majoraxis

Hello to everyone on the forum!
A Merry Christmas from me!
I hope you're looking forward to having a good break over the holidays and are ready to welcome in 2022. Talking of holidays - I have been having a break from EOSHD for a few months. I went and sat on a hill and finally had time to reflect on my work which is this blog and the community around it. The last video had a lot of support, it's made me really appreciate what I have in a more positive light. I'm mega appreciative of the people who took the time to say how EOSHD has helped them over the years and that they want it to continue.
So that's what we'll do! EOSHD is back.
Read the full blog post here

Welcome back and Merry Christmas, I was a bit worried about you after the last couple of posts and I've seen the effect social media can have on some other people I follow.  there is a photographer in the Lakes (Rob Parson: Just a walker with a camera) who I follow and who almost gave up last year after criticism online but he "pulled through" after realizing his words and pictures actually matter to more people than those who don't agree with him (and if you don't agree with somebody just don't follow them... simple).  so keep it going, speak your mind and don't let the bastards grind you down.

This is an incredible product & initiative, credits & kudos to EOSHD & @Andrew Reid too! A milestone for the Indie filmmaking movement with standard industry mainstream tools (E :- )

So, turns out that hitting Command-Return instead of Shift-Return submits the post.  Who knew?
anyway, Part Two.
They have smaller apertures.
This might seem to be a disadvantage, but maybe not as much as you'd imagine.  Firstly, smaller apertures are easy to focus, so less shots with missed focus.  BOOM.  You're welcome.  Tell Panasonic (or whoever) I just upgraded their AF.
See if you can tell the difference in DoF between these?


No?  Well, F2.8 to F3.5 isn't much difference.
OK, let's get less fair.. What about these?


Sure, it's a small difference, but that's a two whole stops.  It's also many many hundreds of dollars.
Low light is definitely a difference here, that's true, so the kit zoom isn't really a low-light monster, but these lenses are practically free so you can't have everything!

LOL ; ) I wish... Good to know there are still dreamers either be Coppola or creators like Tonino Guerra who adopted the trend from day one. I try to imagine Michelangelo Antonioni today : )
 
This brand has accomplished such route more than any other one ever, so far.
Love their cameras and the industry concept behind their business model.
They try to satisfy both sides of the equation, those who are here more prone for the sake of their art. And those who have to make a living from.
Without any silly miniaturization complex as their Pocket 6K Pro launch easily proves it.
I contact everyday with youngsters, well, not exactly from 10 to 16 : D but at their early age and course of life and career, trying to get their place in the sun over this difficult craft.
And I see this manufacturer as one of the few to seriously think, focus and implement a solid path where a business plan towards so hard target is viable beyond the project phasis per se as well.
The first manufacturer to put the art in front of it. I just have to salute their commitment, then kudos to them!
My respect and love,
- EAG :- )

The two native ISOs of the camera are 400 and 3200 so you could argue that if you are shooting BRAW in the camera's "cinema mode" then the only two gain values that you need to memorise are 0dB and +18dB.
I don't think this completely negates the argument for displaying ISO values though (when using an external meter for incident readings being an obvious example) so it would be a useful and simple switchable option to include.
The Ursa 4.6K and 12K (as well as the P4K/P6K of course) use ISO so it looks like a bit of a continuity error in that respect to market it as having a cinema camera element and then have it be different to those.
Obviously, it won't stop you exposing the image correctly as there are more than enough exposure tools built in anyway but it would be simple enough to remedy in a firmware update.
Irrespective of the nomenclature, though, it looks like a great all round camera.

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

In fact, they realize it pretty well : ) For their camera features, friendly user interface, IQ and price-wise, they are unbeatable today :- )

Basically Grant Petty (Blackmagic CEO) said it becomes a 6K camera when you put an EF, PL, or F/G (Nikon) lens on it, and they're delivering it with an EF mount thrown in. He said they got tired of waiting for backordered sensors for the old Ursa Broadcast so took the opportunity to redesign it around a "new" sensor. Since the specs are so close, everyone is assuming this the same sensor as the Pocket 6K, including its not-so-great rolling shutter.
I agree that this looks like a really versatile camera for documentary and indie filmmakers although it sounds like there may be a few limitations compared with the BMPCC 6K (e.g., no cinema 4K modes or 2.8k slow motion, plus you have to use gain to set exposure, which is something broadcast people are used to doing but not cinematographers). Still, I find this form factor more compelling and if I ever upgrade from my current cameras this will be near the top of my list of considerations.
Grant said existing Ursa accessories would be compatible.

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

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

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

Refurbished items often come with warrantees of their own making them a bit safer than just straight up used copies. I definitely recommend buying used or refurbished from any of those retailers in addition to Adorama. I've had great experiences with all of them. The used prices are often a little higher than you'd pay buying direct from another person, but you get the security of solid return policies and reputations.

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.
 

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.
 

Really? I've had the iPhone 13 for a couple weeks now and find "cinematic" mode's fake bokeh rather useless. 
 

I tested cinematic mode and it was better than I expected and instantly realized 98% of the users have no idea how to extract the most of its creative potential.

This is asking for some love for everyone who loves pictures:
 

The biggest advantage for me of the Ursa Mini 12k is the in sensor scaling. 
In theory, being able to shoot full sensor 4k BRAW or 8K BRAW with no crop is a big advantage.  
The Pocket6K Pro for example can only shoot 6K in BRAW. My clients usually want 4K or 1080p so for full sensor 4K or 1080p I have to deliver in ProRes.....which is fine TBH 90% of the time. 
I haven't seen any tests of this 'in sensor scaling' for BRAW but if it works well, I'm looking forward to this sensor tech in an 8K or even 6K version coming to the Pocket Pro or even a new more modular designed camera in the not too distant future...please BMD! 

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.
 

It's the Classic, just the body with the gold mount plate. I already got a PIX E5 that I am going to use to record rather than try to get SXS cards. I am not a big EVF guy so I am ok without it. It does have the high speed license. 

I do have an XT coming from Russia with all the goodies. I kind of want to cancel it, as it was rejected at customs. I just don't want to deal with it at this point now that I have the Classic inbound. My only real desire for the XT is the Prores 3.2k. In reality the difference between the 2k on the Classic and the 3.2k on the XT is almost nothing. 

Exactly what I said (-still) when I saw our first test with the GH2/Lomo in the streets of Lyon with Alice, our lovely and sharp First AD:
And the final trailer was representative of the film:
Again, THANKS TO ANDREW and everyone in the EOSHD community who inspired us to take the leap with the GH2/Lomo... and supported us as we tried out Driftwood hacks... and finished the film!!

Mandorla... I remember that:
https://www.eoshd.com/creative-filmmaking/shooting-a-feature-with-the-panasonic-gh2-and-lomo-anamorphic-lenses/
 
Andrew doesn't need to make anything else to be the inspiration his pioneer work as influencer before many others has been for so many other people as much as Jonas Mekas I had the pleasure to personally meet was for previous generations and still is.
I even think Andrew must be careful because he has a legacy to defend and this must be preserved.
 
EAG :- )
 

Keep the site. Look at what happened today....Facebook, IG, WhatsApp all down.  Decentralized content will make a comeback.