majoraxis

I hope this succeeds because I would like to see the new sensor technology trickle down to the pocket in the future. It will be really interesting to see some camera tests to see if new sensor-BRAW pipeline delivers significantly better color especial when sub sampled.

I agree. I would like to see Blackmagic do similar as I prefer the Blackmagic recording options, which included BRAW to USB-C or SD.

The least engineering intensive addition would be an M4/3 mount Pocket 6k. My preferences would be a Pocket 8k APS-C sensor with M4/3 mount. Maybe they previously lowered the price of the 6k pocket to make way for an 8k pocket version...

I would love both a 2.5k and a 6K pocket with micro 4/3 mount. I would also like to see a Micro Cinema Camera 6k. Probably have to have a slightly bigger body, but keep the m4/3 mount. You get more than 4k resolution when cropping the 6k sensor to micro 4/3 size if your lens only covers micro 4/3 so there is no harm in having the 6k sensor with a micro 4/3 mount. Any form factor of the 6k sensor and micro 4/3 mount and I will purchase.

I took the question more literally. Projected virtual sets make for a near perfect visual product. https://www.youtube.com/watch?v=gUnxzVOs3rk My next move is to put a VR headset on my camera to rotate my green screen set when my camera pans and tilts 😉 ... does this already exist in the form of capturing gyroscopic data as it relates to the camera position (like steady xp) and then be being able to drive the rotation/pan and tilt of a 360 degree video or virtual rendered set in computer. I have not done the research. Someone please school me on this topic if you know about it. Thanks!

I watched the trailer and I did not see any obvious CA so my eyes must not be trained at a high enough level. I think if I wanted a look that was epic I would shoot on the Zeiss Master Anamorphics, or the Panavision lens that Tarantino shot the Hateful 8 on. That said I appreciate the focus on the optics over camera body, I hope this trend will continue. Final note: I have kids and I really enjoyed the cartoon original Mulan. I hope they can beat it because it the original had humor and heart. I wonder who is going to play the Eddy Murphy Muchu role in the live version.

@BTM_Pix Looking forward to using the with my manual lenses and Tilta Nucleus. I have the zoom motor as well. I would be interested in having it automatically adjust the zoom based on the distance of the subject form the lenses, so it could do and automated Zolly. Basically keep the framing the same and the subject in focus when the subject moves closer of future from the camera. Just for fun for those who might want to watch a few Zollys

From the older lower resolution to this new higher resolution versions, all of the ARRI cameras have beautiful color rendition and excellent dynamic range. Just goes to show resolution should not be a dp's number 1 priority. That said if you can afford it, why not have it all and that pretty much sum up ARRI - you can have it all - for a price.

With the price drop, the Z CAM E2-S6 is now more interesting. I compared the specs to the pocket 6k and the following caught my eye: 1. The camera body price is higher than the pocket 6k. 2. The C-fast media costs are higher. 3. Doesn’t come with resolve studio 4. Doesn’t support BRAW for 12 bit 4:2:2 small file size. 5. Does not seem to have the same glorious Pocket 6k sensor. 6. Not sure if it has phantom power, but it did not seem to list it in the specifications. On the plus side: 1. Interchangeable mount for MFT mount option. Though this costs extra apparently. 2. Some people prefer a box camera body. 3. Ethernet port can be used for web cam style streaming in future firmware update. 4. Offers different / higher frame rates and crop factor and /or scaling options. Conclusion: not for me. But may be for others so I wish them luck. Request: BLackmagic please offer a MFT Pocket 6k for the same price of $1995 and I will purchase immediately, and so will others.

My take is when cameras get cheaper, people are able to spend more on lenses. That’s better for the consumer because the same amount of money spent will hold its value because it is not spend on some thing disposable like a digital camera body. The consumer is better off in the long run with $98k in lenses and a $2k camera body than $40k in lenses than $60k in a camera body. Probably the best solution is $10k for 3 cameras and sound and $90k In lenses, if you can afford it...

So is the suggested workflow to record with the NR inline? In post there is Resolve’s audio noise reduction followed by Accentize VoiceGate which provide a real-time AI driven audio noise reduction chain that is hard to beat.

RED always finds a way to justify their sales and marketing decisions. BTW, I was at NAB the year RED first announced the RED One, before the show opened and could have been number 3 on the wait list for the RED One, but it did not make sense for me to purchase then and it doesn't make sense for me to purchase a new RED camera now. I didn't trust them then, I don't trust them now and I am glad I have never invested in any RED camera ever. 6k for $6k may have been my first RED cameras purchase depending on the performance, lens mount compatibility and total cost of ownership. It sounds like that will not be an option if and when production is ramped up... I am more of a 3k for $3k guy anyway... So the future for me is probably 6k for $2k, if and when there is a m4/3 mount version or higher end version with swappable lens mount. BTW - I don't hate RED. I love the RED company that delivers 3k for $3k and 6k for $6k. That company gets what people want: performance and value.

Good for RED. It is about time they delivered an affordable product... I'm still mad that they did not deliver 3k for $3k as promised. I hope RED will deliver 6k for $6k. Anyways, I thought the SNL Brad Pitt monologue looked nice, so I imagine it will be some people's A camera. I am guessing it will be back ordered, then RED will have supply chain issues, then RED will decide they can no longer afford to sell it for $6k due to the supply chain issues, so they will decide to stop selling it all together once it starts eating into the higher end product line sales. That said, I am hoping I am wrong... but I am not holding my breath... Here's the original RED Scarlet 3k footage and then they never release the camera... as they said they wanted to focus on being a high in camera manufacturer... well this footage looked highend to me... (except for the pre-release price of 3k). They could have sold it for $9k, but still not enough money for them apparently...

Agreed. I even shot great outdoor footage on my NX1 and so did you ; ) (That’s actually why I purchased the NX1 based on your NX1 footage), so it is do able even in 8bit. I prefer not to shoot vlog on my GH5,, but it sounds like vlog on the S1 is preferred to standard shooting modes, which is great. Given the choice, I prefer to shoot BRAW, but that is because that is what I do on my USRA Mini Pro so I am comfortable with the color correcting results. So it is just a preference. And again this speaks to the benefits knowing your camera and how you think you can get the best results out of it. l’m sure many would say vlog or HLG is the best way to shoot on the GH5, so to each their own.

My start was with a hacked GH1. The bummer was that the pictures it took looked like they came from a movie camera, but when you recorded to 1080p it lost the high dynamic range look of the photos. I’m glad the days of the Panasonic hacks and 8 bit recording are over. Give me a GH5 in internal 10bit 4:2:2 and I can get a good image in a studio environment. Give me a Pocket 6k with 12 bit BRAW and I can get a good image out doors in day light and night time in low light as well. All. hail Tester 13 and his GH1 hack... that was when we were living the Indy film making dream. Just add some Loma Anamorphic lenses to the GH1 and you get this:

I do too... I also remember how hard people were on the RED camera person. Apparently, if you: 1. Know how to get the most out of your camera. 2. Are in a controlled studio environment so you can compensate for weaknesses in your camera’s dynamic range with lighting. 3. Have color grading skills so you can further compensate for weakness in your camera’s dynamic range with power windows. There is the distinct possibility that you can evoke an emotional response out of your audience that competes with the response to cameras that cost 10 times as much or more. I think this is equally true today if some were skilled with a pocket 6k or GH5, lighting and color grading vs someone less skilled with a RED.

2025 Camera wish list: I would like a mirrorless short flange distance body with, 16k organic APS-C sensor with on sensor per pixel sensitivity adjustment for maximum dynamic range and on sensor ND. Stabilized sensor with built in gyroscopic motion tracking and with time of flight autofocus, that also communicates with the zoom servo to determine the equivalent focal length to assist with stabilization. Excellent low light performance due to the organic sensor. 2 x 32-bit XLR mic preamps with phantom power. Lossless compressed RAW like recording. Time code and redundant recording media. 2025 Camera possibility: What I would buy is an 8k APS-C organic sensor based product with very low noise, very high dynamic range, on sensor stabilization with on sensor ND in a mirrorless body. Everything else can be added...

@Blackmagic - thanks for the $500 price reduction on the 6k! Please also release a micro 4/3's version of the 6k with same attractive lower price...

I like the motion of the the Sony IMX253's Global shutter... I hope others will use this sensor in the future as well. Here's examples of the mono version. I imagine this is what 16mm film would look like if it was low noise without film grain. I like the look and think it would be prefect to shoot an indy horror film on.... this sensor series has a lot of potential and film grain can of course be adding in post, low noise and global shutter can not. Good job Sony - nice sensor!

I've asked myself the same question - it seems that there are just more DigiPrimes made in the first place, but that is anecdotal, I do not have numbers to prove it, just experience. I thinking is the rental houses bought the DigiPrimes and DigiZooms and maybe Zeiss was first to market, but who knows... At the moment, a DigiZoom 6-24 for $1,565.99 and $1,650.00 on ebay are hard to beat. For about half the money the Canon HJ11x4.7B KLL-SC $749 and CANON HJ21x7.5B-III KLL-SC $775 on ebay are also good deals if they are in good condition. They are kind of like the a DigiZoom set but by Canon and are not constant aperture, they are slightly slower to begin with and are (alittle?) softer than the DigiZooms. The Canons are each comparatively longer, however. The Canon 11x4.7 is a nice size, not too big, not too heavy. The 21x7.5B is large and heavy in comparison, but a very long range zoom: 21x. There is also the Fujinon HAc15x7.3 $2500, which is currently not cheap on ebay right now but they come up from time to time for less. This is a 15x constant aperture fast zoom lens with great resolution, little breathing, good illumination from edge to edge and a contrast level that is just right IMHO. It's great for live events and with nice bokeh at the long end. It is not for everything, as it is not wide enough to cover all situations, and it is too heavy to run and gun. The Canon 21x7.5 and DigiZoom 17-112 will also throw the background out of focus at the long end. There is also the Fujinon HAc13x4.5 4.5-59mm $899 on ebay. It's faster, longer, wider, has more contrast and is more resolved than the Canon 11x4.7, but the comparatively lower amount of geometric distortion and the lower amount breathing of the Canon makes you have to choose based on your priorities. So there you have it, the 3 wide and long lenses sets (Fujinon also makes an 18x but it is not constant aperture so I prefer the 15x) from Zeiss, Canon, and Fujinon. The clear winner is many of these lenses for under a grand or less if you have a compatible optical adapter and/or camera. I don't do a lot of stopping down, but when I have, I preferred the DigiPrimes wide open or almost wide open, as I like slightly less contrast and I think it is slightly softer as well, wide open, which hasn't bothered me. So I can't confirm or deny the color shift based on aperture changes with the DigiPrimes. I can confirm an increase in contrast when stopping down with the DigiPrimes.

Unlike other HD B4 prime lenses (Fujinon and Canon) the Zeiss DigiPrimes are readily availability depending on the focal length and at discounted prices compared to a few years ago. That said the DigiZooms are great as well and the 6-24 is cheaper than previous in ebay, when they come up. The 17-112 DigiZoom is still at a premium and a fantastic lenes none the less. What’s nice about the Zeiss DigiPrimes and DigiZooms are they are designed to be shot wide open, so they are sharp enough wide open without the added contrast you get when stopping then down. These are true cinema lenses with a long focus throw, cinema gears and Zeiss cinema glass and design.

Thanks! I heard the same thing, but could not find it in the manual. If so, this would be a great production environment, using it for time code synchronization, to simultaneously start recording and multiview monitoring. That said the multiview output is only 1080p so my hopes to use it to focus remotely are probably not realistic.

Well done Blackmagic! I would like to know if the ATEM Mini Pro with generate an EDL file against timecode, so that you can replicate your live cuts in Resolve on your RAW in camera recordings after the fact.

I would like to see a Pocket 6k active m4/3 mount.

Looking forward to seeing if BLackmagic will use either of the new Sony sensors. Seems to me that 8k maybe a great resolution for BRAW to record in, to deliver full 4K resolution after all of the file size reduction used to compress the images for BRAW storage and allow people to stabilize, reframe and zoom in post and then still deliver 4K. That said, I am fine with watching 1080pm video so delivering 1080p from 8k BRAW could be a great creative workflow as well, if it does not crush your computer in the editing process. I’m not so much worried about storage size with BRAW, so give us the 8k cameras and we’ll figure out how to use it or not.