Emanuel

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! : -)

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

Remember what kye wrote about ;- )

All hail Chinese camera menus! : ) A bit hard to beat Blackmagic anyway...

Z6 III vs ZR, you said? Both are full frame, both use the Z mount, both have subject detection AF for 9 subject types, and both offer internal RAW up to 6K/60p. The Z6 III has a 24.5MP full-frame sensor, and the ZR also uses a 24.5MP full-frame partially stacked sensor with EXPEED 7. From there, though, the split becomes pretty obvious. The ZR is the one Nikon has shaped as a compact cinema camera. It gives you internal R3D NE, RED colour science, Log3G10 / REDWideGamutRGB, 32-bit float audio through the internal mic and 3.5mm jack, plus a 4.0-inch screen designed more for actual filming without leaning as heavily on external accessories. Nikon is very clearly positioning it as a compact cinema body. The Z6 III, on the other hand, is much more complete as a stills camera. It has a 5.76M-dot EVF, burst shooting up to 120fps, Pre-Release Capture, mechanical and electronic shutter options, and up to 8 stops of stabilisation with Focus Point VR. It is simply the more all-round camera of the two. Physically, the ZR is noticeably smaller and lighter at around 134 x 80.5 x 49mm and 540g body only, or 630g with battery and card, whereas the Z6 III is larger and heavier at roughly 138.5 x 101.5 x 74mm and 670g body only, or 760g with battery and card. The viewing setup also says a lot about the intent behind each one. The Z6 III has an electronic viewfinder and a 3.2-inch vari-angle screen. The ZR goes the other way with a 4.0-inch rear monitor and is not really being sold as an EVF-centered body at all, but as a video monitoring-first tool. Audio is another area where the ZR is in a different class, because the 32-bit float recording is a major selling point and still quite unusual in this form factor. The Z6 III has serious enough audio for video work, but that is not one of its defining features. Even the card slots tell the story. The Z6 III uses CFexpress/XQD plus SD UHS-II, while the ZR uses CFexpress/XQD plus microSD. That alone already says a lot about the difference in philosophy between a photographic hybrid and a compact cinema camera. The Z6 III is still the more rounded hybrid camera, while the ZR looks much more like a compact cinema body built primarily around video use. On paper they overlap in some important ways, because both sit in the same broad full-frame Z-mount ecosystem and both are clearly meant to appeal to shooters who care about strong video features, but the intent feels different. The Z6 III is the camera I’d look at first if the job includes serious stills as well as video, because it gives you the EVF, the more conventional hybrid ergonomics, the stronger photographic identity and a much more all-purpose way of working. The ZR, by contrast, seems aimed at the person who is leaning far more into filmmaking and wants a smaller cinema-oriented body, RED-style workflow influence, more specialised video tools and a more stripped-back approach that is less about being a do-everything camera and more about being a focused moving-image tool. That is really the core of it. The Z6 III is the safer all-rounder. The ZR is the more interesting specialist. So if somebody mainly shoots photo and video in equal measure, I’d say Z6 III. If they are really after a compact cinema camera in Nikon form, then the ZR is the one that makes more sense.

Landed. Hold your horses. Pro version is coming soon...

In a word, something I'd find useful to see (now with AF, BTW ; ) from their hands: IBIS.

Yes, Z8 is a temptation. And now ZR... : ) However in my case, the Blackmagic 6K FF and the FX30 are both in a league of their own.

Slowmo modes are actually OOAK for this price range — 9600 pictures in 10 seconds burst of 1080p is something indeed: more than 6 minutes and a half going with 24p, oh well... To this day, it’s still the fastest camera sale I’ve ever made, though. Just look at the number of subscribers on their official YouTube channel. These are numbers and facts. +46.71% (+0.36) in the past 5 days...

Impossible to resist, I guess... source

Yes, indeed. Andrew is right. EU has paid a lot, straight to the schools and into their reps' pockets. Millions so to speak. Or literally to be more direct: Only from RRP in Portugal, a €2-billion program. Yes, a 10-digit figure! The numbers speak volumes... And as of last month of February, a mere half, yet : X

To those like me, this is the most important day of the year, so my best wishes to everyone!

I don’t advocate the use of technology — whether AI or anything else — without human intervention, obviously. The same here. It’s useless to debate this on its own, I guess : ) No doubts. Man, I am the guy who hates those bloody camera menus, let's not forget it! LOL Moreover, this oversimplifies the whole story. Not fair to anyone, AI included : D

I wish they could fix their Japanese design menus. The same for the other companies BTW. Not proper for cinema acquisition. Period. They could learn with Blackmagic.

LOL You're right, Matt : ) But his art goes beyond that anyway, as much as AI can. Without mentioning that cinema is also a written form, since writing is art too. (People of the image have always made the terrible mistake of minimizing it... BTW I’m here 'cause of Andrew’s writing style as well JFYI) With this technology, you can transform your pictures/shooting. So, craft stands. [No less for creation] Of course, with its pros and cons. A bit like 'A Gift for All Ages' film. Without all the earlier art made by Capra, for instance, it would have been something else, or perhaps it would not even have existed. :- )

Here you have straight from Mr. Vogel, Mike Vogel, Milady: Love this one BTW... Addressed to all naysayers : X

Kudos and fingers crossed. Looks like much more promising indeed from his noble background.

So far. Let's see soon what comes here next. Low light and overheating have been their Achilles' heel.

Pretty sure your guess is right : ) Would anything else make more sense nowadays? And here's the most recent teaser just released one day ago. 11.3 million subscribers there... WOW Twice the number of DJI and 8x the number of Insta360... Anything else to say? ; ) 'cause as of now, Insta360 and DJI action cameras clearly beat theirs.

Just follow the instruction manual. : D

"How Another Man REALLY Shaped Wong Kar-Wai's Aesthetic // Christopher Doyle" is a far better title... ; ) (>_<) WTF Lies?? Well, I (try to) follow the point but perhaps when the verb is irregular instead? : X oh gosh Wong Kar-Wai’s directing is just something from another world (FULL stop!) ...for those who truly understand its meaning. Cinematography is part of the filmmaking process, no doubt about that, but I tend to see the other, more distorted side of the debate: those who overlook who truly shapes the work, when the whole is much greater than the sum of its parts. - EAG :- )

Love your posts as contribution here BTW ; ) keep going :- )