IronFilm

New news, it is shipping :-D
 
 
http://www.newsshooter.com/2016/08/31/birtv-2016-kinefinitys-6k-terra-starts-shipping-and-gets-new-accessories/

New news, it is shipping :-D
 
 
http://www.newsshooter.com/2016/08/31/birtv-2016-kinefinitys-6k-terra-starts-shipping-and-gets-new-accessories/

RIP Samsung,  you were way ahead of your time. Too smart for your own good! 

RIP Samsung,  you were way ahead of your time. Too smart for your own good! 

They share general sensors, and camera software between lots of those cameras. 

Which helps reduce the R&D costs per camera by a significant amount. 

A good next step would be if they did a base mount (such as Sony FZ or Kinefinity sub-PL mount) as a common mount across their cameras. 
As I blogged about here:
http://ironfilm.co.nz/what-if-kinefinitys-kinemount-became-a-universal-cinema-mount/
 
What he means is the other companies do that as well.

I was thinking that exact same thing. If you look at the top-down image of the leaked photos, you'll see that the accessory shoe on top is not a hot-shoe for attaching a flash like the original XC10 has, it's a cold shoe with a screw hole, just like the C100 mkII has for mounting the XLR handle.

The first image attached is the leaked XC15 and below that is the same angle on the XC10.

My mistake.  You know it all.  They just rock up to the sensor drive though and get a Big Mac sensor meal to go.
JB.  

Neither RED nor ARRI make their own sensors. They have them outsourced and made to their specifications. Just like BM do with their 4.6k sensor. 
BM make their own circuit boards.  They don't outsource them.  Then make them from scratch.  They make the physical bodies themselves.  They rely on commodity items for the chips and screens but they manufacture more than most other companies in house.  They have an active policy of not outsourcing.  
You're just guessing or making things up when pass mis-informed opinion as fact.   Maybe think about qualifying your guesses next time so those reading will understand that you're guessing or making something up.
How does anyone know what the margins are for Blackmagic ? A company that don't tend to outsource but do tend to keep as much as they can in-house.  Just like the first post that posited that few would sell when thousands have already been sold. It's just guessing at best, and most are way off.
They're doing fine.  Compare them to AJA and the Cion.  Similar sized company to BM, they made a camera based on the same sensor package, but one that was considered to be the much better camera.  Look how well that went for them.  Why is it that Cion failed ? Everyone who was a "pro" breathed a sigh of relief that a "real" camera would be made and yet...
Axiom ? That was going to show everyone how an open source market/ ML style approach would make a camera right ? Show those Blackmagic clowns how to do a camera OS.  Look how grindingly slow that's been going because Canon didn't do all the heavy lifting on the sensor front end.
or DB ? Why did they fail ? Again, they have an apparently loyal following and unique features.
Again it failed. 
Panavison have failed at least twice to launch a new camera to replace the Genesis.
Dalsa, who everyone forgets made the first 4K cinema camera have gone out of making cameras.  
Aaton went bust trying to make a digital cinema camera.
Ikonoscope went bust using the same DB sensor.
You armchair quarterbacks are all posting guesses but you actually have no idea what it actually takes to make a camera from scratch.  I sure don't but I know that after seeing Blackmagic do it up close for the last few years it's way more complex and intricate than I ever imagined. I know that when I ask about a feature or aspect that I like or don't like of the engineering team they've spent a long time already thinking about it or trying to get past the hurdle. 
Making and developing cameras is a very expensive game and there's no way it would be some kind of loss leader.  It's just way too expensive.
At least they're still in the game and offering choices.  They continue to innovate, and I think if you look at their first efforts, compared to now, they obviously listen to what their customers want even if it doesn't appear to be so.  
They have certainly hit some pretty big bumps in the road too but they are still here and trying to compete with the big boys, something a lot of others have failed to do.
I find the "qc" issue hasn't hit me.  I guess I'm lucky or maybe I don't expect to have my camera working or repairable after dropping it but in years of using all the BM cameras I have on commercial and paying jobs, I've not run into most of the problems that are cited as being their weakness. I mean honestly the camera doesn't overheat and yet it's constantly written as a problem on review sites or in the mythology.  
In the early days of RED they had to educate their users about how to get the most from their cameras and how to shoot RAW.  
I think BM need to do the same thing because you still get people who have no idea about a RAW workflow stumbling into using RAW for the first time after having only shot 8bit 4:2:0 previously.  
This community more than "pros" is where BM cameras do the most for filmmakers.  Which other big box company gives you ProRes or even 10bit ?
JB
 
 
 

Are you talking theatrical release?  My understanding has always been to aim for 24 fps for theatrical.  I googled DCP post production houses and found the following.  Many of other Post Production facilities make similar statements.   
 
http://hbfilmworks.com/dcp-info.html
 

I suspect most people would much rather have a constant aperture and have it be something like f2.8 24-200. 2 lousy stops are huge, even with a 1" sensor. I do give you credit for being the first positive review of the camera I saw, when it seemed like everyone else was slamming it. 

It is a great damn pity a BMPC4K MFT was never produced! 
It would help with its low light issues too.

X-T2....   so $1.6K? 
That is barely more than what a GH4 has been recently. 
If they go nuts and give us 4K 60p 10bit 422 internal then I don't think a full two thousand dollars is at all unreasonable. The Nikon D500 is a crop sensor camera and goes for the same price.
Will still be heaps and heaps cheaper than any comparable Sony or Canon or BMD competitor.

Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
All their moves have helped the independent filmmaker. 
Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
 

I can comment on the 5200 and 5300 as I have owned both currently the latter. The 5200 suffers from banding (might also be called sensor noise?) from the sensor especially when using a flat profile. The d5300 fixes this and gives you 1080p 60 fps for slo-mo. The d5500 gives a stock nikon flat profile for once and I believe a touch screen?

On the mark, as per usual. What Canon is doing makes no sense at all to me...and apparently I'm not alone. I think the crazy thing is what you pointed out in your open letter; they give something wonderful and exceptional and, in the same model, take something else equally wonderful or essential away.
What kind of marketing is that? What kind of thinking is that? As I've said before, is this some twisted revenge for WWII? Add to your takeaways taking the auto focus feature from Log in the 1dC. WTF! Who the Hell made that decision?
Plus, what they offer on the one hand is terrific, but what they don't offer is downright weird. Where is their full frame constant 2.8 zoom lens? Sigma can make a crop sensor lens at 1.8 and the best Canon can do is 4.0?!? It's all very strange.
snatch.tiff

Just look at the prices for an adapter to control aperture for Canon EF vs Nikon F, heaps more!
In fact for Sony FZ mount it is prohibitively expensive on a budget. For RED One MX and Samsung NX it is nonexistent. 
But for all it is cheap and easy to use my Nikon F mount lenses on them.

I like that Nikon F mount lenses are more easy / cheaper to adapt than anything else.
 
Venus Imaging is bringing out a 17mm f4 TS for Nikon very soon.

His dentistry friends who he tagged:
https://www.facebook.com/profile.php?id=100002625780591
https://www.facebook.com/ghader.moustafamanah
https://www.facebook.com/Nism.nougat
https://www.facebook.com/profile.php?id=100004619610557
https://www.facebook.com/profile.php?id=100004469431009
 
Amused somewhat by his latest FB update:
 
Oh FFS, he recently got a PS4:
 
Yet cries he is too broke and poor to repay those who he robbed??? 

His dentistry friends who he tagged:
https://www.facebook.com/profile.php?id=100002625780591
https://www.facebook.com/ghader.moustafamanah
https://www.facebook.com/Nism.nougat
https://www.facebook.com/profile.php?id=100004619610557
https://www.facebook.com/profile.php?id=100004469431009
 
Amused somewhat by his latest FB update:
 
Oh FFS, he recently got a PS4:
 
Yet cries he is too broke and poor to repay those who he robbed??? 

Switch from PAL to NTSC.

Nope, Panasonic doesn't have Canon's knack or track record of such epic level let downs.

Well yes, this information comes from the experience of speaking to the rental guys on a weekly basis. 
I recently asked for the C300 II for an event job (interviews and highlights) and they said "nobody wants the C300 II as everyone is using the FS7, so we don't have it. You can take the original C300 though." 
I'm sure this will be very different geographically, however I know for sure the FS7 is the UK's biggest seller and most rented camera of the year. I bet the C300 II is hot cakes in other parts of the world. 
I feel Canon just missed with the C300 II. If it had 4k 60p and better slow motion like the FS7.... it would have no problem being sold and rented everywhere.
Most of the stuff I've seen online (not all of it) from the 1DXII looks like it's wrapped in a reflective sheet of plastic. It's how the standard profiles are managing exposure from shadows to highlights, it's really quite harsh and not appealing to lots of us. 
I'm still interested in the 1DX II til this day, however it's missing that elusive C-log feature that will correct my biggest reservation. I'm not spending that kind of money on a camera that doesn't have a log mode. 
Also the crippled HDMI port is very very silly. Do Canon have something against it's users for using an Atomos for a better codec? It's things like this which frustrate me about Canon, I can see why some people get so irritated by their conservatism. 

Nope, Panasonic doesn't have Canon's knack or track record of such epic level let downs.

Nope, Panasonic doesn't have Canon's knack or track record of such epic level let downs.

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........