Jonesy Jones

Couldn't get past 0:20. That guy is seriously annoying.

What's up with this guy?

Very intresting wolf33d.  My two cents is I would not trust a camera with a movable sensor for landscape photography.  There are heat dissipation issues and the slightest software/hardware glitch and the sensor become unaligned to the lens and you get blur.  Many photographs ALREADY go crazy with micro-focus issues with fixed lenses and sensors.   For centuries, it has been true in photography, and all machines, if it CAN go wrong, eventually it will.  This is ALL theoretical but in my "real world" I need to have the most confidence that the least amount of stuff will go wrong.  That's subjective, sure.  I pick up a Nikon and I get this sensation from the camera "I will always turn on.  I will always get you a shot quickly and competently."
The question is very simple and should be respected.  Are the trade-offs Sony made to get in-camera stabilization worth the risks one takes in long-exposure photography.  Unless one works in landscape photography opinions should be circumspect?  
Bottom line, thank you for having the guts to post your opinions in a "4K is the be-all and end-all of all things camera"  Forum.  I say that with Love for EOSHD
 

So I had this camera in my BH cart for weeks ... then opted for a C100 Mk II ... mainly due to the size and concerns about Slog colors. After struggling with the A7s
I was not excited about wrestling with Sony color space. Although the 4:4:4 RGB output is truly the selling point.
 
So I drag my CD Odyssey 7Q+ along to get a paltry 4:2:2 Prores HQ out of the C100 Mk II ... not that smaller than the F3. But I get dual pix AF and a color science that
I can easily work with....
Still ... a sale of this magnitude makes you want to but it even if it is a bad decision.
Bob
No I think it is his cat ... and sometimes the better part of discretion is to let sleeping dogs lie.....
Discernment and judgment are polar opposites ... pray that I err on the gracious side.
 
Bob

Yes I was playing that game till recently.  I have had a change of heart.  Making short films with old gear that you pretend is new gear also can get you that amount of views.  I did that with my werner herzog review of the ursa mini 4.6k and had a great run.

Yep, you're right. 
The URSA series is definitely not targeted at your high street consumers. People were attracted to original BMCC as it was an industry bombshell, but it's going to be strictly pro's with the new ones. 
Its frustrating they have to treat announcements this way. Why can't they just tell us? Is there any marketing reasons to be so cryptic? Does it make us talk more?
They also want buyers of the original cameras to upgrade to these new URSAs, and they will keep going from there. 
I think Blackmagic will return with another model below the URSA and above the Micro. Perhaps "Blackmagic Cinema Shooter"... Sort of a hybrid between the BMPCC and BMCC with a Super 16 sensor, but 4k, 1080 60p, global shutter, a bottom handle and an articulated 1080p screen. It's due for sure, but probably not how we expect! 
I really have high praise for this company. A big reason why "I broke my rules" and pre-ordered the URSA Mini is because I've always wanted to shoot on Blackmagic. The image is incredible. And now they have delivered on ergonomics and HFR, it's too hard to resist. I expect it to be an interesting ride, and hopefully a camera I will learn to love and put to some great use.  
I really think Arri and RED could potentially shake up the market if they offered a solution in FS7/URSA territory. But they won't. 
RED footage files are really juicy and deep. Alexa is buttery smooth and incredibly organic. I don't think the URSA Mini 4.6k will be far behind.

my advice is to never buy such a card. If it fails on you the whole day is gone.
30min is about maximum I want on any media. Spread the eggs.

I don't think price is an issue for what you get with the URSA Mini. Some people are complaining about the price and forget that you get a 4.6k sensor, high frame rates, 15 stops DR, internal raw, ProRes codecs, strong ergonomic body, large 1080p screen, 1080p OLED viewfinder and other things. (all above and beyond in features to other systems in this price range). 
Then consider the Mini doesn't use proprietary media and accessories. Invest into RED or the F55 and you are stuck with the £££$$$€€€€ spent on those items, like REDMags and SxS cards. That's a worthy benefit too. 
Also consider the full version of Resolve 12 you get for free, which does have some significant benefits over the free downloaded version. 
Blackmagic have nothing on the history and reliability of Canon, Sony, Panasonic. But to achieve what they have done in just 3 years is fantastic for this industry. 
 

I've owned a total of 8 BM cameras. Zero issues. No hiccups. Worked every time. 
And not only have they worked like advertised, they have been improved via Firmware. And I dont mean bug fixes, I mean real useful features added.
So if I wanted or needed an Ursa Mini I would have no problems pre-ordering. Also Im having a realy tough time not jumping on the brand new URSA 4k in an unbroken box that goes for $3200 on a classified here

Or maybe they just like their products? 

Seriously, why are people acting like BM cameras are so unstable? They have some quirks, but as sensors in boxes, they deliver. Not to mention that they have led the charge on providing features via firmware--features which were never promised and they had no obligation to provide. They don't crash like Magic Lantern, the more aggressive GH2 hacks, or even the newer RED cameras. And overheating? Their cameras have some of the best internal cooling of any camera out there. 

In terms of low-light, I'm not sure why people have so much trouble. I can easily push the BMPCC two stops (to 3200) without objectionable noise, and the Ursa Mini is reported to have a stop more latitude in the lows. Combine that with a downsample to 2K from 4.6K and you should be able to get a decent 6400 out of it. If you need more than ISO 6400 and an F/2 lens, your light probably sucks anyway.

Quite a lot of negativity about Blackmagic here, and maybe rightly so. They do deserve credit though for being so aggressive. 
In terms of considering the extra bits... I have V-Locks, a lot of media storage, vari-ND's. Cfast2... bit annoying, but all cinema cameras have very expensive media. 
Low light.... I light everything. Lupolux, Dedolight's, Kino Flo's, Scorpions, reflectors, polyboard... always got it covered.
I built up my video business on a Canon 60d and two crappy EF lenses, so I'm quite proud to have the ability to go for these options today. 
 

From Hook's video to the review by OneRiverMedia, the footage coming off of that sensor is apparently jaw dropping. It'll just be something bizarre than needs a firmware update - like footage recording upside down or something.

There's a fairly new (since 2011) cross platform open source video editor: Shotcut - http://www.shotcut.org
Seems like it is in early stages so far, but it looks promising.

There is definitely a difference between 8 bit and 10 bit. It just depends how well the camera utilises the feature with all that tech inbetween...(and other boring obvious statements). 
No need to get angry about it though. Why be emotional about bit rates? What a boring thing to be emotional about. The world is out there, somewhere, isn't it? 

I'm in your camp on this. There are so many positives to what Sony is doing with these cams, but from what I've seen so far from the A7s and the A7rII i'd rather save up and spend the extra cash on the mini Ursa, if it ever comes out ;-) wink, wink. I love the low light abilities and small form factor of the Sony cams, and am super tempted to replace my D800 with an A7RII for stills/B Cam, but the image in BM cams trumps all sony cams to me. I know this is all in everyone's personal opinion, but to me image is first, all the other stuff, even if kind of a PITA is workable. I may change my mind as more comes out from this cam, as I don't want to be so stubborn to not see the reality, but I can spot Sony footage immediately, and that isn't that great of a thing.

Trying out the 100/120 fps in real life, shots I'm interested in. Trying to find weakness in the image like aliasing etc.
Very impressed so far:

Give me 15 stops and I'm pretty sure I can live with applying a rolling shutter fix in post to 1% of my shots

Man i would choose 15 stops of dynamic range. But you know what there are only few situations when rolling shutter annoys me... ok when a train goes from side to side of my frame, a car, but i rarely do some fast pans... therefore i can see no problem with 2 stops down when turning on Global shutter. I think i will almost always shoot RS with this baby while sometimes i would choose GS... like a those nuclear backpacks on Ghostbusters movie... "Please put it on... Pjewwwwwwwwwwwwww... On..." LOL

I have to admit I too am confused by what this article is saying. Are you making fun of the kind of people who would buy this, or aren't you?
If you are, then I do think that's unfair. Most of us started with little knowledge and some less than top level kit, just what we could afford, or indeed what we received as gifts from well meaning relatives who didn't know what the latest cool kit was.
If the article isn't making fun of those people, then I have no idea what it's trying to say.
Edit: Having said that, it is indeed a ridiculous box design.

There is a good dose of irony here.
EOSHD is happy to sacrifice things like raw, 10 bit, 4:2:2, colour science and various other aspects that make an image, just to be able to shoot 4k (no doubt in big letters on the box).
Marketing works!

​I think Jonesy was being tongue in cheek about the DOF because it's actually quite large in almost all the shots. And yes, the visuals are great, but how exactly is that because of Alexa 65 and its super large sensor? I don't honestly see how you can tell the difference from a YouTube clip. There are a lot of other amazing things going on in the trailer.

​Always FF equivalent. 35mm because it is still photography world, not cine standards. Cine 35mm or S35 is normally associated to crop in still photography. Crop format (1.3x, 1.6x etc) came much later than FF. So, 24-200mm in FF.

For studio use, some kind of NAS solution with Gbps interface will be the most affordable solution. Thunderbolt or similar faster storage solutions tend to cost more.

​No, it's just a 33" "silk" translucent umbrella.  Like so:

Quick question: does this camera do 24fps in 4k? It seems, according to B&H that it only does 30fps in UHD with no DCI 4k option.