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I think Jordan's conclusion is already long ago pretty obvious. IMO we have to be bored jumpers from one to the next hybrid camera offer or strongly biased to not to see that few years from now BM will probably totally dominate in whole indie (and even above) movie making field. Their price strategy, long foreseeing in decisions, excellent timing (BM obviously will develop several lower iteration of 12k sensor) are so firmly founded. It could be easy that BM is only manufacturer with progressive profit. All in all, T think that BM final vision is enriched and plus-motivated with little bit of nice messianism, which is great - to actually revolutionize, democratize and brought creative process of movie making as whole to unbelievable art-for-all level of easiness and full sequence of affordability steps (pretty close high IQ wise cameras + codec + editing + composing +audio VFX). Say, grateful to J. Brawley's disclosure it is known that Pocket 4K was tool to accomplish one of the crucial task in biggest budget production - shooting erotic scenes in full period drama (so I guess many demanding close ups, important 'body language' choreographic underlining of plots) intercutting seamlessly with Alexa SXT and UMPG2 https://www.redsharknews.com/john-brawley-interview-ursa-mini-pro-and-alexa-join-forces-on-the-great

In comparison with few days ago posted newer promo clip for UMP12K by John Brawley - IMO this one looks ridicule at every level picture wise. Judging solely regarding provided content, promotional Peter MC's short R5 film looks far better, actually as work of seriously capable tool. I admit that is out of my grasp how and why Sony PR boаrd may approve such material as promotional for 4000+e video camera. But I have no the least amount of doubt that. say, Brandon Lee will make some masterpieces with a7sIII.

I also can't open vimeo link to see description, maybe there's some explanation for off colors - so I just judge simple about impression of provided clip. Although I'd never earlier think about Komodo, seeing all that nonsense-price/specs drama about Canon and Sony for video, suddenly that elegant compact Red offer without cables seems more interesting and more logical..

IMO Komodo has strangely strong blue color cast in this comparison besides less DR and great absence of RS.

I watched out of curiosity, because all story becomes entertaining and symbolically interesting. Rarely i had so negative impression - affected quasi friendly innocence, obvious contradictory claims with apparent goal not to be caught in easy quoted falsehood, highly slimy and cynically underestimating IQ of public by highlighting that he is not paid (with money directly, but via supported influence), than too long episode of ostensibly domestic stupid humor which has role of pumping illusion of intimacy with youtube spectator... This sugary fake behavior is so favorable in line with modern reign of hypocrisy - I don't know anything about guy and maybe about his other potential merits or achievements, but with such sort of exhibition of еxtremely shrewd fake spontaneity, he really stands out by his sort of (combination of) coating.

If overheat issue indeed is as such reported, whole case looks even out of pure logic and as comic mistake of juvenile-pretentious dilettantism . I'm probably wrong, but IMO if Canon just took care to provide 24/60p 4k RAW HQ (or even just 24/30p) and nothing more as long with, as it seems, brilliant IBIS and autofocus - they would be praised by whole video/movie making community. Even such retro capability (and retro capable) shooter as I'm, that never touched autofocus, was highly interested to try this one best of the best autofocus incorporation in combination with first class IBIS...

Thanks for this note... I don't know what he changed, but difference for me is obvious. Somewhere in these threads my first reaction about first promo clip was that natural transitions of skin tone colors somehow for me didn't look so naturally unnoticed, or 'smooth', as in UMP G2 (especially in black skin tone)... As something was slightly off with some 'jumping' nuances, or fine but noticeable off color casts and lightening decisions... But this one last example is so enjoyable to watch and feel, something almost as paintеd work of portraiture - I mean as with some very rare tactile-illusion quality.

Sorry for delay, I've found that the best price/quality ratio have Rocolax filters, say https://www.ebay.co.uk/itm/ROCOLAX-77mm-Optical-UV-IR-CUT-filter-UV-IR-Blocking-Filter-for-camera-lens/173253274325?hash=item2856b32ad5:g:AhsAAMXQUShQ8nk1

For those that aren't visiting BM forum, here is quote of Juan Melara's cheer and ask about gen 5 color science - as mentioned earlier, also with further playing with gen 5, similarity with P4KAlexa lut is astonishing - it seems as that BM engineers took his achievement as pattern to replicate in effect: "Just spent an hour or so checking out the new Gen5 colour science. The new gamma curve is great. Pretty much exactly what I’ve always wanted from BMD. Top work. But Captainhook, Blackmagic Design, any chance you could include an option to disable the Gen5 gamut mapping/limiting? Or include a colour space that has it disabled? A lot of grading workflows require access to the full unconstrained gamut. For example negative film emulation. Currently neg film emulation works so well on BMD cameras as they see and hold onto extremely saturated colours. The results I’m getting on the P6K in Gen4 are as good as any other camera I’ve shot and profiled. I’ve got extremely saturated test charts shot on the P6K and on Vision3 film and what the P6K sees in Gen4 is pretty amazing. On the Vision3 charts I can see a gradient of red values getting deeper as they saturate, then organically curving towards orange as they reach peak saturation. On the P6K in Gen4 I can see the same smooth gradient of reds as they reach the same end point but with less of the curve towards orange. In a profiled LUT based match, that organic curve towards orange is easy to achieve. In a procedural Yedlin style match that curve is easy enough to recreate. But in Gen5, that gradient of deep red values doesn’t exist, as they’ve been constrained and homogenised into a light pink tone. All the amazing colour separation is gone, which makes it difficult if not impossible to accurately emulate neg film. As you can imagine this is slightly disappointing. If the URSA 12k and the other BMD cameras are expected to integrate into high end workflows when shooting Gen5, make some colourists and colour scientists happy and please allow access to the full unconstrained gamut."

Same first thought. Smoothness of G2 image is so wonderful... BTW, although it is obviously just promo clip, that JB's skin tone show sequence doesn't look so smooth to me as, say

I see great similarity with effect of extraordinary Juan Melara's P4KAlexa achievement.

But where you hear 30-40 and 40-50 min? That lady in OP clip strictly said 30 and 40 min respectively (in theory)... and than, almost as a joke, proceeds with claim that even scrolling through menu system camera accumulate heat! That means, it IMO looks more realistically to turn down strict quote in real field usage... I'm afraid 30-20 min for 4 4k60p and 40-30 min for 4k30... all of that without raw flexibility. Actually, I'm more concerned about those notion of inevitable cumulative effect of heating. (Also I'm little bit more interested about info of comparative DR). All in all, it seems very hard to use even R6 as reliable camera.. of course, Canon colors and grading SOC easiness are pure delight and IBIS is so great to have! What a pity... plus that damned miniHDMI connector, I must have external 7 inch monitor for manual focusing 😞

Oh, there's really no reason for childish fan generalization sort of like/dislike - most of us don't complain at all, nor anything here deserves any such emotion (at least from me). It is quit possible at the same time to enjoy in coming of advanced technology and to note some common sense problem in real world usage... what exactly motivated this thread, as far as I understand. After all arguments, critics and applause for effort or step further in technology, the question, I believe, for most of us interested in matter will be simple: to spend sum of 4-5000 euro here or somewhere else? Judging from my humble criteria of projected opportunities (and zero interest in photography) - at the moment I'd spend this sum just for one really video/indiemovie workhorse, which R5 apparently is not if overheating danger/distraction exists even at base 4k raw shooting level. Someone else (probably with more free money at disposal) will greatly enjoy in different aspects of R5 offer, and it's apparently also well founded choice.

But as far as I understand, overheating is also danger even in 4k? I read somewhere that limit in 24/30p is about or less than 30min... and we still don't know if there's cumulative effect of shooting because of bad dissipation. But If overheating exists only in 8k, it would be great! (Although for myself I'd rather use two P6k instead... or buy C200B :)

With my brief indie shooting experience I have to strongly support this simply very logical question. Actually, I'm little bit shocked that anyone who ever worked and depended of group of person (even more if they are don't payed) during project session could minimize or overlook this isolate problem. I have to have at least two BM Pocket 4k camera (instead one 6k) at disposal because of their sort of uncertainty - but it's easy with 1200e camera. Mr Neumann... shooting even short film with team of just three actors, and thinking if or not you have 5min at disposal before or after overheating.... come on, really no.

It seems that it would be pretty fair if Canon sell R5 with an stopwatch as added tool, for measuring time of heating and cooling and planning activity regarding that restrictive measure. Actually, in that wanted (scrupulous and accurate with little bit self entertaining) behavior it seems strangely compatible with Covid 19 time. All discussion IMO could be summarize - many parts of R5 offer are looking great per se, but usability of sum of them extremely depends of personal decision, personal preferences, tasks, personal character. (And personal valet, of course, which is, as all we know, so often the most important factor of disclosure of personal character.)

I have! - look at this one touching beast with wide open Voigt eye (Especially regarding sensor size issue, problem with lenses with etc... Sometimes Voigtlander 17.5 wide open indeed approve itself as miracle for indie movie making. Such subtle nuances in color rendition even at f0.95 that allows just natural light and still freely play with shadows... Shane Carruth was not at all naive choosing Voigts.)

https://www.imdb.com/title/tt10244754/ Camera: Blackmagic Pocket Cinema Camera Lens: Voigtländer Nokton Series Horvath: The principle idea of the film was that it was to be shot almost like a documentary. We were shooting over a period of nine months. During these nine months we had seven shooting phases of two-weeks each that involved a very small team of five people. The team was flown in while I was in North America for the whole time. I was driving from New York to Alaska, mostly accompanied by Patrycja Planik, the actress. We were not only scouting for new locations but also shooting a lot. So there is actually quite a bit in the film that just the two of us shot. The image quality of the BMPCC is absolutely comparable to a wide range of more high-end camera options, while its compact design allows for a great freedom of flexibility and spontaneity. My choice about usable thread orientation - except to be informed that somebody has ingenious idea to use Arri for important shots or that nobody (here or everywhere) except rare connoisseurs never heard about parallax effect - gravitates towards question about further usage of nice pats of Olympus technology. Being recently in position - regarding task of undertaken project - to choose and act similarly to Andreas Horvath director of "Lillian", I'm deeply interested for further advancement of (at the moment) still unique combination of qualities that for some situations and circumstances (traveling abroad, or shooting into wild area with minimal or secrete exposure conditions, etc.) almost exclusively provide just offer of m43 format camera products. Namely achievement of stabilization/quality both in camera and in 12-100mm lens, marvelous weatherproof solidity of camera. Say, it will be so nice if Dzofilm (or Laowa etc.) could integrate know how of Olympus lenses into next itеration of some great (and cheap because of m43) cine zoom attempts. Or - sorry for repeated idea - if Blackmagic, with its generally so brave choice/concept about not protecting any of bigger format produce, really offer some completely rounded m43 camera, or (to quote A. Reid) true "giant killer".

Thanks, it's ok if detail are there - on my screen (let's pretend it's not guilty of my eyes) I see just detailed grain

Sorry, it really must be that I'm little bit blind or incompetent (or both), but - what is so special or distinctive on this shots? On my laptop screen I see so much severely crushed blacks everywhere that even it's impossible to judge DR?

So, mostly marriage with deceased/resurrected Olympus bride.. of course, with signature inscription "BM Best man Andrew Reid"!

Yes, it seems very important to know... especially regarding thread title

"Crop factor" usage of cameras with obvious issue from DP's perspective... that found their way to different Cannes 2019 selection sections: MAIN COMPETITION (Palme d’Or Contenders) - “Sorry We Missed You” Dir: Ken Loach, DoP: Robbie Ryan Format: Arri 16mm Camera: Arri416 16mm DIRECTORS’ FORTNIGHT - “The Halt” Dir: Lav Diaz, DoP: Daniel Uy Format: 4k Camera: GH5S Panasonic Camera Lens: 18mm-50mm zoom lens Panasonic, 70mm-100mm zoom lens Panasonic - “Lillian” Dir/DoP: Andreas Horwath Format: Digital, 2K, Lossless CinemaDNG RAW — and 4K for the drone footage Camera: Blackmagic Pocket Cinema Camera Lens: Voigtländer Nokton Series - “The Orphanage” Dir: Shahrbanoo Sadat, DoP: Virginie Surdej Format: Alexa Mini-S16 HD mode/ prores Camera: Alexa mini S16 HD mode UN CERTAIN REGARD - “A Brother’s Love” Dir: Monia Chokri, DoP: Josée Deshayes Format: Super 16mm, 7219 Kodak Camera: Arri 416 - “Liberte” Dir: Albert Serra, DoP: Artur Tort Format: 2K Camera: Canon C300 Mark ii (crop mode) Lens: Canon 11-138 (S16) OUT OF COMPETITION - “Let It Be Law” Dir/DoP: Juan Solanas Format: UHD 3840×2160 Camera: Panasonic GH5 Lens: Leica 12-60mm 2.8/4