I have said many times that changing cameras often time forces one to change everything in their production lifestyle, the movement to tapeless has been wrought with issues and concepts that had to change with the times. Arri has brought back an oldy but a goody, and chances are most of the readers here do not even know about a post color space called LogC.
LogC is Arri's versioning of the Kodak Cineon Format, developed to be able to allow film scanners to more accurately represent the original camera negative when going into DI. Arri has used this as the matrix for the D21 for 5 years now and on their film scanners for over 10 years, so while it might be new to all of you, people on the film side have seen it all before.
Here is a 3 Sec Clip out the window of the van captured as ProRes 4444, Asa 800 with a Cooke 28mm i4 lens this is straight out of the camera and compressed into the default HQ Iphone compression for delivery here
Here is the same clip,using a default LogC conversion matrix for the D21 via Iridas Speedgrade, with the LUT applied and output from Apple Color. ( An Amazing COLOR trick for the LogC format -I got almost exactly the same result by choosing the "auto balance" button in the Primary room, then running the saturation slider up to about 1.4 or so.)
The only lights in these shots are the streetlights, nothing more beyond the practicals that you see in the shot, there is not any additional lighting or processing of the content.
So not only is this camera a new level, it carries with it the best of the legacy formatting. RED required us to all change to fit their acquisition model, Arri is choosing to stick to one that has worked, at the high level, for a fairly long time, It is not required to re-invent the wheel, but changing the materials to get what you want is not such a bad thing