Haha, noooo.... I wouldn't be surprised if I keep it forever.
Let's pretend/dream/hope I get an URSA Mini 4.6K sometime in 2016, well I'll still want the F3 for multi camera shoots and as a camera to take out on cheaper / less important jobs, rather than bring out the big guns with the URSA Mini every single time. (Plus F3 has ND filters and great low light, there will be jobs where the F3 is a better absolute choice than an URSA Mini)
So by the time I find myself getting very little use out of it, it likely will be so far off in the future it will have dropped to perhaps a third of its value, so by that point there is hardly much of reason in selling it anyway.
@IronFilm when you do buy one off the shelf, can I buy your F3? ;)
So, mid September now. Anyone surprised?
Why someone must be surprised. It is just form of business.
Development, assembly of few samples using small engineers team (and components not intended for mass production). After this it is big marketing, tours, etc. getting preorders and feedback.
And later just producing thing as market requires.
I performed many of these dynamic range tests in tandem with our original URSA 4K to really see how much of a difference the 4.6K compares to the original 4K sensor. In short, there is no comparison. The 4.6K compares so much farther ahead of the 4K that it’s almost an unfair match. It’s kind of like racing a BMW E46 M3 (a mighty powerhouse in its own right) against a McLaren F1 with the BMW V12 engine (sorry, I’m a BMW racing nut).
Spent some time around the mini 4.6k at Cinegear.
Had to go back to it the second day because I just liked it so much.
This thing is just a beast.
The combination between having a sensor that gives a ton of DR and having recording formats that give you the bits to work with in post is a dream come true.
Great price for a no-compromises pro cinematography tool.
The creative choices made in the video did not resonate with me - too warm, too flat, too much depth of field in the close ups. Anybody find themselves looking around the frame? Anyways, looking forward to being blown away by 4.6k footage in the future; until then I will reserve judgement. I would also like to see the 4.6k vs 4k side by side to see if the extra DR is worth the money and whether one has a unique look/character compared to the other.
Very nice, looks like a powerfull tool, slomo looks beautiful!
I wouldn't expect the 4K to do any different slow-motion than the current Ursa and 4K Production Camera. All of the specs are the same as all of the specs on the micro are the same as the pocket. They could, perhaps, upgrade the slow-mo capabilities on the current cameras with firmware. The raw specs on the chips they've been sourcing were designed to allow higher frame rates than any of their current line up provide, likely due to media or their interface to media.
Sure, it's not all correct, neither politically nor technically, but at the core it's a good statement about those who always discuss the latest stuff and it's shortcomings instead of shooting films…
@nomad Great video.. this is exactly what I was thinking why are we complaining about the lack of ND filters, and for them using an EF Mount for the URSA Mini. Blackmagic has given us soo.... much for soo.... little and Big saving $$$ Let's all enjoy the filming process, and embrace the tools & possibilities that we have right now.
Some statements are false, and some are just strange.
I like this one:
@IronFilm If I have a choice not to use adapters I would and I would rather not have any crop, anyways that's just me. I'm happy with where BMD is going.
Based on the JVC camera, would need to crop in to perhaps 80% ish of the original. I think, at a guess.
Also, this camera is 4.6k. Il sure MFT native glass would cover UHD at least:
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