Jonesy Jones

Lol. 

Because when you are one of the first to actually receive the camera you can make a 'short film' with random shots of cool buildings and old broken down cars and leaves blowing in the wind and flowers and sweet rack focusses with super shallow depth of field and slider shots and pro status money gimbal shots and then you'll get like a thousand extra views on Vimeo and then the world is your oyster. That's why.

I'm too lazy to open Premiere and look but I suspect it's one of the default LUTs that comes with Premiere. I know Resolve comes with an Alexa LUT, I think the latest CC Premiere does too.

Agreed and I think this is a good thing. Once you break that $2k-$3k mark you start losing consumers and weekend warriors and getting into a group of filmmakers that are obviously more serious. I think they'll sell a bunch of mini's, but your casual filmmaker neighbor won't have one and that's good I think.

On another note, Blackmagic seems to be doing what Red promised to do years ago, and then never delivered. I think there were tons of filmmakers who bought into Red's promises and then were greatly disappointed by Red's finally released Scarlet and pricing. In my opinion that was a big mistake for Red and BM is cashing in on it. There's no doubt in my mind Red could deliver a camera closer to the specs and price of URSA mini. Once in a Red package, wouldn't it be natural for filmmakers to upgrade to other Red products? Big mistake. I like what BM is doing. Looking forward to seeing the mini in more filmmakers hands. 

Aaron, thanks for your comment. I had not read OneRiver's blog posts. I just did and they are so optimistic that I am very much reconsidering canceling my preorder.

I pre-ordered within 5 minutes of it being available on B&H. I can always cancel. Probably will actually since my funds have dried up a bit. I am really excited though about this one. Can't wait to see some more footage.

That doesn't look that bad at all. I thought the colors were actually very nice. Maybe a hair cool and magenta-ish at times, but pretty. Why haven't we been talking about this thing... I have no idea. Please keep us posted when more footage comes out. 

Does Panasonic have a full frame sensor I don't know about? 

I think there are physics barriers that the magicians at Sony haven't yet figured out how to cross. 

I could be wrong here, but my understanding is that this is possible because there is 'no' compression going on. Not to mention they are dealing with a larger body and I assume a larger heat sink. My feeble understanding of this topic is that, at this point, getting full frame 4k 10bit out of a small mirrorless dslr body is faaaar more difficult than getting full frame HD raw out of a large mirror dslr body. I'm not suggesting that the 8bit/10bit won't be used as a barrier between prosumer and pro products, because it probably will. But I don't think Sony could deliver 4K 10bit in that body even if they wanted to. 

I think some are missing his point. His statement is reminiscent of the pre dslr era where folks could invest in a camera and not worry about 1000 new bells and whistles coming out a year later without feeling behind. Those days were nice in the sense that you really got to know your camera as it was your buddy for a few years. 

Not saying it's the perfect camera, but ursa mini seems like it could be that kind of camera for some. Prores and raw. Pro connections. Super 35 sensor. Plenty of dynamic range. Global shutter option. High frame rates. And 4.6k res. It all adds up to a camera that one could live with for a few years. At least on paper. We'll see. 

But my point is that I think I know what Carter is getting at. 

To reiterate Aaron, Blackmagic is already doing this. But what I think you're looking for is full frame 10 bit 4k in the body of a dslr, and I think you are going to have to wait a couple generations for this. Heat seems to be an issue in the A7rii. Imagine if it was 10 bit. 

Been there done that. But banding and the thin 8 bit footage that it comes from is just something I don't want to deal with again. I'll take a $500 dollar 16mm sized sensor camera with 10 bit or raw over a full frame 8 bit camera any day. 

What the A7ii won't have is 10bit, and therefore not a competitor to the fs7. And for me virtually nothing else matters. I just abhor banding. 

The banding in the blue skies is why I don't think I'll even consider this camera. I guess it has its place. I don't think for me though.

The only thing worse than Americans acting like Americans, is Europeans acting like Americans.

Is it possible the photographer discussed by the OP is suffering from 'fresh is more' syndrome? I do this all the time with everything.... design, video, photography, color, etc. I'll look at something from a while ago, or something new, and feel like it's way better than what I'm doing now. Then come back to what I'm doing now, months later when I'm doing something else and I'm like, dang, that was great. Sometimes moving to a new system, project, environment, whatever, gives us a fresh perspective after looking at the same thing for weeks or months or years. 

Yes, like I said, motion cadence is a mystery to me too. But at the same time, some footage I see looks natural and organic. And some looks choppier. I can't tell if I'm just seeing things, or if internet compression is doing ugly things in some cases and not in others. Lots of variables. I have wondered if maybe a global shutter would simulate the way film is exposed a bit more and therefore reproduce motion better. It's just a thought.

Sacrificing 2 stops of dynamic range is a bummer. I wonder why they are just now getting around to suggesting this? Is this something that may be worked out eventually in firmware updates? 

Are you suggesting I shoot with film? I mean sure, that would be ideal. But if that were an option for me, why in the world would I be discussing the URSA mini? 

I think its perfectly reasonable to wonder if a global shutter would affect the look or motion cadence of digital footage. Maybe it won't, but its a reasonable question.

I guess my question is not so much about rolling shutter as it is about the look of the footage, aka, this mysterious motion cadence I've been hearing about. I don't mean that sarcastically. I think I do have a sense of this. I guess my question is, could global shutter raw create a nicer motion cadence than a rolling shutter version? Maybe it has no impact, I don't know. But if it does, would that be more valuable than dynamic range?

Sounds like the 15 stops of dynamic range will only be available when global shutter is turned off. Bummer. Any thoughts on this? There's been talk lately on this forum about motion cadence. I have been hoping that the global shutter would assist in this aspect. But now having to choose between that or dynamic range is frustrating. I know it's all speculation at this point, but what would you choose, dynamic range or global shutter?

​That is a very good point. And using a shallow dof for those reasons is logical and reasonable. But doing that and then calling it more cinematic is not reasonable, and that is my point.

I think another reason filmmakers like the shallow look is because it is instant gratification. Even myself, which I have grown tired of the overused shallow look, find myself gravitating towards it to spice up a boring shot, when the correct solution would be to reframe, relight, dress up the set, or a combo of all 3. Shallow DOF is just easier, but not the right solution many/most of the time. IMO.

​If you're referring to my comment, I was being cynical... thus the . I posted that because it really drives me nuts how much I hear filmmakers talking about this lens or that camera and the shallow DOF capabilities. But when you look at actual cinema 98% of it has an extremely 'wide' DOF. And this trailer was an example of that. I thought it even more compelling to bring it up because of the large format of this camera. 

On another, only slightly related topic, people have mentioned that this camera and lenses don't have distortion. Watch the first shot of the trailer and keep your eye on the mountain on the right side of the frame. Looks like typical cinema distortion to me.

​Do you know of any focal length comparison videos where you see something like a 50mm on FF, 35mm on S35, 25mm on m4/3, maybe even down to the BMPCC. It doesn't have to be that focal length. In fact it would be great if there were several. This is something I've always wanted to try but I don't have all those cameras and lenses. People always talk about the FF aesthetic. Would be nice to see it. 

The reason it looks so amazing is because of the super shallow DOF.

​Oh my! It appears that you are right. That could be a deal breaker for me. Let's hope Resolve 12 is different.