I never said I had the skill to do it. What I did say was that I had an idea and had spoken to a few custom camera designers who have the capability to pull it off.

I dont know why you think you could know that my mind is or isn't made up about anything. I would love for it to be lower cost and for the people who are actually discussing this rather than nay-saying it has been helpful.

What would you all think of 4k Cinema DNG capture in camera to off the shelf SSD's?

The idea of the modules was to give people options. I know I said modules but I was trying not to spill all the beans (not sure why). My thought was why pay for a camera that needs an external recorder for top results when you can just strip out the parts you dont need and send a signal out of a camera head to your recorder of choice

@RRRR from what I have been able to see, there is no patent on the way that the epic and scarlet accept lens mounts. My hope is that people will have more options if I make the front able to accept epic style mounts such as the longvalleyequip.com nikon mount which is only $400. If it was up to me I would make it a straight up nikon mount but I think that people would like to have more options.

I have to disagree with you on the IMAX front. There is a proven interest in full frame based on the success of canon and nikon full frame dslrs for video. Also full frame (or vistavision in cinema terms) has a long history of use in visual effects. There is plenty of manual glass that would be great for this sensor, especially old nikon and new zeiss zf glass.

As for the power source I was thinking I will have it made to be identical to the black magic camera so you could plainly say "if it says its made for black magic then buy it for this camera"

I agree with you about ikonoskop. There problem was price was too high, media took to long to offload, and they were dwarfed by the interest in the 2/3" cinema model from RED.

Right now I'm in the process of building a spec sheet. That way I can get a price for development and a unit price list. The one thing the designer keeps telling me is that once something is developed I'd be surprised how low unit price ends up being. I'm curious as to what I should cut and what I shouldn't.

I would think an online camera forum would be a good place to talk about such an idea, but I sense some hostility.

It is not hostility, it is common sense.
I like serious approach, and do not like just sweet talk.

I'm not even saying it HAS to be raw. 4k raw has ridiculous data rates.

I would be happy with a truly uncompressed signal...not the crap from the d800. I just figured if I was going to make something it should be a lasting investment

the second part of the idea is that:

when using a 4k raw recorder it needs to be cheaper than scarlet

4k prores needs to be cheaper than 1d-c and fs700

@vitaliy_kiselev I totally understand where your coming from.

I was just trying to see what other people thought. Truth be told the idea revolves around having a camera head with 4k raw and 1080p outputs and then connecting it to recorders ranging from the hyperdeck shuttle up to the gemini 444. I have spoken with people at convergent designs, ki pro quad, and black magic about the idea and they were interested in supporting it.

I was still looking into manufacturers and one camera designer was interested in making it a passion project. The idea would be that we would make one camera and once we got it working we would start a kickstarter to mass produce. Let me be clear, the idea is not to announce a camera 12 months before we even have a real prototype ex. "dream team"

That being said I like what digital bolex is doing. I would have been interested in the camera but i got sick of using etc mode on the gh2 for all my 16mm glass and sold the lenses to get nikons

1) Yes and No. There is a brain that exists that does the exact same thing at the same resolution but it is an older and outdated design. This would be a redesign of that concept

2) Phone with a few different manufacturers. Some from a "this is my business I will build it for a cost" others were more of "thats an interesting idea I would work with you as a partner on"

3) Right now I'm in the planning stages. I am in talks with a few manufacturers and then third parties who will be producing accessories

4) can't say

5) camera. singular. And we would hope to be on a one year timeline.

As I said before this entire idea spawned by my inability to find what I was looking for in a digital full frame camera.

I understand, what would be interesting for me : 3k 24/25p prores/dnxhd or cineform with 2.5k 48/50fps and 1080p 100/120fps modes ,12-13 stops DR, all with compression options, on SSD or HDD in 2k-3k price range ,

24, 25, 30, 48fps

60fps is really a must as many shoot for TVs and internet now.

Choose your recorder so that you are only paying for what you need right now

Good idea, trouble is.. price.

choose your lens mount (using already available lens mounts) so that you are not locked into one brand

See trouble. For me, E-mount is all that is required. Adapters for all else.

To be short, to talk about prices you need good calculations and business plan. Most probably, in reality it'll be all higher. And competition in the release time can even prevent release totally.

A couple of reasons:

1) It will be the first high quality full frame digital cinema camera available
3) 24, 25, 30, 48fps
2) s35mm crop for use with existing cinema lenses
3) Choose your recorder so that you are only paying for what you need right now
4) choose your lens mount (using already available lens mounts) so that you are not locked into one brand
5) 1080p RGB output + 4k RAW output so that you can upgrade to a 4k recorder when you need to,
6) Keep in mind all prices are approximate. Brain cost may come down. Either way you are looking at:
$ 10k+ for 4k RAW (competes with scarlet in price and outperforms on fps at 4k)
$6k+ for 4k prores (competes with 12,000 1d-c but with better form factor and codec, and fs700 which is $8,000 before purchasing 4k recording option)
$4k+ for for 1080 prores which competes with bmcc, 5d3, vg-900, fs100, c100, af-100, none of which offer both prores internally and a full frame sensor or scalability to 4k

@peterosinski I think one thing to keep in mind is that most succesful new entrants into the such markets have had to consider their competition and use disruptive pricing/features.

The pricing at the high end means this camera would be most directly compared to the 1DC and the RED-Scarlet (with the former using a 4K crop from the full-frame sesnor).

Could you talk for a moment about how/why you feel someone should choose the concept of your product instead and what it offers that would make it worth it to someone to invest in a new player? That sort of simple summary perspective (with comment on the comp etition)will be most helpful in getting the feedback you want.

EDIT: I see you got started on that while I typed but keep going. :)