http://www.arri.com/alexamini/

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.

PR

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.

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

Main specs

• Super35 HDR Sensor
• No longer have any NDs
• Gen 5 Color Science
• Dual XLR Inputs
• Tilting LCD
• Canon Active EF Mount
• NP-F570 Battery
• Record 6K 6144 x 3456 up to 50 fps
  • 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
• Dual Native 400 & 3200 ISO to 25,600
• CFast 2.0 & SD/UHS-II Card Slots
• Record up to 120 fps Windowed HD
• USB Type-C Recording, 3D LUT Support
• 13-Stop Dynamic Range, Autofocus Support
• $1,995 USD

Specs

• 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
• https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera

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.

Specs

• 12,288 x 6480 12K Super 35 sensor
• 14 stops of dynamic range
• Native ISO - 800
• Not usual bayer sensor - instead has equal amounts of red, green and blue pixels
• User-Changeable PL Lens Mount
• $9995 at https://www.bhphotovideo.com/c/product/1578059-REG/blackmagic_design_ursa_mini_pro_12k.html
  • and https://www.adorama.com/bmcieurupr12.html
• Storage Features
  • 2 x CFast 2.0
  • 2 x SD UHS-II cards
  • 1 x high speed USB-C expansion port for external media.
• Storage Rates, based on 24 frames per second.
  • 12K - 12,288 x 6480
  • Blackmagic RAW 5:1 - 578 MB/s
  • Blackmagic RAW 8:1 - 361 MB/s
  • Blackmagic RAW 12:1 - 241 MB/s
  • Blackmagic RAW 18:1 - 160 MB/s
  • Blackmagic RAW Q0 - 241 to 578 MB/s 1
  • Blackmagic RAW Q1 - 144 to 361 MB/s 2
  • Blackmagic RAW Q3 - 96 to 241 MB/s 3
  • Blackmagic RAW Q5 - 72 to 180 MB/s 4
  • 8K - 8192 x 4320
  • Blackmagic RAW 5:1 - 258 MB/s
  • Blackmagic RAW 8:1 - 161 MB/s
  • Blackmagic RAW 12:1 - 107 MB/s
  • Blackmagic RAW 18:1 - 72 MB/s
  • Blackmagic RAW Q0 - 107 to 258 MB/s 1
  • Blackmagic RAW Q1 - 64 to 161 MB/s 2
  • Blackmagic RAW Q3 - 43 to 107 MB/s 3
  • Blackmagic RAW Q5 - 32 to 81 MB/s 4
  • 6K - 6144 x 3240
  • Blackmagic RAW 5:1 - 145 MB/s
  • Blackmagic RAW 8:1 - 91 MB/s
  • Blackmagic RAW 12:1 - 61 MB/s
  • Blackmagic RAW 18:1 - 40 MB/s
  • Blackmagic RAW Q0 - 61 to 145 MB/s 1
  • Blackmagic RAW Q1 - 36 to 91 MB/s 2
  • Blackmagic RAW Q3 - 24 to 61 MB/s 3
  • Blackmagic RAW Q5 - 18 to 45 MB/s 4
  • 4K - 4096 x 2160
  • Blackmagic RAW 5:1 - 65 MB/s
  • Blackmagic RAW 8:1 - 41 MB/s
  • Blackmagic RAW 12:1 - 27 MB/s
  • Blackmagic RAW 18:1 - 18 MB/s
  • Blackmagic RAW Q0 - 27 to 65 MB/s 1
  • Blackmagic RAW Q1 - 16 to 41 MB/s 2
  • Blackmagic RAW Q3 - 11 to 27 MB/s 3
  • Blackmagic RAW Q5 - 8 to 20 MB/s 4
• Recording Formats
  • Blackmagic RAW Q0, Q1, Q3, Q5, 5:1, 8:1, 12:1 and 18:1 at 12,288 x 6480, 11,520 x 6480, 12,288 x 5112, 7680 x 6408, 8192 x 4320, 7680 x 4320, 8192 x 3408, 5120 x 4272, 6144 x 3240, 4096 x 2160, 3840 x 2160, 4096 x 1704 and 2560 x 2136 stored as 12 bit non-linear with film, extended video, video or custom 3D LUT embedded in metadata.

• 8K 35.4-megapixel CMOS sensor (40.96mm x 21.60mm)
• 17 stops of dynamic range
• Canon RF mount
• 2.4” LCD display
• 8K raw recording at 120fps
• 2K raw recording at 600fps
• Using CFexpress media cards
• 1.8kg
• Supports Micro V-Lock batteries
• Two 4K 12G-SDI outputs
• XLR audio port with phantom power
• 2.4Ghz/5Ghz Wi-Fi
• $24,5000 at https://www.red.com/v-raptor-st?quantity=1&package=2

Specs

• 44.7-megapixel 36mm x 24mm full-frame CMOS sensor
• ProRes RAW recording
• Dual native ISO - 800 and 3200
• Modes
  • 8K Open Gate up to 48 fps
  • 6K up to 100fps (S35 mode)
  • 5K up to 120 fps (S35 mode)
• up to 14 stops of dynamic range
• 12ms rolling shutter in 8K, 9ms in S35 mode
• Uses KineMAG Nano cards (just repackaged NVMe M.2 SSD
• Motorized electronic neutral density filter, 0.6 to 2.1 ND
• IO -
  • Two 3G/1.5G SDI ports
  • Timecode IN/OUT (5-pin)
  • BNC Genlock
  • 12V RS Output (three-pin)*
  • Seven-pin sync port
  • R45 Ethernet port
  • 12V D-Tap Out
  • 3.5mm headphone jack
  • USB-C port
• 10.5 x 12.1 x 11.9 cm
• 1.2kg
• $11,999
• September 2020 release
• Preorder at http://www.kinefinity.com/shop/mavo_edge_preorder/?lang=en

Huge train-wreck seems to be happening with little amazing Z-CAM team.

All E2 cinema cameras are based on main LSI chip made by HiSilicon (Hi3559A V100 and may be few more models). For reference - HiSilicon is chip design branch of big Huawei corporation. Hisilicon designes all the main LSI (called Kirin) for Huawei smarphones.

Right now Huawei is on the first front lines of China-US trade war, with US promising to leave only burning ashes from smartphone market leader.

Since last US punch it is more correct to say now that they designed/made such chips and can't do it anymore. US put extreme sanctions on Hisilicone specifically - now they can't use any contract manufacturers (as 100% of them use US intellectual property, equipment or software) and can't keep even be using US software to design chips themselves.

Such way Z-CAM cameras suddenly won't have their heart available for company, and this also concerns any already made, sold or awaiting to be sold camera, as servicing issues and lack of parts can prevent company from keeping their warranty obligations. On small market of semi-pro and professional cinema cameras this alone is making your product unacceptable for any serious production.

Company now tries to hide this information from potential buyers, cleaning it instantly from the Facebook group and trying to prevent its leak to camera related press.

It will be real tragedy if we'll have such interesting company (that had been able to withstand very hard climate) will be going out of business as collateral damage in the US-China trade war.

Features

• Micro Four Thirds Lens Mount
• Capture up to UHD 4K 3840 x 2160p60
• 7" High-Brightness HDR Touchscreen LCD
• Record to External USB Type-C Disks
• Records Blackmagic RAW, Up to 25,600 ISO
• 12G-SDI, HDMI & 10G Ethernet Video I/O
• XLR & 3.5mm Audio Input, Built-In Mics
• Built-In DaVinci Resolve Color Corrector
• Large Tally Light, 5-Pin Headset Plug
• Light Carbon Fiber Polycarbonate Body

https://www.bhphotovideo.com/c/product/1657122-REG/blackmagic_design_studio_camera_4k_pro.html

• EF-mount Super 35mm cinema camera
• 5th generation color science
• Tilting 5" LCD 1920 x 1080 pixels, 1500nits
• Built-in ND filter - motor-driven ND filter with 2, 4 and 6 stop increments
• New camera uses Sony NP-F570 batteries
• SD UHS-II and CFast 2.0 storage slots
• USB-C media disk recording
• Pair of mini XLR audio inputs
• $2,495 at
  • https://www.adorama.com/bmccamp6kpro.html
• External viewfinder is $495
  • https://www.adorama.com/bmevf.html
• Pro Grip - $145 (allow to add two NP-570 batteries!)
  • https://www.adorama.com/bmccampxbpro.html

• 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).

• 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 - https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera
• $1250
  • Preorder at https://www.bhphotovideo.com/c/product/1401512-REG/blackmagic_design_pocket_cinema_camera_4k.html
  • and https://www.adorama.com/bmccp4k.html

Specs

• APS-H BSI 65MP 4:3 sensor
• 9.3K native resolution
• 70fps 9.3K RAW Cinema DNG
• 10GB/s record rate, may be it is sponsored for storage manufacturers?
• Cameras made for big Hollywood studios and renting to goverment agencies (like underwater stuff)
• Actually none of the cameras can be ever sold, only rented together with Australian tech specialists and crew
• $200,000 AUD/$146,000 abnormal price (for sensor+CNC case+pair of FPGA chips)

http://www.achtel.com/9x7/sample.htm

Specs

• 10.28 MP 4/3" WDR CMOS Sensor/Flagship Housing
• 13 Stops DR
• Interchangeable MFT Lens Mount
• ProRes RAW & 12-Bit Color Support
• Early June release
• $1499
• https://www.bhphotovideo.com/c/product/1566077-REG/z_cam_e1511_e2_m4_4k_cinema_camera.html

PR

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.

KineMOUNT

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:

http://www.kinefinity.com/mavo/

Specs

• Canon EF mount
• H.264 and H.265 encoding, up to 200Mbit
• Modes
  • 4K up to 60fps
  • 8K up to 30fps
• Direct 5G connection
• WiFi 6
• USB 3.0 connection
• HDMI 2.1 output
• $2,800 USD.

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.

• 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.

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.

https://www.fdtimes.com/2019/03/28/arri-alexa-mini-lf/

https://www.arri.com/en/camera-systems/cameras/alexa-mini-lf

More info about the making of the film here: https://www.dominicjacksonfilms.com/polar

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 Reelhouse.org 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.

http://www.z-cam.com/e2g/

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?

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?

17+ steps DR range.

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

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.

"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.

Specs

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

Unboxing