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ARRI has the secret life essence -there is strong parallels with this scene from Dr. Strangelove !

Fascinating, and reassuring too. This is why I concentrated on colour grading - the hardware was good enough and the gap was squarely with me. Can you shed any light on what colour grading / image processing was done to get an acceptable match? Was there any particular way you shot with the GH5, or lenses etc you used in order to get it to match? I would think (if it was me) that going out shooting with a GH5 knowing it would have to be intercut with Alexa footage would trigger lots of thinking about how to best go about it so it would be good enough.

It's an interesting update for sure. While I find the upgrading process to be too much of a PITA to upgrade unless there's a killer feature in the next version I really want to use, there are a few things in there that are interesting from an AI perspective. The first is the AI Face tools, with AI Face Reshaper & AI Face Age Transformer. This is interesting because it shows their ability to track and understand faces is vastly improved from the previous generation of Face Refinement tool, which was obviously designed to have very soft masks because their tracking wasn't that great. I did an excellent course in Beauty Retouching which used Resolve and basically you apply different treatments to each area of the face as each has a different tone/colour/texture and you had to mask each one manually yourself. The ultimate would be for the AI face tools to detect the face and output a mask for each area of the face, automating the masking/tracking. The second is the Adjust Focus with AI CineFocus, which simulates a shallower DOF, and is a combination of a blur plugin with their depth map plugin. When the depth map plugin came out I tried it on some deep DOF shots to see how it did, and the results were worse than the iPhone 'cinematic mode' with the edges being a very obvious blurry transition, and you couldn't apply anything more than a barely perceptible blur before the edges ruined the shot. The fact this is now an integrated plugin means it's gotten better to the point they're willing to put it forward for this application. It's probably still a long way from blurring the background but keeping each hair on the subject in-focus, but it shows increased confidence. I know they are also doing tonnes of little things in the background too. I went through a phase of posting to the BM forums and suggesting features as I came upon things that annoyed me, and to my amusement I had professional colourists (including from Company3) reply and say they've been suggesting the same improvements to BM for year after year, and I notice that a number of these have gotten fixed in the last few versions. Still, there are gaps in the things I'd really like. One is the stabilisation, which can't handle any kind of shot that isn't perfectly rectilinear, and has no support for removing rolling shutter etc. This is possible, and I went down a deep dive at one point some years ago looking for a solution and there was a product that did it flawlessly, but the product was in the thousands-of-dollars price range so wasn't worth it for me. The stabilisation also lacks the ability to stabilise the tilt/pan/roll/zoom in different amounts. If I shoot with the BMMCC and an OIS lens for example, the lens stabilises the tilt/pan quite well but has zero roll stabilisation. I'd like to stabilise the roll almost to 100% to keep it almost perfectly fixed, while also stabilising the tilt/pan maybe 40% just to smooth off the rough edges. This isn't possible, except if I build something in Fusion, which apart from forcing me to learn Fusion, also requires I go into the Fusion window to track the shots as well, I can't build a custom OFX and then apply it in the Edit or Colour page. I don't know why BM didn't just make the stabilisation occur in a node, that way you could just apply it several times however you wanted, but it's a 'special' thing that happens once in the image pipeline, and once only. My biggest wish for Resolve 22 is lens emulation. Like the Face and CineFocus tools, the lens emulation ingredients are all there if you combine them yourself manually, but integrating them into one plugin would be pretty sweet!

open gate & internal SSD but only manual focus

Huh. A Sub-$3k cinema body in that form factor could be really compelling. The big question now will be what sensor they put in there. If it's an IMX410, it'll be big shrug from me - but if it's a newer sensor, maybe the one used in the S1 II, and they have 10-bit ProRes and, ideally, some 12-bit codec, it could be a compelling product. Otherwise, the Nikon ZR exists, costs less, and can be shoved into any of the same spaces that the Vista would fit in. Also has decent face detect AF which is really useful when the camera's shoved into a tiny nook/cranny.

It deserves subtitles translation, just in case you don’t speak Portuguese: Sorry, I couldn’t resist. Really. We live in incredible times today.

https://www.blackmagicdesign.com/media/release/20260414-01 In Portuguese. In conclusion, now in English: The big leap in Resolve 21 is this: it is no longer just an editor and colour-grading system for video. It now also includes a new Photo page, designed for still photography, with album management, node-based grading, crop and reframe at original resolution, tethered capture with Sony and Canon cameras, support for LUTs and Resolve FX, and collaboration through Blackmagic Cloud. On the AI side, the package has become much more aggressive. It now includes IntelliSearch to find people, objects, and even words spoken in dialogue, a voice generator from text, CineFocus to recreate depth of field, Face Age Transformer, Face Reshaper, skin-imperfection removal, automatic slate reading with AI Slate ID, UltraSharpen, and Motion Deblur. In the Cut and Edit pages, the most visible additions are improvements to keyframes and curves, the ability to adjust Fusion effects directly inside those editors, native support for HTML and Lottie graphics, improvements to Text+ and MultiText, and more practical smart bins for filtering footage in the Media Pool. In colour, VFX, and audio, Resolve 21 adds MultiMaster Trim Manager to generate HDR and SDR versions from the same timeline, Magic Mask render in place, list and layer views in the node editor, and group versions for grades. Fusion gains the Krokodove library, improvements to the macro editor, and an updated USD toolset. Fairlight adds track folders, 6-band clip EQ, EQ and Level Matcher, and Chain FX. For creators and modern workflows, there are ready-made square and vertical resolutions for social media, direct upload to YouTube, TikTok, Vimeo, and X, support for IntelliScript with Final Draft, import of ATEM Mini ISO projects, and major reinforcement of immersive workflows, including VR180 and VR360, Panomap, ILPD retargeting, MainConcept H.265/MV-HEVC, and foveated rendering for Apple Immersive. In short, Resolve 21 seems to be three things at once: more useful AI, tighter integration between areas that used to be separate, and a much broader opening toward photography, creators, and immersive content. Blackmagic itself presents this version as a major update, with the new Photo page, dozens of new features, and many usability improvements. This is no small improvement. And who said they were focused only on the SMPTE crowd?! ; ) LOL Amazing upgrade, kudos to them! : -)

some very pertinent comments in this previous thread .

This is the current strong competitor to them... https://www.notebookcheck.net/Insta360-Luna-Ultra-video-launch-date-leak-12x-zoom-to-challenge-DJI-Osmo-Pocket-4-Pro.1277393.0.html

https://www.newsshooter.com/2026/04/12/lidarac-app-for-the-tilta-nucleus-nano-ii/

Here's an anecdote regarding our level: A-Cam was an Alexa Mini on a documentary shoot. The cinematographer didn't really get enough variety for the storytelling the director wanted. We tried to make it work in the edit booth. Couldn't do it. Late in the edit/production when the budget had been burned, the two of us went back into the field to get necessary pick-ups. Those pick ups ended up covering close to 1/3rd of the film. All the footage was cut together, color graded, and released on one of the major American TV networks. Every shot looks cohesive. That pickup stuff was done with my used, ebay purchased, 9 year old GH5. And there ain't no way anyone watching that film could readily tell the difference between the two. That said, anybody got one of those Alexa-Minis laying around they want to give me? I'll trade you my GH5.

Hopes dashed for anyone hoping a bit more of a dynamic company might buy them and filter their products down to our level then. This is possibly the driest takeover imaginable. Riedel make Leica look like The Sex Pistols.

CineD posted this interview. I haven't watched it yet, as I'm not exactly in the market for an ARRI anything, but I'd be curious to know if there are any plans in there to go for smaller cameras.. With MFT bodies getting larger and larger and ARRI bodies getting smaller, maybe we're at the point where they will meet!

April 8th is workforce reduction announcement and April 14 th is new product press release day

from Riedel group homepage https://www.riedel.net/en/news/news-detail/thomas-riedel-acquires-arri#:~:text=Under the new ownership of,and remain headquartered in Munich.

Yeah. I'm not saying that releasing something different might not help raise stock prices, but canning nearly a quarter of their staff probably had a lot to do with it. I don't think your average investor, even one for GoPro, knows all that much about the camera market overall to know the significance.

Unfortunately the Beta phase via Testflight is full and you can't join anymore it seems. I hope it'll release soon to the AppStore as it's a lot more useful than the official Nikon app.

I think laying off 23% of it’s workforce has had a lot to do with the share price rising. Those finance vampires love people losing their jobs.

Yeah, agree with you, and you should have fun with your lens choices - some cool stuff in there. One thing you might have fun with is matching the 9mm PanaLeica to your less clinical lenses, I have the 9mm and it's incredibly sharp - my sharpest lens by a long shot I think. Just remember, amateurs ask "what is the best way to sharpen your footage?" and the pros reply "actually, I soften the image on most projects I grade". I find the GH7 to be almost invisible, which seems bizarre when you consider the size and weight of it, but it's true. With my AF zoom lenses I find a composition by eye, raise the camera, adjust the screen if required, adjust the zoom, hit the AF-ON for it to focus, check the histogram to make sure exposure is good and adjust vND or ISO if required, then hit record. With manual lenses I do the same thing but normally hit record then manually focus the lens. In situations where the light isn't that variable, it's just a matter of vND -> hit record -> focus. It's like the camera is just a screen and a record start/stop button on it, and the rest of the action happens on the lens and in front of the camera. The experience is more like I'm operating a lens rather than operating a camera. People talk about how complicated the menus are in this camera or that camera and TBH I don't really know what they're talking about. You buy a camera, work out what modes you might be interested in, test them, then choose which mode you'll use and save that to a profile, and from that point on the camera is essentially a box where you only adjust something once in a blue moon. The reviewers act like you're taking one shot in 48p 5.7K Prores HQ V-LOG and the next in 23.976p 1080p h264 HLG and the next in 30p C4K h265 in Sepia or some BS. Quick - the bride is about to walk down the aisle - change settings! Why can't I assign the shadow slider in the picture profile menu to a hot button?!? It would save me so much grief!!

Their share price is up by 170 % compared to a nasty low in March so I think your theory is right ! Put on a show for the shareholders and speculators !!! They have lost market share as well

https://www.bhphotovideo.com/c/product/1964095-REG/gopro_mission_1_pro_ils.html A "dumb" m43 mount on 1"? Honestly, from my perspective, it's a perfectly fine idea. If people out there don't understand why a dumb m43 mount is going onto a 1" sensor, those folks can just stick with GPro's fixed lens offerings.  For those that know how to utilize the tool, it'll be fine and even a bit more than adequate -- as the people that'll use this gear/mount aren't really fretting about AF or e-iris. The big thing here, I think, is that with adapters you can put anything on there now. FF to C-mount. Hell, go back decades and buy some of the lenses camera companies were putting on their NTSC video cams, if that would work.   Whatever.   That said, my speculation is that they're not even that interested in this camera doing anything special sales-wise in the marketplace. Most likely this iteration of their product is a loss leader put out there for bragging rights. Basically, like, "Look, our products are a serious cinematic tool now!" "Lenses!" "Prestigious-Lens-Brand-This!" "Prestigious-Lens-Brand-That!" The real value in that sort of BS, in this era of YT marketing, is more than worthwhile. As for sensor size, the best footage I ever filmed in my life was captured on 1" sensors. So, it's hard for me to by too concerned about a small'ish sensor -- as far as that ever matters anyway.

🤷‍♂️ sexy as fcuk ? Perfectly legitimate reason to be honest.