Jonesy Jones

Well, if primes start at around 1999. This must be somewhere around... 2999~4999.
If I were to go zooms... I'd save up for those Angenieux Type EZ ones then... They'll be better in every single way. Or just stick to stills adapted home modded ones from Nikon, Sigma or Tokina.

Actually I completely agree. I am waiting for the F4 (do not care for 8ch at the moment), stepping adjustment issues (if Iam understanding it right) is a no go for me, and of course you have to trim "when and why", and digital gain with step implementation is a post nightmare when you do!
There is a recent trend here(Greece) with one man sound departments, especially for documentary series, so my evolution is to have the ability to have some kind of control while booming. The market is just a mess at the moment (for financial, political and social reasons), so I have to upgrade wisely, as sound is often overlooked and very badly paid.
 

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

I usually build stuff like this in Photoshop. This is not a music video pitch but it follows a similar layout. It's the 2-page "sell sheet" I made that was used to pitch Down and Dangerous (my microbudget crime drama) to cable and satellite VOD providers across the US & Canada, as well as, Paramount Pictures for international distribution. Fortunately, we happened to have the type of movie they were looking for, but I'm sure this didn't hurt. Anyway... I find Photoshop makes this sort of thing pretty easy to create, and revise, and revise, and revise...

Sony have always done this. 
Look up Betamax Vs VHS.
They always design proprietary media for the same reasons.  Notice all Sony cameras use proprietary media.
Canon don't allow their mount to be used.  But the patent for EF mount rannout around the time you started seeing other cameras in EF mount...2012 :-)
You'll notice BM don't say that they support EF-S because that's technically still protected.   
Canon still don't share EF protocols which is why you see issues with support for iris and IS on some lenses. 
JB

If I could afford these two, I think my lens GAS sickness would be cured for good .

I know that this is probably a great lens with a good price for a cinema zoom, but for a similar price those new Angenieux zooms seem like a much better proposition.
 

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

Longer focus throws tend to benefit cine-style shooting where an AC is pulling focus. They also help making micro adjustments on a wide aperture when shooting handheld where the distance between actor and camera is dynamic. Longer focus throws aren't as great for a single operator if you're pulling focus from, say, infinity to something in the foreground. I've had a hard time doing pulls like that without jostling the camera as a solo operator.
On the other hand, shorter throws like those on still, and autofocus lenses are difficult in other ways. It's almost impossible to stop pulling right at the actors eye - you almost always pull slightly past where you want to go and have to make a quick adjustment or two. Or in a handheld situation where the distance to subject is dynamic it is very difficult to maintain focus.
180º seems to be a kind of goldilocks solution, designed for the most-likely midsize productions that are coming up a weight class to cine-style lenses, but aren't crewed up like film or tv productions. Also, manufacturing-wise, my guess is that it is easier internally to re-gear mechanically using the same internals from 90-180º, than to go to 270 or 300º. We'll see how it works in practice.

Yawn. 
Blackmagic are excellent value for money, and that's all there is to say really. 
If Blackmagic aren't "good enough", just use another brand. Simple. 

Just checked Whois - www.craftcamera.com is registered to: E.Saawadi, Mansoura, Egypt
Yep, I'm just kidding.

No price yet. 

I am guessing more than Sony's 18-105mm f4, but less than their 28-135mm f4

As far as I'm aware, manually white balancing a camera changes the color on two axis - blue/orange and magenta/green. Similar to using CTO or CTB and plus- or minus-green.
Manually white balance a still and open the raw image, and you'll see (via the raw sliders) how much correction was used. Or shooting a still in a situation with imperfect WB and then setting white balance in the Raw converter will show you how far the color axis had to be changed to get the color accurate.
I'd like a camera to show me those numbers when I manually white balance. Often I'm shooting in offices with modern flo fixtures, which are usually around 3700k with a lot of green. if I have a pre-pro chance, I can shoot the place with a raw stills camera and figure exactly what flos (most of my flos need 1/4 CTB and 1/8 -green to get a clean 5200k) and HMIs need gel-wise so the office fixtures look natural and function as fill. It looks odd to the client when I'm putting orange and green gels on my lights, but it sure is nice in post.
I've found if the RAW slider is halfway up for magenta, that usually equates to about a half minus green, and so on. Color temp is more of a sliding scale than linear, but it can usually be sussed out quickly.
This wouldn't be an earth-shaking feature but would sure be handy. Modern cameras are pretty decent color meters when you think of it - would be nice to have that data presented somewhere in the interface - since it's already in the camera.
 

Ty Harper, the H4n had shit shit pre amps. But the H5/H6 pre amps are a leap forward.
 
And the F8 preamps are better than anything Zoom has ever made before!
And the F4 pre amps are the same as the F8.

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.

Seriously enny?? That is an incredibly clueless statement to shit on Arri cameras because of their resolution. 
Maybe Kino is from Egypt?

Check this out. I just picked up a BMCC MFT 2.5K and put a spare BMPCC speedbooster on it. 1.39x crop.

Here is a FOV comparison between the BMPCC and BMCC. same pocket speed booster, same 28mm full frae lens. this set-up *does* require the use of full frame lenses by the way. aps-c will vignette.

I haven't seen it in my cameras nor has it been a problem in any of the many QC processes my work goes though.
I haven't gone looking for it either.
jb  
 
 

I honestly wish they would keep cineform in the camera's alongside Prores, I much prefer the Cineform codec.

And John with all due respect, please act civil and use empathy.
You are a really established DP.  Having someone of your caliber swearing at a person on here is quite shocking to the person receiving it.
Whether he is right or not, know thy power.
I still think DJI is more innovative  But well said.

I've had a UM4.6K for nearly a year.  
It's done many weeks of work on my sets.  Most of the images in my twitter feed are of the same body, the very first one I got.  I've had another two PL bodies for about 7 months that have also seen a lot of use.
The camera can handle on set abuse.  My main body has lots of scuff marks, scratches and dings.  It's been rigged on a steadicam, Movi, to cars, in my hands, in production mode, in studio and remote locations. It's had extra transmitters, timecode clocks, plugged in, audio connections used, additional on board monitors, UMC's for remote focus....
There are many many sequences now in the last two TV drama series I shot that have Ursa Mini 4.6K shots and no one ever picks them.  
I managed to rip one helicoil out early on when an overzealous grip overtightened a rig. 
I lost a lock off screw that controls the tension on the EVF rotation.  I've never replaced it, because the tension hasn't needed to be changed !
My cameras boot up, they don't overheat, they don't loose frames, my shots have passed a zillion INTERNATIONAL broadcast tech checks that specifically go looking for things like noise and FPN and image problems.
Directors love the shots I can only get with an Ursa Mini 4.6K, so I'm going to keep using it.
JB
 
 
 
 
 
 

Because the lens only covers S35 to begin with (F mount only describes the mount, not the image circle. There are many APS-C lenses in F mount, too), not "Full Frame". If you want to speed boost it, you have to go to a format smaller than APS-C, i.e. M43 or S16.

Indeed, a lot of the so-called magenta examples on the forums are suspicious to me. They shoot a white wall at f/16 or some ungodly aperture, push the saturation to over 100% in post, and then complain that there is something wrong with the Ursa 4.6k sensor as opposed to their own test methods! Of course, if you do this with any camera, you are not going to get a good result. It's such a waste of time and it takes attention away from those units that may have real problems.
As for the price/performance of BMD cameras, there is no argument from me. They are simply the best in their price range as I've stated above. Where else can you buy a $3K camera with 4K 12 bit RAW, 2 XLRs, an LCD, SDI out, a global shutter, and a Resolve USB key valued at $1000? It's a crazy good deal!

I can't speak for everyone that has bought a 4.6K, but myself, and the 2 people I know in town who bought one, haven't had any problems with the magenta corners. I even did a stress test against a white wall at f/8 35-70mm.