Nathan Gabriel

Nice find. Have you also tried their Nikon F mount for Sony E-mount adapter? Curious to see what the AF is like on that.

Talking about crop sensor and cheating on them.
I wanna recommend this adapter, The Viltrox EF-M2. Is´t really sharp, nice optics, works really well with electronic EF lenses and it cost a third the price of the Metabones speedbooster.
https://www.amazon.com/VILTROX-EF-M2-Adapter-Thirds-Camera/dp/B079M4W8MQ
I'm not kidding, it is a really good adapter. 

Will be joining the YouTube party at some point.

I wish you'd start a Youtube show Andrew to combat all the misinformation (esp from Northrup) out there

And while people talk about cameras and more cameras, they stop recording and doing work, while others with cameras from 5 years ago, do amazing jobs.

BM are just catching up 

Can we stop down voting every post that can be remotely interpreted as critical? Everyone knows and agrees this is a revolutionary camera.

I'm not going to bother analysing the 'stolen clip'. It's completely pointless and all based on assumption. We know the camera was a pre-prod model so why is anyone bothering being so critical of it. 
I'm sure BM will release some footage soon that we can then judge properly.... Until then, everyone's getting worked up over nothing. 

Can we stop down voting every post that can be remotely interpreted as critical? Everyone knows and agrees this is a revolutionary camera.

I reported earlier that that the camera was dropping frames. It may well be that 12bit raw produces too much data for the current cards to write at 30 FPS.
Don’t be surprised to see the specs change on this camera.

nope it got dropped just like on the UM4.6K. here are some numbers i found pulled from bmd forum:
URSA Mini 4.6k:
4.6k – 15.17ms
4k/2160p – 12.64ms
2k/1080p – 6.32ms
Micro Studio: 9.9ms
Micro Cinema: 13.3ms
Pocket: 17.74ms
BMCC: 23.62ms
 

The Resident is “only” shot 1920, but it’s 444ProRes, so 12 bit.  
Fox only air in 720 remember !  I’d say the majority of TV production in the US is still 1920 ProRes.  They’re not interested AT ALL in 4K.
JB

Funnily enough, I’m only interested in 1080p as well. The show looks gorgeous and I can’t imagine it would look any better in 4K. Hell sometimes I see movies on my 1080p TV and it looks better than my eyes normally see the world.
Btw, thanks for being so open about the production. 

He answered many times on various forums that it's basically smaller and lighter so you can handhold it and get the shots you want.  Alexa is a huge camera and hard to wield.  Alexa Mini is smaller than Ursa Mini/Pro but it's a nightmare in terms of ergonomics so you have to rig it and then it's larger.  So it's more/less a matter of which camera is easier to use to get the shots you need.

He does use Olympus EM-1 Mark II as well on the show.

Actually sometimes the Ursa Mini Pro is actually a BETTER camera image-wise too.  It has much more shadow dynamic range vs the Alexa so it tends to look better in low-light.  I'd also say it has slightly more FPN if you have to lift the blacks of your image (which you never do), but in the upper and midrange it's a cleaner image.  In the scene he linked of Nevin and Hawkins privately chatting in one of the rooms, the Ursa Mini likely performs better than the Alexa would in the same situation.

 

It has been reported that ProresRAW bitdepth depends on what the camera sends. So for example it can be 12bit like with the FS5 or 14bit like the Varicam. While the linear 12bit signal is limited to 12 stops of dynamic range, one 12bit ProResRaw example from the FS5 looks great:
It appears that ProresRAW is very efficient both in the data rates and the playback performance. I am sure Resolve will implement it at some point and when that happens we will probably see an update of all BM cameras to support it as well. 

I thought they’d already discontinued the pocket ?  Watch that become a cult camera if it isn’t already.
I think they’ll keep the micro going for some time.  It’s really a different camera.
In the photo above the camera has a wooden camera cage, a Noga arm and a BMD 5” VA as the operating monitor. On front is the SLR Magic 10mm T2.1.  I’m manually focussing myself, using peaking on the VA.  
By way of example almost all of this promo is either Ursa Mini Pro or Micro using that exact rig.
This whole scene is shot Ursa Mini Pro
 
 
I have used a LOT of Ursa Mini Pro and Micro in the resident.  Not just as an insert camera, but shooting whole scenes using only the Ursa Mini Pro.  Most scenes have a mix of Ursa Mini Pro and ALexa, and I’d estimate more than 40% of the show is Ursa Mini.
I tend to use the micro camera for these kinds of surgery shots where I can very easily reach into the scene and get super close before diving down to almost inside the surgical field, and then transitioning back to another actor. It keeps it very agile and alive shooting this way.  I’d anticipate the Pocket 2 will replace this rig for these kinds of shots.
JB

Prores Raw does have advantages.  It can be edited natively in Final Cut/Premiere (hopefully) and it's extremely CPU efficient.  Cinema DNG not so much.  It would basically be similar to working with R3D files only a little larger in size which is the one thing that turns people away from RAW in the first place.
From what I understand there are some problems with it.  Firstly, I believe it's 12-bit linearly encoded which is awful.  12-bit linear encoding is what the original REDONE caputured.  Log encoded raw or 16-bit linear is much better for preserving color information.  Secondly, a lot of color science stuff is contained within the CinemaDNG format which likely doesn't translate over to ProRes raw.  
I could be wrong about those things, but it definitely would be a nice feature to have when you want the convenience of ProRes with raw data.

I agree with not comparing it to a new 4k camera, but this is the best I've seen from that sensor (BMMCC tho)

 
 

Thats what I thought when the camera was first announced too.

IIRC the fashion is to have shallow depth of field but the killer technique with Sony users (no front-facing screen there either!) is to extend your arm out with fingers pointed up and focus on them, as when holding the camera that's the same focus distance as hand to your face..  :D
In reply to the above and also in general, we're in (yet another) situation where worlds collide.
World #1 is people who shoot RAW and see the camera as a tiny cinema camera.  In this sense SDI > HDMI and professional standards > consumer standards.
World #2 is people who want the 'best' ILC camera for under $2000.  In this sense, HDMI > SDI, consumer standards > professional standards, and front-facing buttons/screens/etc are nice features to have.
Neither world is wrong, it's just that before the DSLR revolution and YouTube these two worlds had never touched before.  Now they're in full collision mode.  Camera companies are trying to make products that appeal to both worlds and failing to connect, and both worlds look each other up and down then go back to whispering in separate groups like 10-year-olds in the school-yard.
In a decade we'll have worked out how big the market for online video is, how many people it can sustain at the various levels of quality, and what products make sense.
At the moment it's a mess, where the 'best vlogging camera' debate includes your phone, the RX100, the Canon M50, the Sony A7III, and the Pocket 2.  Any application that includes tools as varied as that lineup should indicate that we still haven't worked out what the hell is going on yet.

For anyone looking for cards, here's the specs off BM's site. It's based off 30fps, so I imagine double it for 60p?
Of course, aim higher than the numbers they suggest for the format you want:
4096 x 2160
CinemaDNG RAW - 270 MB/s 
CinemaDNG RAW 3:1 - 128 MB/s 
CinemaDNG RAW 4:1 - 96 MB/s 
3840 x 2160
Apple ProRes 422 HQ - 110 MB/s
Apple ProRes 422 - 73.6 MB/s
Apple ProRes 422 LT - 51 MB/s
Apple ProRes Proxy - 22.4 MB/s

1920 x 1080
Apple ProRes 422 HQ - 27.5 MB/s
Apple ProRes 422 - 18.4 MB/s
Apple ProRes 422 LT - 12.75 MB/s
Apple ProRes Proxy - 5.6 MB/s

Yeah but we're bored waiting for it already so have to fixate on something to get the page count over the 100 mark

The T5 has a small, blue, blinking LED indicator on the port-end that flashes when reading or writing. 

Need for an external monitor depends on how you use it.  If camera is on a tripod then you're probably fine, but if you're hand-holding for an ability to quickly get a variety of shots then you might miss a screen that can't articulate vertically.  In terms of hand-holding I can hand-hold my XC10 / Gorillapod 5K setup with my arms fully outstretched at 240mm steady enough so that the IS locks the shot with no movement, so it is possible.
Depends on the vlogger and what you'd call a "vlogger" (as opposed to many other styles of YT film-making).  I see YouTubers with A7SII / Atomos external recorders, C300s, C100s, 1DXII, A7RIII, GH5, GH5s, EVA, etc.  If you definition of 'vlogger' is only people that prattle endlessly into the selfie camera on their phone while walking somewhere to get their nails done, then your definition needs expanding radically.  I'm happy to provide examples of YT channels with high production value if you're interested.

I don't edit directly with my recording media (I mean I have, occasionally, for super quick, tiny little projects, off of SD cards) but for the past couple months I have been editing all of my projects off of my Samsung T5 USB-C ssd, which is what most will be using with the new pocket, and it works perfectly. Super tiny, light, and incredibly fast. Once I get my my hands on this wonderful-looking new cam, recording with the Sammy and then editing immediately should be a breeze.