A_Urquhart

You seem to be the very definition of a fan boy. Someone who thinks their way is the only way. I see that this camera doesn't appeal to many here on EOSHD, but then why get so worked up about it? I don't go on a HipHop forum and get all fired up that the Foo Fighters latest album isn't Hip Hop do I?

BMD have usually been quite open to allowing access to other NLE manufacturers their SDK's should they wish to implement them. We can only wait and see.

Alexa costs over 8x what this does and that's not factoring in all the special recording media and accessories that you need with it. This Ursa Mini records to off the shelf media you can buy at your local computer shop.

Something else worth mentioning, it would seem that BMD have made working with 12K easier than working with 8K from other manufacturers....even the same as working with 4K from others if what Grant said holds true. If you can record it easily, work with it easily ...then why not I suppose. You can always record 4K or 6K BRAW with no crop if you need. I'm the first to scoff at a resolution war because it usually comes at the expense of workflow but this seems different.

Fully agree Andrew.

EOSHD....the home for the small minded.

I'm not going to buy the camera myself, butI may suggest it to future productions that want to shoot 4K 9:16. You see, many people don't just choose one camera and shoot everything with it. Many people hire the right tool for the job when they need it. Yes, this camera is not for 98% of people here but that's ok. The Alexa mini is not for 98% of people here ....is that a waist of time camera?

With COVID, drive Ins are the only theatres still running here in Australia!

Because of there plenty of better solutions out there, for less money.....for me. There, i fixed it for you. Not everyone has the same needs as you, you do realise that don't you?

There was no way BMD were going to release a new Pocket with IBIS and Af. The 6K version has not been out all that long and is probably still selling like hotcakes. If BMD are not on the same page as you in terms of camera design, that's fine, find someone who is. It seems Canon meets your needs and that's great. I don't need 12K, I will not be buying this new camera but I like the direction the company are going especially in workflow. I will say that they need to release a FF camera soon to stay relevant. There are many DP's out there who are starting to use FF cameras and really loving them. It needs to be a completely new design though. Better design than the P6K but not as big as the UMP.

So you have a camera that you are extremely happy with and suits your needs perfectly....why are you so unhappy and aggressive right now?

I'm in my early 40's and started solo shooting 20 years ago. No IBIS, No AF......you don't need these features to be a solo shooter. You need to take the time to master the craft better. Please don't take that as me saying you are no good or I am better than anyone else, because I still have a lot to learn myself but not having AF and IBIS shouldn't stop you from shooting quality footage. Plus, Solo shooters have sooooo many cameras to choose from these days if that's what you need. BMD are not a compact camera maker like Sony, Panasonic, Fuji etc. They are more comparable to other professional arms like Sony Professional. BMD make much much more than cameras and the consumer market is not really their thing. I'll admit, 12K is lost on me although I have worked on my fair share of productions where we have been shooting 4K for 9:16 output and have needed to shoot with the camera on it's side.....major PITA! With 12K at least, we won't need to do that. This camera is not for everyone, and that's ok. At $10,000 it's attainable to many freelance DP's and the same price as the FX9. Sure, the FX9 is full frame and that is super desirable right now, but currently, the FX9 can't do 4K50/60p in FF and that's a major drawback to many. If BMD are are showing off right now and that results in super speedy workflows, improved codecs, improved colour science trickling down for me using their cameras at 4K or 6K (advancements in BRAW will trickle down Grant said) then I'm OK with that.

Agree, it's the Ursa Mini line that needs the update. I think that they could package it a little better though. The current form factor is great for the Ursa Broadcast users as it more resembles a broadcast camera. For others though, I think BMD could pack all the top end features of the G2 plus add a FF sensor into a more compact body like Red Komodo, Kinefinity, Z-Cam etc Would make it a more versatile camera for most.

Do I sense you're getting a bit snarky here? What have I said to bring this out? The Pocket series cameras make great B Cameras because they can be rigged where the Ursa Mini G2 can't and their image quality holds up well. Their downside is that they are a finicky camera to work with. It's not to do with money, it's more to do with size and using the tool that suits the job.

I've used AF on multiple cameras....The FX9 has fantastic AF capabilities but for Pro use, no one I have worked with so far has wanted to use AF capable lenses on it. Considering the price point of most of BMD's camera lineup, AF would add a fair bit of cost relative to the camera. Most people who would want AF would want it in a small mirrorless form factor (thinking Pocket4k users here) and considering the camera was what, $1100 USD on release, had they have added AF, it would have pushed the price up substantially.

AF can be good for some I suppose but then there aren't many lenses I would want to use that have AF motors. Personally, I don't want a quarter of the cost of a camera going into AF hardware and r&d. It's no where near as easy for BMD to implement a great and reliable AF system when they don't have their own lens mounts, lenses etc. And given the variety of cameras they make, one mount or AF system is not going to fit all. BMD, give me a S35 or FF sensor with interchangeable lens mounts (if not interchangeable, must be a mirrorless mount with short flange distance like Canon's RF mount), built in ND, a box form factor that is easily expandable, a good battery mount like NP-F or BP-U, a small screen/evf maybe like the FS7/FX9 that doesn't chew through batteries (i'd add an external monitor anyway) and most of us in the pro sector would be very happy. I have the Pocket4k and 6K myself and use them as B Cams to Alexa and FX9 etc but they are a PITA to work with. But then, if BMD did in fact get input from the likes of JB, I would assume we would see something far more workable than the Pockets. I said it years ago, but an URSA Micro Pro (Z-Cam like) would be great.

And the fact that it can shoot 4K BRAW.....which the 6K can't do

Not in RAW it didn't.

But how much does it REALLY matter? Why is it that the world's best DP's are happy shooting on a camera with a 3.2K image sensor that has to be UP SCALED when recording 4k like is the case with the Alexa Mini, and yet people on forums think a 4K sensor is not good enough?

Hmm, look at the tilt downs and pans ......bit of jitter in the motion. Not silky at all. Both cameras look great, if you cant shoot great images with either, you are doing something wrong. ?

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DELETED. Sorry, this is not how I want to spend my three days off.

Good grief, maybe posts like this should go into the motion cadence thread eh? I never said motion cadence wasn't a thing. We are replying to your comments that all film motion is smooth as 'silk' and I'm stating that the motion cadence of that original clip you posted was "smooth as silk" because it was shot and even delivered at 50p! Now spare us all the posts that are as long as Gone with the Wind and a little off topic in this thread and stick to the other thread you resurrected about motion cadence.

Yep this. And the fact that motion blur acts to hide the stutter. Skip, this same stutter happens in film (it's not limited to digital sensors, as you can read in the Cinematography thread I linked to. Adios, I'm moving on from this.....

I still don't understand what you are trying to convey here. The industry accepts that images shot at 24p have 'stutter' for lack of a better word. There are ways to minimise it in the way you shoot, but 24fps can only provide smooth motion up to a certain point. https://cinematography.com/index.php?/topic/65391-a-question-about-motion-cadence/&do=findComment&comment=418530 Maybe read that thread and argue your case there. I don't know but I think this conversation is probably boring the hell out of people wanting to know about the P6K.