This Time It’s Personal 2022 exhibition showcases top Australian photographers’ passion projects for a good cause at SUNSTUDIOS

SUNSTUDIOS, backed by Canon Australia, today opens* its 11th annual This Time It’s Personal 2022 exhibition. Showcasing the best in Australian photography talent, the exhibition provides a glimpse into what professionals shoot for love alone with all art works donated by the artists available for purchase at a discounted rate.  Curated this year by Nicky Catley, Group Picture Editor at Australian Geographic, the showcase will feature 64 unique photographs with 100% of print sale proceeds donated to the GO Foundation. Founded by Adam Goodes and Michael O’Loughlin, the GO Foundation seeks to create opportunities for Indigenous youth through education and bespoke scholarship programs.       

Each photograph exhibited is brought to life using SUNSTUDIOS’ state-of-the-art Canon print facilities and print specialist, Selena Simpson, who strives to match the artist’s intention as closely as possible while also delivering a stunning piece of artwork.  

Luke Harrison, Head of SUNSTUDIOS commented, “Art has the ability to connect and inspire individuals, and as Sydney’s arts and culture scene continues its revival, we are thrilled to see the return of the exhibition after close to two years. The exhibition provides a truly unique opportunity to view and purchase high quality artwork by the industry’s best photographers including Hugh Stewart, Emily Abay, Gary Heery and Vicki Lee, at affordable prices and for an important cause. We are incredibly grateful to the talented artists who have kindly donated their works.”   

This Time It’s Personal Curator and Group Picture Editor at Australian Geographic, Nicky Catley, says of the exhibition, The ‘big pause’ in the world of commercial photography as a result of the COVID pandemic, led many commercial photographers to reflect and turn inward, driving new personal work. During lockdowns photographers were stuck in their homes and many became hyper aware of nature, the rhythms of the weather and turned to documenting the minutiae of their everyday lives.  Others had time to revisit archives and explore new directions. I am honoured to be curator of this year’s show after such a fruitful period for this kind of vulnerable, intimate, playful and experimental work. Thank you to all the generous photographers for sharing their beautiful art and providing the opportunity to give back to the community.” 

To view the This Time It’s Personal Exhibition, visit: This Time It’s Personal 2022 exhibition.  

* Exhibition open to the public 

When: This Time Its Personal exhibition is open to the public from 25 November until 16 December, 2022. Entry is free of charge.  

Pricing: Print prices start from $300.  

Opening times: Gallery opening times are 8:00am – 6:00pm AEDT, Monday to Friday and 8:00am – 4:00pm AEDT Saturday (opening hours exclude Sundays and public holidays).  

Address: SUNSTUDIOS, 42 Maddox St, Alexandria NSW 2015. 

Blackmagic Design Announces New Cintel Scanner G3 HDR+

Blackmagic Design today announced the all new Cintel Scanner G3 HDR+, which features a completely redesigned light source that allows real time HDR film scanning in Ultra HD. Demonstrated earlier this year at NAB 2022 in Las Vegas, the new high intensity LED grid array light source allows customers to get even better quality images from scanned film at much higher film scanning speeds.

The new Cintel Scanner G3 HDR+ is available immediately from Blackmagic Design resellers worldwide for A$54,259.

For decades, Cintel has been the leader in film scanning technology. Now the new Cintel Scanner G3 HDR+ advances the art of film scanning even further. The new Cintel Scanner G3 HDR+ features a completely redesigned light source that allows real time HDR film scanning in Ultra HD. The new model also retains the great features of the Cintel Scanners, such as digital servos, gentle capstan drives, advanced color science, 35mm and 16mm film support and an elegant architectural design that can even be wall mounted! The Cintel Scanner is perfect for unlocking vast archive film libraries for conversion into new Ultra HD masters so they can be uploaded for streaming and online distribution!

The new high intensity light source in Cintel Scanner G3 HDR+ is now 6 times more powerful. The RGB LED grid array illumination source has a square array of 576 high power LEDs arranged into a grid pattern, which are focused onto film using a new light cylinder. This design means that more than twice the silicon area for generating light is available, resulting in more light being directed at the film. There are tens of kilowatts of power contained in each illumination flash to scan a single frame of film. HDR scanning speed is also now up to 3 times faster at full real time speed of 30 frames per second in Ultra HD. The Cintel Scanner G3 HDR+ also features improved color science and up to an additional 3.5 stops of HDR range.

A new film inspection mode allows customers to check the condition of the original film, so they can check if there are any scratches or dust. This new feature is available by simply pressing and holding the stop button. The light source will be adjusted so light becomes focussed in a single direction. This then allows dust and scratches to be seen instantly. The light source can be fully controlled in software, which means the customer gets better control and can check the film before scanning.

“We’ve been demonstrating this new light source technology over this past year and we are now very excited to be able to include it in our newest Cintel Scanner G3 HDR+ model,” said Grant Petty, Blackmagic Design CEO. “The new Cintel Scanner G3 HDR+ has all the great features of our previous model, plus now it includes an all new high intensity light source so our customers can get incredible image quality scans, and also at higher speeds.”

Availability and Price
Cintel Scanner G3 HDR+ is available now for AU$54,259 from authorised Blackmagic Design resellers worldwide.

New Zhiyun Fiveray F100 and M40 Pro Lights

ZHIYUNhas launched the FIVERAY M40 pocket fill light and the FIVERAY F100 stick light. With their launch, ZHIYUN pushes the boundaries of lighting technology and performance to put studio-quality, ultra-portable lighting products in the hands of content creators. Used with ZHIYUN handheld gimbals, content creators can create silky-smooth footage with stable and soft lighting, even in dark outdoor settings, thanks to its stay-cool technology.

By raising the cooling efficiency through intelligent control, its two-way cooling system prevents overheating.

The palm-sized ZHIYUN M40 360° fill light epitomizes simplicity and utility. Based on the attitude-control algorithm applied on gimbals, DynaVort technology enables better heat dispersion, allows for smaller fans, and therefore, a compact device without compromising on its 40W power; whereas products of a comparable size currently only offer 5-13W. Weighing only 320g, it fits neatly in pockets, looks stylish and is the ultra-portable illumination companion for videographers, whether amateur or professional.

Yilun Liao, CEO, ZHIYUN, said: “we are passionate about using breakthrough innovations – whether it’s with our iconic gimbals or our new FIVERAY lighting devices – to simplify and reshape content creation. With several industry firsts under our belts including the M40’s DynaVort Cooling System™, our products offer full creative control and convenience for anyone wanting to experience and express their inner filmmaker.”

m40The ZHIYUN M40, embedded with 176 LED chips rivals the key lights provided by bulkier products on the market with:

  • Incredible illuminance of 14,000 lux at its peak
  • Adjustable dual color temperature ranging from 2,700-6,200K and consistent power output peaks at 40W with no strobing, ensuring a stable light source
  • A standard fidelity offering for both photography and videography with CRI reaching 96+ and TLCI reaching 97+*

ZHIYUN’s FIVERAY F100 is the second professional lighting stick in its FIVERAY product range, bringing power, portability and accurate color rendition in one versatile tool. Weighing just 950g, F100 is designed for one-handed control and comfort, offering a pro lighting solution without the need for complicated set-up or setting adjustment. Embedded with 5 times more LED chips, F100 gives you ultra-bright output compared to similar-sized lights, reaching 20,708 lux at its 100W maximum power. F100 offers six creative lighting effects that help build up the atmosphere easily when inspiration strikes. For maximum versatility, F100 can be mounted on ZHIYUN’s holder, H stand, tripod and light stand, fitting in various filming settings for lighting solutions and additional accessories, including a diffuser and grid, offer multiple lighting options.

The ZHIYUN F100 is packed with features:

  • One click operation of Hue Saturation Intensity mode via the control dial: HSI Mode. Adjust H-Hue (0-360°), S-Saturation (0-100%), I- Intensity (0-100%) via the dial and experience rich, vibrant colors.
  • Frosted casing creates a diffused, warm ambience while its groundbreaking structure integrates portability and performance.
  • Professional color rendition with the RGB increased by 47% from 2700K to 6200K in CCT Mode

Pricing and availability

Available from 23rd November 2022,

The ZHIYUN FIVERAY M40 is available for USD$99.

The ZHIYUN FIVERAY F100 is available for USD$249.

From December 7th to December 8th, the F100 and M40 will be available on a buy-one-get-one-free basis from Amazon ZHIYUN store, AliExpress, B&H, and ZHIYUN official store.

RØDE Releases the NT-USB+ Professional Mic

RØDE has today announced a new addition to its industry-leading range of USB microphones, the NT-USB+. Based on the legendary NT-USB, the NT-USB+ is a professional-grade USB microphone loaded with next-generation features. It is also compact, portable and versatile, making it say RØDE,the ideal microphone for musicians, podcasters, streamers and professionals who want to capture studio-quality sound with ease.

Key Features

  • Studio-grade condenser capsule and tight cardioid polar pattern, delivering pristine audio ideal for recording vocals, speech and instruments
  • Ultra-low-noise, high-gain Revolution Preamp™ and high-resolution 24-bit/48kHz analog-to-digital conversion for professional sound quality with stunning clarity
  • Internal DSP for advanced audio processing powered by APHEX® – including a compressor, noise gate and legendary Aural Exciter™ and Big Bottom™ effects
  • High-power headphone output for zero-latency monitoring, complete with level and mix controls
  • USB-C output for plug-and-play connectivity with computers, smartphones and tablets
  • Includes high-quality pop filter and desktop mount – an all-in-one solution for recording professional sound at home or on the go

Designed and made in RØDE’s state-of-the-art facilities in Sydney, Australia

The NT-USB+ is based on the original NT-USB, which was released in 2014. Featuring the same iconic form factor and studio-quality sound as the original, the NT-USB+ builds on this legacy with a number of next-generation enhancements and is set to become a modern classic.

The NT-USB+ retails for USD$169 (AUD$250 approx).
For more details, click here.

New Blackmagic Design DaVinci Resolve. Major New Enhancements.

Blackmagic Design today announced DaVinci Resolve 18.1, a major new update that adds support for editing in vertical resolutions such as TikTok, Snapchat and Instagram TV, as well as automatic locking of individual timelines within bins for multi user collaboration. This update adds DaVinci Neural Engine enabled AI dialogue leveler and AI voice isolation tools to the cut, edit and Fairlight pages as well as vector keyframing for Fairlight automation curve editing. Fairlight grid support has also been added allowing customers to position clips on a grid based on timecode or musical tempo. DaVinci Resolve 18.1 also makes projects imported from ATEM Mini ISO projects easier to edit for customers, with audio now attaching to the video clips.

DaVinci Resolve 18.1 is available for download now from the Blackmagic Design website.

DaVinci Resolve 18.1 lets customers produce, export and post work quickly and easily on TikTok, Snapchat, Facebook shorts, Instagram TV and more. With added support for social media vertical resolutions such as 1080 x 1920, customers can choose square and vertical resolutions directly in project settings making it faster to setup a timeline to produce videos. Collaboration with other editors at the same time is also easier with the new timeline locking operation. This automatic operation prevents two users selecting the same timeline by locking it to the first user without the need to lock the whole timeline bin. Multiple editors can now work on different timelines in the same bin at the same time.

For audio, DaVinci Resolve Studio 18.1 adds new AI based voice isolation track FX so customers can remove loud, undesirable sounds from voice recordings. By adding DaVinci Neural Engine enabled voice isolation to the cut, edit and Fairlight pages using a new DaVinci Neural Engine AI based core effects process, customers can isolate dialog from background sounds in a recording, eliminating everything else from moderate noise to aircraft and explosions leaving only the voice. Voice isolation is perfect for interviews and dialogue recordings from noisy locations.

The built in dialogue leveler track FX in the inspector processes and smoothes dialogue recordings without the need for tedious level adjustments on clip gain or automation curves. Controls include real time scrolling waveform display, focus presets and three process options which allow customers to easily achieve natural sounding results. With the new vector keyframing of Fairlight audio automation curves, customers now have the ability to graphically enter, edit, trim and nudge keyframes with standard tools. Plus, there’s a new automation editing view which allows for faster and simpler management of curves and keyframes. DaVinci Resolve 18.1 also adds Fairlight grid support so customers can position clips on a grid based on timecode or musical tempo.

Editors now get a faster and smoother editing experience in this update with improved project importing when using ATEM Mini, so that audio is now attached to the video clips automatically making imported projects much easier to edit and helps improve workflows. DaVinci Resolve 18.1 adds DaVinci Resolve Speed Editor functionality to the edit page, including multicam switching, audio level, trim in, trim out and more! Plus, customers can use these functions in conjunction with the search dial for even more speed. There’s also support for subtitle track presets and per-track formatting rules. This means customers can now adjust individual settings for each subtitle caption, including font and style while retaining the track setting for size and background.

For Fusion users, customers can speed up their workflows with added support for magic mask in the Fusion page. The magic mask palette uses the DaVinci Neural Engine to detect animals, vehicles, people and objects, tracking their movement in a shot. Now customers can produce these clean traveling mattes directly in the Fusion page to add effects to characters or stylize the background. Plus, customers can now search for common keywords and categories for more than 200 tools. With this smart search functionality customers can filter the list without knowing the exact tool name to quickly find and apply tools to their visual effects.

DaVinci Resolve 18.1 also adds support for Dolby Vision 5.1.0 cinema trims, so customers can adjust the brightness levels of their high dynamic range images to optimize them for both cinema and television audiences. Customers can now also scale the DaVinci Resolve user interface incrementally to optimize the resolution for their specific Window or Linux display making it much easier to see the fonts on all aspects of the interface.

There are also significant performance improvements with multiple tools. Updates to the internal processing result in up to 10x faster Text+, 5x faster stabilization, face refinement tracking and analysis, 4x faster spatial noise reduction, better playback performance with large node graphs and improved Blackmagic RAW decoding on Apple silicon.

“This is a major update with new added support for social media vertical resolutions. Now, customers can work quickly and easily to create video posts for sites such as TikTok, Snapchat, Facebook shorts, Instagram TV and more,” said Grant Petty, Blackmagic Design CEO. “Plus, there are some other exciting performance improvements as well, such the new DaVinci Neural Engine AI enabled voice isolation tools, and new features for Fusion, such as support for magic mask. We’re always excited to see what our customers can do with these amazing updates to DaVinci Resolve.”

DaVinci Resolve 18.1 Key Features
* Vertical resolution options in project settings for social media.
* Select custom thumbnails and channels for YouTube uploads.
* Support for individual timeline locks enhancing multi-user collaboration.
* New DaVinci Neural Engine enabled voice isolation in Studio.
* New Dialogue Leveler for natural smooth audio.
* Vector keyframing for Fairlight automation curve editing.
* Fairlight grid support for editing to timecode or musical tempo.
* Reorganized and streamlined view menu.
* Support for Resolve FX Dust Buster in the edit timeline.
* Improvements to ATEM Mini ISO project import to keep audio attached to video clips.
* Improved speed editor functionality in the edit page.
* Subtitle caption properties can now be overridden individually.
* Support for subtitle track presets and per-track formatting rules.
* Support for Magic Mask in the Fusion page.
* Support for Dolby Vision cinema trims.
* Support for fractional display scaling for Windows and Linux

Availability and Price
DaVinci Resolve 18.1 update is available now for download free of charge from the Blackmagic Design website.

New DJI Drone. Another Mavic.

To be fair, it was pretty much expected. A Classic version of the Mavic 3 – still with a lot of bells and whistles, but without the stratospheric price tag the top of the range Pro has. That is not to say the imagery ability has been downgraded, not at all. It still has the Hasselblad camera on board giving 5.1k / 50fps 20MP AND has 46 minutes* flying time with a stated 15Km video transmission range. But no, there is no secondary telephoto camera.

It comes with the full on DJI RC Controller though, so you can ditch your phone or tablet, and hopefully, the screen also is bright / contrasty enough to do away with the need for any sunshade (I have requested a controller for my Air2S now that is compatible so hopefully I will be able to let you know on that score).

The difficulty for the consumer in my mind is now whether to go for the Air2S ($1699) or the Mavic 3 Classic ($2599). Is it worth the extra $900? With the Pro controller valued at $1529 stand alone, the answer I’d say is yes.

I’ll have a complete run down on all the features etc shortly.

Announced: Canon EOS R6 MK II

 Never compromise your creativity: Join the evolution into high performance photo and video

The fastest EOS R System camera yet

Canon Australia today announces the launch of the EOS R6 Mark II, its fastest advanced full-frame mirrorless camera to date, expanding the pioneering EOS R System – offering 40fps, stunning low-light AF, 4K UHD movies and 6K RAW external device recording, all built on the RF Mount. As the newest model in the range for hybrid creators, the EOS R6 Mark II utilises the powerful foundations of the RF Mount and redefines standards set by the EOS R6. For both stills and movies, it raises the bar with its unique blend of class-leading performance, breath-taking speed, stability and professional filmmaking features.

Sharp images and smart tracking

Using the same DIGIC X processor technology – which was at the core of the EOS R5, EOS R6 and coveted EOS-1D X Mark III – alongside the camera’s new 24.2 megapixel CMOS sensor, the EOS R6 Mark II supports renowned next generation Dual Pixel CMOS AF II pushing speed and reliability to new levels.

The EOS R6 Mark II can track subjects keeping them sharp as they move through a scene. Using improved deep-learning artificial intelligence, it recognises people, vehicles (which now includes aircraft and trains in addition to cars and motorbikes) and animals which has been updated to recognise horses and zebras as well as dogs, cats and birds. The type of subject to be detected can be chosen in the menu, or using the new Auto option depending on the range of scenarios the photographer is shooting in. With advance eye tracking, users can specify which eye (left or right) should be given focus priority, and when the eyes can’t be detected, the EOS R6 Mark II focuses on the face in shot instead. Even if a person turns away for a moment, their head continues to be tracked, and if the head isn’t visible the camera will go on to track the body.

The EOS R6 Mark II boasts the world’s most effective IS performance, with up to 8-stops[1] co-ordinated control image stabilisation[2]. Using the combined IS, optical and in-body – it can shoot long exposures, handheld with extreme clarity and sharpness. Photographers can also capture the ambience in very low light conditions, focusing in light levels as low as -6.5EV[3], and the ability to shoot up to ISO 102,400.

Next generation speed for the EOS R System

Setting new speed records, the EOS R6 Mark II is Canon’s fastest EOS to date[4]. It can shoot continuously at up to 40fps[5] – with 20fps and 5fps options with electronic shutter – and up to 12fps mechanically, capturing fleeting moments that may not be perceptible to the human eye. Compared to the EOS R6, the new sensor reduces rolling shutter, allowing the camera’s electronic shutter to be used to freeze fast-moving objects.

Additionally, the EOS R6 Mark II keeps pace with photographers’ needs, recording action before shooting starts, with 0.5 second pre-shooting in RAW Burst mode – a great advantage when shooting unpredictable subjects, from tennis players to toddlers. The RAW Burst mode shoots continuously at 30fps for up to 191 frames, recording every image in a single CR3 file; all with AF tracking. Individual images can be extracted from this roll using Canon’s Digital Photo Professional software, or in camera, and saved as individual JPEG, HEIF or RAW files.

Meeting demand with evolved video capabilities

The EOS R6 Mark II is the only camera in its class[6] that can use the full width of the sensor to shoot 4K 60p UHD, with simultaneous Dual Pixel CMOS AF II focusing. All 4k footage is created by oversampling the sensor’s 6K output, resulting in superb image quality. For independent filmmakers wanting even higher performance, the EOS R6 Mark II outputs 6K RAW via its HDMI output, which can be recorded on an Atomos Ninja V+ recorder in ProRes RAW. This provides more detail, as well as the ability to adjust parameters such as white balance in post-production.

Creators can activate movie pre-recording mode of 3 or 5 seconds – when on, video is continuously streamed through the camera in standby enabling the capture of action even before you press record. Ideal for unmissable moments, or unpredictable scenes.

The EOS R6 Mark II features an improved circuit design allowing longer recording times, over 40 minutes of oversampled 4K 60p recording or up to 6 hours at 4k 30p[7], – with the previous 29.59 maximum individual clip recording time removed – depending on ambient temperature, memory card space and battery life.

Enabling content creators and filmmakers to meet the increasing demand to produce both stunning still and moving images, the innovative EOS R6 Mark II can output incredible slow-motion footage with AF support using Full HD at up to 180fps. During movie shooting, False colour can be used as a guide to exposure adjustment, particularly useful in conditions that typically result in overexposed highlights. With HDR support via PQ, as well as Canon’s popular Canon Log 3, creators can capture breath-taking, true-to-life video and realise greater expressive possibilities – immersing the viewer in the content. When used with supported lenses[8], the EOS R6 Mark II also uses focus-breathing correction to compensate for the effects of focus breathing, providing a cinematic effect.

Intelligent connection for content delivery

With updated Bluetooth v.5 and Wi-Fi (5GHz), the EOS R6 Mark II can be easily connected to a smartphone and networks allowing high-speed file sharing and FTP/FTPS/SFTP transfer – making it easy to edit and share, even when on the move. The camera can also be remotely controlled using the Camera Connect and EOS Utility apps, tethered to a PC, Mac or smartphone via Wi-Fi or high-speed USB-C. For semi-professional photographers and content creators, content delivery is just as important as image and video capture – the EOS R6 Mark II supports automatic transfer of image files from the device to the cloud platform to easily share and print images.

The EOS R6 Mark II can be used as a webcam on PC and Mac computers running video-call apps such as Skype, Zoom and Teams, without having to install additional software. This plug-and-play capability is powered by industry-standard USB Video Class (UVC) and USB Audio Class (UAC) drivers that are built into Windows and MacOS operating systems. The camera provides improved image quality compared with standard computer webcams, perfect for making a great impression when on video-calls online.

An extension of the creators’ creativity

Allowing seamless navigation with trusted ergonomics, existing EOS and EOS R System series users will be comfortable handling the EOS R6 Mark II. Featuring a multi-function shoe with a next-generation interface, the EOS R6 Mark II enables a new series of Canon accessories to be used including the newly launched SPEEDLITE EL-5. These accessories can be used without the need for cables, and in some cases without batteries.

Its body offers the durability expected from Canon, with dust and weather sealing on all external doors and inputs. The high-resolution 3.69M dot EVF offers a crystal clear view when taking photos or video, as it refreshes at 120fps – alongside this, EOS R6 Mark II has inherited the Optical View Finder view assist feature from the EOS R3, providing a natural-looking display retaining detail in shadows and highlights, with good visibility in dark areas and gradation. The EOS R6 Mark II is also compatible with the same LP-E6NH batteries and BG-R10 battery grip as the EOS R6, but with the benefit of battery life being increased by approximately 50% when using the LCD screen.

Canon Camera Connect App

Alongside the EOS R6 Mark II, Canon is announcing an update to its Camera Connect App which delivers a fresh new look and feel, as well as enhanced connectivity and a simple user experience. The v.3 update makes the app a central portal, enabling users to easily access other Canon software and services, such as the Print app or cloud service. From the app, Canon users can connect their camera to a smartphone or tablet to act as a remote control, or fine tune images, download or share them while on the move and even download firmware updates for their camera[9].

Also launching today is the RF 135mm f/1.8L IS USM, a telephoto prime lens ideal for shooting portraits in low-light and the SPEEDLITE EL-5, a high-performance Speedlite for capturing weddings and events.

Availability and pricing

The EOS R6 Mark II will be supported by Canon Australia’s 5-year warranty when purchased from an authorised Canon Australia reseller[10]. Pricing will be set at dealers’ discretion, with an RRP of $4,499 (incl. GST) for the EOS R6 Mark II. For the body and lens kit, RF 24-105mm f/4L IS USM, the RRP is $6,399 (incl. GST). Available in Australia from late November 2022, more information on the EOS R6 Mark II can be found here: 

 i YouGov survey January 2022, n=5,088.

ii YouGov survey January 2022, n=5,088

iii Applies to purchases made on or after 25th November 2019 in Australia from authorised distributors, dealers or retailers


[1] Yaw/Pitch direction, based on the CIPA standard, 8.0 stops with RF 24-105mm F4 L IS USM at a focal distance of 105mm.

[2] Correct as at 2nd November 2022.

[3] With an f/1.2 lens, centre AF point, and One-Shot AF, at 23°C / 73°F and ISO 100. This excludes RF lenses with a Defocus Smoothing (DS) coating.

[4] Correct as at 2nd November 2022.

[5] Continuous shooting speed may be slower depending on factors such as subject/shooting conditions, the camera setup or the lens used. Refer to the Advanced User Guide for details. For information on lenses that support the maximum continuous shooting speed with servo AF, refer to the Supplemental Information of EOS R6 Mark II on the website “”. Depending on the nature of subject or shooting conditions, rolling shutter image distortion may occur.

[6] Correct as at 2nd November 2022.


[7] Battery and memory card allowing.

[8] Lenses currently supported, after firmware updates, are:

  • RF 14-35mm F4 L IS USM
  • RF 15-35mm F2.8 L IS USM
  • RF 24-70mm F2.8 L IS USM
  • RF 24-105mm F4 L IS USM
  • RF 70-200mm F2.8 L IS USM
  • RF 70-200mm F4 L IS USM
  • The RF24mm F1.8 Macro IS STM supports this feature from the beginning and does not require a firmware update.


[9] This feature is only possible with selected cameras. Please visit the Camera Connect App page for more information.

[10] Applies to purchases made on or after 25th November 2019 in Australia from authorised distributors, dealers or retailers.

Sony announces jury for first Future Filmmaker Awards 2023

Creo is pleased to reveal the panel of judges for the inaugural edition of the Sony Future Filmmaker Awards; a major new annual program for short films, providing a gateway for the development of creative excellence and free for anyone to enter. Chaired by award-winning director Justin Chadwick, this year’s jury comprises leading and celebrated figures from the film industry including Nicole Brown, President of TriStar Pictures; Jeremy Barber, Partner, Motion Picture Literary and Talent, United Talent Agency; and Sir Roger A. Deakins, Academy award-winning cinematographer.


The panel of judges for the inaugural edition of the Sony Future Filmmaker Awards (l-r) Justin Chadwick, Nicole Brown, Jeremy Barber and Sir Roger A. Deakins

Justin Chadwick, award-winning theatre, television and film director and Chair of the Jury, says: ‘I am honoured to preside over this panel of highly distinguished individuals, and I look forward to working with my fellow jury to discover fresh talent from across the globe. It was through the medium of short films I made my directorial debut and began receiving recognition for my work and I’m excited by the unique opportunities this new Awards program has to offer to young and emerging filmmakers.’ 

Also announced are further details about the three days of workshops, screenings and panels, led by Sony Pictures executives. This exceptional opportunity offers winning and shortlisted filmmakers exclusive access and unparalleled insight into the inner workings of the industry through first-hand knowledge of the crucial stages of the film-making process – from initial pitching to casting, editing and theatrical marketing.

Josh Greenstein, President of Sony Pictures Motion Picture Group says: ‘The Sony Future Filmmaker Awards is an exciting new initiative to help support fresh talent from around the world. Sony Pictures look forward to welcoming winning and shortlisted creators to the Studio lot here in Culver City, California, where through our carefully assembled workshop program led by our roster of experts, they’ll be able to gain a new understanding of the business to help them take the next steps in their filmmaking careers.’

The Sony Future Filmmaker Awards ceremony will take place on 22 February 2023 in the Cary Grant Theatre at the historic Sony Pictures Studio lot in Culver City, California. Thirty shortlisted filmmakers will be flown to Los Angeles to attend the ceremony and workshop program. Winners from six categories will be announced on the night and rewarded with cash prizes and a range of Sony’s Digital Imaging equipment.


Justin Chadwick is an award-winning British theatre, television and film director. He is best known for critically acclaimed films including the Oscar, BAFTA and Golden Globe-nominated Mandela: Long Walk to Freedom (2013), the AFI and IFTA nominated The Other Boleyn Girl (2008); Tulip Fever (2017) and The First Grader (2010). His films have won numerous awards including the Audience Award at Durban International Film Festival, the Audience Prize for Best Film at Doha Tribeca Film Festival, both Best Director’s Choice and Audience Choice Awards at the Sedona Film Festival, and Best Feature Film at the Palm Beach Film Festival 2010. His award-winning short films include Boy (2011), Shakespeare Shorts (1996) and Family Style (1993).

Nicole Brown is President of TriStar Pictures. Her oversight of Sony Pictures’ specialty label includes all film development and production. In 2019, Brown was appointed Head of TriStar Pictures, making her the first Black woman to run a live-action label at a major studio. Brown has been instrumental in securing several major deals and overseeing projects for the studio, including Gina Prince-Bythewood’s critically acclaimed The Woman King, starring Viola Davis. The film opened in theatres on September 16, 2022 and has made over $75 million globally so far. Upcoming for the label is the highly anticipated Whitney Houston musical biopic I Wanna Dance With Somebody, and Roald Dahl’s Matilda the Musical, a partnership with Netflix based on the Award-winning West End musical. During her TriStar tenure, Brown has overseen movies such as Marielle Heller’s Oscar-nominated A Beautiful Day in the Neighborhood starring Tom Hanks as Mister Rogers; Happiest Season, which was licensed by Hulu in the U.S. and earned the number one spot on the streamer, as the LGBTQ+ romantic comedy was the most-watched film across all acquired and Hulu Original films during its opening weekend; Edgar Wright’s breakout hit Baby Driver; Danny Boyle’s sequel to Trainspotting; Jodie Foster’s Money Monster starring George Clooney and Julia Roberts; and Jonathan Demme’s Ricki and The Flash starring Meryl Streep.

Jeremy Barber is a Partner in the Motion Picture Literary and Talent Departments at United Talent Agents (UTA). Prior to UTA, Barber helped found and served as President of Catch 23 and Catch 23 UK. During his tenure, Barber executive produced One Hour Photo and King’s Ransom. Barber was also head of Production and Acquisitions at Artisan Entertainment where he oversaw films such as Requiem for a Dream, The Blair Witch Project and Buena Vista Social Club. Barber began his entertainment career as an attorney at Loeb & Loeb. Prior to Hollywood, Barber had a career in politics, where he worked on the Dukakis/Bentsen Campaign, for Congressman Chuck Schumer, Senator Herb Kohl, and on Bill Clinton’s Chicago Convention. Barber serves on the Georgetown University Law School Board of Visitors, the Telluride Film Festival’s Esteemed Council of Advisors, the board of The People Concern, UTA’s Advisory Council and Leadership Council, Campbell Hall’s Advancement Committee, and served as Chairman of the Board of the UCLA Lab School – where he now maintains an emeritus position. Jeremy holds a law degree from Georgetown University and an MA and BA from Cambridge University. He is a member of the Academy of Arts and Sciences.

Sir Roger A. Deakins is one of today’s most honoured cinematographers, renowned for his vast and varied body of work. He has been nominated for an Oscar 15 times, winning twice with Blade Runner 2049 (2017) and 1917 (2019). His other Oscar nominations include: Denis Villeneuve’s Sicario (2015); The Coen Brothers’ Fargo (1996), O Brother, Where Art Thou? (2000) and No Country for Old Men (2007); Frank Darabont’s The Shawshank Redemption (1994); Martin Scorsese’s Kundun (1997); and Sam Mendes’ Skyfall (2012,) among others. Deakins’ many accolades include five BAFTAs, five American Society of Cinematographers (ASC), seven British Society of Cinematographers (BSC), two Independent Spirit Awards and numerous Critics’ awards. He has also received Lifetime Achievement Awards from the ASC, the BSC and National Board of Review. In 2013, Roger Deakins was made a Commander of the Order of the British Empire (CBE) and in 2021, he was given a Knighthood, the only cinematographer to ever receive both honours. Mostly recently, Sir Roger Deakins also published a book of his still photography entitled BYWAYS (published by Damiani), revealing another side to his visual talent.


Also announced today is a list of topics covered over three-days of workshops, panel discussions and screenings (23 – 25 February 2023) to be led by Sony Pictures executives and held on the Sony Pictures Studio lot. Specifically tailored to support filmmakers’ career progression, the program represents a singular opportunity for all 30 winning and shortlisted creators to gain the insight required into the business of film and to the key divisions in a major motion pictures studio. The full program includes:

  • The Pitching Process   
  • Theatrical Marketing
  • Casting & Talent
  • Sony Pictures Classics
  • Production: Physical & Post      
  • PlayStation Productions
  • Filmmaker Process      
  • Business Affairs
  • Editing – CGI/VFX        
  • Sony Innovation Studios
  • Sound & Sound Mixing 
  • Acquisitions
  • Film Scoring & Music Rights     
  • Sony 3000 Pictures

In addition to the workshop program, the six category winners will also receive exclusive access to Sony’s state-of-the-art Digital Media Production Centre (DMPC), a unique resource for everything related to cutting-edge technologies and end-to-end production, where they will learn to operate their newly won Sony gear in a live and virtual production environment.


The first edition of the Sony Future Filmmaker Awards opened for entries on 26 July 2022. It comprises six categories across three competitions:

Filmmaker competition including three categories: Fiction, Non-Fiction and Environment. The Environment category is run in association with Sony Pictures Television’s “Picture This” initiative, which champions creativity that communicates a positive future for the planet.

Student Filmmaker competition including two categories: Fiction, Non-Fiction.

Future Format competition, comprising a changing technical brief each year. For 2023, filmmakers are asked to submit entries shot exclusively on a smartphone.

Full competition and category descriptions and requirements can be found at

The deadline for all entries is 13 December 2022, at 07:00 AM (CT)


The Catchlight Film Festival will be returning in 2023. Register here for updates on the latest news about entry dates, prizes and more. 

To view the 2022 winning and nominated films please see here.

Australia’s First High School LED Virtual Production Studio

that Livingstone Christian College used Blackmagic Design cameras and switchers as part of Australia’s first LED based virtual production high school studio. The studio used Blackmagic Pocket Cinema Camera 4K digital film cameras and ATEM Mini Pro live production switcher along with DaVinci Resolve editing, grading, visual effects (VFX) and audio post production software.

Livingstone Christian College, based in a suburb near Brisbane and Gold Coast, Australia, first opened its doors in 2002 and has since grown to a community of more than 1,300 students from prep to year 12. As part of the school’s arts program, film and TV production teacher Kenji Lee, aka Mr. Chen, built a virtual production workflow aimed at giving students the ability to learn and create on the same tools that Hollywood uses.

Lee is the founder and managing director of the multicultural youth filmmaking organization One Song Foundation and is a Queensland TeachX and Australian Educator Awards finalist. Lee, together with the school’s Head of Arts Gavin Coles, began building the studio in early 2022 with support from the HTC VIVE Taiwan and Australia team led by Raymond Pao, senior vice president of business solutions.

Since he joined the school, Lee’s students have created a number of film productions, including consent and anti bullying short films, social impact music videos during the pandemic and most recently a sci fi film using the virtual production workflow.

“We want to have the students create films that change the way people think but also prepare them for a career in filmmaking if that is what they want to do. And virtual production is the future of filmmaking so it makes sense to teach it,” Lee explained.

“Lots of universities are thinking about building LED walls and are starting to teach virtual production. But high schools have not seen the potential yet. At Livingstone we mirror the universities and get the students learning hands on with the technology that is being used by professionals. Blackmagic products are great for this because they are affordable, high quality and are easy to learn,” Lee continued.

The school’s virtual production set up includes access to a 16×9’ LED screen, Blackmagic Pocket Cinema Camera 4Ks and ATEM Mini Pro for keying and syncing images with Unreal Engine. The products are used in conjunction with the HTC VIVE Mars CamTrack system, which provides accurate camera tracking and real time compositing for virtual production. Blackmagic Design’s DaVinci Resolve is used for LUT creation and color correction.

For their first virtual production project, students created a spaceship background shown on the LED screen. Pocket Cinema Cameras 4Ks captured both wide and closeup action, with camera feeds ingested into the ATEM Mini Pro.

“It was important that the students get hands on with every aspect of virtual production and learn that it was not just standing in front of an LED wall. You have to make sure every piece of gear on set is in sync and understand how lighting, props and actors impact timing. It could be very intimidating for students if the technology was too complicated. The Blackmagic products were a perfect fit,” he continued.

Since their first virtual production, Lee has worked with the students to create several new projects using the same set up, including music videos and musical theatre performances.

“The Pocket’s genlock features make them invaluable for virtual production. They are easy to set up, so instead of spending time on trying to figure out how to make the cameras work the students are able to focus on their own creativity,” Lee said. “And even though they are easy to use and learn on, the cameras get you the most amazing cinematic images so there is no sacrificing the quality of work.”

DaVinci Resolve soon available for new iPad

Blackmagic Design today announced DaVinci Resolve for iPad, so creators can extend video workflows in new ways and new places. Optimized for MultiTouch technology and Apple Pencil, DaVinci Resolve for iPad features support for cut and color pages providing access to DaVinci’s award winning image technology, color finishing tools and latest HDR workflows.

And Blackmagic Cloud support allows creators to collaborate with multiple users around the world. DaVinci Resolve for iPad will be available in Q4 2022 from the Apple App Store as a free download, with an upgrade to DaVinci Resolve Studio for iPad also available as an in-app purchase.

With optimized performance for Apple Silicon, DaVinci Resolve delivers 4x faster Ultra HD ProRes render performance on the new iPad Pro with M2. HDR is also supported for customers using an 12.9-inch iPad Pro with the M1 chip. Creators can send a clean feed grading monitor output to an Apple Studio Display, Pro Display XDR or an AirPlay compatible display. This lets customers use the external display to quickly create grades on set or color correct clips in post production directly from their iPad.

The new DaVinci Resolve for iPad will open and create standard DaVinci Resolve project files which are compatible with the desktop version of DaVinci Resolve 18. Supported file formats include H.264, H.265, Apple ProRes and Blackmagic RAW, with clips able to be imported from the iPad Pro internal storage and Photos library, or externally connected iCloud and USB-C media disks.

DaVinci Resolve for iPad will be available in Q4 2022 from the Apple App Store as a free download, with an upgrade to DaVinci Resolve Studio for iPad also available as an in-app purchase.

About DaVinci Resolve

High end professionals working on feature films and television shows use DaVinci Resolve more than any other solution! That’s because it’s known for incredible quality and creative tools that are light years beyond the competition. Customers get DaVinci’s Emmy™ award winning image technology with 32‑bit float processing, patented YRGB color science and a massive wide gamut color space for the latest HDR workflows. Customers also get the legendary quality of Fairlight audio processing for the best sound in the industry! With DaVinci Resolve, customers get the same tools professional colorists and editors use every day to finish blockbuster feature films and television programming!

DaVinci Resolve is the only solution that lets customers grow and build their own multi user post production studio! The newly redesigned project libraries are built for real time local and remote collaboration. While the new Blackmagic Cloud lets customers host and access their projects from anywhere in the world.

Now customers can collaborate with editors, colorists, visual effects artists, and sound engineers all working together at the same time. Best of all, customers no longer have to import and export files, translate projects, lose work, or conform and manage changes. DaVinci Resolve is the only application in the world that lets everyone work together in parallel on the same project and at the same time!

The cut page is a revolution in editing and has many new innovations that make editing much faster than before. That’s critical when editing content for social media, fast turn music videos, television commercials and corporate videos. The cut page has also been co-designed to work with a hardware panel such as the DaVinci Resolve Speed Editor, which is also supported on the DaVinci Resolve for iPad. This means you get an editing solution that’s not “dumbed down”, as it’s a true professional editor that’s focused on introducing new innovations in speed!

The DaVinci Resolve color page is Hollywood’s most advanced color corrector and has been used to color and finish more high end feature films and television shows than any other system! It’s also approachable with features designed to make it easier for new users to get great results while they continue to learn the advanced tools. For example, new primary control sliders will be familiar to anyone who’s used image editing software, making it easy to adjust contrast, temperature, midtone detail, saturation and more.

The color page has an incredible range of primary and secondary color grading features including PowerWindows™, qualifiers, tracking, advanced HDR grading tools and more!

“DaVinci Resolve for iPad is truly a revolution for post production, ” said Grant Petty, Blackmagic Design CEO. “Customers will have the power of Hollywood post production tools for editing and color correction literally in their hands, creating a whole new generation of creative editors and colorists. Compatibility with DaVinci Resolve 18 and Blackmagic Cloud, mean that customers can collaborate on the same timeline with other editors or colorists as well as audio engineers and VFX artists from literally anywhere in the world.

I think it will be exciting to try out the new iPad version and I can’t wait to see how our customers use it, their creativity will be mind blowing.”

DaVinci Resolve for iPad Features

•    Cut page for editing and the color pages are optimized for the 12.9-inch iPad Pro display.

  • Up to 4x Ultra HD ProRes render performance improvement with the M2
  • Supports Apple Neural Engine features in DaVinci Resolve Studio for
  • Compatible with DaVinci Resolve 18 project
  • Supports multi-user collaboration via Blackmagic
  • Supports 264, H.265, ProRes and Blackmagic RAW media files.
  • Supports clips from iPad storage, Photos library and
  • Import clips from external USB-C
  • Works with Apple Pencil, Magic Trackpad, Magic Keyboard and Smart Keyboard
  • External monitoring via Apple Studio Display, Pro Display XDR or an AirPlay
  • Supports HDR display on 9-inch iPad Pro with the M1 chip.
  • Compatible with iPadOS 16 or

Availability and Price

 DaVinci Resolve for iPad will be available later in 2022 as a free download from the Apple App Store. Customers can upgrade to DaVinci Resolve Studio for iPad using an in-app purchase.