majoraxis

6K Super35 CMOS Sensor, Dual Native ISO (helps when expanding the B4 image and losing a some amount of stops of light to cover the 4k crop of the sensor) 2/3" B4 Lens Mount & Active EF Mount 6K Blackmagic RAW Recording Records to ProRes H.265/264 (10bit 4.2.2 - Grant is call it H.265 SDI because of the higher specification) 12G-SDI Input & Output, Genlock/Timecode (Built-In Timecode Generator) 13 x Stops of Dynamic Range 2 x UHS-II SD, 2 x CFast 2.0 Slots (Dual Media Slots for Nonstop Recording) Built-In 2/4/6-Stop ND Filters XLR Inputs, 3.5mm Audio Output ProRes Recording up to 1080p120 USB Type-C for Recording Direct to External Media Disk Control Broadcast B4 Lens zoom and focus the through camera or remote over the internet via Blackmagic ecosystem. Includes Mini Shoulder Pad Includes Mini Top Handle Includes V-Mount Battery Plate Included DaVinci Resolve Studio Can stream via smart phone over the internet to (you tube etc) or to the Blackmagic ecosystem (camera, lens and coloring remote control via the internet possible). Can record simultaneously the video the is being feed to the stream at a hight codec simultaneously (future free software update) https://www.blackmagicdesign.com/media/video/645038552

I have an old P+S Technik Pro 35 PL to B4 P+S Image Converter that projects the lens image on to a vibrating screen to be picked up the a 3-CCD B4 camera sensor. I saw that at one time they sold a version that could work with an iPhone. I was researching if I could convert the Pro 35 adapter for iPhone and found the Pro 35 manual on line. I was not able figure out how to make it work with an iPhone but I did come across what they P+S Technik felt contributed to look of film which I thought might add to the discuss about what make something "cinematic". Film-Look: Which elements are important? Framerate: Film works only with complete pictures, that means progressive with 24 or 25 Hz. Television systems work currently for the most part with half pictures (interlaced), that means with 50 or 60 Hz.The higher the frame rate, the higher is also the motion resolution. A football game with "only" 24 Hz would not be as informative for the viewer as football game with 50 Hz. Exposure time: The common shutter speed result for film cameras result normally from the frame rate. This is mostly 1/48 s., 1/50 s. or 1/60 s., some applications request a shorter exposure time. Electronic cameras work generally in the same manner, but the consolidation between frame rate and exposure time is not as steep. This means at for example 60 frames per second there is also a longer exposure time possible (up to 360 degrees Hell sector = 1/60 s.) Motion blur: One characteristic of the so called film look is the motion blur. Low frame rate / long exposure time lead to a higher motion blur compared to television - benefit from this creative tool. Shutter effect / strobing: Is your pan jerky? Probably your pan velocity is not adjusted to your frame rate (and your motion blur). Check the pan velocity against the focal distance, e. g. in the manual of the ASC (American Society of Cinematographers). Also newer monitors show the pictures often "jerky". Chose your equipment accordingly to your reporting (TV/cinema) and your method of recording (interlaced/progressive). Method of recording: INTERLACED is still a widespread method for increasing the motion resolution (50/60 Hz). Use this method creatively, e. g. for a later slow motion (Example: convert 50/60 Hz interlaced to 50/60 Hz progressive, afterwards rendering with 24/25 frames/s.). De-interlaced is often used for the printout. PROGRESSIVE is used for printing out the material; this is often more close to the film look, because of a lower motion resolution (24/25 Hz). Compression: Unfortunately, the recording quality is highly dependent on the format of recording. A lot of today's used data compression programs are for example highly sensitive to noise or quickly changing picture contents. While recording do not only trust your picture on the monitor (it shows often the uncompressed signal), but test how the recorded signal is behaving in different recording situations (see also: TARGET SPEED above). Depth of field: Like the human eye has a selective perception, also filmmakers and cinematographers use the depth of field for calling the attention of the viewer to specific things or also to detract from something. At the same time the effective size of the picture plays an important part: The larger it is, the lower is the depth of field; small amateur cameras work often with very small sensors and that's why their picture comes across as unnaturally sharp. The P+S Technik Image Converter allow now the identical depth of fi eld like in 35 mm film on an electronic camera with a considerably smaller size of the sensor. Choice of lens: The choice of lens is - especially in combination with high-resolution cameras - clearly visible. Therefore, test the lenses before shooting! See a list with applicable lenses in the annex. Aspect ratio: Because of the fact that the human eye has a considerably larger horizontal fi eld of vision than a vertical one, a lot of films used already very early an analogous larger aspect ratio for achieving an impressively large screen projection (Example: Cinemascope). Like this a different visual effect is produced for the viewer only because of the picture size.

If SSL is a model of what may come, they will leverage their good name to sell large amounts of lower priced prosumer products while still trying to service their high end markets.

Slow-motion: 4K Super 16 up to 240 fps (UMP12k) vs UHD Windowed - Up to 150 fps (UMP4.6kG2) Price: UMP12k is $245 cheaper if you only need a PL mount as it come a standard with the UMP12k Color: When down sampling 12k BRAW in Resolve to 4k you wind up with 4:4:4 color. Sensor Size: Wider Sensor is larger on the UMP12k is 27.03mm x 14.25mm vs 25.34mm x 14.25mm UMP4.6KG2 (seems weird to me but that is what Black Magic's website says.) So not a lot of reasons to upgrade the 4.6KG2 to the 12k. No reasons to not purchase the 12ks over the 4.6kG2 if your are purchasing new as your primary camera. I imagine they are selling mostly 12ks unless a production that already has 4.6ks wants the cameras to match exactly.

@Andrew Reid I check EOSHD daily as it is one my "homes/destinations" on the internet. I am appreciative of you and the like minded people who choose to gather here to help each other work through our creative pursuits. The thing that will be missing without you here is your articulate visionary "call it like it is" expression of deeper truths. I will follow you to your next passion destination (if you choose to let EOSHD go) because I enjoying being required to look deeper into the inner workings of the machine, both literally and figuratively. I wish you all best in your decision making process.

The iPhone might not be idea for Cinematic mode, but the large touch screen of the iPad, if it gets these same features, could be a great product for shooting reviews, interviews, bloggers, corporate videos, anything you don't have a budget for. Why not fly an iPad around the room and touch what you want to focus on. It could look good and not cost a lot especially if you edit on the iPad as well... if the low light continue to improve there may be other reasons to shoot on Apple.

Based on the CimeD's test indicating more than 1/2 stop worse perform in dynamic range as compared to the URSA Mini Pro 4.6k G2, it seems that the 12k will still find Cinematographers preferring it in the following situations. 1. Golden Hour shooting where contrast is probably relatively low and color and skin tones are saturated with lots amber and red tones. 2. Green screen shooting the where resolution and color fidelity are top priorities and worth trading for a little dynamic range for. 3. Lower contract studio shooting environments, where skin tone are a top priority. 4. Slow motion applications where resolution and color fidelity maybe worth trading a little dynamic range for. Because I shoot mostly indoors, with controlled lighting and vintage lens, I would still rather have the URSA Mini Pro 12k over my USRA Mini Pro 4.6k G1 even at the cost of a little dynamic range and a significant amount money. My lens are mostly adapted B4 lenses, which play nicely with the super 16 cropped 4k slow-motion 240 fps mode so I am biased towards my shooting environment and desire for the extra resolution and color fidelity the 12k provides. If I was a run and gun shooter, I would seriously look the Pocket 6k as it's image quality is more than good enough for most applications.

Here's a comparison between the BMPCC6K vs Blackmagic URSA Mini Pro 12K... The video does a good job of showing the difference in: Color rendering. Dynamic range. Noise. Field of view. Is one better than the other? That depends on the applications and your image priorities. The new sensor tech produces better color rendering and dynamic range. The BMPCC6k has a lower noise floor and is better in low light. Field of view goes to the 12k with a 1.3x crop factor. It makes sense to add LiDar auto focus to each (CDA-Tek AFX). Both the BMPCC6K vs Blackmagic Ursa Mini Pro 12K are now priced correctly based on their value, especially if you wait a little bit and get the URSA Mini Pro 12K as an open box or used. Where does it leave the USRA Mini Pro 4.6k G2... selling at a discount in the future as retailers get rid of remaining stock. I hope this makes way for Blackmagic to release a $4k box camera with the new sensor tech at maybe an 8k max resolution and whatever other limitations are needed to be in place to hit that price point. That would make flying the new sensor tech on a gimbal easier. That would be an great product line up!

Wow! Fantastic News! Thanks Grant Petty! At $10k it had to be significantly better than lower priced alternatives. Was it? Apparently, not significantly better. Was it better? Depends on who you ask, but to my eyes there is something special about the sparkly highlights and skin tone rendering in natural light. At $6k it only has to be equally good at most things and have a few features the other cameras it competes against do not. BRAW Resolved optimized for BRAW on the MI 240 fp at 4k in super 16 crop mode 12k resolution (at least on paper) etc... I think they will sell a lot more, which will lead to more and better footage, which will lead to more sales, which will lead to larger projects and name brand endorsements, which will lead to more sales etc... this is the beginning of a cycle of dominance for the URSA mini 12k and we will see Grant Petty proving his genius once again. Maybe the truth is that neither the 12k nor the 4.6k MK II were selling as much as expected, so they had nothing to lose by lowering the price of the 12k and in the long run it will pay off to have more people/productions on the 12k...

@Andrew Reid Looking forward for your next insightful video. Though it has not been the format for late: https://www.eoshd.com/news/eoshd-tv-episode-1-photokina-2018/ It would be interesting to see you do another interview video.

Seems like a job for Topaz Labs's Video Enhance AI after capture. https://www.topazlabs.com/video-enhance-ai

@Andrew Reid I am enjoying your videos more and more! You are a unique, voice putting into words what people are thinking and feeling about the consequences and benefits of working against or for the "machine" that is devouring our freedoms by a system of economic damages or rewards. You have made a great point that those taking the rewards offered by the machine are as much of the problem as the fact that the machine damages those economically that do not comply. Freedom of speech is the key to breaking the corporate information monopoly.

From 3 minutes to 3:54 there is a bit of an artist montage including slow motion. I get your point. If your looking for a lead-in to your videos, he may be able to help...

Nice to hear it said out loud: "the Emperor has no clothes" I would love for people to be able to say what they think publicly without free of being cancelled, like Roger Waters did. Seeing action without fear is refreshing regardless of the explicatives.

The video and commentary is great! Keep them coming...

This is great news! Is the USRA G2 version recommended for use with the USRA G1? Is the Zcam S6 version recommended for use with the Zcam E2-M4? Thanks! Mark

I hope the GH 5 MK II will have: Less lag on the HDMI output. Higher resolution wireless monitoring (1080p) via their app. HDMI monitoring when recording open gate 5.7k. If you fix these issues and have 10bit 4k 120p, I would consider upgrading. If I can't effectively monitor what I shoot, where is the joy in using your tools to create my art?

I have to agree that when looking at 8 bit vs 10 bit file straight out of the camera, there is not a lot of difference if exposed correctly. When doing heavy grading or keying or if improperly exposure it makes a difference. Also, the look of 8bit H265 with the mode recent H265 decoder algorithm can look excellent and comparing the older decoder to the newer decoder providing more highlight recovery - so something so tweaked as the recording did not change. I image if you have perfect 8 bit exposure, encode and decode it would not be worth the extra data for 10 bit. I feel like 12 bit due to the ability to change exposure after it has been recorded is a clear advantage, but is RAW worth extra data??? Is heavily compress 12 bit RAW worth the extra data? I think so...

Yes it did have 96k. I have the XLR adapter.

The latest firmware release notes for version 0.98.0 says "External SSD recording through USB performance improved" so that may help with skipping frames. I've only recorded to C-Fast with it so I can't say about the improvements. Also with this firmware version there are many flavors of Pro Res so you can shoot LT if HQ is to much data for your drive speed/compatibility. I did some low light recording and it does well in low light, depending on your ISO you get a fair amount of noise, but it holds its color well and the noise would be there with any other camera with a similar Sony sensor. Very happy with the low light performance and noise/grain quality.

Confirmed: https://scitechdaily.com/females-distinguish-colors-better-while-men-excel-at-tracking-fast-moving-objects/ "Females Distinguish Colors Better While Men Excel At Tracking Fast Moving Objects. ... females are better at discriminating among colors, while males excel at tracking fast-moving objects and discerning detail from a distance ... ... men and women tend to ascribe different shades to the same objects ... Males require a slightly longer wavelength than females to experience the same hue. Longer wavelengths are associated with warmer colors, implying that colors like orange might appear redder to a man than a woman. Likewise, green appears a bit yellower to men than women. Men are also less adept at distinguishing among the shades in the center of the color spectrum, like blues, greens and yellows. Men could detect quick-changing details from afar, and could track thinner, faster-flashing bars within a bank of blinking lights. The team associates this evolutionary advantage down to neuron development in the visual cortex, which is boosted by male hormones. Testosterone means that males are born with 25% more neurons in this brain region than women. The findings support the hunter-gatherer hypothesis, which states that the sexes evolved distinct psychological abilities to fit their roles in prehistoric society. The advantage would have allowed males to detect predators or prey from afar, and identify as well as categorize these objects more easily. Female gatherers may have become better adapted at recognizing static objects like wild berries." From the article it seems that women see shades of color clearer and men see details at a distance clearer. Something to consider when working with clients of the opposite sex: their image priorities may not be the same yours. Also, in everyday life, when you pitch your partner on why you guys need to get an "upgraded TV"... If it to a women: "We should get a new OLED TV. See how much better those colors look when compared to the Samsung QLED..." and if to a Man: "look at that tack sharp resolution of that Samsung QLED, looks much more detailed than the OLED TV from across the room." Emotive color is awesome! Looking forward to when it is available for all of my cameras...

I have a Zcam E2-M4 as well. There is a great 3 part review by Adam Wilt here: https://www.provideocoalition.com/review-z-cam-e2-m4-mft-cine-camera-part-1/ Things that I love about the E2-M4 are: 1. Sony sensor. Z-Cam color science. Great low light. Great color rendition. Great slow motion at 4k120p, no line skipping. Good dynamic ranging with using Zlog or Flat profile. 2. 10-bit color to Pro-Res, (with the latest firmware) at all frame rates. 3. High resolution, decently low lag wireless HDMI to their iPhone app for monitoring and control. 4. It's a perfectly balanced cube. Better for mounting on a gimbal, and the wireless monitoring/control helps with the gimbal as well. Cinema camera form factor. No fans so it is completely silent. 5. Stereo mic level audio recording with phantom power via 5-pin XLR or 2 x XLR 3-pin to 5-pi n lemo adapter cable. 6. It can take a large battery mounted on the back.

AFX Update #17 Excessive Noise Problem The battery chamber is slightly oversized to allow air circulation but also to take into account and make allowance for any potential expansion of the battery over time. Because of this, it is not unexpected to hear it move slightly in the chamber if the AFX is tilted over but this will not impact its performance in normal operation when mounted on the camera... https://www.indiegogo.com/projects/afx-autofocus-adapter/x/9642202#/updates/all It's smart to leave room for the battery to expand overtime...

AFX Update #14 can be read here: https://www.indiegogo.com/projects/afx-autofocus-adapter#/updates/all My understanding is that all shippable shipments will be collected by the designated shipper by April 21, 2021, except for the few orders that need to have clarification on their shipping information. If you are an AFX campaign contributor and have not received a sipping notification, you may wish to check the link above for instructions. @BTM_Pix Thank you for all of your hard work in making this happen! It is obvious that you are not only an extremely talented designer, prodigy developer and engineering genius, but also a person of integrity, commitment and follow through. I am glad I invested in AFX and look forward to supporting future CDA-TEK product releases. Thank you for making my filmmaking technology dreams a reality! Mark

AFX Indiegogo Update 13 "User Guide Update The User Guide has now been updated to v1.1 Rev 3 and is available for download from our website at www.cdatek.com Further revisions of the User Guide will be made when new features are added or in order to offer more hints and tips or clarify the operation of some aspects of the AFX and MMX. The v1.1 Rev 3 update contains a new page with a visual overview of the Calibration process to act as a quick reference to the detailed step by step guide that follows it in the main Calibration section. " I think I have received my shipping notice - there was not a lot of info from the shipping company Zeleris except my shipping address, so hopefully I will get mine some time next week. I can't wait to check this out!