majoraxis

12K is more a marketing meme for the camera.
Its real point is that it doesn't have a 2x2 Bayer matrix (as in my avatar on the left), but a 3x3 RGB matrix where all three colors are equally present.
That means you will be able to downsample the 12K sensor signal into a 4K signal with no color interpolation by binning 3x3 pixels into one pixel. That's the equivalent of a 3-chip camera or Foveon sensor. Clean 4K with 4:4:4 color sampling and zero debayering artefacts.
That's the real point (and news) of this camera. 12K is just marketing fodder for bloggers and influencers.

I am confident this will deliver 12k and everything else promised.

The bigger issue is quality control of course. The camera needs to be shipped on time and without issues. 

I really love Blackmagic. If their color science and quality control is up there with Arri I think they have a serious shot at making an impact. 

The URSA was a nice camera but it has a lot of issues. This seems like a completely different beast.

This is what RED should have been doing all along and I guess they started to with 4K ProRes proxies, either way...for me this announcement marks major gap in the armor for RED. Probably not "the end" as they have been silent for a while and probably have something big in the pipeline. The problem is that RED has been chasing the resolution dragon (thank you) almost exclusively. They haven't given us more FPS and they have actually taken functionality away while getting more expensive! The features of this camera are almost...silly. RED would charge $50,000 for a similar camera but an extra $10,000 would be needed for accessories. 
So yeah...this is a major splash on the high end. Enough to make a lot of RED guys switch? Who knows. Will it test their loyalty? Abso-freaking-lutely. 

Wow.  I went to bed last night and woke up to this..
I predicted an 8K FF camera as a semi-ridiculous joke, but I had no idea that it would turn out not audacious enough!!
My comments in the 1080p thread are interesting in this context though.  We are playing the megapixel game, but very few are giving high-bitrates to downscaled resolutions, but if this is giving 4K RAW downscaled from 12K then the image should be spectacular, while not requiring the computer to be able to push 12K pixels around.
This would make it a hugely flexible camera - yes you can shoot 12K RAW if the project warrants it, but you can also shoot 4K RAW with no crop at great bitrates and bit depths for projects where post needs to be more cost effective.
Also, if the colour science is great, this could put them on the map as a serious challenge to ARRI / RED.  Then they'd have to nail the reliability in order to actually take market share, but it's a shot across the bow nonetheless.
BM are thinking big - they do it with Resolve every year, did it with the pocket cameras since the OG Pocket, and now at the high-end too.

The color separation is fantastic - distinctive browns. yellows and blacks which don't loose subtle color shifts from lighting even when crushed.   I think there is something special going on here and I will love to hear from folks on how they feel it grades compared to other cameras.

The color separation is fantastic - distinctive browns. yellows and blacks which don't loose subtle color shifts from lighting even when crushed.   I think there is something special going on here and I will love to hear from folks on how they feel it grades compared to other cameras.

The color separation is fantastic - distinctive browns. yellows and blacks which don't loose subtle color shifts from lighting even when crushed.   I think there is something special going on here and I will love to hear from folks on how they feel it grades compared to other cameras.

Any of you geeks seen this? 
 

I think people are missing some key things here. Built in ND, XLR audio, cheap media/accessories, 8K @ 110 fps and 4K at over 200 without cropping.
Do you know how much of a breath of fresh air all of that is compared to RED cameras? You spend $30K on a RED only for it to show up with no AC power input, no audio ports and some of the worst looking slow motion at 4K that you can imagine. 
This is BM's move to break into a new market.
 

I have no interest in 8K, let alone 12K.  Still, if I was asked to shoot 8K, then this camera is probably the better alternative than struggling through the R5 overheating.  Better frame rates as well makes it inheritantly more practical as well for a range of videos.  
Can't say I plan to pick up one unless all my Wedding couples suddenly get 8K TVs.  But I'm still getting asked for DVDs, so I guess its not very likely. 😂😂
To be honest, I preferred the idea of a 6K fullframe Pocket upgrade, but I guess that's for another day.  I'd be interested to see if the new colour science and BRAW improvements get passed down.  

http://phfx.com/tools/formatCompare/formatCompare.cgi?makeA=RED&modelA=Komodo+6K&formatA=6K+FF&makeB=Blackmagic+Design&modelB=Ursa+Mini+Pro+12K&formatB=12K+DCI&focalLengths=

It has exactly the same size sensor as the Komodo

I have not seen Blackmagic make a mistake camera wise, so I have to trust that they have thought this through.  If it looks better than other 8k cameras even if it has to start with 12k and subsample then that's fine.  A big part of them getting the $10k price tag is if it is the best 8k camera output. I hope it is and that this sensor tech will trickle down.  Maybe an 8k version to get perfect 4k in a pocket pro 8k for $3000 in the future.  Hopefully, 14 stops will be usable without excessive noise or some fix pattern issue.  Hopefully the new sensor tech will not have weaknesses in low light like previous generations.

It does a full sensor readout even in raw on the lower resolution, since it uses a full RGB pattern sensor, so basically you get insanely clean and sharp 8k, 6k, and 4k since they are all downsampled from the full 12k resolution.

I hope this succeeds because I would like to see the new sensor technology trickle down to the pocket in the future.  It will be really interesting to see some camera tests to see if new sensor-BRAW pipeline delivers significantly better color especial when sub sampled.

The most important thing is that apparently, it does not overheat and there is no need to wait for it to cool down, to continue using it.

Yes!!!! A repeat of the famous original Pocket sales, a Pocket for sub $500 again please. That's how I purchased my OG BMPCC, definitely would get the Pocket 4K if it was priced like that again.

Of course you could have the option to do moderate gentle crops in to use native MFT lenses. 

And the reason for MFT is because it is actually doable!

While an active Sony E Mount has no chance in hell (I honestly think a Nikon Z Mount from BMD is more likely than E Mount).

ZCam has the right approach with their interchangeable mount

Most people want MFT for the flexibility. I and many others would want the MFT mount, so we could use lenses that are made in mirrorless mounts (x mount, e mount, mtf etc) from companies like Meike, Fujinon, SLR Magic etc... the majority of these lenses tend to all be made for super 35/FF while also available in a MTF mount...allowing them to cover the full sensor, unlike the majority of Panasonic and Olympus lenses. There's also many different focal reducers readily available. 
 
As I stated earlier, the two Fujinon MK lenses would go nicely on a super 35 Blackmagic camera!
 
I would also prefer E Mount, although I believe sony do not licence it out to other companies.  Probably would have to be a dumb adapter, like Kineifinty...
 
Anyways If it is a camera announcement at all, it will most likely be EF mount...

Would love the 6k sensor in a micro style body with mft mount option. (Like z cam). That paired with the Fujinon MK zooms would be lovely. 

Its still coming along.
Or should I say they are coming along as there will now likely be two different options.
I'll endeavour to show something of each of them in the next two weeks and the plan is currently to open pre-orders for them at the end of August for at least one of them.
Component supply for prototyping has been a major issue as the design has been changing.
Dual and offset is certainly doable but outside of the initial scope.

MFT is a great format indeed. When I mean dismiss any of them, I meant to ignore either of both actually. You can surely skip one of those if you have the other one, of course : ) But this camera series is a dream come true, my fav acquisition system ever designed, produced and delivered to my book : -)
Mainly shot on P6K, here's a trailer of a feature film co-produced by me currently @ post production:
 

Mark Holtze is pitching a Netflix show using his SMC Takumars and this video shows some footage from an advanced test he shot.  Footage from the Takumars and S1H.
 

I know people want to instantly take a photo and upload it to Instagram or social media of choice, but I feel like there is Much better way to do this than to have some bloated android phone operating system.
technologies that come to mind are WiFi6 and Apple AirDrop.
You could easily have fast enough speeds (up to 9.6Gbps) and seamless “push to phone” in the background for photos. Some kind of streaming protocol would need to be used for video.
No App
One time configuration
That way smartphones can stay smartphones without some lenses protruding out the front and cameras can have fast physical controls  and snappy boot times and non of this touch screen only rubbish.
Improve the communication protocols. There is a ton of slack in the line.
Or better yet, realize there is a benefit of not everything being connected with apps and notifications and social crap.

I would love both a 2.5k and a 6K pocket with micro 4/3 mount. I would also like to see a Micro Cinema Camera 6k.  Probably have to have a slightly bigger body,  but keep the m4/3 mount.  You get more than 4k resolution when cropping the 6k sensor to micro 4/3 size if your lens only covers micro 4/3 so there is no harm in having the 6k sensor with a micro 4/3 mount.
Any form factor of the 6k sensor and micro 4/3 mount and I will purchase.