eatstoomuchjam

Huh. A Sub-$3k cinema body in that form factor could be really compelling. The big question now will be what sensor they put in there. If it's an IMX410, it'll be big shrug from me - but if it's a newer sensor, maybe the one used in the S1 II, and they have 10-bit ProRes and, ideally, some 12-bit codec, it could be a compelling product. Otherwise, the Nikon ZR exists, costs less, and can be shoved into any of the same spaces that the Vista would fit in. Also has decent face detect AF which is really useful when the camera's shoved into a tiny nook/cranny.

On the other hand, looks like Insta360 are leaking images of their own MFT camera... all speculation at this point, but it could also be a viable entry in the "small modern MFT camera" category. https://www.43rumors.com/the-mft-revolution-is-here-first-leaked-images-of-the-insta360-mft-camera/

Some nice updates, but even if they were available in my country, I'm not sure there's anything in there that would make me upgrade from the Pocket 3 that I already have. I took the train to Chicago last weekend and made a short film with some friends and I brought the Pocket 3 and the Ursa Cine 12K LF. It turned out to be less of a crazy combo than one might think. HIgher maximum frame rate? 🤷‍♂️ Higher bitrate for video? Nice, but not a "buy now" 10-bit D-Log vs 10-bit D-Log M? Also nice, but not a "buy now" Higher resolution for photos? 🤷‍♂️

I think you're right. The 5D II has some sort of full frame 4K raw if I remember right, but that's well out of the price range. I think you mentioned the C70 in another comment - used prices on them are just about in your price range. If you don't anticipate shooting in >4K for any reason, the C70 is really a hell of a camera. The DGO sensor + somewhat soft OLPF really makes some of the loveliest images that I've ever seen. Canon's focal reducer can also be locked onto the front with screws so anything that can adapt to EF will look full frame-ish. Built-in ND's are fantastic. Though it lacks IBIS. I really don't think it's the camera for you, but the DGO sensor is a really big deal. You understood right and I was just flat-out wrong. My mistake, sorry about that! A Z6 III that costs less than a ZR? As dreamy as the small size of the ZR is, for me, that'd be an easy choice. Sheesh!

For sub-$2,500, a used EOS R5 ticks a lot of your boxes, I think. Afraid of overheating and want longer takes? R5C is right at the top of your price range, but would be doable. If you're willing to compromise on IBIS for the Nikon ZR and if you're willing to bypass stills, a used OG Komodo is just in the $2,500 price range. If you already have some stuff around for rigging up a cinema camera, you'd be able to use it pretty cheaply after that. If not, you'd probably be in a few hundred bucks more and out f your price range. The Komodo does have a built-in gyro, though, so it can be stabilized. Otherwise, the ZR seems to be a fantastic choice. A used Nikon Z8 would be just out of your price range, but would also be a really solid choice. A used Z6 III would do you really well too. Price is about the same as a brand new ZR. lensrentals.com has a used BMCC 6K for under $2,500 as well. It's a sensor from 2018, but you can get good results and nowadays, it has surprisingly good autofocus. No IBIS, though.

None are shown on any pictures. Luckily, there are about a bazillion lenses that can be adapted to Micro 4/3 mount - including a lot of C-mount lenses and probably at least some D mount lenses will cover or work in a cropped mode. 'The same 50MP 1" sensor as..."

The Z Cam E2-F6 does open gate 12 bit raw by HDMI to external recorders in 3:2 open gate IIRC. It uses the same IMX410 sensor from 2018 - which was about when that camera was released. The X-H2S also does 3:2 open gate 12-bit raw over HDMI, though it isn't full frame. Heck, even the X-M5 which costs like $900 brand new can do 3:2 open gate 12-bit raw over HDMI - again, not full frame, but given the existence of high-quality focal reducers, beautiful vintage glass made for S35, and beautiful Fujinon glass, I'm not really sure that matters too much. The Canon R6 III does full frame 3:2 open gate raw and costs less than Pyxis. The Canon C50 barely costs more (and is about equal if you buy a Pyxis monitor to fix the side screen ergonomics problem) and has full frame 3:2 open gate raw. Also, I'm pretty sure the S1 II and GH7 support open gate (3:2 and 4:3 respectively) in ProRes RAW for internal recording. I can't remember if the S1R II or the S1 IIe or whatever the "lite" version is called do. The S1 II is a bit cheaper than the Pyxis and doesn't have the poor ergonomics of a non-moveable screen stuck on the left side of the camera - and I'm pretty sure it's also using a newer sensor. And back to S35, a used Pyxis and a used OG Komodo are pretty close to the same price now. Of course, open gate on the Komodo is 17:9 so it's not a dream camera for people trying to double-frame for single take social media stuff, but it is also a global shutter and at least claims to be using a 16-bit raw codec (some users believe OG Komodo is only sampling 12-bit data from the sensor - FWIW, dynamic range seems pretty similar to what I remember from my E2-F6 which was IMX410 so it's probably similar to Pyxis 6K). And FWIW, in terms of "the user experience," I'd gladly take the ergonomics of the tilty screen of my GFX 100 II shooting video (which means, probably any of the Fuji APS-C cameras too) over trying to navigate menus on a touchscreen on the side of my camera, especially if on a high hat or similar. I've considered Pyxis 12K despite the ergonomics problems (partially mitigated by Pyxis monitor), but for the price, the C80 with internal ND and triple native ISO becomes a lot more tempting to me.

And similarly, nobody is saying that they shouldn't also announce broadcast stuff at NAB. They certainly have done so in every other year in recent memory. It's just that after sitting through an hour of tedious broadcast gear updates, in every other year, the non-broadcaster viewer was rewarded with the updates on the gear they were interested in. Again, as they usually are, but broadcast-oriented is not synonymous with broadcast-only. And no, nobody forced anybody to do anything. I watched because I was interested to see what new products I might be interested in owning. I was irritated that the entire product segment that interests me was almost completely ignored, outside of the software that I use to edit. Again, stop trying to make it some idiotic meh meh meh it says broadcast, they didn't mention consumer cameras thing. Other people, including me, are allowed to be annoyed by something, even if it doesn't bother you.

4Kp240 is pretty neat. If they had pricing in there, I missed it - but if Mission 1 Pro ILS is <$700, I might take a flyer on it. They made almost exactly the camera I've wanted for a while now. The sensor could be a little better, but a 1" sensor ain't bad. If it has usable low-latency HDMI out (or a small adapter to get it), it could be a semi-ideal lightweight travel camera.

This is an intensely stupid take. For the last several years, BMD have been announcing their entire line of new cameras/gear in their NAB update, regardless of whether they were directly aimed at broadcast. Having been to NAB, I can tell you that a majority of vendors there aren't selling things directly aimed at broadcast. But please don't let any of that get in the way of your dumb pedantry. If Petty had started the stream by saying "Hey, everybody. We're focusing on broadcast for NAB this year, but we'll have another product announcement ahead of (other camera show)," I think that a lot of their owner-operators, including me, would have shrugged, tuned out, and not cared much. Derp derp derp. BMD have been aggressively pursuing the consumer/prosumer market since 2018 when they released the BMPCC 4K. It is not crazy to be irritated that in what has generally been their yearly new products update, they seemingly abandoned that entire market... "Multicamera livestream, but with two square streams instead of one rectangular one" is not a revolution. It's tedious evolution. "We needed more data so we upgraded to 100gE" is also not a revolution. And almost no product that they announced was revolutionary, it was "our old product but newer" and/or "a box to convert things."

The time for speculation is over! https://gopro.com/en/us/news/gopro-announces-three-cameras-mission-1-2026

Invented is a real stretch there. As soon as VR headsets were a thing, it was obvious that people would eventually want to do it live. Adding multiple cameras into the mix, with the associated awful jarring jumps between places, is hardly a revolution. Plus there's the dystopia of standing amidst the futbol players after a goal is scored celebrating with them... only to a second later be standing in the midst of an immersive ad for erectile dysfunction pills. That's fine, but for me as a filmmaker, I really just don't give even a nugget of a shit about any of that stuff. I would have really wanted some sort of bridge between the $5,000 and up gear with their fantastic RGBW sensors and the $3,500 and below gear which mostly uses 5+ year-old Sony sensors (such as the Pyxis 6K which uses an IMX410 from 2018, old enough to be in grade school). IMX410 is a great sensor, but as Andrew pointed out, I can go buy a cheaper Fuji with a newer/better sensor. An X-H2s costs less and has half the readout time and better dynamic range - and with the money saved, I can add raw and a second monitor with a Video Assist 12G. Bonus: the video assist won't be locked in place awkwardly on the side of the goddamn camera.

Do they assemble them in-house? I assumed they'd just outsource a lot of that stuff to someone like FoxConn, if not FoxConn themselves. If they're running with only 600 total employees, I'd guess that the layoffs were in engineering, sales, support, etc, probably with a bit of middle management thrown under the bus with them. After all, it's almost never the executives, they've already proven their value by fucking up the strategy and driving the company into the ground. Better give them a retention bonus so they don't take all that competence somewhere else. 😅

If you'd like to spend about 2 hours learning about a bunch of expensive, high-end broadcast gear, the latest Blackmagic NAB update was made for you! BEHOLD million bazillion port VIDEO SWITCHING DEVICES STARE IN AWE at a first-party mount to use 2/3" camera lenses on your FULL FRAME CINEMA CAMERA GASP WITH AMAZEMENT as instead of making the smaller, cheaper media module reader that everybody wants, they make one BIGGER AND MORE EXPENSIVE! YOU MAY HAVE PAID FOR THE WHOLE SEAT, BUT YOU WILL ONLY NEED THE EDGE ------------- Resolve 21 looks nice. Otherwise, 0 new consumer products. Every single thing that they announced today was for broadcast and specifically seemed targeted at sports broadcasters, the only people who are trying to multiplex 50+ 4K+ input streams to 50+ output devices all at the same time. I suspect that rampocalypse pricing for components has basically obliterated profit margins on any consumer gear that Petty was going to announce. Maybe in 3-6 months, we'll get an out-of-cycle product release livestream.

It's not exactly confidence-inspiring when you lay off about 1/4 of your workforce right before announcing the killer new product. It seems like either GP3 isn't going to be in any shipping products for a while or GP doesn't think it will be a huge seller. Otherwise, why go to the bother of laying off a bunch of people and paying severance, only to rehire them in a few months when the new product is selling like crazy? https://www.cined.com/gopro-to-cut-23-of-its-workforce-ahead-of-gp3-camera-launch-at-nab/