@radikalfilm, from what I gather the CCU control will go into all the switchers, well at least in their software.
I have read in other forums that the talkback hijacks channels 15 and 16.

@thorn "The monitor screen itself is odd. Not every PA is nearly 6ft tall (and they don't dress like that, either) like the guy in the mockup. How exactly is a PA going to see the screen if they're barely past 5ft, because it doesn't TILT DOWN. You can't just lower the entire camera on a set; the camera height has to remain constant. Amateur oversight by BMD."

Haha. I suppose PA's would have to be BMD-certified for size going forward. Good catch, I didn't see it though it's glaringly obvious. We both know this would be a fringe solution for new installations only. I do see it in my market (corporate live events) - when I decide to go HD it will be at the top of the list. That would be around when consumers start buying en-masse into 4K :)

Regarding a CCU - I've been looking over their site, and it does seem that the CCU is software-based. The BMD switcher looks like it has controls built-in, but again - I can't imagine a station dumping their 3yr old switcher for the BMD version, because they need CCUs for the BMD camera (gah, so many acronymns. sorry). The software version of the CCU is going to have a veteran TD screaming. The TDs I've worked with want to point the camera at a white card, hit the White Balance button, and then reset the frame all within 20-30 seconds - not poke around in Resolve. There's no TIME for that in live tv. Maybe there's an instant White Balance button somewhere in the software that isn't shown in the screenshot...

B4 Mounts: If there comes a m4/3 lens option at some point that can replace the same functionality of all the B4 parafocal servo lenses (still in use, and working well), then so much the better. But as the cliche' goes - it's not always the camera that is the most expensive part of filming - it's the glass. And it's a hard sell to convince broadcast engineers to dump their B4 glass, and replace it with a lumix 35-100. It's not going to happen.

How well does the BMD system integrate with ENPS and iNews? With Ignite?

Again, this all goes to back the fact that TV stations upgraded all their gear when we had to go HD. Most (in major markets, anyway) already have their new cameras, switchers, CG, audio mixers, glass, etc etc. It doesn't matter if the BMD camera is $2000, if you already have four $8,000 cameras and a Grass Valley that are working perfectly fine. And if one of your $8000 cameras dies tomorrow, you aren't going to replace it with a different model by a different maker - you'll spend forever trying to make the picture match the other 3.

The monitor screen itself is odd. Not every PA is nearly 6ft tall (and they don't dress like that, either) like the guy in the mockup. How exactly is a PA going to see the screen if they're barely past 5ft, because it doesn't TILT DOWN. You can't just lower the entire camera on a set; the camera height has to remain constant. Amateur oversight by BMD.

I know very little about the needs of churches for video production, so won't offer much opinion on the suitability for this system for a church. But, I do know that a church doesn't have the same demands that a tv station does. A church doesn't have the same level of Engineering Division Purchasing Red Tape, nor the same buying power (multi-station discounts), nor the same service/warranty demands. BMD doesn't have a good service record with many existing customers... and while a church may be able to deal with sending a camera back a couple of times for sensor recalibration or hot pixels or whatever else, a major market affiliate won't put up with that crap.

I really like this camera because i do a lot of conferences recording, but i need in camera recording so it's looks like the blackmagic Hyperdeck Shutter is the way to go.

I may end up getting some ... 3 or 4 ... a lot of sit down studio stuff (static 2 shot, static wide and manned close up, product camera) only uses 2-4 shots. So MFT primes present no issues.

That said I don't think real good for OB; concert and sport without a real lens. I'd prefer to stick with EX1 type of cameras. You could probably pull off conferences and award nights.

@thorn - there's a HUGE market outside of television stations that could use this...

One major market that is growing immensely is Churches. I used to work in video production and IT for a church, and the goal was eventually to do live HD broadcasts of our services. Something like this really makes the market much more affordable for smaller churches that don't have a huge budget. Avid/Digidesign really hit his market hard a few years back with their live sound systems. I went to a conference that really pushed the SC48 and D-Show stuff. Even Grass Valley is out there pushing into the church market... Black Magic has them beat on price for functionality from what I've seen.

Just odd.

No one (if they want to keep their job) in a tv studio environment is going to use this thing with the currently available m4/3 lenses, along with some rigged up 3rd party gear-follow-focus system... the lenses aren't parafocal, and focus-by-wire won't cut it.

Beyond that, stations had to go HD years ago. They've already bought HD studio cameras, which they'll keep until they are covered in duct tape and solder. I really don't understand how BMD thinks this market will care much about this particular camera. They're late to the party, and bringing the wrong date.

@radikalfilm I agree with you about making the sensor 2/3 with a B4 mount. No engineer at the tv station i work at has any idea what m4/3 is lol. Im not saying this cam wouldn't be hilarious when hooked up to a fuji 100x, but i just dont see any of the big three investing in any of these cameras for their affiliate stations. And one more thing, focus pulling and our reflexes arnt our only assets when were doing live games, we occasionally find some hotties for the audience to enjoy ;)

I think the majority of TV Engineers that will buy this are probably the same Eng crowd that bought a Trinity system from Play.

@kingmixer of course they wouldn't. Anyone in ENG/live TV would cringe at the thought. For decades the standard sensor size has been 2/3'' (with B4 mounts), which is smaller than 16mm (aprox 1'' sensor with C mount). A sensor larger than that becomes a pain/nightmare for a TV studio where you want DEEP DoF. Not so much for static talking heads where the operator doesn't have to refocus, but think of a pan to a different subject or the previously sharp wall panel display behind the speaker - the viewers will think there's something wrong with the TV.

In any case I think the sensor is smaller than 1'', the reason being they advertise compatibility with B4 mount via a m43/B4 adapter (all those Fujinon zooms WILL NOT be discarded). The image circle projected by a B4 TV style lens is not much larger that its intended target (2/3''). Hence, logically speaking the sensor must be smaller than 1''. If I were to design the thing I would have made it exactly 2/3'' (or I would have an electronic crop mode of exactly 2/3'' for B4 lens compatibility). Also all the personnel used to the specific DoF of 2/3'' sensors would regard any shallower DoF as "broken"/unusable. They have years of split-second reflexes for pulling focus and that's their biggest (and sometimes only) asset on the job.

Yes, you're right. But I think you know what I meant – isn't even super 16 is still larger than the 1/3'', 1/2'', 2/3'' sizes that these productions have been using. Would Full Frame really be feasible for in-studio and EFP broadcast productions?