The full-frame cinema camera was unveiled in April 2024 and has a host of features but at a competitive price. (see our full camera lab test here). It comes with a large-format RGBW 12K sensor (35.64 x 23.32mm) and can film BRAW in 12K 3:2 Open Gate up to 80 fps, or 120 fps in 2.4:1 mode.

Additionally, 8K and 4K Open Gate RAW can film up to 144 fps without a crop. The de-squeeze function includes 1.3, 1.5, 1.6, 1.66, 1.8, and 2x. Supported mounts include ARRI PL, LPL, Canon EF, and Hasselblad.

The Blackmagic URSA Cine 12K LF starts at $14,995 for the body only, while a bundled option includes the EVF Top Handle Kit and retails for $16,495.

Blackmagic URSA Cine 12K LF is part of the Netflix-approved camera list

Netflix has created an official Camera Production Guide for the Blackmagic URSA Cine 12K LF, which can be downloaded here. The guide details the streaming giant’s requirements when setting up and filming with the camera. 

Some of the settings Netflix recommends include:

• Resolution of 12K, 9K, 8K, and 4K.
• Aspect ratio of 3:2 Open-Gate, 16:9, 17:9, 2.41:1, or 6:5.
• Dynamic range: Film (Blackmagic Design Film).
• RAW: Constant bit rate of 3:1, 8:1, 12:1, and 18:1, plus a constant quality of Q0, Q1, Q3, and Q5.

Additionally, there are settings for recording maximum frame rates and resolution to the Blackmagic 8TB Media Module. For example, 80 fps at 12K 3:2 Open Gate or 12K 6:5.

If you’re filming with the Blackmagic URSA Cine 12K LF for Netflix, or any approved camera, the Camera Production Guides are an excellent resource. These recommendations are mandatory if you are filming original content for Netflix and 90% of the total run time.

Camera specs needed for Netflix approval 

Netflix has an official page called “Cameras and Image Capture: Requirements and Best Practices.” In it, the company details the minimum specifications and features needed for a camera to receive the official badge. The company does say that not all cameras that meet these requirements are approved. Non-fiction works have more flexibility when it comes to the recommendations, it should be noted.

Some of these specs include:

• A true 4K sensor with at least 3840 photosites across.
• Lightly compressed or uncompressed RAW or intraframe-based codec with 4:2:2 chroma-subsampling or greater.
• Bit depth of 10-bit or greater.
• Data rate minimum of 240 Mbps at 24 fps.
• Scene-referred Color Space, including REDWideGamut, ALEXA Wide Gamut, S.Gamut3, and more.
• Scene-referred Transfer Function, including Slog3, Vlog, Log3G10, Log C, etc.
• Timecode must be able to jam to an external source and written as metadata. 

Check out the Cameras & Image Capture page to learn more, which includes the full list of approved cameras and best practices from Netflix. And the settings are also a good guide as a way to achieve high imaging quality.

Are you using the Blackmagic URSA Cine 12K LF for your projects, Netflix or otherwise? What are your thoughts regarding the features? Please let us know in the comments below!

For nearly 30 years, SWIT has been releasing a wide variety of production products. These include monitors, LED lighting solutions, video transmitters, various accessories, and power solutions. The company recently unveiled the SWIT VOLTA Modular Add-On Battery, a compact power system with a 12.8kWh total capacity when eight units are combined. Plus, the SWIT Transformable ARCA SWISS Plate with V-Mount.

SWIT VOLTA PRO Modular Power Station – features

The SWIT VOLTA PRO Modular Power Station is capable of providing reliable and continuous power to a variety of production products. These include lights, cameras, monitors, laptops, and more. With an output surge of 4800W, SWIT says the VOLTA PRO will provide power to cranes such as the Scorpio and Moviebird.

It features four detachable battery packs that can be easily added to the VOLTA PRO. The unit operates fully with only two packs. Capacity is 8890Wh with four 2222.5Wh modules.

The display showcases power stats in real-time: battery health, remaining runtime, and alerts for atypical conditions. It can enter sleep mode automatically if inactive for 24 hours.

Interfaces include three DC 48V outputs (800W each) and dual AC 230V outputs (2400W total), plus an AC 180-264C charging in (7 hours for full charge) and XT60 port for solar charging (supporting 12-60V at 800W, 12 hours to full charge).

The VOLTA PRO can be daisy-chained to provide even more uninterrupted power. This setup is ideal for large-scale productions and those with longer filming schedules requiring reliable power. Additionally, the compact design utilizes Eurobox pallet standards, making it ideal for use in studios and on location. Its footprint is 600mm x 400mm (1.97 ft x 1.31 ft) and weighs 65.5kg (144.4 lbs).

When shooting in the field, weather is always a concern. With NCM (nickel-cobalt-magnesium) lithium cells that are resistant to cold and special low-temperature startup tech, the SWIT VOLTA PRO can work in -20C temperatures (-4F) and up to 50C (122F). Meanwhile, the Power Station’s industrial-grade casing was designed and manufactured to IP54 standards, meaning it will operate in various conditions, including rainy or dusty conditions. 

Features and specifications include:

• 3200W AC/DC output.
• Up to 4800W surge.
• NCM lithium cells (nickel-cobalt-magnesium).
• Outputs: 2x AC 230V (2400W total) and 3x DC 48V (800W each).
• Inputs: AC: 180-264V, 1500W (7 hours to full charge) and Solar XT60 port: 12-60V, 800W (12 hours to full ).
• Accepts four modular battery units (4x 2222.5Wh) for up to 8890Wh capacity.
• It can be expanded via a daisy chain.
• IP54 dust and water resistance.
• Can operate at low temperatures (-20C / 14F).
• A user-friendly interface.
• Compact design, 600mm x 400mm x 296 mm (1.97 ft x 1.31 ft x .97 ft), 65.5kg (144.4 lbs). 

Price and availability 

The SWIT VOLTA PRO will retail for $9,999 and ship during the first quarter of 2025. Learn more on the SWIT website.

What are your thoughts on the SWIT VOLTA PRO as a power solution on set or location? Are you using a similar power solution? Let us know in the comments below.

Laowa released their first probe lens in 2018, a 24mm f/14 Probe featuring a ‘snorkel’ design. By 2022, they introduced the 24mm T14 2X Periprobe lens with an interchangeable 90° front element. My colleague Nino Leitner reviewed both lenses; you can read his review of the 24mm  f/14 Probe lens here and the 24m T14 Periprobe lens review here.

Meanwhile, in 2023, Laowa unveiled the 24mm T8 2X Macro Pro2be three-lens set, featuring a cine lens-style design and a faster T stop. The three lenses include a 35° View Lens, a Direct View Lens, and a Periscope Lens. The Laowa Pro2be can be purchased as a set, or each lens can be purchased individually.

Now Laowa is giving cinematographers and macro filmmaking and photography enthusiasts a sneak peek at their next probe lens, the ultra-wide 15mm 2.3X Probe Zoom.

Laowa Probe Zoom Lens – what we know so far

Laowa has only released a few details about the new ultra-wide 15mm Probe Zoom lens. What we know is that the lens will offer three distinct views: direct, 35° tilt, and periscope. Having a zoom allows for easier adjustments when shooting macro. Judging by the image tease released by Laowa, they could be following the route they took with the Pro2be lens and releasing three separate lenses.

• 15mm at the widest.
• Par-focus 2.3x zoom range (about 15-35mm range).
• Up to 2X magnification.
• Direct, Periscope, and 35° Tilt, resulting in dynamic angles and creative options.
• Overall sharpness for high imaging quality.
• The tubular barrel is waterproof, making this a versatile lens that can be used in multiple environments.

Price and availability 

Laowa is promising more details with an official unveiling soon. The price hasn’t been revealed yet, either, but the 15mm 2.3X Probe Zoom will be available to ship during Q2 of 2025. To give an idea of the pricing of their most recent probe lens, the three-piece Laowa 24mm T8 2X Macro Pro2be Lens retails for $8,499 for all three lenses, while each ranges in price from $2,849 to $3,349.

The timing of Laowa’s tease of their new 15mm ultra-wide probe zoom lens is interesting. On the same day, DZOFILM introduced its own wide-angle zoom probe lens, the X-Tract 18-28mm T8. As with the Laowa probe lenses, the X-Tract’s ‘snorkel’ design allows it to access more hard-to-reach places. The DZOFILM probe zoom lens will retail for $3,499. Check out the details here.

Are you currently using a probe lens to film macro scenes? What are your thoughts on Laowa’s Probe Zoom lens? Please let us know in the comments below!

Firmware updates have been an integral part of our industry’s landscape in recent years. Each manufacturer offers a slightly different approach to this maintenance practice, but everyone does it. While some firmware updates prove revolutionary, some are more modest – fixing issues, embedding features, etc. Both are important as both affect our interaction with our creative tools.

With this firmware update, Sony improves still shooting, video, and operability functions, as well as added compatibility for Sony’s evolving Camera Authenticity Solution. Let’s start with the video updates:

Video firmware updates

Sony’s firmware update will improve the video image quality of both the a1 II and a9 III when using user LUTs. Unfortunately, the original a1 won’t receive this feature but will gain the ability to automatically create still images with Shot Marks from movie frames after recording. Both updates may not seem like much, but will incrementally improve our work given the use of these features.

Operability and workflow firmware updates

Here, we’ll see some advanced (and rather niche) features of the new flagship (the a1 II) trickle down to its stablemates. Both the a1 and a9 III will now be able to schedule FTP transfers while writing data to the camera’s storage media, as well as improved operability with shooting during image transfer to the Creators’ App. The a1 will also gain the ability to use the Custom Key setting on the AEL button and Delete button during playback.

Authentication firmware updates

Sony takes image authentication seriously and implements authentication solutions in many of their cameras. The new firmware update allows using Sony’s upcoming Image Validation Site and the Digital Signature Upgrade License, designed for select news organizations and their staff photographers. While this may not affect most of us, I find it very reassuring. It’s another important step Sony is taking regarding the implementation of C2PA (Coalition for Content Provenance) standards, which may well establish our future trust in mediated information as discussed here:

Price and availability

Sony’s firmware updates are now available for download, free of charge. a1 firmware version 3.00, a9 III Firmware version 3.00 and a1 II Firmware version 2.00 can be downloaded here

Will these modest updates be of value to you? What other features would you like to get via future firmware updates? Let us know in the comments.

Before we get started, don’t forget to also check out my colleague Johnnie’s first look review here.

German high-end camera manufacturer Leica is well-known amongst photographers for their premium lineup of stills cameras. The Leica SL3 was released last year and is the company’s latest digital mirrorless camera. The least we can say is that the SL3 has stellar features, including a 60MP full-frame image sensor, 8K and ProRes internal recording capabilities, a dedicated video mode, and so on.

However, nearly four years after the release of the SL2-S, the S-line being Leica’s video-centric lineup of mirrorless cameras, the German manufacturer is finally back with its successor: the SL3-S.

Leica SL3-S – features

Like its predecessor, the Leica SL3-S features a new full-frame 24.6MP 3:2 BSI CMOS image sensor. Please note that 48- and 96-megapixel multishot modes are available for still shooters if you need extra resolution. While this decrease in resolution can seem counterproductive compared to the SL3 and its massive 60MP image sensor, the smaller sensor allows the SL3-S to have better low-light performance.

The SL3-S shares a lot of things with the SL3, including:

• The SL3 and SL3-S are L-Mount cameras, compatible with all Leica and L-Mount alliance partners’ lenses.
• Both cameras feature a Maestro IV image processor.
• ISO range of 50 to 200,000.
• The size is identical between both cameras: 15.1 x 10.8 x 8.4cm/5.96 x 4.25 x 3.3″, made of aluminum and magnesium alloy. However, the SL3-S is lighter at 768g/1.7 lbs, as opposed to 769g/1.7 lbs for the SL3.
• You can shoot in all weather conditions with both cameras thanks to an IP-54 rating and from temperatures ranging from -10 to +40°C/14 to 104°F.
• The SL3-S has In Body Image Stabilization (IBIS), which is handy for filmmakers.

• A 3.2-inch high-res touchscreen and EyeRes 5.76m-dot 0.78x OLED EVF.
• On the right side of the camera, two memory card slots: one CFexpress Type B and one SD UHS-II.
• Powered by the Leica BP-SCL6 battery.

You got it – the SL3 and SL3-S have a lot in common.

Connectivity

You’ll find one USB Type-C port on the left side of the Leica SL3-S for data transmission, tethering, and power supply. The SL3-S is also a certified Apple “Made for iPhone and iPad” accessory, so you can connect it directly via USB-C to your Apple device. Lastly, you can capture footage directly to an SSD drive connected to the USB-C port, which can be very handy if you record in ProRes 422HQ (more on that below).

The camera features one 3.5mm microphone input and one 3.5mm headphone output. It also has a full-size HDMI 2.1 port, which allows for external monitoring and video recording.

Similarly to the SL3, the SL3-S features built-in Bluetooth and WiFi connectivity. You can connect the camera to the free Leica FOTOS app to download/edit your pictures and update the camera’s firmware wirelessly. Furthermore, Leica mentions that “over the course of 2025, the (SL3-S) Camera-to-Cloud function will become available via Adobe frame.io, using which videos and photos can be uploaded directly from the camera to the Adobe frame.io cloud for further processing.”

Leica SL3-S autofocus and video recording modes

Leica claims that the SL3-S uses their latest high-speed autofocus system, which combines three technologies: Advanced PDAF, contrast detection, and object detection.

Regarding picture profiles, you can choose between multiple flavors, including Rec.709, L-Log Rec. 2020, and HLG Rec. 2020. The most significant difference between the SL3 and the SL3-S is that the latter features an extra L-Log picture profile.

Now, let’s jump to what makes the real difference between the SL3 and SL3-S: the video recording modes and options. The SL3-S can record internally in 6K 3:2 (5952×3968), C6K, and 6K 16:9 at up to 30P in 4:2:0 10-bit, with a maximum bitrate of 200Mbps. If you drop down the resolution to 4K, it can capture footage at up to 60P in 4:2:2 10-bit with a 1.45x (APS-C) crop. To shoot in 4K/C4K without a crop, you have to lower your framerate to a maximum of 30P.

The Leica SL3-S can capture C6K (5776×3056) footage in ProRes 422HQ at up to 30P for better results and faster turnarounds. With a bitrate of around 1939Mbps, you better have a lot of CFexpress memory cards available or, ideally, record directly to an SSD external drive, but that’s doable. If you drop down the resolution to C4K, you can still capture footage in ProRes 422HQ at up to 60P. The full-size HDMI port allows for HDMI RAW external recording at up to 6K30P.

Lastly, Leica also worked on their menu and UI, inherited from the original SL3. According to the company, “As with the SL3, the optimizations to the SL3-S include ergonomic and haptic features, as well as the user interface and menu navigation. The clearly structured icon and menu design make navigation even easier, with distinct sections for photo and video functions. The Cine mode has been tailored specifically to the needs of professional video production.”

Price and availability

The Leica SL3-S is available now for €5,190.00.

For more information, please visit Leica’s website here.

What do you think about the SL3-S? Have you already shot on a Leica mirrorless camera? Which one would you choose between the SL3 and SL3-S? Don’t hesitate to let us know in the comments down below!

Tokina Cinema first introduced the Vista-P at the end of 2023, and it is based on the Vista Primes, which have been used on shows like Ted Lasso and Loki. These new lenses are precisely tuned at the factory to have a vintage look via spherical distortion while remaining very sharp in the center. They are re-engineered by moving the placement of the lens to achieve the spherical distortion and vintage look.

The initial set of Tokina Cinema Vista-P lenses included 18, 25, 35, 50, and 85mm focal lengths, all at a maximum aperture of T1.5. The company later added 40, 65, 105, and 135mm lenses, also at T1.5.

The main feature of the Vista-P series is the vintage look with a sharp center and swirl-type distortion at the edge of the frame. It appears like “Helios-44 or Petzval seen in actual vintage lenses,” per Tokina Cinema. The lenses cover VistaVision-sized full-frame image sensors (46.7mm image circles) and have a 114mm outside diameter. There is a wide range of supported mounts, including Sony E, EF, PL, LPL, and MFT.

If you already own Vista Prime lenses, it is possible to send them to Tokina’s factory in Japan to have them converted to Vista-P glass. Keep in mind that the conversion cannot be reversed.

Tokina Cinema adds 21mm and 29mm cine primes to the Vista-P series

With the addition of the two new wide-angle cine primes, the Tokina Cinema Vista-P series is a fairly complete set of glass, from 18mm to 135mm. As with the other lenses, the 21mm and 29mm feature a very fast maximum aperture of T1.5 and the type of handling expected with modern glass.

While the lenses feature a vintage look, Tokina Cinema explains that stopping down will give a more modern and clean look. The company also explained that the distortion is more pronounced at the VistaVision and full-frame intended area of definition. Using S35 or smaller format cameras will lessen the effect.

Could Tokina Cinema introduce other Vista-P focal lengths? It is possible since there are a couple of other Vista lenses available. These include 100mm T2.9 Macro and 180mm T2.9, but the slower maximum aperture may eliminate the possibility of those lenses from joining the Vista-P series, which is at T1.5.

Price and availability 

The new 21mm T1.5 and 29mm T1.5 each cost $8,999 and are available for preorder here and here, respectively. Since the lenses are precisely tuned at the factory, they are considered special orders. Learn more at Tokina Cinema’s Vista page.

Are you using the Tokina Cinema Vista-P series of lenses on your film and other projects? What are your thoughts on the new focal lengths of 21mm T1.5 and 29mm T1.5? Let us know in the comments below!

Lens maker BLAZAR says their APEX is the world’s first line of anamorphic lenses that feature autofocus. Unveiled at IBC 2024 back in September, the first two lenses are a 35mm T1.8 1.33X and 50mm T1.8 1.33X. BLAZAR received the CineD Award for Best Lens Innovation for these new lenses. The first lens available for preorder is the 50mm.

Firmware update V2.0.2 – details 

The firmware update V2.0.2 for E-mount cameras addresses a lens compatibility issue with some Sony cameras. Plus, it helps with the overall performance of the BLAZAR APEX 1.33X T1.8 50mm AF.

• The firmware helps to resolve a compatibility issue between the lens and Sony full-frame cameras, including the FX3. 
• Enhanced autofocus performance, with improved speed and accuracy for a smoother experience.
• Optimized focus noise control helps to reduce the focus motor noise. This is especially important when recording.

Download the firmware here.

BLAZAR APEX 1.33X AF Anamorphic Lenses – features

Let’s take another look at the key features found in the APEX 1.33X AF Anamorphic Lenses:

• 1.33X squeeze.
• Fast, smooth, and quiet autofocus with real-time and accurate tracking, plus advanced eye tracking.
• 180-degree focus rotation and 73.5° aperture rotation.
• Close focus at 2.1 ft (0.65 m).
• 0.8 focus ring with 80mm front diameter and 77mm*0.75 filter thread.
• AF/MF focus switch.
• Covers S35 sensors while also supporting APS-C. Note: Open-gate isn’t supported.
• The first focal lengths are 35mm and 50mm, both at a fast T1.8.
• Classic natural and subtle silver flare and a vintage look with barrel distortion.
• Supported mounts include E, Z, RF, and L.

Using anamorphic lenses takes time, patience, and skill and is as much an art form as it is a science. This is one reason the APEX lenses with autofocus are attractive to filmmakers, cinematographers, and even photographers. There’s no need for additional hardware, such as a lens control system. The lenses do feature an AF/MF switch so that they can be controlled manually.

My colleague Johnnie reviewed the BLAZAR APEX 35mm and 50mm 1.33X T1.8 anamorphic lenses. Check out his review along with sample footage here.

Price and availability 

The BLAZAR APEX 50mm 1.33X T1.8 AF retails for $899 and can be preordered here. You can learn more about the APEX line of 1.33X anamorphic lenses on BLAZAR’s site.

Will you use the BLAZAR APEX Anamorphic Lenses featuring autofocus for your upcoming projects? Let us know in the comments below!

Over the years, DZOFILM’s cinema lens portfolio has grown considerably and now includes Super 35 (Pictor and Tango) and Vista Vision (Catta and Catta ACE) zooms, compact and vintage-inspired primes (Vespid/Vespid Retro/Arles), the S35 PAVO 2x anamorphic set, and even the Gnosis VV Macro series. You name it!

Now, the company is adding another piece to the puzzle by making their first attempt at producing a wide-angle probe lens. This makes sense as this type of lens is becoming increasingly popular across the filmmaking board to achieve wide-angle macro shots in very tight, inaccessible places. So, let’s take a closer look at the new DZOFILM X-Tract!

DZOFILM X-Tract probe zoom lens – overview

While other popular probe lenses, like the famous Laowa Pro2be, have a fixed focal length, the new DZOFILM X-Tract is a wide-angle parfocal zoom ranging from 18mm up to 28mm. Its constant T8 aperture has no ramping across the focal length range and features a 10-blade design. The lens is only available in PL mount and has a claimed image circle of 43.2mm, which makes it suitable for use with full-frame sensors.

Regarding the X-Tract zoom’s macro capabilities, DZOFILM claims that the lens has a maximum magnification ratio of 2.1:1 and can focus as close as 6mm from its front element. Given that the barrel is 41.5cm long, this means that the lens’s minimum focus distance is 0.47m from the sensor plane.

Optical and physical design

The optical design of DZOFILM’s probe zoom lens consists of 25 elements arranged in 18 groups. These include seven high-refractive index (HRI) and six extra-low dispersion (ED) elements that should help deliver sharp, clean images. According to DZOFILM, chromatic aberration and focus breathing are kept to a minimum, and the lens showcases near-zero distortion at 24mm.

The lens barrel is made of aluminum, features M0.8 pitch gears for focus, iris, and zoom, and has an IP57 rating that partially protects the lens against dust and water. The lens weighs 1.09kg/2.4 lbs, but most of the weight is distributed toward the rear side of the lens, so this should make it easier to balance the probe on camera supports and motion control systems.

Price and availability

The new DZOFILM X-Tract Probe Zoom Lens is available now for $3,499/€3.299. The lens comes with a carrying case, a support bracket, a UV filter, a screwdriver, and 3 O-shape clamps.

For more information, please visit DZOFILM’s website here.

Do you like shooting macro scenes with probe lenses? What do you think of this new offering from DZOFILM? Let us know your thoughts in the comment section below!

Canon has begun opening the RF lens mount to third-party manufacturers, allowing more options for content creators. Previously, only fully manual lenses without electronic contacts were available for the RF mount. Samyang and Viltrox had announced full-frame autofocus lenses for the RF mount, but those lenses have since been discontinued due to Canon’s enforcement of their intellectual property rights. Currently, third-party autofocus support is limited to APS-C cameras.

In November, we covered the announcement of these lenses, along with the 30mm f/1.4 DC DN and 56mm f/1.4 DC DN lenses. If you missed that coverage, you can catch up here.

SIGMA RF 16mm f/1.4 DC DN Contemporary – key features

Designed for APS-C-format Canon RF-mount mirrorless cameras, the SIGMA 16mm F1.4 DC DN Contemporary lens offers a 25.6mm equivalent focal length, making it suitable for wide-angle photography, including landscapes and architecture.

Key features include:

• APS-C | f/1.4 to f/16
• 25.6mm (Full-Frame Equivalent)
• Rounded 9-Blade Diaphragm
• Stepping Motor AF System
• Super Multi-Layer Coating
• Two Aspherical Elements
• Two SLD Elements, Three FLD Elements
• Weather-Sealed Construction

This lens weighs approximately 14.6 ounces (415 grams), making it a portable option for photographers on the go.

Sigma RF 23mm F1.4 DC DN Contemporary – key features

The SIGMA 23mm F1.4 DC DN Contemporary lens, also optimized for APS-C cameras, provides a standard field of view equivalent to roughly 35mm on full-frame. Its F1.4 aperture makes it a versatile choice for portraits, street photography, and video work.

Key features include:

• APS-C Format | f/1.4 to f/16
• 37mm (Full-Frame Equivalent)
• Excellent Low-Light Performance
• Fast Internal Focus System
• Rounded 9-Blade Diaphragm
• Dust & Splash-Resistant Design

This lens weighs approximately 12.0 ounces (340 grams), ensuring easy handling during extended shooting sessions.

Pricing and availability

By expanding into the RF mount, SIGMA continues to challenge native lens options with competitively priced alternatives without sacrificing quality.

SIGMA has officially opened preorders for both lenses, priced at $489/€384 for the 16mm and $599/€472.87 for the 23mm. With Canon RF APS-C support expanding, these lenses provide versatile prime options for the RF mount ecosystem.

If you’re looking to get your hands on some third-party, auto-focus RF glass now, these SIGMA lenses are available right now:

• SIGMA 18-50mm F2.8 DC DN Contemporary
• SIGMA 10-18mm F2.8 DC DN Contemporary
• SIGMA 30mm F1.4 DC DN Contemporary
• SIGMA 56mm F1.4 DC DN Contemporary

For more information about SIGMA’s RF lenses, head to SIGMA’s official blog.

What are your thoughts on these new SIGMA RF lenses? Do they fill a gap in your kit, or are you holding out for 3rd party full-frame RF lenses? Share your thoughts in the comments below!

Although graphic software has little to do with filmmaking, many of us–content creators and video producers–take care of thumbnails, posters, and other graphic materials for videos ourselves. Even if not, the announced Live Co-Editing feature in Photoshop promises users smoother, faster, and more seamless collaboration with designers and clients.

Photoshop’s Live Co-Editing: how will it work?

According to Adobe’s announcement post, it’s quite simple. By clicking the “Share” button, Photoshop users will get an option to turn on Live Co-Editing and invite fellow collaborators via a dedicated link. Until now, the famous graphic software hasn’t offered anything similar for instant feedback, tweaks in real time, multi-user workflows, and streamlining communication. As developers note, the creative community highly requested such a feature, and now, it’s finally here!

Possible application examples

Above all, Live Co-Editing in Photoshop will be an extremely useful feature for large teams of graphic designers using Adobe software. Multiple creators will have the opportunity to work on the same project in real time and split the tasks to achieve faster and more efficient results (similar to what UI designers do in Figma, Adobe’s competitor, which is widely used for website prototypes).

Additionally, the new workflow offers a significant improvement in areas that rely on supporting graphics, as it simplifies the process of gathering client feedback. Imagine you need a film poster and can go through the first version with a designer together, add your comments, view the edits without continuous feedback emails, and not wait too long. Amazing, huh?

As Adobe’s announcement suggests, Live Co-Editing also holds potential for educational applications:

Students can follow along live as an educator demonstrates and teaches techniques in Photoshop. A teacher can make comments and suggest or make edits in a student’s document to enhance learning.

A quote from the announcement post

Apart from Live Co-Editing in Photoshop

In autumn, Photoshop released several other useful features, some of which are still in beta. Among them is an enhanced Remove Tool, which can now help remove people, wires, poles, and other distracting elements from images with one click.

Another addition is a so-called Generative Workspace (available for trying out in Photoshop Beta). It not only allows users to generate images and try out different creative concepts, but also offers them more precise control over the results (using reference images, for example).

Availability: in beta

Live Co-Editing has also entered the private beta test phase today. Developers want to gather the community’s feedback before they make the new feature publicly available. Adobe Creative Cloud users (with a paid Photoshop subscription) can sign up here to test drive it in Photoshop desktop (Beta) and web apps.

What do you think about the new Live Co-Editing feature? How can it become useful in your projects? Share your ideas with us in the comments below!

Feature image source: Adobe.