ARRI sold to the Riedel Group

[Aussie Ash]

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.

[kye]

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!

[kye]

 

[BTM_Pix]

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.

[fuzzynormal]

6 hours ago, BTM_Pix said:

hoping a bit more of a dynamic company might buy them and filter their products down to our level

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.

[kye]

10 hours ago, fuzzynormal said:

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.

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.