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Imagine that! But even if it was just 1080/24p only with the alexa sensor... I'd be all over it... that sensor is pure magic

Because it is perceived as detail. Seeing 4k on a big screen is still a novelty. People are fascinated by it, like under a spell, or hypnotized. The sharpened image makes for a hyper real world, where there is more contrast then in the real world, rendering everything easier to recognise. Having this super vision may give the viewer an elevated sense of security and control. People see contrast. More contrast makes discerning easy. Only the smarter people recognise subtle nuance and detail. Lower IQ people only recognise easy to identify, contrasty, things. Thank you for the question, it moved me to think

Here's the funny thing about that comment. It still is a pocket camera in a way. I use my pocket both on and off my Beholder gimbal while keeping my Jukebox in my sweatshirt pocket, at the ready, between shots. Works like a charm and I've yet to run out of battery in a day. The image coming out of the pocket took some working to make easier, but as tech has progressed so many new products have come out to make this cam better. I have few complaints with my pocket cam.

I've heard of that phenomenon. Never thought of that, actually. Same with finding work, I've read from many that if you charge too little, it can hurt you based on that same logic. Interesting.

This is mostly true. The battery life, as much was I wanted to ignore it, was a major limiting factor and prevented me from using it for almost 2 years after I brought it. Almost sold it. Got a juicebox magicpower and that all changed. Runs for like 7 hours straight and mounts on top of the camera. But as you say, not really a pocket camera anymore. And another expense to consider. But I have used it for events with said battery. You'll get 2 hours of prores 422 on a 128gb card, 4 hours on a 256gb card. Wouldn't be my first camera choice, but it is doable. Just had it as a 3rd camera for an hour long ceremony, no issues. And as much as I rarely use them, it is nice to have the mini batteries for when I do want it to be pocketable. Getting a few snaps on vacation, or wanting to be really inconspicuous. I like small cameras, because you can build them up if need be, but also keep them small if the situation calls. Can't do the reverse with a large camera. At this point I have to feel like they are doing a pocket v2 for a very good reason. It was a really popular camera and their best seller, from everything I've read. So if they could do it, it seems like a license to print money. I'm thinking they cannot do 4k with the heat issues, small form factory and limited ability for decent batteries.

I am expecting a C100markIII announcement, or else I see myself going for the FS5, the variable ND filter is a good reason as it is already. In the end, as I see it, even a JVC LS300 for 3000euros (we already have one) is great to bring some bread on the table and the budget can be spend on lights and/or some sound equipment (Zoom F4 anyone?!) to complete my set. This announcement is quite exciting, but I do not see taking too many customers from Canon and Sony, even though they will definitely take some. This camera seems like a work-sheep, not a work-horse. I am waiting for the first reviews and future announcements from other companies, just hope to push Canon and Panasonic make a move, at last. I just can't understand how Panasonic is out of this game with a Varicam Ultra Light Tiny, C100/FS5 killer!

Here is my first test with my run and gun anamorphic set up. Shot on a GH4 in 4k with natural profile. Lens used were Baby Hypergonar anamorphic + LINOS MeVis-C 35mm F1.6 Most of it shot at f1.6 or f2.8 Rectilux Core DNA with +0.6 diopter on close ups. No sharping or noise reduction.. I hope you like. The images at the end I really love. The Rectilux is a dream but you diopters to get sharp below 2 feet.

Hello forum from RUSSIA. I do anamorphic cinema system for the nozzles on the basis of 35-NAP - PAS SiNGLE This will be the single focus! front lens movement coordinated with the movement of the focus lens ring. So how will the electronic control on the Arduino, it is possible to use different lenses almost without limits! For each written their own program. Here are the first tests already working focus system. The next stage of development is to increase the speed of movement (refocusing) and the finalization of the project.

Forever I have been patiently waiting for Blackmagic to give us a sequel to the great story of 2013, where a man called Grant pioneered affordable RAW video for enthusiasts, DSLR shooters and consumers. A huge market. Since the BMCC and Pocket Cinema Camera however they have only focussed on pros. A big pity. Read the full post

@tupp, while we agree the two images are not exact, it was acknowledged that it was not possible to make the settings exact for equivalence. I don't see anything significantly special or magical about the full frame image, and most people cannot even see a difference without a blink test: The simulations showed a perfect match, hopefully this simple diagram will show why: If we take a movie projector and increase the distance from the projector to the screen, the image grows larger and vice versa. Does the image significantly change other than size? This should make it clear that sensor size by itself does not do anything special for the projected or recorded image. Are we in agreement? Now does the size, shape, curvature, and number of lens elements make a difference with respect to DOF, bokeh, and overall image character? Of course, no one has argued that point as these changes occur between lenses designed for the same format, for example the Canon 50mm 1.4 vs the Canon 50mm 1.2. The 1.2 has a much larger lens and of course a larger aperture. What happens when we set both lenses to F1.4, or F2.0? Is there still something 'magical' about the 1.2 lens with the much larger glass? Are they different? Sure they are. Is it significant? Does it matter- we're using the same sensor size? Much more comparisons here between the 1.8, 1.4, and 1.2: https://www.slrlounge.com/canon-50mm-prime/ We haven't changed sensor size, only lenses, and the bokeh and character is quite different, right? Want crazy/weird/artistic bokeh on full frame? Here you go ( http://allphotolenses.com/gallery/item/c_7319.html ): Everyone agrees that lenses make a huge difference and some full frame lenses have bigger optics than some medium format lenses, right? If you still feel that sensor size affects the final projected/captured image, can you provide supporting math, physics, diagrams, and real-world examples supporting your hypothesis?

@webrunner5 It is not him, is a professional gunner! @Drew Veeneman Dmitry is a great guy, I told you, where are all the possible settings though?! I am a bit lost to this thing.

Thanks for calling me close-minded. I actually should be glad that almost nobody cares about producing filmic/organic looking video and should stop giving away any information how to do so. People don't understand why they like filmic looking footage, but they pay when they see something not looking like being made with a smartphone, lol. -6 would be nice actually, since -5 still shows slight hints of oversharpening halos (no dealbreaker here, optical filters will take care of the rest). Not quite RED/ARRI/BM/SONY etc... like, but a bit better than the GH4 already.

Indeed. Quick summary of that part of the review: With sharpening and NR on minimum they are happy with the image quality. They remark o how good the 60p 4k looks, only slight degradation which they think is the difference between 8bit and 10bit due to the white and black points. They think the 2k mode (I guess 1080p, not actually 2k?) is really good and scales remarkably well with no artifacts (listen up Sony, stop giving us super sucky 1080p). Above 60fps there's no full sensor read out anymore, which is not a real surprise. They see two steps in quality, one up to 75fps and then another up to 180fps. There is line skipping so they get moire and aliasing but they still believe it is usable in reality. There is a demo video embedded where they mixed 4k and high frame rates. In the VariableFramerateSettings for slowmo, they camera reads from the full sensor width like in photo mode. The congratulate the really low rolling shutter. Panasonic says 15ms and they think it is accurate. Base ISO is 400. LowLight behaviour is okish. It's good up to 1600, 3200 is acceptable and 6400 is worse. Noise Reduction can't be completely deactivated and they muse if 150 Mbit/s is still not sufficient in 10bit high iso. I guess we'll see if there's improvement when the 400 Mbit/s firmware drops.

I own both cameras as well and definitely think the 5D3RAW image is more impressive looking. I think the C100mk2 looks sharper overall due to it not being a full frame camera and not having a filter on it like the 5D3 has which needs post sharpening. Below are some 5D Raw dng files with a graded versions.

Well, by the same token unless you've shot with the GH5

I think they are trying to address the "blackmagic are always delayed" issue. The easiest start to this is a production camera that will ship much smaller numbers. Which is the case with the mini pro. Hopefully, once they streamline their production process, they can then look at a smaller product that will shift 10,000s... on time! I think it's a smart, long term move.

This is my whole point about the Cinema5D post They are complaining it's a bit-depth issue with 10bit when it's actually an encoder issue / compression related. And 10bit looks pretty damned good in the standard colour modes to my eye, yet they claim overall it gives zero benefit. Go figure.

ARRI will release the ARRI Nano 4K, for $5K

I nearly didn't buy the 55mm f1.8 by Sony because it wasn't £900 like the 90mm f2.8 and the 28mm f2 had to be rubbish at only £350. Everybody knows about the Sony lens premium but I went ahead and bought those two lenses with great suspicion that there must be something wrong with them - which there isn't. I shall do the same with the Sony 85mm f1.8 (£600), worrying that I should have got the Batis at £1000 or the f1.4 GM at £1600. Half price camera bodies and lenses - or half price anything for that matter - whispers to us there must be something crappy about it. The BMPCC is £70 cheaper than a GH4, so the end product (image) must be worse. The saying "You get what you pay for" can deceive us.

Me. And if they weren't selling BH wouldn't still have them in stock. And we're not talking about a C100... we're talking about if BM sells more Ursa Pros than they sold and continue to sell of the Pocket. I mean, 3-4 years after its release and there is not another camera at its price range that can match its IQ. IMO.

We are also forgetting the Ursa Mini 4k model, hell they are only 2995 new. I have seen them for 2400 bucks used. 2400 bucks, that is a hell of a buy for a real Camcorder style camera. I am not sure a GH5 is worth 2000 when I can get a Mini for 2400! They have the bugs worked out on them. And the thing shoots Raw and ProRes, Raw for 2400 bucks and a s35 sensor! Heck maybe they are a better buy than a used Canon C100 mkII? I have never used either one but it is 4k and has Raw. Opinions.

Well you can shoot a feature with a GH4 as well! However, put BMPCC in the headline and it gets more clicks. NoFilmSchool are known for this... Their main innovation is putting "Kubrick" in a headline for clicks and ad revenue. The BMPCC was a perfect building block for the later evolutions that never came... All they needed to do was keep the product concept and pricing, upgrade the sensor to Super 35mm and sort out the terrible battery.

Indeed, for web delivery all this testing is pretty much nonsensical. In fact I find the whole idea of these tests zoomed in by 400% or whatever a bit absurd as well.

No 'dual recording'! The biggest pity is there's no way to utilize those 4 media slots to record raw and ProRes simultaneously (like Red does). This seems like such a travesty coming from the company that owns Resolve and should recognize the value of online/offline workflows. BlackMagic confirmed with me on the phone that you must choose to record to SD OR CFast and in one format only.

"Since the BMCC and Pocket Cinema Camera however they have only focussed on pros." Most of the amateurs will be happy with whatever Panasonic offers for 600euros while those Panasonic's are plug and play and the footage appears without much hassle on their brand new shiny 65" 4K TVs. Video companies are becoming more specialized because not a lot of people will be buying exotic video cameras with additional equipment to run, and not amateur friendly codecs; and the worst part is that they are NOT taking photos. How many are these specialized amateurs that will create a buying buzz (and absorb the R&D and marketing funds) for a completely new video camera? My impression was that pocket was good for a lot of indie people (I have seen a few around Europe) but never was the "pocket" camera its name promised. I am editing a project with the pocket right now, the whole rig was huge, the second -huge- battery didn't work and my friend lost the last 40 minutes of the performance we were recording and the video files were unnecessary big for such a low budgeted project (80GB for the pocket, and 60GB for the NX cameras with at least 40 minutes additional footage!) and the other cameras we had were around 40-50GB. Great image, but it was somehow out of place in my opinion. Great idea, poorly manufactured. If they can really make it a great portable pocket camera, then I will reconsider! This Ursa is the most interesting camera they ever produced, and the fact that it is available right now is a statement that this time they are really serious.

I noticed something else as well. What's with this DR graphic. In this picture they try to paint the Panasonic as having lower DR than the Fuji, but when you put them side by side that are almost exactly the same. I find this lame at best.

The BMPCC was the best $500 I ever spent. I'd gladly pay in the $1500 range for a Pocket mk 2. that does 4k in prores, even if the sensor stays the same size. Higher frame rates (like the GH5) would be nice too. The BMPCC fills the niche that 16mm film left behind, and can use all the same lenses. There has to be a market for an updated version.

Great, I think we just need to calculate the shipping price, and we're good to go I am located in France. I'll send an PM with my full adress

Such a bulky system with those large NAP glasses in terms of IQ have a point only for using wide open apertures on fast 80+ mm (when front element of taking lens is bigger than regular rear anamorphic attachment entrance). For fast 50-75mm primes there is a great option like Rectilux and for shooting at F4 (as in attached video) there is Rangefinder or FM. Which all can be used without those additional drives and batteries.

Looks nice, I agree. But how good in practice, don't sure. Yes, I speak Russian Test from other man with similar method on F:1.4. Quick focus from one object to other. Maded for one taking lens, but more elegant scheme for my opinion.

I hope the GH5 can make it's photo and video look organic or video like. Like Ken and other say both have their uses! It would be nice to dial in any look one likes in camera, and shoot as you envision it right on the SD card, for a fast workflow. Custom LUT profile! For the times I want flexibility, I want a clean robust raw recording to massage and tune later on. My question is, will the GH5 offer a more clean, flexible and robust recording then the GH4? To measure this I think an external recorder and RAW is needed to really see what comes out of the HDMI, which I assume will offer the highest bitrate 10 bit data signal. For the run and gunner in me I also like to know how good the 10 bit 400Mb files are, the highest quality internal recording setting. Recording the best signal goes together with the best settings. Lenses and light are also key, so comparing to other brands should ideally be done using the same glass for comparing colour rendition for instance. For the sharpness setting, can we have something like "Off to 10", the minus numbers make no sense to me. Or does it actually mean blur?

This weekend Im finally shooting a video with the adapter. Still haven't got all the stuff I wanted before I did it, like borrowing a A7sii etc, but I can't wait any longer. I must see how it looks In other news, I was interviewed by a local paper yesterday regarding my Instagram and accidentally said how much money that is just waiting for you in Swedish flee markets in the form of vintage lenses. So I guess I will have some new competition, at least locally Any who, the reporter wanted pictures of me taking street photos and I was carrying the A7 with adapter and 80mm f1.9. So I did some more street shooting at f1.9 and its still very fun... and rather difficult. Also today I opened the box to the very affordable Zeiss Jena 80mm f2.8 and the adapter can't get here fast enough. I its anything like the earlier models of Zeiss Jenas Ive had I will be very happy. Here is an old test with the 35mm in m42. And a set of three C-Mounts. So again, if the 80mm f2.8 only preforms half as good it will make for an interesting image.

Anyone buying a $6,000.00 camera can probably afford some decent lighting equipment. But yeah, would be nice if it was a stop or two higher. You have to remember that BM has not really been around that long, and they have brought out a Ton of equipment in a damn short time. They are learning. This whole website is full of people that admire their products. Pretty amazing for a startup company.

Looks as if you've unleashed your own "viewing setups" thread. :-)

Was this originally shot in 4K or HD. I decided to upload some more footage from mine. I'm still happy with it's performance and I don't shot clog anymore with it.

Great shots. Voigtlander 17.5mm for MFT does 3D nicely too.

Maybe we start seeing some Videos without this ridiculous oversharpening from now on. Nah... :D I really don't get why people love this oversharpened videolook, even Emmanuel Pampuri does (discussed with him on this topic)... It affects fine detail and motion cadence in a very bad way as well, but nobody cares...

What the Mini Pro shows me the most, is that BMD is really listening to the crowd. When they made the BMCC and saw how everybody rigged it up, they made the Ursa (major) so people didn't have to rig it up and big crews could make it. When people said that it was too big they made it smaller with the Ursa Mini. When people said that they wanted NDs, swabble mount, external control for power on/off and better preamps, SSD cage they gave it to the people.. Just like the Pocket, they made the Micro for POV mounting when people wanted that.. Sooo... Try to ask for the same with Canon :-D The problem with this is.. people always want more - for less. I hope BMD won't break their back doing this. Look how sexy the Ursa Mini looks.. and look at how not sexy the new "Pro" looks. It looks hacked if you ask me. I know aestictis is not the most important feature but BMD has always made sexy cameras if you ask me. Their designs are so unconventional. The mini Pro looks like a hack between Ursa mini and Panny hvx 200. But atleast they can deliver on time as its not a totally new design. They have given so much to the community if you ask me. I have an exellent A7Sii i use for almost all projects. However i still love the image coming out of my BMCC much more. Don't get me wrong the A7Sii is superb! But i still have trouble with the colors.. i don't know why. QC issues... well.. Remember RED when they came?.. And yes the price does convince some that it is a inferieor products and it also is (you almost always get what you pay for - maybe not in physical material - but often it more thought out - not always) but not at the things people think it is at. ------------------------------------------- I made some calculations.. If they take a MFT cut of the 4.6K sensor you get ~3145 x 2363 pixels (+/- few pixels depending on actually size).. So thats with M43 format (4:3).. if you would want to use a 16:9 of that sensor it would yield a 3145x1769 pixels sensor. Just like RED does with fx the RAVEN. It's just a cutout of a bigger wafer in a smaller size of the Dragon sensor. They could essential make a 3K pocket/BMCCv2/DSLR MFT camera. The biggest problem is power consumption. BMDs firmware is very power hungry. But i think with Canon LP-E6 batteries they have a better chance then with the smaller Nikon Pocket battieres.

And dont forget the 5D III RAW is 14bit, as I like to shoot in some crazy lighting scenarios. I get banding with every other camera I ever owned other then a 5DIII. The colors are just great, bright red key light, no problem. (I shot something similar with the A7S II, and the colors were so ugly that I had to use a "black and white" grade. )

Nikon did this in 2011 with the Nikon V1, here's your article http://www.eoshd.com/2013/03/nikon-v1-shooting-4k-60fps-raw-for-200/ It's a shame because Nikon does innovate but do nothing to improve. The D90 was the first DSLR to include video and @ 24p, Canon later released the 5Dii and the masses wanted manual control so Canon gave them manual control there wanted 24p as well as the 30p so Canon gave them 24p meanwhile there isn't even a Nikon APS-C capable of manual aperture. I think you said the Nikon V1's sensor is capable of 4k raw. Nikon could easily open up these features but continues to limit them selfs... Their last mirrorless camera was the J5 with 4k @ 15fps... Here's another example below of the V1

As for the pro not adopting them.... Well a lot of high end pro go to rental houses, who invested tons of money on expensive system. A red epic package is usually around 1k usd per day , for the price of a week of shooting you can buy a 4.6k mini package, so I won t be surprised if some rental house are being protective toward their equipment by saying that the ursa mini is not usable for pro work. It s probably the same thing for operator/owner of red/arri. If people hire you for your past work they won t care much on what you shoot. If they hire you just to operate they will probably expect something else. At the end of the day, the image coming out of the 4.6k is on par with arri and red, for a fraction of the price. The camera is flexible enough to do what most jobs require, without being too big or need to many batteries. People usually have a distorted view of what arri and red do, they create solid production cameras, but they don t do miracle, if you underexpose, all camera sucks. I think blackmagic have their own market, a weird niche, but IMO they have the best company philosophy . As for a new pocket/micro camera, I m not sure it s very useful, maybe replace the S16 4k sensor as the DR is low. Blackmagic released fair amount of cameras over the last years because there was a lot of improvement to be done, but today, they have a solid lineup.

BM cameras doesnt have any internal noise reduction. You get it with free davinci resolve, it is very advanced and gives great results. I think canon/sony does something internally in this regard. They are better for sure but we really dont know how much better.

Personally I'm really excited about the Nikon mount, especially the way they did it with smooth aperture control ring. Well that's if I was in the market for a Ursa Mini Pro that is..

Passing out Tinfoil Hats soon. Put in your order, get em while there hot. Really! This stuff never ends. Aliens are coming after our ass I hope, to put us out of out misery LoL. Jesus. Man that has some Serious 3D DoF to it. Awesome!

Yes, that too. They could probably rate a Sony Smartphone Camera better than a Panasonic GH5.

I just saw an XC10 sold in ebay around $1,300……probably in just a few more months will go under $1,000….. @mercer will be happy to ear this news, at that price is very tempting for a B camera….

Riadnasla, one option is to stay in the Sony camp, and get a EX3 for your speaking events, these can be had for $1,500 in good condition with extras! great codec for those long events, you can use the F3 as a second camera that you can dumb down to match the EX3, you would have easy timecode sync with both cameras, then I would only add an A7S for your Glidecam, that camera could also net you 4K should you ever need it. So if you could raise the funds say $3,000 you would have three cameras that would cover anything you need. When you jump into the Canon camp, you could almost do the same thing with the C100 and a Canon mark III, and the DPAF on the C100 would work great for the Glidecam.

I think your right. It will be pretty much like the GH4. A great camera that some love and others feel disappointed. We will then make a little list of features that would turn it into the perfect camera. By the time a new camera with those features arrive we have made a new little list of the next couple of must haves. And so we dance.

Well I have to admit if 1080p is what you need without a high fps Slo Mo, there is not a way in hell you can beat the Sony F3 you are using with the Odyssey 7Q+. They have the look no camera we can afford can do, like a Arri gasp! And for Run n Gun for 1080p a Canon C100 mkII is not shabby either.

Do you guys think there is a future in manual lenses, though? Won't they become obsolete once DPAF is good enough? Similar to manual still lenses extinction after AF got good enough for pro use.