A_Urquhart

It's easy to clean that cable up with
some clever cable management (unlike the photo). A good 1st AC will sort that out quick smart. Having a cable means it can be adjusted and placed anywhere on the camera quickly and easily. 
 
The current Alexa Mini is pretty easy to solo operate really. Such a great menu system and most of what you need is accesible by the buttons on the EVF/screen
This may have been mentioned already but I genuinely am curious about the following..... Why isn't anyone here seriously complaining about the lack of IBIS, Auto focus or the fact that it isn't Full Frame? Is it because the camera is so far out of reach price wise that you just don't care? 
So, when other companies make cameras that are not too far away from this image wise such as Z-Cam, Blackmagic etc (I know the Alexa trumps them image wise, but I have used Pocket Cameras as B_Cams to Alexa Minis in the past without too much issue), do people complain that those camera don't have IBIS, AF and FF just because they are priced in reach of people who need those features without really realising who those cameras are aimed at? Is the Problem with other manufacturers the fact that they price their cameras too cheap?
We seem willing to accept the lack of features in a $75,000 camera but when someone comes along and gives us 70% of that camera in a much cheaper package, we wine about it not having feature XY&Z.
Not wanting to stir the pot, just genuinely interested as to how people think.

adequate
There isn't much reason to comment on the Alexa 35, other than to ogle over the image. This is because almost no one here will really be using it.

If you are getting a Blackmagic Pocket 6k you are grasping for whatever you can get ahold of to make your barely adequate shoots work. That is my take at least. I have heard complaints about the Alexa 35 but it's from people who will actually be using it and it doesn't have to do with autofocus or IBIS as that doesn't really exist in that space.

A lot of people buying cheaper cameras have to choose between that or something else and they want it all in one as most can't afford multiple systems.

Sounds like most of your gear is sitting unused. It doesn't really matter what you shoot nothing on, it will all look like nothing. 😜

Sounds like most of your gear is sitting unused. It doesn't really matter what you shoot nothing on, it will all look like nothing. 😜

Sounds like most of your gear is sitting unused. It doesn't really matter what you shoot nothing on, it will all look like nothing. 😜

Only took half a dozen posts to get on to AF......or lack thereof 🤦‍♂️
High end cinema cameras don't really need AF.
For a start, there aren't many lenses out there used in cinema that have internal focus motors. 
Secondly, there is a thing called a 1st AC or 'Focus Puller' that is usually on set when a camera of this calibre is used. 
Thirdly, there are plenty of manufacturers such as Arri, CineRT, Teradek RT, Preston etc etc that are working on and already provide AF in their lens control systems that CAN be used with manual cine lenses.
Pulling focus is part of the narrative, until a lens or AF System can read a script, I don't thing AF will be common in Cinema.
Lastly, Imagine watching a film on the big screen.......I would MUCH prefer to see the organic way a Focus puller finds focus to how many AF systems occasionally hunt and snap into focus. It would look awful on the big screen and extremely distracting.
I'm not against AF all together.....it has a time and a place but in a camera like this? I don't think so.
An autofocus system on a true cinema camera can be used to complement the Focus Puller and used in certain cases. It is part of the focus pullers tool kit and therefore I believe, that it should be incorporated into the lens control system rather than the camera itself. 
 

Agreed.
The lines are further blurred because 95% of people out there who call themselves ‘cinematographers’ really aren’t. They are videographers. 
There is so much more to cinematography than just pointing a camera…..just because you own a Red  doesn’t make you a ‘cinematographer’ but that’s a discussion for another post. 

Only took half a dozen posts to get on to AF......or lack thereof 🤦‍♂️
High end cinema cameras don't really need AF.
For a start, there aren't many lenses out there used in cinema that have internal focus motors. 
Secondly, there is a thing called a 1st AC or 'Focus Puller' that is usually on set when a camera of this calibre is used. 
Thirdly, there are plenty of manufacturers such as Arri, CineRT, Teradek RT, Preston etc etc that are working on and already provide AF in their lens control systems that CAN be used with manual cine lenses.
Pulling focus is part of the narrative, until a lens or AF System can read a script, I don't thing AF will be common in Cinema.
Lastly, Imagine watching a film on the big screen.......I would MUCH prefer to see the organic way a Focus puller finds focus to how many AF systems occasionally hunt and snap into focus. It would look awful on the big screen and extremely distracting.
I'm not against AF all together.....it has a time and a place but in a camera like this? I don't think so.
An autofocus system on a true cinema camera can be used to complement the Focus Puller and used in certain cases. It is part of the focus pullers tool kit and therefore I believe, that it should be incorporated into the lens control system rather than the camera itself. 
 

Yep!
I don’t think the price would be considered expensive for what you get. 
let’s compare : 
- full frame camera body that records in ProRes or 6K RAW . Shall we compare it to Z Cam E2 F6? That’s $4000USD
- Ronin 2 gimbal $900
- Tilta float system (for stabilizing 4th axis) $1800
-5” 1000nit monitor (Shinobi) $300
- Lidar system (the one for RS2 is $200 but this looks much better) $200
So around $7200 for the above which is a much clumsier, bulkier setup. And  you would need to spend much more than that to get everything to interface so I’m going lean on this setup by not including things like ND filters as the 4D has internal)
The D4 6k is 7199 and it’s a much more complete and easy to use package. The biggest issue really is because it’s an all in one design, if you have an issue with the gimbal that means your camera is unusable as well and vice versa. Also, cameras date quicker than gimbals but it looks as you can replace the camera and gimbal assembly on these pretty easily so hopefully when dji release a new 12k (😝) sensor you can update just it and the gimbal assembly. 
 

I’ve been asking a few range finder manufacturers for this very feature and DJI have implemented it very well! 
Camera/Gimbal looks kinda weird but DJI have done an amazing job. Without using it, I can’t think of a single thing DJI have left out of it that I need. 
I do a lot of B Camera gimbal work and if that 4th axis works as well as advertised, then the biggest issues with gimbals have been solved with this . Firstly, rigging and balancing them up with different bodies and lens combos can be tedious and getting them as smooth as a Steadicam on the 4th axis still requires some kind of vest/Steadicam type setup. This looks to have solved these issues for the most part. 
Interchangeable lens mounts, internal ND, great codecs, and a clean menu system that looks to rival Blackmagics……this thing has it all! ….now if it can make me an espresso on set l…..

Yep!
I don’t think the price would be considered expensive for what you get. 
let’s compare : 
- full frame camera body that records in ProRes or 6K RAW . Shall we compare it to Z Cam E2 F6? That’s $4000USD
- Ronin 2 gimbal $900
- Tilta float system (for stabilizing 4th axis) $1800
-5” 1000nit monitor (Shinobi) $300
- Lidar system (the one for RS2 is $200 but this looks much better) $200
So around $7200 for the above which is a much clumsier, bulkier setup. And  you would need to spend much more than that to get everything to interface so I’m going lean on this setup by not including things like ND filters as the 4D has internal)
The D4 6k is 7199 and it’s a much more complete and easy to use package. The biggest issue really is because it’s an all in one design, if you have an issue with the gimbal that means your camera is unusable as well and vice versa. Also, cameras date quicker than gimbals but it looks as you can replace the camera and gimbal assembly on these pretty easily so hopefully when dji release a new 12k (😝) sensor you can update just it and the gimbal assembly. 
 

There is a huge market that sits between high end cinema and DSLRs on RS2 Gimbals. The 4D will be perfect for that market.  It’s not niche. 
 
Again, the Lidar waveform is the feature I’m most excited about. I do a mix of operating and Focus Pulling probably around 30/70 respectively and this Lidar waveform is what I have asked other companies for.
DJI’s implementation looks amazing so I’d love for them to release a professional follow focus system based on this technology but with a hand unit that is more in line with ones from Arri, Preston or TeradekRT rather than the dinky systems dji has released in the past. 

There is a huge market that sits between high end cinema and DSLRs on RS2 Gimbals. The 4D will be perfect for that market.  It’s not niche. 
 
Again, the Lidar waveform is the feature I’m most excited about. I do a mix of operating and Focus Pulling probably around 30/70 respectively and this Lidar waveform is what I have asked other companies for.
DJI’s implementation looks amazing so I’d love for them to release a professional follow focus system based on this technology but with a hand unit that is more in line with ones from Arri, Preston or TeradekRT rather than the dinky systems dji has released in the past. 

Yep!
I don’t think the price would be considered expensive for what you get. 
let’s compare : 
- full frame camera body that records in ProRes or 6K RAW . Shall we compare it to Z Cam E2 F6? That’s $4000USD
- Ronin 2 gimbal $900
- Tilta float system (for stabilizing 4th axis) $1800
-5” 1000nit monitor (Shinobi) $300
- Lidar system (the one for RS2 is $200 but this looks much better) $200
So around $7200 for the above which is a much clumsier, bulkier setup. And  you would need to spend much more than that to get everything to interface so I’m going lean on this setup by not including things like ND filters as the 4D has internal)
The D4 6k is 7199 and it’s a much more complete and easy to use package. The biggest issue really is because it’s an all in one design, if you have an issue with the gimbal that means your camera is unusable as well and vice versa. Also, cameras date quicker than gimbals but it looks as you can replace the camera and gimbal assembly on these pretty easily so hopefully when dji release a new 12k (😝) sensor you can update just it and the gimbal assembly. 
 

I completely disagree.  Unless it's got poor IQ (which we haven't seen yet) or you're talking about brand anxiety and status on set, it's actually a superior option in many cases, because its competitor is not a shoulder rig, it's competition is a ronin / easyrig combo because it has a z-axis stabiliser:

or perhaps even a ronin / steadicam, depending on how easy it is to do big vertical moves:

Amusingly, Hollywood seems to be voting against you, as the default approach for high-end cinema appears to be stabilised unless otherwise required, rather than the other way around, which seems to be your preference.
I find that one of the fastest ways to make footage look amateur is to have the cameras location (not rotation) shake.  ie, IBIS and gimbals stabilise the cameras rotation so the image doesn't move around, but the cameras position often shakes giving that terrible effect of having the background stay stable and the items in the foreground shake due to the parallax error.  
Hollywood doesn't do parallax shake because the camera is on sticks / crane / slider which controls the cameras location, or on the shoulder of someone standing still which provides more rotational movement than location movement, or on a steadicam where the cameras location is very fluidly controlled.  The only exception is when "hand held" was in the brief, in which case it's appropriate.
I film exclusively hand-held for all my projects using IBIS, which is appropriate to their aesthetic, but I try and avoid moving the camera at all while filming to avoid the shaky parallax error.
Tragically, this level of innovation is not remarkable.  In any other tech sector, this would be normal.  The only reason this stands out is because the rest of the industry is lazy and complacent.  I include companies like Panasonic in this comment.  
The industry has lowered our expectations dramatically to the point where the only ones we actually complain about (eg, Canon) are, when compared to other tech sectors, positively comatose.
Imagine an app developer coming out with a big release - "here's version 48 or our app - it's got 25% more resolution than v47 but as usual the 16 most significant issues are unchanged, just like every other release since the first version of our app over a decade ago".  The camera industry will get eaten by tech companies eventually, and it can't happen soon enough TBH!

Do you need HDMI loop through? If so, the Portkeys has it. Atomos and SmallHD do not which is their major downfall for me. 
The LH5P is a nice monitor and I use it for gimbal work. It’s nowhere near as easy to use as my SmallHD 702 Touch as that has a great menu system compared to the average one on the Portkeys but the image of the LH5P is nice and bright enough for outdoor use. I also like being able to control my Pocket6K pro from the LH5P screen. Means rarely having to touch the camera when on the gimbal. 
I think the LH5P is the one to get of the monitors you mentioned and you will get used to the clunky menu system after a bit of use. 
 

The biggest advantage for me of the Ursa Mini 12k is the in sensor scaling. 
In theory, being able to shoot full sensor 4k BRAW or 8K BRAW with no crop is a big advantage.  
The Pocket6K Pro for example can only shoot 6K in BRAW. My clients usually want 4K or 1080p so for full sensor 4K or 1080p I have to deliver in ProRes.....which is fine TBH 90% of the time. 
I haven't seen any tests of this 'in sensor scaling' for BRAW but if it works well, I'm looking forward to this sensor tech in an 8K or even 6K version coming to the Pocket Pro or even a new more modular designed camera in the not too distant future...please BMD! 

The BBC using Rode Wireless Go's for an interview with Prince Charles.
What on earth were they thinking having them mounted in that way??!!
Saying that, the sound is not too bad but why oh why would you not hide some lavs?
 

The BBC using Rode Wireless Go's for an interview with Prince Charles.
What on earth were they thinking having them mounted in that way??!!
Saying that, the sound is not too bad but why oh why would you not hide some lavs?
 

Sliders are definitely not underrated on professional shoots. Most grips have a Dana Dolly in the van and it gets used most shoots. Obviously movement is more limited than a gimbal but the results are far better. 

I rarely go over 800 but have done quite a few times on the 6K pro quite a few times without issue. With the dual gain iso, you just need to know which isos to stay away from 

Do you need HDMI loop through? If so, the Portkeys has it. Atomos and SmallHD do not which is their major downfall for me. 
The LH5P is a nice monitor and I use it for gimbal work. It’s nowhere near as easy to use as my SmallHD 702 Touch as that has a great menu system compared to the average one on the Portkeys but the image of the LH5P is nice and bright enough for outdoor use. I also like being able to control my Pocket6K pro from the LH5P screen. Means rarely having to touch the camera when on the gimbal. 
I think the LH5P is the one to get of the monitors you mentioned and you will get used to the clunky menu system after a bit of use. 
 

Do you have a source for this or are you making stuff up?

Yep, fair enough. I can kind of see  where you're  coming from

No, it is independent of the sensor plane so it can be mounted as required as long as the relationship between the position it was in when calibrated for the specific lens is maintained when you then use the lens.
However, if you do want to move it, there is an option when you load the lens from the database to apply an offset and specify the direction of it.
As well as the supplied R1 compact controller, there is a preference option to use the REC button of the Tilta hand controllers to toggle AF-C on and off.
You can also use the wheel to control focus manually in conjunction with the AFX's AF functions.
So if you use the AF-S function, for example, to snap to a focus position then you can trim that with the wheel such that the wheel will take over when it reaches the focus point where the AF function has just driven then lens to.