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Blackmagic Micro Cinema Camera Super Guide and Why it Still Matters Today The Blackmagic Micro Cinema Camera was released in 2012. At the rate that cameras are being announced these days, that’s a century ago in the consumer/prosumer world. The camera was released with very little fanfare as it didn’t have a monitor and was marketed as a great companion to drones, head cams, dash cams, sport cams, etc. Some people rigged it up, but for the most part it wasn’t exactly the most popular camera at the time. Though I keep speaking in past tense, this camera is still available to buy today - though with the Pocket 4k and 6k on the market - it’s very unlikely anybody is buying them. As we enter the most competitive market ever for the low/mid tier videographer and filmmaker, I am here to tell why this small unassuming - and rather ancient by todays standards - camera is special and why it could fit well with some of you. This guide is meant to be a fun way to explore a hidden gem, not to cause a spec war, fanboy war, or any kind of mean spirited debate. It is just an opinion of one person, but something that I have been thinking about doing for awhile. Lets get into. Brief History The Blackmagic Micro Cinema Camera shares the same sensor as it’s older cousin, the Blackmagic Pocket Cinema Camera. A camera that truly revolutionized the filmmaking world, by giving filmmakers that didn’t have the cash to buy expensive cinema gear a camera that had an amazing cinematic and filmic quality to it. Something that wasn’t found in DSLRs at the time with not only the film look, but also specs. The camera could record internal RAW at a price point that was and still is unheard of. But the camera suffered from many issues. The screen was garbage, there was a lot FPN issues, and most notably the battery life was straight up horrible. Batteries would last around 20 minutes and often times much less. The Blackmagic Micro Cinema Camera shares the same sensor as the original pocket. Its’ a sensor created by Fairchild Imaging, with a sensor called the CIS1910F. Fairchild are a company based out of San Jose, CA. They have created several sensors for Blackmagic, but I believe the new sensors of the Pocket 4k/6k are now Sony sensors. The sensor is important in this guide, because thats where the special sauce lies. Blackmagic Micro Differences to Pocket The Blackmagic at first glance seems like a stripped down original Blackmagic pocket. The thing is, it actually cleaned up quite a bit inside the hood. The micro received a new more modern processor, allowing it to clean up some FPN issues and improved rolling shutter. Though not a low light beast, it handles things generally better all the way around compared to the Pocket. When using a monitor, accessing the menus though tedious with its button placement, is much more responsive - where the pocket was a lag fest. Here is where we get to the good stuff. The micro cinema camera on paper and at first glance seems like a bit of a letdown. No monitor? No cold shoe? No handle? Canon Batteries? But, thats because of how Blackmagic marketed it. They didn’t market it like how Red or Zcam do it, which is a modular camera with a build your own adventure way to build it. They didn't even really offer accessories for it. But that is how it needs to be looked at. You get a brain and you need to add accessories, there is no way around it. But building around it is not as daunting as most people make it seem and once you take the step, you really unlock something special. Whats the Point of This and What Makes this Camera Special? I am going to use some overused/misused terminology here to explain how the footage looks and what makes it special. In a current era where modern sensors show every single pore and are mostly made by Sony (with insane modern feats) - there is an organic look about the early Blackmagic cameras (BMMCC, BMPCC, BMCC) that is special and has a very film like look to it, which is what Blackmagic set out to achieve and emulate. This is going back to Fairchild and what they were able to achieve. The look that is ever so popular with almost every young filmmaker and over used on almost every filmmakers youtube titles - which is a ”cinematic or film look”. Yeah, I know, you want to argue its lighting and lenses and actual cinematography skills that achieves that. You are right. But there are still more tangible attributes besides that which can affect the way a video looks. Color science, DR, a soft look, and motion cadence are 4 keys to getting that look. If you can nail all of those, you get a rather easy filmic/cinematic look out the box. And the Blackmagic micro has all of those and is really the last Blackmagic camera to ever use one of those organic sensors that Fairchild brewed up. It’s also the last and only Blackmagic camera that you are able to buy today that has one of those most special sensors every created for its cheap price and accessibility. . It is a hidden gem and footage from the camera are often confused for cameras way out of its league. It’s a look that modern mirrorless cameras don’t often have, at least not without heavy film grain, pro mist filters, vintage glass, added motion blur, etc. What makes this camera special is not on the spec sheet, because 1080p isn’t going to making you excited. It’s not on the paper that will make you go “wow”. It’s simply with the footage. You can throw all the specs you want. The footage of this camera and the fact that it’s still available today new and very cheap used, is the reason for this entire guide. Keys To Rigging You need a cage and an external monitor. There is no way around this. If you don’t purchase or have those, there is no point exploring further. Remember, like I briefly mentioned above - don’t think drone cam or sports cam - think modular RAW capable cinema cam. Smallrig and 8sinn both make cages for it, I have the smallrig and don’t see why you would need anything else. Take your pick with monitor, that is a personal choice, but I prefer something with Sony style NPF batteries. If you only shoot RAW with this camera (which is what I do) - then you can basically set your settings and forget them. I would leave your ISO at 800 and manage your light with your lens aperture and variable ND Filter. There is no need to go into any menus, other than to possibly reformat your memory card. If you do that, you avoid the headache which is the awkward placement on the menu buttons. If you shoot pro-res and you want to constantly change settings (ISO, WB, etc) then you will need to either get used to the buttons or buy a second hand “One Little Remote”. Which is a little add on module that can help you change your cameras settings without menu diving. For battery, you can use canon batteries for about an hour/hour half before it dies. Or choose the best option, which is to buy the NPF bridge (https://www.starvingartist101.com) which allows you to simply attach NPF style batteries to the camera. With this option you can get around 4 hours of battery life on 1 charge or even longer if you opt for the larger style NPF batteries. A monitor most people already have. And if you shoot RAW, which is kind of what makes this camera special and what I recommend using, then you don’t need to menu dive or you can simply use the one little remote. And if you use NPF batteries you now have a cinema camera that doesn’t require v-mount batteries and can shoot RAW video for about 4 hours. All in an insanely small package with amazing footage. I think thats what gets lost with this camera is that people complain about having to rig it up - but a lot of the add ons are either pretty cheap or you already have. The NPF bridge is around 30 bucks. Cage from smallrig is around $80. The monitor you prob already have. You really don’t need the one little remote if you shoot RAW or get used to the menus. Memory Cards If there is one legit complaint, its that newer sandisks memory cards do not work with this camera. Here is the scoop: “Please note that we have discovered an issue with the newer revision of the Sandisk Extreme Pro UHS-I SDXC 95 MB/s cards that begin with the product prefix SDSDXXG. These cards do not work with the following products: 1. Pocket Cinema Camera 2. Micro Cinema Camera 3. Video Assist 4. Video Assist 4K We believe that these new cards have the V30 rating on them. Currently, only Sandisk Extreme Pro UHS-I SDXC 95 MB/s cards that begin with the product prefix SDSDXP are compatible.” Though that sucks, good news is that if you have a sandisk pre 2018, it should work. Also there are non sandisk cards that do work. I have tested this one for example: https://www.amazon.com/gp/product/B00X1406EC/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 and it works fine and with RAW. It is still something that you should be aware of. I got lucky and all my sandisks work. Speedbooster There is a dedicated speedbooster for this camera in Nikon or Canon variant. Its called Nikon G to BMPCC or Canon EF to BMPCC. There is a “T” version that has minor improvements, especially to the felt material inside. There are other speedboosters for micro four thirds that will work as well. Viltrox speedboosters also work. The difference is that the specific BMPCC version gives you a 0.58x vs x0.71 or higher crop factor. Resolution Let us now address the elephant in the room. This camera does not shoot 4k. If you want a camera that shoots 4k, this is not it, simple as that. But, if you are a person that cares more about the image quality than the resolution, you won’t be disappointed. But lets say you really do want 4k, well, there is another hidden gem that takes this camera one step further. Inside Davinci Resolve is a feature called “superscale” which upscales footage beautifully. And scaled micro cinema footage to UHD/4K looks fantastic. See Rob Ellis' beautiful video on this: Also even if you need 4k for certain projects, this camera should still be in your arsenal. It’s cheap enough where you can have it along side something like a pocket 4k/6k. Again, the footage speaks for itself. IR Cut and Moire I highly recommend using an IR Cut filter with this camera as there is some IR pollution that can affect your image if you dont use one. You can find some for as cheap as 20-30 bucks. There are also some moire filters, like the RAWLITE OLPF, that does IR CUT and reduces moire at the same time. You install this over the sensor and you dont have to worry about using filters, but it's costly. I don’t have too much of an issue with moire - so for most a simple IR Cut filter could be enough. Where to Buy You can still buy these new today. But you can score amazing kits on ebay, craigslist, etc. You can often find one with a one little remote, cage, and even memory cards for under $700. Some will even include a monitor. You can legit get a full kit for $1,000 - including every thing you need to shoot and rig it up. Conclusion (TL;DR) I made this post because I am a junky of sorts. I buy all the new cameras, fall into the hype traps, and have severe GAS. Every camera I have used lately has left me with a “meh” feeling. Except the micro. Specs can be great, some have amazing autofucus or great color. Some have shit color and shit bitrates. Some are great but the lens system and adapting to it are a pain. And some are plain beautiful but are really expensive. The micro has a rare balance of amazing filmic quality, a lens mount that most of us on here are well aware of at this point, fantastic battery life of around 4 hours with NPF batteries, compact size, legit RAW (not BRAW) to internal SD cards instead of expensive cfast or having an SSD hanging from your camera and its cheap. Ridiculously cheap if you buy used. It also has that old blackmagic special look so many of us fell in love with back in the day and in my opinion is lacking today. It is a hidden treasure in the filmmaking world that is still available new at many retailers. I created this to share and possibly open eyes to what is an amazing camera this is and probably the last of its breed. As we enter the resolution wars with sharper, high res videos, we will slowly be leaving behind that soft organic look. If you like shooting older cameras with vintage glass to get that "look" then you can think of this camera the same way. You do it for the look, not for the specs. Bonus: Footage!!! Here is some great content that I believe shows off this camera and what is capable of doing (All the footage from his reel at the start of this video are from the micro)

It is widely known in the camera industry that RED owns a key patent for a cinema cameras featuring compressed RAW. It is also alleged the technology has featured in a number of past legal claims RED have had over rival camera companies. Now third party accessory manufacturer Jinni Tech alleges RED "deceived the US patent office" and filed the critical patent late. Read the full article

UPDATE: 2 provisional patents, one was filed April 11th 2007 and other in December 2007. Tick the clock backwards 12 months from December 2007 and RED camera was publicly discussed and on sale according to JT's video. This doesn't seem to be his conjecture, rather historical, factual information from the internet, forums and Jannard interviews, where RED publicly display and demonstrate the technology later patented. Be it NAB 2006 (sales) or IBC 2006 (exhibit) or initial tests and the stuff from 2005... It's all out there. In JT's video he points to RED putting up "sold out" signs at NAB 2006 for instance which is more than 1 year before one of the provisional patents the final one relied upon, and 2 years before the final patent was granted. Of course I'm not a lawyer and would encourage anyone to look only at the facts before jumping to opinions, myself included, which is what I am doing! When it comes to the fine details of the law, I am making no claims until I know the facts. Yes JT could be wrong and RED could have a perfectly legal and valid patent, and that would be the end of the discussion. It's for the FTC to decide... Also over the Made in USA claims. I won't be taking a firm opinion either way yet. But I do want people to keep on examining the facts and understanding the info, and we have free speech so are able to do that. RED should apologise for me for the forced settlement agreement terms and the impact this had on my blog and free speech. I want internal compressed RAW in many more of our cameras. It's important RED's patents are checked and their behaviour held to account. If they are invalid, it has huge consequences. RED should be allowed to put their side of the story in response to this video and I invite them to do that here, not just play the distraction game with Komodo.

With each of these videos, I'm reminded why I support open source, standardization, and collaboration. @Andrew Reid, I'm glad you wrote this despite being under substantial threat. In my opinion, this Jinni Tech saga is not getting the press it deserves, and I only hope it isn't because people are too afraid to say anything. RED should be given a platform to respond, but should not be able to sue away negative press.

Vlad changed the "Bayer array to RGB" patent into the "Buyer will pay to KGB" patent.

And make sure you don't forget your Zippo for when you are setting up.

so after the reveal whats next ? what are the odds of making it a monthly or bimonthly challenge. to give the users of the forum something to aim for, or aspire too perhaps ? cause we all do a lot of talking, something to keep us learning the craft would be really constructive as well.?

By being the only one Ive watched.. thought that went without saying. Great, then you should buy it. The motion, the clarity, the colors and the tones/curves. So does mine. Looks video to me. Exactly, very smartphoneish. Not a fan. Please note: I have NEVER said that the P6K shoots footage that looks videoish and can't produce cinematic footage. All Im saying is that after reading your post about "proof" that the P6K is "more cinematic than the P4K" I was very disappointed after pressing play on that video. But like I said there are most likely much better examples of cinematic footage out there.

Backstory is becoming very wide knowledge. 1.6m views

Its in the piece.

Ok I'm calling troll now. No way you are this bad at reading even you own posts.. Just be careful, seems to be a very sensitive subject and one must choose the words very carefully. Even when saying that the camera is good

RED is a patent troll. The fact that they sued Andrew in 2010 to keep his mouth shut tells you all you need to know. That is patent troll behavior. Ready to hear more facts.

Whoah...hang on there you two. You are doing forums wrong if you agree to agree. Splitting hairs, clinging on to a semantic rock and repelling all boarders...that is what it is all about. Now, lets get this back on course and start trading petty insults.

A re-post of my findings from another thread but I have found these Sony cards to be a currently available card that works with both my Pocket and Micro. It is the UZ designation that is important to ensure that you have the right one. Here is a link to the exact one that I have https://www.amazon.co.uk/gp/product/B00YOKOJOU/ref=ppx_yo_dt_b_asin_title_o05_s00?ie=UTF8&th=1

Another option: The Olympus 12-100 f/4 is a *great* all around lens, albeit, not as bright as I would like. It isn't small, but it almost never comes off my camera.

I wasn't saying that you are watching with image smoothing on, I was just trying to illustrate how film motion DOES have "stutter" (as you called it) and the proof is that TV's try to smooth out this stutter which is not how the film maker intended. If Films were perfectly smooth "as silk" as you say, there wouldn't be this issue would there? I don't know why you are getting so angry about this? And yes, I often watch YouTube on my TV.....is there a problem with that?

You know what's the problem of that, Skip77? Take a second thought reading your posts again, you'll easily follow the reasoning behind any hostile criticism on your entries as pre-judgement or misconceptions as you call it. Credit must be earned, no other : -)

Let's give credit where credit is due. Had it not been for Red, we would be probably still shooting HD. Well, maybe exaggerated, but it would have taken a few more years, that's for sure. Their Red One was definitely disruptive. And gave start to many businesses, mine included. Have to admit it. Eventually I started a rental company thanks to being in the first thousand of adopters... Later it all went to Arri. Many wrong decisions on their part, imo. Anyway, I myself came full circle, and, business aside, went to get back the hobby - one man band shooting small cameras. Hence I'm reading this forum, and not reduser, etc. :). But they were pioneers of cameras which could be compared to film. Yes there was Viper, Genesis, etc. Still, the digital takeover started with Red.

Both are very good ... disruptive for the above $10K camera manufacturers if over time they function without major issue, and only time will tell on that front. My experience has satisfied my concerns ... and at these prices replacing a camera is not a dealbreaker. I prefer not adding elements behind a lens ... which was designed to perform at a specific flange depth in a specific way. So the ability to use better EF mount lenses on a native mount is my preference. Spatial rolloff is characteristic of sensor size and I just prefer larger sensors ... MF and FF for stills ... so many other elements affect video one has to look at everything. Arri has used a small sensor to great ends as they engineered the imaging pipeline so well. Most others are playing catchup. The loss of BM Raw at certain resolutions on the P6K is not an issue for me as I am not bound by production time constraints ... hence the 5.7K capture to a 4K or 2K DCI Prores render. I did not use Prores on the P4K ... again BM Raw to Prores in Davinci Resolve Studio. Realistically, almost any new camera can produce compelling footage if one stays within the limits of its design envelope and respects its limitations. Just need to decide what tradeoffs are worth it to you.

As explained, our access is contingent on not doing any rigging in the actual room. We're being granted quite a favour with the location and can't push any more. We just need to make the setup work within the parameters we have.

Thanks mate, I haven't read it yet : -) Did it now... The way a L.A. Court would extend their jurisdiction is beyond me. To my knowledge, there's a lot of BS about the efficiency of their legal actions. More a case of legal bullying than anything else to my view. You Andrew might be entitled to fire back for that with more success than them to speak it frankly. Defamation is a crime. To state that someone practices libel, if not proved, ends in slander very likely. To follow a civil action with much more predicted outcome. The spell could turn against the sorcerer. My jurist two cents : -)

Thank you! No specific look ... grading was to test DR and color fidelity. Canon 50 F 1.2 for one and Zeiss 100 F2 Makro for the other ... listed in the opening credits. Really looking at highlights and how natural the overall feel could be ... My bias is from the perspective of a landscape and portrait photography background ... so I tend to pick times for the appropriate light and convey what it imparts to a scene.

Nice shots in there, some of them very clear and with lots of details! ? What Lens/es did you use here? What look did you want to achieve, or was it only a simple test of the cameras resolution etc?

Where's that photo from? Putin's patent office?

I can't wait for the final Scooby Doo style unmasking.

Don't mention the communists to Jim!! Ironic choice of music Mr Jinni Tech.

Opps, was that the sound of the industry being turned upside down?

Thought I would share a couple of explorations I have done with the P6K ... After considerable time with the P4K I began looking for something a bit bigger ... yet most of the cameras out there have an element that represents a compromise ... and it can be a struggle to decide what you really need in a camera. All about the image quality and sound that you can capture ... and lens mount sensor preamps and ergonomics play a big part in how we can capture what we see. I was pleased to see the announcement of the P6K as the P4K has worked well for my needs. So this week ... heat index outside was 108F ... I captured a bunch of things inside to look at light and color. Also played with the XLR inputs to insure that this camera works as well as the P4K. Here are a couple of short-lived videos ... cannot leave them up for long due to music I added for myself ... hate looking at video without a background of sound. Not cinema ... no drama ... just moving pictures ... video if it suites you. Capture at 5.7K BM Raw Quality 0 to the CFast card in 24p without and difficulty and rendered on a 4K DCI timeline with a 2K DCI output. Output as ProRes 422 ... https://youtu.be/b758C4khvMs https://www.youtube.com/watch?v=VOTQWfI0YPY&feature=youtu.be I love the extra resolution and great color science that was in the P4K (v4).

Could you forget about the grill altogether, hang a mirror at 45 degreed from the ceiling and then put your camera up close the the ceiling - shooting into the mirror and down into the room? Then you can use whatever lens you want to. Flip/flop the footage in post and nobody will ever know

One option as you are using an mft camera are the Olympus body cap lenses as you should be able to get pretty flat, although the grip will limit just how flat. The 15mm would be the one for the FOV that you are after but I would definitely try and have a go with one to make sure you are OK with the performance. Another option would be the Osmo Pocket as you can get that butted up right to the grille and the big advantage is that you can remote monitor it with a phone so it makes it easier to set up. The FOV is wide but closer to what you are after than that of a GoPro. The other one would be a 1" compact like the Panasonic LX10/15 which you could mount slightly above and use the optical zoom to get through the grille. As with the Osmo, the advantage there is that you can use the phone app to monitor as well as control the lens. The LX10/15 can take the Cinelike D hack as well so you could match it better to the GH5 if you are using Cinelike D on that too.

Our access to the location is conditional on not removing the grill or rigging a platform in the room itself, but we have great access from the room above looking down. I need a reasonably wide shot (essentially something like a 35mm - 50mm FF equivalent). The room is around 14 feet high. It's a geometric birds eye shot - straight down. None of that is negotiable unfortunately. Stylistically I need to end up with something adhering to 'realistic' - well controlled distortion, neutral colours, etc. I've been looking at the Laowa 24mm f/14 probe lens, but it looks incredibly soft from what I've seen so far, and f/14 might be a problem too.

Photography depends on variables. There are no soft nor sharp tools per se ; ) just soft or sharp combinations, respectively.

i second the motion. i'm happy i had a go at it, nothing ventured nothing gained as they say. i think i took something away from watching each of the entries. So i'm thinking its a win/win for me even i don't actually win anything. ?

heyy zach do u need attention??

I don't know too much about Komodo. I do know that 'cheapest and better (specs?)' are not what those who make a living from these cameras always look for. If Red can get it to $5000 with the few specs that are currently available , then they will sell plenty of them. Reliability and workflow are what I personally look for and so do most of my peers. Sure, obviously image quality and other factors come into play but the Komodo will be popular not because it might be cheap or have the best specs, but because it is a relatively trusted brand from acquisition right through to post production. While the Komodo body might be $5000, it will be interesting to see if you can use third party accessories with it like media and monitors etc which in previous Red cameras have always been the relatively hidden costs associated with owning one, or if Red release their own, more affordable proprietary touch screens etc????

With some manual lenses, the damn m4/3 adapter is larger than the lens. I guess... BM cameras are kind of Frankencameras anyway, so whatever works to keep a smaller footprint, via body or lens, is an acceptable approach IMO. What’s not to get? The EF and PL mount are the most widely used mounts in S35 filmmaking. Since a PL mount on a $2500 camera would be utterly useless to a large majority of the intended market, the EF mount is the next logical choice. If you cannot find a native EF lens, or one that will adapt to the EF mount, you really aren’t looking hard enough. You gotta remember that Blackmagic can only manufacture these cameras, at these price points, by using off the shelf parts. So, there may not be a 6K suitable M4/3 sensor and there isn’t a widely available mount, that is free to use, to keep the costs down. It could have been worse and they could have used the F mount. Creating their own mount isn’t cost effective since they would have to design it, create molds and adapters for a ton of different lens mounts. With EF, they already have the supply chain from their previous cameras and a pipeline of 3rd party adapters. The EF mount was the only sensible option for this camera.

I think this is good advice. I'm not one to ask personally, but in every case I can think of where someone I know "made it," they made something and through a combination of people they know irl and/or online platforms (major festivals, YouTube, even small local or online festivals but run by people with industry clout) or even just saying to their boss "hey I wrote this will you read it" they got what they needed to get a meeting or representation and took it from there. But the content always came first and it seems there was always an intermediate step. I think... Anyway, getting into a major festival can get you representation pretty easily. You can try hiring a press agent, too, or getting someone you know to pull strings. Or hiring someone to handle festival entries. Just my opinion of course. This sounds great. I thought your last short was more interesting than a lot of Netflix content and I love King of Comedy so I would watch it. But I would worry about the short/pilot before worrying about the series. (Also, record good sound.) It sounds like it might be a good fit at one of the production companies Adult Swim hires out, and I think those companies work with Netflix and others, too. I submitted a short to one of them about a decade ago, worked with people at another, and flunked a job interview at a third lol. But they all seem fun. Generally, I think Netflix is going to production companies rather than to individuals so I'd focus on the journey rather than the destination. Of course, if I actually knew how to succeed at this I probably wouldn't be posting here. Or maybe not. If you're in LA that does make it easier. I met a showrunner in Trader Joe's and now he has an HBO show in development but I didn't have anything to show him. ? I also bought a suitcase at Hollywood goodwill and it had the home address of an A-list showrunner and instructions to return it to him, I think. Maybe I should have... with a pilot script. (This actually happened.) Another tip someone told me: people like to be appreciated (but it's nice when it's in good faith and not just fawning). You can generally hunt down anyone's email address, and if you can't you aren't trying hard enough. Look for someone you genuinely would like to work for, and try to work for them. Then show them your stuff. This is harder if you want to do everything entirely on your own, which is sort of my deal and it sounds like you might be that way, too, in which case festivals seem like a better bet. Channel 101 used to be a really good scene, but it seems like the well has run dry even though their current content is still fun. It feels a little like an imitation of itself to me, but I really like some of the current shows anyway.

This the greatness of BM, with 2 cameras they are covering most bases with the minimum cost possible (for both them and us). That's a brilliant strategy. I do not like adapters at all, but the possibilities of an P4K causes a lot of thoughts, especially when a good m43 zoom on one, is half the weight and smaller than a similar EF combo. I always had issues with low light performance of m43 cameras, even GH5, but this sensor diminishes if not all, most of these worries. BM creates the possibility of owning a lot of cheaper cameras instead of 1 very expensive like was the norm for so many decades.

Tom Antos has posted his review of the 6K. He's definitely the Youtuber who's done the most work for a Pocket 6K review thus far. Pretty comprehensive.

That was me.

Although they also just added custom LUTs with the new firmware which was the only other feature I really wanted that it was missing. Hmmmm

To be honest, I did not see the P6K coming. I received mine yesterday and haven't even had time to open the box yet. I am curious about using it along side the P4Ks with and without boosters. But after seeing the P6K, you *know* there is a P8K coming just as soon as BM can get a sensor (full frame?) that has the appropriate specs and makes the ~3500 price point. They already have the EF mount and there should be enough room in the body for the larger sensor. I bet the P8K is out inside 15 months at $3495. What do you guys think? Also, I got a huge kick out of the fact that Blackmagic had it in stock the DAY it was released at the major dealers. I got mine from B&H. That will teach us to talk smack about Blackmagic's legendary lack of timeliness (or not.... )

Yes, right, like when the Hydrogen project went down it was some Chinese's fault, when everything goes well is 100% Red.. Do we even believe this guy anymore?

If they can fit in the E-mount of the FS5 they can fit it into a compact body.

New Firmware released with ZRaw

Question I guess a lot of us ask. There are legal reasons why unsolicited scripts are not accepted it is generally to prevent future claims of plagiarism. (everyone thinks their concept is pure gold and the big bad studio ripped them off) (that bloke down the pub "yeah Alien was basically my idea") One piece of advice i found that really stood out ( for me personally) was to hire an entertainment lawyer to submit the pitch. pricey costs around 500-1000 USD. (probably not what you wanted to hear)

I didn't blame anyone. Just stated the facts. European Union has very expensive taxes but they are the only ones left in the world to try to regulate Google and Facebook, and I rather live here than having to deal with a mass shooting every week. This is a very nice corner of the world here. Beginning of the western civilization with Acropolis at the city center matched with unlimited islands with no sharks and great mountains! The sea or a mountain is no more than 20-30minutes wherever you are in the country. You are overreacting big time and people are "affraid" to state their opinion because they want to avoid the conflict. You are not the only one alive in this world and we have seen things and done things in our lives too, and still do by the way.

The MFT mount with a speedbooster seems like a far more cost effective option given the large price difference.

Yeah but like it has been said, it is not desirable to add sharpening in Post. So I want the sharpest camera output and the sharpest lens hanging off the thing. If I Need soft that day put a filter on it, rub your greasy fingers all over it, or correct it in Post. But you can't get back what you never had. And then there is no consistency to using all these odd ball lenses if you need to change focal length. True Cine lens sets have the same T stop and the same look through the whole lens line other than extremes at each end. Some sets are all exactly the same diameter for ease of focus pulling rigs. There is good, valid reasons Pros use them. Rental Houses don't have a bunch of odd ball lenses in their inventory. Sure for Photo you can use nearly anything. You can spend 4 days in Photoshop fiddling with that one shot if you desire to. Video is a different beast. What good is having 50 odd ball lenses when you really only need 3 or 4 damn good Cine lenses. The total cost in this day and age is probably about the same. Even for Anamorphic I think the Leica Summicron R 50mm f2 is a Way better lens to use than the Helios 44M 58mm f2. The Leica is in a whole different league.