Geoff CB

Nothing wrong with that.  I admit I'm partial to images that look analog, but I realize it's a nostalgia thing, and nothing that's wholly artistically rational.  
If you're interested in the new, then be sure to check out Ang Lee's break from traditional cinema in his next film.

Nop, I sold the sigma hahaha, I got a Samsung 16-50S for 375€, this one is with that lens.

Ricardo is always posting such gorgeous framegrabs in this thread, so I wanted to give his settings a try for myself on my latest project... I'm really liking the way these are looking. (Graded with DeLuts and filmconvert) 

Video shot with a Nikon D5 (a BTS of a D500 photoshoot):
 
 

Two more with the Zeiss 12-120mm T2.4 on the Digital Bolex, this time indoors. The wide shot is with the Aspheron wide angle attachment (6,6mm!). ISO 400, T4, 172.8 degree shutter at 2k24p.

Hi Cisco, I work on the crowfounding page!
 

Some screen grabs of the Zeiss 12-120 T2.4 on the Digital Bolex. All at base ISO (200) and 180 degree shutter at 1080p25. No LUTs or filters, just a basic contrast curve and a two stop exposure push (and scope cropping on some, haha)

Get yourself a Blackmagic Micro Cinema Camera. The more compact form factor, 60fps slow motions, are all big gains over the BMCC. (2.5K is only in raw from the BMCC, at all other times it is 1080 same as BMPCC/BMMCC(
 
Get native mount lenses (such as the T0.95 lenses from SLR Magic) or use a focal reducer (for near FoV of S35).

(reference: I own a BMPCC, shot part of a feature film with a RED One MX, and use a BMCC as well)

Can you buy the same sensor that is in the Ursa Mini 4.6K off the shelf and get the same result ?  No.  You can't.
Is it an off the shelf sensor ?  No it isn't.  
Do you keep saying it is ?  Yes you do.
Do you say stuff like
"I think it has something to do with the fact that they source parts and do not manufacture their own circuits and sensors as with RED and the electronics conglomerates"
That's your quote...you forgot that you said RED as well didn't you ? :-) Never mind....
So, you're wrong because RED don't do what you claim. Blackmagic DO make their own circuits and like RED, go to a sensor fab company and customise a sensor to their own specs that you can't buy.  So do Arri for that matter.
So how would you KNOW ?  Seriously ?  How do you know that it's off the shelf ?  If it's only slightly modified, what does that ACTUALLY mean ? Is it the package size ? What EXACTLY is the benchmark for a slight modification ? What is it that was tweaked ? Was it one thing or many ? Did they just put the BM logo on it ?  What other products use the same sensor ? Why doesn't someone else buy the same sensor and make a better camera ? 
I call you out because I've called you out before sir and I'm just cutting to the chase.  You're wrong.
Have an opinion.  Don't post it as fact when you don't know if it's true.  That's all I'm asking.
JB
 
 

I honestly wish they would keep cineform in the camera's alongside Prores, I much prefer the Cineform codec.

I honestly wish they would keep cineform in the camera's alongside Prores, I much prefer the Cineform codec.

Nice, but where have I seen this type of modular design before?
Recall that the Kinemax 6K has the worst rolling shutter of any cinema camera unless you shoot in the 4K "sport mode," which then defeats the purpose of buying a 6K camera. So I'm not sure I would go for the 6K version.
The Terra 5K, however, has the potential to be the best value in this price range, with the switchable global shutter and a 5K ProRes option. 5K also makes a lot more sense than the oddball 4.6K resolution in its competitors the Raven and Ursa Mini when considering the advantages gained in debayering for 4K delivery.

Well if the 6k still has golden 3k (more DR than the 5k is specced to have - and I would assume less rolling shutter than the 6k mode?), or if the global shutter switch causes more real world issues than sports mode, it could balance out. We've never seen this type of global shutter/rolling shutter option actually working yet, right? Plus rolling shutter could have been improved in the 6k terra, or the 5k could be just about as bad. And 6k is still more resolution than 5k. if that much is needed, that's the option. And the 6k is a more tested sensor. Forgive me if I missed some news, hard to keep up. But I think it's hard to say right now, and they both sound great

olympus, contax c/y, nikon, pentak k, leica r, yashica

This lets you access a few framerate options that are not otherwise present, for example 24p in UHD on the NX500, (Without the hack, 24p is only available in DCI 4k on the NX500) but this trick makes it really handy for a 2-camera shoots with the NX1. This is also what lets you override the 15min 4k limit on the NX500 as well. You could also, if you'd like, use this method to shoot DCI 30p on the NX1. 

So I just found out that Magix acquired sony Vegas Pro with the whole Sony Creative Suite, and just announced a new version that will launch in September.
But what they seem to highlight as the newest feature beside a redesign along with 4k and HEVC Hardware Acceleration support, is the native ProRes capabilities and support. So will this be the go to Prores editing software for Windows users ?
They also lowered the price from $600 to $200 and are giving Vegas Pro 14 for free if you purchase the 13 !!
Thoughts ?
Here is the offer link http://www.magix.com/us/specials/vegas/exclusive-welcome-offer/

^well how do you know for a fact that that applies to NX as well?

http://blueringlab.com/2016/03/samsung-nx-mount-protocol-general/ 
http://blueringlab.com/2016/03/samsung-nx-protocol-boot-sequence-1/ 
http://blueringlab.com/2016/03/samsung-nx-protocol-boot-sequence-2/
 
 

Because the lens only covers S35 to begin with (F mount only describes the mount, not the image circle. There are many APS-C lenses in F mount, too), not "Full Frame". If you want to speed boost it, you have to go to a format smaller than APS-C, i.e. M43 or S16.

They share general sensors, and camera software between lots of those cameras. 

Which helps reduce the R&D costs per camera by a significant amount. 

A good next step would be if they did a base mount (such as Sony FZ or Kinefinity sub-PL mount) as a common mount across their cameras. 
As I blogged about here:
http://ironfilm.co.nz/what-if-kinefinitys-kinemount-became-a-universal-cinema-mount/
 
What he means is the other companies do that as well.

Yeah, you'd be 100% wrong there. But carry on...
They seem to have sold thousands of them.  Mostly they're still backordered.
Such as...?
Resolve...?  Oh wait, you get that included with the camera...
Monitors ?  Converters ?  I think you're stretching a pretty long bow....
JB

BMD can't make them fast enough to keep up with demand!! That doesn't sound like "not selling many".
 
And as others said, display store demos are damaged all the freaking time :-/

Agreed, I want to see a Rokinon Cine DS 18-85mm T4 S35 lens at a rock bottom low price!

If it has gone from 11.9 stops to 13.5, that's a massive improvement over it's predecessor.
This seems like good news, especially if ML get on it.
 

Mix the Pentax K-1 into the comparison. Half the price of the Canon. It's even cleaner than the D810 at ISO100, 1/320, +6EV. Not to mention it leaves the 5D IV in the dust. Pentax is such an underdog, I wish it would be more well known. The K5 was a fantastic machine, I loved it.