Oliver Daniel

Never base your opinion of a camera on the skills of another  

Just to wade into the 4 min recording limit debate.
I bought my RX10II off UK ebay from a Hong Kong seller and saved a lot. I checked the 4 minute recording issue and it's a NON-ISSUE for my model of camera. Not sure where it was sourced from, but I let it run at 4K for 14 or so minutes to make sure. Even if there was a limit, I don't think it would be an issue. You very rarely need to record consistently for longer than a minute or two unless you're filming a wedding or concert, and this is not the camera for that!

There is definitely a difference between 8 bit and 10 bit. It just depends how well the camera utilises the feature with all that tech inbetween...(and other boring obvious statements). 
No need to get angry about it though. Why be emotional about bit rates? What a boring thing to be emotional about. The world is out there, somewhere, isn't it? 

There is definitely a difference between 8 bit and 10 bit. It just depends how well the camera utilises the feature with all that tech inbetween...(and other boring obvious statements). 
No need to get angry about it though. Why be emotional about bit rates? What a boring thing to be emotional about. The world is out there, somewhere, isn't it? 

I recently learned that when a person is angry and worked up brain cells are physically deteriorating. 
Which means that when you're mad, you are literally self destructing. 
Worth it over bit rate?  

There is definitely a difference between 8 bit and 10 bit. It just depends how well the camera utilises the feature with all that tech inbetween...(and other boring obvious statements). 
No need to get angry about it though. Why be emotional about bit rates? What a boring thing to be emotional about. The world is out there, somewhere, isn't it? 

C100 8 bit is pretty incredible for 24/Mbps. I've tried a A/B tests with the Ninja Star Pro Res and had to do a 400% zoom with a heavy grade to notice ANY difference. I'd say 90% of shots internal is good enough on that camera.

DigitalRev are selling it for £899 in the UK  

Agree.
The URSA Mini should be compared to the FS7, C300 Mk II and RED Scarlet Dragon, if anything. 

Agree.
The URSA Mini should be compared to the FS7, C300 Mk II and RED Scarlet Dragon, if anything. 

Remember that with the Ursa, you'll need a battery solution and (unless you already have an SDI VF) their $1500 EVF looks like a must-have. Throw in the shoulder kit and realistically you're around $8k for ready-to-run - still an impressive value though.
The 4.6 camera really looks like your next 5 to 8 years worth of camera. Hard to say that for anything else on the market, but what else is coming that will be a must-have feature? 6k? 8k? 6k 3D? 18 stops of DR? 1000 fps at 6k becomes a staple of corporate videos and TV spots?
Am I missing something or is it viable to think the 4.6k mini would get one out of the yearly "do I upgrade??" agonizing… I think I'd even stop reading reviews for at least three years.

Agree.
The URSA Mini should be compared to the FS7, C300 Mk II and RED Scarlet Dragon, if anything. 

The Steady Shot is superb, so no problem in handholding.
That limit is for the RX100M4, not for the RX10 for which the limit is as stated before 29:59 or something like that. I've recorded over 22 minutes in 4K and no issues. 

This is one of the main reasons I'm steering towards a camera I haven't used before (URSA Mini 4.6k) instead of the FS7 for ownership. I like what I've shot with the FS7, but the menu system is absolutely terrible. I get a lump in my brain every time I need to change some settings. 
I'm not going to splash on the A7RII. Happy shooting to all of you who do  

Exactly. 
This is mostly why cameras like the A7S get over-criticised for color. A lot of people are boosting color that isn't accurate color with ISO. Swap that ISO for lighting and you will notice a massive difference. It sounds so kinda obvious. 
Low light is a very useful tool with trade-offs in image quality. But you are not going to get anywhere with any type of log if you are relying on the ISO as your main light source. There is a reason why cinema cameras aren't low light cameras, because the camera produces it's best image with added light, not digitally enhanced light. 

Actually 8bit and 10bit is inferior to my needs. I need at least 64bit color, 25 stops dynamic range, 16,000,000 ISO and a very compact full frame 14-600mm IS lens with 20 aspherical elements and F0.001 aperture. I'll just light the images in post. Images will surely look great based on these specs! 

16K , double sensor with split lens so you have depth information which makes lighting in post more effective. Oh wait, just render everything, download some good actors, download a script and let the computer do the rest.

Actually 8bit and 10bit is inferior to my needs. I need at least 64bit color, 25 stops dynamic range, 16,000,000 ISO and a very compact full frame 14-600mm IS lens with 20 aspherical elements and F0.001 aperture. I'll just light the images in post. Images will surely look great based on these specs! 

TONS more coming from RX10 II in the review.
RX100 IV is a separate piece but I have had to work on that for past week, time which could have been spent finishing off my RX10 II review!

I'm not confusing the two, I'm saying that if you;re shooting log on 8bit cameras it should be in order to maintain the greatest dynamic range on your camera files, for post adjustment of contrast, Not colour.  
Log or not,  if your WB is too far away from the end result you're in trouble.  If i want a teal grade I'd set wb to a lower kelvin number and increase the bias towards green/blue.  if i want a warm grade I'll go the opposite way.  
 
 

I'm excited about using them. 
It's going to feel quite liberating to use a bunch of these with the Lupolux lights, which are able to output 1000w/650w equivalent from a 50w draw. Battery powered. 
When you're in a small crew, it can get very draining on a shoot having to  setup somewhat infinite reels of cables that turn into endless spiderwebs of chaos. To be able to pick up the light, move, assess then shoot will be awesome for productivity and creativity. Go anywhere, light almost anything. Anytime. 

I for one am keeping the RX10 II, it's a really impressive compact package.

Nick, I probably can't offer any more of a detailed review that Billy right now, but I will say that I love the light. It's like having a mini Arri 650. It's a pretty narrow throw but can get pretty bright at the highest setting (obviously not like 650w, but pretty bright.) Solidly built. The mini gels with magnets are cool. I think I'll mainly be using it as a kick light, and as a practical light reinforcement.

The first Epic footage I shot had some right dodgy stuff going in the blacks. I put it down to user error, but I was surprised at how very very careful you have to be with it. 
Just like that Chinese website www.pchood.com that rehouses lenses so they look more expensive. I might just get an URSA Mini and stick a RED badge over the BM logo and say its a Limited Edition version: RED Magic Dragon. Ha!

I'm glad to hear it!
It would be interesting to see how a "Shot On Red" tag would work to attract more clients. A lot of people are drawn to it. Many clients do ask if they can shoot on RED, but those clients are usually a pain to work with. If someone mentions the camera before the ideas, I roll my eyes. 
I've done Epic work before so I know the workflow etc. Purchasing this camera would take up all my budget and with the URSA Mini on the horizon, it seems hard to justify. Like I said, it would be interesting to see the behaviours if I sold my services with a RED stamp on it.