BTM_Pix

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.
 

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

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.
 
 

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 ?

And it is sooo much better than Filmic Pro.
https://www.eoshd.com/news/apple-event-was-shot-with-blackmagic-camera-app/

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......

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......

BM acknowledging that adding OLPF to your 12K camera reduces the issue and gets you Netflix approved.
The issue that they were primarily addressing was for LED screens in VP rather than a gang of wedding guests in herringbone suits though.
 

Maybe a nod to the fact that within the next five years it might well only be old duffers who want to buy "real" cameras so they are looking to mirror the Morgan sports car approach to the mid-life crises.
We'll all be cutting about taking images on our faux 70s cameras wearing a tweed hat and driving gloves.
This will be us at IBC 2026

Maybe a nod to the fact that within the next five years it might well only be old duffers who want to buy "real" cameras so they are looking to mirror the Morgan sports car approach to the mid-life crises.
We'll all be cutting about taking images on our faux 70s cameras wearing a tweed hat and driving gloves.
This will be us at IBC 2026

Sat having a quiet afternoon pint and browsing this thread.
What a great thread it’s been and I hope we can all wake it from its semi slumber.

EOS-M ?
Bigger sensor for not much bigger footprint and generally available for sub £150 including the stabilised kit lens.
Thats just it as a regular camera but of course there is room to grow with RAW video though that’s far from compulsory.
Ditto room for expansion with the lenses both their own and also some interesting cheap options from Meike and 7Artisans etc.
Plus adapters for EF either speed boosted or with variable ND.
For most people the EOS-M is all about Magic Lantern but outside of that it is a great option as a very cheap compact but expandable larger sensor camera.
 

In 2024, I will be releasing five new products.
Two for live production, one for virtual production and two for music production.
In 2025, I will be having a series of long naps and returning to capturing images.

In 2024, I will be releasing five new products.
Two for live production, one for virtual production and two for music production.
In 2025, I will be having a series of long naps and returning to capturing images.

This is a fun story to think about... "I have that camera and a real Hollywood film was shot with it..."
Unfortunately, that's where the fun ends for their story. If they were allowed to have a 3 person crew, then they could have dropped their budget even more... or if they used Blender or Unreal instead of ILM to do their post...
At the end of the day, their budget was lopsided and the movie bombed, so saving thousands of dollars in camera costs wouldn't have made a difference.
That said... for someone else, that isn't glued to that silly system of making films, they could be inspired by this camera choice. 

In 2024, I will be releasing five new products.
Two for live production, one for virtual production and two for music production.
In 2025, I will be having a series of long naps and returning to capturing images.

Call me cynical but …

Call me cynical but …

Call me cynical but …

A7sIIi sensor
4K60p in 4:2:2 10-bit all-intra
4K120p in a future firmware update
5 axis steadyshot
S-Log 3/S-Cinetone
MI Hot Shoe Mount
$2,200
Watching that presentation, this camera has some very smart and practical AI features for the target market.
They'll sell a boatload of them.

It apparently will be called the ZV-E or ZV-E1 and seems to essentially be an A7Siii in the rangefinder-ish body of the A7c.
The following specs are from rumour sites so take with a pinch of salt but if this is accurate then it will be an interesting release.
12MP sensor from the Sony a7s III 4k 60p and 4k 120p video (no crop) Max ISO of 409,600 No pixel binning AF from a7R V, but it has even better detection New AI features Priced expected to be under $2,500 4k 120p could come later with a firmware update  
 

Apropos of not much really but looking at this in the camera shop today it’s interesting that here in Japan it is marketed as the G9 PRO II but not in the US/EU/UK etc 
Maybe there is hope yet for a smaller bodied non ‘PRO’ version.

The startup time on my S5ii is long to the point of me always thinking the battery is flat.
Really annoying.
I’ve had the unexplained drain as well with a battery that was in for a few weeks.
Oddly enough, I’ve just pulled the camera out of my bag to see the lever has moved itself into the ON position whilst travelling (another annoyance as it’s too easy for that to happen) and of course I was fully expecting the battery to be flat and it is still full.
So the secret to not draining the battery when it is off might well be to leave the fucker switched on !