced that some Panasonic LUMIX cameras would be able to take advantage of ARRI color science, and now with HONOR’s advanced mobile imaging capabilities, they are taking it a step further by bringing this technology to smart phone cameras. The first results of this collaboration will debut in the upcoming HONOR ROBOT PHONE later this year. David Bermbach, Managing Director at ARRI explains it this way: ”Today, consumer smartphones have already become a serious tool in professional filmmaking, being used on blockbusters across the globe. That’s why we believe it is time to bring these worlds even closer together. For the first time ever, core elements of ARRI Image Science are being integrated directly into a consumer device.”
According to ARRI’s Dr. Benedikt von Lindeiner, who is overseeing the technical collaboration with HONOR: “Smartphones operate under fundamentally different constraints: smaller sensors, highly integrated SoCs, different optical stacks, and different bandwidth limits. The challenge is not to replicate cinema hardware, but to translate the underlying principles into compact, real-time mobile architectures. Our goal is to bring a true cinematic aesthetic to smartphone imaging — natural color, gentle highlight roll-off, and a sense of depth that feels authentic to how stories are meant to be seen. Creators should be able to move seamlessly from mobile capture into professional post-production workflows.”
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Netflix announces the Acquisition of InterPositive, a Production Technology Company Founded by Ben Affleck to Develop AI-powered Tools to Assist Filmmakers
Less than a week after dropping out of the bidding for Warner Bros/Discovery, Netflix has announced the acquisition of InterPositive, a filmmaker-led production technology company founded by Ben Affleck that develops AI-powered tools built by and for filmmakers. InterPositive’s stated mission is to use new technology to protect, not replace, creative choice – and to expand what’s possible on set, in post, and across the whole production process. By bringing InterPositive’s entire team into Netflix through this acquisition, and with Affleck joining as Senior Advisor, Netflix’s stated intention is to continue investing in creator-led innovation that keeps filmmakers at the center of the process.
See a Netflix presentation of the news including an interview with Affleck here: https://about.netflix.com/en/news/why-interpositive-is-joining-netflix
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OWC Announces Storage and Connectivity Solutions To Stay Ahead of the Curve for Apple’s Latest MacBooks, iPads, and Displays
New From Apple:
Apple has announced the latest 14- and 16-inch MacBook Pro with all-new M5 Pro and M5 Max chips, greatly upping the performance and AI capabilities for pro users. With M5 Pro and M5 Max, MacBook Pro features a new CPU, a next-generation GPU with a Neural Accelerator in each core, and higher unified memory bandwidth, altogether delivering up to 4x AI performance compared to the previous generation. In addition, Apple is introducing a MacBook Air with an M5 chip, the affordable NEO laptop, an iPad Air featuring M4 and more memory, and a new family of displays, as well as a new iPhone 17. Likewise, Other World Computing (OWC) has announced a host of new storage, connectivity, and expansion solutions for these new products:
- Apple MacBook Neo
- Apple MacBook Pro with all‑new M5 Pro and M5 Max chips
- MacBook Air with M5
- Apple iPad Air, powered by M4
- Studio Display and all-new Studio Display XDR
- iPhone 17
OWC products that support the MacBook Pro with all‑new M5 Pro and M5 Max:
- OWC Thunderbolt 5 Dock – high-performance 11-port connectivity hub that expands a single Thunderbolt port into multi-display 8K support, ultra-fast data transfer, 2.5GbE networking, and up to 140W of power delivery for Macs, PCs, iPads, and other USB-C devices.
- OWC Thunderbolt 5 Hub – expands a single Thunderbolt connection into three Thunderbolt 5 ports and one USB-A port, delivering up to 80Gb/s bi-directional performance, support for up to three 8K displays, and up to 140W of power delivery in a compact, fanless design.
- OWC Thunderbolt 5 Dual 10G Network Dock – with three fully independent high-speed Ethernet ports and four Thunderbolt 5 and four USB ports, the Thunderbolt 5 dual 10GbE Network Dock is the first all-in-one solution that simplifies complex multi-network workflows and unlocks high-bandwidth network storage connectivity while offering everyday docking convenience.
- OWC Envoy Ultra – rugged, IP67-rated Thunderbolt 5 portable SSD delivering real-world speeds over 6000MB/s in a bus-powered, built-in cable design that makes storage more flexible and goes where you need it, including other Macs and PCs.
- OWC Express 1M2 80G – supremely fast USB4 80Gb/s NVMe portable SSD; available as a DIY enclosure to optimize the NVMe drive you already own or a ready-to-run solution; delivering over 6000MB/s real-world performance with broad Thunderbolt and USB-C compatibility in a rugged, passively cooled design.
- OWC ThunderBlade X12 – Thunderbolt 5-powered portable production RAID SSD delivering up to 6600MB/s speeds and massive capacity in a compact, RAID 5 capable design built for high-end film, multi-cam 8K/12K workflows, and on-set shuttle reliability.
- OWC StudioStack – This low-profile, aircraft-grade aluminum hybrid storage solution on the planet lets you combine SSD and HDD storage in a single unit up to 32TB at up to 6302MB/s. Plus adds three additional Thunderbolt 5 (USB-C) ports and USB-A ports for new and legacy devices.
- OWC Mercury Helios 5S – a powerfully simple way to use PCIe cards with Thunderbolt 5/4/3 and USB4 notebooks and small form factor computers like the Mac Studio + add more Thunderbolt 5 ports.
- OWC Thunderbolt 5 Cables (including the new fully certified 2-Meter Thunderbolt 5 (USB-C) Cable) – fastest, most compatible cable for connecting today’s, tomorrow’s, and yesterday’s Thunderbolt and USB-C Devices.
OWC products that support, extend, and enhance the capabilities of the Apple MacBook Neo:
- OWC USB-C Travel Dock – With five essential ports, up to 100W pass-through power, and just one cable, you’re ready to display, charge, connect, and import while on the move across legacy and new technology additions.
- OWC Envoy – ultra-portable 1 and 2TB USB-C NVMe SSD with the perfect blend of performance, reliability, and affordability for content creators, business professionals, students, families, and more.
- OWC Envoy Pro Elektron – fastest, toughest mini-sized SSD available; it’s crush-proof, dust-proof, and waterproof for transferring and backing-up gigabytes of data in seconds.
- OWC Envoy Pro Mini – ultimate ‘works with everything’ pocket-sized SSD with real-world performance up to 946MB/s and capacities up to 2.0TB.
- Mercury Elite Pro Mini – Available in hard drive or lightning-fast SSD configurations, its rugged, aircraft-grade fanless aluminum enclosure offers near silent operation. Ideal for general backups, but also ready for demanding A/V, digital photography, professional music, and graphics projects.
Find out more about these and other OWC products here: https://www.owc.com/
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New Lenses From Sigma: Wide Angle AF 28-105 FF Cine Zoom and Compact APS-C Mirrorless Primes
Sigma has introduced several new series of lenses including a Wide Angle AF 28-105 T3 full frame Cine Zoom, a set of very compact APS-C mirrorless primes, and a 35mm F1.4 DG II Art which covers full frame.
Sigma AF 28-105 T3 FF Cine Zoom
The zoom is the first AF-compatible cine lens series from Sigma. Building on the optical system of Sigma’s Art lenses, the AF Cine Line offers high-end rendering performance, along with precision autofocus and tracking capability, combined with the ergonomics required for professional cinema production. This allows it to handle a wide variety of shooting styles and on-set environments that were previously challenging with traditional still lenses or cine lenses.
The near-silent autofocus is compatible with E-mount and L-Mount mirrorless cameras and AF-equipped Sony cameras, including the BURANO and FX-series cinema cameras, as well as Alpha and LUMIX mirrorless bodies. The AF Cine Line is designed to bring Sigma’s latest technology to film production. The Sigma AF 28-105 T3 FF Cine Zoom is available now with an MSRP of US$3,399.00 Find out more at: https://www.sigmaphoto.com/28-105mm-t3-ff?utm
Sigma Contemporary F1.4 Primes for APC-C
Sigma’s new F1.4 DG II primes are designed for large-aperture APS-C wide-angle lenses, blending compact size, large aperture, and excellent image quality for any situation—from everyday street photography to professional video production. The Sigma 15mm F1.4 DC | Contemporary is available for Sony E-mount, FUJIFILM X Mount, and Canon RF Mount at an MSRP of US$579.00. Find out more about the 15mm F1.4 DC | Contemporary at: https://www.sigmaphoto.com/15mm-f1-4-dc-c?utm
Sigma 35mm F1.4 DG II | Art for Full Frame
Also new from Sigma is a 35mm F1.4 DG II | Art which covers full frame and combines performance and compact design with high-speed AF driven by Dual HLA which builds on the legacy of Sigma’s 35mm F1.4 Art line and sets a new benchmark for optical performance. Sigma 35mm F1.4 DG II | Art is available in Sony E-mount and L-Mount with an MSRP of US$1,059.00. Find out more about the Sigma 35mm F1.4 DG | Art at: https://www.sigmaphoto.com/35mm-f1-4-dg-ii-a?utm
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Two New Blackmagic Updates Now Available: DaVinci Resolve 20.3.2 and Blackmagic Cloud Store 1.8.1
DaVinci Resolve 20.3.2
Blackmagic Design has announced DaVinci Resolve 20.3.2, which adds a new trim editor option that lets users keep dynamic trim enabled while working on the edit page. This allows you to perform fast, precise ripple and rolling edits using JKL playback controls while the timeline is playing, without needing to repeatedly toggle the setting. Subtitle kerning has also been improved to deliver more consistent spacing across titles and subtitles, reducing the need for manual adjustments and creating a more professional overall look for your typography.
For DaVinci Resolve Studio users, magic mask caching is now preserved when pasting attributes between nodes, saving processing time by avoiding unnecessary reanalysis. There are also multiple workflow improvements for immersive and stereo 3D projects, including more accurate handling of lens metadata when clips are disabled on higher tracks, as well as consistent behaviour when rendering marked ranges in a timeline and improved proxy workflows for stereo and immersive clips.
Additionally, this update also adds new colorspace and gamma options for Fujifilm camera footage, as well as support for Dolby personalized headphone profiles for more accurate binaural monitoring in Fairlight. DaVinci Resolve 20.3.2 update is available now as a free download from: https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion
Blackmagic Cloud Store 1.8.1
The new Blackmagic Cloud Store 1.8.1 update adds support for formatting disks on Blackmagic Cloud Store models with removable media. This means that on Blackmagic Cloud Dock, Blackmagic Media Dock, Blackmagic Cloud Backup 8 and Blackmagic Cloud Pod, disks can now be formatted directly from the Cloud Store utility, removing the need to preformat them on a separate computer before use. Plus, individual disks can be more conveniently opened straight from Mac Finder or Windows File Explorer in the setup utility.
This update also improves the accuracy and reliability of sync progress on all Blackmagic Cloud models, making it easier to estimate when syncing will complete and help to reduce downtime. Plus, each sync can now be set to either proxies only, or proxies and originals giving you greater control over how each sync is handled. Additional improvements include better Amazon S3 syncing, as well as general performance and stability updates. The Blackmagic Cloud Store 1.8.1 update is available now as a free download from: https://www.blackmagicdesign.com/support/family/blackmagic-cloud-store
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Nanlux / Nanlite to Host the 4th Annual Project Spark — a Contest to Inspire and Support Short Film Projects
Nanlux / Nanlite will Host the 4th annual Project Spark, an international contest to inspire and support short film projects.
Theme: FOCUS
Categories: Narrative Shorts × 4; Experimental Shorts × 2
(There will be 6 selected teams, 4 from Narrative shorts, and 2 from Experimental shorts.)
Deadline for Submission: April 18
Six finalist teams will receive (This year, the number of narrative teams grows from 2 to 4):
① $15,000 production budget + $5,000 equipment rental
② Global exposure – your work will be seen by millions
③ Festival opportunities – your work featured at international film festivals
For more information and to submit a project for consideration visit: https://www.nanlite.com/marvellous-activityDetail?id=91&preview=1#/en
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Canon Announces RF 7-14mm F2.8-3.5 L Fisheye STM Zoom and RF 14mm F1.4 L VCM Prime Lenses
Canon has announced the launch of the RF7-14mm F2.8-3.5 L Fisheye STM zoom lens and the RF14mm F1.4 L VCM prime lens expanding their diverse offering of RF-mount lenses. The new zoom is said to be the world’s widest angle zoom lens with a 190° field of view, ideal for dynamic fisheye imagery. This new zoom lens builds on the capabilities of the EF 8-15mm by adding a wider angle zoom range and a brighter aperture. Meanwhile, the RF14mm F1.4 L VCM prime lens delivers Canon’s brightest ultra-wide angle interchangeable lens ever produced.
Key features of the Canon RF7-14mm F2.8-3.5 L Fisheye STM zoom lens include:
• Canon’s widest single lens with a maximum 190° field of view, achieving both circular 190° fisheye at 7mm (wide), and diagonal 180° fisheye at 14mm (telephoto), with its 7-14mm zoom range.
• Variable maximum aperture of f/2.8 at 7mm (wide) and f/3.5 at 14mm (telephoto), brighter than its EF predecessor for enhanced low-light performance and background separation.
• Built-in support of Canon EF-to-EOS R mount adapter drop-in filters (Clear, CPL, Variable ND) plus Lens Lock/Limit, Lens Function button and Control Ring.
• High image quality with 5 UD lens elements, 2 replica aspheric lenses, and Air Sphere Coating (ASC) applied in 3 locations to reduce ghosting.
• Leadscrew-type STM focus drive with position sensors for smooth, video-capable operation and reduced focus breathing (0.4% at wide, 1.5% at tele).
• Fisheye images shot with the RF7-14mm F2.8-3.5 L STM zoom lens can be converted using Canon EOS VR Utility for viewing on a PC or head-mounted display. Conversion of 2D VR images is possible with cameras such as: EOS R5C, EOS R5 Mark II, EOS R5, EOS R6 Mark II.
Key features of the Canon RF14mm F1.4 L VCM prime lens include:
• Canon’s brightest ultra-wide-angle (14mm) interchangeable lens for hybrid Photo / Video use.
• Ultra-wide 14mm prime with f/1.4 aperture for better low-light performance and background separation, brighter aperture than the EF 14mm f/2.8.
• Dual VCM (Voice Coil Motor) focusing for fast, precise autofocus in photo and video, with reduced focus breathing (3.0%, or 2.3% up to f/20).
• Compact and light weight at 4.4” (L) x 3.0” (D) and just 1.27lbs, providing a similar size, weight and design complimenting the comprehensive F1.4 L-series lens series (RF20mm/24mm/35mm/50mm/85mm F1.4 L VCM lenses).
• Precision optics for high image quality and sharp rendering of point light sources with Canon’s first Fluorite element in an ultra-wide-angle lens, and featuring BR Optics, 1 UD lens, and 3 GMo aspheric lenses, plus Sub-wavelength coating in 1 location and Air Sphere coating in 2 for minimized ghosting.
• 11-blade aperture for smooth, circular bokeh.
• Iris ring compatible with EOS R1, EOS R5 Mark II, and EOS R6 Mark III cameras; plus Lens Function button and Control Ring.
The Canon RF7-14mm F2.8-3.5 L Fisheye STM zoom lens and RF14mm F1.4 L VCM prime lens are expected to be available by the end of February 2026, for estimated retail prices of US $1,899.00 for the zoom and US $2,599.00 for the prime. For more information about Canon’s latest innovations and products, please visit https://www.usa.canon.com/newsroom/2026/20260204-lenses
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Godox Introduces Two New Motorized G-Mount Accessories: a Fresnel Lens and a Zoom Beam Bracket
The Godox ZB03 Motorized Zoom Beam Bracket
The Motorized Zoom Beam Bracket is designed to work with the Godox MG series and is said to be the industry’s first motorized control bracket designed for three-light configurations. With a zoom range from −7°00′ to +7°00′, the beam smoothly transitions from a wide spread with three separate beams all the way to a focused overlapping output making it ideal for when concentrated high-output illumination is required. It is compatible with all the fixtures of the MG series: MG6K, MG4K/MG4KR, MG2400Bi/MG2400R, MG1200Bi/R For more details visit: https://www.knowled.com/product-d/ZB03.html
The Godox GF18M Motorized Fresnel
The GF18M Motorized Fresnel is also designed to work with the Godox MG series in large-scale lighting situations. The GF18M dramatically boosts output when paired with MG6K and other compatible fixtures. With a motorized 15°–60° zoom range, the GF18M moves seamlessly from tight spot to wide coverage allowing adjustment of beam angles remotely, even when fixtures are mounted high above the set. The unit features dual manual control in addition to wireless. The GF18M is also compatible with all the fixtures of the MG series: MG6K, MG4K/MG4KR, MG2400Bi/MG2400R, MG1200Bi/R.
• MG6K + GF18M Illuminance
• 81,000 lux @5m ｜5600K ｜15°
• 23,500 lux @5m ｜5600K ｜60°
• Full control, your way via DMX / CRMX / App / Lighting Console / On-fixture buttons
For more details visit: https://www.knowled.com/product-d/GF18M.html
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DCS Congratulates the Winners and Honorees of the 40th ASC Awards
DCS congratulates the winners and honorees of the 40th Annual ASC Awards held March 8, 2026 at The Beverly Hilton in Beverly Hills, California.
Theatrical Feature Film
Michael Bauman for One Battle After Another
Episode of a Half-Hour Series
Adam Newport-Berra for The Studio (“The Oner”)
Episode of a One-Hour Regular Series (tied)
Alex Disenhof, ASC for Task (“Crossings”)
Christophe Nuyens, SBC for Andor (“I Have Friends Everywhere”)
Limited or Anthology Series or Motion Picture Made for Television
Pete Konczal, ASC for Black Rabbit (“Isle of Joy”)
Spotlight Award
Mátyás Erdély, ASC, HSC for “Orphan”
Documentary Award
Mstyslav Chernov and Alex Babenko for 2000 Meters from Andriivka
ASC Music Video Award
Rodrigo Prieto, ASC, AMC for “The Fate of Ophelia” (Performed by Taylor Swift)
Also honored that evening were ASC Cinematographers Robert Yeoman for Lifetime Achievement, our own M. David Mullen for Career Achievement in Television, and Cynthia Pusheck, who received the Presidents Award. ASC Magazine Editor-in-Chief Stephen Pizzello received The Award of Distinction, Eastman Kodak was honored with the 2026 Curtis Clark ASC Technical Achievement Award, and we’re very proud of DCS advisory board member, Tom Fletcher, who received this year’s Bud Stone Award.
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ZEISS Expands Otus ML Lineup with the New 1.4/35
ZEISS is expanding its Otus ML lens family with the introduction of the new ZEISS Otus ML 1.4/35. This manual-focus lens is designed for a wide variety of image making scenarios, from street and travel photography to documentary work. Inspired by the legendary Otus lineage, the ML generation brings optical excellence and mechanical precision to the latest mirrorless systems with mounts available for Sony E, Canon RF and Nikon Z. The ZEISS Otus ML series continues to deliver natural color rendition, exceptional sharpness, and signature micro contrast. A fast f/1.4 aperture provides depth of field control while a 10-blade aperture helps create elegant bokeh that separates subjects from the background.
Engineered for exceptional performance even at f/1.4, the ZEISS Otus ML lenses reveal impressive detail and texture, especially in low-light environments where the human eye begins to struggle. An advanced aspherical Distagon lens design minimizes distortion and chromatic aberrations, further enhancing image fidelity. Combined with the ZEISS T* coating, reflections are reduced, flare is minimized, and both contrast and color accuracy are elevated. With use of manual focusing, photographers can make precise adjustments that ensure each shot is captured with intention. The Otus ML 1.4/35 features millimeter-accurate focus control with a smooth metal focus ring and a helicoid mechanism providing a precise rotation range that enhances focusing accuracy. An aperture de-click option allows seamless and quiet transitions, ideal for both photography and videography.
The new ZEISS Otus ML 1.4/35 will be available from specialty retailers in Spring 2026 at US$2,299.00. For more information about the ZEISS Otus ML and its specifications, please visit www.zeiss.com/otus-ml.
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Some Interesting Podcast Interview We Highly Recommend
NPR Feature: Hollywood’s Love Affair with VistaVision
This half-hour radio feature on the history and current resurgence of the VistaVision format is a good listen. It features interviews with two DPs currently up for Best Cinematography Oscars, Robbie Ryan, BSC/ISC for Bugonia and Michael Bauman for One Battle After Another, as well as last year’s Best Cinematography Oscar Winner, The Brutalist, Lol Crowley, BSC. Also featured is Bugonia Director Yorgos Lanthimos, Paramount Pictures Director, Film Preservation & Restoration, Charlotte Barker, who is writing a book on the format, and Actor/Cinematographer Giovanni Ribisi, who is now an owner of a VistaVision camera. Also interviewed are VFX pioneers John Dykstra and Dennis Muren.
In discussions with NPR reporter Mandalit del Barco they point out some of the challenges, (noisy, bulky, and mechanically finicky,) as well as the huge aesthetic benefits that make it all worthwhile. Special thanks to Mitch Gross, who pointed out this episode as a post on CML. You can listen online here: https://www.npr.org/2026/02/22/nx-s1-5721167/vistavision-hollywood-comeback-oscars
For more on a related topic, check out the 2020 DCS mini-documentary exploring the topic of Large Sensor Cinematography: https://vimeo.com/689060503/ae54945716
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The Making Of Podcast featuring the Cinematographer of Train Dreams Adolpho Veloso, ABC, AIP
In this episode of Michael Valinsky’s The Making Of podcast, he interviews cinematographer Adolpho Veloso, ABC, AIP. Adolpho is the Oscar-nominated cinematographer of Train Dreams, which has been nominated for 4 Academy Awards. In the discussion, he shares his origin story, how he learned his craft, and all about the making of this period drama. Adolpho also provides insights into both the creative and technical aspects of his cinematography, as well as recommendations for younger filmmakers today.
Among the sponsors of this program are DCS supporters AJA, OWC, and ZEISS.
Listen to this episode here: https://themakingof.substack.com/p/train-dreams-cinematographer-adolpho
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The Making Of Podcast featuring: Zach Kuperstein, DP on films such as Barbarian, Woman of the Hour, and Buddy
In this episode of Michael Valinsky’s The Making Of podcast, he interviews Zach Kuperstein, cinematographer of films such as Barbarian, Woman of the Hour, Don’t Move, The Eyes of My Mother, and Buddy, that just premiered at the Sundance Film Festival. In this discussion, Zach shares on his early days, filmmaking education, career path, and about the making of Barbarian and Woman of the Hour. He also talks about his approach for shooting each film, camera technology choices, as well as many insights for younger filmmakers today.
Among the sponsors of this program are DCS supporters AJA, OWC, and ZEISS.
Listen to this episode here: https://themakingof.substack.com/p/barbarian-cinematographer-zach-kuperstein
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The Making Of Podcast featuring All the Empty Rooms DP Matt Porwoll on the Oscar-Nominated Doc Short
In this episode of Michael Valinsky’s The Making Of podcast, he interviews Matt Porwoll, cinematographer of the Oscar-nominated Documentary Short, All the Empty Rooms. In this chat, Matt shares about the making of this project, his creative approach, and the technologies used to capture the movie. He also offers insights into the art of documentary filmmaking, the current state of the business, and offers recommendations for up-and-coming storytellers.
Among the sponsors of this program are DCS supporters AJA, OWC, and ZEISS.
Listen to this episode here: https://themakingof.substack.com/p/all-the-empty-rooms-cinematographer
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DCS Member Discounts
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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 – Blackmagic Design – Canon USA – Cartoni – Cineo – Cinnafilm – Dedolight California – DoPchoice – Fujifilm – Godox – GVM – Infinity Photo-Optical – Kondor Blue – Kino Flo – Laowa – Leitz – LiteGear – Litepanels – Nanlite – Nanlux – OConnor – OWC – Rebel Marketing – SIGMA – Strada – The Studio-B&H – ZEISS
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CALENDAR OF INDUSTRY EVENTS
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