majoraxis

I'd be very strongly tempted to buy a Blackmagic Pocket 2.5K MFT for $599 (I think $999 is too close in pricing to the Pocket 4K to be a success)  or Pocket 6K MFT  for $1999 with an identical feature set/body as the current Pocket 4K/6K body design. 

I've been working on this. It's pretty tough. I have mounted an Oculus controller onto my camera and tried to simply record the movement and rotation. I think that it will take some sitting down and doing some math to figure out the exact X, Y, and Z axes of the controller because it doesn't line up quite right "out of the box". I think those "puck" things from the HTC Vive would be better suited, but the Rift is what I have so I'm trying to get it to work with that. I'm not even sure the tracking is accurate enough anyway. The Rift only samples movement at 30 FPS.

I took the question more literally.
Projected virtual sets make for a near perfect visual product.
https://www.youtube.com/watch?v=gUnxzVOs3rk 
My next move is to put a VR headset on my camera to rotate my green screen set when my camera pans and tilts 😉 ... does this already exist in the form of capturing gyroscopic data as it relates to the camera position (like steady xp) and then be being able to drive the rotation/pan and tilt of a 360 degree video or virtual rendered set in computer.  I have not done the research. Someone please school me on this topic if you know about it. Thanks!

If you want to know about Toneh and other useful insight in the relativity of it all, don’t forget this channel:
I especially like the insider/management meetings he does 🙂 There are a few great ones about Sony and Canon...

Z-CAM also evolved from action cameras. The company was founded on Go Pro type cameras.
How many here actually own a Komodo?
I say give it a chance before talking it down.

RED carries on life denying that BMD exists!
(but then again they don't acknowledge Kinefinity either eh?)

They knew it existed... but they also knew that their crazed fan base would buy whatever they release.

Red are kind of like Jeep. They beat everyone else with their original products - one of the first of it's kind - then cashed in on their reputation and started selling overpriced, unreliable products, but with very focused marketing. 

If someone wanted something smaller than an Alexa, cheap enough to crash and better image quality than a gopro then they could have just bought a BMPCC or BMMCC.
Sounds like they set out to build a camera for a specific task without first phoning up the camera store to see if one existed already.

I will have to push on with my YouTube channel double-quick pace. Really enjoyed doing the first video.
However, I fear the written word is dead and here's why.

Look how much space YouTube takes up on a typical Google search and how far it pushes the first result down the page for EOSHD.
The first result for "Iscorama GH5" is this forum. But it's barely noticeable with all the YouTube videos.
YouTube is a Google service and this is an abuse of a monopoly plain and simple and they should be taken to court.

@BTM_Pix Looking forward to using the with my manual lenses and Tilta Nucleus.  I have the zoom motor as well.  I would be interested in having it automatically adjust the zoom based on the distance of the subject form the lenses, so it could do and automated Zolly. Basically keep the framing the same and the subject in focus when the subject moves closer of future from the camera.
Just for fun for those who might want to watch a few Zollys
 
 

The lens control protocols of those cameras don't lend themselves particularly well to direct positioning but having said that neither does the Pocket6K and we managed to develop a solution for that in the PBC so it will happen but not immediately.
A universal version that supports motors would be ahead of it in the queue as it can be used for both manual lenses on cameras that don't have particularly appropriate external control like the Panasonic but also of course for manual lenses on BM cameras.

Ultrapro pure scientific test
GoPro Hero 7 @ 2,7K 24/30/60/120fps 
Resolve, 23,976 fps timeline, Reelsmart motion blur, blur corrected to framerate
of course frame drop can occur, no retime/frame blend correction
To my eyes the 120 is very nice, but the difference in this scene is less then what i expected.

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8. 

From the older lower resolution to this new higher resolution versions, all of the ARRI cameras have beautiful color rendition and excellent dynamic range.  Just goes to show resolution should not be a dp's number 1 priority.  That said if you can afford it, why not have it all and that pretty much sum up ARRI - you can have it all - for a price.

Those were quite gorgeous 10 years..
 

It's not going to be treated like film on a shoot, because with digital you can quickly offload a reel to affordable storage via USB.
However it is treated like film in the way you archive 8K RAW material. After a few years you will need a building the size of the Paramount studios lot to put the hard drives

The RED helium does seem to be on par with the Alexa from tests I've seen. Like it has been said more in the shadows less in the highlights. 
I've been unclear on this. The RED raw is 16 bit linear. While the Alexa is taking the 16 bit color information and mapping it into 12 bit 444 log or Arri Raw Log. When you open it up in resolve it maps it as 16 bit linear. From what I understand 12 bit log is equal to 16 bit linear. 

The Blackmagic URSA or actually all of the BM cameras with a Fairchild sensor do the same thing(other than the Pocket 4k/6k which have a sony sensor). 

One user tested via the same method that Cinema5D does, and gave the Monstro a score of 13.4. Interestingly enough the Alexa got a similar result, but as we all know its the quality of the pixels that matter. Anyway, Monstro at 13.4...Komodo at what...13?  S1H has a result of 12.7 so this will be interesting. I am assure red will be able to squeeze out more due to Redcode and their patents.

Remember it ?
All the usual caveats of "absolutely not its final form" but thought I'd show a (very) rough glimpse of its (very) rough format.
Things have been quiet on it publicly because as I said in the very original thread that what was first shown was merely a jumping off point and it pivoted into what is now a very different product.
As you should now be able to guess from this image, it is doing something a little different and offers both AF-S and AF-C modes for, lets just say, more than one focus target  
The purpose of this thread, aside from the update to prove its not slid into Sony A7S-III territory, is to provide little updates on what is happening as we edge towards release of the actual product particularly as the previous thread is a bit defunct in terms of what its final form will now be.
I'll put up some video samples soon, although @Andrew Reid has had some over the past month so should be able to vouch for it actually working  
I won't be getting too much into the detail about whats going on under the hood until later on and I will be doing a blog post with Andrew to provide more insight nearer the time of pre-orders which should be in August.
FYI, the cables you can see are powering the PBC and not going to the camera so no camera mod is required !
So, for now, fire away if you have any questions if you have any interest in it but if you can please just keep it to general operational stuff.
 

Is there any update on progress with this @BTM_Pix?
Thanks 

I do too...
I also remember how hard people were on the RED camera person.
Apparently, if you:
1. Know how to get the most out of your camera.
2. Are in a controlled studio environment so you can compensate for weaknesses in your camera’s dynamic range with lighting.
3.  Have color grading skills so you can further compensate for weakness in your camera’s dynamic range with power windows.
There is the distinct possibility that you can evoke an emotional response out of your audience that competes with the response to cameras that cost 10 times as much or more.
I think this is equally true today if some were skilled with a pocket 6k or GH5, lighting and color grading vs someone less skilled with a RED.
 
 
 
 

My take is when cameras get cheaper, people are able to spend more on lenses.  That’s better for the consumer because the same amount of money spent will hold its value because it is not spend on some thing disposable like a digital camera body.
The consumer is better off in the long run with $98k in lenses and a $2k camera body than $40k in lenses than $60k in a camera body.
Probably the best solution is $10k for 3 cameras and sound and $90k In lenses, if you can afford it...

And RED has been proven to often lie.... 

They most likely share a sensor or sensor tech from Canon.
 
I would take any DR numbers from manufactures with a large pinch of salt as they always seem overly optimistic.
Maybe technically there is 16 stops but they aren’t “real” perceived stops. Most are just hovering an ass hair width above the noise floor.
The C300 Mk3 is probably going to come in around 13 stops like the C500, which is quite good (S1H is 12.7; very impressive showing from Panasonic for its form factor!)
It has been said the Komodo is using a Canon sensor, which is probably using a larger variant of the sensor in the C300. It’s also rumored to have PDAF.
So now we have a RED Camera with:
REDCODE RAW, PDAF Canon sensor.
Very attractive combo if RED can keep their price down below $8,000 dollars. I am not optimistic as the price seems to rise with every tease and with every “feature” they add.
We’ve all heard it but if Panasonic would have added Phase Detect AF to their S1H it would have been a mega hit for $4,000! All of it in a modern mirrorless form factor with a versatile screen and IBIS and weather sealing.
I much prefer S1H size over Canon C100 or the Komodo which needs a butt load of expensive accessories to work. No thanks!
No Canon cripples. No RED accessory-money-pit-of-hell.
They missed an opportunity there.

Good for RED.  It is about time they delivered an affordable product... I'm still mad that they did not deliver 3k for $3k as promised.  I hope RED will deliver 6k for $6k.
Anyways, I thought the SNL Brad Pitt monologue looked nice, so I imagine it will be some people's A camera.
I am guessing it will be back ordered, then RED will have supply chain issues, then RED will decide they can no longer afford to sell it for $6k due to the supply chain issues, so they will decide to stop selling it all together once it starts eating into the higher end product line sales.  That said, I am hoping I am wrong... but I am not holding my breath...
Here's the original RED Scarlet 3k footage and then they never release the camera... as they said they wanted to focus on being a high in camera manufacturer... well this footage looked highend to me... (except for the pre-release price of 3k). They could have sold it for $9k, but still not enough money for them apparently...