For those who don’t know the companies: ARRI develops, builds and sells cameras, lenses and lights for high-end productions on sets and son tages. Riedel Communications builds live production networks and intercom gear, so the handshake targets end to end capture and delivery.

What actually changed

Thomas Riedel, founder and owner of Riedel Communications, acquired ARRI, the Munich-based manufacturer of camera and lighting technology for motion picture and live entertainment (Just a point: ARRI is literally 8 minutes on foot from the Digital Production Headquarters).

The acquisition links ARRI closely with the Riedel Group, with the goal of expanding expertise across the production chain from camera optics to distribution. ARRI’s camera, lgihting, and systems technology are complementary to Riedel group’s audio, video, and data technology portfolio used in broadcast, live event, and sports productions.

Ownership, headquarters, and who stays in charge

ARRI remains headquartered in Munich. The company keeps independent operations. The existing management team continues to lead the company and continues its ongoing transformation under the new ownership.

Thomas Riedel describes the acquisition as the most significant personal milestone of his career so far, and says his entrepreneurial path has been closely tied to ARRI for years.

The near term production hook: Eurovision

The first named milestone is a planned debut of ARRI camrea technology at the Eurovision Song Contest, in a setup where NEP oversees production and Riedel serves as the technology provider. The release positions this as an early example of the collaboration’s focus on live entertainment and sports, with an intent to develop integrated solutions by combining respective technologies.

ARRI in one paragraph

ARRI was founded in 1917 and has been family owned since then. Dr. Walter Stahl, Managing Director of ARRI GmbH and a member of the founding family, states that the company’s success story will continue and remain in German ownership.

The company is a global player in motion picture and live entertainment industries, named after founders August Arnold and Robert Richter, with headquarters in Munich and additional subsidiaries in Europe, North and South America, Asia, and Australia. The group structure is Camera Systems, Lighting, and Rental business units. The product portfolio includes digital cameras, lenses, lighting fixtures, apps, and accessories, plus services via a worldwide distribution and service network. ARRI’s virtual production and workflow solutions are described as boosting efficiency for studio operators, producers, and corporations.

Awards include 20 scientific and technical awards from the Academy of Motion Picture Arts and Sciences, and six Engineering Emmys from the Television Academy and the National Academy of Television Arts and Sciences. As well as a literal wall of others.

Riedel Communications and the live production angle

Riedel Communications is a provider of live production tools spanning distributed video and audio networks, intercom and replay solutions, and WAN and MPLS applications.

The company is headquartered in Santa Clarita, California, with global headquarters in Wuppertal, Germany, and employing over 1,000 people in 30 locations across Europe, Australia, Asia, and the Americas.

MPC’s Cold Storage

MPC Paris delivered 575 shots on Cold Storage, from invisible fixes to slime, creatures and a nuclear finale. But how?

09.03.26

Realtime Department’s UNIQVUE: The Software Layer Behind Turnkey Corporate Studios

Hardware is nothing without brains. Realtime Department’s UNIQVUE adds the software intelligence to ARRI and Samsung’s turnkey corporate studio. Christoph Gockel explains how.

12.09.25

Panasonic Brings ARRI Log C3: A $199 Key Opens Cinema-Level Color

Panasonic’s DMW‑SFU3A key adds ARRI‑certified Log C3 to LUMIX GH6, S1II, S1RII, S1IIE and GH7.

25.07.25

More ALEXA 35, Less Budget—But Still ARRI

ARRI introduces the ALEXA 35 Base Model, a lower-cost version of its flagship ALEXA 35. The new model offers the same sensor and image quality but trims the price tag by making advanced features available as separately licensed upgrades.

29.01.25

ARRI Introduces ALEXA 265: Compact Evolution in 65mm Cinema

ARRI’s ALEXA 265 offers a lighter, smaller 65mm camera with improved dynamic range, low-light performance, and advanced workflow features.

06.12.24

The post Thomas Riedel buys ARRI first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Blackmagic Design develops cameras, broadcast gear, and postproduction software including DaVinci Resolve, Fusion, and Fairlight. The Blackmagic Camera Setup utility keeps their cameras’ firmware up to date, adds new features, and includes the Blackmagic RAW toolset used in Resolve and other DCC workflows.

PYXIS learns to cool itself

Version 10.0 of Blackmagic Camera Setup, released just now, introduces a dynamic fan control system for the Blackmagic PYXIS 12K. The camera now adjusts its cooling behaviour automatically while recording.

Pre-record and expanded audio arrive

Both the PYXIS 6K, PYXIS 12K, and the URSA Broadcast G2 gain a pre-record mode, allowing the capture of a few seconds before the record button is pressed, a practical addition for live and documentary work. All three models also now support four-channel audio recording, mono headphone monitoring, and a 0% opacity option for frame guides, giving operators the ability to clear overlays entirely when composing shots.

API, proxies and lens support updates

The update adds new Camera Control REST API commands, aimed at remote operation and integration with external systems. Blackmagic also adds an option to inhibit proxy recording, which could be useful for locked-down or multi-camera workflows. For the URSA Broadcast G2, 10.0 also improves Blackmagic Cloud integration and B4 lens compatibility. Blackmagic has not detailed the nature of these improvements, and they are not independently verified at press time.

RAW utilities and system requirements

The installer continues to bundle Blackmagic RAW Player, RAW Speed Test, RAW SDK, and RAW plugins for host applications. The update supports macOS 14 (Sonoma) and macOS 15 (Sequoia) on both Apple Silicon and Intel Macs, as well as Windows 10 and Windows 11 64-bit systems. Blackmagic lists 8 GB RAM as the minimum for macOS.

Updfated PYXIS Manual

At the same time, BMD updated and released a new manual for the PYXISI Camera – geht the full PDF here for free or have a look if you think about getting one of them. https://documents.blackmagicdesign.com/UserManuals/BlackmagicPYXISManual.pdf?

Practical reminder

As always, users should verify firmware stability and feature compatibility before deploying updates in active production environments. Never update during production, which we heartily recommend, because yesterday a Windows-Update made this news you are reading a hectic morning duty instead of a relaxed last evening thing. Also: Check yourt backups, while you are at it.

The post Blackmagic Camera 10.0 brings fan brains and pre-record tricks first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The add-on RetopoFlow version 4.0 from Orange Turbine has officially launched for Blender (minimum version 4.2 required). The update includes a “complete rewrite” of the add-on with tools now integrated directly into Blender’s Edit Mode (i.e., the standard mesh-editing mode) for a “fast, non-blocking” workflow.
Performance is claimed to be “massively boosted” thanks to new algorithms and streamlined hotkeys. Support for non-mesh objects (curves, NURBS, metaballs, text) has been added so topologies can now snap to surfaces beyond just polygon meshes. Most of the established tool-set from RetopoFlow 3 (Strokes, PolyStrips, PolyPen, Tweak, Relax) is present. However, the Patches tool remains absent from version 4.0 at launch.

Why it matters for production

Retopology (creating a clean, low-polygon mesh from a high-poly sculpt or scan) remains a labour-intensive step in many workflows. RetopoFlow’s sketch-based workflow (draw quads on the surface rather than manually place vertices) has been seen as a productivity boost.

By integrating directly into Edit Mode, version 4.0 promises fewer context switches (no need for separate modes or windows) and potentially tighter pipeline coupling with rigging, animation or asset export. The non-mesh support opens new workflows (e.g., converting NURBS text or curves into low-poly geometry) which may appeal in broadcast, motion-graphics or mixed-media asset work.

Licensing & system requirements

RetopoFlow 4.0 requires Blender 4.2 or later, Licensing is handled via SuperHive (formerly Blender Market). The source-code is under the GPL licence and binaries are optionally free via GitHub (though at time of writing the free binary had not been updated to version 4.0).
Pricing is the “Personal / Commercial” licence for a single user is US$86; “Small Team” (2-5 users) US$152, full team for US$426 and studio for US$ 1286

Get it here: https://superhivemarket.com/products/retopoflow

Upgrade discounts apply: users who purchased RetopoFlow 3 may apply coupon code retopoflow-og for 25% off. The FAQ adds: during beta the upgrade price for existing users is about US$45 (after discount) if combined with promotional pricing. As with any tool update in a production pipeline: it is advisable to test thoroughly before full studio rollout.

Considerations & limitations

The Patches tool remains absent from this stable release, so any workflows reliant on that will need to wait or maintain a legacy version. While non-mesh support is a new feature, how stable and performant it is in heavy-production scenes is not independently verified at this time. The free binary being behind version 4.0 (Time of writing: Oct 22nd, 20205) means teams deploying should verify the exact version and compatibility. To say it again: As with any tool update in a production pipeline: test thoroughly before full studio rollout (That means YOU, Marcus!)

The post Retopoflow 4.0 for Blender first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Netorium AG, provider of integration and software solutions for broadcasters, and dve advanced systems, specialist in high-end IT and media workflows, have merged. Both companies (with their full teams – no need to not have your favourite support!) will continue under the umbrella of netorium AG.

The merger expands both companies’ expertise and portfolio. Netorium contributes its long-standing experience in broadcast IT projects, while dve advanced systems adds workflow solutions for VFX, colour grading, production, and postproduction.

Familiar faces, wider scope

The team and customer contacts of dve advanced systems remain in place and are now part of netorium AG. Customers from both companies gain access to new service areas: dveas clients can now access professional broadcast solutions, while netorium clients benefit from expanded offerings in storage and workflow design.

New business fields and services

The combined portfolio targets additional segments such as archives, NLE production systems, and file management. Netorium plans to strengthen its Managed Services and Managed Support, relying on the expertise of the dveas team.

Executives frame the merger as a commitment to digital transformation in the media industry. Netorium board member Frank Herrmann underlined the shift towards service orientation. His colleague Peter Frantz emphasised the complementary portfolios. Former dveas CEO Jürgen Firsching, now also on the netorium board, stressed continuity of staff and the importance of retaining the team’s expertise.

Market expansion across Europe

The merger explicitly addresses the entire European market. According to the announcement, the move is a “clear commitment to market expansion” with the aim of positioning netorium AG as a leading provider of broadcast and postproduction IT solutions.

Netorium AG was founded in 2002 and has since specialised in tailored IT and media solutions. Its portfolio covers playout, storage, streaming, workflows, All-IP solutions, AI for media, content enrichment, and pro audio platforms. The company works closely with public and private broadcasters as well as other media organisations undergoing digital transformation.

Dve advanced systems, meanwhile, built a reputation as a provider of high-end media and IT technology, with a focus on workflows for VFX, colour grading, production, and postproduction. Its core strength lay in designing and delivering specialised solutions for demanding creative and technical environments. With the merger, this expertise is now absorbed into netorium AG’s broader service portfolio.

The post Netorium and dveas move in together first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Samsung’s Corporate LED Studio Bundle, launched with ARRI and Realtime Department, is not just another “all-in-one” video set. This is a tightly engineered system targeting the growing demand for high-quality corporate, hybrid, and virtual production. This package includes: Samsung’s The Wall LED, ARRI’s ALEXA 35 cinema camera, UNIQVUE automation as well as connection, workflow, and control paths mapped out for reliability, efficiency, and image integrity.

Why this solution?

But why? One use case for modern productions is the “corporate setting,” which, as every VFX artist who has ever worked for an agency can attest, are not naturally integrating compatible with broadcast and post pipelines. Many studios with the necessary technical and artistic chops capabilities aren’t bidding for these projects, and many corporations use out-of-date technology that delivers sub-par results. 

And this is where the turnkey solution comes in: The Corporate LED Studio Bundle is not a mere video “kit.” It’s a technical system—hardware, automation, and colour pipeline—built to deliver studio-grade content on demand. Without external less crew, rental fees, minimal preproduction and rehearsal, with g and Graphics and set assets handled digitally. Also, which is quite sad, no Crew Catering (We love crew catering). But let’s get into the pieces of this puzzle.

Who Provides What?

ARRI ALEXA 35: Supports the full ARRI colour pipeline, Genlock for LED synchronization, SDI and IP video outputs, advanced metadata for post, high dynamic range, and built-in LUT management for instant “look” application.

Samsung The Wall IVC: 12,288 Hz refresh, 384 fps, Micro LED, high contrast, no visible pixel grid, suitable for hybrid live/virtual sets, and minimal artifacting even at short shooting distances.

UNIQVUE: A modular and flexible digital framework that offers live show control, supports both remote and in-room operation, provides a template-driven interface for non-expert users, includes built-in corporate identity colours and graphic styles, and integrates a PowerPoint remote control directly within the show control interface.

Samsung The Wall IVC: Micro LED for the Studio Age

The Wall IVC is Samsung’s broadcast-optimized LED display, used as the visual anchor of the bundle. Its Micro LED panels deliver crisp, realistic visuals at a 12,288 Hz (No Typo: 12+ kHz.) refresh rate and support up to 384 frames per second. These numbers matter for close-up camera work, where traditional LED walls risk introducing flicker lines and artefacts. The Wall IVC simply does not.

The modular design lets the studio double as a boardroom, virtual stage, or traditional broadcast space. The Wall IVC integrates into room and media control systems, managed through UNIQVUE’s remote and automated control layer.

ARRI ALEXA 35: Too Much Camera? Maybe. But Also Just Right.

It’s fair to say that for classic boardroom use, an ARRI ALEXA 35 is “overkill.” This camera is a staple on high-end film sets and Oscar-nominated productions. But the inclusion is more than marketing. The ALEXA 35 brings a 4.6K Super 35 sensor, true 17 stops of dynamic range, and ARRI’s REVEAL Colour Science pipeline, allowing for precise colour matching, low noise, and accurate skin tones. This technical foundation is not just about bragging rights; it’s about keeping every pixel in sync across LED, virtual, and real sources.

ARRI’s colour science is critical in LED/virtual production, where even minor shifts can break immersion. The bundle includes native support for ARRI’s colour pipeline and full calibration routines to ensure LED wall output matches camera input—no “cheap” LED look, and no out-of-sync backgrounds. The robust connection options (Ethernet, SDI, full Genlock, advanced metadata pipelines) allow for direct integration with broadcast controllers, colour grading workstations, and automation triggers.

UNIQVUE: Automation and Workflow Orchestration

UNIQVUE, from Realtime Department, ties everything together and translates technical firepower into accessibility. This system sits at the nerve center of the studio, automating what would usually require a small control room staff. Through template-based production workflows, UNIQVUE offers presenters and producers the ability to drag & drop 3D Backgrounds and content modules and combine them to complex scenes, manage lighting and camera presets, and deploy graphics – often at the push of a single button.

The interface supports real-time show control, including a PowerPoint remote module, speaker notes, and even a stage timer, all available from a single control surface. For rooms with existing AV and media control infrastructure, UNIQVUE integrates easy with all main protocols, making adoption frictionless for facilities
teams. Its modular structure allows for reconfiguration between layouts and formats – one day as a boardroom, the next as a full training studio – without expert operators for most uses.

Concrete Application Examples

For organizations running high-frequency video, explainer, or hybrid events, the math is straightforward: higher output, lower spend, faster time to delivery.

• Product presentations and function demos: Presenters interact directly with content, reducing prep and making every session authentic—no separate voiceover or stand-in required.
• Town hall events: All participants—live and remote—see and interact with the same real-time content, with no need for dedicated technical crew or separate vision mixing.
• Marketing and explainer films: Digital backgrounds, props, and graphics can be swapped, updated, and reused, lowering costs and increasing flexibility.
• Training, internal communication, and PR: “What you see is what you get” production for internal teams, with drastically lower costs and faster turnaround.

Broadcast, But Smarter: Why the ALEXA 35 Matters Here

You probably have been thinking it all this time: The ARRI ALEXA 35 is a bit of an “overkill” choice for simple corporate broadcasting. Yet for virtual production, precise colour science and robust sync are not luxury add-ons, they are essential. The ALEXA 35’s connectivity (Genlock, SDI/IP, metadata, LUT support) is vital to keeping virtual and real elements in sync, colour-matched, and ready for both live broadcast and post workflows. It’s the difference between “looks okay on Zoom” and “ready for every frame.”

And That’s It?

Future articles will go deeper into colour pipeline management with ARRI, the practical realities of The Wall IVC installations, and case studies from the Realtime Department. Stay tuned!

The post Samsung Debuts Corporate LED Studio Bundle: ARRI ALEXA 35 Camera Included first appeared on DIGITAL PRODUCTION and was written by Bela Beier.