Visual Impact

08/09/2026

The gear matters. But knowing how to use it matters more.

Visual Impact doesn't just supply cameras, gimbals, and stabilisers; we put them in the hands of crews who understand what every piece of kit is supposed to do on set. From cinema cameras to wireless monitoring, from lighting rigs to motion control, every rental ships prepped, tested, and ready to shoot.

Need the kit and the crew? We do both.

📍 visuals.tv

07/09/2026

There's a moment every creator remembers: the first time you swap a desk lamp and a bedsheet diffuser for an actual purpose-built light, and your footage suddenly looks like someone else shot it.

NANLITE's creator-line fixtures are built for exactly that moment and the two years of growth that follow.

You don't need a studio. You need one light that actually knows what it's doing.

*Tag the light that changed your setup, or tell us what you're shooting on right now. >>>

07/09/2026

Certified pre-owned broadcast equipment, inspected and tested by Visual Impact’s engineering team.

The same rigour we apply to our rental fleet now behind every pre-owned sale.

Up to 50% off. Swipe to see what’s available, then browse the full range at
shopvisuals.tv.

07/09/2026

65 FORMAT. 12x RANGE. ONE EXTRAORDINARY CINEMA ZOOM.

Meet the new Angénieux Optimo Ultra 12x 65.

Created for the new generation of 65 format cinema cameras, this extraordinary zoom delivers a 46–556mm range at T5.6, with full 60mm image circle coverage.

The legendary Angénieux long-range cinema zoom, reimagined for large-format filmmaking.

THE NEXT GENERATION OF CINEMA OPTICS HAS ARRIVED.

Available through Visual Impact, Angénieux sales and support in South Africa.

📍 CPT: +27 21 468 6000
📍 JHB: +27 11 788 9879
✉️ [email protected] | [email protected]

04/09/2026

GO BIGGER. WITHOUT LOSING THE ANGÉNIEUX LOOK.

Introducing the new Angénieux EZ 65 Series, designed for the new generation of 65 format cameras while retaining the ergonomics, resolution, character and flexibility filmmakers have come to expect from the EZ Series.

65 FORMAT. ANGÉNIEUX CHARACTER.

Available in LPL Mount.

For Angénieux sales and support in South Africa, contact Visual Impact.

📍 CPT: +27 21 468 6000
📍 JHB: +27 11 788 9879
✉️ [email protected] | [email protected]

02/09/2026

Bad audio kills a production faster than bad lighting ever will. And it’s harder to fix in post.

has been the default for productions that can’t afford a retake for decades.

Microphones. Wireless systems. Video conferencing.

Shop Visuals offers the full professional range, backed by Visual Impact’s broadcast engineering support.

📍 shopvisuals.tv

Sennheiser

01/09/2026

From the shadows to the syndicate's centre. 🎯

Season 1 of Unseen introduced us to a desperate wife willing to do anything to find her husband, but Season 2…

Zenzi is completely done playing the victim.

The "invisible" cleaning lady is making sure everyone sees her now.

Which season's plot twists had you on the edge of your seat the most?

01/09/2026

01/09/2026

Join ARRI for our live webinar “Exploring ARRICORE: A Visually Lossless RGB Codec” with commercial DP Charles Bergquist, along with our own Supervising Colorist Peter Doyle and Senior Colorist Frederik Bokkenheuser. 👉 Register here: https://bit.ly/4gIr0R3

Supervising Colorist Peter Doyle is one of the industry’s most influential colorists, known for developing innovative techniques and distinctive looks across major studio films including "Creed III," "Darkest Hour," "Edge of Tomorrow," and "Wrath of Man," alongside visually ambitious projects such as "The Tragedy of Macbeth," "Cyrano," "Inside Llewyn Davis" and the award-winning series "Disclaimer."

Senior Colorist Frederik Bokkenheuser brings extensive premium episodic and documentary expertise to the discussion, with credits including "M.I.A.," "The Rookie: Feds," Netflix’s "Archive 81," "Elton John: Never Too Late" and "BTS: The Return."

Together, they will join the ARRI team and DP Charles Bergquist to explore ARRICORE beyond high-speed capture, including how it compares to ARRIRAW, how it intercuts with other codecs, and the grading considerations for colorists.