IronFilm

I stumbled across this interesting but unlisted video of an Arri D21 (precursor to the Arri Alexa, very similar in a few ways) being used now in 2018:
 
 
 

2x with open gate 4:3 is wonderful. It's like going from Super 35 to full frame.

Set up means any substantial change. 
You move the tripod over by a few feet? That is a new set up. 
Go from easyrig to handleheld?
That is a new set up. 
Swap lenses? 
That is a new set up. 
Change the lighting from late morning to an early evening look?
That is a new set up. 
 
Etc 
Etc
Etc

Stealing from Facebook:

 
 

 
 

I wasn't where?
And where were you that gives you this magical power of creating new facts?

From the top of my head it was around 5 grand I think

This is known as “the pattern”
Resident eps are are shot in 8 working days plus one day of second unit. The second unit happens concurrently with the first day of the second episode shoot. 
6 days are shot in studio and 2 day are out on location.
We average about 35 setups or “slates” per day. Have done as high as 60 on Resident. 
Many setups are three cameras. So that’s about 70-90 “shots” per day. 
Each camera shoots about 60-90 mins of footage per day but it’s not unusual to have 2 hours per camera (for action or slow motion heavy days)
i day we have three cameras but I really mean we have theee camera operators.
We have many more cameras that are pre-build for different roles. A, B and C are Alexa Mini. D camera is a full time Steadicam camera (Alexa XT for weight and mass).  It goes on down to letter q or something silly. 
There are three sets of Primo Primes and each camera has its own 11-1 as well. We also have a couple of other specialty lenses like a CP 50 macro, and I also use a lot of SLR Magic primes on the micro and APO Hyper primes on the Ursa Mini.
We shoot about 6-10 script pages per day.
I always say you can’t really go much faster than a setup every 15 mins.  That’s 4 per hour.  On a 12 hour workday it means we theoretically can do 48 setups.  It’s very hard to maintain that kind of pace in a day (and have it look good)
Sometimes you can get the shot turnover down by leapfrogging cameras. Have the A cameras do the first shot, prep the B camera to come right in after that setup is finished and the A camera pulls out.
There are 12 in the camera department not including me.  Ops, firsts and seconds x 3 plus two utilities and a loader.
Time is the thing we all struggle most with. Time to light, time to shoot, time to tweak.  
The pace of TV has a way of “honing” your choices and teaching you to react and trust your instincts. 
JB

Gear has little to do with a good artistic work. And I am certain that the more available anamorphics become the more we will see great independent artist putting them to use. Money has nothing to do with artist talent.

Thanks for the notes.
A great deal of The Resident is shot handheld with an Ursa Mini Pro and APO Hyperprimes from SLR Magic. We rig it in what I call “football” mode.  Body, wooden camera cheese plates, Dbox, MDR, battery, lens and side handle.  
I try to keep it as small as possible. Attcahed are a couple of shots I was operating on a pilot in Chicago a few months ago.
A lot is also shot with a minimally rigged micro camera, WC cage, self pulling with a 10mm SLR Magic lens and a 5” VA for monitoriing on an arm.  Idea being to keep it all very small.  There’s a picture here showing the way I work that rig here mid-take.  It allows me to get the camera inside the surgical feild and very intimate.
We work really hard on making the medical stuff as real as possible. It’s a real prop in that case.  Most of the extras in surgery scenes are realy life OR nurses and surgeons.  We have surgeons as consultants and we make a lot of prosthetics to be story specific.  
We have to take some liberties though, usually for time.  I mean it’s a 47 min TV show
I recall with the scene you’re talking about that graft would normally take about an hour to install and sew.  Mina gets it done in a few seocnds ?. The whole procedure would take a few hours.  
So we try to get the spirit right and we try to be very explicit and accurate with the medical depictions. We still get. alot of medical people flaming the show for not being “right” but usually they’re more upset with the way we depict the shortcomings and failings of the US medical system ?
We shoot, edit and master in 1920.  Fox does the downconvert.  You can get 1920 versions from other stremaing services though.
JB

I saw it on an expired eBay listing for the camera. 

I agree that many camera manufacturers also just don't "get it". 

As we've seen with the URSA Mini being only in EF (or PL/B4), but no mirrorless mount option (like BMD was very smart to do so with the BMCC! I'd never buy a BMCC EF, not even for US$500).

And again with Panasonic with the EVA1 in only EF mount, not even using their own MFT mount! wtf

hahaha!

Anyway, fun fact: I believe even Kinefinity's earliest cameras used the KineMount
For this have to applaud Sony for getting it right and making in making their new VENICE with an E mount built in! :-o

(even though a small part of me is sad as this signals the end has come for FZ Mount :-/ )
I guess "technically" you're wrong. 

But a sub mount like KineMount or FZ mount actually is a better/faster design to use in the field. 
 
Nope, native Sony lenses won't work:

 
http://www.kinefinity.com/shop/k2e/?lang=en

Rather it is designed for use with the massive wide range of adapters for E mount and the many tasty manual lenses for E mount, such as Veydra primes or Fujifilm zooms:

 

Awesomely it is a locking E mount like on the FS7mk2 and VENICE!

Imagine how great it would be if only more manufacturers did this, how would you like to use an URSA Mini Pro or Panasonic EVA1 with Fujifilm MK18-55, MK50-135 zooms or Veydra primes? 


You get a sense of how truly tiny the Terra body is when you see it next to the already small Fujinon zoom, the lens looks pretty big in comparison!

hahaha!

Anyway, fun fact: I believe even Kinefinity's earliest cameras used the KineMount
For this have to applaud Sony for getting it right and making in making their new VENICE with an E mount built in! :-o

(even though a small part of me is sad as this signals the end has come for FZ Mount :-/ )
I guess "technically" you're wrong. 

But a sub mount like KineMount or FZ mount actually is a better/faster design to use in the field. 
 
Nope, native Sony lenses won't work:

 
http://www.kinefinity.com/shop/k2e/?lang=en

Rather it is designed for use with the massive wide range of adapters for E mount and the many tasty manual lenses for E mount, such as Veydra primes or Fujifilm zooms:

 

Awesomely it is a locking E mount like on the FS7mk2 and VENICE!

Imagine how great it would be if only more manufacturers did this, how would you like to use an URSA Mini Pro or Panasonic EVA1 with Fujifilm MK18-55, MK50-135 zooms or Veydra primes? 


You get a sense of how truly tiny the Terra body is when you see it next to the already small Fujinon zoom, the lens looks pretty big in comparison!

There are plenty of small budget shoots with an Arri or a RED Dragon etc who'd love to see more affordable anamorphics as well. 
 

That's exactly what happened.
Here's an early post by Jarrend Land who had founded DVXUSER (now also REDUSER and BMCUSER) and who is now running the show at RED.
http://www.dvxuser.com/V6/showthread.php?40929-RED-CAMERA-Prelim-Specs&p=372657&viewfull=1#post372657
It says "target" specs.  You don't put a target sensor resolution is you've been designing a sensor for years.
He did not found the company in 1999.
RED's own website history gives the timeline.  You're quoting Wikipedia.  I'm quoting RED.
Their first prototype camera was made in 2006. He shipped the RED ONE 2 years later.  That's about the normal development time if you're starting from scratch.
He bought a lot of his technology and IP in through other existing companies or consultants to shorcut the development time. Companies like Cineform are rumoured to be what Redcode is.  He bought the tessive guys, turned that into motion mount.  He bought Accuscene and they became the first EVF.  Trying to remember but he also bought a matte-box company too. 
I was there too when the first announcement came and there was a lot of naysayers on CML.  I seem to remember a bet and someone eating a cake in the shape of a hat.
JB

I believe that is precisely the point that @Savannah_Miller (and others) were trying to make, to counter your suggestion that Red has had versatility in regards to mounts before others.
 
 
No.  Kinefinity  has one more option with the native mounts  (with focal-reducers for both a Nikon and EF, but no native Leica-M) than Red, and especially with any adapter/focal-reducer that can attach to a Sony E-mount (which also includes anything that can attach to M4/3, such as a tilt/swing PL mount!).
 
Not sure if most shooters (nor even many camera manufacturers) understand the significant advantage of having such a shallow mount.
 
 
I wouldn't say that Blackmagic consistently builds cameras that " match the sensor."  BMD tried to get "cute" with the ID on their first few cameras to the detriment of functionality/usability.  This malady is a common to manufacturers trying to make an impact when starting out in an industry.
 
Unlike Kinefinity, BMD is definitely ignorant of the advantages of having shallow mount capabilities, and they don't seem to understand that a camera with a shallow mount does not preclude electronic capability in EF lenses.
 
I have talked to them about shallow mounts at every NAB since the Ursa Mini first appeared.  At that time, I even made a US$10,000 bet with one of their condescending show reps that an S35 sensor can be used with a M4/3 mount (the Ursa Mini appeared the same year as the JVC LS300).  Unfortunately, it seems that the same camera manufacturer hubris that (according to BMD) pushed them in to making their own models is now thoroughly entrenched within Blackmagic Design.  Like most other camera makers, they are more interested moving boxes than they are in creating versatile cameras.
 
In regards to the aesthetic design of the 4K Pocket camera, BMD definitely was not trying to be "cute" at NAB -- that prototype is possibly the most butt-ugly camera that I have ever seen.  I almost recoiled in horror when I first saw it.
 
 
Too bad BMD doesn't offer M4/3 mount or Sony E mount or Canon M mount (or just a simple shallow mount plate) on their S35 cameras.
 
 
As I recall, Red first appeared at the 2005-2006 NAB saying that they were coming out with a 4K camera.  It was vaporware for a long time after that.  The story that I heard about Red's beginning was that Jannard was having problems with some Sony camera from 2004-2005, which gave him the notion that he could make his own camera.
 
 
Keep in mind that Dalsa started showing their 4k, raw cinema camera at NAB around 2003.  After that, miniaturization and continually diminishing cost is just a natural progression -- not innovation.
 
 
I am no huge fan of Kinefinity, but I think that they have a better idea than Red and BMD  on how to make a camera with advantageous versatility.
 
I would not say that Kinefinity is a "spinoff" of Red.  The only thing that those two brands have in common is a boxy design of no particular novelty and the use of common lens mount plates (which are configured much more advantageously on the Kinefinity models).
 
 

Umm.
Shipping for more like 10 years (just) and not much longer than that as a company.
JB
 

Amazing job! Does it have a name?
Some of these devices have raised serious startup cash on Kickstarter - given the shitty camera control apps (Fuji, Sony), there's definitely a market for your widget. 
If you can figure out time-lapse and focus bracketing, you have a potential customer with every a9, a7r3 and a73 body sold. 
If it can trigger 4k recording, it'll make Fuji users heads explode.
Cheers
Chris

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing.
You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is.

And yes, it does look rather like a calculator doesn't it?
The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are.
Here is the finished spec and features :
Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps  Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories :
Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders.  The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever.

I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then.
So, I have been a bit less lazy than first imagined
By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

E mount is a major advantage though, as that opens up a wealth of options. (for instance any of the zillions of E mount adapters, or many manual E mount lenses such as the Veydra cinema lenses!)

 
RED Raven's "low" price + a MFT mount might have made it a too compelling option for RED buyers to instead get!

And Sony (and I'm sure others) did it even earlier than RED. 

You'd be surprised, I'm only a couple of inches shorter than Curtis, yet even so I will find a few times a month these moments when I wish I was taller as I just didn't have quite enough reach for a shot I'd like to manage to pull off. 

Oh well. 

How on earth my friends who are under six foot survive as aspiring boom ops I have no idea whatsoever!!! Madness

E mount is a major advantage though, as that opens up a wealth of options. (for instance any of the zillions of E mount adapters, or many manual E mount lenses such as the Veydra cinema lenses!)

 
RED Raven's "low" price + a MFT mount might have made it a too compelling option for RED buyers to instead get!

Generators, our mortal enemies! 
Today was a battle I lost. They wouldn't shut them up.  
Oh well, a problem for them now in post!
 
 

I personally don't see the big deal with IBIS in a camera like the Pocket 4K especially with all the hand-held gimbals on the market. Every lens and camera becomes stabilised with a gimbal and with the price of the Pocket 4K, you should be able to afford a good gimbal if you need stabilised shots. 
Sure, a gimbal is a little more cumbersome than IBIS but gimbals work much much better than ANY stabilised sensor. And if you are buying the Pocket4k, you are most likely shooting RAW or ProRes (pro formats) so you should be chasing pro results that a gimbal can give you and IBIS can't. If you are a hobbyist and just shoot handheld with no rigging , the pocket4k is overkill (even for the price) or get a stabilised lens but a Mirrorless or DSLR with IBIS might be a better option for you. Despite the price, this is a cinema camera and how many cinema cameras have IBIS? I'm not willing to pay for it or deal with its setbacks even when disabled.