Flynn

This thing looks amazing. The price isn't bad. I really hope Rokinon makes a 21-100 (or similar) cine zoom.
 
http://www.newsshooter.com/2016/09/01/zeiss-introduces-the-super35-21-100mm-t2-9-3-9-lwz-3-cinema-lens-for-less-than-10000-us/

it'll have IBIS,  this is their flagship camera,   IBIS and their Dual OIS feature is on lower end cameras and it's a must on their best. 

If Panasonic doesn't put IBIS in the GH5, a lot of people will be very mad about it. If the GX85 has it and it can record 30min of 4K, I don't see why the GH5 wouldn't. There should be at least the option to get no time limit in 4K without IBIS and 30min with IBIS if that's the case.

12 bit 4:4:4 external?

CR has leaked pictures of the XC15.
Still not interested.

Don't shoot the messenger.
Just thought you guys would be interested. It's like going in an appliance store to peruse... Then saying you ain't interested in the refrigerator, but enough to tell your friend, who is actually looking for a fridge... "Yo! There is a sale on this fridge here."
BTW, I do that all the time... When my wife wants to go shopping and drags me along... I peruse the electronic section... Walk through bestbuy... To pass the time, get to know the latest gadgets.... Stay a top of things in terms of tech...
Don't be all touchy and heart broken if someone said something bad about your camera. Even if it is as simple as "I'm not interested."?

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. 

Resolve has a post solution for the Black Hole issue, which is great because there are other cameras that have the same problem.  I wa shooting MAC moving lights on a film four days ago with Alexa's and guess what.....they too suffer from black hole sun.
IS lenses work great on the pocket ?
JB

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. 
 

There might be some truth to this. Recently I've been looking at a ton of Sony footage and actually prefer the colors. All this talk about the awful Sony colors and skin tones, I no longer agree. I don't know if Sony has improved or I've just been conditioned to accept it.

You know what I think is happening?
What I think is happening is that... people are slowly adopting the Sony cams, simply for its features... once they get it they don't like the colors or skin tones. But they've still adopted it and said "screw it..." getting used to those colors. I see a major shift coming... such that people start getting used to Sony colors and saying... thats what I want.
Here is to hoping that Canon fails... and starts saying "what the fuck did we do?"
Starts downsizing and starts firing that whole marketing and research department.

Money might be the only thing that will make Canon change anything. But there are still a lot of people praising and buying Canon for video - even DSLRs - and maybe things are starting to turn, but as long as there are people buying I don't see Canon caring.

At the rental house where I work, the MK II definitely sat on the shelves for a long time while the FS7 worked all day, every day. Lately though, the MK II has been picking up steam, and we've invested in a few more as we start to replace our aging pile of C300 MK Is. But it still has a long way to go to catch up. That said, I can imagine that Canon has been feeling the squeeze, which is why they lowered the price drastically. And while it's still pricer than the FS7 despite the slightly inferior specs, it's not unreasonable considering that the build quality is far superior. The FS7 feels like cheap plastic crap and breaks often. The MK II (as well as the other C-series cameras) is a beast, and holds up to production rigors much better. And the color science is on another level entirely. The Canon RAW output approaches the Reds and Arris as far as color reproduction and dynamic range is concerned. I'm amazed every time I plug an Odyssey 7Q in.
The original C300 is a legend, though, and I expect it to continue working for a long time. It's in the same league as the Arri 2C and Eclair NPR as far as its importance as a documentary and low budget filmmaking camera.

Hi Andrew,

I couldn't agree more with your article. As a former C300/1DC owner, I love Canon's color science (especially for skin tones). And I was eagerly looking forward to the C300 Mark II. But not at $16K or even $12K. I then hoped in vain that the 1DX Mark II would at least have Log. 

If this C300M2 rental slump continues, Canon may have to drop the price yet again to (hopefully) $9k or $8k. Today, it would have to approach the price of an FS7 to be as competitive and attract the same mass market interest for indie doc filmmakers that the C300 once did. I know that might sound strange considering that the C300 was once $16K for only 1080p, but times have changed and the competition is fierce.    

Here are 2 videos I shot earlier this summer:
The intro and performance were shot with the 4.6K on this one:
I have 2 other videos done that I can't post yet but here are a couple of frame grabs:
 
 
 

If Canon is able to put a 24-100mm equivalent f1.8-2.8 in the G7x  which is tiny compared to the XC10, surely they can provide an even better lens with a similar focal length for the XC15. I know the slow lens tended to be the first thing most people complained about.

Very true. It's easy to get caught up in gear. My current camera is not perfect, but I know it's good enough to help me to tell a story, because others have done so. Like you, I realize, if I fail, in the end I can only blame myself. I'm forcing myself to shoot more. And while it's scary to put your work out there, at risk of harsh judgement, it's the only way to learn if it's any good. Personally,  I've turned my attention to learning filming techniques and editing... getting better at the art of film. The gear is now secondary. 

Lousy camera operator. Existential decision. Spent too much time and money and wasn't creative.
The best film is the film that is actually made. And the worst excuse in summer 2016 is that I didn't own the right camera. I always had the right camera. The Ursa Mini would have been the momentary object of my NCD, a more reasonable one perhaps the upcoming GH5.
What I mean is, if a fail with the Pocket, I fail with any other camera. If I succeed with my iPhone, the success would only be gradually better in the end had I had an Alexa instead.

I wish they'd just focus on developing a killer new model of the BMPCC. To me, it looks like they've wasted a ton of time and money developing all these niche cameras when the one camera they have that sold reasonably well and has broad appeal is in dire need of a hardware update. One or two cameras for BM is more than enough. Keep it simple. They have spent a fortune developing all these other cameras.  Just focus on improving the 4.6 and the BMPCC.

I wish they'd just focus on developing a killer new model of the BMPCC. To me, it looks like they've wasted a ton of time and money developing all these niche cameras when the one camera they have that sold reasonably well and has broad appeal is in dire need of a hardware update. One or two cameras for BM is more than enough. Keep it simple. They have spent a fortune developing all these other cameras.  Just focus on improving the 4.6 and the BMPCC.

I had been listening to people who told me, look, it's not even real HD and UHD is the way to go nowadays. They were right, I saw the Pocket's limits in resolution, and it started to bother me. I sold it and every piece of equipment associated with it. Now I have tons of footage from the said people in glorious 4k and I can watch it in native resolution and I can compare it to my old Pocket footage. And I could cry. Resolution isn't everything. What about handling? People have exact CWB, various implementations of AF, AE or - and this is not exaggerated - millions of combinable profile-settings. None of these has the Pocket. And yet, all these funky functions don't seem to help much, because of the image quality.  You don't believe that or see that? Then be happy, stay happy ...

I wish they'd just focus on developing a killer new model of the BMPCC. To me, it looks like they've wasted a ton of time and money developing all these niche cameras when the one camera they have that sold reasonably well and has broad appeal is in dire need of a hardware update. One or two cameras for BM is more than enough. Keep it simple. They have spent a fortune developing all these other cameras.  Just focus on improving the 4.6 and the BMPCC.

It's very interesting. In my opinion I think that Blackmagic is the camera manufacturer with the biggest potiental today.
I'm tired of all these cameras with low video abilities for pro.
I mean we need RAW, we need at least 4:2:2 10bit, we need ProPres internal, we need a serious LOG profile, we need 4K 60fps minimum, we need < 5000€ price, etc. We are in 2016...
For sure Sony, Canon and Panasonic are able to do that in a DSLR but they don't want, to prevent cross market products (otherwise, overheating seems the only problem imo).
Recently I bought a used Blackmagic Production 4K in pack with SSD and lenses and even if this camera has some bad points, there is no competitor at this price.
Hope Blackmagic will not become as RED and create a camera that cost a house.

By releasing the 1DX II, Canon has already demonstrated that it can bring this technology to market at less than half the cost of the original camera. A 1DC II is not going to cost $12K, or anywhere near the price of a C300 II. It will be a premium version of the 1DX II with a price tag of around $7-8k and it will add C-Log and a few other exclusive cinema features. It will also not cost Canon anything much on the R&D front. I've been certain about the 1DC II as soon as I heard about the 1DX II (especially with the lack of the cinema features from the 1DC). One follows the other, just like last time.

It's always baffled me why Sony have never put the a7s sensor into a small video body... you'd think it would be really popular with NDs, XLRs and a nice codec