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Guys this camera is not meant to primarily shoot 12K. It downsamples BRAW in camera, so the RGBW sensor enables full sensor full rgb over sampled 8k and 4k. THAT’S the selling point, not the 12k.

is at the final stages of development and will be announced soon. One exciting feature I can share is that the dynamic range is rated at 16 stops (actual ARRI stops, so 2 stops higher than current ALEXA sensor).

The price has been almost cut in two and it is now $5995. No idea whether this is because it wasn't selling, or to bring into line with the newer Sony and Canon offerings or whether they are going to release a 16K version but it is now a very, very interesting option. You can say what you want about no one needing 12K blah blah blah but the (extreme) re-framing and stabilisation options offered by the 12K image are very practical and it ticked an awful lot of boxes anyway with its internal ND, ProRes and BRAW, professional I/O Its not going to be for everyone of course as the "I want a full frame camera with IBIS, e-ND, sentient Autofocus and small enough to shove up a mouse's arse" fantasies are in no way going to be met here but for those who do have a need for a camera of this type, its now put the cat amongst the pigeons in that area with this price drop. Theres is a very comprehensive run through of it here from the good people at CVP : EDIT <STRUCK OUT THE PRORES THING AS IT DOESN"T HAVE IT>

@newfoundmass USB audio is an existing standard which, if implemented in cameras, would let people use USB mics, but more importantly they could use mixers and completely bypass camera preamps and ADCs. And it would open up to a whole range of audio devices, like MixPre's, Zooms, or even desktop mixers from Behringer, Tascam, FocusRite, etc. That would streamline a lot of types of shoots.

Here's a comparison between the BMPCC6K vs Blackmagic URSA Mini Pro 12K... The video does a good job of showing the difference in: Color rendering. Dynamic range. Noise. Field of view. Is one better than the other? That depends on the applications and your image priorities. The new sensor tech produces better color rendering and dynamic range. The BMPCC6k has a lower noise floor and is better in low light. Field of view goes to the 12k with a 1.3x crop factor. It makes sense to add LiDar auto focus to each (CDA-Tek AFX). Both the BMPCC6K vs Blackmagic Ursa Mini Pro 12K are now priced correctly based on their value, especially if you wait a little bit and get the URSA Mini Pro 12K as an open box or used. Where does it leave the USRA Mini Pro 4.6k G2... selling at a discount in the future as retailers get rid of remaining stock. I hope this makes way for Blackmagic to release a $4k box camera with the new sensor tech at maybe an 8k max resolution and whatever other limitations are needed to be in place to hit that price point. That would make flying the new sensor tech on a gimbal easier. That would be an great product line up!

Just buy a UMP12K and fake the multi cameras 😉

@newfoundmass nailed it.....I would never want a USB mic over an XLR mic. Yes XLR is ancient, and large, and unwieldy; but the entire audio world ecosystem is built around it. If camera makers started going off on their own with USB audio they would make it a nightmare to tap into the 20+ years worth of XLR interfaces out there. For the work that I do I have to connect to DJ mixers, PA systems, wireless mics, wired mics, karaoke subs, etc. etc. The standard interface on nearly all of them is either XLR, 2.5mm, 3.5mm, or 6.35mm jacks...not a single USB interface amongst them. Additionally, XLR was designed from the ground up to be low noise and high quality; I can't say the same for USB.

I have an Ursa G2 right now (in addition to several other cameras), and damn if getting 4k at 240p in BRAW isn't tempting.

Most of the best mics are XLR. I'd never use a USB mic over an XLR one. Give me a locking XLR with a beefy cord any day of the week. It doesn't bother me at all when using the Panasonic XLR unit.

Early Sep and I should have 2 to add to my portfolio. The first is a 3 day American wedding here in France so should be good and is a full hybrid job. The second 2 days but just stills. I’m still toying with the exact configuration for hybrid coverage which is when I need 3 cameras; one for static full length stuff, one for roaming video and the third for stills. In a pinch I can do it with 2 bodies and 2 zooms but there are compromises at key moments especially during ceremonies and that’s the weakness of the 2 camera approach. 3 cameras eliminates the compromise and despite these somewhat cash-strapped times, investing in my portfolio is still my best option. I’m pretty sure I will run the following: S1H + 35mm f2 indoor and in 4K 50p crop mode essentially gives me ‘50mm’ which I find is a look I like. Switch to the 65mm f2 outdoors for a ‘100mm’ look. I am not and never have been a wider angle user and like to shoot either quite tight but if I want more context, back up to include it, but always with a longer focal length. Handheld at all times as the S1H IBIS is just superb, unless I need to shoot stills at the same time such as first kiss, confetti etc in which case it quickly slips onto my freestanding monopod. It’s my workhorse that produces 90% of the material. Then one S5 gets the 24-105mm f4 and gets welded onto a tripod and does full rolling ceremony, speeches and any entrances, exits, first dance etc. The second S5 with 28-70mm f2.8 is dedicated to stills and is a relatively lightweight compact and versatile combo and I do tend to switch to crop mode outdoors effectively turning it into a 42-105mm, at least in camera, with the ability to crop back out in post. I would rather another S1H in this role however as I prefer it’s; build, ergos, dials, buttons, screens and…well everything really. Not to do the S5 an injustice, but the S1H is just better everywhere. Tweaked natural profile for me also. I’ve tried log and can’t get on with it. Yes, in certain circumstances it can produce a marginally better result but is far too finicky for consistency and even with a decent workflow, a lot more time consuming.

Hey there, does anyone have any experience with video autofocus on the EOS R with both native and adapted EF lenses? Three years ago, you wouldn't have caught me dead using AF with video work, but using AF with my Sony A7III along with both Sony and Sigma E-mount lenses has been a great experience for situations like interviews, speeches, and gimbal work. I like that the focus pulls smoothly and looks like a manual focus roll https://19216801.onl/ https://routerlogin.uno/ (as opposed to super fast and jittery). How does DPAF compare on Canon cameras? I'm assuming it's probably really smooth on the expensive RF lenses, but what about EF lenses with an adapter? I know they're supposed to work no problem for stills AF, but haven't seen many tests for video AF tracking.