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CineGear Goes Virtual for 2020 Film Series Competition

Participate Free via phone, tablet, computer or connected TV

Cine Gear Expo announces a rousing virtual lineup for their much-anticipated annual Film Series Competition to be held at 12 noon, Saturday, October 3, 2020.

Like the Expo’s successful in-person events, online guests will be treated to a full schedule of curated finalist films including Independent Shorts, Music Video/Commercials and Student Shorts with submissions from AFI, USC, & London Film Schools. Following the screenings, CineGear guest host, Jay Holben, will moderate a spirited online networking event, complete with trivia questions, prize give-aways, lively chat and more. Viewers will have the opportunity to vote for their favorite film in each category that will be tallied with the selections of CineGear’s independent team of industry judges. Next comes the Award Presentation when winners will receive filmmaking prizes generously donated by top industry tech and services companies.

Independent Short Film finalists:
• Swimming, Director: Anna Chi
• Sound, Director/Writer: Tawan Bazemore
• Second Team, Director: Ria Pavia
• Stevie, Director/Writer: Eric L. Thompson
• Godspeed MC/For God and Country, Director: R.J. Hall
• Stormchaser, Director: Gretl Claggett
• Waves, Director: Jane Hae Kim
• The Entity, Director/Writer: Chi K. In

• Music Video / Commercial Finalists:
• Nice Shoes, Director/Writer: Jonathan Lawrence
• Hey, Beautiful!, Director: Kenneth Ferrone
• Chasing the Horizon, Director: Sasha A. Logov
• Alive, Director/Writer: Carissa Dorson
• Oo La La, Director/Writer/Producer: Frank Rogala
• James Arthur feat. Travis Barker – You, Director/Producer: Timon Birkhofer
• Stellar Moto Brand Commercial, Director/Writer: Iggi Ogard
• About the Girl in the Trunk, Director/Writer: Lindsay Clift
• Slant – With or Without You, Director: Vez Visuals

• Student Short Film Finalists:
• Día de Las Carpas- AFI Conservatory, Director: Joao Dall’Stella
• They Won’t Last- AFI Conservatory, Director: Portlynn Tagavi
• Natives- The Peter Stark Producing Program, Director: Ramon Farrier
• Tree #3- AFI Conservatory, Director: Omer Ben-Shachar
• Our Home Here- AFI Conservatory, Director: Angela Chen
• GROK SEE BLUE- AFI Conservatory, Director/Producer: Quinn Else
• A Guide to Being Herman- USC Film School, Director: Sergio Zaciu
• Furthest From- AFI Conservatory, Director: Kyung Sok Kim
• Time Difference- London College of Communications, Director: Xuqin Sun
• Pumpkin- CAL State LA, Television, Film & Media Studies, Director: Chris Collins


Join CineGear Film Series Competition October 3, 2020 Screenings: Noon – 5:17 pm PDT
After-Party: 5:20 pm – 6:20 pm

Free Registration and schedule: virtual-event/

Registrants will receive detailed instructions and online links to enjoy full participation in the CineGear 2020 Film Series Competition.

Sight, Sound & Story: Live “Making it Work: From Editor to Producer”

When: SEPTEMBER 16, 2020
Time: 5PM EST / 2PM PST
General Admission:  FREE!!

Moderator: Sean Weiner (Jacob Burns Film Center, Director of Programs, Media Arts Lab)
Speakers: Daysha Broadway (Insecure, A Black Lady Sketch Show, Surviving R. Kelly) & Deniese Davis (Insecure, A Black Lady Sketch Show, The Misadventures of Awkward Black Girl)

Inside Episode III: The relationships between Editors and Producers are some of the most important in the post-production process in television. In this panel we’ll hear from multiple Emmy-nominated Editor Daysha Broadway and multiple Emmy nominated Producer Deniese Davis. Sean Weiner will moderate the panel and explore how emerging filmmakers can learn from Daysha’s and Deniese’s careers. Sean will discuss with Daysha how her past Documentary and Reality TV editing informs her approach to editing scripted television. He will also talk with Deniese on her work on the web series The Misadventures of Awkward Black Girl how that led to her success in Peak TV. They will both discuss their relationship as Editor and Producer on the Emmy-winning Insecure and the Emmy-nominated A Black Lady Sketch Show. Through reflection on their experiencesconnecting with one another in the film industry and analysis of clips from each of their shows, Daysha and Deniese will both reveal how an Editor and Producer combine their particular talents to make it work!

All attendees who register for this event will receive a link and password an hour prior to the event. The event will be hosted on a password protected Vimeo Live webpage This will gain free access for attendees. There will be live raffles throughout the event, but attendees must be present. Following the panel there will be a chance to ask questions in a live Q & A networking event.



iZotope Releases RX 8 and Announces Updates to Flagship Suites

New Versions of RX  and RX Post Production Suite Launch, while Music Production Suite 4 is Coming Soon
iZotope Inc., the experts in intelligent audio technology, has released RX 8, the latest update to its flagship audio repair and enhancement software, as well as launched RX Post Production Suite 5. Additionally, iZotope announced that Music Production Suite 4 will be coming this fall.
RX, which has made audio repair easier for musicians and post professionals for over a decade, continues to be the industry-standard audio repair tool used on countless albums, movies, and TV shows to restore damaged, noisy audio to pristine condition. Its newest version is a complete toolkit for audio cleanup and restoration needs at any level, from content creators to music producers to post production professionals.
The two-time Engineering Emmy® Award-winning RX Advanced now allows audio professionals greater audio fidelity, whether repairing streamed dialogue with new features like Spectral Recovery or correcting pitch modulation with Wow & Flutter. The Batch Processor and Loudness Control have also been revamped, saving users precious time when they are repairing or delivering audio files. 
New RX 8 Standard features allow musicians to instantly adjust guitar recordings with Guitar De-noise, to rebalance their mix and create or isolate stems with the improved Music Rebalance, and to prep music for streaming with the updated Loudness Control. Both the standalone audio editor and the included plug-ins allow users to surgically fix audio problems and music performances with RX 8. 
The new RX Elements is a budget-friendly noise reduction and audio repair tool for small home studios that need the basics. It includes a standalone audio editor with spectral editing as well as four essential, real-time noise reduction plug-ins to fix clipping, hums, clicks and other unwanted background noise, like amp hiss or air conditioner noise. Its Repair Assistant continues to use the digital signal processing in RX Elements to analyze your audio and provide solutions to common audio issues.
New & Improved Features:
• NEW – Spectral Recovery (Advanced Only) – Restores frequencies above 4 kHz, turning bandwidth-limited audio into clear, articulate recordings.
• NEW – Wow & Flutter (Advanced Only)  – Corrects pitch variations and fluctuations associated with tape, vinyl and optical transfers. Use Wow to fix longer, sustained pitch drift, and Flutter to correct pitch variances that occur at faster rates.
• NEW – Loudness Control (Advanced and Standard) – Instantly load preset loudness targets and conform production audio to broadcast requirements in seconds, and monitor levels using the built-in numeric and history plot readouts for integrated, short-term, and momentary loudness.
• NEW – Guitar De-noise (Advanced and Standard) – Allows refining to guitar recordings for maximum clarity in seconds. Manage sounds that can unintentionally be emphasized by the effect of compression or limiting, like electrical amp noise and interference, distracting fret or string squeaks, and harsh pick attacks.
• NEW – 32 Audio Tab Limit (All Versions)  – RX 8 doubles the previous 16-tab limit, now allowing users to view and edit up to 32 files within RX Audio Editor.
• NEW – Horizontal Scrolling (All Versions) – Horizontal scrolling is now built into the intuitive Spectrogram Display. Use the scroll gesture on a trackpad or mouse to scroll through your audio across the X-axis for lightning fast edits.
• IMPROVED – Music Rebalance (Advanced and Standard) – Users can easily re-animate a mix, make room for scene dialogue in post, remove or isolate vocals for a remix, or even create and export new stems for further processing and mixing.
• IMPROVED – Batch Processor (Advanced and Standard) – Process many files at a time, view pertinent metadata in your audio, then apply a full series of processors with Module Chain.
• IMPROVED – De-Hum (All Versions) – Now features independent frequency reduction bands, and a redesigned, intuitive interface.
“Since we first released our flagship RX product, additional years of research and innovation in machine learning have allowed us to continue to provide the industry with timely solutions to audio repair issues that were previously impossible,” said iZotope Principal Product Manager Mike Rozett. “Our latest edition of RX continues this tradition with new features such as Spectral Recovery, Guitar De-noise and Wow & Flutter, all designed to help people solve the unsolvable in audio.”
iZotope has also released RX Post Production Suite 5, which features its most powerful tools for post production, including RX 8 Advanced, Dialogue Match, Neutron 3 Advanced, Nectar 3 (with Melodyne 5 essential), Insight 2, RX Loudness Control, Relay, Symphony 3D and Stratus 3D by Exponential Audio, and Tonal Balance Control 2, plus a one year all-access pass to Groove 3, a video training tool. 
In addition, Music Production Suite 4 will release this fall, which will include RX 8 Standard, Ozone 9 Advanced, Neutron 3 Advanced, Nectar 3 (with Melodyne 5 essential), Insight 2, NIMBUS by Exponential Audio, and Tonal Balance Control 2. Those that have purchased Music Production Suite 3 after September 2, 2020 will receive a free upgrade to Music Production Suite 4.
RX Pricing & Availability

RX 8  is now available at and select retailers

• RX 8 Elements: $99 introductory ($129 regular)
• RX 8 Standard: $299 introductory ($399 regular)
• RX 8 Advanced:  $999 introductory ($1199 regular)
• RX Post Production Suite 5: $1499 introductory ($1999 regular)

Introducing Sony Cinema Line

Expanding the camera line-up for content creators with the technology cultivated for digital cinema production

Sony Electronics Inc. today announced the launch of Cinema Line, a series of camera products for a wide range of content creators, which will bring together Sony’s expertise in image quality, attention to detail, technology and passion in digital cinema.



Cinema Line will deliver not only the coveted cinematographic look cultivated through extensive experience in digital cinema production, but also the enhanced operability and reliability that meet discerning creators’ various needs. The new series will extend beyond traditional cinema camera and professional camcorder form factors.

In 2000, Sony released the ground-breaking HDW-F900. The HDW-F900 marked the beginning of digital cinema history as the world’s first 24p digital cinema camera. Many Sony cameras followed in response to countless dialogues with cinematographers and image creators – including VENICE, which was released in 2018.

Sony FX6

Existing cameras that will form part of the Sony Cinema Line include VENICE and FX9. VENICE has become a first choice for digital movie production, and FX9 has an outstanding track record in documentary production. The next camera will appeal to a wider spectrum of visual creators. Sony will be releasing and shipping this next addition to the Cinema Line, FX6, by the end of 2020.

Each of the Cinema Line cameras will evolve with user feedback: The FX9 Version 3.0 firmware upgrade, available in 2021, will see the addition of the S700PTP* to enable remote control, and a Center Scan mode for Super 16mm lens and B4 lens support with its adaptor, as well as other features. In parallel, in November 2020, VENICE will see additional features in Version 6.0 firmware, which will improve its operability in broadcast and live environments.

“The voice of our customer is critical to everything we do,” said Neal Manowitz, Deputy President of Imaging Products and Solutions Americas at Sony Electronics Inc. “We have the deepest respect for filmmakers, cinematographers and storytellers, and will continue to evolve our product line to meet and exceed their demands. Just as our VENICE camera was designed to capture the emotion in every frame, our new Cinema Line expands that vision to allow a broader range of creators to push their boundaries further, and capture and create like they’ve never been able to before.”

* S700PTP is a protocol that realizes S700P over TCP/IP


Blackmagic Design announced today that Chalk Warfare 4.0, the newest installment of popular YouTube series Chalk Warfare, was produced using a full Blackmagic Design workflow, from production through post. This includes using URSA Mini Pro 4.6K G2, Pocket Cinema Camera 4K shooting in Blackmagic RAW for production and DaVinci Resolve Studio for all of the film’s post production.

The concept of Chalk Warfare is simple: Teams draw chalk weapons inspired by popular games and media, which become real when pulled off the wall, and the war begins. The first installment was limited to four guys in a park, but by episode 3, twelve players fight over a post apocalyptic warehouse set, drawing items such as space portals, chalk drones, energy weapons and even an Iron Man-esque full body suit.

10 years after the first episode, the Chalk Warfare series has garnered more than 125 million views. Throughout the process, the team found ways to increase the quality, by embracing new technologies as they became available. “One of the things that made Chalk 3.0 look so much better is we switched from DSLRs to the Blackmagic Cinema Camera 2.5K,” said Wickert. “It gave it a much more cinematic, polished look.”

As plans began for Chalk Warfare 4.0, the team felt, as they had for each installment, the need to advance not only the story but also the technology used to tell it. A key element was to continue to embrace Blackmagic Design. “It was always a fantastic experience working with Blackmagic products,” said Wickert. “We get so much quality and performance, and all for a competitive price. We felt we could improve the look of our films, capturing far more dynamic range and providing more options in post.”

Chalk Warfare 4.0 producer Micah Malinics was excited to work with the newest cameras as well. “Blackmagic’s technology has been something I’ve been fascinated with since discovering them in college. I wasn’t able to get hands on experience until the original URSA Mini Pro 4.6K came out, but I was blown away with the picture quality it packed in its size and price. As a producer, I knew this was going to be a game changer for cinematic YouTubers.”

Production incorporated both the URSA Mini Pro 4.6K G2, as well as the Pocket Cinema Camera 4K. For a small production, the flexible form factors allowed them to be more efficient. “We would utilize a two camera setup to shoot double coverage on the flagship action scenes,” said Malinics, “and at times even splitting into two units to maximize the day, since some of our locations we only had a day or two to capture everything. The URSA Mini Pro also allowed us to use some of the cinema grade glass and peripherals that we already had access to, which continued to help us push our cinematic capacity on this project. We also used the Pocket Cinema Camera 4K for a lot of our behind the scenes footage. It’s easy and versatile, and cuts well against URSA Mini Pro footage.”

Chalk Warfare 4.0 truly took production to a new level, with shoots taking place in Los Angeles and South Carolina, and included an aerial unit for a sky diving sequence. “One of the best things about Blackmagic is their different form factors. We could shoot a standard production unit on a set with URSA Mini Pros, then strap the smaller Pocket Cinema Cameras to sky divers, without any fear of the footage mismatching. The Blackmagic quality is consistent throughout their cinema products. We couldn’t find that in any other brand.”

A powerful aspect of shooting with Blackmagic Design products was the use of Blackmagic RAW. “Using Blackmagic RAW really improved the look of the film,” said Wickert. “Especially outside, our production was largely naturally lit. Blackmagic RAW gave us the range needed to have options when it came to the environments we were shooting in. And being behind the rig on set, I enjoyed this because I am very run and gun – it allows us to record the data needed to pull detail where we need it when it comes time to color. It was nice knowing the highlights were being captured, and I could focus on moving quickly to shoot our film.”

With visual effects a major star in the project, it was important to capture as high a quality image as possible. “Blackmagic RAW was the perfect solution to allow us to capture all of the necessary color and pixel information for the VFX work, while making it economically and logistically possible, without needing terabytes of storage on set,” said Malinics. “Being able to utilize all of the information on the 4.6K sensor and have real time playback with those files in DaVinci Resolve Studio, without the need of proxies, also helped quite a bit on the backend. As YouTubers, we tend to work pretty quick and dirty at times, so Blackmagic RAW helped us keep a small and fast workflow while having an exceptionally greater range of information to use than our previous DSLRs.”

Post production was completed largely in DaVinci Resolve Studio, which Wickert found fast and efficient. “A big issue we’ve face with software programs and editors in the past is that the software didn’t utilize the full performance of our computers. Just because you may have great hardware, it doesn’t mean your post production software is utilizing it. This film has a combination of extensive live action as well as many full CG sequences with no practical footage (aside from assets) so having a quick editor that is multithreaded and efficient that could handle all this material was a must. Resolve was up to the task, and truly made our workflow more efficient.”

In true collaborative style, Chalk Warfare incorporated not only crazy sets and sequences, but combined a massive amount of computer animation work from both Wickert and in house visual effects artist Brendan Forde, as well as a variety of artists from across the country. Work included extensive 3D tracking, particle FX and fluid dynamics. Forde focused primarily on the massive task of tracking weapons while Wickert handled the heavier 3D sequences and chalk integration.

All materials were composited in DaVinci Resolve Fusion. “Fusion’s node based workflow was incredibly helpful,” said Forde. “On a project like this, with so many shots with similar compositing methods needed, we were able to utilize the node workflow to easily swap in and out assets, as well as tracking data to replace weapons and add them to new shots.”

With the combined tools inside the package, it was simple to drop in new shots, play out the sequence, and make sure they worked within the context of the full edit. “We loved that we could work on Fusion, then click over to the Edit panel and watch it with color and even full sound if we wanted to. We were building a final edit from day one, rather than looking at low res proxies, hoping that everything integrated in the end.”

Wickert and Leigh have focused on Virtual Reality work in between Chalk Warfare installments, so it seemed appropriate to build in some VR work inside Chalk Warfare 4.0. Using a custom built Virtual Camera rig, including the Blackmagic Video Assist 4K, Wickert was able to use footage shot on location with the URSA Mini Pro 4.6K G2 in the VR space. “An example of this is with a robot breaking through the wall. We were able to take photo scanned assets as well as our robot animation and literally film the robot in our office, dynamically reacting to the animation that we are seeing through our Blackmagic monitor on our rig. This allowed for realistic camera moves on our CG, which can often make some questionable CG look convincing.”

With the release of Chalk Warfare 4.0, Wickert, Leigh and Malinics are eager to move on to new projects, though their work on the series continues to inspire their future goals. “We’d like to continue working on projects that excite us and can entertain our audience,” said Wickert. “All these new tools, from VR and 3D to Blackmagic cameras and DaVinci Resolve, can help us create more immersive sequences and even more captivating experiences.”

Chalk Warfare 4.0 premiered on YouTube July 16, 2020 –


Our good friends at NewFilmmakers Los Angeles have offered all LAPPG members free tickets to their upcoming panels.

Please see below for details and for the link to use to get your free ticket!

NFMLA & FLICS Panel – Filming Around the State of California
Fri, Aug 21, 2020 3:00 PM – 4:30 PM PDT

A conversation with various Film Commissioners from around the State of California regarding current best practices for filming On Location.

About this Event
Join NewFilmmakers Los Angeles (NFMLA) and Film Liaisons in California Statewide (FLICS), a statewide professional association of Film Commissions and Offices in California that are dedicated to promoting filming throughout California and assisting productions with locations, permits, resources, and local knowledge discussion on best practices, as we discuss the current state of filming On Location in various jurisdictions throughout CA.

• Moderator: Eve Honathaner – Deputy Director, California Film Commission

• Panelist: Tasha Day – Manager of Special Events and Filming, City of Long Beach

• Panelist: Susannah Robbins – Executive Director, San Francisco Film Commission

• Panelist: Sabrina Jurisich – Film Commissioner, Film Shasta

• Panelist: Brandy Shimabukuro, Film Commissioner, San Diego

• Panelist: Paul Audley – President, FilmLA

Use this link to register for your FREE ticket:

NFMLA & FLICS Panel – Back to Production: A Talk With the Producers
Fri, Aug 21, 2020 5:00 PM – 6:30 PM PDT

A discussion of film commissions and producers about getting back to filming on location in the State of California.

About this Event

Join NewFilmmakers Los Angeles (NFMLA) and Film Liaisons in California Statewide (FLICS), a statewide professional association of Film Commissions and Offices in California that are dedicated to promoting filming throughout California and assisting productions with locations, permits, resources, and local knowledge discussion on best practices, as we discuss the new production process through the eyes of Producers who are filming and/or about to start production in CA.

Panelist: Cassandra Hesseltine – Film Commissioner, Humboldt-Del Norte Film Commission

Panelist: Allison Rose Carter – Producer, A24 Feature Film

Use this link to register for your FREE ticket:

Adobe Video World Heads To YOU this Fall!

Learn at your space, your pace this Fall during Adobe Video World!

Future Media Conferences is producing Adobe Video World, which is taking place on September 12-17, 2020. This virtual conference is a 6-day event packed with technical and creative workshops on the Premiere Pro and After Effects applications.

The virtual training event is perfect for video editors & motion design artists who would like to maximize their workflows and creativity with the latest features in Premiere Pro and After Effects. The conference also provides attendees with the unique opportunity to interact and learn directly from the Adobe team & Adobe certified instructors!

As an additional bonus, all Adobe Video World attendees will gain early access to the new Adobe Certified Professional (ACP) certification, an industry-recognized credential that effectively validates one’s expertise in Adobe Creative Cloud Video tools.

The full conference pass is $795, which includes access to all the training sessions, both the Premiere Pro & After Effects exam prep classes, networking rooms, happy hours, and recordings to stream for 90-days post-event. Alternatively, attendees can purchase a pass for $399 to attend either the Premiere Pro sessions or After Effects sessions exclusively. Plus, all students and faculty can save 35% on their conference pass using code: EDU2020.

Visit the event website for more details and register for your pass!

OWC Reveals New Thunderbolt™ 3 Mini Dock

5-in-1 Thunderbolt 3 adapter solution allows you to connect up to two 4K displays, two USB storage and desktop accessory devices and a Gigabit Ethernet network via one integrated cable.

OWC®; a leading zero emissions Mac and PC technology company and one of the world’s most respected providers of Memory, External Drives, SSDs, Mac & PC docking solutions and performance upgrade kits announces that their new Thunderbolt™ 3 mini Dock is available to order now and will begin shipping the week of July 27th. Smartphone-sized with no AC adapter needed, the mini Dock is the ultimate tool for on-the-go and desktop use.



Encounter the Best of Thunderbolt
The OWC Thunderbolt 3 mini Dock harnesses the full potential of your Mac or PC’s Thunderbolt 3 port, with fast data transfers, dual 4K display support, and small device charging power creating a hub of powerful connections. Built by the world’s largest producer of Thunderbolt devices, OWC follows the highest standards in engineering and manufacturing, so you can use the Thunderbolt 3 mini Dock with full confidence in its compatibility and precision performance.

Experience What You’ve Been Missing
The OWC Thunderbolt 3 mini Dock effectively utilizes your computer’s Thunderbolt 3 40Gb/s capability to provide support for two displays up to 4096 x 2160 4K @ 60Hz without impacting performance. Transform your notebook’s single display into a three-screen viewing space or instantly support two displays on your desktop and increase work productivity with extended or mirrored modes. Experience crystal-clear, vibrant 4K video and high-fidelity audio in gaming and uncompressed video streaming of high action sports and movies. Whatever your display desire, the OWC Thunderbolt 3 mini Dock helps you see what you’ve been missing.

Connections Are the Key to Success
Making the right connections is critical to business success. Through its USB 3 and USB 2 ports, the OWC Thunderbolt 3 mini Dock opens your world to convenience and functionality wherever you’re working. Control any workspace with the ease of a full-sized keyboard or mouse. Backup work to an external drive. Import files from a flash drive, card reader, or optical drive. Utilize a printer and charge small mobile devices. All these connections lead to workflow success, no matter where that work is taking place.

Your Partner in Productivity
On-the-go or on a desktop, the OWC Thunderbolt 3 mini Dock is the ultimate all-in-one portable dock. Compact-sized like a smartphone and with no AC adapter needed, this “kitchen sink of connectivity” expands port-limited Thunderbolt 3 Macs and PCs with five additional ports.

Stream, Share, Connect – Reliably
A must-have for the mobile professional, the OWC Thunderbolt 3 mini Dock offers a Gigabit Ethernet port for a faster and more reliable internet connection. Users will relish a speedy server connection, uninterrupted downloads, and reliable file transfers while saying goodbye to aggravating, low-quality public Wi-Fi connections.


• See a bigger picture: connect two displays with uncompressed video resolutions up to 4096 x 2160@60Hz via two HDMI 2.0 ports
• Full-stream ahead: HDCP 2.2 compatible for effortless streaming of 4K UHD content
• Hear it all clearly: supports HDMI precision multi-channel audio such as LCPM, DTS, and Dolby Digital
• Secure and stable internet access: one Gigabit Ethernet port with PXE Boot and Wake-on-LAN support replaces a slow or unreliable Wi-Fi connection
• Fast file transfers: connect a portable drive, flash drive, or card reader via one USB 3 5Gb/s port1
• Stay charged: charge small mobile devices such as wireless earbuds, smartwatches, and most smartphones via USB 3 port.2
• Enjoy convenience: connect a keyboard or mouse via one USB 2 port
• Take anywhere and in-between: bus-powered smartphone-sized 5.1-ounce aluminum housing with integrated 7.2-inch Thunderbolt 3 cable
• Thunderbolt certified: Works with macOS and Windows machines

Be the Best You Can Be Anywhere
With huge benefits to every workflow, the OWC Thunderbolt 3 mini Dock is small enough to fit easily on a desktop or pop into a gear bag for remote use. The lightweight, bus-powered aluminum housing sports a 7.2-inch tethered Thunderbolt 3 cable so there is nothing to lose or forget.  And with HDMI and USB support, no agonizing over which device to disconnect from a port-limited machine…the OWC Thunderbolt 3 mini Dock truly lets you work at your best, anywhere.

Disconnect in One Click
OWC Dock Ejector software safely disconnects drives connected to the OWC Thunderbolt 3 mini Dock in a single click. Designed by OWC hardware and software engineers, Dock Ejector ensures all data is written before disconnection, saving time and protecting against data loss. Use it to move quickly between workstations and get the most out of your OWC Thunderbolt 3 mini Dock.

Your complete source for connectivity
The new OWC Thunderbolt 3 mini Dock joins OWC’s comprehensive line of docks, hubs and adapters which are part of the largest selection of Thunderbolt devices you can find. The mini Dock joins the full-sized Thunderbolt 3 Dock and Thunderbolt 3 Pro Dock; the storage included Mercury Elite Dock; and the OWC USB-C Travel Dock, recently named to Ars Technica’s Best of List for 2019.  OWC is excited to be offering yet another right-fit option to users with the new Thunderbolt 3 mini Dock, unleashing the power of Thunderbolt for more users everywhere.

OWC, Trusted by Pros & Enthusiasts the World Over
OWC builds hardware to the highest standards of reliability and performance. Because 100% reliability is always our goal, all hardware is rigorously quality tested and backed by a 2 Year OWC Limited Warranty and award-winning, US-based customer support.

The OWC Thunderbolt 3 mini Dock is available to order now for $119.00 at The Dock will begin shipping the week of July 27th.

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