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Personally, I like simple. These days I fret that features get in the way of artistry. Too often I focus on craft and don't invest enough in the art of it all. So maybe a basic tool is best? I don't know. I can tell you the best film I ever made was with FCP 7.

Indeed, though "Ursa Cine LF" would be a totally fine name. There's just no need to say "12K" on there. For the other? "Ursa Cine 65" since the 65mm sensor is going to be a whole lot more exciting to most people than telling them it has a 17k sensor that they will mostly use in 8K or 4K mode. Just about the only competition on the market, the rental-only Alexa 65, is a 6.5k camera. That is, of course, unless you're selling something to be used for projecting on The Sphere in Vegas. Then I guess there's a single camera that's competing - like literally just one body, as far as I know - that 18K thing with the 75x75mm or so sensor. I've been a bit tempted a few times now to try to rig up something with a medium format ground glass or a 4x5 GG, similar to an old DOF adapter for camcorders. I remember Gale had the Forbes70 which worked that way and there have been some 8x10 projects to do the same, like the FZero from Salazar and the one that Media Division put together. I should probably just go through my pile of project cameras to see if I have a pretty clean GG around and just do it...

At least Red choose some catchy names V-Raptor,Red Raven,Dragon,Helium,Gemini,Monstro,Komodo,Gemini,Red Epic

I'm not sure what "a modern approach" is, but iMovie and Luma Fusion are both pretty straightforward and unbloated from what I remember - and they both run on Mac. I'm not sure if either one has a lut editor, but 3d lut editor has been pretty good for a while now, hasn't it?

It tries to do too much, and dates originally to 2004. A modern approach is needed. New ideas welcome!

Shotcut (a free cross-platform NLE) might give some inspiration -- good clean UI which is intuitive to use if you just keep the dockable panels you really need: https://shotcut.org/

Sometimes it feels as if Resolve is a sledgehammer to crack a nut, and as for Adobe... less said the better 🙂 What is missing, I feel, is a quick turnaround NLE for the Mac. My plan is to make a couple of apps: - A Quick NLE, no fuss, no magnetic timeline BS, just works - 8K,4K, ProRes, HEVC support, GPU accelerated, LUT support and a nice built in colour grading tool - A LUT Creator, import a RAW DNG Photo or V-LOG Video, and use colour grading tools to get the perfect look, export this as a Realtime LUT for your Lumix S9 or S1R II, and export as a plain old .cube LUT What features do you think are needed most? Bear in mind we're not throwing the kitchen sink in there like Resolve. My priorities so far are...Apple style UI, quick to use, GPU accelerated, no stuttering, a much more lightweight app than Resolve, Premiere or FCPX which does one thing really well and that's edit really well and without a lot of clutter. Suggestions welcome.

I really wish BMD would stop putting the maximum resolution in the product name! I make these jokes too about my own UC 12K ("finally, something for you to play on your 12K TV!), but in reality, it's just a really nice 8K/4K camera which has a bonus 12K mode for... mostly VFX shots. 😅

At this point Blackmagic should just buy ARRI and take over 🙂

In the interview he says they are not shooting in 17K ( at 3.4 mins) its about the sensor size and focal length and resulting look.

He's a very interesting director that's for sure

Which 17K displays will HBO customers be watching this on?

That’s a lot of the (my) reason for sure and because you need to often be right up in people’s grills, and then there is the distortion and massive hands… 18mm on full-frame is the widest I have and go for all of these reasons plus, I just don’t like the look. Never have. But when used for ‘artistic purposes’, ie, ‘intent’ that is a whole other thing.

Sure, slow zone focusing lenses are definitely a possibility. I used that exact lens for part of my YouTube review of the Z Cam E2c if I remember right, pushing the compact-ness of the body/setup. It's a potato, but it's alright in the context of "it's a body cap you can use to make photos." You could also go the route of MS Optics-style designs. I have their 21/4.5 triplet and there are most definitely compromises to get it as small as it is, but it's also a really fun lens with better quality than the Olympus cap (and full frame-ish coverage). A design like that one or their 24/4, but stopped down to f/8 could be interesting. Indeed - and I don't think they've said that the images are SOOC. It's hard to know how much editing was done with the moon shot. It's also not out of the question that an auxiliary lens was used to make it more telephoto. This is the importance of waiting until devices are in the hand of real consumers before getting too hyped. There aren't many things that I'll preorder and the number gets smaller every year, getting replaced by the number of things that I'll wait are available used for at least a 20-30% discount. X-M5 for $900? Shrug. X-M5 for $824-874 on mpb? Get bent, mpb. X-M5 for $781 on adorama? Starting to move in the right direction... Yes. And the close-up stuff could, theoretically, be done with some of the nicer existing action cameras with a diopter.

Could do, I guess there are options. One thing that comes to mind for the vlogger crowd is having a small manual focus that goes between two useful focal distances, like vlogging distance and normal infinity focus. This is how the Olympus 15mm F8 MFT pancake lens works, and it's surprisingly functional. It sort of sits in that middle-ground where you need to adjust focus because you can't get 30cm to infinity in focus at the same time (like a normal GoPro), but the DOF is still deep enough that you don't really need to have much control over it. In practice it's sort of like a switch where you're either at one end or the other. Looking at those GoPro sample shots, both the shallow DOF shots are relatively macro, so that doesn't need a large sensor or super-fast lens, but the moon shot might actually be the more difficult one requiring both a long focal length and also a larger aperture to get enough light. I don't really do astro-photography but the moon is approaching higher-ISOs I would imagine. Seriously though, there are probably 5-year-old android phones that could replicate both those images, so I'd suggest that most of what we're seeing is the hype and that GoPro shares the same definition of cinema that most YouTubers do.

Oh yeah, they absolutely do. And as the article you linked said, they look like optical shallow DOF instead of simulated! Another possibility is that they release two versions, one with a small sensor for the traditional action sports use case - and one with a bigger sensor for the vlogger crowd. If they DID release something like the Z Cam E1, but with a modern SOC supporting 10-bit, a flat profile, and a decent H.265 implementation, I'd be excited for a GoPro for the first time in years.

All true, but the sample images from the promo video all have shallow DOF, so that means another kettle of fish entirely with AF and/or focus guides (peaking etc). I'd question if it might have lidar rather than PDAF etc, but it's a GoPro, so let's just assume it's 95% marketing and only 5% actual specs, like almost everything else about their cameras (no proper log profile, barely-passable bitrates, etc).

If the sensor is getting that big, focus is going to be a problem. On 1" sensor action cameras with a fixed focus range, there's already a problem where manufacturers need to choose whether to optimize for the 2-4' range when someone is filming themselves or the 8'+ range matching traditional action camera usage. I think they all optimize for the longer range and sell you a diopter if you want to self-film. Users don't seem to love using diopters. So if they're bigger than MFT, they're going to need autofocus or a whole series of lenses with preset focus distance and (probably) slow apertures to keep DOF usable. Autofocus is problematic for a camera that has associated itself with action sports. The mechanism would need to be able to take a pretty gnarly crash at speed, but also even if the AF is great, people are accustomed to deep DOF from them - will they be unhappy when their footage of their buddy doing some crazy move is trashed because the camera decided to focus, instead, on a passer-by? Preset focus distance lenses are less of a concern for reliability since they're pretty similar to the diopters currently used, but they do have the problem that the user needs to start recording with a pretty good idea of their focal distance and they also need, necessarily, to be pretty slow lenses so that the user will stay in focus while moving/talking at a distance of 2-4'. If I were GoPro, I'd be way more likely to follow the approach of phones - use a second sensor to build a depth map and allow setting focus in post. That said, a camera that small with such a big sensor and, ideally, swappable lenses, would be a dream for me. 😅

YM Cinema did an analysis of it: https://ymcinema.com/2026/03/18/gopro-next-gen-large-sensor-action-camera/ This image shows the sensor.. If we assume it's the same size as a normal GoPro (at around 70mm) then that looks like the sensor is about 20mm across, which is a crop factor of about 1.8, so very slightly larger than MFT. If the camera body is larger then it looks somewhere between MFT and APSC. Based on how far Apple has pushed its sensors with Apple Log and how far things like the GH7 etc are, there's the potential for genuine image quality. What there won't be however, is the potential for GoPro to go "oh, we'll just provide an adapter for you to mount any other manufacturers lenses on this bad boy!" and not cash in by providing an entire line of overpriced lenses to keep you locked in their 'ecosystem'.

It reminds me of how the people that do rug cleaning videos name their cleaning equipment. My favourite is this:

Wides are a completely different thing depending on the circumstances. If you're hand-holding and moving around for video it's a completely different beast than doing stills or doing video but on a tripod with very careful camera placement and subject movement etc. I also think it's pretty difficult to make wide angle lenses look professional - that demo from ARRI showcasing their ultra-wide zoom had more "amateur with an action camera" vibes than a shallow-DOF 85mm portrait shot from the standard video mode on a 5DII. This is the elephant in the room for amateurs - the pros choose equipment in support of the vision of the project whereas amateurs choose an aesthetic and then use it for completely inappropriate projects.

Not a very good interview but the short and curly of it is The URSA Cine 17K 65 retails for approximately US$29,995. In contrast, the Arri Alexa 65 is unavailable for purchase and must be rented, with high-end productions often spending hundreds of thousands on camera packages.

Very refreshing to see a movie made in a way that abandoned established norms.Having learnt the hard way how difficult it is to use a 19mm for landscape stills I couldn't help but notice "many of the ultra wide shots in poor things have no foreground compared to a still shot in landscape photography". The lens seems to be used to help create a surrealist world. Yorgos film "The Favourite" is a damn good film as well.

It sounds like an off-Road vacuum cleaner.

Enjoyed the movie and in this instance, the use of the extreme wide angle lenses, but generally dislike using wide myself and anything under around 30mm is pretty extreme for me. Or maybe I should consider making a Poor Things style wedding video as a new trend to take over from the Wes Anderson one…