Liszon

I can't edit anything with resolve.  I mean, it's free. But it is slow and sluggish.  man I'm loving premiere.

New picture profile named "Kenon Kolor", just to fend off any lawyers.

Did a quick and dirty lens test for illustrational purposes. 
An interesting thing a fellow Bolex-Ana owner discovered is the slight green-cast. Something that is also visible in this test.
 

Hi Liszon, thanks for reminding me to change my privacy settings on Flickr.  Those stills are from an unreleased project and I should try to prevent quite so many stills from being downloadable.
There's some FPN in some of the images from the Ursa Mini 4.6K where I pushed the sensor pretty hard.  I can clean it up, but I just did a super quick grade for those stills until the director sits down with the colorist.  
Shooting in 4:1 compressed raw.  No images of the camera build, but it's pretty standard, rails, lens supports and lenses.

Some frame grabs from a recent shoot with the Rectilux CoreDNA, Schneider ES Cinelux, Contax Zeiss, & Ursa Mini 4.6K.  More frame grabs here:  https://www.flickr.com/photos/seekingheartwood/albums/72157673728625850/with/29553327104/

Evil? Or Evil genius?
 
http://www.independent.co.uk/arts-entertainment/films/news/directors-crowdfund-78000-for-a-film-spend-it-on-champagne-and-limos-a7336836.html

you right just got message from director (we used the actors voice from the set plus some work in post to clean them)

This owner of a ursa mini 4.6k, who received from the batch of new cameras (serial #32xx), tested the magenta issue on a "White board" and "cloudy sky"  f8 on a 50mm prime. He says, "The one of the cloudy sky worries me the most since I see the magenta edges without tempering with the saturation..." for posters in this thread laughing at users testing the images from this camera by pushing it around.
http://bmcuser.com/showthread.php?16812-4-6k-Ursa-Mini-magenta-issues/page91

RED do face online attacks when something goes wrong.
There are plenty of professionals who use forums.
Let's try to see the positive side of this rather public relationship Blackmagic and RED have with their customers. We can all share knowledge and sort out a huge number of support issues online, rather than having to go to a service centre one by one like sheep.
I am sure whatever issues Blackmagic have with the URSA Mini 4.6k, they will sort them out, as RED would do, or Arri, or any of the others.
This is a very grey area and to pretend any of us know all the answers is pretty dangerous.
There are just so many aspects to this. By saying 'designing' you could mean numerous things - inventing new technology, planning out pixel architecture in a design room, or simply asking for a certain spec and having a custom order... it's a pretty broad spectrum. The manufacturing of the sensor is an ocean of different aspects linked in with the design as well, if you're going to invent a new kind of pixel architecture or readout mechanism for example you need to have the tools to manufacture it.
Arguing about where on this spectrum of engineering a custom-made sensor falls is a bit pointless because...
The image is about the whole package - Blackmagic's colour science and sensor calibration is superb. Along with Canon and Olympus I think Blackmagic's colour is one of the most flattering of the talent in front of the camera.
Until we see the exact same 4.6K sensor in any other camera, the URSA Mini has exclusivity...
I'd question why the whole topic even matters, since as I just said, it's the whole package that makes an image unique.
The whole workflow as well - this is an important part and the sensor is just one link in the chain between the lens and the final image.
Respectfully disagree.
RED don't have an entire sensor design and manufacturing workforce in-house.
RED call on similar outside talent to develop a CMOS design, specced out for a particular camera. Probably TowerJazz.
Leica do it as well - CMOSIS and Panasonic both design and manufacture sensors for them. Where's the shame in this?
Fairchild are just another sensor design company to partner with and a very good one at that.
Blackmagic and Fairchild = "lack of expertise" is a really below the belt comment and just not true.
In fact, that is just your assumption. You don't actually know.

Hi.
You may think I'm a brand ambassador, but lets examine what that would actually mean. It would mean that I get paid to promote and generally aid the cause of Blackmagic and their brand awareness and experience with their users, is that right ?
I am not a Brand ambassador for Blackmagic, mostly because I don't get paid to be one, and I'd rather speak my mind openly in public forums like this.  I've believe I've been honest in my views of the pros and cons of their products.  I have a personal relationship with many of the people that work there and I've had a lot to do casually with helping with test shoots, iterations of changes to fundamentals,  which again, I'm not paid for.  In return I get to be involved with the development of cameras, furthering my own understanding of how a camera is built from the ground up, I get to see some of my input make it into the development cycle and I get some cameras.  Blackmagic once flew me to IBC to help with the launch of the MFT version of the 2.5K, a version I strongly lobbied for internally with BM.
None of my involvement with Blackmagic has EVER lead to me getting work as a DP, or increasing my profile.  If you think that's what producers go for then you'd be wrong.
If you don't think I'm polite enough then it's really your problem.  I would much rather remain independent and be able to speak my mind frankly.  It's exactly because I'm not a Blackmagic Brand ambassador that I can do this and the more I do this job, the less patient I get with armchair experts like Kino.
I feel like I've earned the right to be able to speak on that which I know something about and I don't really have the patience to argue points of fact with someone anonymous like Kino who has no ability to back up his claims nor legitimacy in his identity.  Anyone who's been on camera forums knows me and my history and has that posting history to inform them.  I have been on CML since nearly the begining, on C.com for many years and DP review, REDUSER, DVXUSER  all long before Blackmagic came along.  I have a blog where I try to write meaningful and helpful work and share my very own camera tests from actual shows with anyone who wants to see them without monetising it or having any kinds of adverts or kickbacks.
Because I like to be able to speak my mind when I wish to. I'm not building a profile with this audience because I am not tied to you guys for money.
JB
 
 

Colour, resolution, viewing angle... it's a cheap POS.

Hey guys,
I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF.
The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. 
With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight.
For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738
I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35.
It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now.
However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely.
As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. 
I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this
Anyway, here are some pictures for those that are interested

 

They knew or they are utterly incompetent, it was spotted in beta footage by a non beta tester just looking at footage. The mega thread on BM's form dates back to Sun Dec 06, 2015. It also can be found at larger stops that F8, it is just that 35mm at F8 is universally bad on the affected cameras. There were some who had issues at even F4 at 35mm. 

Mix the Pentax K-1 into the comparison. Half the price of the Canon. It's even cleaner than the D810 at ISO100, 1/320, +6EV. Not to mention it leaves the 5D IV in the dust. Pentax is such an underdog, I wish it would be more well known. The K5 was a fantastic machine, I loved it.
 

Over at BMCuser, someone posted that they dropped their Mini 4.6k, it landed on the handle & cracked the casing, causing damage to the mother board inside - BM wouldn't repair it! However, it does produce lovely images, if used by someone who knows what they're doing...
I personally think that they'll keep going, but will revert to smaller packages (box like cams) - if they can figure out how to heat sink in a smaller package (the same user took his Mini apart & the majority of the camera is dedicated to the heat sink module). You've got to remember that BM cameras are budget cameras & they will have to cut corners in quality/build to keep the prices competative & low.
You've got to admit that the images coming from these cameras can be awesome & I hope that they struggle through, just like RED did at the beginning. I believe that in another 10yrs time, we'll be talking about BM cameras in the same breath as RED & maybe ARRI.
The biggest problem that they have at the moment is lack of user knowledge & this is due to the low price of some of their cameras - for every great user, there are at least 10 numpties whose lack of filming knowledge gets exposed as soon as they pick one up. They are not DSLRs & shouldn't be mentioned in the same sentence, let alone compared to them.
If you don't get this, then DO NOT buy one, because you're probably the type of person that hasn't the time or patience to learn how to use them.
Just look at all the [stupid BS] hate aimed at the Pocket camera: poor battery life, bad screen etc... 45mins time limit for battery & SD card whilst filming PR. The screen is by a country mile not the worst i've ever used & I seem to manage very well nailing focus - I wear glasses, which adds an extra dimension of difficulty to the whole thing. 
And these same people talk about wanting to replicate a filmic image, just imagine them using a film camera that has a max filming time of 12mins - people with no skill or patience to learn will complain about anything if you let them, it's how they cover up for their short comings. It's a crying shame, but it's their loss........

Still doesn't fix the C300 mk2's utterly infuriating output options.
 

Ban him. Definitely goes against the grain of what this forum is about.

i mean like, you could get a full frame camera and a 24mm 2.8 for less than this lens itself and get pretty much the exact same results.

I had a go with your footage - for which I can't thank you enough.
I am pretty satisfied with what I am seeing here. Well, I only spent a few minutes on it but so far the image feels very similar to my BMPCC.
That first image with the girl standing in front of the river, I think it's just a matter of a few unfortunate circumstances. When I checked that in 4K the focus seemed off, the highlights were clipping a bit and there's some ghosting around them too. Hard to pull a decent grade on it. Actually it is always hard to work with skin tones if they are in the shadows with a strong back light.
I found the rest of the shots very agreeable, for example this one I could drag in any directions:
 




 
I intentionally pulled up the luminance on the oranges and yellows, to separate the guy from the background better, but I could have easily made them more contrasty. This one is a good scenario, you have the black asphalt and the blue sky, easy to make the skin tones pop without changing the rest of the shot, unlike the other one with the girl where the colour of the sand/rocks were in a similar range to her skin.

I get what you're saying. The FS700 is really nice to use because of the slow motion, internal ND, XLR, and the 4k. The sony FS7 seems to nail color a lot better and there's some magic cameras like the Sony F3 that just have beautiful color. I use the c300ii at work, the 5D raw for personal stuff, and I just recently picked up a micro cinema camera as well. The only camera I struggle with color wise is the FS700. It doesn't matter how flat the image or how many bits I am supposedly getting...
The first frame below is 4K FS700, the second is 1080p Black Magic Micro. I just can't get a film look out of the Sony. It always makes skin look too white, and if I warm up the scene, everything gets murky looking.
I have some 4K footage currently uploading if anyone is interested in grading it, I would love to see your results.
That being said, the Sony FS700/7Q is not a bad investment. I doubt the value will drop too far below what it is currently. It is probably good for another 4/5 years, which is insane because it's already 4/5 years old.
 


Edit: Link to raw footage if anyone wants it. A bunch of 4k/60p in various lighting.
https://we.tl/xE0joWj5Tw

Totally. The HQ might be too big, but I can send you some Pro Res LT S-LOG 2 stuff for you to play with tomorrow. 

No one else has said it, so I will... This is NOT a music video. It is a series of random clips with some background music. And the two are not the same. Frankly, it looks more like vacation footage.

I would go with this one: Manfrotto 535 MPRO.
http://cvp.com/index.php?t=product/manfrotto_535
Only heard good things about it.
20kg load capacity, lightweight construction, good price.
Also take a look at this ball head:
http://www.wexphotographic.com/buy-manfrotto-mh057m0-q5-magnesium-ball-head/p1527869
All you need now is a Manfrotto half-ball mount and you are good to go, still under 800. And probably much more future proof than the 504, this ball head takes gear up to 15kg.

I would go with this one: Manfrotto 535 MPRO.
http://cvp.com/index.php?t=product/manfrotto_535
Only heard good things about it.
20kg load capacity, lightweight construction, good price.
Also take a look at this ball head:
http://www.wexphotographic.com/buy-manfrotto-mh057m0-q5-magnesium-ball-head/p1527869
All you need now is a Manfrotto half-ball mount and you are good to go, still under 800. And probably much more future proof than the 504, this ball head takes gear up to 15kg.

Damn it, I'm almost out of chinese viagra...