• Large high resolution 4K or 4.6K Super 35mm sensor
• Global shutter
• 12 stops DR
• Very unusual design
• Compatible with PL or EF mount lenses.
• Changeable sensor and mount
• Dual recording - raw and prores
• User upgradable design
• Built in dual CFast 2.0 card recorders
• Open file formats compatible with popular NLE software, such as Apple ProRes and compressed CinemaDNG 12 bit RAW.
• Support for ProRes HQ, ProRes 422, ProRes LT, ProRes Proxy recording
• Dual XLR mic/line audio inputs with phantom power, 6G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, 6G-SDI monitoring input, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
• Built in stereo microphones for recording sound.
• 3 separate built in LCD monitors for camera settings and metadata entry. Large 10 inch screen folds out for full resolution HD monitoring with wide viewing angle and high brightness.
• Supports Ultra HD and 1080 HD resolution capture in 23.98, 24, 25, 29.97, 30 up to 60 fps.
• Features liquid cooling system allowing higher frame rates when future sensors support this feature.
• Supports quick release tripod mounts and adding V-Mount and Anton/Bauer mount battery plates.
• Includes full copy of DaVinci Resolve software color grading and editing software.

Introducing Blackmagic URSA, the world’s first high end digital film camera designed to revolutionize workflow on set. Built to handle the ergonomics of large film crews as well as single person use, URSA has everything built in, including a massive 10 inch fold out on set monitor, large user upgradeable Super 35 global shutter 4K image sensor, 12G-SDI and internal dual RAW and ProRes recorders. Because the sensor and lens mount assembly can be changed, you can choose EF or PL lens mounts, or even a broadcast video sensor with B4 mount. This means you can upgrade to the latest sensor technology in the future and keep your investment in the camera body.

URSA features the world’s most intuitive and advanced touch screen camera user interface! There are two 5” touch screens on both sides of the camera that put your settings, controls and monitoring tools at your fingertips.

http://www.blackmagicdesign.com/products/blackmagicursa

I thought in this section there should be a discussion about the Apertus Project. ( http://www.apertus.org/ )

It sounds, at least for me, very promising and down to the ground and not too hipster like the digtial bloex, (which is, with all respect, beautyful).

However, what are your opinions on it? After all, there is a lot going in the 4k sector and raw cinema development.

Very grateful to do a test with the world-famous filmmaker, Werner Herzog. He came down to my studio last week to do a quick test for his next film, "Untitiled Film About Death and Little People." Special thanks to the actors and the camera people - Nachiketa Amin, Phil Kibbe, and Carolina Ravassa and my producer Lily Henderson. Dedicated to the character development coaches I had - Chris Bagnall, Mariel Snynan, John Meese, Jaimie DeFina, and Sean Kennedy and my film school teacher who said, "Werner, you are never going to make it. Not with that facial hair." I graded DPX files 12 bit out of f35, redlogcine and reddragoncolor2, and BMD gamma from DB. My coloring job was lackluster, to say the least. Inconsistent. Digital Bolex fans - I'm sorry - I couldn't figure out how to make the footage not look terrible. I am sorry. I failed you. I am ready for you to tell me how I loaded in the footage wrong. That is okay. I make many mistakes in life.

Via: http://43rumors.com

Specs

• 43 size sensor
• active MFT mount
• 1080p60, 4Kp30
• Price around $1599

http://www.ebay.com/itm/Blackmagic-Pocket-Cinema-Camera-BMPCC-2-Sandisk-95-Cards-2-Extra-Batteries-/131447277255

"Bought this camera new from B&H last year, and only used on one music video project. Everything originally included with the camera is included in this auction.

This auction includes the Blackmagic Pocket Cinema Camera in pristine condition and all accessories from when purchased, plus (2) Sandisk 95MB/s memory cards needed to shoot RAW Video, plus (2) EXTRA batteries purchased for the camera. Finally Camera extended Warranty SquareTrade included still has 1 year left, receipt included.

INCLUDED:

Blackmagic Pocket Cinema Camera Body 12V AC Adapter Rechargeable Lithium Ion Battery (EN-EL20) SD Card w/ User Manual and Camera Utility Software Dust Cap Wrist Strap

EXTRAS INCLUDED: 2X Sandisk 95MB/s Memory Cards 2x Watson Rechargeable Lithium Ion Batteries (EN-EL20) 1 Year Extended Warranty Left

Everything functions perfectly and is in like new condition.

Recording media is included.

If you have any questions please do not hesitate to ask"

PRESS RELEASE

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.)

Viewfinders

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

http://www.pro.sony.eu/pro/product/f55

or

http://www.pro.sony.eu/pro/product/f5

• 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.

$14,500. Orders open tomorrow. This time it is ready... Starts to ship when we catch up a bit on existing upgrades... likely June.

• 6K FF: 12 FPS
• 5K FF: 30 FPS
• 4K FF & HD: 48 FPS
• 3K FF & HD: 64 FPS
• 2K FF&HD: 96 FPS

The Scarlet-X upgrades have been announced for a while for $9500, but this is the official release price of the new camera with 2014 ship date.

This is the minimal configuration of the camera body as far as we can tell, which is typically incomplete to shoot with.

Now, when using the Sennheiser MKE 400 with the volume switch to "+" (gives +20dB output) still the audio in the internally recorded .wav file (when using RAW mode) is barely audible. On my GH2 for example I have to use internal mic setting "1" otherwise sound gets distorted, hence the mic is rather hot. Of course audio in BMPCC was set to 100% level, input to "mic" not "line". I have to push it in post +24dB to get a decent soud level. This unfortunately also increases noise.

Now, @spacewig has commented that using "line" input gives good results, unity gain (in BMPCC) = 65% setting, every tick up or down equal to about 0.75dB. Channel 1 to 65% and channel 2 to 5% as a 8dB safety track. 65% setting should be used if preamp outputs consumer audio -10dB (professional audio +4dV gain is at 0%).

What are you guys using - ideally (small setup) I would like to stick to a plug in mic.

I'm starting from scratch. I plan to shoot some in raw but mostly in prores.

I would appreciate suggestions on lenses, tripod, external power, a loupe or evf.

I would like at least one clinically sharp lens and was thinking about purchasing a few CCTV lenses and adapters because of how inexpensive they are on ebay. I realize 2500 isn't much to work with but it's all I can swing at the moment.

Any suggestions would be extremely helpful.

This was mentioned in the KineRAW S35 thread a bit, but since this is a different model I think this deserves it's own thread. The guy testing just posted this anamorphic test. He says in the info he shot it at 1828x1556 with some 16mm glass and 2x anamorphic adapter. This footage looks pretty good, HOWEVER....I've seen footage as good with the GH1/2, BUT...

Supposedly this will be cheaper than the 5d m3 and the Digital bolex. Possibly $2k, maybe even lower.

No smear •

Distortion-free Dynamic range of 73 dB •

Peak QE of 76% •

Read noise of 7e-

High resolution 1920x1200px •

Max frame rate of 162fps

Sony’s Global Shutter CMOS technology truly fulfills the promise of global shutter CMOS: crisp, clear, distortion-free images at high speeds.

Sony's IMX174 sensor clearly outperforms with performance statstics unheard of among CMOS global shutter sensors. See table below.

Sony engineers invented a special “analog memory” that perfectly stores the light collected in the photodiode. This memory is shielded from all sources of noise and allows for a clean conversion during the analog to digital process.

Applications

Outdoor applications where lighting is variable

Scientific applications where low light is the norm

Factory automation where high resolution and speed is required 

http://ww2.ptgrey.com/Sensors/IMX174/IMX174_IntroductionPage.aspx

First, of course, RAW workflow requires some investments in HDD place and preferable also speed (like RAID, etc).

Existing Premiere CS5.5 and upcoming CS6 support working with CinemaDNG (as it is Adobe format after all).

I want to know if anyone here is currently shooting with the original version, and what additional equipment you feel is needed to handle shooting. My rough list is the following:

o Baseplate (I'm using Zacuto with FF) on Sachtler sticks

o EVF -- I'm using the Zacuto also, for zebras and flexible positioning

o 2 x SSD drives... I'm waiting to order these until last minute so prices come down

o Matte box? Is this essential? I think not, for my documentary style shooting

Will my two-year old MBP be enough to edit ProRes422 encoded 10 bit video? How should I connect the SSD drives? I think for my initial shooting, Raw might be too much for my workflow process.

Available at:

• http://www.adorama.com/VDBMCCP.html (seems to be much faster and have cameras in stock)
• -
• http://www.bhphotovideo.com/c/product/964117-REG/Blackmagic_Design_POCKET_CINEMA_CAMERA_BLACKMAGIC_POCKET_CINEMA_CAMERA.html/

http://www.filmkorn.org/sensational-a-new-super-8-camera-from-denmark/

Purchasing an EF mount BMCC

Was planning on 240GB Sandisk card & Switchtronix V-mount battery

Is this good or is there a more economical option, also what other accessories (specifically) do I need? I read something about these batteries taking a long time to charge, is this true?

From: http://www.ptgrey.com/products/flea3_usb3/flea3_usb3_camera.asp

Note! It is only render and preliminary specs, but I like approach.

• S35 CMOS Sensor
• No LCD
• 12-bit Cinema DNG only
• Double HDMI
• Fanless
• Standard cheap 2.5" SSDs for recording

http://blackbettycameras.com/first-camera/

Interesting cam. Since some old Mac Mini's use 12v unregulated power, you can rig them up to a battery. It shoots cineform raw. It reminded me of this old topic. http://www.personal-view.com/talks/discussion/3725/4k-usb-3.0-camera-with-raw-option-less-than-1k/p1

The Flea3 costs $900(you need to register to see prices) and can do 4k at 21fps and lower res at 24fps, but not sure what res. Another cam with max res of 2k and 60fps costs $650.

Having had the original Cinema Camera EF for about a year now (since before its public release), I’ve had the opportunity to use the camera in countless situations; jibs, dollies, cranes, sliders, glidecams, various interior/exterior car mounts, and of course, handheld and shoulder mount. The latter has been a little tricky to develop, but with a little ingenuity, a few components, and a drill, I have what I feel is a very capable ENG style rig for the Cinema Camera.

Using this rig I built for shooting our BMW documentary film is incredibly functional. I’m able to combine the powerful image quality the Cinema Camera delivers (12-bit RAW, ProRes HQ, and DNxHD), along with the flexibility an ENG camera provides.

http://www.onerivermedia.com/blog/?p=984

I have a question is it just me, or does the cadence, or motion from the BMPCC footage not as filmic as it's bigger brother BMCC. Not sure if it's because of the smaller sensor. Let me know what you guy's think.

We have worked very hard over the last year to be able to build the Blackmagic Cinema Camera at a lower cost so we can reduce the price and allow access to digital filming to a wide range of cinematographers and photographers.

We have done it and from today the Blackmagic Cinema Camera EF and MFT models will be reduced in price to US$1,995. This is very exciting and is one of the proudest moments of my life to be able to do this!

I think people will be able to use the savings to invest in some exciting lenses and rigs to really boost the creative possibilities. The Blackmagic Cinema Camera is a fantastic design that's now well proven. The advantage of the 2.5K sensor is it has enough resolution to eliminate the bayer resolution loss of a HD sensor, but when shooting RAW it produces files that are too not to big to store and work with easily. It's a fantastic solution.

All orders placed that have not yet been filled, can be reduced to the new lower price."

1. 14 stops of latitude
2. 4K
3. RAW CinemaDNG
4. Mechanical shutter
5. Optical viewfinder

http://cinescopophilia.com/aaton-delta-penelope-14-stop-dr-multi-slot-shutter-at-100-iso/

Aaton almost went bankrupt with manufacturing problems on the Delta sensor stalling delivery but now seem to have new owners.

Advanced field sound recorder, Cantar X, (seems close to completion) and a digital Aaton Minima (s16?) in the pipelines.

The digital minima seems to feature an optical viewfinder as well as a mechanical shutter. Personally I think it will be interesting where they will put it in terms of pricing in the current market. I seriously doubt it will be able to compete with bmpcc in terms of pricing; more likely it will be an improvement over the Ikonoskop cameras and hopefully priced competetively. Most likely it will look similar to a-minima.