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Makes no sense whatsoever to put both a wireless receiver and a transmitter on a recorder just to get camera audio. Plug the smallest possible scratch mic instead into it.

You need to also be living in the USA! That pays rates far higher than many other parts of the world.

If it gets taken down again, then there is another video here:

If you're shooting raw at anything less than the full resolution, then of course there will be a crop! This will be true for any camera. Could be Panasonic, ARRI, RED, Nikon, Canon, whoever! It's a law of physics / maths / the universe. Want to shoot at a low resolution but with the full sensor? Then choose anything else but raw.

Thank you so much. I don't think I can get a rule of thirds grid imposed with the frame marker. The video seems to show a rule of thirds grid on before the guy went to activate a frame marker. Once that was enabled, it seems like the grid disappeared.

only arriraw is uncompressed, magic lantern raw is true lossless codec or uncompressed. other raw formats are codecs, like r3d, prores raw, braw, canon raw light, sony raw format using r5 or r7, etc.

Beelink isn't super obscure? Or at least, I've already heard of them before. They've been in the miniPC space for a little while how. Yeah unless you're building a DIT Cart or a cart for a QTake Playback Op, or similar, then I don't see the reason here for a powerful miniPC.

Why do you want a mini PC with an external GPU? It'll cost more than a normal desktop PC and most people who want/need something portable just go with a laptop.

tastelessly shot and lit imo. they really couldve used olan collardy again

It's up again 🙂

From such an obscure vendor : D like this Beelink manufacturer... https://www.bee-link.com/ https://www.techradar.com/pro/this-ultra-powerful-mini-pc-with-an-external-gpu-docking-station-may-convince-creatives-to-move-away-from-big-boxes-beelink-gti-ultra-looks-very-promising-and-weve-asked-for-a-sample

I have used that Angénieux Super 16 zoom a fair bit on my Micro Cinema Camera and the original Pocket; neither of those cameras do well in low light but with careful noise reduction and crushing the blacks a bit you can get very usable footage in even dim light.

Aja Cion reference was a compliment to its thick raw colour in parts:) @kyeHopefully we get to see thick footage without screwed up highlights. I don't mind partially blown out highlights if that is within convincing artistic choices and due to the necessities of the recorded moment. Bmpcc is not a dynamic range beast but it handles overexposed areas pretty gracefully. @Simon YoungThe video is private now.:)

low light may be the issue. but s16 lenses and format have their unique feelings. 6.5k is pretty good enough.

bingo. that will be a killer combo.

No luck there, I'm afraid. The only Nikon mount it has is F/G, the legacy system.

thank you very much. you should open a new topic about this. i mean about ursa 12k's different modes, especially s16 6.5k

They did advertise it but I haven't seen any Super 16 footage shot with this camera, a shame. I would love to use my Angénieux 17.5-70 Super 16 lens (in PL mount) on that camera; might try renting one just to test it.

if ursa 12k has the z mount, that will be delicious.

thank you for the info. this should be the landmark feature of ursa 12k, instead of buried in the s35 12k glory. there are pl mount s16 lenses, more expensive than c mount lenses.

it is almost 8 k, like 6.5k to 7k. really nice. a s16 6.5k cam. this actually justify ursa 12k. s35 12k is niche requirement. but s16 6.5k is unique and has many potential requests.

Good question, you'd have to look into it; the Ursas come with a choice of mounts: PL, EF, Nikon F/G if I remember correctly.

i want to use c mount lens on z mount cams. if they have s16 mode, there will be no vignette on wide angle c mount s16 lens.

Ursa mini 12k s16 mode may have >6k resolution. good to know. is ursa 12k lens mount flange distance shorter than c mount?