hansel

I agree with your thoughts. But I don't see Nikon coming up with nothing new that will be amazing. I see them at best have a Mirrorless replacement for the time being for the D750, and the D850.  I think the D500 and the D5 are safe bet to continue to be a DSLR. And best the new Mirrorless ones will be is a lesser Sony A7 mk III and a lesser Sony A7r mkIII. How they going to top those 2 cameras, let alone the Sony A9. It isn't happening.
Now the Only good rumor I have heard is Canon might, and I mean might, on their top end Mirrorless, have ND filters built into an existing EF mount on it AKA like Sigma does mount wise for their new SD Mirrorless cameras. They don't have ND filters in them but there sure as hell is room for them in that snout! That would be a BIG deal if they do it! It might not be the most beautiful Mirrorless on the market but think of a FF Canon Mirrorless needing no EF lens adapter and ND's in it. Winner, Winner, Chicken Dinner!

Nikon will carry these on for another generation, I reckon it might even be safe to bet on two more iterations of them happening (although that 2nd iteration might take a long time coming).

And I bet the first release of mirrorless this year (and probably even next year) won't be direct competitors to the D5/D500 either, as those can safely carry on in their DSLR niche for a while longer.  And Nikon is better off putting their focus elsewhere for their first few new mirrorless cameras. 

And it won't just be the D500 and D5 which carry on for at least one more generation (maybe more). Nikon F mount will carry on for a while just like A mount will, even today in 2018 there is still: a99mk2 + a77mk2 + a68

 

There are still an awful lot of people who want what Sony offers but will not buy a Sony and many are (still) die hard loyalists for both Canon and Nikon.
That is why I think it doesn't have to be BETTER than Sony but just has to be competitive (but does have to be SOON - for both of them).
 

Nikon didn't see Sony as its core competitor, rather  its focus was on Canon. (which I suppose makes it stranger they didn't think to make a response to the C100/C300)

But while being focused on Canon the problem is Nikon let Sony grow and grow until they've sneaked up right behind them to be nipping at Nikon's heels, poised to steal #2 spot from them. 

The angry fella does, to be fair, have good insights regarding Nikon lenses.
And magnets.
I always make a point of tuning to his fuming reactions after the married couple make one of their educational statement videos.
In my imagination, they are the yuppy couple who've moved in next door to him and he's got a backyard full washing machines and Triumph moterbikes in various states of disassembly and in theirs they've got a hot tub and a mid life crisis Harley Davidson.
They think he plays AC/DC as an act of aggression and he thinks they have their teeth whitened in an act of passive aggression.

Yeah I should note, working with prores or RAW definitly saves time in post. As if I would edit GH5 h265 files, it would not be a joy working in post . And in a professional enviroment every minute must be payed, so definitly a money saver in that perspective. And I dont really have that much free time anymore as I am juggling a baby around. So this workflow saves time for me and allows me to have more quality time with my family as well. You cannot put a pricetag on that, Time is the most valuable thing. 

A 35mm is always a 35mm lens, no matter what camera you ever put it on. People keep on forgetting this fundamental fact.

What people tend to be interested about however is FoV equivalence, and yeah a 35mm on a BMPCC4K would be slightly wider FoV than a 70mm on say a 5D or D800
 
 

@cantsin that is what I am worried about. I think they should have tried to boost it instead of reducing it. But then again I also have not much knowledge about the subject. When I shoot PHOTO real estate sometimes (not super super high value) I sometimes stopped to bracket stuff because the d750 RAWs are that crazy that if exposure is up to 3 stops over I might even be able to recover a fair bit and it is god enough for the purpose. I wonder how that relates to RAW video on the P4K.
I surpose my question is, does the 13 stops relate to jpg oder raw were you have a great amount of data?
 

Look, I've found a right angle USB C adapter.
So I'm not going to waste that bit of research and I'm all for getting another couple of pages out of discussing it now 
 

Would it be possible to use a SATA ---> USB 3 Caddy enclosure, so everything stays permanently in place and you're just swapping out drives? 

If you're having trouble with USBc slipping out, follow @BTM_Pix advice and epoxy it into the camera 
Seems like a very poor design that the end of the camera has nothing for the port to grab onto, like every other cable end. Maybe you can buy ones with a right angle , so it's harder to be yanked out? 
Judging by this picture though, there are a few little notches that should help hold it in. I would have thought it'll take ages for all of them to wear out. I'm willing to bet @Tone1k charges his phone every day, but this USBc port isn't going to see quite so much daily action.

When I first joined the forums I thought I was a run-and-gun shooter, but I think now the term Guerrilla film-maker might be a better fit.
I say this because:
I shoot without official permission (and therefore can't have a setup that looks 'pro') I shoot in public where I have basically no control of what happens The subjects of my film (friends and family) tolerate my filming, but won't cooperate to the point of wearing mics or anything else like that This seems to present a different set of challenges to run-and-gun shooters who can mic up people, have control of lighting and 'set', and can have 'pro' looking cameras.
Anyone else shooting in this style?  (I think it's likely to either be hardcore documentary filmmakers, travel film-makers, or vloggers).

Look at what you said in your last sentence. That is the science of color. That is what I am talking about. The interplay of colors and their relation to each other. 
Effective use of this science yields results that have the effects that I mentioned previously: 1) subject isolation 2) dimensionality.
Like I said canon also renders all hues similar to skin tones in a similar fashion (e.g a persons eye bags are not so pronounced on a canon because the tones are recognized in camera and brought to uniformity with the rest of the skin) so that skin appears smooth and uniform (not blotchy and patchy like sony) which further reinforces point 1 and 2 above.
This last point is the one that most people don't seem to understand. You can see the blue eye bags with the sony image but that is corrected in the canon. It is a darker, more bluish skintone that is identified and corrected in the canon.    

I don't have time to go back and like all those posts, but just to let you know - I like all those posts!!!

Just buy a 1DC and call it a day. Use the leftover money to buy some margaritas and lounge back in a chair as you convert MJPG to ProRes all day. 

So he's used it for a couple of hours max, recording in a low stress nature setting with perfect natural light.
He proceeds to make a review admittedly littered with exaggeration.
Definitely fits in at Eoshd.
 
 
 

If they do come back with a new camera it would be hilarious if they announced it had RAW and was being released on April 1st.
This forum would turn up outside their door like this.
With a lone voice pleading to think of the children.

I dont see it myself. The numbers dont really add up. The digital camera market (ILC/compacts) is a US$10bn a year market of which Canon/Nikon/Sony hold 85%. If Samsung re-entered the market and we heroically optimistically assumed they gained a 10% share - it would only amount to US$1bn a year - less than 0.5% of Samsungs US$200bn+ annual sales. Compare that to the US$500bn a year smartphone industry.
However there are, I think, two 'possibilities that could bring Samsung back into the market.
First, Samsung and Nikon are almost a 'perfect' fit. Samsung key competencies are electronics and Nikon's core competency is photography - ideal when cameras are turning into electronic products. Samsung brings image sensors, image processing, lcds etc and Nikon brings lenses, brand, market share and distribution. Furthermore, Nikon is ultimately going to be seriously disadvantaged long term relying on Sony for sensors (Sony being a major and growing competitor in cameras). So a joint venture/strategic partnership between the two makes a lot of sense (assuming that Samsung is interested in the digital camera to showcase its tech.)
Second, and related to this, Samsung could quite easily acquire Nikon. Samsung is a US$300bn market cap company and Nikon is a US$6bn market cap. company. So acquiring Nikon is chicken feed to Samsung. So if Samsung wants to reenter the market, it makes a lot of sense to buy into the market rather than try to recreate their market share from scratch.
But even the Nikon/Samsung tie up in one form or another I see as pretty unlikely because Samsung really hasnt shown a lot of ambition in the image sensor market (despite some press reports to the contrary.) Take the flagship S9/S9+ as an example. It continues to use both Samsung and Sony image sensors (and people dont seem able to tell the difference.)
https://***URL removed***/news/0634864640/tech-insights-teardown-confirms-galaxy-s9-uses-samsung-and-sony-image-sensors
So if Samsung cant be bothered to showcase their image sensor tech in their flagship smartphones, I dont think they are likely to do it in digital cameras.

If you are interested in raising the efficiency of your set then I suggest two things:
Look at what is lowering the efficiency of your set by actually looking at what is happening rather than what you think is happening Recruit the people you hire to also raise the efficiency of the set, which can only be accomplished through trust Most workplaces are radically inefficient, often because instead of actually looking for what is actually going on and trusting their teams to do the same, they think they already know what is happening.
I remember one example of an inefficient set was because filming at a rural location the portable toilet was about a 3 minute walk away, so every time they made a change everyone had a 6 minute walk to use the facilities.  When the schedule got more and more behind the response of the AD and Director was to yell at people instead of moving the portable toilet.  Complete fail.

Does anyone have experience using Resolve in Linux? How smoothly does it run? Does it have limited video codecs in Linux? Or just any of behaviour that you wouldn't expect?

AF can cause many spoiled gimbal shots, even canon DPAF can mess up your shot at just the crucial moment.
You can pre focus and maintain subject distance and get great shots, even with shallow DOF. 
If you need more leeway, stop down a bit.
 

On (missing) AF, gimbals, speedboosters, hyperfocal distance and lens-choices. With Pocket "I" : the screen wasn't good, but it had the best peaking (Kryptonite-green). With shallow depth of field, no problem. sDoF, of course, was only possible with rather fast lenses, because crop factor was almost three. 
With a slow lens and with he said hyperfocal distance, almost the whole display became green. You wished you could reverse the peaking so that oof-areas were highlighted. Because of the size of the sensor (S16) but nonetheless relatively big pixels, it was sometimes hard to focus. 
Unfortunately, this hasn't changed. Yes, the sensor is bigger, the crop factor is just below two, but the pixels are smaller. And since hyperfocal distance works where the circle of confusion (that's us, the BMPCC fan group!) is smaller than the dimensions of the smallest picture elements, you only get HFD with very wide lenses with very narrow apertures.
HFD means absolute depth of field, fix-focus. I certainly like the idea, but not everybody will. For tripod and handheld shots (we definitely, absolutely need at least a basic rig-stabilization, never believe because it's comfortable to hold it will be okay!) we need to practice manual focussing (P4k display, if sufficient, if not with external monitor).
On a bright sunny day like today I'd strictly use HFD on a gimbal. Otherwise we'd need something like the Crane 2's follow focus and learn to operate that. This was something I dreamed about ever since I learned about steadicams. Have a big box of RC servos and miniature rig parts from my DIY efforts (originals were ridiculously expensive). 
Then again, with the existence of gimbals we stumbled into a trap. Do I really need to constantly move the camera in the Z-axis? No, I even don't consider these shots particularly cinematic any more. Whatever that means. It's time to revisit old threads on filmlook and adjust our understanding of it in 2018.

I think the thing that astounds me is that for a standalone 5 inch daylight viewable external monitor from a company like SmallHD you are looking at a price not too dissimilar from the price of the entire camera! But along with including LUT previews, you also get the added benefit of baking in LUTS.
The OS of the blackmagics is second to none. The touchscreens are like what you would find on a smartphone.  The same cannot be said of Sony's or Fuji's top-end cameras which leave a lot to be desired. Canon and Panasonic get it right, though.
That's some kind of value. Really makes you think about what the profit margins are for companies like SmallHD and the bigger players in the industry.  

Its a good sign that different companies have units of the camera

One of the main reasons to go mft :D