Kisaha

The spectacular ones usually have humidity issues. Very difficult to shoot for a long period of time also. I have met this guy in Edinburgh festival. He became ultra successful later on. Great low budget cave film, I believe most of it is on a studio. https://m.imdb.com/title/tt0435625/

If you would like, I can elaborate a little; Sensors are doing miracles these days. Higher ISO is not an issue anynore, in most cases. I mean, 3200 native is just an unbelievable number. When run n gunning I want a dependable lens with a good selection of focal lengths and IS, which is my first and preferable solution for stabilization (tripod, IS, monopod, gymbal, IBIS - in that order for me). I do also care for size and weight. Bigger productions include more people, for lower ones I am most of those people in one body! I already explained why my NX1+16-50S is alive and kicking. Just too convinient to throw away..also have 4 cameras in total and 8 lenses, so I am covered in most circumstances. When I shoot C cameras the EF have so many limitations for the price (95% of the time I use those though, because they are "industry standard" here from the C100/C300 popular days, so production companies ask a lot for C200/C300mkII + a bag full of L lenses). The UWZ is too short. Also, when you have 4f on such a wide and very short zoom, you can not really zoom in to create tele subject seperation. The 24-70mm is just not wide at all, 36 on a C camera, 38mm on a P6K/Canon APS-C. Terrible! 24-105mm 4f, could be, but still 36-38mm at the wide end, and for some reason I do not particularly like this lens. Too mediocre in everything for me. 70-200mm is good for tele anyway and everyone has to own at least one white lens! I have the 70-200mm 4f, because I am not crazy about 2.8 aperture anyway, and I really value weight and size, the lack of them. I bought the 18-135mm nano for a more convinient solution when I can not change lenses. I am thinking to get the EF-PZ1 (or whatever its called) mechanism to "emulate" a normal broadcast lens. It is not particular cheap though, I am not using the 18-135mm as much anymore (actually the one I own is still brand new!). For someone that want to go on the cheap: EF S 10-22 f/3.5-4.5 EF S 17-55 f/2.8 EF 70-200 f/4 L IS if you want white, or the exceptional 70-300mm nano. Nano is the most modern and fastest AF mechanism by the way, so these nano lenses have some extra value. For m43 the 12-100mm 4f is exceptional for me. A little more expensive than I would like, but it is a workhorse. It is only 4f, but you zoom in a bit and you can shoot portraits or details, wide open you have 24mm which is the golden focal length for me, wide enough for establishing shots and scenary and groups of people, such a versarile focal length. I shoot some car TV shows and this lens for fast action is Godsend. I am also waiting for a bag of Samyangs and have a set of FD (haven't used them for 3-4 years now) and a smaller set of M42 (mainly Pentax). And that is why I am tempted to go P4K more than the 6K! There are just so many options with the 4K, I have a lens regain (X0.75), I can get the no-glass Viltrox (X1.9) for dead cheap, and maybe the P4K Speedbooster (X0.64) just to be safe for my wider primes. 1 lens almost 3 different lenses! Also, consider skipping the 6K resolution altogether, there will be a lot of 8K options in a year..better save the extra 1400€ for then..

At 00:35 clearly shows that P6K is deeper because of the mount. Pretty obvious, but BM didn't clear things out completely at the beginning.

Have no clue, just copied the BM nunbers. There are proper tables and all in this article. https://www.newsshooter.com/2019/08/09/blackmagic-design-releases-pocket-cinema-camera-6k-with-ef-mount/#disqus_thread All these crop factors do not make our life easy, for sure. Also no 4K in Braw, and the full sensor is only for 6K. The P6K seems less and less appealing by the day..

"The sensor is a 6K S35 23.10mm x 12.99 with 6144 x 3456 resolution. When shooting in 6K using the full size of the sensor the crop factor is 1.558x... ..now, as far as the sensor crop is concerned when shooting in various resolutions and frame rates, in 6K it is 1.558x, in 6K 2.4:1 it is 1.650x, in 5.7K it is 1.692x. The crop factor when shooting 2.8K and HD at 120fps in 3.388x." From the Newsshooter article. Sorry if posted before. As of the size "issue", I read that dimensions are the same, but I believe the P6K mount can be seen from the profile pictures and scetches that protrudes the hand grip (if I am using the right words).

Ofcourse not. I never mentioned IS. I just said that I am avoiding the 18-35mm lens on most cameras because it is not wide enough for my style. Mind you that I still use the NX1+16-50mm 2-2.8f combo. Starts wider and goes almost as far as the Sigma with just 0.2-0.5f less, while 15mm more at the tele end, plus IS.

That was my first thought! Canon is not the one to give something without taking something back. They are taking something back from Red for sure! Choosing the RF was the most clever thing Red did recently. It also takes them one step ahead of the Z and BM. Ofcourse double/triple the money also..but we will see. Seems like a good move from Red.

"It is not DSMC3 It is not a replacement for DSMC2 It is not 8k VV It is not a Dragon or a Helium or a Gemini or a Monstro Sensor It does not have an HDMI port It does not use proprietary media It is not a “module” It is not under $5k, unless you own a Hydrogen. It has no XLR ports It does not have a fixed lens It’s body does not weight more than 2 pounds. It is not larger than 4 inches in any dimension" So, it seems that you need a Hydrogen + this brain = more than 5000$ The question is how did they get the RF mount??

B. For sure. 18-35mm is too long for me, doesn't match my style at all. If you do the X1.55 or X1.6 maths then is almost a 29-30mm, not wide enough.. For the P4K the Olympus 12-100mm will be my run n gun. For C cameras I use a lot the 18-135mm EF-S for run n gun.

I believe the Oakley guy said "above 5000$" on his first post.

Can you do FD from EF?

I doubt many clients even know that 6K exists! The next resolution will be 8K I guess.

Reading a little bit more into the P4K vs the P6K dilemma, I tend to believe that the EF mount could be possible a disadvantage. I would prefer 1) m43 mount with variable S35 sensor a la JVC LS300 2) EF-M mount! Yes, I am for real. I am asking for an XC type of camera with EF-M mount for years and years. Perfectly adapted to EF also (same electronics I believe). I have a full set of FD lenses since my AE-1 days, does that mean that the EF mount is not a good option for me?

..or the ,almost, half price of the Z cameras? Also, don't you need a Hydrogen to make it operatable, or something?

The Avengers movie only, did something like 2.6 billions in tickets. You have no clue how big the industry is, and where, and how. https://www.businessinsider.com/avengers-endgame-box-office-might-not-surpass-avatar-2019-5 Edit: 4K is great, 6K even better, 8K even more, 16K angelic. I do not disagree with what you say, but the way you say it, and I would be glad to make a masterpiece in 720p, than a stupid iMax nothingness.

Wow! Who chooses those words "no argument because I'm right", to start a sentence on an internet forum, or any forum for that matter !! Indeed, Netflix requirements is a very popular topic, and not only in this forum. Funny thing is that people worry too much about the requirements, and not for the fact that they won't ever produce anything worthy of Netflix distribution, even though it seems like they are accepting almost anything these days. Netflix is just a bleep in the the whole industry worldwide. ..and this is a thread about a 6K camera by the way!

And internal ND. Especially internal ND Even if it was just a couple of stops!

As I already own the Ronin S, I am wondering if those differences can create any balancing issues.

Nothing is future proof, except maybe the Giza pyramid! 4K is not obsolete. It will be when the majority of people buy 8K TVs and a production company asks for an 8K delivery. 6K is good because it could improve your 4K workflow. P4K is so cheap already that I doubt we will see a significant difference in price anytime soon. What adapters and lenses do you use it with?

I do not know the answer, but this sensor IS an APS-C sensor. Canon C cameras have S35 sensors and have a special option when you use EF-S lenses on them because Canon APS-C is X1.6, while others is X1.5-X1.55 (it is always a little bit more than X1.5, even if declared as X1.5). We will only know for sure when someone gets the camera and put such a lens on it, because another thing is, cameras from same manufacturers can improve the performance of a lens with software, which I doubt BM does in any of its cameras, be it EF or M43.

I am not sold to the P6K over the P4K yet, but those 2 extra Ks can offer some framing and downscaling options. It is not like it is just a number, there are some advantages to it. Also, it is a much bigger sensor, with whatever that means for real life situations in dynamic range and low light capabilities (the diagrams show no big differences, but always real life use is what really counts). For some the native EF mount is a plus too. @mercer This is from the BM web site "You can even shoot windowed 2.8K resolution video at up to 120 frames per second with the Blackmagic Pocket Cinema Camera 6K to create dramatic, high resolution slow motion video." My interpretation is that 120 frames can only be windowed.

I do not know for sure, but there are obvious differences around the much bigger EF mount. At least one dimension is bigger (width), and I would guess the bigger sensor and larger body surface increases the weight too. I am only guessing of course.

"You can even shoot windowed 2.8K resolution video at up to 120 frames per second with the Blackmagic Pocket Cinema Camera 6K to create dramatic, high resolution slow motion video." What that does mean exactly? Similar like the HD windowes mode in P4K? It does 20mgpxls raw photos. That is ok for some people, another minor plus I guess.. It seriously re-assuring having a proper EF mount there. Decisions decisions..

Back on topic. Can anyone make the case for the P6K vs the P4K? Pros: 1. Native EF mount. Can this be a negative? 2. 6K resolution What else? P4K Pros: 1. M43 mount, unlimited lenses and can be adapted or speedboosted for very interesting options. E.g EF 70-200mm can be a 140-400mm or 45-55 to 128-150. 2. Price. The price is very low! What's your take about specific pros and cons of those 2? Does an 6K S35 (or APS-C) sensor needs more energy on a very energy taxed camera?

The market consists of different flavors, noone of the big companies I work for would buy any of the Pockets - ever, I personally, would/will buy one, and a lot of the smaller production companies already are delivering TV shows with GH5 and P4K cameras. I am spending big in sound because I am a soundman first, I am not a DP or cameraman, but I do have a production company that needs a small and "cheap-ish" new camera, it doesn't have to be about power struggle and dog eat dog and big fish eats small fish e.t.c I just need a small-ish and reasonably priced camera for the occasional and accordingly priced project. For bigger you rent anyway or co-produce with another company. Glad you've been here! P.S if they were squeezing an ND filter somewhere in there it would be a certain buy from me.