andrgl

No SDI-out is a shame.
Also no positive lock MFT mount is sad. Would be awesome to use the few m43 lenses that have proper mechanical focus.
 
I still think a Kinefinity Terra is a better entry level cinema camera: you get RAW and ProRes at 160fps in 4K.
The Terra is just way more expensive now.
 
Z-cams have a mishmash of framerates and codecs. Annoying in post.

I need to build a large, evenly lit light source. I own plenty of paper, cloth, silk, etc, but I need something that will make for very uniform diffusion.
Objective is to make a backdrop that can be rear lit with RBGW strips to dial in any color.
Currently using hard lights with gels but can’t shoot larger than 2 feet without hitting massive light fall off. And when I try to diffuse my lights I lose intensity big time.
 
Ideally I require:
- 3 x 3 feet or larger
- Neutral, no color casts
- minimal light loss
- rigid, no tooling marks, uniform translucency when lit dimmly
 
I believe what I’m after is some sort of acrylic sheet, like the panels used in fluorescent lighting, but I don’t have any experience with these types of materials.
Anyone have any advice?

Wouldn't mind picking one of these up for controlled studio shooting: if sales are poor we might see heavy discounts by holiday season or more likely next year. The original EOS-M bombed and Canon was forced to clear inventory by basically giving it away.

Quite bold of BM to be releasing a new version of the ATEM Mini Pro when they have barely delivered any of the current one but here we are.
As the name suggests, this new one lets you do ISO recordings of each individual camera, audio track as well as the master tracks to a single USB drive.
It then saves your live cuts and all of those recordings (and other media such as overlays and titles etc) to a project that you import straight into DaVinci Resolve onto a timeline for further tweaking.
If you are using BM Pocket cameras then they can be recording BRAW internally at the same time and Resolve has a new function to swap these as the source tracks in that edit with a single click.
With the addition of the ISO tracks this is now some serious capability not just for straight live to air/net productions but also for anyone doing any multi-camera production that you would want to have post edit control of like a live performance recording, sports game, YouTube tutorial etc or even a low budget soap opera !
The developments that BM have been up to with the ATEM Mini series is probably not, on the surface, of that much interest to a lot of people on here but it is very innovative and is a real showcase of their end to end pipeline.
Using an ATEM Mini, the Pocket 4K/6K cameras are turned into fully fledged studio cameras with remote control of on board colour correction and automatic tally functions but without losing their ability to simultaneously still be recording BRAW cine formats internally.
So you can simultaneously do a live production in HD, use its built in encoder to stream live to the internet, hand off a USB stick with a video of the ready cut version to a client, record each individual track for easy post refinement of the mix and still retain the option to use 4K or 6K RAW master versions of those tracks to create a higher resolution finessed version with a single click.
A four camera system that can do all of that for a total of under £6K or £9K depending on whether you go with 4K or 6K is arguably as revolutionary as any of their camera releases.
I can also see it having a lot more applications in the "new normal" and offering some potential new opportunities to anyone who is already invested in Pocket4K/6K cameras.
The bonus is it is a new product launch that can be discussed without reference to thermometers and stop watches 😉 
 

Really guys, nobody is going to buy this camera to shoot S16 (probably one or two who don't know what to do with their money), it is too expensive, so let's stop talking about a revolution in S16, it is not going to happen, forget it, but I agree it is good to see a few people talking about S16 again. The good news about his camera, is that in the next years, we could see a new pocket from BM with this sensor and also having the S16 mode, and if the camera is affordable, around $3K, that's going to be a revolution for S16, and many people will be interested again in S16 format. I will never change my ming that this new BM is a waste of time, it is not oriented to us, so I don't care, I only care about a camera I can get and use, when BM release that pocket I am waiting I will be the first to rise the hands and celebrate like a child in Christmas.

But no 220 fps on the pocket 4K.  Even if I have a tired old non serviced ill shimmed S16 lens mounted, I still get reframing room and 220 fps -IF I need it. Thats the thing ...its nice to have the choices..IF I need them. When I need those choices I need them, when I dont, I dont think twice about it.
This has been a great discussion and at least has people talking about S16 on this cam which I had not seen anywhere till this. Good Stuff !

If you're an S16 aficionado then the new BM cam is great news. Its not going to change the world of course...who implied that? But it does change the S16 shooting world if thats your thing. If not, thats OK.
But if you are into S16 glass this cam is great news. Its the same size as the broadcast ursa. As pointed out a few posts ago there has been uptake of that body for S16. Why? Because its the only way to get genuine 4K in S16 format. I think its around the $4000 USD mark iirc. Whats nice about that body is it allows one to use B4 broadcast lenses - and some still do use B4. In fact there are some VERY nice HD B4 lenses out there - but super expensive. Its about the right tool for the job. B4 broadcast lenses have a big focal length range. Certainly you dont want the old tired SD B4 lenses, but there are some real gems in the B4 range.
Bring on the new era - which it seems we are entering with the new sensor.
The new 12K Ursa. Same size as the Broadcast Ursa. What does it give us over the older Broadcast Ursa? 4K @ 220 fps ! 6K @ 120 fps ! Plus a new sensor tech that we dont know a lot about yet. That sensor may prove to be a new standard or it may not...we just dont know yet. But 220/120 fps options are HUGE if you want to use S16. Now we can go as high as 6K. Only the best S16 glass will do for this though. But if you have those lenses it looks like there are good shooting times ahead.
If you are not an S16 guy then what I have said here hardly impacts you at all. None of the implications of this cam to S16 would excite you at all. Why would it? But if you ARE into S16 then this cam is hotter then ...well lets leave it at its hot.
The other thing about this cam is its 2 cams in one for me.
I have a set of Mamiya 645 glass converted to PL by Duclos. I have the extremely rare Mamiya 500mm f4.5 APO and the Mamiya 200mm f2.8 APO also converted to PL by Duclos. The 300mm Mamiya is still in the workshop being converted to PL. 
With this cam I can use both sets of lenses on the same body - my S16 glass that I love and my full frame 645 glass with lots of choices in focal lengths from my set. All on the same body with the same sensor with a res from 12K to 4K at my chosing. This is pretty dammed revolutionary! So yeah if that makes me enthusiastic then I am enthusiastic about the cam. I dont see 10K as expensive for what this cam offers.
I still love the 1080p footage from the BMPCC as well. Choose the tool from your box for the job at hand.  

In just two days I become the most hated guy in this community, just because of I showed my profound disappointment and said loudly that the new BM camera was a waste of time, well, it is my opinion and is not going to change, I received downvoted like crazy, probably is a good idea that those downvoted are removed for good from this site.
@techie I hear you man, I hear you!

Cause with all due respect it isn't a good idea. He mentions wildlife being a use case but for wildlife it would be so much better just using crisp EF glass than vintage s16 lenses. How long does s16 glass even get?
No, I'm sorry; if you have the glass, fine. Otherwise, I don't see why anyone would purchase for this reason. I doubt ONE person will buy s16 glass to use with this camera.

I have watched this conversation play out over all the Canon R5 and now BM 12K threads, where one side gets excited and says it's great for their use-case and the other side says its ridiculous because the use-case isn't common / it doesn't align with their experience / it's too expensive / the data rates are too high / etc.
I think one thing is missing here, which is to talk about budget and the state of the art.
The state of the art in cameras is actually quite limited, and there are very very many situations where you can't get more for your money even if you had it.
Here's an example...
I make home videos and I want a small setup that won't attract attention going into parks, museums, aquariums, etc, and I like IBIS.  I use my GH5 for this, but it has limitations.  I would like extra DR.  I would like a 12-bit mode.  I would like dual-ISO.  I would like a bunch of things, but I can't have them.  At any price.  If I was a multi-millionaire, I still can't have them.
Think of how many people lament the Canon offerings, and want a set of features that is not available in any Canon camera, regardless of price.
Think of how many people would love the P4K or P6K or URSA but are put off by the reliability or QC.
Hollywood has embraced the Alexa Mini form-factor because it is portable / flexible / light-weight to the point that it enables creativity that had not previously been possible with their heavier models.  This is because none of the previous models offered the combination of features that the Mini offers.  At any price.
Big Hollywood productions don't care how much a camera costs, they rent for a very small percentage of their production costs.  If a camera cost double and did the job then great.  Triple? No problems.
This is how I see the BM 12K and Canon R5 cameras, and many others.  They offer a combination of features that previously could not be had at any price.
So, if you own a collection of S16 lenses and want to shoot 6K or at high-framerates that was previously not available at any price then why is this so completely ridiculous a concept?
I think that @JimJones enthusiasm might make it sound like the whole cinema world will implode because of this, but of course it won't, and neither did it implode when the BMPCC 2K first came out, but it sure imploded if you were a fan of tiny cameras and shooting with older lenses.

$10K is too much expensive for 99.9% of the people in this forum, if you are one of the two or three guys who has the money to buy it, good for you, probably is the camera you have been waiting all this time....for the rest of us is just another new toy for medium/big size productions or rich boys, we will never have the money to buy it, and in my case, I have plenty other options that I will choose before this camera, certainly this camera will have its market, that for sure, but for the indie/solo shooter is not going to be the first option.

Again, it is not a camera to be used by creative/artist people of the S16 world, can it be used for a very specific area as you said "wildlife doco's"?, probably, good for you if this is the ideal tool in your eyes, it is going to be a game changer for S16 glass?, not even close, the revolution that S16 glass had years ago was because of BMPCC cameras were very cheap and available for everybody, so you get this cheap camera, get the cheap S16 glass, and you are ready for what usually cost you two or three time that money. This camera is $10K, no more than two or three guys here are going to buy it, you most probably are not going to buy it, it is too expensive, sorry dude, this revolution is never going to happen, and you still can get good S16 glass at very good prices, just last year I bough three S16 canons very cheap. I have been using S16 film cameras since 2011, and the only S16 digital camera I was ever interested was the digital bolex, because of its MOJO.    

The original idea to use a S16 camera was the lower cost and the flexibility to perform shoots with a small camera, the French filmmakers take these cameras to the streets in places where  35mm camera were too much difficult to operate, and that was the spirit until the rise of the digital era, now we have very small cameras which can be used exactly like S16 cameras use to be in the past. The digital bolex keep that original intention, a small and very easy to use camera which can be used in extreme situations and places, where the only limit is filmmaker imagination. The BM is clearly not a good choice for a S16 camera, it's a bigger camera, heavier, will have a lot of limitations compared to a digital bolex, there is no a good reason to get this camera to do S16, the only reason I will use a camera so big like this to do S16 is because of it is a film camera, yes, an old and beautiful original film camera, which by the way I have, and I use to do some documentary, I only have like 12 minutes to shoot for each roll, but what you get for all the effort is worth. This new BM camera is oriented to be operated by a crew, to compite in that segment with RED, not for an independent creator, sure you will see some crazy guy running with this brick in his shoulders and telling to the world is the best camera for run and gun, but we all know the best performance for this kind of cameras can only be achieved with a crew, even a smaller crew will make a huge difference.
No need to try to justified this camera as the perfect tool for every scenario, it is what it is, it is too expensive for individuals, it is oriented for crew work to compite with RED cameras. It will find his place in the market for sure, if you have a small production company probably this camera is the perfect tool, I can see the point to get it for some people, but probably most companies will stay using RED and ALEXA just because of when the customer is on set he is expecting to see that kind of cameras filming his commercial. Time will tell. 

IDK.......
 
It may not work for YOU but it may be just the ticket for others.
 
I can see this being a great tool for wildlife doco's using S16 lenses. On a tripod in a hide sitting and waiting for days at a time for THE shot.  I have a very nice selection of S16 glass in PL, ......Angénieux , Canon.  Some of the S16 lenses have impressive reach for thier size - S16 lenses really help when you have to hump all that gear into the bush. 6K @120 fps down scaled to 4K. Whats not to love? A long S16 lens shot at 6K - this allows for re-framing and punching in with a 4K delivery - if I need that. I f I dont I can just down scale to 4K. If I need 220 fps I just shoot at 4K. I see this camera as an exciting enabler.
4/6K from an RGB digital sensor seems to give S16 glass a new lease on life. And those frame rates...where exactly do you get that on S16 other then here ???
OK so you have no use case.......good for you. But to exhibit such a small mind to say this is just no good for S16....hmmmm, ok then fella...if you say so. You keep believing that while the rest of us explore what we can do with our high end S16 glass and 220 fps @4K. A game changer I would say. A TRUE game changer. I can see the price of S16 glass going up because of this, much like the effect the BMPCC  had on S16 glass some years ago. Before the BMPCC, S16 glass could be had for little. Not now. Looks like history may repeat here.
Its going to be interesting to see how this pans out.

Every camera reviewer  has been saying the last eight years is that canon has to change, they can't go on being so conservative with their specs.   And finally they do it and everyone turns on them . Y'all just got what you wanted right? 
 

https://www.canonrumors.com/whats-next-for-the-canon-eos-r5-and-canon-eos-r6/
 
your report and this article. All seems to point to a recall / hardware fix.
They completely screwed the launch, but that’s good news. Because that means the camera which was going to be the perfect hybrid and that ended up being wasted due to overheating will indeed maybe become perfect if they fix it. 

Somewhere in an Indiana Jones end scene type warehouse are thousands and thousands of R5 / R6 cameras that will never ever see the light of day.

YouTube compression :   >1440 VP9   <1440 AC1
 
think that defined for me the resolution I need to upload ... as AC1 is very poor.
I routinely upload 2K to Vimeo ... always 4K to YouTube. Vimeo charges for space while YouTube does not charge 

A lot of it does come down to expense and time.
1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it.
Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. 
Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field.
Shooting slower and more deliberately means you don't have to shoot as much. 
People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. 
I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.

Maybe they should've tested that in the original video they released before saying it didn't? 🤔
 

It is quite dishonest, but he'll address the overheating issues in a future video to maximize hits / ad revenue. It's why he included BTS footage of them using a LEAF BLOWER to try and cool the camera down. 

Or house it to Komodo casing and rename it to Komodo LF 

Presumably Tilta have tested it before mass production. The problems I see with it are many. The layer of poorly conducting material between the CPU and copper heat spreader on the back of the Tilta fan. The power draw. The noise. It is 6200rpm! Obviously the onboard mic will be unusable with it attached even for syncing audio with a dual system mic. The fan spinning on set during recording is not what you want. Even with an external shotgun or boom mic. Then there is the ergonomic side. Those with beards who need to look through the EVF will get their hair caught in the blades. I think it's a publicity stunt to be honest. Even if it works to cool the camera, the noise and ergonomics of it are a joke professionally.

Take all the components out, put it in a PC case with 12 LED fans 😂
Wheel it around on a trolly, some dry ice on bottom shelf just in case!
You could get some really smooth tracking shots with the wheels.
 

This the first time I heard about the 33fps, is that 33fps slowdown to 24?