BTM_Pix

I'd give a nod to the Z8/Z9. It ticks the boxes you need, the ones you might use the option of if you had them and even the ones that you are absolutely uninterested in that, you never know, you might develop a taste for. Loads of resolution and frame rate options, internal RAW and ProRes, very respectable rolling shutter and, most importantly, the most flexible lens mount around. I appreciate you don't have any interest in AF but if you develop one (either out of choice or necessity such as going further with longer lens wildlife imagery) then it is unique in offering near native adapted AF performance of F,EF and E mount lenses and via the TechArt adapter it will even do AF on MF lenses with any mount deeper than Leica M. So if you change direction from your current needs then the camera can change with you. With regard to your current needs, EF and PL cine lenses are obviously able to be used with the added bonus that, with it being a very shallow mount, the Meike adapters incorporate variable ND filters. It also has the MC-N10 grip which offers full control including of the virtual zoom function which is very effective in turning primes into par focal zooms or just extending the reach of actual zoom lenses. Although timecode sync is not on your lists of must haves, the Z8/Z9 have internal support for the UltraSync Blue wireless timecode system that is used in your wife's Zoom F6 so, again, the option is there if you do require easy sync at some point in the future. Is it a true "cinema" camera when its actually a hybrid ? Well, its only a hybrid if you actually decide to take stills with it so its each to his own use case really. Naturally, if you do decide to shoot the odd still with it then it rinses every cinema camera out there at that particular task 😀 As a cinema camera, its an 8K internal RAW and ProRes shooting one with PL mount and in built variable ND filter with wireless TC sync, EVF and tilting screen for under $3700 which is pretty compelling. It is also a lot more discrete which I suspect might be an advantage if you are shooting urban cityscapes etc. Anyway, its another option to consider amongst the 37432 different ones offered up in this thread. For my part, the only thing I regret more than not buying a Z8 when I had the chance in June is not buying one in October when I had another chance. I will definitely rectify that the next time one comes up ! Good luck with your choice, although I think the fact that there are so many viable options offered up in this thread illustrates that there are very few - if any - wrong choices these days in terms of getting great image quality. And then turn the internet off.

Funnily enough, I was mocked on here not so long ago for suggesting any of that trivial shit was required so I was keeping it simple. Not to mention being in keeping with the other thread on here about making a "real" movie with a cheap camera.

At the 2010 Academy Awards, The Social Network was nominated for eight Oscars and won three of them. It was shot on the at the time newly released MX version of the RED ONE, a camera that you can now readily pickup in a full kit including EVF, batteries and media for around £2K. There are a boatload of different options available now so, of course, I'm not suggesting you rush out and buy one but, nonetheless, this is an interesting time capsule of how it was no hindrance to making a very successful film then and likely wouldn't be now either if you did fancy buying one. Just make sure you budget for a decent tripod.

Sorry to hear about your medical issues and great to hear you are on the road to recovery. I echo your thoughts about this place. My last few weeks have been spent at my Mother’s bedside as she drifted away to her passing. In times like that of huge change and trauma we look for constants to keep us connected to “normal” life. In that respect, checking into here every now and again to find everyone having the same circular arguments was oddly comforting. And I honestly mean that with love.

Excuse me. We have fights at weddings but we don’t rob anything.

6KPro, 6K G2 and Broadcast G2 have been released since the release of the 12K but they are all derived from the original 6K and like all other BM cameras even they don’t have ProRes above 4K.

12K and Broadcast G2 only.

The original one did but the new versioner which you would use with the 12K uses the USB-C port only so no loss of connections. I linked the pic of the original in error.

If you are in the US, you might want to get one of these while you can as Zaxcom are unsurprisingly suing them for patent violation....

It has a USB port for direct recording to SSD or you can go the whole hog and get the URSA Mini Recorder which sits between the camera and the battery to enable you to define your own capacity using 2.5” SSD drives. It’s not particularly cheap at around $400 but more cost effective than c-fast pretty quickly and a lot more robust than having an external drive hanging off the USB-C port.

I believe this commercial was shot on one of these cameras.

One of the most useful pieces of technical advice that has appeared on this forum.

I’m guessing one of the camera brands involved as showing a lot of variance would have been Fuji as they had a very optimistic idea of how much light there was when I was using them side by side with Nikons.

Based on a presumption of the ISO/Gain relationship between the P6K and the Ursa Broadcast G2/Studio Camera 6K Pro (which are both P6K in different form factors) then I would expect the same relationship between the P4K and the Micro Studio Camera 4K G2. So, 0dB and 18dB would equate to the Pocket 4K's dual native ISO values of 400 and 3200 respectively.

He's not coming back is he ?

It does have two but with it being made for broadcast it is expressed as gain (0db and 18db in this case).

Sony did this ten years ago with their QX range such as the QX100 which was an RX100 sensor and lens. A year later, they even released the even lesser spotted APS-C E mount version. Unfortunately, they all absolutely tanked. I've said a few times that they were ahead of their time and maybe if they were released now they would fare differently. Whether it would be Sony themselves who do it is debatable and if they did it would likely be an exclusive with their own phones but maybe BM could be a candidate.

I mentioned in another thread about the PZ-E1 adapter they previously did for the EF-S 18-135mm. It doesn't look too dissimilar so I'm struggling to see how its gone from $150 to $1000 in six years. If they get it supported in future lenses then that would soften the blow spreading that cost over a few different ones but I'd be cautious because they never did add support for the PZ-E1 beyond that initial lens.

Well we may Seymour if the first six are up to Parr.

Actually six now.

Surprisingly, not to mention annoyingly, the REC control of the Nucleus wheel isn't bi-directional with the app. You can start/stop the app recording from the REC button on the wheel but the app does not return the compliment in terms of keeping the wheel in sync.

It looks very good, though I must be getting old as the price of it being $3K was a bit of a shocker ! The optional powered zoom adapter for it looks intriguing too but, again, $1K seems a bit excessive for a Nucleus Nano motor in a bigger case that you can’t use with any other lenses. Canon did a similar adapter a few years ago for one of its APS-C lenses and it was about $250-300 (some inflation eh?) and the main criticism of it was that it was unique to one lens so maybe this time they have learnt the lesson and will make this one available for more lenses down the line.

Its great to see this happening but, of course, I did beat them to the punch for incorporating the Nucleus wheel into a phone app by over five years so I feel seen 😂 What isn't so great, though, is it has the frequent propensity for it to zoom the camera in to a very specific (and unusable) 13.9x during movements of the focus wheel. When it works its good but I'm getting this issue at fairly regular intervals. I'm using an antique by their standards iPhone 12 Mini so it could be that. Anyone else tried it and got similar issues ?

Sony RX0ii in the top mount of a Pocket4K/6K and wafting the whole thing about will get comparative files for someone who's willing to put the miles in to make a bi-directional converter with.

The camera integration tips the balance for me towards the ATEM family, particularly with the release of the new Micro Studio 4K G2 camera. For under $4000 you can have four of them that are timecode locked and they can be fully controlled from the ATEM not just for colour and exposure but focus and zoom (with the inexpensive powered zooms from Olympus and Panasonic). With the integration with Resolve, the ATEM ISOs and these cameras give you three products to sell to a client from one job. The 1080p live stream The 1080p master recording of the live stream. A re-cut version of the live stream in either 1080p or 4K. The last one is interesting because with any manufacturers camera you can just bring in the ISO recordings and re-cut them in Resolve (as the ATEM generates a Resolve project with the cuts in it) but with the BMD cameras gives you the option to bring in the 4K BRAW recordings from the cameras own recordings. When used with the ATEM, the BMD cameras can provide a 'video mode' output through the HDMI for the live switching whilst simultaneously recording their own 'cinema mode' versions to SSD. This is a great option for doing live videos for bands as they get the 'video' version for the live stream and the possibility of a more cinematic looking version from the recut BRAW files. The ATEM Mini Pro ISO is a bit limited so I would definitely recommend going for the ATEM Mini Extreme ISO not just for the extra four channels but also the additional media player and the SuperSource function which offers a lot of creative and practical possibilities. The drawbacks with the ATEM are in the animated CG and video player aspects. The former you can get around fairly easily with software such as Uno Overlays etc and the latter can be addressed using BMD's HyperDeck record/playback devices. The cheapest of these, the newish HyperDeck Shuttle HD, is interesting in the role of producing live sports as with some inexpensive additional hardware splitters you can coax it into being a very decent instant replay system complete with tactile jog/shuttle control. For around $6500 then, you can have an eight channel switcher with ISO recording and streaming, four timecode synced RAW shooting 4K cameras with full remote control and three channels of instant replay. Unlike the Tricaster TC40 that I used to own (which was nowhere near being even half the functionality of this system let alone how much more its modern equivalent will cost) it will also all fit comfortably in a Peli 1510 case rather than an 8u flight case and is a fraction of the weight ! Another thing that people tend to overlook about the ATEM Mini series is that it has an excellent fully fledged Fairlight mixer in it with EQ and Dynamics on every channel including the Master channel. Its mind boggling really how much of a value that is as they didn't really need to make it that comprehensive ! Don't get me wrong, the ATEM system isn't perfect but it is a very good eco system to start a business around. And you never know, maybe one of these days someone might release a product that integrates a few more things to make it even more useful......