Savannah Miller

Back in 2012, Blackmagic did not have S35 cameras, OLPFs, 3D LUT support, Lens Mounts, 60fps.  A dedicated monitor out as well, dual XLR, Timecode IO, 3D sync, and Wifi too.  This camera was much aggressive and high-end than the original BMCC but with the image, it had noticeably less dynamic range and the color was not as nice.

No.  Kinefinity released a 4K camera about the same time as Blackmagic and they were doing high framerate 60fps+ WELL before blackmagic was.  It came out in 2014 but was slow to ship similar to the BMPC.  But they also had  a model that released in 2012 called the KineRAW S35 which had a 4K sensor and could record 60fps.
They were an existing camera manufacturer that made astro cameras, and they were way more aggressive in giving features that Blackmagic wasn't.  BUT, they had more fundamental issues with their images that Blackmagic did not.
Blackmagic had in the early days some issues with moire and aliasing due to not having an OLPF on their lower resolution sensors.  When they switched to 4K+ it was less of a problem.  Kinefinity had tons of artifacting when shooting in the various high framerate and "sport" modes that their cameras offer.  Their monitors also had serious lag issues which they still haven't fixed on their newer cams.  But in terms of giving a camera that on paper was supposed to compete with RED cameras, they did it first.
So in the early days when it came to Kinefinity vs. Blackmagic, Blackmagic was the realistic and safer option to buy.  Now though, Kinefinity is offering so much high-end stuff (Kineback W, Small form factor with a Pro lineup of accessories), that they are now putting out something completely different to Blackmagic and they have their own niche.
 
This is from 2012 and it has 60fps, interchangeable lens mount, etc.  I'm pretty sure they had a cinema camera before that.

Ursa Mini Pro is hands down the best image and features under $10k for professional cinema use.  John Brawley was using them as a smaller camera alongside the Alexa for a lot of shows, and while I do think that while he will probably continue to use them for a while, the Sony Venice is pretty interesting.  The tethered head can get almost Blackmagic micro-like shots, and venice's current size/weight is not too far off from the Ursa Mini Pro.  It also records Prores 4:4:4 as well.
 
 
Ursa Mini Pro is interesting because it's too cheap, which also makes it possibly seem expensive as well.  Sounds weird, but  it's SO CHEAP when in reality its feature set and images can be compared to really expensive cinema cameras.  But because it's priced like prosumer or higher end ENG/cine style camera combos (FS7, EVA-1, C200) it's bigger, heavier, with lesser ISO performance.  And because it lacks autofocus and other convenience features such as smaller recording codecs, it's slightly less practical than those cameras for low-end jobs. 

That's true but it's like an ecosystem around a lackluster camera (terra 4K and 6K).  I think the pocket 4K solution of all in one is better for the type of camera that it is.  Mavo 6K and LF look much better.

Terra 4K now does cinemadng and compressed cinemadng too.  Actually I think it does up to 7:1 compression too which is  BETTER than what the Blackmagic does.  It does Kineraw too which is more options.

Those 18 stop RED claims are ridiculous.  Download the R3D's of the xyla chart and try them out for yourself in davinci resolve.  It's VERY hard to produce the dynamic range numbers they are claiming.  Those xyla chart images are misleading as they use frame averaging of multiple frames to remove noise and they use multiple ISO settings within the R3D and composite the results together.  That's not how you use a xyla chart.
 
The sensor in that video that's 18 stops is the Dragon 8K VV sensor which was never released.  Now it's the monstro sensor which supposedly is a little better.
 
In order to reveal the dynamic range numbers phil is getting, I have to set the ISO to the highest settings and crank it up further just to dig into the shadows. Even then I still can't get as much information as he is clearly getting so I have no idea what he's doing. If the camera captures 18 stops of DR, it's very hard to reveal it all and impossible to use.  
 
For a long time people on there was a long thread where asked one simple question:  If Red Dragon and Alexa captured xyla images and were processed in exactly the same method would the Alexa show the same or better dynamic range than the dragon?  Everyone was dancing around the answer when the main tester who was comparing both cameras eventually broke down and said that he believed the Alexa would show more dynamic range.  Likewise, there are tons of tests showing that without digging up lots of noise, the Alexa still does have more usable DR than helium and dragon cameras.
 
There's even old RED images showing alexa and RED MX xyla chart images side by side with a minimal DR difference.  But we all know that isn't remotely true.

13 stops is a manufacturer rating.  Some cameras have more DR despite the same numbers because they may round 12.5 to 13, or some cameras more confidently capture that range better than others too.
Kinefinity claims 14 stops on their Terra 4K camera as well as on their Mavo 6K camera.  But does the Terra 4K have remotely the same dynamic range as the Mavo 6K?  No it does not.
Likewise they claimed 16 stops in the "golden 3K" mode on the Terra 6K, but did it really have a noticeable 2 stops more?  No it did not.
"Stops" of dynamic range are just claims that anyone can make and not have to back up with evidence.  Wouldn't it be easier if blackmagic just went and said it has 13 stops so it's about the same as the original pocket?  It could be 1/2 stop less, but just doesn't market well to sell a cinema camera with a DR downgrade.  Notice how RED nowhere in their marketing ever claimed that Helium had less dynamic range than Dragon even though that was definitely true?

Oops.  It does have dual gain, but I was referring to the dual sensor readout like the Alexa and previous BM cameras use.  It helps to increase dynamic range.

No.
 
Brian from Metabones said he is NOT making another speedbooster.
The normal ones work fine for this camera unless Blackmagic did something unusual. Everything looks to be standard with this camera.

In terms of quality, maybe it's a better future investment to get full-frame lenses and the XL speedbooster for future proofing.  Otherwise, if you already own lenses, super35 speedbooster might be better.

I'm surprised John Brawley still visits this forum given some of the comments on here.
That EM 1 mark II video is very impressive given the limited dynamic range of the camera.  If 10 stops can get you those kind of images, 13 is a huge step up.

What camera / codec would you say renders adolescent acne the best? 

760g body
80g roughly for battery
25g roughly for recording media
weigh your favorite lenses
Width is the real issue as it's 178mm wide, making it one of the widest cameras on the market.  It's as wide as many very big cinema cameras.
If your gimbal has both sides with bars on them it's 99% likely it will not fit.  Ronin-M/DJI M5, etc. Even single-sided gimbals like Zhiyun crane currently have problems but fixes are being implemented.
Currently the Tilta G2X and the Ronin-S are confirmed to work.

Some TV shows shoot prores XQ, so file size is not the issue, it's just that they don't like raw.  Lossless raw might even be smaller than Prores XQ but the workflow is more expensive.

The guy who shot it was a member of the Blackmagic facebook group.  He removed it hastily after Blackmagic requested it be taken down but others reposted.  If it's truly 422 then I see no reason why the clip is only 12fps and contains so many dropped frames.

Higher end productions like TV shows are shot usually 4:4:4 1080p.  So I could assume 1080p 4:2:2 will likely be used when shots are needed with this camera.  For Netflix I assume if this camera is used, maybe we'll see more 4K DCI Raw at 3:1 for VFX work although 4:2:2 Prores HQ I think fits within Netflix recording spec for 4K capture.
High Capacity recording is nothing these days as hard drives are getting cheaper and cheaper.  Really only reason against raw is the speed of the workflow as RAW is not much different from prores file sizes.

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.

I think it does.  RED Gemini also loses 0.5 stops of dynamic range when using the "low light" mode, but given they clearly say that the low light mode is for "low light only" and the fact that they generally overclaim their dynamic range, I feel like it's probably 1-2 stops as well.

From the demo footage that was leaked, the audio did sound very good.

From the demo footage that was leaked, the audio did sound very good.

HLG as I understand it is a standard curve applied to footage for final display on a HDR / HLG complient TV.
I imagine that this is a bit like using REC709 to monitor.  You most likely only want to monitor your image using this curve rather than bake it in.  Otherwise it’s like shooting VIDEO instead of FILM.  
The Pocket 2 does feature the new version of VIDEO, EXTENDED VIDEO.  This is an awesome new curve that I’ve been using a lot in other scenarios.  This is doing what we all wish VIDEO should have done in the first place.  Make a nice looking picture that doens’t require too much post to tweak into something nice.
If you wanted to hit the HLG, I’m sure you could easily do a LUT that would do this as well if EXTENDED VIDEO doesn’t push your buttons.
JB

Not exactly.  Sensors tend to heat up when you scan them faster, so cameras will often run them slower.  Not sure if it saves power too but that could also be another reason.  They run them at the fastest acceptable speed that they can manage even though a lot of sensors can run much faster.
On "The Resident" the micro shots are easy to spot. I don't know if it's just a wider FOV, but someting about them does look off at times. Micro shots match better in color than any other small camera would, but something about them makes them easy to spot.  Ursa Mini Pro not so much unless there's an extreme highlight or something that clips a little harder than the Alexa would.  But even then it's not like it's offensively clipping or anything, it's just maybe a little more.  The strong halo/lightwrap around bright light sources might be a sign of the SLR magic APO primes, and the usage of the camera for me is another clue as to which camera is which.  Overall though the look is maintained well across all cams.
 
For the limited uses of aerial footage, if that's all from the DJI x7 then those shots are very impressive.  That camera holds up well.

Not exactly.  Sensors tend to heat up when you scan them faster, so cameras will often run them slower.  Not sure if it saves power too but that could also be another reason.  They run them at the fastest acceptable speed that they can manage even though a lot of sensors can run much faster.
On "The Resident" the micro shots are easy to spot. I don't know if it's just a wider FOV, but someting about them does look off at times. Micro shots match better in color than any other small camera would, but something about them makes them easy to spot.  Ursa Mini Pro not so much unless there's an extreme highlight or something that clips a little harder than the Alexa would.  But even then it's not like it's offensively clipping or anything, it's just maybe a little more.  The strong halo/lightwrap around bright light sources might be a sign of the SLR magic APO primes, and the usage of the camera for me is another clue as to which camera is which.  Overall though the look is maintained well across all cams.
 
For the limited uses of aerial footage, if that's all from the DJI x7 then those shots are very impressive.  That camera holds up well.

Not exactly.  Sensors tend to heat up when you scan them faster, so cameras will often run them slower.  Not sure if it saves power too but that could also be another reason.  They run them at the fastest acceptable speed that they can manage even though a lot of sensors can run much faster.
On "The Resident" the micro shots are easy to spot. I don't know if it's just a wider FOV, but someting about them does look off at times. Micro shots match better in color than any other small camera would, but something about them makes them easy to spot.  Ursa Mini Pro not so much unless there's an extreme highlight or something that clips a little harder than the Alexa would.  But even then it's not like it's offensively clipping or anything, it's just maybe a little more.  The strong halo/lightwrap around bright light sources might be a sign of the SLR magic APO primes, and the usage of the camera for me is another clue as to which camera is which.  Overall though the look is maintained well across all cams.
 
For the limited uses of aerial footage, if that's all from the DJI x7 then those shots are very impressive.  That camera holds up well.

Sony already has problems with overheating so that's probably why they can't run their sensors any faster.  Even the latest RED cameras are fairly slow sensor readout even compared to Blackmagic.  That's one of the compromises when you build a larger, higher resolution sensor.

Dynamic range of the 4K model is pretty weak.  If you compare it to they Sony F55 which is also global shutter, the performance is much worse.  So I think the 4K global shutter model was a big step backwards in image quality compared to other Blackmagic cams.  But because it was 4K global shutter, Aliasing/moire/rolling shutter artifacts were mostly gone so at the time it seemed better.  Now looking at Ursa Mini 4.6K images you can see a clear difference in the fairchild sensors vs cmosis.

Ursa mini 4k/BMPC/full size ursa are not relevant anymore with the pocket 4K coming out soon.

Dynamic range of the 4K model is pretty weak.  If you compare it to they Sony F55 which is also global shutter, the performance is much worse.  So I think the 4K global shutter model was a big step backwards in image quality compared to other Blackmagic cams.  But because it was 4K global shutter, Aliasing/moire/rolling shutter artifacts were mostly gone so at the time it seemed better.  Now looking at Ursa Mini 4.6K images you can see a clear difference in the fairchild sensors vs cmosis.

Ursa mini 4k/BMPC/full size ursa are not relevant anymore with the pocket 4K coming out soon.