BTM_Pix

There are actually 22 cameras as the S5D needs adding to the full frame count and the Leica T, TL and TL-2 to the APS-C count.
There has been a 23rd camera announced which is still yet to actually hit the shelves yet which is the Lumix AW-UB50 box camera.
Of course, its stretching a point a bit with the T/TL/TL-2 as they have been discontinued but then again so has the CL, which means there is no currently produced APS-C L mount camera.
However, it wouldn't surprise me to see Sigma fill that void.
 

Sigma being Sigma, I think it might well be a bit more niche.
My feeling for a while is that the struggle they've had with trying to make a FF version of the Foveon would lead them to producing another APS-C version of it as a stopgap. 
With Leica leaving the APS-C arena, it leaves a whole market wide open for them to step into it with a stills only body (CL/TL owners were never arsed about video) that they also have a great range of lenses for.
 

There are actually 22 cameras as the S5D needs adding to the full frame count and the Leica T, TL and TL-2 to the APS-C count.
There has been a 23rd camera announced which is still yet to actually hit the shelves yet which is the Lumix AW-UB50 box camera.
Of course, its stretching a point a bit with the T/TL/TL-2 as they have been discontinued but then again so has the CL, which means there is no currently produced APS-C L mount camera.
However, it wouldn't surprise me to see Sigma fill that void.
 

Giving them the benefit of the doubt - as CVP are not usually into the breathless hyperbolic nonsense- it is the greater flexibility of the Z mount over the RF mount that opens up new paths for more people to move into RED.
Both Z and RF can adapt EF with AF but the Z offers the same with F, E and even Leica M with adapters.
Stretching a point, even manual MFT lenses can be used with the K-X via an additional cheap E>Z adapter as most of them will cover Super35.
That’s a lot more existing lens collections that people can use and could tempt more people in who have been reluctant to lock themselves into RF.
But, yeah, whilst it’s very interesting (a compact cinema camera with compact M mount lenses with AF for example) and a more flexible option, it’s not really in the “this changes everything” territory.
Changing the mount AND a price cut further towards PYXIS territory would’ve been though !

Giving them the benefit of the doubt - as CVP are not usually into the breathless hyperbolic nonsense- it is the greater flexibility of the Z mount over the RF mount that opens up new paths for more people to move into RED.
Both Z and RF can adapt EF with AF but the Z offers the same with F, E and even Leica M with adapters.
Stretching a point, even manual MFT lenses can be used with the K-X via an additional cheap E>Z adapter as most of them will cover Super35.
That’s a lot more existing lens collections that people can use and could tempt more people in who have been reluctant to lock themselves into RF.
But, yeah, whilst it’s very interesting (a compact cinema camera with compact M mount lenses with AF for example) and a more flexible option, it’s not really in the “this changes everything” territory.
Changing the mount AND a price cut further towards PYXIS territory would’ve been though !

Cool that Reds will now have the most flexible lens mount on the market!  I suppose that opens up a ton of Sony E mount options too since there's an adapter for E->Z.

For most of the shoots I do, a 28-135 on the K-X wouldn't be ideal - but if you don't need anything wider than 37mm FF equivalent, it'll probably look great.
For affordable zooms on an S35 camera, I still can't think of any that I'd rather have than the Fujinon MK's.  I finally picked up a used set mid-last year (along with a kit to replace the E mount with RF) and I've been delighted!  The 18-55 has barely been off my K-X since then.   With A Z mount and the E mount adapter, there's no longer even a need for the RF conversion!

The first Z mount RED cameras have been released.


There is also a bundle with the new Nikkor 28-135mm Power Zoom lens for under $10K.

Not sure how appropriate that full frame lens is focal length wise for a Super35 camera like the Komodo X but here we are.
https://www.red.com/komodo-x-z-mount-black?quantity=1&kxzpackage=2
 

Yeah, and he will be saying that the amount of people who are riding round Japan on these e-bikes means that they are making far more dosh designing appropriately sized panniers and baskets to be arsed about designing new appropriately sized MFT cameras.

https://www.amazon.de/-/en/Magnetic-Smartphone-Bluetooth-Compatible-Shooting/dp/B0CFPJXXM6/
The same thing is 30 quid on Amazon.
Which leads me to a crafty sneaky idea...
What if we were to put a red dot on that?
And buy 90 or so?

Here is a list of the 75 FF and APS-C cameras that WEX sell for the same or lower price than the OM-3
https://www.wexphotovideo.com/compact-system-cameras/?p=categoryPath%3A"cameras>compact-system-cameras"&filter=SensorFormats_uFilter%3A"Full Frame" OR SensorFormats_uFilter%3A"APS-C"&filter=sellingPrice%3A[400 TO 500] OR sellingPrice%3A[500 TO 600] OR sellingPrice%3A[600 TO 700] OR sellingPrice%3A[700 TO 800] OR sellingPrice%3A[800 TO 900] OR sellingPrice%3A[900 TO 1000] OR sellingPrice%3A[1000 TO 1100] OR sellingPrice%3A[1100 TO 1200] OR sellingPrice%3A[1200 TO 1300] OR sellingPrice%3A[1300 TO 1400] OR sellingPrice%3A[1400 TO 1500] OR sellingPrice%3A[1500 TO 1600] OR sellingPrice%3A[1600 TO 1700]&sort=sellingPrice desc&rows=96&start=0
I'm curious about the rationale for anyone walking in there and choosing it over a sizeable number of those on that list.
There is only so far the "well they've got the lenses so we've locked them in to the format" thinking will stretch when you are charging more for less.
 

Here is a list of the 75 FF and APS-C cameras that WEX sell for the same or lower price than the OM-3
https://www.wexphotovideo.com/compact-system-cameras/?p=categoryPath%3A"cameras>compact-system-cameras"&filter=SensorFormats_uFilter%3A"Full Frame" OR SensorFormats_uFilter%3A"APS-C"&filter=sellingPrice%3A[400 TO 500] OR sellingPrice%3A[500 TO 600] OR sellingPrice%3A[600 TO 700] OR sellingPrice%3A[700 TO 800] OR sellingPrice%3A[800 TO 900] OR sellingPrice%3A[900 TO 1000] OR sellingPrice%3A[1000 TO 1100] OR sellingPrice%3A[1100 TO 1200] OR sellingPrice%3A[1200 TO 1300] OR sellingPrice%3A[1300 TO 1400] OR sellingPrice%3A[1400 TO 1500] OR sellingPrice%3A[1500 TO 1600] OR sellingPrice%3A[1600 TO 1700]&sort=sellingPrice desc&rows=96&start=0
I'm curious about the rationale for anyone walking in there and choosing it over a sizeable number of those on that list.
There is only so far the "well they've got the lenses so we've locked them in to the format" thinking will stretch when you are charging more for less.
 

The voiceover was real.
This is the card at the end of the video.

 
Well, there’s the rub.
Whatever it was trained on was certainly very real.
Looking at this frame, I’m pretty sure if you went through enough of PotatoJet’s YouTube content you’d find the ,shall we say, “inspiration” for it.

There is no support (currently at least) for USB-C recording on the Ursa Cine 12K.
The situation for CF Express Type B has been clarified by BM on their latest support bulletin here for approved cards :
https://www.blackmagicdesign.com/uk/support/faq/59051
Long story short is that they have nothing on there that goes above 45fps at 12:K 3:2 BRAW 8:1.
There is a data calculator on the product page for the different permutations.
https://www.blackmagicdesign.com/uk/products/blackmagicursacine
However, there is also the caveat that for any frame rate above 60fps (at any resolution) the camera requires powering from a 24.8v B-Mount battery.
So for anyone looking at shooting at the highest frame rates and resolutions, both the Media Module and a B-Mount are non-negotiable so an additional £2K should be budgeted.
That is still an almighty good deal for a camera with this performance though and I think the value proposition of the Media Module is good enough to mean it might well be considered an essential purchase by a lot of people anyway.
One thing that I find intriguing is that BM list a mount adapter for Hasselblad HC lenses but offer no more information about it at the moment.
I still have a set of HC lenses that are orphans after the demise of my H3D-39ii and I'm very curious about how they have managed to get electronic control of them.
Currently, only Hasselblad themselves in their H to X adapter and FujiFilm (the original manufacturer of the HC lenses) in their H to GFX adapter have products that do this and whether it is limited to aperture control but also encompasses focus control is undocumented.
I'm not saying that this compatibility would make me buy one but, bearing in mind it has a dedicated Stills button, then being able to bring back a collection of fantastic set of lenses (albeit with a smaller FOV) that work more or less natively with a 100mp body that also happens to shoot RAW video would be worth considering.
I'm not being serious of course as that would be an insanely flimsy justification to buy one *
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
* Note from wife - Yes he is being serious.
 
 
 

Hopefully you get back there and get it done before Donald J Tariff picks a fight with Australia.

There is no support (currently at least) for USB-C recording on the Ursa Cine 12K.
The situation for CF Express Type B has been clarified by BM on their latest support bulletin here for approved cards :
https://www.blackmagicdesign.com/uk/support/faq/59051
Long story short is that they have nothing on there that goes above 45fps at 12:K 3:2 BRAW 8:1.
There is a data calculator on the product page for the different permutations.
https://www.blackmagicdesign.com/uk/products/blackmagicursacine
However, there is also the caveat that for any frame rate above 60fps (at any resolution) the camera requires powering from a 24.8v B-Mount battery.
So for anyone looking at shooting at the highest frame rates and resolutions, both the Media Module and a B-Mount are non-negotiable so an additional £2K should be budgeted.
That is still an almighty good deal for a camera with this performance though and I think the value proposition of the Media Module is good enough to mean it might well be considered an essential purchase by a lot of people anyway.
One thing that I find intriguing is that BM list a mount adapter for Hasselblad HC lenses but offer no more information about it at the moment.
I still have a set of HC lenses that are orphans after the demise of my H3D-39ii and I'm very curious about how they have managed to get electronic control of them.
Currently, only Hasselblad themselves in their H to X adapter and FujiFilm (the original manufacturer of the HC lenses) in their H to GFX adapter have products that do this and whether it is limited to aperture control but also encompasses focus control is undocumented.
I'm not saying that this compatibility would make me buy one but, bearing in mind it has a dedicated Stills button, then being able to bring back a collection of fantastic set of lenses (albeit with a smaller FOV) that work more or less natively with a 100mp body that also happens to shoot RAW video would be worth considering.
I'm not being serious of course as that would be an insanely flimsy justification to buy one *
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
* Note from wife - Yes he is being serious.
 
 
 

It wouldn't bother me either.
Using their calculator, this is what that max 45fps at 12:K 3:2 BRAW 8:1 looks like.

Using that as the guide, bumping up to the maximum 60 fps before the B-Mount 24.8v battery is needed would enable this in 8K with some headroom even with the lower compression of 5:1

That would be absolutely fine for me, particularly when the rolling shutter in 8K is down to global shutter territory at 5.5ms.
Upgrading the battery to 24.8v B-Mount would open up the rates above 60fps so keeping the data rate within spec would get this at 100fps at 8K

And dropping to 4K would get the full 144fps as well as a better compression ratio of 3:1.

All of that is theoretical based on the max data rate BM quote for CF Express and there may be as yet undocumented restrictions so it remains to be seen.
So its perfectly viable with the stock media option of using CF Express and the far more affordable 14.4v V-Mount battery solution and there is even an argument to say that if over 60fps is not a fundamental necessity and only a very rare requirement then hiring a B-Mount battery is a viable (and client chargeable) option.
The compromise play would be to buy a bi-voltage B-Mount battery such as the SWIT BIVO which is switchable between 14.4v and 24.8v to give you the boost when needed for the higher frame rates.
Looking at comparable SWIT 98wh batteries, the BIVO is around £350 more expensive than their regular 14.4v V-mount so the best way to think about it is you would basically be paying £350 for a high speed license.
 Not bad really.

Well it looks like you can’t keep a good man (and his Lamborghini) down.

It is currently going about as well as expected.
 

With the recent price drop, the Pocket 4K is now under £1K new and that has pushed used prices below £700 so they are now far more affordable.
It shoots ProRes as well as BRAW so theres no need to get involved with Resolve and even if you did want to shoot BRAW there are now direct importers into FCPX.
As you are shooting multi-camera for live events etc then the BM range are absolutely hands down better options than any other range for work like that. 
With the ATEM Mini Pro series starting at under £300 you can do the live camera switching (or even just very efficient multi camera monitoring to a single monitor) and have full remote control of the cameras as well.
If you get three used P4K cameras and the ATEM Mini Pro, then its £2.5K for the whole integrated multi camera system and the cameras are obviously more than capable in the cinema role too.
Particularly as it is roughly the price of a single X-H2S.
Without the live aspect then options such as the X-H2S etc are a good choice of course but as an all round system for fulfilling the different roles that you've listed then the P4K x3 /ATEM Mini Pro is far more suitable in my opinion.
 

With the recent price drop, the Pocket 4K is now under £1K new and that has pushed used prices below £700 so they are now far more affordable.
It shoots ProRes as well as BRAW so theres no need to get involved with Resolve and even if you did want to shoot BRAW there are now direct importers into FCPX.
As you are shooting multi-camera for live events etc then the BM range are absolutely hands down better options than any other range for work like that. 
With the ATEM Mini Pro series starting at under £300 you can do the live camera switching (or even just very efficient multi camera monitoring to a single monitor) and have full remote control of the cameras as well.
If you get three used P4K cameras and the ATEM Mini Pro, then its £2.5K for the whole integrated multi camera system and the cameras are obviously more than capable in the cinema role too.
Particularly as it is roughly the price of a single X-H2S.
Without the live aspect then options such as the X-H2S etc are a good choice of course but as an all round system for fulfilling the different roles that you've listed then the P4K x3 /ATEM Mini Pro is far more suitable in my opinion.
 

With the recent price drop, the Pocket 4K is now under £1K new and that has pushed used prices below £700 so they are now far more affordable.
It shoots ProRes as well as BRAW so theres no need to get involved with Resolve and even if you did want to shoot BRAW there are now direct importers into FCPX.
As you are shooting multi-camera for live events etc then the BM range are absolutely hands down better options than any other range for work like that. 
With the ATEM Mini Pro series starting at under £300 you can do the live camera switching (or even just very efficient multi camera monitoring to a single monitor) and have full remote control of the cameras as well.
If you get three used P4K cameras and the ATEM Mini Pro, then its £2.5K for the whole integrated multi camera system and the cameras are obviously more than capable in the cinema role too.
Particularly as it is roughly the price of a single X-H2S.
Without the live aspect then options such as the X-H2S etc are a good choice of course but as an all round system for fulfilling the different roles that you've listed then the P4K x3 /ATEM Mini Pro is far more suitable in my opinion.
 

Isn’t this precisely what Blackmagics were designed for? 

The corruption on the license plate coincidentally features a fragment of the plate of the car that images of may well have been used to train it with.
The car is a Porsche factory one that was provided to reviewers so enough images of it from different sources to train it.
 


Could just be a massive coincidence of course .....
I think a new parlour game in the upcoming years when generating this stuff becomes more readily/instantly available will be image makers entering a specific prompt describing one of their own images that they have put online and determining how much has been lifted from their work based on the output that comes back.
 

The voiceover was real.
This is the card at the end of the video.

 
Well, there’s the rub.
Whatever it was trained on was certainly very real.
Looking at this frame, I’m pretty sure if you went through enough of PotatoJet’s YouTube content you’d find the ,shall we say, “inspiration” for it.

The corruption on the license plate coincidentally features a fragment of the plate of the car that images of may well have been used to train it with.
The car is a Porsche factory one that was provided to reviewers so enough images of it from different sources to train it.
 


Could just be a massive coincidence of course .....
I think a new parlour game in the upcoming years when generating this stuff becomes more readily/instantly available will be image makers entering a specific prompt describing one of their own images that they have put online and determining how much has been lifted from their work based on the output that comes back.
 

The voiceover was real.
This is the card at the end of the video.

 
Well, there’s the rub.
Whatever it was trained on was certainly very real.
Looking at this frame, I’m pretty sure if you went through enough of PotatoJet’s YouTube content you’d find the ,shall we say, “inspiration” for it.