eatstoomuchjam

If Blackmagic do, I think it will be for only a very small subset of their products. Half of the things that they announced at NAB this year are basically "computer in a box with special secret software in it." Plus they might say that they're not really holding anything back with their cameras.

I skimmed the video for now, will watch more in-depth later. The tripod plate looks pretty nice. I'm surprised there's no obstruction of the bottom sensors. It looks like they're at least partially blocked. If you decide to do an Arca-Swiss version instead of Manfrotto, I could be interested to give it a try. The way I do tripod plates now is that I have the pgytech beetle clip (Arca-compatible) from their backpack on the front tripod mount and a slightly longer Arca-Swiss plate on the rear one. It's not perfect, but especially with a longer clamp, I can usually balance the camera decently. My biggest headache tends to be the anti-slide screws on the rear Arca plate. Someday, I'll get annoyed enough to remove them. As for the microphone, I'm usually MOS, working with a sound engineer and syncing in post, or using lavs hooked up to a DJI mic 2 on the talent. Your solution looks pretty good, but still seems like there's some danger of the mics getting in frame when the camera is pointed down, especially with a wider lens. The microphone mount on the front of the plate also seems to block the release to detach the head for use with Flex. Plus they don't seem to have an option for a shock mount - don't you pick up some vibration noise? If it were me, I'd be inclined to just set up a shotgun mic mount that sits further back on the handle.

Official listing on their website: https://www.sigmaphoto.com/fp2

Overall, it looks like a really decent release - fixes a lot of what was wrong with the original. It's a little mind-boggling that they don't allow PRR to record to the internal SSD. Maybe there's too much heat. The S1 II sensor in a smaller camera that costs about 20% less is pretty fantastic.

It's there, but not very distinct. Here's a screen grab.

In the last year or so, I've been switching to having my projects default to ACES in Resolve with rec.709 set for the output color space. It's pretty slick. Most footage is automatically transformed into the color space by Resolve and a lot of cameras look pretty simple, even without cienmatch. One bummer is that FilmConvert doesn't support it, but Spektrafilm and Dehancer both do and both are pretty great for finding a base look to work from. Anyway, if the goal is to have a specific look, even across cameras, it would probably be a decent jumping-off point.

Funny - the reason I loved everything about the fp and lack of those things don't bug me THAT much - but my problem was that to in order to get 12-bit raw, I had to make the camera bigger than a Canon R5 which has those things as well as 8K 12-bit raw internally.

Rumors have it being the FP II which might include the S1 II sensor for about $2,500 and in a body roughly the size of the original FP? If it has internal 12-bit raw and PDAF, that could be pretty neat. The S1 II sensor is, from everything I've heard, very good. It's a little tricky, though, as just about any small/portable camera being released now exists in the same world as the Nikon ZR. For me, if all other things are equal, I'd do an extra $300 for the better sensor (The S1 II sensor, that is).

I don't know if I have any cameras that record in 8-bit at this point, but I can certainly poke around a little. Worst case, I could go even lower-fi and just shoot it on the PXL-2000.

If your use case is with C mount Super 16 lenses, "a bunch of lenses" might fit in a coat pocket. The tripod can also be an insanely light tripod or even something like a Manfrotto MP-3.

Well, all autofocus is in beta on the 12K. 😅

Er, the RED phone* that is.

If it makes you feel better at all, nearly every Ronin 4D that was ever made is convinced that it is currently 1970. 😅

Guess they figured the RED camera went over so well that they should make one themselves! 🤣

For me, 6K is ideal - I don't lose detail when reframing and even with some denoising, a lot of the fine detail sticks around. Really, for anything from 4K through 8K, it's fine for me. 4K just means I have to be more careful with my frame and 8K means using a bit more disk space (which I have plenty of for now, hope hard drive prices come down someday, though). But yeah, the frame rates are fantastic. They're one of the big reasons that Camera Conspiracies loves his M1P ILS so much.