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If you're not using the mk3 it's costing you money. Every day you loose cash in depreciation. So sell it today, and if you change your mind in six months you can buy it again for less money. So no matter what, selling it will be a win from an economical stand point.

Guys there is good news, Sony A7s ii is getting released very soon/just got a confirmation from sony. they are just waiting for the Sony A7rii to be getting released everywhere. Like india and some south american countries. Got very little info on specifications are, same base ISO,3200 But with internal 4k recording higher bit rate than A7rii.

I've owned a total of 8 BM cameras. Zero issues. No hiccups. Worked every time. And not only have they worked like advertised, they have been improved via Firmware. And I dont mean bug fixes, I mean real useful features added. So if I wanted or needed an Ursa Mini I would have no problems pre-ordering. Also Im having a realy tough time not jumping on the brand new URSA 4k in an unbroken box that goes for $3200 on a classified here

my advice is to never buy such a card. If it fails on you the whole day is gone. 30min is about maximum I want on any media. Spread the eggs.

I don't think price is an issue for what you get with the URSA Mini. Some people are complaining about the price and forget that you get a 4.6k sensor, high frame rates, 15 stops DR, internal raw, ProRes codecs, strong ergonomic body, large 1080p screen, 1080p OLED viewfinder and other things. (all above and beyond in features to other systems in this price range). Then consider the Mini doesn't use proprietary media and accessories. Invest into RED or the F55 and you are stuck with the £££$$$€€€€ spent on those items, like REDMags and SxS cards. That's a worthy benefit too. Also consider the full version of Resolve 12 you get for free, which does have some significant benefits over the free downloaded version. Blackmagic have nothing on the history and reliability of Canon, Sony, Panasonic. But to achieve what they have done in just 3 years is fantastic for this industry.

I've bought the 5D mark II and then the Mark III, then shifted to the A7S. For me it takes the same amount of time colouring the Cinestyle and the slog2. The real difference is the big improvement in video quality with the A7s.

Found this on dvxuser and thought it was really interesting. Tells a lot of us what we kind already know but in a lot more depth. Article: http://www.inventome.com/Blog/2015/8/a7exposure/Sony-A7s---how-to-expose---cine-or-log? dvxuser: http://www.dvxuser.com/V6/showthread.php?339113-A7s-detailed-breakdown-of-the-gamma-curves-slog-or-cine Basically, SLOG2 is mostly great but overexposing correctly and bringing it down in post but will generally crush the blacks. Cine 1 is great for when you want to retain detail in the highlights. Cine 4 is when you'd like to keep detail in the shadows. I'm a big fan of Cine 1 for bright outdoor conditions so this makes sense to me, I know a lot of people are also Cine 4 fans. But recently I've been using SLOG2 more and more and the general aesthetics are beautiful.

Had a chance to do my first filming test of the A7R II earlier tonight. We went to a glass blowing tutorial/class thing. Of course when you're standing in front of a 2500 F degree oven, things get a little warm and I was curious about how the camera would hold up. I didn't record a ton of footage but I did run the camera continuously for a 10 minute clip with no problems. The thing did get very hot in my hand - not uncomfortably so, but enough that I can imagine a prolonged day of heavy shooting would begin to stress the system quite a bit. It's not a problem for my usage, but I think others won't be as lucky. That image, though. It's just absolutely gorgeous. I took a random guess at color settings and ran the default 'Cine1' gamma on top of a low contrast Neutral color scheme. It's not perfect and there's definitely a lot of room for experimentation and improvement in both recording and workflow. People who are really particular about their color work probably have a long road ahead of them; I'm not enough of a colorist to really be sure. There's a LOT of available combinations of settings and I really think someone will eventually dial in the camera to be magical. I might buy Andrew's settings and LUT he posted earlier, we'll see. Setting aside the rather tricky color issue though... there is a quality to full frame that I just adore. It was possible to get there with GH4 + SB + 18-35 but it's an awkward combination, lacks IS, and it still missed something. IMO whatever you want to complain about with color science or 'digital look' from the Sony cameras, the Panasonics were always far, far worse. The GH4's output always felt like the world's greatest camcorder to me. Fantastic on all technical points, but weirdly clinical and lacking in 'film feeling' without a lot of work and judicious lens choice. I feel like the A7R2 has gotten me much closer much more quickly. Battery life, though, is freaking awful. These FW50 batteries were designed to fit in a NEX-3, and now they're being asked to drive a massive sensor attached to an IBIS rig attached to a massive CPU. The A7 cameras should have been built off a larger battery platform from day 1. It's embarrassing. The good news is that USB external batteries work wonderfully for powering and charging. I have an Anker sized like an iPhone 6 that slips into my pocket and provides 10x the internal battery power. USB cable fitment seems a bit loose though, so we'll see what happens. Might be best to buy FW50s by the half dozen.

Yep, you're right. The URSA series is definitely not targeted at your high street consumers. People were attracted to original BMCC as it was an industry bombshell, but it's going to be strictly pro's with the new ones. Its frustrating they have to treat announcements this way. Why can't they just tell us? Is there any marketing reasons to be so cryptic? Does it make us talk more? They also want buyers of the original cameras to upgrade to these new URSAs, and they will keep going from there. I think Blackmagic will return with another model below the URSA and above the Micro. Perhaps "Blackmagic Cinema Shooter"... Sort of a hybrid between the BMPCC and BMCC with a Super 16 sensor, but 4k, 1080 60p, global shutter, a bottom handle and an articulated 1080p screen. It's due for sure, but probably not how we expect! I really have high praise for this company. A big reason why "I broke my rules" and pre-ordered the URSA Mini is because I've always wanted to shoot on Blackmagic. The image is incredible. And now they have delivered on ergonomics and HFR, it's too hard to resist. I expect it to be an interesting ride, and hopefully a camera I will learn to love and put to some great use. I really think Arri and RED could potentially shake up the market if they offered a solution in FS7/URSA territory. But they won't. RED footage files are really juicy and deep. Alexa is buttery smooth and incredibly organic. I don't think the URSA Mini 4.6k will be far behind.

holy shit, Uwe Boll spammed this forum?

I love the Blackmagic image as well and the URSA Mini 4.6K looks extremely good so far. I can't get my head around why they keep announcing stuff at NAB instead of closer to when they are actually read to ship. Somebody move NAB closer to the Blackmagic release dates because visa versa is clearly never going to happen!! Video Assist is just a cheap monitor... good one at that... but why does it take them until October to get them out of the door? Summer is peak shooting time!! Yep the price is good however Blackmagic seem to have more firmly defined their market as professional. With the initial cameras they had more of a cross over appeal and Blackmagic seemed to encourage it and get them into consumer high street photography stores as well. Can't see that happening with the URSAs.

Hi Matt, the whites is my mistake playing with colors on cc 2015 , i fixed it after the post I was trying a wide angle lens adapter that's why you see this http://www.amazon.com/gp/product/B00U706UCA/ref=s9_wsim_gw_p421_d4_i1?ie=UTF8&colid=2L7AAQZE6O8V1&coliid=I1ZLX93NR3SEOP&pf_rd_m=ATVPDKIKX0DER&pf_rd_s=desktop-2&pf_rd_r=1SG08FZ5CJZY0XZK1NW3&pf_rd_t=36701&pf_rd_p=2091268722&pf_rd_i=desktop

Thanks Mattias.

Regarding a7rii vs a7s, it seems that a7rii 4k S35 mode can rival a7s 4k quality, even in low light (with a speedbooster). However it is not clear wether a7rii 1080p s35 60 fps mode is on par with 1080p 60 fps from a7s, especially in low light? Does anybody have a clue? It is an important consideration for those who use frequently 60 fps for smooth slow motions. Is 1080p downscaled from 4k internally in a7rii, as it is supposed to be in a7s?

Guys there is good news, Sony A7s ii is getting released very soon/just got a confirmation from sony. they are just waiting for the Sony A7rii to be getting released everywhere. Like india and some south american countries. Got very little info on specifications are, same base ISO,3200 But with internal 4k recording higher bit rate than A7rii.

I've ordered 2 of these after having a brief play in Jessops, UK. They are coming from DigitalRev so we'll be 100% sure of the 5 min conspiracy. Going to film a lot of the lower end music videos with these.

I have a lot of Canon equipment, incl. 1Dx, 5D3 and all major lenses. Got pissed with the video quality and got a A7s, then also the Atomos Shogun for 4K. I got my A7R ii yesterday and tested a little bit, both video and still. Did not do a take for 30min (yet), but it worked nicely. The big benefit for A7R ii is the combination of stills and 4k video in a small package, especially for traveling. For such use, you will normally film for max a few minutes pr. clip. Now, I see a lot of complaining about the overheat issue. If the filming of "a few minutes clips" is a problem, then is bad, yes. However, the point is that pr definition, if you film constantly for > 30 min, you need to use a recorder (it will stop at 30min anyway), with or without a monitor. I do not see this as a big drawback as for such jobs, you will stay in one location.

Congrats on the 5 years. You're doing a great job. The forumsbare mostly unbiased and very helpful. Also, no unnecessary ghetto like regulations. Plus these is continuous interaction between members.b Like I requested, could you also do one on the auto focus on the G7 for video, and a comparison of its low light with other cameras including the GH4? Thanks

You can download a trial version for your nle that just water marks it.

Or maybe they just like their products? Seriously, why are people acting like BM cameras are so unstable? They have some quirks, but as sensors in boxes, they deliver. Not to mention that they have led the charge on providing features via firmware--features which were never promised and they had no obligation to provide. They don't crash like Magic Lantern, the more aggressive GH2 hacks, or even the newer RED cameras. And overheating? Their cameras have some of the best internal cooling of any camera out there. In terms of low-light, I'm not sure why people have so much trouble. I can easily push the BMPCC two stops (to 3200) without objectionable noise, and the Ursa Mini is reported to have a stop more latitude in the lows. Combine that with a downsample to 2K from 4.6K and you should be able to get a decent 6400 out of it. If you need more than ISO 6400 and an F/2 lens, your light probably sucks anyway.

Quite a lot of negativity about Blackmagic here, and maybe rightly so. They do deserve credit though for being so aggressive. In terms of considering the extra bits... I have V-Locks, a lot of media storage, vari-ND's. Cfast2... bit annoying, but all cinema cameras have very expensive media. Low light.... I light everything. Lupolux, Dedolight's, Kino Flo's, Scorpions, reflectors, polyboard... always got it covered. I built up my video business on a Canon 60d and two crappy EF lenses, so I'm quite proud to have the ability to go for these options today.

Not to be annoying but could you guess as to when you'd publish your final review on the RX10 ii, Andrew?

Exactly, and where I live Sony stands no chance against Canikon. No competition. Not yet at least. Consumers are very different in different regions. Here Sony would have to cut the cost of the a7rii in half for it to even make it to the shelves outside of the Internet.

I'm a big fan of Kholi's SLOG2 profile settings, with the saturation dialed down just a touch.

Sad to hear BMD Video Assist is going to be the most delayed :-( Maybe I just shouldn't wait, and get a Video Devices PIX-E5 now.

Thanks for sharing. Can't wait to grab mine. Just need Sony to confim the length issue for certain regions and thats it. I am going to go and pester them some more now; missing valuable filming time- was in the middle of British countryside yesterday with no bloody camera. That slow mo at a dog show with long haired collies (dogs like lassie) would of been nice. Edit: got a Facebook message saying to contact local dealer. Told them it is "pathetic that nobody can give me a straight answer from one of the biggest companies in the world". The camera is £1500 on Amazon UK today and nearly half that price from importers or in Thailand shops, so it is a legit question they are dodging.

I posted my heat testing results on DVXuser (mine was the camera that turned off without warning). Further testing yesterday with an external power supply and a cable battery adapter, and there's no difference in overheating. Again around 27 minutes in S35 and about 48 mins (with a 1min break at 29mins) in FF. I did notice that in S35 4K mode, that it did sometimes overheat without first getting a temperature warning icon. And testing with USB power wasn't enough to to keep the camera on.

Maybe I'm the only one interested in the LX100 today, but regardless, I continue posting Here is a 4K still frame extracted from a video at 100 ISO (50mm f/4). With good settings, quality is really decent. Image stabilization works like a charm. I'm sure that beautiful short films will be shot with the LX100 ! Click to enlarge (no JPEG compression over H.264) : Now I have to make tests at night.