Content Creation
Industry News — content creators, video production, and technology.
Blackmagic Design Announces Blackmagic Camera for iOS 3.3 Update
New update adds camera control and monitoring with Apple Watch, support for ATEM camera control and support for Blackmagic Focus and Zoom Demands!
Fremont, CA, USA - Wednesday, April 15, 2026 - Blackmagic Design today announced Blackmagic Camera for iOS 3.3, which is a new update for the software based digital film camera for iPhones. This new update adds support for camera control and monitoring using an Apple Watch, so customers can start and stop recording, and monitor the shot from their wrist. That’s great for when the iPhone is mounted out of reach. Also in this update is a new feature that adds support for ATEM camera control so the iPhone can be used as a live studio camera. Customers can even use the studio camera’s Blackmagic Focus and Zoom Demands when connected via the Blackmagic Camera ProDock. It’s like a studio camera!
Customers even get full tally and camera control as well as broadcast style lens controls over a single HDMI cable when connected to an ATEM Mini live production switcher. Blackmagic Camera for iOS 3.3 is available now as a free download from the Apple App Store.
The Blackmagic Camera for iOS 3.3 update will be demonstrated on the Blackmagic Design NAB 2026 booth #N2502.
Blackmagic Camera unlocks the power of iPhones and iPads by adding Blackmagic’s digital film camera controls and image processing! Now customers can create the same cinematic ‘look’ as Hollywood feature films. Customers get the same intuitive and user friendly interface as Blackmagic Design’s award winning cameras. It’s just like using a professional digital film camera! Customers can adjust settings such as frame rate, shutter angle, white balance and ISO all in a single tap. Or, record and upload directly to Blackmagic Cloud in industry standard files up to 4K! Blackmagic Cloud lets customers collaborate on DaVinci Resolve projects with editors anywhere in the world, all at the same time!
The Blackmagic Camera Apple Watch companion app lets customers remotely control and monitor their iPhone from almost anywhere on set or on location. It’s perfect for situations where an iPhone is mounted out of reach or in a position where physically touching it would cause camera shake. Setup is easy as all customers need to do is install the companion app through the Watch app on their iPhone. Then from their wrist, customers can monitor framing and audio levels, start and stop recording and adjust key settings including exposure, focus and LUTs. Customers can even change lenses and control zoom! It’s a simple way to control and monitor Blackmagic Camera without ever needing to touch the iPhone!
Transform the iPhone into a powerful studio camera with remote camera control! When Blackmagic Camera ProDock is connected to ATEM Mini, video, tally and camera control are sent over a single HDMI cable, so there’s no complex setup. Customers can adjust camera settings such as white balance, ISO and shutter remotely, as well as trigger recording, all from ATEM Software Control. Plus customers can adjust focus and zoom! There’s even a DaVinci primary color corrector built in so customers can go beyond simple camera color balance, allowing precise camera matching and creative digital film looks during live production. For advanced use, customers can even add a dedicated ATEM Micro Camera Control panel!
The optional zoom and focus demands can be added to give customers broadcast style lens control with Blackmagic Camera! The focus and zoom demands have USB-C connections so they can easily connect to Blackmagic Camera ProDock. Each zoom and focus demand has 2 USB-C ports, so customers can daisy chain them, then connect them to the ProDock with a single USB connection. The design has an incredibly precise feel and gives customers very fine lens control, allowing customers to frame and adjust the lens without taking their hands off the tripod handles. The buttons can be customized so customers can assign different camera functions to them! Plus, hardware is included for mounting the focus and zoom demand onto tripod handles.
“We really want to help everyone use their iPhones in professional productions and to come up with new ways that the iPhone can be used,” said Grant Petty, Blackmagic Design CEO. “The Apple Watch companion app does that because it means you can mount an iPhone anywhere and still have full control of it from your wrist. But the most exciting feature is the brand new support for ATEM camera control and the Blackmagic Zoom Demand and the Focus Demand. This means you can use the iPhone as a studio camera while holding onto the tripod handles to focus and zoom. It’s a real studio camera and it’s a lot of fun!”
Blackmagic Camera for iOS 3.3 Features
Camera control and monitoring with companion app for Apple Watch.
Support for ATEM camera control with Blackmagic Camera ProDock.
Support for Blackmagic Focus and Zoom Demands with Blackmagic Camera ProDock.
Support for full screen portrait mode HDMI output.
Front camera now supports portrait and landscape without rotation for iPhone 17.
Support for ProRes RAW stabilization in iOS 26.1 and above.
General performance and stability improvements.
Availability and Price
Blackmagic Camera for iOS 3.3 is available now as a free download from the Apple App Store.
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.
Other World Computing (OWC) Appoints Rob Steffens, Chief Financial Officer (CFO)
Former Marvel Co-President/Chief Financial Officer Brings Over Two Decades of Financial and Operational Leadership to New Role
WOODSTOCK, Ill. — Other World Computing (OWC®), a trusted leader in high-performance storage, memory, connectivity, software, and accessories that empower creative and business professionals to maximize performance, enhance reliability, and streamline workflows, today announced the appointment of Rob Steffens to the position of Chief Financial Officer (CFO). Reporting directly to Founder and CEO, Larry O’Connor, Steffens will be responsible for leading global finance, operations, and strategic planning.
Steffens brings more than two decades of hands-on financial and operational leadership scaling high-growth media and technology businesses to his new role at OWC. Best known for his tenure at Marvel Entertainment, Steffens played a central role in transforming the company from a ~$100 million publicly traded business into a $4.5 billion acquisition by Disney, and then helping scale it into a $50 billion global entertainment powerhouse over the following decade. Across multiple senior leadership roles at Marvel, including CFO and Co-President, he drove landmark deals, expanded high-margin divisions, and led complex post-merger integration and global growth initiatives. A CPA and NYU Stern MBA, Steffens has a proven track record of delivering industry-leading profitability, building high-performance teams, and translating financial strategy into compelling narratives for investors and boards. At OWC, he brings this same rigor and growth-oriented mindset to support the company’s continued expansion and operational excellence.
“I have been fortunate to have been part of something exceptional before, a company that grew at a phenomenal rate over my twenty years. I joined OWC as I believe they have the team and the market opportunity to grow at a fast pace well into the future. OWC is a company that’s already built something real, with loyal customers and a reputation for doing things the right way, and still has a tremendous amount of runway ahead. That’s a rare combination. You don’t get many opportunities like this, at this stage, with this kind of foundation. I’m proud the team chose me, and I’m ready to roll up my sleeves and help take it to the next level,” said Steffens.
“Rob could have gone anywhere — and that’s not an exaggeration. When you’ve been part of building something like Marvel into what it became, doors tend to open. The fact that he chose OWC says a lot about where we are as a company and, more importantly, where we’re going,” said O’Connor. “He sees what we see — that we’ve built something real here, something trusted, and something with a lot more room to run. Bringing Rob on isn’t about filling a seat, it’s about adding a leader who knows how to scale a great business into something truly exceptional.”
About Other World Computing (OWC)
Founded in 1988, Other World Computing (OWC®) is a trusted leader in high-performance storage, docks, and memory card solutions that empower professionals in video and audio production, photography, and business with the tools to maximize the performance and reliability of their workflows seamlessly. OWC’s professional-grade storage, expansion, media cards, docks, and connectivity, as well as its apps and accessories, are built to last by the people who use them: creatives, businesses, and consumers. For further information, please visit www.owc.com. OWC can also be found on LinkedIn and X.
Bruno Mars' "Risk It All" Music Video Captures Timeless Texture with Pro8mm
Pro8mm, the Super 8 experts, provided cameras, Super 8 movie film, and scanning services for Bruno Mars’ “Risk It All” music video. The debut single from Bruno Mars’ new solo album, The Romantic, was released February 27, 2026. The chartbuster debuted at #1 with over 40 million views in its first two weeks.
Directed by Bruno Mars and Daniel Ramos, the Director of Photography was Todd Banhazl ASC, with Justin Cameron, SOC operating camera. Banhazl and Cameron had previously collaborated with Pro8mm on HBO’s Winning Time series (2022), which utilized more than 1,200 rolls of Super 8 film.
To achieve a nostalgic vintage aesthetic, the Risk It All team chose Pro8mm’s Classic Pro Max 8 camera with 6-66mm Schneider lens for the intimate home-movie style sequences that wind throughout the story. The Super 8 footage, scanned at 2K to ProRes 4444 HQ, was shot on three Kodak film stocks: Ektachrome Super 8-94 100D for exteriors, Pro8-500T for interiors and night work, and Tri-X for select scenes requiring additional texture and contrast.
“We really loved the 1:33 overscan aspect ratio, especially with the Ektachrome, explains Justin Cameron.” It felt like the colors were so elegant and stunning. Still, including a piece of the perf in the overscan felt important to feel that 8mm full gate vibe we’ve grown to love.
“We got to rejoin our Pro8mm family for this beautiful project,” adds Banhazl. “The vibrant Ektachrome and textural Tri-X Super 8 film in particular were perfect counterpoints to the gentle, smooth digital footage. And nobody rocks that little camera on planet earth better than Justin Cameron.”
“Risk It All” is the latest high-profile project to embrace Super 8’s resurgent appeal, as the format’s timeless warmth and texture continue to capture the cultural moment.
For the full story visit here
Preserving UNESCO World Heritage with URSA Cine Immersive
The Explorers turned to France’s cultural landmarks, capturing Paris and the Château de Chambord in Apple Immersive for Vision Pro
Fremont, CA, USA - From documenting remote expeditions to capturing iconic locations around the world, The Explorers has built a reputation for high resolution storytelling. The Paris based team of explorers, media professionals, scientists and artists is producing what they call “the first planet inventory,” showcasing Earth’s diversity through visual storytelling.
When the team explored Apple Immersive production, they brought that approach to two contrasting French locations: the streets of Paris and the Château de Chambord, a UNESCO World Heritage site and one of the Renaissance’s most iconic architectural achievements.
“We wanted to test the URSA Cine Immersive and workflow in contrasting environments,” said Olivier Chiabodo, founder of The Explorers. “Paris in June and July, then Chambord in September. It let us build real experience before moving on to larger projects.”
Immersive first in Paris
The team treated the Paris shoot as a cinematic walk through monuments and street life. Locations were chosen for strong foreground detail, natural motion in the frame and the ability to stage short sequences that would remain comfortable to view in a headset. Two Paris moments in particular crystallized the potential of Apple Immersive as a format for The Explorers.
“Riding the Eiffel Tower elevator and filming in a three star chef’s kitchen were real wow moments for us,” Chiabodo said. “The confined elevator, with the city dropping away, and the shoulder to shoulder proximity to culinary work made familiar places feel new when the viewer is placed inside the scene.”
“After watching the immersive footage in Apple Vision Pro, those scenes delivered emotions we had never felt with 2D,” Chiabodo said. “Traditional formats use the frame to guide viewers, while immersive puts you right in the heart of the space. That shift changes how you feel the story.”
While Paris served as the team’s initial exploration, Chambord followed as a client commission, translating early lessons into a more structured production.
Shooting dual formats
At Chambord, the chateau dominated both the frame and the mood. “When you are in a chateau, you are in contemplative territory,” Chiabodo said. “The château is the star, so we had to find a narrative that added energy without fighting the space. Paris pushed in the other direction. The streets were crowded, the foreground was always busy and the natural motion of people and traffic drove the story.”
Chambord as a production required both immersive and traditional outputs. “We shot two formats, Apple Immersive and 12K large format,” Chiabodo explained.
The team shot handled Apple Immersive on the URSA Cine Immersive and captured the traditional coverage using the URSA Cine 12K LF digital film camera. Shooting both in parallel meant the team could produce headset-ready immersive pieces and a conventional documentary edit from the same time on location.
“We had to adjust the way we blocked, lit and moved the camera based upon the format, and for immersive the included slow, controlled moves, nothing abrupt,” Chiabodo said. “The staging had to respect what the camera could do.”
“We paired the URSA Cine 12K LF 16mm and 50mm lenses and shot in 12K which gave us a lot of freedom in post,” he said. “If we needed to reframe, we can crop and still retain the image quality needed for a 4K or 8K finish. Likewise, if you want to avoid cropping, you can shoot 4K and 8K in camera without changing field of view, which is a real advantage of the RGBW sensor and in-sensor scaling.”
Coverage extended beyond interiors and courtyards. The team also filmed the grounds, particularly the deer that roam the park, to place viewers in seasonal landscapes and to gather conventional footage for exhibition screens and broadcast use. The chateau has plans for a dedicated on site space where visitors can experience the immersive film and will use the 12K material at international exhibitions.
Practical considerations
The work in Paris and Chambord also gave The Explorers a clearer sense of what immersive productions demand in practice.
“The first thing is where you put the camera,” said Director of Photography Gregory Martoglio. “With immersive, you are not just choosing a frame, you are choosing the place where the viewer will stand. As such, I tried to pick positions where the action could cross naturally in front of the camera and where the viewer has time to understand the space.”
Movement is the next consideration when shooting for Apple Vision Pro. “You have to be careful with motion,” he said. “We avoided fast pans and sudden changes. If we moved it was with a clear motivation, and at a speed that felt natural for the body. As such, your blocking has to reflect that.”
He also stresses planning for light and exposure shifts. “At Chambord we were going from interiors to exteriors and into the forest very quickly,” Martoglio said. “We used preset modes so we could move fast and still fix transitions later in post as everything you capture is in 12-bit Blackmagic RAW. You do not always have time to stop and adjust every setting in the field.”
His last piece of advice is to think about post from the start. “Immersive captured is two 8K streams at 90 frames a second,” Martoglio said. “You need real computing powe, and you need to keep the image clean. Edge blending and masking aren’t something you fix later; they’re part of the shot design from the start, to keep the viewer anchored inside the story.”
For Chambord, The Explorers delivered a four minute Apple Immersive film for onsite viewing, a nine minute 12K loop for exhibition screens, a two minute edit for general promotion and the rushes are archived for future use. “We deliver in SDR, HDR and down to HD. The client can distribute everything,” Chiabodo said. Immersive masters were exported in ProRes for Apple and in Apple Immersive Video Utility (AIVU) for direct playback on the device.
“Experience Paris” will be available on The Explorers app for Apple Vision Pro.
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, postproduction and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in postproduction, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading postproduction editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com
Douglas Dubler Master of Light: Five Decades Shooting with Zeiss
On a rooftop in New York City, veteran photographer Douglas Dubler watched the sun’s angle shift across the urban landscape, his internal clock fastidiously tracking the few minutes of perfect light. With a 13-person crew standing by and model Nadia Kazakova already styled in Aknvas, Dubler prepared to capture the exterior ‘urban NYC’ shot he’d imagined since scouting the location. The weather cooperated and, relying on an intimate knowledge of light cultivated through fifty years of hard-won photographic mastery, the shot was his.
It was a faultless image from the first shutter snap, captured at f/1.4 on the Zeiss Otus ML 85mm–razor sharp on Kazakova’s face despite the wide aperture, with the background melting into creamy boke. (Dubler prefers using a literal translation of the Japanese ‘boke’ ボケ to the Americanized spelling’bokeh’.) Nothing is left to chance in Dubler’s process. Each photo testifies to technical mastery supported by the best technology and cutting-edge optics.
A Legacy Built by the Best
Dubler’s philosophy is straightforward: “Get educated by the people at the top of the pyramid.” A glance at his resume of mentors and associates bears this out. In his early twenties, Dubler studied with Ansel Adams, learning the master’s technique of pre-visualization and famous Zone System for controlling the appearance of the final B&W print. He mentored with renowned fashion photographer Neal Barr in New York City, collaborated with legendary sculptor Isamu Noguchi, and learned the nuances of optics from optical engineer expert Oscar Soetbeer. His 30-year relationship with the studio of Irving Penn included architecting the great 20th century photographer’s digital print workflow.
Dubler’s relationship with Zeiss dates to the 1970s, when camera manufacturer Victor Hasselblad flew the young photographer to Sweden for a personal factory tour, arranging for a Zeiss executive to join them. The two executives gifted Dubler a choice of camera and lens. “Victor Hasselblad made me a special handmade leather case with a brass plaque with my name engraved on it,” Dubler recalls. “I still have the case today.
“Over the years, I collaborated with Zeiss through my connection with Hasselblad. With my transition to digital, post 2000, I made a logical progression to the Loxia, Batis, and Otus lenses, and most recently the Otus ML.” One extraordinary collaboration involved Dubler’s pioneering ultraviolet flash fashion photography using a specialized 105mm quartz Zeiss lens. The result: a completely unique process that produced startlingly vibrant neon images while maintaining Dubler’s pristine style. “In retrospect,” Dubler says, “It has been the most important manufacturer relationship of my career.”
Putting the Otus ML to the Test
In 2025, when Zeiss debuted the new Otus ML lenses, Dubler’s expert review was sought. “I have the original Otus lenses. I was very interested in seeing how this ML lens compared to the originals, which are much heavier and more expensive,” he explains. Designed to provide the highest optical performance, Otus ML lenses build on the Otus legacy with exceptional sharpness, accurate color reproduction, and minimal chromatic aberrations. Available in 1.4/50mm and 1.4/85mm focal lengths, the lenses feature precise manual focus with control at the heart of their design.
A creative who memorizes a camera’s manual cover to cover, Dubler rigorously vets any equipment before putting it to work. When it comes to lenses, he puts each focal length through its paces, taking photos at each f/stop and different distances to ascertain the best performance. “I shot the 85 Otus against the 85 Otis ML,” Dubler elaborates. “The ML lenses compare quite favorably, the 85 especially. To test a lens, you take the lens and focus it manually, take a picture, and then change the f/stop and focus it again. Sometimes when you compare, the focus is different between settings–that doesn’t happen with this Zeiss lens.
“I was immediately curious: could the Otus legacy, legendary resolution, contrast, and micro-contrast translate into mirrorless lenses while retaining the tactile sensibilities I rely on as a professional?”
Shadow & Light
Dubler chose the Zeiss 85mm Otus ML lens for an intensive one-day fashion shoot with Shadow & Light Magazine to photograph model Nadia Kazakova. The shoot consisted of multiple setups using studio flash, studio daylight and exterior sunlight. “I was very interested in the light outdoors, and I was watching that light all day long,” he says. Using the Sun Seeker app, Dubler tracked the sunlight along the rooftop access, preparing for the brief window of afternoon light when the staircase would be thrown mostly intoshadow, leaving Kazakova framed in sunlight against the rich blue of the New York sky.
This optimal light would only last a few minutes. Dubler required absolute confidence in his focus for the rooftop sequences, especially when shooting at f/1.4 for that maximum boke. “I didn’t want the background or the foreground to fight with the model. At 1.4, her face was razor sharp. The first picture that I shot was at 1.4 and it was the perfect picture.” Indeed, a detail cropping at approximately 3% of the full frame in the Shadow & Light story still reveals individual eyelashes. This exceptional resolution for such a wide aperture is characteristic of the crisp dimensionality Dubler brings to every image. His decades long pursuit has been to bring a sense of the third dimension to photography, an inherently a two-dimensional art form. The tools at his disposal are simple and limited. Optics and light. Period.
Back inside the studio, Dubler tested the lenses against various lighting scenarios: daylight filtering through adjustable skylight shutters, Broncolor electronic flash setups, and the notable challenge of photographing reflective sequined fabric without losing highlight detail. The 85mm lens managed the deep shadow and bright highlights of silver gloves effortlessly at f/5.6. For a chartreuse sequined dress, the lens preserved the luminous reflective quality of the challenging material without sacrificing tonal gradation. Each image is striking, with pin-sharp detail that feels more than lifelike.
For Dubler the ultimate test is always the final print. “The art of photography is the print,” he states, a well-known dictum of Ansel Adams. In a technical breakdown of the images for Shadow & Light he notes: “The micro-contrast of the Zeiss Otus ML is quite apparent especially in the high res16-bit ProPhoto file.” By examining the prints on calibrated GTI print viewers Dubler scrutinized the lenses’ ability to preserve the subtlest coloring distinctions. “Contrast and micro-contrast, the small tonal gradations that model three-dimensional form, matter just as much,” he explains. “The lenses render form with an almost sculptural quality.”
Science & Art
In analyzing the Otus ML series, Dubler identifies what sets them apart: “These Otus lenses are a synthesis of art and science. The science is the resolution. The art is the boke. You don’t get this with any other lens.” That synthesis reflects Dubler’s own approach. “In my hands, Carl Zeiss Otus ML lenses do more than record light; they articulate it,” Dubler states. “The best tools don’t dictate the image; they expand the photographer’s vocabulary.”
Dubler will be presenting “The Power of the Printed Image” on March 28, 2026, at Cine Gear Connect New York at Industry City. Dubler’s extensive photography breakdowns can also be found on his Facebook and Instagram, with more work displayed at douglasdubler3.com.
Watch Dubler behind the scenes during this shoot:
Read the full interview with Dubler here
Other World Computing (OWC) to Showcase Best-in-Class Portfolio of Memory Cards and Readers, Storage, and Connectivity Solutions at WPPI 2026
Portrait and Wedding Photographers to See First-Hand Why OWC Is the Most Trusted Brand for Ensuring Speed, Reliability, Durability, and Longevity
WOODSTOCK, Ill. (February 23, 2026) Other World Computing (OWC®), a trusted leader in high-performance storage, memory, connectivity, software, and accessories that empower creative and business professionals to maximize performance, enhance reliability, and streamline workflows, today announced it will showcase its best-in-class portfolio of memory cards and readers, storage, and connectivity solutions at the upcoming WPPI 2026, taking place March 1-5 at RIO, Las Vegas in OWC Booth #422.
During the show, event attendees will have an opportunity to see firsthand how OWC’s memory cards, storage solutions, and connectivity tools elevate professional workflows and deliver the speed, reliability, and durability photographers depend on in the field and in the studio.
Featured OWC solutions on display will include:
OWC Atlas Memory Cards & Readers: OWC Type A CFexpress Cards, OWC Type B CFexpress Cards, OWC Atlas Ultra SD Memory Cards, OWC Atlas Dual SD Card Reader, OWC Atlas CFexpress Card Reader for Type B and A, OWC Atlas Dual CFexpress + SD Card Reader, OWC Atlas FXR
OWC Storage: OWC Envoy Pro Elektron, OWC Envoy Ultra, OWC Envoy Pro Mini, OWC Express 1M2, OWC Express 1M2 80G, OWC Gemini, OWC ThunderBay 4
OWC Docks: OWC Thunderbolt 5 Dock, OWC Thunderbolt 5 Hub, OWC 11-Port Thunderbolt Dock, OWC Thunderbolt 4 Hub, OWC USB-C Travel Dock
“There is really no substitution for the opportunity shows like WPPI provide to speak directly with the professional community about their most pressing challenges, creative goals, and aspirational business objectives,” said Chris Kooistra, Vice President of Marketing, Other World Computing (OWC). “Much like the attendees, OWC is here to learn and to be inspired.” He continued, “From this face-to-face real-world feedback, the next revs of our solutions are born. And, it is just one of the many reasons, when the moment matters most, professionals trust OWC.”
To learn more and register to attend, please visit: https://wppiexpo.com/
About Other World Computing (OWC)
Founded in 1988, Other World Computing (OWC®) is a trusted leader in high-performance storage, docks, and memory card solutions that empower professionals in video and audio production, photography, and business with the tools to maximize the performance and reliability of their workflows seamlessly. OWC’s professional-grade storage, expansion, media cards, docks, and connectivity, as well as its apps and accessories, are built to last by the people who use them: creatives, businesses, and consumers. For further information, please visit www.owc.com. OWC can also be found on LinkedIn and X.
Gap Unveils Hollywood Ambitions, Hiring First Chief Entertainment Officer
Former Paramount exec Pam Kaufman will lead the retailer’s push into entertainment
Gap is making a big push into original entertainment, hiring Pam Kaufman as executive vice president, chief entertainment officer, a newly created role.
Kaufman, a former Paramount executive, will be tasked with building the retail company’s “Fashiontainment” platform, which spans entertainment, content, and licensing across music, television, film, sports, gaming, consumer products, and cultural collaborations.
She will start on Feb. 2 and report to Gap Inc. president and CEO Richard Dickson.
Read more here
Sony Electronics Launches Alpha 7 V and FE 28-70mm f/3.5-5.6 OSS II
Advanced AI Subject Recognition and Unmatched Autofocus Capabilities Deliver a Dramatic Evolution for Stills and Video
Sony Electronics introduces the Alpha 7 V (ILCE-7M5), the highly anticipated fifth generation in the popular Alpha 7 Full-frame mirrorless line-up, powered by the newly developed partially stacked Exmor RS™ CMOS image sensor with approximately 33.0 effective megapixels. The new image processing engine BIONZ XR2™1 incorporates the AI processing unit functions of the latest AlphaTM series. Through these innovations, the Alpha 7 V delivers a significant performance boost across every aspect of imaging, from Real-time Recognition2 AF (Auto-Focus) to Real-time Tracking3, speed, stable color accuracy, still capture, and video versatility.
Read more here
Netflix Bets on Video Podcasts to Capture Even More of Your Free Time
After years insisting it wasn’t interested in the creator economy, Netflix is diving into video podcasts with both original and acquired content
The battle between Netflix and YouTube for eyeballs can best be described as a Cold War of sorts. Each streaming giant — the two largest in the entertainment ecosystem by far — have taken gentle shots at one another in the press, insisting it’s not too worried about the other in the competition for consumers’ attention.
Read more here
Cinematographer and Camera Assistant Nick Eagleston Shoots Social Media-Ready Spots with AJA ROI-SDI
Commercial production approaches are evolving in tandem with the continued growth of the creator economy. This is especially true as more brands opt to distribute video ads on social platforms, in addition to traditional broadcast and OTT services. With social media sites favoring vertical video, many production crews are adapting quickly by updating their pipelines to support simultaneous monitoring and recording of horizontal and vertical video on set. Nick Eagleston is a freelance cinematographer and camera assistant rethinking his workflow to align with the shift.
Explore the tech here
Top Creators’ Shows Find Second Life Off YouTube
Tubi and Roku are increasingly picking up creators’ already shot videos to repackage them on the FAST platforms.
Creators are taking over yet another screen.
Free ad-supported services such as Tubi and Roku have been striking partnerships with top creators including MrBeast, Steven He and Alan Chikin Chow to feature their videos on their platform. The streamers view the move as increasing engagement on the platforms and building fruitful relationships with next-gen talent, while creators see a chance to get greater reach for their content, and to bring in easy money, as they’re repurposing already produced videos.
“Our point of view is that creators are the new media startups,” said Rich Bloom, evp of Tubi for Creators. “They own their own IP, they have distribution, they have these built in fandoms.” Read more here
For Today’s Young Creators, Chaos Reigns
Polished and perfect are out, and candid and messy are in. At least that’s what it appears consumers on social media are drawn to when connecting with creators in 2025.
Some influencers are pivoting away from meticulously curated profile pages, which peaked in the mid-2010s on Instagram. With TikTok‘s rise, spontaneous, quick-edited videos are proving more popular — not just because they stand out as islands of genuine humanity in a sea of glossy luxury and AI slop, but also because they align better with platforms’ current algorithms.
Read more here
Syracuse University Launches Nation’s First Academic Center for the Creator Economy
The new center will offer courses, research and industry partnerships to prepare students for careers in digital content and entrepreneurship.
Syracuse University today announced the launch of its new Center for the Creator Economy, the first academic center of its kind on a U.S. college campus. A joint venture between the Martin J. Whitman School of Management and the S.I. Newhouse School of Public Communications, the center will position the University at the forefront of research, education and thought leadership within the rapidly expanding creator-driven economic landscape.
“The creator economy represents one of the most significant cultural and commercial transformations of our time,” says Mike Haynie, vice chancellor for strategic initiatives and innovation and executive dean of the Whitman School. “With this bold new center, Syracuse is seizing the opportunity to lead—not follow—in preparing students to thrive at the intersection of creativity, commerce and digital innovation.”
Read more here
CNN Tests the Waters With a Creator-Driven Concept
CNN is planting its own flag in the ever-growing creators economy.
The network’s international division revealed a new initiative on Thursday to create a unit, titled CNN Creators, based out of its newly launched Middle East hub in Media City Qatar, Doha as well as a 30-minute weekly show bowing on Oct. 23 with that same branding.
CNN international exec Meara Erdozain stated that the show “is unlike any show we have ever launched” and “will reflect how our younger audiences are engaging with stories and will deliver compelling, entertaining content in a multitude of ways. It will focus on news-adjacent topics and stories that feel real, relevant, and relatable.”
Read more here
‘You Can Make a Living:’ Honda Accord Driver Says He Makes $3500 a Month From Car Content. Then He Reveals How
A TikTok content creator is proving that you don’t need a supercar to make serious money from automotive content. His revelation about earning thousands monthly from videos featuring his everyday Honda Accord has sparked a conversation about accessible income opportunities in the car community, though industry data shows that only 13% of content creators earn over $100,000 annually.
Read the article here
NWA streamer first solo content creator to fully sponsor NASCAR Cup car
Rexzilla, a Har-Ber High School graduate with strong Northwest Arkansas family ties, has 124k followers on Facebook and 21.7k followers on the streaming platform Kick. He initially gained attention with Call of Duty montages.
Rezxilla is the first digital creator to sponsor a NASCAR Cup series car. Other content creators like the comedy group SuperMega have done so in the Xfinity Series, according to Toby Christie’s Michael Carey. Logan Paul and KSI previously sponsored Timmy Hill in the Xfinity Series through Prime Hydration in 2022.
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MrBeast filed a trademark for a financial services company (and a bunch of other stuff)
In recent months, Donaldson has filed trademark applications for several phrases, including “MrBeast Financial.” According to the filing, the proposed venture would consist of “downloadable software in the nature of a mobile application for banking services, short-term cash advances, providing cryptocurrency exchange services, providing investment banking services and investment management services, providing consumer lending services and insurance services, providing financial advisory and consultancy services, providing financial planning services, and providing financial wellness education services.”
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MrBeast Says AI Videos Create ‘Scary Times’ for ‘Millions of Creators’ on YouTube
MrBeast, the world’s top YouTuber with more than 443 million subscribers, is worried about what will happen to his fellow YouTube creators when it becomes impossible to tell AI-generated videos apart from human-created ones.
In a post on X on Sunday, MrBeast, whose real name is Jimmy Donaldson, said AI videos have created “scary times” for content creators. As AI technology advances, it carries the potential to affect “millions of creators” who depend on YouTube to make a living, he said. Read more here
How Adobe’s New AI Tools Empower Creators In 2025
For decades, Adobe has been at the heart of the creative world. From Photoshop and Illustrator to Premiere Pro, Lightroom, and After Effects, Adobe’s tools have shaped how photographers, designers, filmmakers, and now digital creators bring their ideas to life. Whether it’s editing a YouTube thumbnail, designing a brand campaign, or cutting a cinematic video, Adobe has long been the go-to platform for professional-grade creative software for creators and influencers.
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