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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.

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

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).

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.

I'm making films with it. I was recently offered enough for an upcoming feature that it would more than pay for the camera, but it would have also been like half their budget. I suggested a percentage instead - which will almost certainly yield less money, but allow that money to be spent to improve the parts of the film which are more important than my camera, which is most of them. 😅 Just footage in general? The most recent couple of shorts on my YouTube channel (https://youtube.com/eatstoomuchjam) were with the UC12K. Otherwise, most of what I've shot is in short films that are still in festival rotation. Between the UC12K and the GFX 100 II, I'm happy enough with both. If I'm on set, I'm most likely to bring the Ursa, Ronin 4D, R5, and Pocket 3. If I'm taking photos or traveling, the GFX or R5, maybe with the Pocket 3. If I need to travel lighter or be more inconspicuous, the Komodo-X and/or Komodo, probably with the Pocket 3. I'm thinking about taking the train to Chicago to do a 48 in a couple of weeks. If I do, I'll most likely bring the Komodo-X and Pocket 3 with my DJI Mini 3 Pro - that's an entire shooting setup that easily can fit in a backpack, more or less - and with EF lenses, I can use the Canon VND adapter when outside and the Canon focal reducer when inside.