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Thomas Riedel Acquires Premium Manufacturer ARRI

Strategic Alignment With the Riedel Group for Innovation and Growth

WUPPERTAL / MUNICH, Germany — Thomas Riedel, founder and owner of Riedel Communications and the Riedel Group, has acquired ARRI, the Munich-based premium manufacturer of camera and lighting technology for motion picture and live entertainment. The entrepreneur from Wuppertal was chosen in a competitive international process with his concept for a new home for ARRI, marking the largest acquisition of his career to date.

The Riedel Group is a globally recognized specialist in advanced audio, video, and data technology, delivering infrastructure solutions for many of the world’s most demanding broadcast, live event, and sports productions. Through the acquisition of ARRI, Thomas Riedel establishes a close strategic alignment between ARRI and the Riedel Group, expanding its expertise across the entire production chain — from camera optics to distribution. ARRI’s ecosystem of camera, lighting, and systems technology perfectly complements the Riedel Group’s existing portfolio and opens up new technological and strategic market opportunities for both companies.

Founded in 1917, ARRI has been family-owned ever since and is regarded as a global leader in professional film technology, having been recognized with 20 scientific and technical awards from the Academy of Motion Picture Arts and Sciences. “For more than a century, ARRI has stood for engineering excellence, innovation, and the highest quality. This success story will now continue and remain in German ownership,” said Dr. Walter Stahl, Managing Director of ARRI GmbH and member of the founding family.

Through close collaboration, ARRI and Riedel aim to unlock new areas of growth, especially in live entertainment and sports. By combining their respective technologies, the companies plan to develop integrated solutions that open new creative and technical possibilities for customers. As the first joint milestone of this collaboration, ARRI will debut its camera technology at the Eurovision Song Contest, where Riedel serves as the technology provider and NEP oversees production.

Under the new ownership of Thomas Riedel, ARRI’s existing management team will continue to lead the company and further advance its ongoing transformation. The company will retain independent operations and remain headquartered in Munich.

“Thomas Riedel has built a first-generation family business and stands for entrepreneurial continuity and long-term thinking,” said Chris Richter, Managing Director of ARRI. “We look forward to working with a successful entrepreneur and to the resulting market opportunities and access — both in existing and new markets.”

“The Riedel Group brings highly complementary technologies and extensive expertise in live production to this partnership,” added David Bermbach, Managing Director of ARRI. “This strengthens our strategic direction as a ‘Trusted Technology Leader for the Next Generation of Media & Entertainment.’”

“My entrepreneurial path has been closely tied to ARRI for years,” said Thomas Riedel. “This acquisition represents the most significant personal milestone of my career so far. I have great respect for this exceptional brand, its outstanding products, and its strong team. At the same time, I see tremendous potential and am confident that, together, we can position ARRI for long-term stability and future success.”

LOVE MONDAY TV AND 53 DEGREES GLOBAL ANNOUNCES DEFINITIVE, THREE-PART WORLD EXCLUSIVE “DIANA: THE UNHEARD TRUTH”

Film to Feature Five Hours of Exclusive Never-Before-Heard Tapes of Diana, Princess of Wales in Her Own Words — Filming Continues Throughout 2026 for a Landmark Launch Marking the 30th Anniversary of Her Passing: August 31, 2027

NEW YORK, NY (April 30, 2026) – Love Monday TV, (recent winner of the 2026 Broadcast Award for Emerging Indie of the Year), a female-led production company behind the world-exclusive feature documentary “Her Majesty The Queen: Behind Closed Doors,” and led by Executive Producers Kerene Barefield and Naveed Chowdhary-Flatt, has partnered with 53 Degrees Global (producers of the hit Netflix series “The Royal House of Windsor” and BAFTA award-winning “The Queen’s 90th Birthday Celebration”) to produce DIANA: THE UNHEARD TRUTH (working title).

Sophie Todd is series editing DIANA: THE UNHEARD TRUTH (working title) with Emily Hirst producing. Justin Frahm is Director of Photography, and the project is fully funded by Rainmaker Films, led by Clay Pecorin, Russell Geyser and Zak Tanjeloff and Plymouth Films led by Kevin Weisberg.

This revelatory three-part docuseries restores authorship of one of the most scrutinised lives in modern history. In an unprecedented world exclusive, Love Monday has secured access to never-before-heard audio recordings of the Princess to create a series that challenges the reductive narrative that has too often framed Diana as a victim of her circumstances. The raw words of Diana present a fuller portrait: a woman navigating pressure, redefining her role, and moving forward with conviction. It invites the public to encounter Diana not only through what happened to her, but through how she chose to respond.

During her lifetime, the Princess of Wales told her own version of her full life story just once, in 1991, on secret taped conversations made with her close friend Dr. James Colthurst. The recordings then formed the basis of the Andrew Morton book Diana Her True Story. It was a book that was to change the course of Royal history forever. Now 35 years on from those recordings, Love Monday TV has partnered with Morton and Colthurst to secure full and exclusive access to the extraordinary tapes. In the three decades since Diana’s death, less than one hour of these tapes has been heard before. In a worldwide exclusive, DIANA: THE UNHEARD TRUTH w/t delves deep into the five hours of previously unheard material to create the emotional and narrative spine of this landmark series in Diana’s own words.

The extraordinary tapes recorded by Dr. James Colthurst, smuggled out of Kensington Palace and delivered to author Andrew Morton, rocked the British establishment to its core with explosive revelations about the future King and his beautiful bride. Now, alongside revealing Diana’s unheard words, Andrew Morton, Dr. James Colthurst and publisher Michael O’Mara take us back into that febrile, heady time. They reveal the risks that the Princess took, and the intensity of the scrutiny they all endured, as they raced to reframe Diana’s narrative.

The five hours of unheard tapes, revealed for the first time in DIANA: THE UNHEARD TRUTH w/t, provide revelations that will change public perception of Diana forever. Through the tapes, we come to know a resilient, perceptive, and relatable young woman, finding herself in the brightest of global spotlights, and navigating the challenges with grace, self-awareness, and determination. We hear her infectious humour and twinkling laughter, as she reveals the truth about life inside the most famous family in the world. But most importantly we hear her dreams for a future that could have been; a new chapter in which Charles goes off into the sunset with Camilla, leaving Diana free to carve her own path. Viewers will be astounded to hear how accurate she was in predicting the future. However, what is truly astounding is to hear Diana’s thoughts on Charles, Camilla, William, Harry, Fergie and even Andrew Mountbatten-Windsor through the lens of all that has happened in the intervening years.

In addition to Diana’s irreplaceable and unique voice, DIANA: THE UNHEARD TRUTH (working title) will also feature perspectives from those closest to Diana including: Delissa Needham, a prep schoolmate who has never spoken on camera before; Sam McKnight, the hairdresser who was with her throughout the nineties, trusted even to cut her sons’ hair; Penny Thornton, the astrologer to whom she turned for guidance, confiding her deepest hopes and fears; Wayne Sleep, the ballet dancer who she met through her official patronages and who became one of the closest people in her life; Ken Wharfe, the bodyguard who went wherever Diana did for five years; Dickie Artbiter, the press secretary caught in the crossfire as Charles and Diana’s marriage imploded; Kent Gavin, the photographer who was there from the wedding and William’s christening through to the summer of 1997; and Richard Kay, the Daily Mail journalist who found himself Diana’s confidante as she fought to grasp and shape her freedom.

In life, when Diana spoke, the world listened. These newly uncovered recordings offer a rare opportunity to hear Diana’s perspective once more. It’s time to recognize her legacy as one of agency, courage, and love.

LEITZ CINE INTRODUCES FUJIFILM G MOUNT FOR HEKTOR LENSES

Wetzlar, Germany – German lens manufacturer Leitz Cine GmbH is expanding the compatibility of their popular HEKTOR line of mirrorless prime lenses for cine and photo use with the introduction of an interchangeable G mount. The ability to use the lenses with the Fujifilm G mount opens up new creative opportunities for users of Fujifilm’s GFX Eterna 55 extra large format cine camera as well as the GFX100 series of mirrorless digital cameras.

Customers can purchase the lens directly with a G mount, or purchase the G mount as a separate part and change the mount themselves. Changing mounts on the Leitz HEKTOR lenses is relatively quick and easy with just a few tools. Other mount options for the lenses include: Sony E, Leica L, Canon RF, and Nikon Z.

Said Managing Director Rainer Hercher: “As formats and camera systems continue to evolve, we are happy to be working with so many manufacturers to ensure that the creatives using their customers have access to some of the most exciting new lenses like the Leitz HEKTOR series.”

While designed initially for full frame coverage, the HEKTOR lenses create a much larger image circle. And while not all focal lengths can be used in full sensor open gate mode, they do support the traditional cinema aspect ratios with only a small amount of edge cropping required on the widest focal lengths. More information about the HEKTOR lenses including sensor coverage samples can be found at: www.leitz-cine.com/product/hektor

ABOUT LEITZ CINE GMBH

Leitz Cine GmbH is one of the world’s leading premium cine lens manufacturers. The German-based company distributes their lenses under the brand name ‘Leitz’ and boasts a catalog of multiple lines of prime and zoom lenses across multiple formats. Through the continued development and production of high quality, complex optical elements, the company has become one of the industry leaders in premium cinematographic lenses within the last decade. Top cinematographers around the world continue to choose Leitz lenses for a large number of award-winning films and blockbusters, series and commercials. This achievement, along with the ‘Science and Engineering Award’ from the ‘Academy of Motion Picture Arts and Sciences’, serves as a validation and a challenge to the people at Leitz who continue to develop high-end cinema lenses with the same technical precision, exceptional quality awareness, and the deep passion for moving images that inspires filmmakers and enables them to realize their unique visions.

Kodak expands motion picture portfolio with KODAK VERITA 200D Color Negative Film

Eastman Kodak Company today announced the availability of VERITA 200D 5206/7206, a new color negative motion picture film stock, which will be offered in 65mm, 35mm, and 16mm formats.

Developed in close collaboration with writer, director and producer Sam Levinson and cinematographer Marcell Rév, HCA, ASC, VERITA 200D was commercialized in motion picture format to achieve a distinct visual aesthetic for the third season of HBO’s original drama series Euphoria. The stock has also been selectively trade‑tested by cinematographers worldwide over several years.

VERITA 200D delivers detailed highlights, high color saturation, deep blacks, and warm, natural skin tones. Compared with Kodak’s VISION3 color negative films, it features a shorter yet exceptionally rich dynamic range for a more classical cinematic look.

Levinson and Rév exposed more than one million feet of VERITA 200D in 35mm and 65mm formats during production of Euphoria Season 3, which premieres April 12, 2026 on HBO and HBO Max, and was shot entirely on KODAK film. The series is also the first television production to shoot significant volumes of large‑format 65mm film.

“VERITA has the richness and density curve that reminds me of the golden age of color film, with the flexibility and latitude of modern negative stocks,” said Rév.

Additionally numerous commercials and music films utilized VERITA 200D in advance of its formal release as well as A24’s upcoming The Death of Robin Hood, written and directed by Michael Sarnoski, starring Hugh Jackman, and lensed by Pat Scola, ASC.

“In addition to recent advancements to VISION3 with a new anti‑halation undercoat film structure, the commercialization of VERITA 200D underscores Kodak’s continued commitment to providing filmmakers with a variety of the highest‑quality creative tools possible,” said Vanessa Bendetti, Vice President and Head of Motion Picture at Kodak.

As a specialty motion picture stock, VERITA 200D 5206/7206 is available by request through a Kodak sales representative.

For more information, visit kodak.com/go/verita.

Cine Gear Connect NY Ramps Up for March 28, 2026

Cine Gear Connect NY, presented by Universal Production Services, is filling in the slate for a full day of panels, peers, learning the latest, and mixing it up from breakfast to happy hour.

Back at the fabulous Industry City in Brooklyn, the session lineup starts with ICG IATSE Local 600’s “Realizing the Shot: Relationships, Attitudes & Protocol.” Under the helm of moderator Michael Chambliss, ICG Local 600 Asst Western Region Director, the panel brings together Local 600 DP, Aaron Medick, SOC (Mr. Robot, Power, Power Book II: Ghost, Power Book III: Raising Kanan (S1, 4, 5) as well as Steadicam and A-Camera Operator Gareth Manwaring, and Michael Garofalo, Camera Technician. The session will delve into the relationships, attitudes and protocols that make A-team union camera crews a unique asset to the production.

Attendees will also get a glimpse behind the scenes from Gaffers Noah Chamis, ICLS (Only Murders in the Building, Count My Lies, You Deserve Each Other, Project Runway) and Ryan Webb, ICLS (Dexter: Resurrection, Joker: Folie à Deux, Ghostbusters: Frozen Empire) to discuss “Lighting That New York Look” with moderator Michael Valinsky (The Making Of podcast).

Following lunch folks can get the skinny on career representation at the “Got Agent? Got Publicist” panel. After a break around the tech exhibits, Zeiss presents Madison Avenue photographer Douglas Dubler on the passion of lensing the perfect shot and turning it into the perfect print.

As the grand finale session, Cine Gear Connect is happy to announce The ASC Panel with cinematographers William Rexer ASC, Claudia Raschke ASC, Jeffrey Waldron ASC, and Vanja Cernjul, ASC who will join moderator Dejan Georgevich, ASC for “Cinematographers’ Creative Process - Deconstructing Scenes”.

The day tops off at 5pm with the Cine Gear Industry Mixer, just the place to reach out to colleagues and make new connections.

Registration is open here

Sevdije Kastrati-Dill, ASC Lights Jena Malone Music Video with Astera

There is a particular kind of freedom that comes from working with a small, close-knit crew. No sprawling truck packed with gear, no army of technicians, no mountains of paperwork–just a cohesive circle of collaborators, a kit full of battery-powered lights, and a shared conviction that the shot is worth chasing. That was the energy when cinematographer Sevdije Kastrati-Dill, ASC, joined director Jennifer Reeder and actress-musician Jena Malone for a two-day music video shoot: a crew of a dozen, split between a Santa Clarita motel at magic hour and an interior set lit in saturated greens and moody reds. One Sony FX3. A Lucid Dream FX diffusion filter. Astera lights. Together the combination made the song’s surreal, nostalgia-strewn visual concept possible.

Director Jennifer Reeder reached out to Kastrati-Dill with the kind of pitch that doesn’t come with much lead time or budget but offered something more valuable: trust. The two had worked together before on Reeder’s feature film Perpetrator and knew each other’s shorthand well. Reeder was collaborating with Jena Malone on a video for the single “Barstow” from Malone’s forthcoming album. Could Sev shoot it before she left for Kosovo on her next feature film project? The cinematographer was in.

The video follows a woman traveling alone to a neon-lit motel as she repeatedly encounters another version of herself, not as a threat, but as a quiet companion, an echo of memory. Actor Robin Tunney appears alongside Malone as her older self and the two women give a literally layered performance, realized through shifting double exposure effects in the edit.

The piece is vividly colored, especially in the motel location, which embraces a hard neon-noir clash of colors. The palette expands naturally from the location itself, particularly the red and green motel vacancy sign. “I always need the lighting to be motivated and have a reason why these colors are being used,” Kastrati-Dill explains. “The neon sign was a big inspiration for me. I loved its contrast.” The result is highly saturated: warm amber foregrounds bleeding into sharp green backlights, scenes bathed in deep red with dashes of cyan, a phone booth glowing against a twilight sky, and an eye-popping red convertible with a saturated edge light. “This is some of the most colorful stuff I’ve shot,” she says.

Working at this scale, every piece of gear must earn its place twice over. Kastrati-Dill came to the shoot with Astera Titan Tubes she’s used for years and considers essential and, for the first time, two of Astera’s new adjustable spotlight Fresnels: QuikPunch and QuikSpot.

Quickly, Kastrati-Dill was able to turn the QuikPunch into a workhorse for the production. On the first day it served as the saturated green source (a proxy for the sign light) outside the motel. During the phone booth sequence, a single QuikPunch provided a powerful green backlight while a Titan Tube handled the warm fill from the other side, gracefully wrapping Malone in color. “It was amazing using the QuikPunch with a very small crew. Since it is battery powered, we didn’t have to run cables or worry about power,” she says. “We shot for several hours, and they lasted the whole time with no issues. Plus, the output is quite strong.”

The QuikFamily and Astera Tubes both utilize Titan LED Color Science, making the fixtures instantly compatible. Gaffer Sika Stanton used the Astera ART7 app to control color and brightness in real time. “You can find the exact color and saturation you want and just make it happen when you’re there,” she says.

The Titan Tubes were used across multiple other setups: as a backlight to create a pink bedroom wash, a TV flicker effect, and rigged in pairs to light Malone from inside the phone booth. “Upon their release, Astera tubes quickly became the industry standard,” the cinematographer recalls. “You can fit them into all kinds of places, they’re naturally diffused, you can add more diffusion on top and control them remotely. I don’t remember ever running into issues with battery life. They are just very, very easy to work with.”

The Asteras were an optimal tool for a team already so concretely on the same page. Malone, according to Kastrati-Dill, completely trusted the crew, meanwhile Reeder and Kastrati-Dill operated with a fluency approaching telepathy. “We don’t have to discuss things a lot on set,” says the DP. “We just make it happen.” That shorthand allowed for the kind of on-the-fly discovery that fuels the best music videos. A close-up of Malone performing in front of a pink background became, in the moment, an opportunity to add a soft pink fill that pulled her further into the color world they’d built. Nobody called a meeting. Kastrati-Dill simply reached for the Astera Tube. “You can just play,” she says. “Using colors that way was really satisfying.”

Jena Malone’s new album releases this May. The “Barstow” music video is available to watch now.

Learn more about LED lighting from Astera here

Michael Bauman Wins American Society of Cinematographers Outstanding Achievement Award for “One Battle After Another”

LOS ANGELES (March 8, 2026) – The American Society of Cinematographers (ASC) presented Michael Bauman its 2026 theatrical feature film award for “One Battle After Another.” The 40th ASC Outstanding Achievement Awards, held at the Beverly Hilton, also recognized Mátyás Erdély, ASC, HSC for “Orphan” in the Spotlight Award category, and Mstyslav Chernov and Alex Babenko for the documentary “2000 Meters from Andriivka.” Winners in the television categories included Adam Newport-Berra for “The Studio,” Pete Konczal, ASC for “Black Rabbit, Alex Disenhof, ASC for “Task” and Christophe Nuyens, SBC for “Andor.” In the music video category, Rodrigo Prieto, ASC, AMC won for Taylor Swift’s “The Fate of Ophelia.”

This is Bauman’s first ASC Award and nomination for a Theatrical Feature Fim. He was also nominated this year for “Monster: The Ed Gein Story” in the Limited/ Anthology Series/ Motion Picture Made for TV category.

Below is the complete list of the 2026 winners and nominees:

Theatrical Feature Film

(presented by Phedon Papamichael, ASC, GSC, GCA)

Autumn Durald Arkapaw, ASC for “Sinners”

*Michael Bauman for “One Battle After Another”

Darius Khondji, ASC, AFC for “Marty Supreme”

Dan Laustsen, ASC, DFF for “Frankenstein”

Adolpho Veloso, ABC, AIP for “Train Dreams”

Spotlight Award

(presented by Natasha Braier, ASC and Boots Riley)

Steven Breckon for “The Plague”

*Mátyás Erdély, ASC, HSC for “Orphan”

Karl Walter Lindenlaub, ASC, BVK for

Documentary Award

(presented by James Deakins and Sir Roger Deakins, ASC, BSC, CBE )

*Mstyslav Chernov and Alex Babenko for “2000 Meters from Andriivka”

Brandon Somerhalder for “Come See Me in the Good Light”

Lars Erlend Tubaas Øymo and Tor Edvin Eliassen for “Folktales”

Episode of a Half-Hour Series

(presented by Kira Kelly, ASC & Edu Grau, ASC)

Adam Bricker, ASC for “Hacks” (“I Love LA”)

Fraser Brown, CSC for “Twisted Metal” (“NUY3ARZ”)

Paul Daley for “The Righteous Gemstones” (“Prelude”)

Daniel Grant for “Murderbot” (“Escape Velocity Protocol”)

Matthew J. Lloyd, ASC for “Government Cheese” (“Trial and Error”)

*Adam Newport-Berra for “The Studio” (“The Oner”)

Limited/ Anthology Series/ Motion Picture Made for TV

(presented by Patrick Cady, ASC and John Carroll Lynch)

Michael Bauman for “Monster: The Ed Gein Story” (“Buxum Bird”)

Sam Chiplin for “The Narrow Road to the Deep North” (“Episode One”)

*Pete Konczal, ASC for “Black Rabbit” (“Isle of Joy”)

Matthew Lewis for “Adolescence” (“Episode Two”)

Igor Martinović for “Black Rabbit” (“Attaf**kinboy”)

Episode of a One-Hour Regular Series

(presented by Marshall Adams, ASC and Karolina Wydra)

*Alex Disenhof, ASC for “Task” (“Crossings”)

Jessica Lee Gagne for “Severance” (“Hello, Ms. Cobel”)

Dana Gonzales, ASC for “Alien: Earth” (“Neverland”)

Ben Kutchins, ASC for “The White Lotus” (“Killer Instincts”)

*Christophe Nuyens, SBC for “Andor” (“I Have Friends Everywhere”)(TIE)

ASC Music Video Award

(presented by Gail Bean and Tommy Maddox-Upshaw, ASC)

Jeff Cronenweth, ASC for “Supernatural” (Performed by Ariana Grande)

Jon Joffin, ASC and Mitchell Baxter for “False Prophet” (Performed by Pillars of a Twisted City)

Jon Joffin, ASC for “Visiting Hours” (Performed by Jon Bryant)

Juliette Lossky for “Altamaha-ha” (Performed by Stacy Subero)

*Rodrigo Prieto, ASC, AMC for “The Fate of Ophelia” (Performed by Taylor Swift)

The ceremony, hosted by Kerri Kenney-Silver, also honored Guillermo del Toro with the ASC Board of Governors Award; Robert Yeoman, ASC, with the Lifetime Achievement Award; M. David Mullen, ASC, with the Career Achievement in Television Award; Cynthia Pusheck, ASC, with the Presidents Award; Stephen Pizzello, editor-in-chief of American Cinematographer, with the ASC Award of Distinction; and Tom Fletcher with the Bud Stone Award.

For more information regarding the ASC Awards, visit the ASC website at www.theasc.com.

Cinema Audio Society Announces Winners of the 62nd Annual CAS Awards

F1, The Pitt, The Studio and KPop Demon Hunters Among Top Honorees

LOS ANGELES (March 7, 2026) – The Cinema Audio Society (CAS) revealed the winners of the 62nd Annual CAS Awards tonight at the Beverly Hilton International Ballroom. The evening honored excellence in sound mixing across motion pictures, television, and non-fiction programming, with industry leaders and acclaimed filmmakers gathering to celebrate the art and craft of sound.

Hosted by comedian, actor, writer, and producer Chris Hardwick, the ceremony recognized outstanding achievements across seven competitive categories, along with the presentation of three special honors: the CAS Career Achievement Award, the CAS Filmmaker Award, and the inaugural Jeffrey S. Wexler Award for Advancement in Sound Technology.

The CAS Career Achievement Award was presented by Benny Safdie to Academy Award®–winning re-recording mixer Skip Lievsay CAS (Gravity, No Country for Old Men, Roma). Academy Award®–winning director Guillermo del Toro (Frankenstein, The Shape of Water, Pan’s Labyrinth) was honored with the CAS Filmmaker Award, presented by Jon Favreau and Scott Gershin. Presenters throughout the evening included Jaimie Alexander, Eric André, Doug Jones, Kevin Nealon, Tig Notaro, Ron Perlman, Karolina Wydra, and “Weird Al” Yankovic.

As previously announced, the Cinema Audio Society also presented the inaugural Jeffrey S. Wexler Award for Advancement in Sound Technology, honoring transformative achievements in non-linear technology for sound recording, editing, and mixing. Recipients of the 2026 Jeffrey S. Wexler Award are Evan Brooks, Peter Gotcher, Glenn Sanders, and Howard Stark. The award is named in honor of the late Jeffrey S. Wexler CAS, the revered production mixer, educator, and industry leader whose career spanned more than four decades and more than 70 feature films.

“Tonight we celebrate the very best of our profession,” said CAS President Peter Kurland. “Sound mixing demands both technical skill and artistic intent, and these honorees exemplify the precision, creativity, and discipline that define our craft. We are proud to recognize professionals whose dedication and excellence continue to elevate the standard for our industry.”

The CAS Award Winners are as follows:

MOTION PICTURES – LIVE ACTION

Production Sound Mixer – Gareth John

Re–Recording Mixer – Gary A. Rizzo CAS

Re–Recording Mixer – Juan Peralta

Scoring Mixer – Alan Meyerson CAS

ADR Mixer – Michael Miller CAS

Foley Mixer – Dennis Leonard

Foley Mixer – Elizabeth Marston

MOTION PICTURES – ANIMATED

KPop Demon Hunters

Original Dialogue Mixer – Howard London CAS

Re–Recording Mixer – Michael Babcock CAS

Re–Recording Mixer – Tony Lamberti

Scoring Mixer – Erich Talaba

Foley Mixer – Giorgi Lekishvili

MOTION PICTURES – DOCUMENTARY

Becoming Led Zeppelin

Production Sound Mixer – Nigel Albermaniche

Re–Recording Mixer – Nick Bergh

NON-THEATRICAL MOTION PICTURES OR LIMITED SERIES

Adolescence
S01 E01

Production Sound Mixer – Kiff McManus

Production Sound Mixer – Rob Entwistle

Re–Recording Mixer – Jules Woods CAS

Re–Recording Mixer – James Drake

ADR Mixer – Mike Tehrani

ADR Mixer – Simon Diggins

Foley Mixer – Adam Mendez

TELEVISION SERIES – ONE HOUR

The Pitt
S01 E13 7:00 PM

Production Sound Mixer – Von Varga

Re–Recording Mixer – Todd M. Grace CAS

Re–Recording Mixer – Edward C. Carr III CAS

ADR Mixer – Tami Treadwell

Foley Mixer – Alex Jongbloed CAS

TELEVISION SERIES – HALF HOUR

The Studio
S01 E08 Golden Globes

Production Sound Mixer – Buck Robinson CAS

Re–Recording Mixer – Lindsey Alvarez CAS

Re–Recording Mixer – Fred Howard

Scoring Mixer – Adrià Serrano

ADR Mixer – Brian Magrum CAS

Foley Mixer – Ron Mellegers

TELEVISION NON-FICTION, VARIETY or MUSIC – SERIES or SPECIALS

Billy Joel: And So it Goes
S01 E01 Part One

Production Sound Mixer – Mark Mandler CAS

Production Sound Mixer – David Mitlyng

Production Sound Mixer – Michael Stewart

Re–Recording Mixer – Bob Chefalas CAS

Score & Music Mixer – Bradshaw Leigh

Music Mixer – Brian Ruggles

Music Mixer – Jay Vicari

CAS Student Recognition Award

Mingxi Xu (National Film and Television School) received the CAS Student Recognition Award, taking home a $5,000 prize. Four other student finalists each received $1,000 along with several thousand dollars of professional gear and software, generously provided by industry sponsors including Acon Digital, Avid, Eargasm, Halter Technical, K-Tek, Krotos Studio, McDSP, Orca Bags, Pro Tapes, ShotDeck, Shure Incorporated, Sound Ideas, Todd-AO, Universal and Zaxcom.

CAS Awards Sponsors & Partners

The CAS Awards are proudly sponsored by: Title Sponsor: Dolby; Diamond Level: Disney Television Studios, Harbor, StudioPost, an NBCUniversal Company, Netflix, Warner Bros. Post Production Creative Services Worldwide; Student Recognition Award Sponsors: Guitar Center Music Foundation, Custom House; Platinum Level: Formosa Group, Fox Studio Lot, HBO Max, IATSE Local 695, Universal Pictures; Double-Gold Level: Warner Bros. Pictures; Gold Level: Amazon MGM Studios; Silver Level: IATSE Local 700 Motion Picture Editors Guild, Shure, Skywalker Sound, Viviana Sound Solutions, Walt Disney Animation Studios; Photo Booth Sponsors: Dolby, Fox Studio Lot.

The CAS Awards were supported by media partners Backstage, Creative Tech Orbit, Meet Me at Crafty, People of Post, Post, postPerspective, Shoot, The Hollywood Reporter, The Making Of, and Variety, along with industry partners including American Cinema Editors (ACE), Entertainment Industry Professionals Mentoring Alliance (EIPMA), and Motion Picture Sound Editors (MPSE).

About the CAS Awards:

The 62nd CAS Awards will honor Outstanding Achievements in Sound Mixing in seven categories: Motion Pictures – Live Action, Motion Pictures – Animated, Motion Pictures – Documentary, Non-Theatrical Motion Pictures or Limited Series, Television Series – One Hour, Television Series – Half Hour and Television Non-Fiction, Variety or Music – Series or Specials. The CAS Student Recognition Award, Career Achievement Award, and Filmmaker Awards will also be presented.

About the Cinema Audio Society:

The Cinema Audio Society was formed in 1964 for the purpose of sharing information with Sound Professionals in the Motion Picture and Television Industry.

The objectives of the CAS are: to educate and inform the general public and the motion picture & television industry that effective sound is achieved by a creative, artistic and technical blending of diverse sound elements; to provide the motion picture & television industry with a progressive society of master craftsmen specialized in the art of creative cinematic sound recording; to advance the specialized field of cinematic sound recording by exchange of ideas, methods, and information; to advance the art of auditory appreciation and to philanthropically support those causes dedicated to the sense of hearing; to institute and maintain high standards of conduct and craftsmanship among our members; to aid the motion picture & television industry in the selection and training of qualified personnel in the unique field of cinematic sound recording and to achieve for our members deserved recognition as major contributors to the field of motion picture & television entertainment.

Visit CinemaAudioSociety.org for more information.

Netflix Gets Back In The M&A Game, Acquiring Ben Affleck-Founded AI Firm InterPositive

Less than a week after dropping out of the bidding for Warner Bros Discovery, Netflix has made a smaller but intriguing acquisition of an AI firm founded by Ben Affleck.

InterPositive, which makes tools developed by and intended for filmmakers, had been in stealth mode prior to the transaction. As of Thursday, it is part of Netflix, with its 16 employees to be integrated into the broader workforce. Affleck will take on the role of senior advisor.

The deal builds on comments from management as AI has exploded onto the scene in the past few years, with executives stressing the ways it can improve quality rather than reducing costs or staffing. (“There’s a better business and a bigger business in making content 10% better than it is making it 50% cheaper,” co-CEO Ted Sarandos said in 2024.) Nevertheless, the acquisition is sure to be scrutinized as it comes at the same time that above-the-line unions are embarking on a new round of talks with studios and streamers, including Netflix. The aim of the talks is to avoid a repeat of the 2023 strikes, which centered in part on the perceived AI threat.

Read more here

Kodak Celebrates Kristen Stewart, Autumn Durald Arkapaw, Joachim Trier and Patricia Keighley at the 8th Annual Kodak Film Awards

Christopher Nolan Presents Inaugural Keighley Award at ASC Clubhouse Ceremony

On Monday evening, March 2, Kodak hosted the 8th Annual Kodak Film Awards at the American Society of Cinematographers (ASC) Clubhouse in Hollywood, honoring filmmakers and artists whose work continues to advance cinematic storytelling on film.

2026 Honorees included:

Debut Feature Award: Kristen Stewart (presented by Corey C. Waters, Director of Photography)
Lumière Award: Autumn Durald Arkapaw (presented by Vanessa Bendetti, VP and Head of Motion Picture, Kodak)
Auteur Award: Joachim Trier (presented by Jason Reitman, Director)
Keighley Award: Patricia Keighley of IMAX (presented by Christopher Nolan, Director, Producer and Screenwriter)
Music & Commercial Film Director Award: Salomon Ligthelm (presented by Ali Brown, PRETTYBIRD President/Executive Producer)
Television Series of the Year: Fallout (presented by Vanessa Bendetti, VP and Head of Motion Picture, Kodak)

The 8th Annual Kodak Film Awards

The evening brought together filmmakers, cinematographers, studio partners, and industry leaders to recognize projects captured on Kodak film during the 2025–2026 awards season, highlighting the continued creative relevance of analog filmmaking across feature films, television, and independent projects.

Kristen Stewart received the Debut Feature Award for her first feature as director for The Chronology of Water, presented to her by Director of Photography Corey C. Water, joining past recipients including Céline Song, Michael Morris, and Melina Matsoukas.

Autumn Durald Arkapaw was recognized for her cinematography work across recent projects including Sinners (which received 16 Academy Award nominations), reflecting Kodak’s ongoing collaboration with artists committed to visual storytelling on film. Arkapaw, among the small group of women ever nominated for Best Cinematography, was presented the award by Vanessa Bendetti, VP and Head of Motion Picture, Kodak.

Joachim Trier received the Auteur Award, presented to him by Director Jason Reitman, following the success of Sentimental Value, winner of the Grand Prix at the 2025 Cannes Film Festival and nominated for nine Academy Awards.

Christopher Nolan presented the inaugural Keighley Award to Patricia Keighley, honoring her and her late husband, David Keighley’s, longstanding contributions to large-format exhibition and the theatrical experience.

The Television Series of the Year honor was presented to Fallout, recognized for its cinematic scale and visual craftsmanship in episodic storytelling, by Vanessa Bendetti, VP and Head of Motion Picture, Kodak.

Photos courtesy of Rodin Eckenroth for Getty Images.

About Kodak

Kodak (NYSE: KODK) is a leading global manufacturer focused on commercial print and advanced materials, film & chemicals. With 79,000 worldwide patents earned over 130 years of R&D, we believe in the power of technology and science to enhance what the world sees and creates. Our innovative, award-winning products, combined with our customer-first approach, make us the partner of choice for commercial printers worldwide. Kodak is committed to environmental stewardship, including industry leadership in developing sustainable solutions for print. For additional information on Kodak, visit us at Kodak.com.

Kodak Announces Honorees for the Eighth Annual Kodak Film Awards

Autumn Durald Arkapaw to Receive Lumiere Award; Kristen Stewart to Receive First Feature Award; Christopher Nolan to Present Inaugural Keighley Award

The 8th Annual Kodak Film Awards will take place on Monday evening, March 2, 2026, at the American Society of Cinematographers (ASC) Clubhouse in Hollywood at an invitation-only event honoring Autumn Durald Arkapaw, Joachim Trier, Kristen Stewart, Patricia Keighley of IMAX, Salomon Ligthelm and the acclaimed television series Fallout.

Kristen Stewart will be honored with the Debut Feature Award for her directorial debut, The Chronology of Water. The award recognizes first-time filmmakers who bring a distinctive voice and vision to their inaugural feature. Past recipients of the First Feature Award include Céline Song, Michael Morris, and Melina Matsoukas.

Filmmaker Joachim Trier will receive the Auteur Award, which recognizes motion picture artists who have created critically acclaimed work and remain steadfast in their artistic process. Kodak honors him as an artist whose body of work reflects both rigor and originality, and whose influence on contemporary cinema continues to grow. His latest film, Sentimental Value, was awarded the prestigious Grand Prix at the 2025 Cannes Film Festival and has since garnered nine Academy Award nominations, including Best Picture, Best Director, Best Original Screenplay, and Best International Feature. This historic run follows the global success of his previous feature, The Worst Person in the World, which earned Trier an Oscar nomination for Best Original Screenplay and two BAFTA nominations for Best International Film and Best Actress.

Cinematographer Autumn Durald Arkapaw will receive the Lumière Award in recognition of her exceptional contributions to the art of cinematography. Kodak has supported and collaborated with Arkapaw on recent projects, including Sinners, which received 16 Academy Award nominations, including Best Cinematography, Best Original Screenplay, and Best Film Editing, as well as The Last Showgirl, reflecting a shared commitment to visual storytelling and cinematic craft.

Director Salomon Ligthelm will be honored with the Music & Commercial Film Director Award, presented in recognition of extraordinary talent and trailblazing creativity in the field of music and commercial films.

The Television Series of the Year Award will be presented to Fallout, recognizing the series’ cinematic scope, visual craftsmanship, and contribution to episodic storytelling.

The Keighley Award will be presented by Christopher Nolan to Patricia Keighley of IMAX, honoring her lasting impact on large format exhibition and presentation of cinema. The award is presented in tribute to Patricia Keighley and her late husband, David Keighley, whose shared dedication to the theatrical experience has played a significant role in advancing the art and technology of filmmaking. Kodak and Patricia Keighley will collectively select future recipients of the Keighley Award who have made distinguished contributions to film exhibition.

“From first-time directors to large-scale television series, filmmakers continue to intentionally choose film as an unparalleled creative tool,” says Vanessa Bendetti, Head of Motion Picture and Entertainment for Kodak. “In 2026, we’re proud to recognize artists and partners whose work demonstrates both creative ambition and a lasting commitment to the cinematic experience.”

The Kodak Film Awards celebrate filmmakers, artists, and collaborators whose work continues to shape the future of cinema while honoring the enduring legacy of film as a creative medium.

Acclaimed productions captured on KODAK film during the 2025–2026 awards season span feature films, television, and independent projects, further proving the continued relevance of analog filmmaking across the creative landscape. From established auteurs to first-time directors, filmmakers continue to choose film for its visual properties, discipline, and distinctive contribution to cinematic storytelling. 2026 shot-on-film Oscar nominees include Bugonia, If I Had Legs I’d Kick You, Jurassic World Rebirth, Marty Supreme, One Battle After Another, Sentimental Value, Sinners, Sirat, The Smashing Machine, and the live action short film The Singers.

About Kodak
Kodak (NYSE: KODK) is a leading global manufacturer focused on commercial print and advanced materials, film & chemicals. With 79,000 worldwide patents earned over 130 years of R&D, we believe in the power of technology and science to enhance what the world sees and creates. Our innovative, award-winning products, combined with our customer-first approach, make us the partner of choice for commercial printers worldwide. Kodak is committed to environmental stewardship, including industry leadership in developing sustainable solutions for print. For additional information on Kodak, visit us at Kodak.com.

ZEISS Aatma – Contemporary Full Frame Primes with a Soulful Legacy Look

World Premiere at BSC Expo, Booth #319

Oberkochen, Germany — ZEISS introduces the new Aatma, set of nine high-end full frame T1.5 cinema primes (18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm) designed to marry the benefits of modern optical design with the nostalgic image characteristics that are popular today. Drawing inspiration from some of the most beloved ZEISS lenses of the 20th century, Aatma combines an emotion-driven look with the mechanical reliability, data integration, and workflow compatibility that’s expected for current production.

“With Aatma, we wanted to give cinematographers an expressive and characterful choice within the ZEISS offering,” says Jeanfre Fachon, Senior Product Manager Cinema at ZEISS. “Over the years, we have come to acknowledge how much some of our legacy lens lines are still appreciated. But instead of simply remaking them, we looked at their most appealing characteristics and drew inspiration to incorporate into a new optical design.”

Evocative of classic ZEISS lenses

The name “Aatma” was derived from the Sanskrit word meaning “innermost essence,” “self,” or “soul”. So, it is fitting that ZEISS Aatma lenses are designed to evoke emotion while maintaining consistency across the set. Their image character recalls classic ZEISS optics, offering softly painted skin texture with reduced contrast, smooth and vibrant focus transitions between planes, and a rich bokeh with a subtle soap bubble effect. This carefully created aesthetic allows cinematographers to achieve a nostalgic yet refined look that supports storytelling without compromising control and repeatability.

Aatma lenses balance character with versatility. They produce an organic, emotionally resonant image while remaining suitable for a wide range of cinematic applications. Their rendering enhances texture and atmosphere, enabling filmmakers to infuse personal style into each frame while retaining the precision required for contemporary productions.

Consistent ergonomics for modern workflows

While Aatma’s optical design draws from the past, its mechanical design reflects ZEISS’ modern high-end cinema lens standards. The lenses retain the proven form factor, size, weight, and operability of ZEISS’ current premium cine lenses. “Extensive positive feedback on ergonomics meant there was no need to reinvent the wheel—only to adapt what is already known and trusted to work seamlessly with Aatma’s optical design,” Fachon adds. Like all modern high-end ZEISS cinema lenses, Aatma comes equipped with ZEISS eXtended Data (XD) technology and is fully integrated into the ZEISS CinCraft ecosystem, supporting efficient workflows for visual effects, camera tracking, and virtual production.

See for yourself

To see them in action, visit zeiss.ly/aatma-wg for “Welcoming Grace”, shot by Pascale Marin, AFC, directed by Hélène de Roux. After completing production Pascale Marin commented: “I had four Aatma lens focal lengths for the film “Welcoming Grace,” which rendered skin tones beautifully with greater softness. And I love the way the focus falls off. This gives them a more distinctive character than I’m used to from other modern ZEISS lenses, while remaining truly reliable with their familiar ergonomics”.

Availability

The nine Aatma lenses – 18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm, all T1.5 – are available as a complete set or individually. ZEISS Aatma lenses are available to order now, with deliveries expected to begin June 2026 from authorized ZEISS Cinema dealers. To find out more, please visit: zeiss.com/aatma

ZEISS 65mm format lenses on the way

Also ready for delivery in summer 2026 are the ZEISS Panoptes 65 lenses. This lens set is inspired by ZEISS’ modern full-frame lenses and will cover the larger sensor area of the Alexa 265, Alexa 65, Blackmagic URSA Cine 17K 65, etc. There will be 10 focal lengths: 25, 35, 40, 45, 55, 70, 90, 110, 135 and 180 mm — all T2.2.

Sundance Says Thank You, and Goodbye, to Park City

“It’s hard not to feel a disturbance in the force,” said Ethan Hawke, whose acting career took off after his early movies appeared at the Utah festival in the 1990s.

The actor Ethan Hawke wouldn’t be Ethan Hawke without the Sundance Film Festival. The director Cathy Yan might have given up her filmmaking dreams without it. And the producer Matthew Greenfield may not have become president of Searchlight Pictures if Sundance had not accepted his first film, “Star Maps,” into the festival in 1997.

As the thousands of movie industry insiders and fans make their annual pilgrimage to Park City, Utah, for the Sundance Film Festival this week, their memories about the event’s past are threatening to overwhelm the films.

That is because this is the last year that the event will be held in Park City, its home for 40-plus years. (Its future home is Boulder, Colo.) And because this is the first festival since the death of its founder, Robert Redford.

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Netflix to Keep Warner Bros. Movies in Theaters for 45-Day Window, Says Ted Sarandos: ‘I Want to Win the Box Office’

Ted Sarandos keeps insisting that Netflix has come to make money from Warner Bros.’ theatrical movie business — not to bury it.

Sarandos, co-CEO of Netflix, reiterated in an interview with the New York Times published Friday the company’s stance that should it close the megadeal with Warner Bros. Discovery to buy WB’s studios and streaming businesses, it will continue to release the studio’s films theatrically. And, specifically, he said that Netflix would keep a 45-day window for theatrical runs of Warner Bros. movies.

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Lucasfilm Replacing Kathleen Kennedy With Dave Filoni, Lynwen Brennan as New ‘Star Wars’ Bosses

Kathleen Kennedy will end her 14-year run at Lucasfilm. She will be replaced by not one, but two executives when she leaves the Walt Disney Company this year. Chief Creative Officer Dave Filoni and President and General Manager Lynwen Brennan will both lead the company behind “Star Wars” and “Indiana Jones” as it looks to recapture its stride. Filoni’s elevation had been widely expected, but Brennan’s promotion is something of a surprise. It suggests that Disney felt the need to pair a strong filmmaking force with someone with a firm sense of budgets and balance sheets.

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INDEPENDENT FILM & TELEVISION ALLIANCE® NAMES JACKIE BRENNEMAN NEXT PRESIDENT & CEO

Former NATO Executive Vice President & General Counsel to Succeed Jean Prewitt, Longtime IFTA® and AFM® President & CEO

LOS ANGELES, CA — January 14, 2026 — The Independent Film & Television Alliance® (IFTA®), the global trade association representing the independent film and television industry and producer of the American Film Market® (AFM®), today announced the appointment of Jackie Brenneman as its next President & Chief Executive Officer. She succeeds Jean Prewitt, who is stepping down at the end of the month after 25 years leading the organization.

Brenneman joins IFTA with a career spanning organizational leadership, government relations, legal practice, and nonprofit oversight. She spent nearly a decade at NATO, rising through the organization to Executive Vice President and General Counsel, where she served as a strategic leader for the exhibition community and the organization’s membership during periods of significant change and disruption. Her work encompassed competition and regulatory matters—including exhibition industry response to the termination of the Paramount Consent Decrees—advocacy on copyright and trade policy, revenue and partnership development, as well as event management. She led NATO’s industry relief efforts during the COVID-19 pandemic, including its “Save Our Screens” initiative, and was President of The Cinema Foundation, the organization’s nonprofit arm dedicated to advancing the cultural and economic impact of theatrical exhibition.

For more information on IFTA, visit www.IFTA-online.org.

Golden Globes 2026 Winners: ‘One Battle After Another’ Earns 4 Awards, ‘Adolescence’ Leads TV

‘Hamnet’ wins best drama, ‘The Pitt’ and ‘The Studio’ land top TV prizes.

“One Battle After Another,” a blistering satire about radical politics, and “Hamnet,” a look at William Shakespeare’s complicated domestic life, took top prizes at the 83rd Golden Globe Awards. “The Studio,” a send-up of Hollywood, was named best TV series (musical or comedy) and “The Pitt,” which takes place in an over-stretched hospital, won best TV series (drama). Best limited or anthology series went to “Adolescence,” the story of a murder investigation that unfolds in one, continuous shot.

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Why Jamie Lee Curtis Is Thankful Her Mom Didn’t Let Her Audition for ‘The Exorcist’ as a Child

The Oscar winner eventually made her horror film debut in 1978’s ‘Halloween.’

While Jamie Lee Curtis is now famously known as the Scream Queen, she recently revealed that her mom actually stopped her from making her horror film debut as a child.

During a recent appearance on The Drew Barrymore Show, the Oscar winner recalled a producer wanting her to audition for 1973’s The Exorcist. However, she said her mother, Janet Leigh, declined the opportunity for her then preteen daughter.

“He called my mom and said, ‘Hey, I’m producing the movie of the book The Exorcist.’ Will you let Jamie audition for it?’” Curtis recounted. “And at the time I was probably 12 and, like, cute and kind of sassy and I had some personality, and I’m sure he saw me at a party and was like, ‘Oh, she’d be funny.’ And my mother said, ‘No.’”

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The Netflix Chief Who Insists He Won’t Ruin Hollywood

Ted Sarandos, a movie buff and one-time video-store clerk, may soon oversee the iconic Warner Bros. studio

Ted Sarandos has minted his status as an entertainment power broker, but he still feels the need to tell the world that he’s not trying to destroy Hollywood.

To mark the deal to acquire much of Warner Bros. Discovery for $72 billion—even as rival suitor Paramount battled for it—Sarandos toured the Warner Bros. studio lot this past week. He promised in a speech in Paris to keep movies in theaters. And in a memo to Netflix employees after the deal was announced, he directly addressed the question that keeps dogging him.

“Some feel this is the end of Hollywood. What’s our response to that?” he and co-Chief Executive Greg Peters wrote. “We see this as a win for the entertainment industry, not the end of it.”

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Documentary The Real Yellowstone Completed with DaVinci Resolve Studio

Oliver Peters details his experience using DaVinci Resolve Studio as his principal editing platform.

Fremont, CA, USA - Oliver Peters is an editor and colorist with expertise in commercials, television and feature films. After being tapped by award winning Director and human rights advocate Tom Opre to assist with recuts for his “Killing the Shepherd” documentary, Peters quickly signed on to edit the subsequent two films in Opre’s series, “The Last Keeper” and “The Real Yellowstone.” These films reveal how true conservation begins with respect for the people who live closest to the wildlife.

“‘The Real Yellowstone’ was my third documentary film for Opre but the first using DaVinci Resolve Studio for both offline and online editing. The switch to Resolve came at the urging of the colorist, largely to eliminate relinking issues he’d encountered in the past with other systems,” said Peters. “Up until now, I’ve used DaVinci Resolve Studio for color grading and some minimal editing tied to finishing work, and ‘The Real Yellowstone’ is the first project where I used Resolve as my principal editing application, start to finish.”

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The Oscars will move to YouTube in 2029, leaving longtime home of ABC

In a seismic shift for one of television’s marquee events, the Academy Awards will depart ABC and begin streaming on YouTube beginning in 2029, the Academy of Motion Picture Arts and Sciences announced Wednesday.

ABC will continue to broadcast the annual ceremony through 2028. That year will mark the 100th Oscars.

But starting in 2029, YouTube will retain global rights to streaming the Oscars through 2033. YouTube will effectively be the home to all things Oscars, including red-carpet coverage, the Governors Awards and the Oscar nominations announcement.

“We are thrilled to enter into a multifaceted global partnership with YouTube to be the future home of the Oscars and our year-round Academy programming,” said academy chief executive Bill Kramer and academy president Lynette Howell Taylor. “The Academy is an international organization, and this partnership will allow us to expand access to the work of the Academy to the largest worldwide audience possible — which will be beneficial for our Academy members and the film community.”

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Netflix to Buy Warner Bros. in $83 Billion Deal to Create a Streaming Giant

The deal to acquire the Hollywood behemoth’s television and film studios as well as HBO Max will bulk up the world’s biggest paid streaming service.

Netflix announced plans on Friday to acquire Warner Bros. Discovery’s studio and streaming business, in a deal that will send shock waves through Hollywood and the broader media landscape.

The cash-and-stock deal values the business at $82.7 billion, including debt. The acquisition is expected to close after Warner Bros. Discovery carves out its cable unit, which the companies expected be completed by the third quarter of 2026. That means there will be a separate public company controlling channels like CNN, TNT and Discovery.

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Robert Yeoman to be Honored with American Society of Cinematographers’ Lifetime Achievement Award

M. David Mullen, Cynthia Pusheck, Stephen Pizzello and Kodak to be Celebrated at 40^th Annual ASC Outstanding Achievement Awards

LOS ANGELES (Dec. 3, 2025) – The American Society of Cinematographers (ASC) will hold its 40th Annual Outstanding Achievement in Cinematography Gala on March 8, 2026, honoring a distinguished slate of recipients. Robert Yeoman, ASC will receive the prestigious Lifetime Achievement Award in recognition of his enduring impact and visionary contributions. M. David Mullen, ASC will be honored with the Career Achievement in Television Award, celebrating a legacy of excellence across the medium. Cynthia Pusheck, ASC will be presented with the President’s Award for her outstanding leadership and service. Stephen Pizzello, editor-in-chief of American Cinematographer Magazine, will receive an Award of Distinction for editorial innovation and influence. Kodak will be recognized with the Curtis Clark Technology Award, spotlighting its creative excellence and cultural impact.

The ASC Awards Gala will be held at The Beverly Hilton in Beverly Hills, California, and will be livestreamed globally, allowing cinema fans and industry professionals alike to join in the celebration of excellence in cinematography.

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AFM^® CONCLUDES ITS RETURN TO LOS ANGELES WITH HIGH PRAISE, SOLD-OUT EXHIBITION SPACE, AND STRONG PARTICIPATION FROM 83 COUNTRIES

Four Days of Programming Featured 135 Industry Leaders, Experts, Creatives, and Innovators Across Film, TV and AI Technology

LOS ANGELES, CA – November 20, 2025 – The American Film Market^®(AFM^®) concluded its 46th edition on Sunday, November 16, 2025 marking the Market’s return home to Los Angeles and its first-ever staging at the Fairmont Century Plaza Hotel in Century City.

AFM brought together sales and production companies, buyers, financiers, film commissions, and representatives from every corner of the independent industry across 83 countries for a dynamic week of dealmaking, screenings, conferences, networking, and events.

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Unforgettable Cinematography of Adam Newport-Berra with ZEISS Lenses

Cinematographer Adam Newport-Berra (Good Fortune, The Bear, Euphoria) emerged from the 2025 Emmy season with a statuette celebrating his Outstanding Cinematography for a Half-Hour Series on Apple+ hit The Studio. This is hardly the first distinguished project where Newport-Berra’s cinematography brings a complex vibrancy to the overall look. His electrifying work across television, feature films, and music videos is setting a new benchmark in filmmaking today.

Zeiss is Newport-Berra’s frequent lens choice, from his earliest days at New York Film School to recent cultural juggernauts like The Studio, The Last Black Man in San Francisco, The Bear’s look-setting pilot, and Kendrick Lamar’s genre-defying music videos. “I came up using Zeiss Super Speeds, Standard Speeds, Ultra Primes, and Master Primes,” Newport-Berra shares. “I love the resolve and the contrast of Zeiss lenses. They have this realness, but also a dreamlike quality. You can feel the three-dimensionality––it’s sharp, but never too sharp.”

Watch the ZEISS Conversation here

SmallHD Unlocks Camera Control for Canon

Raleigh, NC – November 11, 2025 — SmallHD today announced the release of its popular Camera Control for Canon cinema cameras. This new integration enables filmmakers to adjust critical camera settings directly from their SmallHD monitor, streamlining production and saving valuable time on set.

Built on SmallHD’s award-winning PageOS platform, the Camera Control software gives users the ability to view their shot, fine-tune camera settings, and navigate deep Canon menu systems without leaving the monitor interface. With Camera Control for Canon, users can: adjust shutter speed, aperture, ISO, ND, codec, and trigger record start/stop, use touch-to-focus functionality; and access and control the full camera menu.

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AFM® 2025 EXHIBITION SPACE SOLD OUT AS INDUSTRY RETURNS TO LOS ANGELES WITH MARKET SET TO KICK OFF TOMORROW, NOVEMBER 11

Additional Speakers Announced for The AFM Sessions Including Executives from AGC Studios, Bleecker Street, Charades, FX, HanWay Films, HBO, Highland Film Group, NAACP, PGA, SAG-AFTRA, Samuel Goldwyn Films, TrustNordisk and Tribeca Enterprises

LOS ANGELES, CA – November 10, 2025 – The American Film Market® (AFM®), which officially launches tomorrow, November 11, and runs through November 16 at the Fairmont Century Plaza, has sold out of Exhibition space as the world’s leading independent production, sales, distribution, and buying companies, along with film commissions, production service companies, and AI/technology players, prepare to convene at the Market for its anticipated return to Los Angeles.

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DOP LEAN-VERCOE LIGHTS INTRIGUE WITH ASTERA ON OUTRAGES

Astera Titan and Helios Tubes Add Style to a Period Drama

BAFTA-nominated cinematographer Annemarie Lean-Vercoe (“Breeders”, “Call the Midwife”, “Murder in Provence”) was just the DoP to set the look on sophisticated and scandalous BritBox limited series “Outrageous”. Set in the 1920s, the aptly titled show is a lush British period dramatization starring the infamously unconventional Mitford sisters. With an expansive narrative that spans historical landmarks from the grand country estates of Buckinghamshire to the Georgian elegance of High Elms Manor in Hertfordshire, the locations used in “Outrageous” ground the Mitfords’ story in a richly authentic 1930s setting. Lean-Vercoe choose Astera Titan and Helios Tubes to create the lush, pastoral-British tone that connects and elevates the very different characters.

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Other World Computing (OWC) to Showcase Next-Gen Workflow Solutions for Photographers and Creatives at ProFusion Expo 2025

Canadian Filmmaker Chris Hau to Share How He Restructured His Creative Workflow from Cloud Dependency to Faster, Safer Hybrid Approach Using OWC Solutions

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 its participation at ProFusion Expo 2025, taking place November 5–6 at the Metro Toronto Convention Centre (Hall B).

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New York Bets Big on Its Screen Future With Massive Studio Investments Across the Five Boroughs

The city that never sleeps is fast becoming the city that never stops shooting.

Across the five boroughs — and spilling into New Jersey and Long Island — New York City is undergoing its biggest production infrastructure boom in decades. From Manhattan’s West Side to the waterfronts of Brooklyn and Queens, developers are racing to meet the global demand for soundstages, spurred by ballooning content needs, competitive state incentives, and a post-strike rebound that’s bringing big shows back to the Big Apple.

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Warner Bros. Discovery Says It Is Considering a Sale

The owner of CNN, HBO and the Warner Bros. movie studio revealed that it has received acquisition interest from multiple suitors.

Warner Bros. Discovery, the owner of HBO, CNN and the Warner Bros. movie studio, just hung a “for sale” sign on its business. In a lengthy statement released Tuesday morning, Warner Bros. Discovery said that it was considering a variety of deals, including a sale of the entire company or a spinoff of some assets, in response to interest from multiple potential buyers.

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ZEISS Opens BETA Registration for CinCraft Virtual Lens Technology

Oberkochen, Germany – October 16, 2025 – ZEISS announces an open call for the closed BETA testing phase of CinCraft Virtual Lens Technology, the innovative digital tool that brings authentic lens characteristics to compositing and visual effects workflows. This pre-release BETA program invites professional VFX artists to test the technology in real-world conditions and be part of the valuable feedback that will help refine the final release.

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“A HEALING JOURNEY: COMANCHE ACADEMY” TOLD WITH THE ZEISS CP.3 AND CZ.2 LENSES

Located in Lawton, Oklahoma, the Comanche Academy is more than a kindergarten and elementary school—it is a community effort to reclaim Indigenous culture and identity for future generations. In collaboration with documentarian/cinematographer Kathryn Boyd-Batstone, Comanche educator Linette Amparan and producer Jhane Myers (“Prey”, “First We Bombed New Mexico”), the new documentary “Comanche Academy: A Healing Journey” dives into the school’s mission with compelling vulnerability. The film captures the concerted efforts across three generations to carve a space of healing education where Comanche culture and language can be reclaimed. Boyd-Batstone chose Zeiss Compact Prime and Cinema Zoom lenses with Sony FX6 to create beautiful portraits in the historied world of the Comanche Academy.

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Immersive Flashback Captures Bastille Day with URSA Cine Immersive

Viewers experience Bastille Day from President Macron’s side with a film in Apple Immersive created for Apple Vision Pro.

Fremont, CA, USA - Bastille Day is one of France’s most recognizable national events, combining military parades, aerial flyovers and state ceremonies watched around the world. For the first time, it was captured as an immersive film, allowing viewers to experience the celebration from the President’s side, using the Blackmagic URSA Cine Immersive digital film camera for capture and DaVinci Resolve Studio for post production.

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Other World Computing (OWC) Takes Home Two Future’s Best of IBC2025 Show Awards, Presented by TVBEurope

Both the OWC Thunderbolt 5 Dual 10GbE Network Dock and OWC Jellyfish S24 Earn Coveted Honors at IBC

WOODSTOCK, IL— 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 its OWC Thunderbolt 5 Dual 10GbE Network Dock and its OWC Jellyfish S24 have both been awarded a Future’s Best of Show Award, presented at IBC2025 by TVBEurope.

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AJA ANNOUNCES BRIDGE LIVE 12G-4

New IP video workflow solution introduces multi-channel UltraHD support, with up to four channels of bi-directional 12G-SDI I/O for flexible encoding, decoding, and transcoding

AJA Video Systems announced BRIDGE LIVE 12G-4, a high-density IP workflow solution for synchronous, multi-channel video transport and contribution, backhaul, direct-to-audience streaming, remote production, and distribution encoding. Offering 4x BNC bi-directional 12G-SDI ports in a compact 1RU enclosure, BRIDGE LIVE 12G-4 unlocks cost-efficient multi-camera/source UltraHD IP video, decreasing per-channel video costs. It also enables broadcast, production, and AV professionals to easily convert video between SDI and industry-standard IP video codecs and protocols, such as H.264, H.265, NDI, SRT, RTMP, and HLS, addressing essential encoding, decoding, and transcoding needs across live video environments.

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GUILLERMO DEL TORO TO RECEIVE CINEMA AUDIO SOCIETY FILMMAKER AWARD

LOS ANGELES — October 7th, 2025 — The Cinema Audio Society today announced that Academy Award®–winning filmmaker Guillermo del Toro will receive the organization’s prestigious Filmmaker Award at the 62nd Annual CAS Awards, Saturday, March 7, 2026.

“The CAS Filmmaker Award recognizes directors who understand the critical role that sound plays in film and television, and Guillermo embodies that appreciation at the highest level,” said CAS President Peter Kurland. “His films are defined not only by their stunning visuals and deeply human themes but also by their masterful use of sound to build atmosphere, suspense, and wonder. Guillermo’s collaboration with sound artists has elevated every story he’s told. We are thrilled to celebrate his contributions to the art form.”

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LIVEU PARTNERS WITH SONY TO EXPAND PROFESSIONAL VIDEO TRANSMISSION

LiveU, the leader in video-over-bonded-IP transmission, today announced a partnership with Sony Corporation, a world leader in professional camera technology. Through this collaboration, LiveU aims to maximize the credibility, efficiency, and immediacy of customers’ content by providing tools that enable truly agile news and production workflows.

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BLACKMAGIC DESIGN ANNOUNCES SUPPORT FOR APPLE PRORES RAW™

Blackmagic Design today announced DaVinci Resolve 20.2 and Blackmagic Camera 9.8 public beta which add support for Apple ProRes RAW, including footage captured with the new iPhone 17 Pro, and ProRes RAW HQ file formats. In addition, future updates for Blackmagic Camera and Blackmagic Video Assist 12G will also add both ProRes RAW file formats. DaVinci Resolve 20.2 and Blackmagic Camera 9.8 public beta are available now free of charge from the Blackmagic Design website.

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FROM ELTON JOHN TO SPONTANEOUS COMBUSTION: PRODUCTION SOUND MIXER CHRIS WELCKER CAPTURES SPINAL TAP II: THE END CONTINUES WITH LECTROSONICS

New Orleans, LA – The highly anticipated mockumentary, Spinal Tap II: The End Continues, was a dream project come true for Emmy-winning Production Sound Mixer Chris Welcker, but also presented him with an array of unprecedented audio challenges due to its highly improvisational nature. To master the film’s complex and unpredictable soundscape, Welcker relied extensively on an array of Lectrosonics wireless technology, including SMD, SM, SSM, DCHT, M2T and HMa transmitters, an SPDR 2-channel recorder, M2R, IFBT4, IFBR1a, and IFBlue receivers and the versatile DSR4 digital slot receivers, which proved essential for both mobility and redundancy across a dynamic production environment.

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‘Megadoc’: 4 Things We Learned From Mike Figgis’ Documentary Chronicling Francis Ford Coppola’s Self-Financed Epic ‘Megalopolis’

In “Megadoc” Mike Figgis, the Oscar-nominated filmmaker of “Leaving Las Vegas,” dishes about the chaotic making of “Megalopolis,” Francis Ford Coppola’s self-produced $120 million experimental epic.

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RICHARD LINKLATER’S UNCOMPROMISING ARTISTS

In two new historical films, “Blue Moon” and “Nouvelle Vague,” the director explores the challenges of staying true to a creative vision.

In “Nouvelle Vague,” a new film from the director Richard Linklater, an impassioned young movie critic expresses his belief in what cinema could be—and frets about what he himself may never be. It’s 1959, and the critic is Jean-Luc Godard, a soon-to-be leader of the French New Wave, a nascent movement of journalists who are trading in their typewriters for film cameras, aiming to ignite a cinematic revolution.

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AN EVENING OF STAR CINEMATOGRAPHERS TAKE THE STAGE AT THE KODAK HOUSE FOR THE MAKING OF LIVE

September 25, 2025 — The Making Of, the industry-leading podcast celebrating the creative professionals behind today’s most innovative films and content, drew a capacity crowd to The Kodak House in Los Angeles on September 10th for a live recording and reception. Host and founder Michael Valinsky welcomed three of the industry’s most revered cinematographers—Lol Crawley, ASC, BSC, Matthew Libatique, ASC, LPS, and William Rexer, ASC—for an evening of candid exploration of their craft and audience engagement.

“The conversations we captured at The Kodak House are exactly why I started The Making Of. Inspiring and educational, this event and the other curated events we host are unique opportunities to learn from and connect with the industry’s top artists,” said Valinsky.

Sponsored by Kodak, AJA Video Systems, LUMIX, and Cartoni, the event spotlighted the remarkable careers of the three cinematographers:

Lol Crawley, ASC, BSC – Winner of the 2025 Academy Award for The Brutalist, his additional credits include White Noise, The Humans, and 45 Years.
Matthew Libatique, ASC, LPS – Three-time Academy Award nominee, known for Requiem for a Dream, A Star is Born, Maestro, and most recently Caught Stealing and Highest 2 Lowest.
William Rexer, ASC – Cinematographer of Long Bright River, Millers in Marriage, The Crowded Room, and 2025 TIFF standout, The Testament of Ann Lee.

All three panelists have extensive experience shooting on film, and shared their recent experiences with film projects. A deep dive into their craft and workflow drew lively discussion from both the stage and audience. The Making Of has become a go-to platform for film professionals and enthusiasts alike who want to dive into the creative process of filmmaking. The podcast passed its 100th episode milestone this month and has included conversations with directors, producers, cinematographers, editors, thought leaders, & technologists. The Making Of industry newsletter reaches over a quarter of a million subscribers worldwide.