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Geeze, lay off it a bit. Everyone's rather polarized here. We haven't seen jack squat out of most of these cameras, GH4 and A7s included. 1. Just because the GH4 does 4K and is a lightweight Mirrorless doesn't mean there's no place for a 7.5KG camera. 2. This new URSA, as Andy Lee pointed out, ticks an awful lot of boxes, even if it is heavy. 3. It ditches that darned awful BMCC form factor. 4. I see physical buttons, thank the Lord. Let's not condone or condemn a thing until all this has been tested in the field.

spec wise it ticks all the boxes super 35mm size sensor 4k and global shutter in a usable body form like an Alexa - what more do you want Blackmagic have listened to all the feedback off their other 3 cameras indie film makers will jump all over this - superb!!

Believe me, A7s isn't "everything we ever asked for". If it was, it'd have 10-bit at the least. Have you ever worked with a true 10-bit video image as opposed to 8-bit? It's a world of difference. Anyone that tells you otherwise simply doesn't understand colour-science, colour-precision, dynamic-range preservation, nor colour-grading. Further, every one that goes on and on about "the benefits of full-frame" either doesn't realise that full-frame is very hard for precise focus-pulling, nor do they understand that, when shooting 4K, your focusing better be on point. Full-frame is actually very unfriendly for filmmakers - especially "one-man-army" type filmmakers. In indie filmmaking, a small sensor is actually your friend. F4 is very shallow on full-frame - usually one has to stop down to F5.6 to even make the focusing manageable (and by doing so, you'll be pumping up the ISO to compensate for closing your aperture down), let alone viewable. For some strange reason, shallow depth-of-field has become synonymous with "cinematic". For me, when I see ultra shallow depth-of-field, especially the overuse and abuse of it, it simply screams "amateur", "novice". Especially when it is accompanied by God-awful jitters and micro-shakes. People need to concentrate on composition more than shallow DoF - and in my humble opinion, light and shadow gives a sense of depth far more than shallow DoF, or the Z-Axis benefit that comes with full-frame sensors (which is a concept I've never really agreed with). Light and shadow is far more important when creating the illusion of three-dimensions through a two-dimensional medium such as film. But to each there own. For me, tha A7s will be something I buy more for my street photography than video. I'll throw my old Canon FD and Nikon-F glass on there. I don't need auto-focus. In fact, I detest the hell out of auto-focus. For those that go A7s, be sensible in your composition. The last thing anyone wants to see is 95% bokeh like we did during the 5DMKII days. In my opinion, A7s is probably the more "fun" camera. I think it benefits still photography more than it does video. The GH4 is by far the more sensible video/film camera - 4K 10-bit at up to 30FPS, 1080P 10-bit at up to 60FPS, a sensor-size with manageable DoF - especially for "one-many-army" type filmmakers. But like I said, to each their own.

I don't understand the incredible backlash here. No offense intended, but this piece reads like Andrew did in fact get fired from a job due to not changing the battery or media in a BMCC on time. Blackmagic gets 10x the criticism it derseves and about 1/4 the praise. Yes, they should have addressed their firmware issues before launching 2 new cameras at NAB. Yes, their customers are fair to expect support first for their cameras. But put it into perspective people. You can shoot incredible digital cinema with the three cameras they already had out. Whether the lack of in-camera card formatting or lack of time code, etc. are flaws that are so big to render the cameras not worth your money/time/etc.-- that's for you to decide. But I can handle the unaddreseds firmware issues in order to get the stunning imaging these cameras provide. If Blackmagic didn't offer these cameras, how much would you have to pay to get similar quality imaging out of another camera today, or a year ago? Also, if it wasn't for Blackmagic's innovation, I don't think we'd be seeing Sony, Panasonic and others making the moves they are right now. Their cameras and video cameras would liekly be crippled and less capable. That's how those compannies make money-- not by taking big risks (like the a7s) that potentially kills off their big money makers (like the FS-100, FS-700, etc.). Quotes like: "Their existing Cinema and Pocket Camera user base is lost. It’s over." "[BM] completely turns its back on [its] existing indie filmmaking user base." "[The] trend is to go smaller and lighter. This goes in complete opposite direction." (BM has done nothing but buck the trend with their cameras.) "It smacks of greed to go after the production market before you have even satisfied the indie crowd." (Greed? Just take a look at the Sony/Canon/Nikon financials as well as their business practices-- you might change your mind.) These quotes are not just someone's rather venomous opinion- but they do harm to the very companies and interests we should be looking out for as artists/hobbyists/filmmakers who desire immense quality at a relatively tiny price. Just chill y'all. Blackmagic shoud've adressed the firmware issues first, but don't overlook the incredible thech they're trying to bring us at very low prices (or declare their effort failed and futile). Nor should you be taking for granted the innovation they are driving. (In other words, stop throwing the babay out with the bathwater.) T

People make real films with Arri Alexas and Red Epics this has a similar form factor and very good specs so I do really think indie film makers will jump all over this is it is very very cheap ! Black Magic have seen what people want and designed a great product that film makers will want - This camera is aimed quite squarely at film makers - I want one!!

One of the enigmas emerging from the A7S is whether you can shoot 4K in APS-C crop mode as well. This would allow the use of standard Sony E-mount / NEX lenses, Canon EF-S and Nikon DX lenses, even PL cinema lenses on the full frame sensor. Sony's information (above) implies that is the case with "both resolutions available at both full frame and APS-C size". I dug a little deeper to find out more... Read the full article here

For me, I'm sticking with my GH4 preorder for a number of reasons. - Articulating screen - Touch screen - better grip/more comfortable to hold - established lineup of lenses (Nocticron looks amazing, as does the new 15 f/1.7) - internal 4k - cheaper most likely Sony does this to us with every release. They come so close to making a complete, breathtaking product but leave something out of it that makes you scratch your head. Almost makes you wonder if they're purposely holding back to get you with the next product. It started with the NEX line (molasses slow lens release), went to the RX1 (sluggish AF, external EVF), then to the a7 line (slowish AF, no touch screen, loud shutter, limited lens release). Not everyone adapts manual glass and some rely on fast AF since it's not all about landscapes and architecture. Another thing that I haven't seen brought up us ergonomics. Yes the a7s is more compact but look at the layout, it's the same as the other a7's. What I mean is by all reports the video record button is in an odd place, offset to the side like that. People either comment how it's too easy to press and they end up accidentally recording a bunch of grass and the inside of the camera bag or it's too difficult to reach comfortably for the times that you want to shoot video. The GH4 like the 5DM3 seem to have it in the right place, not somewhere where you would accidentally press, but easy enough to reach when you want to.

I don't know what it is, but I prefer the flat profile on the GH4 almost more than any grades I've seen. Nice find!

I am not a pro, not in the cinema field. I write free-lance articles and illustrate them with my pictures. Nowadays, more and more magazines ask for motion pictures for their online presence, so I am learning film. I can probably sell smaller reports, short films, documentaries… I trust Panasonic. They have been focused on my segment. They have listened to our ideas and criticism and developed the GH2-GH3-GH4 family accordingly. The GH4 looks like a finished product, not like a must-have idea. The M43 system has a good range of lenses, and the size/weight is certainly a benefit when travelling. I don’t trust Blackmagic Design. They are very sympathetic but I don’t know, how interested they are in my segment. They look to be more interested in developing new ideas, instead of completing existing ones. I don’t know about Sony. They look interested but they are so focused on the pro segment, they will probably forget me concerning some features. I am sure about Canon. I will sell my stuff, I am just fed-up. What can I expect from a company, whose most interesting video features are handled by an enthusiastic hacker/reverseengineering community? At last, I shouldn’t forget my first love, Nikon. There have been an April’s news about, Ricoh is buying them… I certainly hope so, because I don’t think Nikon is around here as an independent company in 3 years from now.

Looks like Blackmagic brought these guys aboard...

Ursa's an interesting proposition. It's size doesn't bother me for most productions I work (episodic, commercials, features and docs). It's back heavy so it'll balance on my shoulder nicely. But they should've recessed the bottom more to accommodate a low profile/low CG shoulder pad (see Amira). I do think the 10" screen will come in handy for evaluating a 4k image. But if they're targeting studio style production, they should have made it swappable to the left or right side. The last thing I need is an AC breathing down my back. If a cameraman were behind the design, it'd be EVF on operator's side and large monitor on the "dumb" side. Now AC/Director would have a nice big screen while the operator can zone out alone with an EVF. Also on the shoulder I wouldn't be using a 10" screen three inches from my face, instead an EVF. But for most productions, I find the 10" screen would come in handy. It's one less piece of gack to be dangling from some kind of arm or rigging. The shoots I work, we're flinging cameras around on incredibly packed schedules and monitor mounts eventually come out of adjustment, waste time and add to frustration. I do find the swappable chip a smart consideration for future proofing, given that there will be a better chip in less than two years. They took a page from Red handbook. Also, the ability to go HDMI with another camera could have advantages for shooting in cramped quarters (car mounts, elevators, closets, etc) - a more budget friendly approach than Alexa M. Regarding the gripes about size, when you put everything on a camera you need to operate in a pro environment you either end up with something the size of an Alexa, F55 or a rigged out frankencam or rigged out Epic. The all in one approach is simple and fast to set up. I started in film many years back and while I don't miss it, I do miss the simplicity of some of the better designs (Aaton, why have you forsaken us?). At 6500.00 you can't bitch too hard. And I love anyone that takes a broadside at RED. It's biggest limitation to large productions adopting it is the 12 stop dynamic range and middling sensitivity. I recently did a spot on the 4k BMC and while I loved the over all color imagery, its highlight limitations (especially against skies and windows) made me wishing I had an Arri chip. I actually prefer aspects of the BMCPC over the BMC 4k image. Highlight clipping is the difference between doubling the output on your lighting package or walking lights way too close to bring up the fill or gelling windows. It's the main reason why despite the rental price, most indies in NYC seem to be shooting Alexa (and perhaps Dragon later). It saves you money and time elsewhere. On the budget end, the extra DR is what has me still loving the 5D3 hack and not so much the images of the GH4 (Panasonic rep on Zacuto interview pegs it at about 11 stops and change). In all I was hoping for someone to introduce a mini camera (GH4 or Pocket cam size), with a log style LUT, 13 + DR, large sensor and Pro rez. Hopefully the Chinese are listening.

Not sure where to start here honestly. Both new cameras look pretty cool. BUT here is the problem they have if they dont offer some promissed updates to exsisting cameras. How confident can buyers of the new stuff be that they will be fully supported with the new products they buy, if customers of existing products get very little in that regard.

Breaking news... The Sony A7S has been announced at NAB 2014. It records 1080p internally in XAVC-S format at 50Mbit but the big news is the support for full 4K output via HDMI to an external recorder. Unfortunately it does NOT have an internal 4K recording codec like the Panasonic GH4. Read the full article here

I have a GH2, D800 and 60d. So far the GH4 looks like a very sensible next step, but typically I have 2 big jobs that need shooting before it'll be out. I have a speedbooster, and a growing collection of nikon glass. I do a lot of wide lens stuff currently with the tokina 11-16, but I miss the canon 10-22, bigger range and less barrel distortion. I shoot a bit of timelapse now and then Theres only about $250 separates g6, d5300, and gh3. Don't especially shoot in low light, but have found the gh2 blocky noise and fizz in the shadows to be an issue. If the G6 is no different in that regard I'll rule it out. (Some people say its better, some dont). I like the dynamic range of the d800 video, but thats about it. Really need a decent fast ultrawide for M43 or APSC too. (12mm doesn't cut it on M43, I need 7-9mm or 10-12 on apsc).

I am using canon 60D.but i am getting noise in daylight i am pretty much worried because my fellows shoot great videos with it and mine is giving this noise in daylight.i am usin 75-300 canon ,18-55 canon. and 50mm canon but noise is more in 50mm and 18-55 ,75-300 gives less of it.i shot samples while using 3 of these lenses and i found that when i screw in the cpl filter noise gets worst.please help me. settings are 200iso,fstop 5,and shutter double to that of frame rate

Hi Guys Thought I would share our latest music video that we shot using Kowa anamorphics (40mm, 50mm, 75mm and 100mm PL with ALEXA) and which we used an iscorama and BMCC (2.5k) to do a few pick ups with. Sadly only one of the Iscorama shots made it into the video. Not from lack of quality or it standing out... but just from the story telling side of things we only ending up needing one. I have to say when we were editing, how impressed I was with the combo. It held its own very well against the Alexa and Kowa combo and now plan on shooting more with it. One thing I have always been conscious about with the iscorama is how it would fair on proper sets. I do often worry that its sometimes hard to tell if things are sharp and the focus is stiff making it hard to use a follow focus. I plan on having mine 'Van Diemen Rehoused' in the next few weeks to make it more onset friendly and then will hopefully get more use out of it. The iscorama shot is the night time driving just before he enters the bike workshop. Could upload some other shots from the shoot if anyone is interested.

A "tech geek's" comment inspired by the Sony A7S release... I appreciate the quality of codec/bitrates of the new Panasonic GH4 (there are several first examples available online), the maturity and all-round versatility of the system, as well as its plethora of great improvements (like the “depth-for-defocus†contrast-detection AF). However, there is one thing on GH4 I have never found to be the most elegant technical solution. Namely, it is rather high megapixel score (16MP). I do suppose for a motion-stills/video oriented micro 43 camera the optimal resolution would be 12+MP. The arguments are straightforward: 1. 12+MP on a micro 43 sensor is a “native†resolution for the academy DCI 4K standard (4096×2160 pixels). On GH4, DCI 4K is supported in the crop mode (x2 vs x2.3), owing to the higher horizontal resolution of its 16MP sensor (4608 pixels). To note: x2 vs. x2.3 crop is noticeably less pleasant for a video maker (!). 2. Higher continuous shooting rates for stills: 30% speed-up in the continuous shooting does matter (!). 3. Slightly lower ISO noise (and slightly higher dynamic range) in the video and pictures’ modes. For the motion-stills/video-oriented cameras (1) and (2) is much more important than extra 4 MP in stills. B.t.w, I lived a quite happy stills’ live with my G2 – just be thorough with composition and no need to crop :). There are well-known successful examples of the strategy (“less MP = more speed/IQâ€) in the DSLR world (Nikon D4 (16MP/FF), Canon 1D (18MP/FF)… And now – “suddenly†appeared at NAB, the first 4K mirrorless full-frame Sony A7S. As compared to the GH4, A7S has lower bandwidth/processing power (50 Mbps vs. 200 Mpbs for 1K, UHD (3840×2160) vs. DCI resolution, 4:2:2/8 bits vs. 4:2:2/10 bits etc.) with the advantage in the high ISO of course. Note that A7s has also 14 bit RAW for stills. However I would rather applaud Sony for limiting the sensor resolution by 12MP. It is a very harmonic engineering solution for the motion-oriented hybrid camera. Dreaming forward about 4K on micro 43… I would like to see two lines of Panasonic sensors: 16MP for the stills-oriented cameras and 12MP for the motion-oriented ones. For that I would gladly pay extra. Apparently, Panasonic thought about it more than me. Sadly, they do not follow this path likely due to the high financial burden for maintaining the two lines of the "perfect" sensors on one consumer’s products line. This is in contrast to Sony which always seem to have enough cash to sit on several sits (e.g. A7, A7R, A7S, NEX, ... )… PS I do not intend to compare 4K/micro 43 vs. 4K/mirrorless-FF as systems themselves here: the pro/cons are be basically the same as for the stills’ counterparts. Stay tuned, ZZ VISUAL

I am not so negativ about the success of this camera. Yesterday I was the whole day walking back and forth between the Pana, Sony, AJA and BMD cameras at the NAB show. To get to play with one of the Sonys or the GH4 it wasn't that a long waiting line. But wow, at AJA and especially at BMD it was crazy. Everybody has to see and play with this cam. From the people around me I often could hear them serious wanting to buy one of these big boys. So just because it is maybe not made for most member here does not mean anything. Yesterday night I had a look at the Redusers forum and they like the URSA a lot. This week I have to decide if I order the A7s, GH4, URSA or even Cion (the only PL mount is holding me back). Ok, now I have to walk across the street to the NAB show again. Maybe today I will change my opinion.

I need something like this to lock the rear of the isco so it doesn't wobble during follow focus. Mine is un-modded though, and 170 euros is too much! I've searched but can't find anything. Any thoughts?

  Agree. GH4 would have made more sense.   Can see the advantage of unplugging if you want small size.   I just think what most people wanted was a similar solution but smaller and less overkill.

Stunt shots are not significant pluses. In virtually any of these cases the SI2K and One Cam are even better and can go into even tighter places than camera the size of a GH2. I'm talking about the shots composing 99% of all other shots and making films that don't care about putting a camera in a cupboard. The best films that have ever been made, that might ever be made, were made with cameras that couldn't go in these tight places and, guess what, nobody missed not having a shot from a cupboard, or looking out a glove box, or from behind a steering wheel or whatever gimmick you care to come up with. The DSLR is bad for general shooting and must be kitted out to move right and let the operator see what they're doing, be held in a good position, and often these things are at odds with one another.

The only existing … http://www.vocas.com/accessories/separate-15mm-support-for-pl-adapters

For my particular needs, which is amateur film making, I find the look of GH3, GH4, A7S too sterile. You can add Sony's F range in there too. Now, I know we can pop these through something like FilmConvert at the end of the workflow, but I still find having it done in post doesn't quite beat done in acquisition. Aside from Blackmagic, I've not seen a single camera that rivals the hacked GH2 in terms of what I deem mojo. Mojo being intra cadence and tight noise (grain like) structure. Oh it'll clip all right, so you have to be careful, and neither is it a low light monster. I tell a lie actually, the ML 5DIII RAW has the same look. But nothing else does. So for me, there's only a few cameras on my list. Canon 5DIII, Panasonic GH2 and BMPC/BMCC. I really want this A7S to be able to give us that look, but I think it's going to be sterile like the F5. Wonderful ground breaking technology, clean and accurate, but....ZZZZZZzzzzzzzzzz. At least full frame has an interesting look of its own. For me it makes great emotional cinema, with the subject completely knocked out of any clutter. For a whole movie though? No. Unless it's some kind of 2 hour dream sequence. Sony. Gimme some mojo please :)

Andy's not going to cheat on his g6 with just any broad, so I'm thinking the a6000 might be a winner. I thought the 11fps burst very good. If you can get that continuous on a 95mbs card then you have a poor man's 4K. Unless you're filming people in dialogue, that kind of motion is often desirable anyway. I've noticed I can shoot continuously with my GF3 on newer cards (but 3fps). The only reason I sold the Nex 7 was the proprietary hot shoe and, admittedly, slow focus. Seems like both those have been improved. I don't mind the lower res EVF because the problem I had with the Nex 7 in that regard wasn't resolution but responsiveness. It would black out, hesitate. And getting APS-C size IQ. I wish it had all-I though and a higher bitrate, though, I have to admit, I can't see the difference between the g6 and Gh3 with the latter is shooting 70mbs. BTW, Andy, bought that focal reducer from China for $100. Going to pair it with my Nikon 24mm 2.8D on the BMPCC

Hey, I would love it if you would get the chance to check out a new video that I made. It compiles footage taken of journeys through 8 different countries. It's called "Anywhere, but here" and was shot mostly with a D5200 and GH1 and includes some RX100.

I'm well hipster, I was into Duaghter before they signed to 4AD, like, totally? ;) They're fun live cos Elena is very shy and it's endearing In other news, you've a brilliant eye for a shot, I reckon you're a natural, whether GH1 or Alexa

I felt that the a7s was a little rushed product, maybe Sony has in works for a new fs100 generation (low light monster) until GH4 was appeared at CES, so Sony in a hurry put this sensor on the a7 and that is it. No internal 4k recording is a downer also the 4K hdmi output at 8bit; sure the FF sensor will give us a lovely image, but i feel that a DSLR form factor as the GH4 make more sense for prolonged video recording, and Sony maybe never could resolve the overheating due to the size of the body and maybe that is the explanation of why we don't have XAVC 4k recording in body. Personally for video the GH4 is a much more complete package and i'm sure it will be cheaper too.

I will never get the argument that FF is harder to focus.... Just stop down. Sure, you will need to push up the ISO, but you would on the 4/3 anyway, as the sensor doesn't gather as much light. With FF, you can easily match any DOF/Focal length of a m34 sensor. The opposite is not so easy. The only plus point for smaller sensors is getting a longer zoom, but then FF can go alot wider

Looks impressive at high ISOs. Remember the HDMI output in 4K is uncompressed... YouTube does not give you the full image quality.Read the full article here

Damn, GH4 skin-tones look nice:

Dunno. It's Canon we're talking about: the same company that used essentially the same sensor from the t2i to t5i. They have been coasting on brand recognition since the 5D Mark II.

What will Canon do....10 grand DLSR 4K doesn't look so good sandwiched between the GH4/A7S and the BM line up & AJA CION? AJA always seems to go the extra distance for quality and UI. I think I will now just get the GH4 for it's small footprint on board 4K and upgradable flexibility. And just rent the big guns when the job needs it. Fun times...indeed. Really you should check out Andra.com ....they can keep a .95 300mm in perfect focus with no rehearsal, no choreographed marks to hit, no measuring, that emerald on her finger will just magically stay in forces wherever your actress chooses to move it. And then when you want to go to her eye with the reflection of her glass of wine in it...one tap on your iPad instant no breathing focus. The system is built for HD to 6K for now. enjoy.

The integration of all the rig stuff you might use on a BMCC is a good idea on the Ursa but I think you are swapping one practicality mess for another.   The weight makes it impractical for a ton of stuff. How many times have we heard people sing praises of lighter cameras like the 5D or EPIC because it makes rigging lighter. Lots of stuff is shot form 3 axis gimbals and MoVi is pretty groundbreaking. I'd rather have that freedom of shot getting, than having to lug around 10kg on sticks like some nostalgic throwback to the film days.   Drones are great too... GH4 can go on one. This can't.   With the GH4 you can strip it down or build it up and buy 3, keeping each on set in a different configuration depending on the shot you need to get. Rather have 3 of those bespoke rigs than one big heavy Ursa that is only suitable for half the shots I need to do.   So much great work has been shot on location with the smaller cameras, without a large crew. I have tried shooting in a small crew with a heavy camera - the Kineraw S35 was very heavy - I hated every second of it. I was seeing shots and angles all over the place and the camera just wasn't nimble enough to go there quick enough.   Fact is big heavy cameras slow you down.   I am all for getting rid of the stupid spidery arms and bits hanging of DSLRs and BMCCs.   But this is wrong way to go about it.   All this time, effort and money - some of it ours - spent on two new cameras rather than updating the BMCC form factor to something much more usable. Like a Mini Ursa. It's a tragedy.   Just give us a BMCC in a small but integrated and capable cinema camera, that's all I want!

Most prodictions need lights and crews for commercial jobs , I just shot this weekend with a whole new LED light rig like used in 'Only God Forgives' , its superb and quick to rig and small ..and no heat on set - tungsten lights get like a greenhouse on my sets. think of the big picture Andrew - this is good news as others will have to respond ....will we get a new cheaper Red camera soon? - they know how to make them .

you know Im a Panasonic fan as they just work and are small and light but some jobs / projects / companies need this type of camera I hope this is the start of an evolution of Black Magic cameras thay follow this style as it has a proven pedegree in film and broadcast

Shot this for fun while on vacation in the Florida Keys. This is the scene right before this woman goes to kill her violent husband. BMPC RAW/SLRmagic anamorphot GoPro in the water Would've liked to use my Iscorama but was a little worried about leaving it unattended and in a hot car for days and/or dropping it in the water by accident...

Im pleased Andrew as they are now going in the right direction with this camera , the first 3 had a 'unique' form factor we desigened and built a rig for the first camera they sent me one early on to work with so I could shoot with it on my shoulder with a Cineroid EVF , http://www.eoshd.com/comments/gallery/image/180-tecnoir-blackmagic-anamorphic-cinema-rig-lores/ this new camera is following the form factor of the big boys and yes you will still need to add bits but they are making something very cheap compared to the big boys and this hopefully will be the way forward for Blackmagic evolutions of this camera now they are on the right path this camera COULD be the big seller as they have addressed all the design issue of the previous models

  OK glad you mention the shoulder, because I have no idea how URSA is supposed to go on there...   The 10" flip screen is way too big to be used on the shoulder. It would be smack right in front of your face. So it is necessary to close the screen... then that blocks the control interface and 2nd screen, along with a bunch of physical buttons.   Not ideal.   OK it does have the saving grace of the right hand side panel and good for a second camera op whilst the shooter concentrates on getting the shot with an offset external EVF on the left.   I thought the point was you didn't have to add any bits?

thats what real cameras look like , they are square , boxy and sit on your shoulder, all 16mm film cameras I ever used where like that, Aaton and Arri '> for me Im quite excited about this camera it has good form factor and on paper loooks great

very good specs and design, again blackmagic impresses on paper as usual, I would be saving money right now if that camera was from sony, panasonic etc... but it's from blackmagic, which means they won't likely deliver nowhere near on the schedule they claim and it will most likely have a lot of issues. I'll just quote some of the comments on nofilmschool: "Personally, I’m very skeptical of anything BM puts out. My friend got the BM 4K and it’s pretty bad IMO. Yes, it’s cheap but the vertical banding, black hole sun and white pixel issues which he got all of on his tests makes it borderline not unusable in a real shoot, at least until the issues are fixed." "Agree 100%, I’ve been testing multiple 4K BMPC models, and all of them have sensor issues – some are better than others, but some are not usable in any lighting scenario." and that is after being what, 1 year late? blackmagic is all hype and they don't deliver imo. But I do very much like how they put a lot of pressure on the market and shake things up, that is awesome.

Video-ish? The Panasonic and Sony Cams definitely don't look video-ish, that is unless you want to make the footage look video-ish. This same argument has been used by canon users since the beginning of time it seems. I guess if it works for ya keep at it. :)

This camera reminds me of them Alienware laptops... or an Aventador

I disagree that BMD has abandonded the indie filmmaker. They're just offering a wider selection. Nowhere have they said that they're giving up on the smaller cams. Firmware updates could be coming, but at the end of the day I would gladly paid $1000 for the pocket cam even if there were guaranteed no firmware updates.

This, right here. Blackmagic just took a dump on everything offered by the competition that's north of $6500. I mean, I have to essentially factor in a 1080p monitor, an audio field recorder and a v-mount battery solution if I compare the URSA to anything else. Add to that the (likely) ability to upgrade my sensor . . . wow. URSA is a heavy woman, but she sure as heck ain't lacking.

"However the URSA is aimed at a large crew, large scale productions and in doing so completely turns its back on Blackmagic’s existing indie filmmaking user base." Wow, you really do come out with some absolute rubbish. You do realise the makers of your current flavour of the month, the GH4, also produce high end products? I just fired up my BMPCC, guess what, it still works. It still shoots 13 stops of DR, it is still a beautiful 1080p image, it will still be capable of making an amazing indie film and it costs £650. Yea, the firmware could be a bit fancier.... The day is still young. If they completely fix the firmware, next month, will they still have turned their back on you? My guess..... You are a little angry that they have dared to make something that doesn't interest you.

>please kill me.. hfgfhghfhhsghsf

Panasonic cameras use a pixel averaging system to dump data for video where Canon use line skipping to achieve the same thing. Panasoinic Cameras are very very good at pixel averaging that is why the images from their cameras are so good and have so little moire compared to other cameras - so Im not really that concerned that the GH4 is a 16mp sensor. , and mega hi iso does not really appeal to me , I rarely ever shoot over 400 iso

http://www.pcworld.com/article/2137477/samsung-lowballs-the-4k-competition-with-700-display.html Want 10-bit 1080p 24.5" OLED instead? http://www.flandersscientific.com/index/cm250.php ($6500) A 10-bit display is needed to see 10-bit material. For 8-bit displays, the image needs to be tone-mapped and dithered from 10-bit- this usually happens on final render. Not clear if apps like Resolve and AE do real-time tone-mapping+dithering to 8-bit (or at least when paused).

He's blinking Morse code.. "I'm being held prisoner by Sony's marketing department, help me."

Tokina TV Lens 8mm f/1.3 Tokina TV Lens 16mm f/1.6 Vignetting is worse stopped down and focused at infinity. Kowa TV Zoom 12.5-75mm f/1.8 Can't get it to focus properly. This is shot at the widest setting, if you zoom to 75mm it just about covers it, but quality is poor, lots of distortion. $25 eBay 25mm f/1.2 Works, but the lens is difficult to use. No focus or iris marks. Shot wide open: $5 eBay 8mm f/1.2 fixed iris lens for 1/3" sensor Probably CS mount, only works as super macro and obviously it is made for very small sensors.