The video side of things is super interesting - 4k60 ProRes is an absolutely insane amount of data (something like 12GB/s IIRC?), and the addition of ACES really makes it usable for professional work where a larger mirrorless from Sony/Panasonic/Nikon/Canon wouldn't be practical.

I also found it very interesting that their pics of this feature were with Davinci Resolve on the screen and not Final cut Pro - I guess when it comes to colour, there's no better tool.