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Streamlining the regional division is an internal matter and shouldn't send uncertainty message to customers. But regardless of the recent event, its been known for years that they are more inclined to jettison businesses that don't make money or see no growth in horizon rather than saving a struggling business with god knows how much debt. Is it? Hollywood has audience problem, not a money problem. The number of shoot days in Los Angeles decreased, but its only in TV/Commercials, which is not necessarily a Arri market. Feature film shoot days are actually increasing.

I don't think is actually a sign of much anymore. It has more to do with stream-lining the European division. Panasonic is already a partner for ARRI. If they have the cash, that would be great though! Then again, why would they need that? They've already got ARRI Log in their cameras! How could they improve- they already have the best? Maybe they should just give us that S1Hii? Anyway, ARRI closing factories is more about Hollywood than a dysfunctional company.

As far as their lighting goes, since about 2 years ago I've been seeing Aputure and Nanlite products trickle in on big film sets, I think this was bound to happen. Also IMHO I don't see a single camera company fit to take up Arri!

Thanks fellas. I think I have worked out why I cannot get this to work and that is because I cloned the settings from Cam A to Cam B so they are identical...including file numbers...so the software is only allowing the footage to be shown as 'everything' from Camera A and THEN everything from Camera B. I went into my photo sorting software, PhotoMechanical and changed the file names and then managed to reorder everything once the material from each camera had a unique name. I will only know for sure if I reset each camera to start with say A and the other B and then C etc which is what I had previously and never had this issue before. So almost certainly me as expected 🤪

Let's not forget Nikon had no cine line, it was a clean buy with zero conflict of interest. Canon and Sony already have full cinema lines, so buying ARRI would create instant internal turf wars. Canon’s C-series and Sony’s VENICE would clash hard with the Alexa pipeline. At this point the wild card that makes the most sense is Apple. They could scoop ARRI up without blinking, keep it running as a prestige pro division, and then quietly bake LogC + ARRI color science straight into the iPhone Pro pipeline. Zero internal conflict, huge marketing flex, and a perfect fit with Apple’s long-term imaging strategy.

My understanding was that this is related to their decision to reduce their activities in the lighting and grip side of the industry, not cameras.

They're already closing down their pro services, and no way they invest in a zero growth business when they kill their own zero growth businesses. Canon can't do it. That would be all against their ego. They and their customer base believe Canon color science is best in the world, and thats why they have 50% market share. They're like "we ain't need nobody". Sony will have a integration nightmare if they do it. Arri systems are in conflict with the whole Sony line up. Also it would be an official admission that the electronics/AV giant couldn't get the color science right and eventually had to go shopping. Nikon acquisition of RED unintentionally made this perception that its a preferred approach in Tokyo. But it isn't. Nikon had to choose between two costly options and the acquisition was cheaper. In China, its only DJI who can gain a lot with Arri reputation in its arsenal, but I don't think Germans are comfortable with giving away this German icon to Chinese. Zeiss would be the perfect owner. A German brand with enough money, so the brand stays in the country, and they're heavily invested in high end part of the cine market.

If Panasonic would wake up, they could be the ones to get their hands on Arri. They already have a collaboration for the color profile, and Panasonic no longer has the professional division. But, as you say, the old Japanese guys have completely lost their minds. Could it be a Chinese company that pulls off the big coup?

Wow! This is surprising to me. Maybe the market is saturated for that type of camera.

ARRI are closing two factories in Germany. https://www.eoshd.com/news/arri-closes-factories-contemplates-company-sale/ The ALEXA factory remains for now. 150 jobs are to go. Reasons for this and words from ARRI's spokesperson are in the article above. But in a nutshell they really need saving - and like Nikon buying RED, it should be Sony to do it for ARRI. They will lead the cinema camera world if they do. The question is will there still be a cinema camera industry if the current pace of collapse continues?!

I find the higher LCD dot spec a bit dotty as 3 inch is too small to see the difference. What does matter is the live-view quality - scaling, focus aid quality, and that kinda stuff. It would be nice to see a ZR size screen on a stills camera one day. Hell even in the 90s they had 4 inch LCDs on consumer Handycams.

It’s really good fun to shoot with too, especially with small manual primes (Thypoch Simera-c).

I am one of the weirdos that bought an fx2. Sold my FX3 for it which may sound very strange! I wanted the viewfinder and a more detailed image plus the ability to crop. The bonus is that it is a great stills camera too. I paid £2050 through Panamoz which I think is a pretty good price for what you’re getting I.e a hardy, proven, no fuss image gatherer which is what I need for my very unsexy corp jobs.

Add "Creation Date" to your project's MetaData Display Tabs. Now, if you're wanting your video clips to be icons and also sorted this way, you can toggle to list view, sort 'em, then toggle back to icon view. They should then be in your desired order at that point. FWIW, it's not a bad idea to dig into the meta stuff in premier's metadata window; pretty granular. You can set 'dynamic' values on clips for all sorts of useful organization.

Inside of Premeire Pro you can sort on Creation Date if you add that from the Metadata Display.

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I might be going mad, but I cannot find a way to do the following… So with stills, whether the material is from 2 or 3 cameras, I can sort footage by date AND time, down to the second at least so as long as the cameras have been synced for time, all good. With the video footage, I only seem to be able to do it by date, so in the folder I am going to cherrypick clips from to add to my timeline, I might have: 200 clips from Cam A followed by 150 clips from Cam B followed by 100 clips from Cam C all shot across say a 12 hour time period. Having to trawl backwards and forwards is an utter pain but all I can find are links to organisation by date only. Premiere user if that makes a difference. Any help appreciated and it’s probably one of those stupid things where once I have the answer I will slap my own head!

If you had my eyesight and shoot exclusively off the rear LCD in both bright sunlight and super low light…

Oh dear 1 million dot not 2.3 million dot said no-one ever 🙂 You have to be a bit dotty to be bothered by the difference.

Nice work 🙂

Just one dealbreaker for me with both the A7iv and the FX2, - the rear LCD. I would rather it was fully articulated like the A7RV, S1H, S1II etc, but it’s not. Not a dealbreaker on it’s own. But just 1 million dot? That’s a more than a bit shit, especially re. the FX2 as it’s APSC cousin, the FX30 has a 2.3 million dot LCD. If I was going to go in a Sony direction for my needs, it would be back to an A7RV for stills and a pair of FX30’s for video. And my old trio of Tamron zooms I dearly miss…

I've been using Flexible Picture Controls in the NX software, have made some Fuji emulations for my Nikon Z f. The latest processor Nikon cameras - Z6 III, Z F, Z8 and Z9 are the only ones that support the Flexi colour profiles. You get plenty of control - custom curves, HSL, colour grading for shadows, mids and highs. You have to be really careful with it though, because all the colour processing seems to be done in 8bit. It has a somewhat brittle processing pipeline, presumably designed for speed as they have to work at 4K/120p for example on a mid-range cam. It is not a patch on what Panasonic has done with Real-time LUTs. But it's a start and you can get some nice results. So far all the RED colour science and codec stuff from Nikon has a faint whiff off BRANDING EXERCISE about it. It's not really quite authentic. R3D on the Z R is basically just NRAW. And the LUTs are just, well... RED branded colour grades. You can do all that yourself on a Z8 with not a RED badge in sight.

Been looking at ditching my m4/3 cameras (OM-1, GH5) for something better in terms of IQ and AF. They've been reliable in terms of not overheating or losing files (same as my Sonys), but the quality is meh at best. OM-1 worked well enough for handheld stuff in terms of AF and IBIS, but the quality from the camera is the worst out of my lineup (A7 III, A6600, OM-1, GH5, R50V). Poor excuse for Log, digital patterning in the noise structure. GH5 is just noisy once you start cranking the ISO, and at least 50% of the events I shoot are in low light. Wondering if the R7 and R8 were reliable, as I've read about issues of overheating around launch (like many Canons), but not much news afterward. Plus, there are now plenty of fans out there to add on back, which should solve the problem in everything except maybe summer sun. And yes, I know the R8 is crippled with a 2hr time limit like my R50V. I rarely need more than 2hrs, but I can (most likely) trigger a restart with an intervalometer like I do with my A7 III.

Blimey if ever there was a GAS curing end-game camera it's the a1 for that price. It has the spec to last until about 2050! It's smaller than the Z8, more nimble ergonomically and has better colour science (I am not joking).

I don't think there's much wrong with the slower sensor to be honest, I have come round to it, and I really like the FX2 as well - the images speak for themselves and it's one of the only cheap cinema cameras with both a proper EVF and mechanical shutter, and we all know that hybrid is where it's at... And again worth saying that unlike Panasonic S1 II - it is in the body of the flagship pro camera, not in the cut-price shell of a mid-range consumer camera. The partially stacked sensors are of course the current cutting edge, a7 V will be great but only if you NEED the speed. I don't shoot much 4K120p or 60p. Cinema 24p is still my most valued spec in terms of frame rates and as for 30p, it is still a TV / YouTube frame rate and doesn't look cinematic. Getting all this sensor talk in perspective, we'll go back to the very start. Canon used a Panasonic CCD in their first 1D DSLR, their own pioneering CMOS tech was not yet ready in time so they switched plans. Then, from the first Canon 1DS it was ready to go - BUT CMOS at this time was much slower than CCD. The 1D classic is the only FAST pro sports cameras ever made with a CCD! In the following years Canon were able to go from behind with CMOS and take the speed crown away from CCD sensors. The in-line A/D line-by-line readout tech of CMOS is what enabled video. Sony in 2005 commercialised their first CMOS sensor in the Sony R1 APS-C bridge camera. It had video only in terms of it could do live-view. The 10MP raw photos still stand up today. The way CMOS handles dynamic range is also different to CCD - a linear sudden blow-out in the highlights, but on CCD a more film-like non-linear and gradual highlight roll off and it was not until the Sony a7r III in 2018 that CMOS started to match CCD for colour fidelity and latitude. That is 18 years of development progress. The a7 IV sensor is a faster version of one of that chip, one of the most groundbreaking sensors of the last 25 years. 33mp instead of 42mp, but it sped up to enable a 7K full width pixel readout rather than pixel binned 4K. In 2025 it's still one of the only mid-range cameras to go past the 24mp mark. I think for £1500 that is a decent offer? Have you seen the a7r III's images? It's absolutely stunning, in some ways beats an a1 and z8. The a7 IV's "slow sensor" is at that level. From those very early days in early 2000s, video took another 8 years following the debut of CMOS - first with the Nikon D90 and then with the 5D Mark II. It took a further 6 years until 2014 for anyone to make a 4K capable full frame CMOS sensor. The a7r II was the first to do oversampled 5K->4K in S35 mode and full frame pixel binned 4K. Oooooodles of stuff has been shot since on this camera and on many other cameras with a similar level of rolling shutter. Of all the specs I care about, rolling shutter only occasionally presented itself as problem in the real world. I've owned countless full frame cameras... Panasonic S1, S1R, S1H, Sony a7s III, Sony a1, Nikon Z9 and Z8 but sold all of them. The only mainstay for me is the GFX 100. The only thing the faster Sony and Nikon cameras offer to the creative process, is speed and less rolling shutter. If action sports and slow-motion is your bag then great. When the a9 III with global shutter (and the slightly noisy base ISOs) comes down to under £2500 I might consider one of those but until then...For cinema... I think the a7 IV and FX2 are the best images you can get for the price. Although the Panasonic S1H has the edge in low light, and for HDMI RAW output to a hateful Ninja, it lacks the autofocus, the ecosystem of E-mount, and also of course the small and light body size.