Savannah Miller

If it's a customized variant of gh5s and terra 4K sensor then rolling shutter should be very fast.  GH5s is around 10.5ms and the Terra 4K is 8ms.  That's a top-of-the-line performance for any camera of that size, and honestly better than most bigger cinema cams too.  Newer RED 8K cams are quite slow sensor readout times and so are the really large Mostro/Vistavision sensors as well.

There's actually very few cameras that match that performance.
4K VFX is actually very slow.  The way our pipline typically works is we ingest reels of shots directly from the show and then generate the plates ourselves from original camera files and edl/xml data.  Shows not shot on Alexa maybe things are different, but this is the general workflow.  4K dpx frames are around 50mb each, so with 20 people all accessing a server requesting these large files, it's noticeably slower.  We have insanely fast workstations, but that doesn't make a difference when you're server can't keep up.

Only 4K shows that I do are netflix/hulu and occasionally there's a lower budget show that shoots on RED and they tend to do 4K post.  But I think they master at 1080.  Everything generally takes about 2x longer with 4K, but I have tricks that I can still work fast.

Yeah.  I work in VFX and every show I've ever worked on is Prores 4:4:4.  Never had the luxury of an Arriraw show other than maybe a few Game of Thrones shots (not sure if they were raw) but I don't think it would make much of a difference.
The only real difference between RAW and Prores that I see is that you can adjust your exposure using linear sensor values which makes it generally easier to just slide up and down the exposure.  With log, it's a bit more tricky and using a color space transform to linearize helps too. But even then, that's not a huge issue unless you expose incorrectly which shouldn't happen.
Maybe if you have moire/aliasing you can change how you debayer to help hide some of that too, but I don't work in that area so I wouldn't know how much that helps.  Other people at work sometimes blame keying errors on the internal sharpening that some of our shows shoot with, but I haven't found it a huge problem.

He answered many times on various forums that it's basically smaller and lighter so you can handhold it and get the shots you want.  Alexa is a huge camera and hard to wield.  Alexa Mini is smaller than Ursa Mini/Pro but it's a nightmare in terms of ergonomics so you have to rig it and then it's larger.  So it's more/less a matter of which camera is easier to use to get the shots you need.

He does use Olympus EM-1 Mark II as well on the show.

Actually sometimes the Ursa Mini Pro is actually a BETTER camera image-wise too.  It has much more shadow dynamic range vs the Alexa so it tends to look better in low-light.  I'd also say it has slightly more FPN if you have to lift the blacks of your image (which you never do), but in the upper and midrange it's a cleaner image.  In the scene he linked of Nevin and Hawkins privately chatting in one of the rooms, the Ursa Mini likely performs better than the Alexa would in the same situation.

 

He answered many times on various forums that it's basically smaller and lighter so you can handhold it and get the shots you want.  Alexa is a huge camera and hard to wield.  Alexa Mini is smaller than Ursa Mini/Pro but it's a nightmare in terms of ergonomics so you have to rig it and then it's larger.  So it's more/less a matter of which camera is easier to use to get the shots you need.

He does use Olympus EM-1 Mark II as well on the show.

Actually sometimes the Ursa Mini Pro is actually a BETTER camera image-wise too.  It has much more shadow dynamic range vs the Alexa so it tends to look better in low-light.  I'd also say it has slightly more FPN if you have to lift the blacks of your image (which you never do), but in the upper and midrange it's a cleaner image.  In the scene he linked of Nevin and Hawkins privately chatting in one of the rooms, the Ursa Mini likely performs better than the Alexa would in the same situation.

 

Prores Raw does have advantages.  It can be edited natively in Final Cut/Premiere (hopefully) and it's extremely CPU efficient.  Cinema DNG not so much.  It would basically be similar to working with R3D files only a little larger in size which is the one thing that turns people away from RAW in the first place.
From what I understand there are some problems with it.  Firstly, I believe it's 12-bit linearly encoded which is awful.  12-bit linear encoding is what the original REDONE caputured.  Log encoded raw or 16-bit linear is much better for preserving color information.  Secondly, a lot of color science stuff is contained within the CinemaDNG format which likely doesn't translate over to ProRes raw.  
I could be wrong about those things, but it definitely would be a nice feature to have when you want the convenience of ProRes with raw data.

Older blackmagic cameras with gen1 color science (BMCC, BMPCC, Micro, etc.) have much less sophisticated color science than the modern Blackmagic cameras.  They look good with nice dynamic range and good skintones, but when you want to match them to better cameras, it's a little bit harder. It probably has more of a baked-in look that people prefer.  The color science of the newer 4.6K Blackmagic camera is very nice and matches much better to higher-end camera systems.
I think mainstream is a good thing with this new Blackmagic camera as it will get their name out there even more to the general public.  If they sell a large enough volume of cameras they might even make other manufacturers reconsider the features they're putting in the cameras which will benefit everyone.

No. I'm saying Blackmagic is a PRO camera but it also is affordable for the average user.  If Blackmagic builds a camera that's TOO high-end, you risk losing a lot of mid-range customers.  There aren't a lot of cheap SDI monitors, and the everyday user of this camera will be using HDMI.  
Sure it's a professional camera, but Blackmagic's greatest strength is making their cameras affordable to the masses.  And you have to compromise and build something that both the masses and working professionals agree on.

I think SDI is "too professional" for the market Blackmagic is in.  Unless you need external recorders, a lot of monitors in the lower-tier are HDMI only.  I don't know how feasible it is to offer both connection types, but I think HDMI is more in-line with the average $1300 camera user.  For pro use, that's a different story.  Hopefully the full-size is a good compromise and offers decent durability.

I’m not sure I can agree with the absolute claim of “not useable” because...well I use them all the time in pretty bright situations.
Yes in some situations the glare makes it impossible but I can make it work the vast majority of the time.
https://www.flickr.com/gp/johnbrawley/10XBcm
Here’s an operator making do on a shoot in colombia.
 
And here’s a shot on a recent rig  
Yeah it could be brighter. But it’s not unuesable if you want a camera that’s small and compact. Or it functions well enough as your camera function screen once you fit an external monitor that better suits your needs. 
 
JB

Umm that is a hard NO.  Why do you hate BMD so much?  The guy that filmed it clearly stated he pulled it out of his RX100 mark V to use.  He said it was a very slow SD card but that was all that he had.  He actually got an email from BMD to remove his download link because they are releasing test footage very soon and review models have already been sent out.  So no, this is just the case of poor sd card and not camera performance.  12-bit is not any more difficult than 10-bit beyond the data rate which isn't camera intensive.  Higher frame rates aren't difficult as the GH5, GH5s can easily handle those in a smaller body with limited cooling.  Blackmagic has lots of cooling.
Switching to a new sensor is not easy and it's not like they can do that very easily.  You make it sound like its easy to remove/add features in 5 months before the camera is supposed to release and production needs to begin.  The only feature blackmagic has announced that has ever been removed from a camera was the Global shutter feature of the 4.6k sensor.  They had it working but it had too many problems.  The Turret for the larger URSA is also not likely happening due to the costs and issues with manufacturing it, but it totally does work and there are images released.

Blackmagic should be able to custom white balance, possibly tap to focus (very slow), delete and format in camera, and also has a wide DR setting for a nicely colored image without grading.
It can stabilize with OIS lenses, same as the GH5s, but not like the GH5 with IBIS.  It can't dual-record simultaneously and does not likely have more than 1 hour of battery life.  Blackmagic is not too far off in terms of video features but we may never know until it ships.  That being said if you use a cheap shoulder rig with a v-mount battery as the counterweight, most of the issues with IBIS and battery life are rectified, plus you can plug in an external SSD and record for hours too.

Umm that is a hard NO.  Why do you hate BMD so much?  The guy that filmed it clearly stated he pulled it out of his RX100 mark V to use.  He said it was a very slow SD card but that was all that he had.  He actually got an email from BMD to remove his download link because they are releasing test footage very soon and review models have already been sent out.  So no, this is just the case of poor sd card and not camera performance.  12-bit is not any more difficult than 10-bit beyond the data rate which isn't camera intensive.  Higher frame rates aren't difficult as the GH5, GH5s can easily handle those in a smaller body with limited cooling.  Blackmagic has lots of cooling.
Switching to a new sensor is not easy and it's not like they can do that very easily.  You make it sound like its easy to remove/add features in 5 months before the camera is supposed to release and production needs to begin.  The only feature blackmagic has announced that has ever been removed from a camera was the Global shutter feature of the 4.6k sensor.  They had it working but it had too many problems.  The Turret for the larger URSA is also not likely happening due to the costs and issues with manufacturing it, but it totally does work and there are images released.

Umm that is a hard NO.  Why do you hate BMD so much?  The guy that filmed it clearly stated he pulled it out of his RX100 mark V to use.  He said it was a very slow SD card but that was all that he had.  He actually got an email from BMD to remove his download link because they are releasing test footage very soon and review models have already been sent out.  So no, this is just the case of poor sd card and not camera performance.  12-bit is not any more difficult than 10-bit beyond the data rate which isn't camera intensive.  Higher frame rates aren't difficult as the GH5, GH5s can easily handle those in a smaller body with limited cooling.  Blackmagic has lots of cooling.
Switching to a new sensor is not easy and it's not like they can do that very easily.  You make it sound like its easy to remove/add features in 5 months before the camera is supposed to release and production needs to begin.  The only feature blackmagic has announced that has ever been removed from a camera was the Global shutter feature of the 4.6k sensor.  They had it working but it had too many problems.  The Turret for the larger URSA is also not likely happening due to the costs and issues with manufacturing it, but it totally does work and there are images released.

Umm that is a hard NO.  Why do you hate BMD so much?  The guy that filmed it clearly stated he pulled it out of his RX100 mark V to use.  He said it was a very slow SD card but that was all that he had.  He actually got an email from BMD to remove his download link because they are releasing test footage very soon and review models have already been sent out.  So no, this is just the case of poor sd card and not camera performance.  12-bit is not any more difficult than 10-bit beyond the data rate which isn't camera intensive.  Higher frame rates aren't difficult as the GH5, GH5s can easily handle those in a smaller body with limited cooling.  Blackmagic has lots of cooling.
Switching to a new sensor is not easy and it's not like they can do that very easily.  You make it sound like its easy to remove/add features in 5 months before the camera is supposed to release and production needs to begin.  The only feature blackmagic has announced that has ever been removed from a camera was the Global shutter feature of the 4.6k sensor.  They had it working but it had too many problems.  The Turret for the larger URSA is also not likely happening due to the costs and issues with manufacturing it, but it totally does work and there are images released.

Umm that is a hard NO.  Why do you hate BMD so much?  The guy that filmed it clearly stated he pulled it out of his RX100 mark V to use.  He said it was a very slow SD card but that was all that he had.  He actually got an email from BMD to remove his download link because they are releasing test footage very soon and review models have already been sent out.  So no, this is just the case of poor sd card and not camera performance.  12-bit is not any more difficult than 10-bit beyond the data rate which isn't camera intensive.  Higher frame rates aren't difficult as the GH5, GH5s can easily handle those in a smaller body with limited cooling.  Blackmagic has lots of cooling.
Switching to a new sensor is not easy and it's not like they can do that very easily.  You make it sound like its easy to remove/add features in 5 months before the camera is supposed to release and production needs to begin.  The only feature blackmagic has announced that has ever been removed from a camera was the Global shutter feature of the 4.6k sensor.  They had it working but it had too many problems.  The Turret for the larger URSA is also not likely happening due to the costs and issues with manufacturing it, but it totally does work and there are images released.

That motion blur looks bad too.  I have doubts as to whether that is really shot on blackmagic or whether that's graded GH5 log footage.

Everything you need to know about the camera that I'm almost positive is true.
The camera has no OLPF and it's the same as every other Blackmagic camera with a weaker IR cut filter.  I'm pretty sure that color accuracy is diminished when you use the stronger ones found in prosumer cameras and canon cinema series, so they use weaker ones and therefore require IR cut or IRND when using ND filters.  All Blackmagic cameras do have IR cut filters on the glass over the sensor. Moire will be visible because of no OLPF but based on every other Blackmagic 4K and higher recording camera it shouldn't be a real issue in 99% of circumstances. The screen is the same as the one found on the Ursa Mini 4.6K, 4K, and VideoAssist 4K. There are 4 video recording modes.  BMD Film, Video, Extended dynamic range video, and Hybrid Log Gamma. There are likely no limits to codecs on different recording media.  As long as your SD, SSD, or Cfast can handle the data rate it should work. Otherwise the frames will drop instantly and recording will stop. The audio preamps are the same as the VideoAssist 4K and Ursa Mini PRO so they are tested and reviews can be found online.   The Battery life is 1 hour continuous recording, but depending on other features (phantom power, USB-C SSD, etc.) the battery life will drop accordingly.  You will experience roughly 10-15 mins shorter battery life based on the power consumption of a Samsung T5 SSD. Speedbooster XL or Ultra is required for the full coverage of the sensor.  Ultra allows APS-C lenses (some might slightly vignette) and XL is designed for full-frame only.  You can likely use the Pocket speedbooster to decrease the crop factor further during windowed mode (120fps, etc.) The camera can do up to 100 fps no window. OS is similar to Ursa Mini models so much improved over BMCC and BMPCC. The sensor has 2 ISO modes.  400 and 3200.  The 400 mode is active from 200-800 and the 3200 mode will be active from 1600-25600.  So likely your raw adjustments will be around one of these two operating modes.  Any ISO changes will likely only stretch as far as the mode allows.  If you shoot in 200 ISO, you can't push it to say 12,800.  If they allow you to change ISO which they probably will. Size of the camera is similar to a 5D mark III but a little bit wider. Weight of the body is supposedly 750g body only. Camera shoots raw in lossless, 3:1 and 4:1 compression ratios.  The 4:1 is the smallest in size but artifacts slightly more than the 3:1 when pushed to extreme levels.  All of the raw modes are very good. It features the new GEN 4 color science which currently is only found in the Ursa Broadcast cameras. Gen 1 - BMCC, Pocket, Micro Cinema, Production Camera 4K, URSA 4K
Gen 3 - URSA Mini 4K/4.6K/Pro
Gen 4 - URSA Mini Broadcast and Pocket Cinema 4K
Other cameras might recieve an updated soon.