IronFilm

The Pocket is in desperate need of a refresh. I don't know their sales figures, but I bet they've sold as many of the Pocket as they have every other camera they've made combined. 

This is so tedious.
It's incredibly ignorant to keep on saying "off the shelf sensor".
To keep on re-iterating this means zero understanding of what it actually takes to make an image, especially so if you want to brag about being an academic in screen culture.
Olympus cameras are highly praised for their look, yet they use "off the shelf" Panasonic or Sony sensors. Somehow they're renowned for their look, because of the whole image processing pipeline, even though they use the same sensors used in many of the G series panny cameras.  Olympus don't have a patent on their "look" though.
So same sensors, totally different imaging outcomes, none of which are patented.
They do highly customise their sensors, and there are lot's of ways you can do so...the CFA for example...
Leica are the same, they have also used "off the shelf" sensors in the past and somehow they too are praised for their look, and also, surprise surprise, have no patent for their look, and yet, it's the very reason many buy them.
I thought you'd have wised up by now, but you keep digging in on the ASICS and sensor design.  Here's a clue.  ASIC's have nothing to do with the sensor design.  You assumed so because of Land's comment, but then you couldn't explain why some cameras don't seem to have ASIC's. I've challenged you and you haven't answered.
According to Land and you for quoting him, the prerequisite for a cinematic camera maker is designing your own sensor AND ASICs and yet you can't account for Canon, Arriflex or Blackmagic... what do you think they're using if there isn't an ASIC ? How is the ASIC linked to sensor design ? In what way is using an ASIC making the sensor design more credible ?  What do other camera manufactures use if they aren't using ASICs ?  ASIC's run the camera, not the sensor....
ASIC's aren't related to sensor deisgn any more or less than FPGAs are. You still haven't brought up the alternative yet because you don't know.  Go google FPGA. 
You posting history is entirely relevant when your credibility is at issue.  Your backflipping contradictory posts are just as insightful as when you first posted them.
And yeah, it's pretty normal for companies not to protect their IP using patents which require them to publish in detail the IP itself. I'm pretty sure RED will have a patent on RedCode, but not your precious ASICs.
JB
 
 
 
 

Go for the g7. You can get one new for less than a second hand gh3. Shoot 4k and down sample to 1080 and you will get a beautiful image. Plus it's smaller and lighter, AND it has peaking. All you lose is a headphone jack and weather sealing really

Harass Nikon for news about the KeyMission 360 (and harass Nikon about **FINALLY** making a cinema range?!).

See if Kinefinity is there?! See how far along the Terra 5K is ticking along. 

Pop into Aputure to prompt them about when is their Aputure D3 microphone coming.

Find out pricing of the Sigma Cine lenses?

Encourage Samyang/Rokinon to make a zoom! (an affordable S35 20-85mm T3 would be awesome!!)

Even though it is a story without dialogue, the soundscape is done really well!

Dude... Its a movie and in movies there are flashes, ammo lasts forever and you can shoot point blank from the hip on full auto.
I'm no astronaut but I'm sure the Millennium Falcon wouldn't be able to make the Kessel Run in less than twelve parsecs either

Pricing probably calculated so that when they sell it as a kit lens with an FS700 etc they can have a really generous discount to make it look like a bargain.

$3500, brutal. That's quite an arsenal of Sony glass or a speed booster and a slew of (insert your favorite lens here) lenses. I liked the 28-135, but there were so many two zoom options that were better optically and could be had for less - for example the Nikon Bourne zooms and a speedbooster - that it just didn't make sense for me. Its great that Sony is producing top quality lenses, but their pricing is really out of whack.

Not sure if the review is advertiser friendly (that's a hot mess on YouTube right now).
Like it, though! I think a feel for entertainment runs in the blood of 'muricans! (He kind of reminds me of Jeff Daniels, maybe a hint of James Cameron).
I do appreciate Nitsan's reviews! He did a video on this light as well:
 

Haha, I quite like the review. You are one likable angry guy. But you need some type of foil, a wife in the background or an ex-wife you can bitch about. The anti-unboxing portion was great... You just tossed the literature aside angrily... Good stuff. 
My only suggestion, if you're looking for any, is to get the time down. If you could mix your natural character and a full review in under 5 minutes, I think you could be onto something. 

Rochester NY, no way! I live here too! You an RIT student? I started shooting with a GH2 myself and I use a GH4 now. I use the GH2 as a b-cam occasionally but would consider selling to you in your price range, send me a PM. It was my first camera and I made a ton of films with it. I'd recommend mirrorless myself because you aren't tied to a lens mount, and your existing glass will transfer. Many great cheap lens options out there too in older mounts. 

Honestly, the problem is your budget, which is why I recommended the 50D, and since you mentioned an interest in it. For that money the 50D is the best Raw capable camera around. But in my honest opinion, if you're just looking to get your feet wet with video, don't switch to m4/3. You already own Nikon lenses, there is absolutely no reason to switch. I would search for either an upgrade to your D7000... A D7200 or a D750 which gives you the flexibility and durability to shoot video and stills in one package. Their flat profile is beautiful and the video codec is strong in 24p and 60p.

Yeah, this is what led to a broader search on my part.  At first glance, the 50D looks great, but it's definitely too good to be true.  I'm thinking that a Panasonic G6, GH2, or Nikon D5500 might be best.

120d
http://www.newsshooter.com/2016/09/11/ibc-2016-aputure-light-storm-120d-is-the-daylight-version-of-their-120t-led/
 

I'm very surprised of the versatility of this footage. A lot of Kinefinity footage I've previously seen online has been very brown and muted, this however is very flexible and easily on par with BMCC Prores. Perhaps even better - I'm seeing pleasing results much faster than usually with the BMCC. Getting very close to 5D RAW in terms of ease of grading. I was able to whip up a grade I'm happy with in a matter of minutes.
 

Point taken... Yes I was being lazy. So here are some heavy handed grades to see how far this footage can be pushed before it crys like a little baby. And I can tell you it seems to hold up pretty dam good. Lots of room to get some crazy color grades and it keeps it's cool. This footage is definitely more robust in post than anything from a DSLR. I would love to get my hands on one to see how it handles in the field. 
 

Yes, people are best to grade it themselves before judging it. 

Yes, people are best to grade it themselves before judging it. 

That's probably because you only watched it.
In that case it's the best DSLR footage you will ever see
And that's an understatement. Best footage I ever laid my hands on. Can't get it to break, really impressed.
If I wasn't the amateur I am, I would order a Terra right away.

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.

I'd also say his post read fairly restrained as far as forum rabble goes. I can't say the same however for the posters he is arguing against, who obviously have some kind of problem with BM for some reason or another... I mean as you said Ed, who cares where the sensor comes from if the image is good, it's irrelevant, the only people who find that relevant are the people trying to shine a bad light on BM for some reason.
As much as I value your word Ed, this topic was geared negatively by you from the start, and all because you saw some problems with a BM display model? I don't doubt BM aren't the highest quality camera producer out there, but the reason the quality is what it is, is because they sell at the price they are (which is what many of us want).
Honestly if you want to write a thread about a camera company going out of existance because you saw a faulty product on display, I could almost write a whole book about all the shity/ faulty Sony products I've seen my friends and family encounter... doesn't mean they are packing up ship.

That's because it is in no way a testing shot. Any cam with 9+ stops would look similar.. be it a DSLR or alexa

Looks great to me...always worth colour correcting footage yourself to see what's what.
30 sec ballpark correction in Colorista from ProRes : 

 

I'm no professional grader, but damn after t3i and Gh4 the grade just cuts through like butter. 

From Kinemax the same sensor as Terra 6k