BlackMagic and other raw cameras Mon, 17 Feb 20 09:47:51 +0000 BlackMagic and other raw cameras en-CA Kinefinity Mavo and Mavo LF Sun, 18 Mar 2018 15:05:53 +0000 bannedindv 19228@/talks/discussions Kinefinity has announced two new evolutions from their Terra Platform. One 6K S35 sensor’d camera Mavo, and a 36x24 “full frame” format Mavo LF


Kinefinity MAVO

The new Kinefinity MAVO is a 6K-capable Super 35mm cinema camera building upon the legacy of the company’s previous line, the Kinefinity Terra. Although the MAVO offers plenty of professional features, its price of “only” $14,000 for a complete camera package with all accessories is still massively disruptive – a strategy that Kinefinity is clearly intent on keeping up.

Kinefinity MAVO

The Kinefinity MAVO is a modular system similar to what the manufacturer did with the Terra line. The camera body includes the brand new 6K CMOS Super 35mm sensor, along with basic I/O, headphone output, 2.5” SSD port, built-in mic and the port to attach the SideGrip – a side handle offering basic controls and battery compartment – and the KineMON – the camera’s proprietary monitor. Like the Terra, the Kinefinity MAVO becomes a much more powerful beast when attaching the optional KineBACK module at the rear of the camera body, which unlocks more professional features such as dual XLR inputs with phantom power, SDI outputs, V-Lock battery capabilites, D-tap power outputs, and timecode in/out. The new version – the KineBACK-W – seems a lot easier to attach, requiring only a couple of screws rather than fumbling around with a delicate ribbon cable, as was the case with the Terra. This means it is a lot quicker to go from a fully built-up camera to the compact 990g body-only, perfect for mounting on a gimbal. Wireless Capabilities

This new version of the KineBACK, however, offers new integration for wireless functionality. It features a slot into which you can insert a new wireless transmitter card, unlocking a system capable of wireless video transmission with a claimed zero delay, as well as wireless lens control via the Movcam system, all this without additional cables or powering.


The Kinefinity MAVO still makes use of the Kinefinity KineMOUNT system, a versatile mount that allows you not only to easily change between Sony, Canon, Nikon and PL mounts, but also takes the manufacturer’s proprietary EF or PL variable ND filter attachment and KineENHANCER (Kinefinity’s version of a Speedbooster).

Additionally, the Kinefinity MAVO will feature a removable OLPF. This is significant, as the Kinefinity TERRA 4K – the company’s current entry-level option, which also offers very interesting features at a very low price – suffered from severe OLPF reflection flare issues when pointed directly at strong sources of light. This has been a cause of concern for many potential buyers doing their due diligence, so having the possibility to remove the OLPF altogether, or easily replacing it when new and improved versions become available, could be a good compromise. Kinefinity MAVO Image

Kinefinity’s new camera offers a Super 35mm sensor, larger than the Terra 4K sensor which was halfway between Super 35mm and Micro Four-Thirds. This new 6016×4016 pixel sensor offers over 14 stops of dynamic range, and various maximum frame rate, resolution and sensor windowing combinations including Open Gate and 4:3 for anamorphic capture, as you can see in the graphic below. Despite the larger sensor, Kinefinity claims improved rolling shutter speeds, putting it in the same ball park as the RED 8K-capable cameras.

In terms of processing, the Kinefinity MAVO also has some great improvements, with the addition of ProRes 422HQ, ProRes 444, ProRes 444XQ codecs to the previously available ProRes 422. Kinefinity’s own flavour of Raw has been updated to KRW 2.0, and now allows for an adjustable compression ratio from 2:1 to 10:1. Kinefinity previously offered a free software utility to transcode KRW to cinemaDNG, so what is even bigger news is that MAVO can record cinemaDNG internally at 3:1, 5:1 and 7:1 compression ratios. Pricing and availability

Kinefinity MAVO will be available in four packages:

  • Body Only: $7,999
  • Basic: $9,499
  • Pro: $10,999
  • Full: $13,999

If the Terra pricing scheme is anything to go by, the Basic package will also include accessories such as the KineMON, SideGrip, a couple of BP-U 30 style batteries, charger, KineMAG SSD and power cables. The Pro package will also include the KineBACK module, case and shoulder rig kit. I would guess the Full package includes all the necessary accessories to unlock the wireless capabilities of the camera. There will also be trade-in deals for owners of earlier Kinefinity cameras.

New Large Format Camera Too? Kinefinity MAVO LF

In the age of Sony Venice, RED Monstro and ARRI ALEXA LF, it is clear that there is a tendency towards large sensors at the very top tier of cinema cameras. Clearly, Kinefinity didn’t want to lag behind.

During the live stream today, Kinefinity also announced an upcoming large-format cinema camera, the MAVO LF, which will pack a 36x24mm sensor, just a wee bit smaller than the ALEXA LF. This camera – which will no doubt become Kinefinity’s flagship after the now ageing KineMAX – will benefit from all the improvements of the upcoming Kinefinity MAVO, and will become available in August 2018.

New MAVO Prime range of cinema lenses

As if the announcement of two new cameras wasn’t enough, Kinefinity also announced a complete range of cinema lenses for the MAVO platform. The MAVO Prime lenses will cover 25, 35, 50, 75 and 135mm at T2 with full-frame coverage, and a price tag of around $12,000 for the whole set.

More info here:

KineFinity Terra 5K & 6K cameras or 5K for under $5K Mon, 28 Mar 2016 23:36:35 +0000 IronFilm 14890@/talks/discussions image image image image image image image image image

  • Terra 6K has the same sensor as KineMAX 6k
  • Terra 5K: 5K 60FPS, 4K 100FPS, 3K 150FPS, 2K 200FPS
  • Option of global shutter, native iso 800
  • 15 stops DR with rolling shutter and dual gain mode
  • 13 stops DR with global shutter
  • RAW 12bit + ProRes 10bit internal recording, KineLog3, 2.5" SSD
  • About the same size as a 5DIII (weighs less too, only 920grams)
  • HDMI out with type A connector (big connector), 3.5mm Mic in
  • SDI and XLR are there as well.
  • New KINIMON and KINEGRIP 2 has also been released (uses Sony BP-U30 instead of Nikon EN-EL15 batteries).

  • The 6K version costs slightly more (at around $5,400 US or 34,900 RMB on the Chinese mainland).

  • It features 6K at up to 25fps, 4K at up to 100 fps and 2K at 225fps.

KineFinity cameras can use standard off the shelf SSDs (like the BMPC4K does), so no need to waste your money on expensive MINI-MAGs like with RED cameras.

KineFinity Terra 4K Sun, 20 Aug 2017 23:30:22 +0000 Vitaliy_Kiselev 17577@/talks/discussions image

TERRA 4K as new TERRA member featuring with High Speed & Low noise 4K CMOS, sub-S35 image format. Photo with Summicron Lense, KineMON, SideGrip as handheld cinema camera.

Arri Mini LF - Pro Camera for the Posh Thu, 28 Mar 2019 07:20:29 +0000 bannedindv 21806@/talks/discussions image

BMPCC 6K S35 raw camera, war on Z-CAM Thu, 08 Aug 2019 13:54:25 +0000 Vitaliy_Kiselev 22399@/talks/discussions image


  • 23.10mm x 12.99 sensor with 13 Stops DR
  • Resolutions
    • 6144 x 3456 (6K) up to 50 fps
    • 6144 x 2560 (6K 2.4:1) up to 60 fps
    • 5744 x 3024 (5.7K 17:9) up to 60 fps
    • 4096 x 2160 (4K DCI) up to 60 fps
    • 3840 x 2160 (Ultra HD) up to 60 fps
    • 3728 x 3104 (3.7K 6:5 anamorphic) up to 60 fps
    • 2868 x 1512 (2.8K 17:9) up to 120 fps
    • 1920 x 1080 (HD) up to 120 fps
  • 1 x CFast card slot, 1 x SD UHS‑II card slot, 1 x USB-C 3.1 Gen 1 expansion port for external media for Blackmagic RAW and ProRes Recording.
  • $2495 US


BlackMagic Pocket Cinema Camera 4K Fri, 06 Apr 2018 14:42:24 +0000 Vitaliy_Kiselev 19396@/talks/discussions image

  • m43 sensor with native 4096 x 2160 resolution sized sensor
  • Active MFT mount
  • 12-bit RAW cinema 4K 60fps and full HD at up to 120fps
  • 13 stops Dynamic Range
  • dual native ISO up to 25,600
  • external RAW recording
  • 12-bit CinemaDNG RAW and 10-bit Apple ProRes 422 (HQ)
  • Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW.
  • Built-in 5" LCD touchscreen allows accurate focus when shooting 4K.
  • LCD supports on-screen overlays including status, histogram, focus peaking, and transport controls.
  • Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second.
  • 3D LUTs can be applied for both monitoring and recording.
  • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
  • Standard sized HDMI
  • USB-C expansion port allows longer duration recording directly to an external SSD or flash disk.
  • Canon LP-E6N or locking DC12 volt power connection
  • SD/UHS-II and CFast slots
  • Bluetooth wireless camera control
  • 3.5mm audio jack and headphone jack
  • Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones.
  • Available in September 2018 (more like 2019)
  • Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable.
  • Multi-function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more.
  • Supports remote camera control via Bluetooth.
  • Comes with free Resolve 15 Studio
  • Product page -
  • $1250


RED Komodo - last attempt to save old developments Wed, 31 Jul 2019 05:14:18 +0000 Vitaliy_Kiselev 22351@/talks/discussions In usual manner Jarred wrote:

  • It is not DSMC3
  • It is not a replacement for DSMC2
  • It is not 8k VV
  • It is not a Dragon or a Helium or a Gemini or a Monstro Sensor
  • It does not have an HDMI port
  • It does not use proprietary media
  • It is not a “module”
  • It is not under $5k, unless you own a Hydrogen.
  • It has no XLR ports
  • It does not have a fixed lens
  • It’s body does not weight more than 2 pounds.
  • It is not larger than 4 inches in any dimension.


O.. and since Komodo is alive and breathing and you will probably see it pop up over the next few weeks and months in the hands of some very talented people banging on it to try and break it.

Camera had been developed as partner to their smartphone, but as it tanked completely they made few changes.

Unfortunately RED is fully uncompetitive, and can't eat Z-CAM or BM cameras shares, so here we will see another marketing stunt.

It will be first cinema camera oriented ONLY to people who won't use it much - to rich and quite young audience, as I had been told it will be lawyers and computer developers in US.

In other words, it is same audience Panasonic FF cameras are aimed at by Japan marketing management (as my Japanese source told).

My zero budget feature film shot entirely on the BMPCC :-) Tue, 01 Oct 2019 06:16:16 +0000 disease8 22682@/talks/discussions As a long standing member of this forum and always finding inspiration and advice for my low budget DIY filmmaking, I wanted to share my zero budget feature film Polar:

More info about the making of the film here:

It is a drama comedy about substance abuse, mental health and not fitting in. If you enjoy it please share the link and please leave a review on IMDB and AMAZON we really need it as we hardly have any!

Thanks so much for your time if your get to watch it I hope you like it, it is available at higher resolution and without the stamp in the corner for a low cost, the money will be used to keep the film production moving forward and possibly making another feature!

It is on and Amazon UK and USA.

Thank so much hope you enjoy and please subscribe to us on youtube I will be making more videos about the making of Polar and other similar stuff.

Regards, Dom.

URSA Mini Pro 4.6K G1 and G2 cameras topic Thu, 02 Mar 2017 23:21:41 +0000 Vitaliy_Kiselev 16531@/talks/discussions image

Key features:

  • Digital film camera with 15 stops of dynamic range.
  • Super 35mm 4.6K sensor with third generation Blackmagic Design color science processing of raw sensor data.
  • Interchangeable lens mount with EF mount included as standard. Optional PL and B4 lens mount available separately.
  • High quality 2, 4 and 6 stop neutral density (ND) filters with IR compensation designed to specifically match the colorimetry and color science of URSA Mini Pro.
  • Fully redundant controls including ergonomically designed tactile controls which allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
  • Built in dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders allow unlimited duration recording in high quality.
  • Lightweight and durable magnesium alloy body.
  • LCD status display for quickly checking timecode, shutter and lens settings, battery, recording status, and audio levels.
  • Support for CinemaDNG 4.6K RAW files and ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at Ultra HD and HD resolutions.
  • Supports up to 60 fps 4.6K resolution capture in RAW.
  • Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
  • Built in high quality stereo microphones for recording sound.
  • 4 inch foldout touchscreen for on-set monitoring and menu settings.
  • Includes full copy of DaVinci Resolve software color grading and editing software.
I think this is my perfect run and Gun doc camera. What is no one talking about it? Mon, 19 Aug 2019 21:48:20 +0000 suresure123 22443@/talks/discussions

If you check my posts for a few years all I have wanted is a global shutter cam. Seems I have found one. What do people think about the look? Even though its shaky my brain reacts differently to it compared to CMOS shutter, I actually enjoy the shake. How do people feel?

What rig is gonna work with this to keep it compact?

Between the BMPCC 4K and the Zcam E2 Mon, 29 Jul 2019 00:56:14 +0000 Duly_noted 22339@/talks/discussions Later this month I am coming into a pretty nice payday and I am debating between picking up one of these two cameras. Currently I have an Olympus Em5 Mark II I shoot with handheld. I am generally happy with the em5 II and find it easy to use. However grading the footage isn't easy and the 8 bit 1080p video isn't the greatest. I want to use the cameras as I get into doing professional video work. Run and gun, wedding, corporate events, interviews, documentary, and short films. I actually work as an actor and know several directors here in Shanghai so in the future I would possibly have the opportunity to work with them as a cameraman, focus puller, or DP. Having my own camera, lenses, and rig to bring to a low budget short film would be very beneficial to me.

The Pocket 4k and the Zcam attract me for similar reasons.

4k Video up to 60p (160 for the zcam) Much higher dynamic range than my Em5 Mark II Options for recording to an external ssd Much better lowlight capabilities than my Em5 Lots of rigging options

I plan to rig either one with a handheld rig. So cage, monitor, handle and battery and get them up to a size that would be suitable for handheld shooting and could be quickly throw onto a tripod, or be reworked into a shoulder rig. I currently use 2 of the voigtlanders and will be focusing manually for everything so their AF abilities don't matter at all.

As far as I can tell the bmpcc 4k advantages are 12 bit raw up to 40k 60p bRAW 12:1 compression is small enough to go on standard sd cards and the quality is good enough for my uses. An SD card slot. Comes with the full version of Davinci 10,050 Chinese RMB

Bmpcc 4k cons battery life is terrible and needs an external to work for any period of time strange form factor 1080p raw and 1080p prores 61-120 fps is windowed at a 3.8x crop factor

and the Zcam 4k up to 120 with no crop and 160 with a slight crop Takes sony batteries which are cheap and easy to find No fans and block shape for easy modularity Can use phone or tablet as monitor with a usb C cable Supposedly more dynamic range than the bmpcc 4k but I haven't seen this demonstrated anywhere.

Cons- 15,000 Chinese rmb video is all 10 bit and no raw available yet (I know a firmware is in the works to introduce raw) No Sd card recording option No built in screen, so any setup needs either a monitor or a phone/tablet monitor.

I'm about to make about 22,000 rmb working on a documentary next week. Combined with my normal pay It would be enough for me to buy and rig out a BMPCC 4K with a monitor, cage, and battery. But the zcam is also really tempting with its 120p 4k mode. I think the black magic files would be more flexible and easier to edit and it also comes with davinci too!

For the same price as the Zcam body only I could probably buy the Bmpcc 4k, build a handheld rig with external power and a monitor and have enough left over to pick up a gimbal (second hand at least if not new). Is that the way to go? Or is the Zcam the way most people would lean?

RED Ranger 8K Production Camera Sat, 20 Jul 2019 14:12:22 +0000 Vitaliy_Kiselev 22304@/talks/discussions

OCTOPUS camera - another reincarnation of dreams and open source stuff Sat, 29 Jun 2019 05:49:57 +0000 Vitaliy_Kiselev 22233@/talks/discussions image

Looks like our famous Spanish guy moved to UK, or found friends.

Similar or almost same concept, strange samples. Most force put on PR, and it is again Newsshooter guys who promoted all Spanish scams.

Red Monstro - 8K vistavision 20mm x 40mm Sensor Thu, 05 Oct 2017 18:58:26 +0000 bannedindv 17912@/talks/discussions image

17+ steps DR range.

$80,000 for brand new camera body with this sensor

RED EPIC DRAGON [finally a reality] Fri, 17 Aug 2012 15:25:20 +0000 shian 4280@/talks/discussions

Red Camera's bombastic CEO, Jim Jannard, says that internal testing of the new 6K Dragon sensor proves that it's the new "resolution and dynamic range king." He also claims it will be "the cleanest sensor you have ever seen, ISO 2000 looks better than MX [the current sensor] at ISO 800." The imaging chip was first outed at NAB in April, promising 15+ stops of DR and 120fps at a full 5K of resolution, with $6,000 upgrades for Epic customers by the end of the year. Owners of the $9,700 (brain only) Scarlet-X will also get the Dragon, though no price or date has been given yet for that camera. Needless to say, some independent testing will be needed to substantiate his claims, but Jannard sure does sound confident.

I just got all tingly.

Arri Alexa Mini topic - Small, Lightweight, Raw Recording Camera Mon, 23 Feb 2015 09:42:34 +0000 bannedindv 12443@/talks/discussions Arri Alexa Mini Announced - Small, Lightweight, Raw Recording Arri Camera


Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.


ARRI announces the new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world.

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.

Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously — a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.

Integrated functionality is at the heart of the ALEXA Mini’s efficient and self-contained design. A built-in lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, while ARRI Lens Data System (LDS) technology provides frame-accurate metadata that can save time and money both on-set and in post. Wi-Fi connectivity means that iOS or Android devices can be used to remotely control camera functions such as the motorized internal ND filters, which permit rapid responses to changing light conditions without adding bulk to the camera configuration.

The body design is optimized for use with new-generation brushless gimbals, multicopters and other specialized rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilized aerial systems. The camera’s superb low-light performance makes it perfect for underwater work; dedicated underwater housings are currently being developed by leading manufacturers.

Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More importantly, the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other parameters such as colorimetry, skin tones and High Dynamic Range (HDR). This is equally true whether the chosen output is HD, 2K, 4K UHD or one of the native resolution outputs like uncompressed ARRIRAW 2.8K or ProRes 3.2K, ensuring that images captured with the ALEXA Mini are future-proof, whatever new industry standards emerge.

Red Rental Only Camera Sun, 20 Jan 2019 06:44:12 +0000 Vitaliy_Kiselev 21357@/talks/discussions image

"Just a little something we made custom for RED authorized rental houses. Not for Sale, but you will probably see them popping up next month in a few places so thought I would give you guys a sneak peek :) "

I heard that Red is quickly giving up positions in rental market (they were not very strong anyway), and adding to this falling sales it is not nice.

Red Epic W Wed, 12 Oct 2016 17:53:50 +0000 Vitaliy_Kiselev 15875@/talks/discussions


  • 35Mp CMOS Helium sensor, S35 size
  • 8K at 30fps
  • 300 MB/s rates
  • $29,500 for brain only


Blackmagic Pocket 4K DCI RAW 3:1 over portable USB C RAID 0 Sat, 17 Nov 2018 22:58:34 +0000 NickBen 20907@/talks/discussions Blackmagic Pocket Cinema Camera 4K BMPCC4K currently records 4K DCI RAW 3:1 over portable USB C RAID 0...

Feel free to experiment and share results, results now confirmed with pair of cheapest SSD 120GB storage at 4:1 RAW and higher grade pair of 240GB SSD at 3:1 RAW for 1 hr solid recording...

Remember, you heard it here first, so please CONTRIBUTE to VK's tip jar for his hard work and open forum this Thanksgiving season...

Cheers! NickBen

PS. I would like to keep this thread open EXCLUSIVELY for RAID over USB C with the BMPCC4K positive outcomes, as there's more to come...

1.3 MP Global Shutter Camera with RAW option Tue, 16 Oct 2018 09:02:43 +0000 shaun672 20680@/talks/discussions Key Features of See3CAM_10CUG Global Shutter Cameras:

Houses 1.3 MP AR0134 CMOS Image sensor (Monochrome/ RAW Bayer)

Fixed Focus

Global Shutter

Plug-&-Play (UVC compliant - No drivers required)and Backward compatibility with USB 2.0 hosts with limited features and capabilities

Output format: Monochrome version - YUY2 (16bits per pixel YUV422 format) Color version - RAW Bayer (8bits per pixel Bayer RGB format)

Supported OS: Windows 10, Windows 8, Windows 7, Linux and MAC *

Read more:

2K BlackMagic Pocket Cinema Camera, active m43, $995 Mon, 08 Apr 2013 03:49:53 +0000 Vitaliy_Kiselev 6632@/talks/discussions image


  • High resolution 1080HD Super 16mm sized sensor with superior handing of image detail.
  • Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
  • Compatible with extremely high quality Micro Four Thirds lenses. Compatible with other mounts via common third party adapters such as PL mount and Super 16 cine lenses.
  • Built in SD card allows long duration recording with easy to use media.
  • Open file formats compatible with popular NLE software such as ProRes 422 (HQ) and lossless compressed CinemaDNG 12 bit RAW. No custom file formats.
  • Features all standard connections, including mini jack mic/line audio in, micro HDMI output for monitoring with camera status graphic overlay, headphone mini jack, LANC remote control and standard DC 12 power connection.
  • Built in LCD for camera settings via easy to use menus.
  • Supports 1080HD resolution capture in 23.98, 24, 25, 29.97 and 30 fps.
  • Compatible with DaVinci Resolve Lite color grading software.


Best small Cinematic camera handheld with no rig for docs? (No IBIS) Fri, 27 Jul 2018 21:27:27 +0000 suresure123 20141@/talks/discussions I want something handheld that is able to shot docs. I don't want to use IBIS, maybe I have to have it?

I was wondering about the Kinefinity 4K but am wondering if it can be barebones handheld without jello and shitty images?

Any other options. I wish there was a global shutter option...

21,600 FPS Chronos Camera for $2500 Tue, 25 Oct 2016 10:55:32 +0000 Vitaliy_Kiselev 15937@/talks/discussions

Black Magic: Official $1,995 raw cinema camera topic, series 2 Sat, 25 Aug 2012 17:33:36 +0000 Vitaliy_Kiselev 4372@/talks/discussions Remember that we have special pages about BlackMagic Cinema Camera in out Wiki now



Feature highlights include:

  • 13 stops of dynamic range
  • Large 2.5k sensor
  • Integrated solid state drive recorder (SSD)
  • Ability to capture CinemaDNG, RAW, ProRes and DNxHD files
  • Touchscreen for metadata entry
  • Compatibility with EF and F mou
  • SDI and Thunderbolt connectors
  • Includes a FULL copy of DaVinci Resolve and UltraScope software

First videos:

Full specs






  • None yet
The BMPCC can shoot infrared Tue, 16 Jun 2015 13:09:47 +0000 jamming629 13185@/talks/discussions Hello everyone. I just want to share that the black magic pocket cinema camera is capable of shooting in infrared. The IR cut filter on the camera is pretty weak and I was able to shoot in broad daylight with an 89B filter attached to several lenses (Sigma 18-35mm f1.8; Panasonic 14-42mm OS kit lens wide open). You can use 360 shutter angle and shoot even at ASA 200 depending on the scenery. Please see below for a few sample shots (beginning at 3:21). I plan to do more shooting in the future, but the IR looks great when converted to BW.

Axiom Beta (4k, RAW, Opensource) Crowdfunding Started Wed, 10 Sep 2014 06:28:13 +0000 atagunov 11242@/talks/discussions Ladies and gentlemen, I'm happy to announce that the fine people of Apertus project have opened crowdfunding campaign to fund development of their second prototype - Axiom Beta.


With their first prototype (Axiom Alpha) already operational I trust the guys can actually build their second prototype (Axiom Beta) and have it delivered into the eager hands of the crowdfunding campaign backers.


Now, to help guide you through the crowdfunding options - this is the original announcement of Axiom Beta

They promise to ship the camera with a user-replaceable sensor. There are two sensor choices right now Super35 (APS-C) CMV12000 and alternatively a cheaper FourThirds KAC12040

Accordingly when making a crowdfunding pledge you need to make a preliminary choice of which camera you'd like to receive eventually. During the launch party on IRC ( the guys said that it might be possible to change your decision at a later time if absolutely necessary.

Why am I excited about the project?

  • it's 100% open source; full freedom to hack; no need to decode firmware or anything :)

  • 4K resolution

  • full freedom of capture formats (so long as smb writes the software), including RAW

  • both sensors capable of global shutter

  • CMV12000 in pseudo-logarithmic mode goes up to 15 stops of dynamic range (10 stops in linear mode)

  • CMV12000 is LARGE - great for shallow depth of field, hopefully low noise in the dark

  • great flexibility in power solutions - they say anything DC between 5-40 Volt

  • interchangeable lens mounts

  • FPS: they promise 60 but CMV12000 can do 180 (or even 300); so if the guys develop a decent SSD interface..

  • Beta version (that is currently "sold" via crowdfunding) will be delivered to backers at manufacturing cost

  • all parts of the camera are going to be field replaceable and user-serviceable - full freedom of DIY :)

  • should you want an upgrade from Axiom Beta to Axiom Gamma when the latter becomes available (Alpha and Beta are prototypes; Gamma is expected to be commercial) you should be able to keep your sensor making the upgrade relatively cheap

  • all hardware specs and dimensions for both Beta and Gama will also be open source - it is promised that any commercial company will be allowed to make parts or cameras - with luck we should end up having a rich aftermarket for mods and add-ons and eventually a sustainable and competitive ecosystem!

Moneywise it's EUR 300 or 350 now and another EUR 1900 or 2300 later depending on the sensor. Yeah a bit pricey - but hey it's easily going to be on par with the best cinema cameras out there!

P.S. The way I understand it - they're going to ship the camera as a box with a lens mount. Battery/SSD/recorder/microphone need to be external. Not sure if there's going to be a display - perhaps not. Ok for rig building, but I guess I'll keep my GH3 for casual shooting. The promised delivery time for Axiom Beta is April 2015

P.P.S. Disclaimer: I'm an eager backer of the project but not a member of the development team. I'm sure your questions are welcome on the IRC (

P.P.P.S. Hurry up! Right now as of 12:43 GMT only 187 out of 216 Axiom Betas haven't yet been pledged for!

Digital Bolex raw camera, no longer made Tue, 13 Mar 2012 10:36:28 +0000 peterosinski 2568@/talks/discussions

This looks like a great camera that would really do what the ikonoskop tried to. It is s16mm at 2k or 16mm at 1920x1080. It records to compact flash cards ( cheaper than 100$ memory cards) has usb 3.0 out (better than a $1000 express card reader from ikonoskop) and has XLR inputs.

I am sad to say I have found this just days after selling my 16mm lens. That's the way it goes though I guess

oh did I mention it is $3300? If you preorder you can get it for $2500

BlackMagic Micro Cinema Camera for drone, $995 Mon, 13 Apr 2015 00:36:03 +0000 PauloTeixeira 12789@/talks/discussions image

Blackmagic Micro Studio Camera 4K, $1295 Mon, 13 Apr 2015 10:14:11 +0000 Vitaliy_Kiselev 12794@/talks/discussions image

Sony F55 - Global Shutter, 4K raw (internal) 180fps Tue, 30 Oct 2012 02:26:37 +0000 Rambo 5037@/talks/discussions image image


Sony grows large sensor camera family with new 4K camera systems

Sony is unveiling two new CineAlta™ 4K cameras, complemented by a full line-up of new accessories. The new cameras, the PMW-F55 and PMW-F5, fill a critical gap in large-sensor acquisition between Sony's PMW-F3 camcorder and its F65 CineAlta Premium 4K camera, giving content creators new levels of flexibility and creative options for HD, 2K or 4K acquisition and production.

With a modular and compact design for easy configuration, each camera features a new type of 4K Super 35mm image sensor with a 4096 x 2160 resolution (11.6M total pixels).

The 20 megapixel F65 remains the flagship of Sony's large sensor camera family. The 8K sensor-equipped F65 continues to evolve, with new features designed for the most demanding high-end imaging applications. These features include a new high frame rate mode for 4K RAW recording at 120P to deliver stunning 4K images with super smooth slow motion capabilities, and image capture using the SR codec at 12-bits. Future updates to the F65 will deliver 6K de-mosaicing, along with other major new features.

New PMW-F55 and PMW-F5 Cameras

The new PMW-F55 and PMW-F5 CineAlta 4K cameras deliver unprecedented creative options for HD/2K/QFHD/4K (PMW-F55) and 2K*/HD (PMW-F5) production. Both offer multi-codec support featuring Sony's new XAVC MPEG-4 AVC/H.264 format, the SR codec (MPEG4 SStP) and the industry-standard High Definition XDCAM 50Mbps 4:2:2 codec. In-camera recording is on Sony's New SxS media, SxS PRO+ (Plus ) – which can be used to record XAVC in HD High Frame Rate and in 4K at up to 60fps (in the PMW-F55), and XAVC HD High Frame Rate in the PMW-F5.

In addition to on-board recording onto SxS PRO+, the PMW-F55 and PMW- F5 can also be connected to the new AXS-R5 RAW recorder. Slow-motion imagery at up to 240fps** (PMW- F55) and up to 120fps** (PMW- F5) can be captured as 4K RAW files on newly developed AXS memory.

The PMW-F55 features a global shutter to eliminate rolling shutter skew and flash band, and features a wider colour gamut for exceptional colour reproduction. The cameras are further distinguished by wide (14 stops) exposure latitude, high sensitivity, and low noise.

New Options for Monitoring

The PMW-F55 can connect to the new 4K 30-inch LCD monitor, PVM-X300, using four 3G-SDI interfaces to monitor pictures at 4096x2160 resolution at up to 60p, while recording and playing back XAVC 4K images. Similarly, it is also possible to connect directly to the 84" BRAVIA 4K LED TV for large-screen monitoring of the camera's 4K 60P images (at resized horizontal resolution of 3860 pixels).

PL Lens System – The Second Generation

The PMW-F55 and PMW-F5 cameras continue Sony's efforts to offer the most flexible lens options. A PL-mount lets users choose cinematic lenses from suppliers such as Angénieux, ARRI, Canon, Carl Zeiss, Cooke, FUJIFILM and Leica.

Sony is also launching a second generation of cost-effective PL mount prime lenses. Each is certified for 4K capture, and is designed to minimize geometric distortion, vignetting and breathing. A 9-blade iris delivers beautiful bokehs and the focus rings rotate 240°. The new lens series includes focal lengths of 20, 25, 35, 50, 85 and 135 mm. For easy lens changes, each has the same T2.0 aperture, the same external diameter, matte box diameter, and gear locations for follow focus and aperture. All are the same height except for the 135 mm lens.

Shooters can use stills lenses by removing the supplied PL-mount adaptor to reveal the native FZ mount. This makes it easy to accept commercially available adaptors for third-party lenses, including Canon® EF, Canon FD, Nikon® DX, Nikon G, Leica® M and even 2/3-inch B4 lenses. A third option is the use of Sony FZ-Mount lenses with auto focus servo zoom (model SCL-Z18X140.)


Using a new digital interface, PMW-F5 and PMW-F55 users can take advantage of a new series of high-quality OLED and LCD viewfinders. The DVF-EL100 OLED viewfinder measures 0.7-inches with 1280 x 720 HD resolution, superb brightness, contrast and response. The DVF-L350 3.5-inch LCD viewfinder offers 10 times the contrast of previous Sony LCD viewfinders, with a flip-up eyepiece for direct monitoring. A third option is the full HD DVF-L700. This compact 7-inch LCD viewfinder enables high resolution when shooting in 2K and 4K, with pixel-to-pixel 1920 x 1080 representation of HD images.

New RAW Recording System

Sony is also unveiling the AXSM™ Access Memory System for 2K*/4K RAW recording, based on Sony's unique recording technology. Optimised for this new platform is the AXSM memory card (512 GB capacity, model AXS-512S24), using the generic file system exFAT. Users can record 4K RAW data up to 60 fps and 2K RAW up to 240 fps**, with a 300MB/s sustained transfer speed. PC-friendly operation is enabled through use of the AXS-CR1 card reader, offering a USB 3.0 interface for high speed transfer.

Additionally, the new AXS-R5 RAW recorder directly docks onto the PMW-F5 and PMW-F55, for an extremely elegant and compact recording system for 2K** and 4K RAW recording.

New Recording Media

The cameras support Sony's new high-speed, enhanced versions of its SxS PRO memory cards: the "SxS PRO+(PLUS)" series (in 128 and 64 GB capacities, models SBP-128B and SBP-64B). Based on the format long used in Sony's XDCAM EX camcorders, the cards support XAVC 4K and XAVC HD high frame rate recording, and can be directly inserted into the cameras.

New Battery and Charger

The PMW-F5 and PMW-F55 cameras take advantage of Sony's new BP-FL75 battery pack, which uses Olivine-Lithium Iron Phosphate-instead of conventional Lithium Ion cathodes. The result is a substantial increase in charge-discharge cycles, compared to previous Sony batteries. The Olivine battery works with Sony's BC-L90 quick charger. The new battery supports outstanding mobility for on-set shooting enabling two times higher speed charging than current chargers and a maximum 150 minutes of consecutive shooting.

The PMW-F5 and PMW-F55 cameras are also compatible with Sony's BP-GL95A, GL65A, L80S and L60S batteries, which use the BC-L70 and L160 chargers.

Shoulder Rig

Delivering advances in ergonomics specifically requested by cinematographers, the PMW-F5 and PMW-F55 feature Sony's newest shoulder rig for extra stability and comfort. The rig is sturdy, lightweight and uses industry-standard rosettes on both sides for quick and easy attachment of third-party hand grips and other accessories.

Pricing and Availability

The new cameras are scheduled to be available in February 2013, with suggested list pricing to be announced. For more information, visit


  • 2K/QFHD for PMW-F55 and 2K for PMW-F5 will be available with firmware version up.
    **High frame rate higher than 60fps will be available with firmware version up.