A lot of reviewers and critics write that this year’s ceremony went as predicted, almost boring, save for a few surprises. However, when was the last time we’ve seen a movie nominated in stunning 13 categories, live through the biggest change of fortune, and win just two awards? (I’m talking about “Emilia Pérez,” naturally, which took home trophies for Best Leading Actress and Original Song). A more interesting question: How long ago did another low-budget indie film score all the major wins at the Oscars?

Oscar winners 2025: four awards for Sean Baker

Oh yes, “Anora,” the Academy’s darling of the year. A satirical story that follows a sex worker in the Russian-Armenian neighborhood in Brooklyn, with vintage lenses, chaotic vibes, and a roller-coaster of emotions. The Award’s spotlight, though, was on the man behind the movie. In just one night, Sean Baker went from a filmmaker with no Oscars to a filmmaker with four Oscars, repeating the record of none other than Walt Disney. Baker picked up awards for the original screenplay and directing. Since he also edited and produced Anora, he had to take the stage two more times. That’s the kind of thing that’s more common in indie projects than in blockbusters, isn’t it? Either way, we appreciated his brief but heartfelt speeches.

Surprise, surprise

In total, Anora took home five Oscars, but one of the most talked-about surprises online was Mikey Madison winning Best Actress in a Leading Role over Demi Moore. There’s no debate – both delivered outstanding performances. While Mikey is just launching a career in Hollywood (and doing it spectacularly), Demi Moore’s intense and fearless portrayal of Elisabeth Sparkle marked an ice-breaker after years of silence. Yet, the recognition didn’t follow.

As someone wrote on Reddit: “It’s so ironic she loses for her role in The Substance to a 25-year-old.” (Which is probably the most “The Substance-y” thing that could happen to her). Maybe ironic, but surely not unfair. Again, Mikey’s performance in “Anora” was spot on, and I, personally, am very happy for her. However, many connect this decision to the Academy’s everlasting refusal to acknowledge horrors. Well, at least “The Substance” scored an Oscar for makeup and hairstyling, which they fully deserved.

Best cinematography winner

A 3,5-hour monumental movie about a Holocaust survivor, “The Brutalist” pocketed three Academy awards: for the Actor in a Leading Role (meaning the second Oscar for Adrien Brody), the Best Score, and its outstanding cinematography. I massively enjoyed watching the movie and admired Lol Crawley’s work. However, it’s a bummer that epic visuals of “Dune: Part Two” left empty-handed. Maybe because the masterful approach of Greig Fraser already got a cinematographer’s nod for the first part of this sci-fi beauty?

At the same time, “Dune: Part Two” went home with two well-deserved Oscars for the best sound and visual effects. To no one’s surprise.

The reactions follow

Well, this was a massive night for Sean Baker. His fans triumph all over the Internet, alongside indie genre lovers. Reactions have split into three groups. The first celebrates Anora‘s success and encourages others to explore Sean Baker’s earlier films, like Tangerine and Red Rocket – with some even arguing those are superior to Anora.

Commenters from the second group don’t understand the hype of this comedy drama and call it “a safe choice.” They either liked it but were surprised that it won so many awards or didn’t like it at all but admired its low-budget indie approach.

Indie film lovers, in turn, jubilate the fact that more and more indie productions get the Academy’s recognition. They hope that “Anora” resonates with studio executives, and this will increase financial support for independent projects. Let’s hope that too!

All Oscar winners 2025

You can find the full list with all winners in 23 categories here. 

What do you think about the Oscar race results? Were there any (un-) pleasant surprises for you? Which movie was left out unfairly, in your opinion? And what win brought you the most joy? Let’s discuss the Academy Awards in the comments!

Feature image source: ABC News / A.M.P.A.S. 2025.

I’m not sure how many of you have been to Yokohama, but if you haven’t, do yourself a favor and add it to your list. The town – especially the area around the Pacifico convention center – is always a pleasure to stroll through. And if you’re one of those crazy people who actually like to jog, you’re in luck – the whole place has a great sporty atmosphere and scenic surroundings.

CP+ highlights – the cameras

But let’s focus on the mission of highlighting some of the products we saw there. As expected, all the major Japanese camera companies were present at the show with impressive, well-designed booths. While OM is extremely popular in Japan (their booth is always packed) and Panasonic was proud to show their newly announced S1R II, Sony was busy letting people get hands-on with their new 16mm and 400-800mm G lenses. Nikon was showcasing the latest RED camera edition with Z-mount next to the newly announced Nikon 28-135mm f/4 PZ. (This lens looks cool on the Nikon Z 9…). I’m simplifying here as all companies had much more to present.

OK, so what caught our attention?

FUJIFILM: We’ve already widely discussed the development status of the upcoming GFX ETERNA. For those who missed reading the article or watching the interview, here is a short recap. FUJIFILM is on track to present the final product this year. Currently, the company has revealed that it will offer a 4K open gate recording mode next to dual ISO sensitivity (800/3200). The camera package will include a 5-inch touch monitor.

Canon: Somewhat quietly and under the radar, Canon announced and showcased the new PowerShot V1. According to the company, the target group for this 4K camera is clearly content creators. Personally, I think it was built to satisfy a wider range of users if you look at what it has to offer. Equipped with a 22MP 1.4″ image sensor, built-in ND, 10-bit 4:2:2 recording, Canon Log3, cooling fan (for extended recording time), front tally, zebra, 16-50mm equivalent f/2.8-4.5 lens, vari-angle LCD screen, and more (note that 4K/60p recording will suffer from a 1.4x crop). This easy-to-use, ergonomically designed camera might appeal to many. But before you rush out to get one, keep in mind that it’s currently available only in Japan, with a worldwide release planned later this year. In Japan, the camera costs 148,00 Yen, which is roughly less than $1,000.

SIGMA: It seemed as if SIGMA was the one to steal much of the attention. According to SIGMA themselves, they did not anticipate the hype surrounding the new BF camera and new lenses and were pleasantly surprised to see the level of interest shown by visitors. Although this camera is not breaking any world record in specifications, nor is it comfortable to hold, it is the look that attracted people. Made from a single solid aluminum block, it instantly became a fashion statement. Between the black or silver colors I find the latter to be nicer, but at the end of the day, it is really a matter of personal taste.

Speaking of which, I’m sure many of you have noticed the new SIGMA logo next to the different font the company has started using. How do you like it? Please share your thoughts in the comment section below.

Lenses

Sony, Laowa, Viltrox, ZEISS, 7Artisans and others showed their latest offering at the show. While some of these new products might be great, the two lenses that captured our attention were from LK Samyang x Schnider Kreuznach and SIRUI.

LK Samyang x Schnider Kreuznach: If you are sharp-eyed, you noticed that Samyang went through a rebranding phase and next to their new logo, the company’s name has changed to “LK Samyang”. As end-users we might not feel the difference, but I’m curious to learn more about why this happened. Currently, there are not too many details about this new E-mount lens, but it did get a lot of attention!

SIRUI: The company showed their upcoming 20mm 1.33x, S35 autofocus anamorphic lens, promising to improve the AF functionality after hearing concerns from users who purchased the 40mm AF anamorphic. All in all, with SO MANY photo/video/cine spherical lenses currently being brought to the market, I was happy to see something a bit different. When it comes to autofocus anamorphic lenses, I still think that BLAZAR with their two Apex 1.33x lenses are more suitable for filming, but for the occasional photo/video user the SIRUI might be the easier choice.

So that’s it! With another show wrapped up, we at CineD are now shifting our focus to preparing for NAB… :)

Did you follow CP+? If yes, what product was your personal highlight? Please share your thoughts with us in the comment section below.

In less than two months, the 2025 NAB Show will open its doors in Las Vegas, bringing together manufacturers and professionals from across the globe for the industry’s most significant trade show. CineD will be there in full force, producing our signature video content while expanding our coverage across our platforms. Stay tuned by signing up for our newsletter and following us on our socials (Instagram, YouTube Shorts, TikTok). 

Submissions for the CineD Best-of-Show Awards at NAB 2025 are now open

Last year, we introduced a new approach to selecting our Best-of-Show Award winners by allowing manufacturers to submit their products and technologies ahead of the event. This process gave us a more comprehensive view of the latest innovations, allowing us to highlight the most impressive products. Due to the overwhelmingly positive response, we are continuing this initiative for NAB 2025. Submit your product/technology now!

11 categories for CineD Best-of-Show Awards at NAB 2025

After presenting the CineD Best-of-Show Awards at IBC and NAB last year, we were amazed by the sheer number of innovative products companies introduced. To better recognize this innovation, we’ve expanded from seven categories to eleven. We are now accepting submissions for the CineD Best-of-Show Award at NAB 2025 in the following eleven categories:

• AI Innovation
• Audio Equipment
• Battery Innovation
• Broadcast Innovation
• Camera
• Camera Control & Accessories
• Camera Support
• Lenses
• Lighting Equipment
• Monitors & Recording
• Streaming/Remote/Cloud

How to submit your product

To submit your product or technology for consideration in the CineD Best-of-Show Awards at NAB 2025, head over to our submission form. Each nominee will also receive a poster to display at their booth. The winners will be announced on April 8th during the show.

–> ENTER HERE.

Please read our full Terms & Conditions for entering your submission. Note there’s a small nomination fee for each entry, and there’s no restriction on the number of entries per manufacturer. 

If your product or technology hasn’t been announced or released before NAB, we’re happy to sign an NDA before submission. Simply send us the NDA via email, and we will return the signed form in due time.

Any questions?

If you have any questions about the process, please get in touch with us, and we will get back to you as soon as possible. Good luck!

FUJIFILM and Olympus arguably started the trend with the X100, followed by the X system from the former and the OM-D E-M5 from the latter. The X-Pro1 and OM-D E-M5 were announced in 2012 and were noticeably successful, encouraging other manufacturers to join the fray. Panasonic may have been the first manufacturer to combine vintage design and operation with 4K recording with their innovative LUMIX LX100 (2014). FUJIFILM introduced their first 4K capable X system camera in 2016 – the X-T2, with the addition of F-Log recording, taking their first steps into what would later be a formidable hybrid line.

Time went by, and other manufacturers added retro-inspired models of their own. Leica and Nikon added some full-frame sparkle, and OM SYSTEM added the most recent entry – the OM-3, essentially a rehoused OM-1 Mark II flagship. However, as more vintage hybrids join the competition, we’re also seeing some companies quietly step away from this unique niche. But first things first:

What is a vintage-modern camera?

My definition of a vintage-modern or retro-designed camera is one that is designed to resemble either the look and/or the operational nature of old cameras. As someone who appreciates the basic concept of form following function, I strongly prefer cameras that go the extra mile to provide us with a vintage experience in addition to the exterior design.

I’d draw the line between vintage-looking cameras and vintage-operating cameras according to the main “OS.” – If it’s a PASM main dial with two function wheels, the camera essentially operates like every other modern camera in retro clothing. If it has a shutter speed dial and an aperture ring, it’s a “true” retro experience in terms of operation. The first group includes some Olympus / OM SYSTEM cameras, the FUJIFILM X-M5, arguably the X-S20, and the Sony a7C models.

The second group includes most of FUJIFILM’s X cameras, the X100 series, Panasonic’s LX100, the Leica Q models, and more. There are some cameras walking the (rather blurred) line between them. Here, we can find Nikon’s Zf-C and Zf, with both a shutter speed dial and a PASM-based operation. Most “true vintage” cameras may also operate in a more modern, PASM-like fashion once we set the dials to “A” or “C” (or other assigned letters). From that point, exposure control will follow the function dials or the camera’s decision.

What is a hybrid camera?

As we’ve seen, the definition of a modern-vintage camera is quite blurred. It’s nothing compared to the definition of a hybrid camera. Things used to be simple. If a camera could shoot both video and stills, it would be a hybrid camera! But these days, when each and every camera (aside from one) is graced with various levels of video features, some raise the bar, suggesting that a true hybrid should be equally adapted to both video and stills.

Personally – I’m not a hardliner. If a camera can provide decent video features next to awesome stills capabilities, it’s fine by me. My personal camera is the FUJIFILM GFX 100s, which I gladly define as a hybrid camera, though its still-imaging is leaps and bounds beyond its very decent video capabilities. For other examples – I’d easily include the likes of the Leica Q3, FUJIFILM X100VI, Nikon Zf, and more as hybrid cameras.

What’s the problem with the vintage-hybrid form-function?

The form associated with vintage-looking cameras was designed specifically for still photography. One of its most important features, the shutter speed dial, is hardly relevant for motion capture, especially as we are seeing more and more cameras with a shutter-angle control. While they are all very nice and compact, these cameras may miss some key control points, function buttons, and more. That’s probably why we’ve seen FUJIFILM, the most prominent herald of this design philosophy, withdraw it when designing their professional hybrids, the X-H2s, X-H2, and GFX100 II. Aside from that, even the PASM-based models, like the recent OM SYSTEM OM-3 feature extremely slim bodies, no auxiliary info LCD, few function buttons (and a big dial with no available customization). So why should a video-centric creator opt for such a camera? Well – mostly because cameras are more than their spec lists, and unique design offers some unique advantages.

Unique advantages

Photography is a nostalgic practice at times. Nostalgic design may very well promote sales as FUJIFILM, Olympus, Nikon, and others have proven again and again. It can also promote a unique workflow and user experience that may change our perspective and spark creativity.

Cameras and the workflow they dictate affect the filmmaker, but a camera can also affect our subjects—especially a camera with a unique look. When approaching an actor or the subject of a documentary film, the camera rig may greatly affect their response to us as creators. It may dissolve objections, it may make us appear less serious, hence less threatening. It may sometimes spark a conversation or inspire a certain intimacy. Sure, it’s not for everyone and far from catering to every filmmaking need, but it may just be a part of what sets you apart.

Do you use a vintage-hybrid camera? Are you considering moving to such a camera or adding one to your kit? Share your thoughts in the comments.

I’m sure many of you will agree with me when I say that in many cases and shooting scenarios, working with a camera that can stabilize your footage is a godsend. Up until recently, working with a camera that has an IBIS was my preferred option. In my mind, digital stabilization, unlike optical, will always sacrifice some image quality because the camera has to crop slightly into the frame to stabilize the shot.

That said, IBIS has its own limitations, sometimes causing wobbly edges. Overall, I find digital stabilization less desirable for filming.

But our industry is evolving and some leading camera manufacturers are mentioning that digital stabilization for video can now compete with IBIS. Now, imagine that we can prove this statement is true, and digital stabilization does not noticeably reduce the quality of your footage, yet brings the same or even superior stabilization results. Would you reconsider, too?

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In one of our latest Focus Chek episodes, Nino and I were playing with the idea of ARRI bringing a lower-priced cinema camera model to the market and asking ourselves how it would affect the market. I want to avoid the question of whether it is even technically possible for ARRI to ramp up production, but for us as users, I assume that such a camera with an ARRI logo, sensor, and color science would be on many wishlists.

But what if this theoretical camera offers lower specs than the competition (up to 4K and 30fps)? Would you still favor it?

Again, it is very unlikely that ARRI will choose to produce such a camera “for the masses”, but who knows, maybe the market conditions will bring them to consider doing something even more daring, and this is why we would love to hear from you guys what you think.

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CAI was co-founded in 2019 by Adobe and helps keep track of digital media authenticity and preserve creator attribution. Members include camera manufacturers such as Canon, Leica, Nikon, and Sony, as well as Google (with SynthID), Getty, the Wall Street Journal, BBC, AP, Shutterstock, Truepic, OpenAI, Microsoft, NVIDIA, Qualcomm, and other high-profile companies.

The Coalition for Content Provenance and Authenticity (C2PA) is a non-profit based in Washington. They create open-source standards that combine the work of CAI and Project Origin to help keep track of the authenticity of an image, video, and other digital media. This includes who created it and whether or not it was edited in any way thereafter. In this case, if any sort of manipulation was performed, including generative AI tools, or if the digital media is a deepfake. It ensures the creator doesn’t lose their credentials, i.e., someone trying to claim an image or video clip as their own.

How Cloudflare will utilize Content Credentials

Cloudflare is integrating Content Credentials (via C2PA) into their Cloudflare Images, an end-to-end and scalable image pipeline solution. It preserves the credentials and information of images.

For example, if you take a picture using a camera with C2PA standards and upload it to a site using Cloudflare Images, you can click “Preserve Content Credentials.” Information such as the camera model, settings (aperture, ISO, shutter speed, etc.), original image size, and more, can be included. The Content Credentials are stored via JUMBF (JPEG Universal Metadata Box Format).

Cloudflare Images also allows for image resizing or transformation, and any changes are automatically added to the Content Credentials. The image’s original and new sizing information will be notated. The signing will include the camera manufacturer and Cloudflare if it was edited with Cloudflare Image. If any generative AI was performed to manipulate the image, like adding a UFO to a photo, the Content Credentials would reflect that.

To check the credentials, authenticity, and any edits performed, Adobe has a Content Authenticity web-based tool and is also available as a Chrome browser extension.

While these tools and standards are great for creators, it’s always good to remain vigilant with your content. As my colleague Omri wrote, not everyone will go along with those standards.

Are you working with any authentication tools that utilize C2PA, including Google’s SynthID AI detection tool? What are your thoughts on Cloudflare adopting Content Credentials? Please let us know in the comments below.

Over the years, we’ve seen quite a few innovative features come and go. Camera manufacturers always try to introduce new features, specs, and ways of interacting with our photographic tools. Some stick, some drop, some just hang. When it comes to RAW video, the mere presence of the feature in the camera menu is just a small part of what it takes for it to truly become mainstream.

RAW requirements

RAW files are massive. While still photography managed the added weight, when it comes to motion capture the numbers soar. Even lower resolution is multiplied by at least 24 frames per second, making every aspect of the process much more demanding. This means higher-capacity memory cards (or external SSDs). The media must also support high, consistent write speed. It also affects our workstation back at the studio with higher demands on available storage space, read/write speeds, and adequate RAW support from our editing software.

Times change, tech changes

Nothing stays still. Not time, nor tech. As we progress, we witness a significant rise in writing speed, in-camera processing, and capture media storage capacity. As this happens, we see significant price drops for storage space, SSD drives, and high-end CFExpress memory cards. These accumulated circumstances lead to a fertile ground for RAW video workflows. Last year, there was also some significant news regarding RAW-capable hybrid cameras priced lower than ever before.

2024 saw the launch of two moderately priced, internal RAW video-capable hybrid cameras. The Nikon Z6III at about $2500 and the sub-$2K Panasonic LUMIX GH7

While no specific piece of gear can single-handedly make RAW video a mass-market, mainstream feature, the sum of all these parts just might. Before concluding, we can also include the various external RAW video recording options. FUJIFILM offers such features in some of their most affordable cameras, say the $1,300 X-S20. Just plug in an ATOMOS Ninja or a Blackmagic Video Assist recording monitor, and you’re good to go. This method of RAW recording isn’t limited to FUJIFILM’s cameras, of course. However, not all cameras offer the same level of compatibility, so make sure you look into it before buying. These solutions, while economically efficient, are quite cumbersome and won’t work for every scenario, so internal recording cameras are a significant piece of that puzzle.

One more question

As with all new tech, RAW video must face the eternal question – why do we need that? Many of us have managed perfectly well without RAW video, so why should we now burden our workstations, memory cards, and budgets with it? Well, for the same reason we’ve moved from 8-bit to 10-bit, from FHD to 4K (then 6K and 8K…) – because we can.

As the premium required for RAW video is lower than ever we’ll see more beginners adopting it. Those who aren’t as confident in their ability to capture perfect footage will gain the most, but they will also contribute to the “mainstreamization” of RAW video shooting by making it a professional standard. If the newbies are doing it, the Pros will probably follow, if only for the sake of a professional facade.

Do you think RAW video should be considered mainstream now, or is it still a niche practice? Let us know in the comments.

You may or may not be familiar with the company Videndum itself, but you surely know some of the most well-known brands in our industry that are under their wings. Up until recently, Videndum had three major divisions. Each division consisted of several brands. Here is a quick summary of companies under each division:

Media Solutions Division: Manfrotto, Lowepro, Gitzo, National Geographic bags (under license), Audix, Rycote, Joby, Colorama, Savage

Production Solutions Division: Camera Corps, TCS equipment hire, Litepanels, Quasar science, Anton Bauer, Autocue, Autoscript, Vinten, Occonor, Sachtler

Creative Solutions Division: Teradek, Wooden Camera, SmallHD

The latest changes in the Videndum Group

I’m sure you will agree that this is an array of brands! The thing is that during 2024, Videndum went through some fundamental changes. Here are some to name a few:

• Releasing Group Chief Executive Officer Stephen Bird from duty (Stephen Harris took over as a CEO).
• Appointing a new Chief Financial Officer.
• Many of the key management members left the company.
• Syrp, a small yet innovative New Zealand-based slider and motion control device manufacturer that was acquired by Videndum at the beginning of 2019, was shut down by the company.
• Amimon, the company behind the “zero latency” chip technology powering Teradek, was put up for sale.

Now, as the company is listed on the London Stock Exchange, the entire information about the state of the group is publicly available, and when diving into reading what could have been the cause of such disruptions, the group is linking their situation to slow market recovery, yet “it is seeing some signs of gradual improvement,” which they believe will benefit trading in the first half of 2025.

Reasons for restructuring, and upcoming challenges

The group is also taking some operational action in order to improve their general situation, such as reinstating pricing discipline, improving operational efficiency, driving gross margin expansion, and reducing discretionary spending.

However, according to Videndum, restructuring is one of the key points on their road to recovery. From three separate divisions, the company is downsizing to two! Those will be named “Videndum Production and Imaging (VPI)”, focusing on broadcast and imaging segments, and “Videndum Creative Solutions (VCS)” serving the cine and audio markets.

“Restructuring” is usually not a pleasant word. In many cases, it means cutting budgets and letting people go, which might be vital to future product development next to marketing efforts. The announcement does not specify how each brand in the group’s portfolio will be positioned in the new structure or whether any layoffs are expected.

Again, looking at the available information, it is clear that the group requires immediate and clear action, but what could have caused this situation? Well, it is beyond the scope of this article to touch upon management decisions as we don’t have the insights, but what we can talk about is the changes in our market.

From my understanding of the competitive landscape, Videndum faces significant challenges from Chinese manufacturers, particularly in terms of:

Price competition

• Chinese manufacturers offer similar products at significantly lower price points.
• They have lower manufacturing and labor costs.
• Many Chinese brands are aggressively pricing to gain market share

Market penetration

• Chinese brands like ZHIYUN (gimbals), Tilta, and SmallRig (camera accessories) have gained significant market share.
• They’ve successfully established themselves in both consumer and professional markets.
• Strong presence on major e-commerce platforms.

Innovation speed

• Chinese manufacturers often bring new products to market faster.
• They’re quick to adapt to market trends.
• Rapid prototyping and production capabilities.

However, it seems as if Videndum is struggling to maintain their traditional market position as Chinese manufacturers continue to improve quality while maintaining lower prices. The gap between premium and mid-range products has narrowed significantly in terms of quality and features.

On top of the above, there are other factors contributing to the proclaimed slow recovery such as:

Market contraction

• The professional imaging market has experienced a slowdown.
• Many content creators and media companies have reduced spending.
• Market saturation in some product categories.

Industry-specific challenges

• The rise of smartphone photography/videography reducing the demand for traditional camera equipment.
• Changes in broadcasting technology require significant R&D investment.
• Intense competition from both established brands and new market entrants.

External economic factors

• Global economic uncertainty affecting business investment.
• Supply chain disruptions impacting manufacturing and distribution.
• Currency fluctuations affect international operations.

Corporate restructuring impact

• The company’s rebranding from Vitec Group to Videndum.
• Costs associated with organizational changes.
• Integration challenges from previous acquisitions.

Phew, this is a long list of reasons, and the question remains, can this big ship navigate to safe shores? Let’s face it, it feels as if the equipment and accessories market developed so fast over the past years (maybe even too fast), and the market has become saturated, which, of course, can be an obstacle for companies who are still operating traditionally.

How might the process of restructuring a company like Videndum contribute to the health of the company? Well, in my opinion, it depends on the direction the group will take. A good start would be to acknowledge that the market has changed severely. A mirrorless camera accessory can not cost more than the camera itself. In addition, recognizing the strengths of each brand in the group and highlighting them is essential.

For example, what’s the customer’s advantage of investing in a Wooden Camera product instead of an equivalent one from Tilta or SmallRig? If there are any, the company should be putting a strong emphasis on them, but if there are none, the price should be dropped to be able to compete. And just to point it out, when was the last time any of us heard of a product innovation by any of the group’s brands? If my memory serves me, Sachtler was the last brand to do so by releasing the Flowtech Rapid Tripod deployment, but even this is meanwhile being copied by other companies without infringing the patent.

Focusing on premium market segments

Since Videndum is also catering to the broadcast and cinema markets, should they be focusing on the premium market segments, maybe even at the expense of the consumer one? Would it be easier to emphasize brand heritage and quality where the competition is perhaps not as tough? After all, it might be easier to justify investing in R&D for more sophisticated products in this upper market. Last but not least, leveraging their established relationships with professional users might be helpful too.

With all that said, it is not that the current situation in any of the premium markets is doing incredibly well. Strikes next to economic concerns gave some of the studios a good excuse to make budget cuts. Those cuts were immediately translated into buying or renting less equipment, further leading to fewer product requests. (Not to mention the potential influence of AI on our industry).

As part of this industry, we see the challenges and struggles companies are currently going through, Videndum is certainly not alone in this. Yet, their their footprint in our filmmaking market is rather big, and as such any future turns they make will be felt by the rest of us.

More information about Videndum regulatory news can be found here.

Are you still buying equipment from companies owned by Videndum or do you find them less competitive? How do you see the competition from Chinese companies? Do you find it justified to pay more for the brand name? Please share your thoughts with us in the section below.

In broadcast and feature film, DPA Microphones is a well-established player with a strong reputation among audio professionals. The company’s DPA 4060 Lavalier microphone is one of the best Lavaliers money can buy, and other specific models, such as the d:screet™ 4063 and 4080, have been used in acclaimed shows like Game of Thrones. Last year, the company introduced a new, compact, and lightweight shotgun microphone: the DPA 2017.

After a relatively calm year in 2024 for DPA Microphones with only one microphone release – the 2061 miniature omnidirectional mic – the company is back with a strong 2025 kickstart: the acquisition of Austrian Audio.

Acquiring excellence – Austrian Audio

Austrian Audio opened their doors in July 2017 following the closure of the AKG offices in Vienna. A core team of 22 former AKG personnel from every department joined forces to create high-end, handcrafted audio solutions, including microphones and headphones. According to the company, “Austrian Audio is also responsible for patents and proprietary technologies in audio, acoustics, transducers, noise canceling, and measurement tools, as well as specialized technologies in the aviation and telecom industries.”

Less than seven years after their launch, the Austrian company was recently acquired by DPA Microphones. Both companies will be quite complimentary, as DPA Microphones specializes mainly in miniature microphones and Austrian Audio in large-diaphragm microphones. Here is what DPA Microphones says about this acquisition:

Together, the brands provide a broader product range for discerning sound engineers in industries like broadcast, musical, theatre, live events and recording studios. By joining forces, the brands will design and develop sophisticated, professional audio solutions that meet the evolving demands within the acoustical and digital fields, all while prioritizing the user experience.

“Austrian Audio is a rising star for high-end audio solutions, and I am excited to join forces with such a strong team of audio professionals,” says DPA Microphones CEO Kalle Hvidt Nielsen. “I know that together we can deliver increasingly innovative products and further enhance the service for our customers, which will elevate both brands to new heights. It is impressive to see what Austrian Audio has already achieved in its short lifetime, and we are thrilled to welcome such a competent partner into the family.”

For Martin A. Seidl, Austrian Audio CEO and shareholder, this acquisition is an important step towards the dream of introducing the brand’s high-quality solutions to even more sound engineers worldwide.

“Kalle first approached me at an industry event where both our brands were participating, and I was thrilled,” says Martin Seidl, founder and CEO of Austrian Audio. “To be recognized as a strong and influential brand after only four years in the market was such a great honor for Austrian Audio, and me personally. It is fantastic to have been selected to join forces with such an experienced and globally renowned partner. I very much look forward to what lies ahead for both brands, which are now in a great position to serve the professional audio industry with passionate innovations.”

Austrian Audio is a strong and highly respected brand in the industry. Working in partnership with DPA Microphones, Austrian Audio will continue to develop and manufacture high-quality audio products under its own name in Vienna.

“The ultimate key to a company’s success is the people and the culture,” adds Nielsen. “With Austrian Audio, we get a significant addition of exceptional individuals and a culture of customer-focused innovation. We are excited about the future and the opportunities this acquisition brings.”

For more information, please visit DPA Microphone’s website here.

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