URSA Mini 4.6k VS Sony FS5

Hi guys,

i was ok to buy an Ursa Mini 4.6k when i saw that freaking awesome Sony FS5...

OK, the FS5 doesn't look to be the same camera at all, for sure... But hey, this little brother of the FS7 has some arguments when speaking about Production :

- Full HD 10 bits, 4:2:2 on SD cards...
- Codec well integrated in every software NLE
- Small files size
- 14 stops of dynamic range
- Built in NDs... that is particularly great
- Long life batteries
- SDI and HDMI out
- External recording when RAW is needed (via future firmware, and maybe with the help of a Sony Recorder)

Missing a good EVF but i have one already...


URSA mini's got a better codec for sure and better dynamic range sensor, but when speaking with price, the Ursa mini looks a bit more expensive when you have to add the grip kit, IDX batteries, CFAST 2.0 cards etc etc...


I make commercials. It's true the Ursa mini looks a better choice for fiction and commercials... RAW is a must have in this domain... But, my servers at work have enough of RAW... they want a codec that is economic in space !!!!


Guys, for my jobs (Commercials, short fiction films) does the FS5 look a good choice ? I'm used to rent the cameras for my jobs, RED epic, Sony F55... And with "small" prices and better and better quality small cameras, isn't that a good choice to buy a little camera like the FS5 or Ursa Mini to avoid renting ?

As i am concerned, jobs are 2K 90% of the times... But some clients need (i don't know why...) more and more 4K... 4K with the FS5 is 8 bits ( ...) and not really built to size the needs of commercial works...




WHAT DO YOU THINK GUYS ?

Speaking of price both URSA and FS5 are similar.
If you don't want to deal with RAW you can still record 1080 ProRes with URSA (4K RAW 3:1 is not so different from 4K ProRes in terms of space) but be prepared to grade LOG footage. It takes time and requires knowledge. So Sony route might be quicker.
Since you rent a lot of "pro" cameras I don't think you really need technical advices, try both and pick the one that fits better your needs and is closer to what you are used to rent.

Personally I'm not a fan of Sony color science, but everything else of their cameras is great!

The question is more :

is the XAVC interleaved 10 bits easy to push ? 14 stops dynamic range looks a bit curious for a small camera like this... Sony says it has the same sensor as the FS7. SLOG3 on the FS7 looks great... When the FS5 will be upgraded with 4K 10 or 12 bits (with probably an external Sony recorder), won't it be a super great camera ?

For my needs, i can start with Full HD 10 bits for the 90% of time i shoot for trademarks, and rent some big brothers when 4K needed ? Or the 4K 8 bits is usable ?

Personally I'm not a fan of Sony color science, but everything else of their cameras is great!

That is enough for me to not buy the Sony. Why waste that money on a camera whose image you will never completely agree with?

Ursa Mini boasts better codecs, shoots raw right out of the box, has a more ergonomic form with the shoulder-mount kit and ships with Resolve 12. I did a whole "vs" with these two cameras on my blog. The PL Mini has even more options for pros.

The question is more :

is the XAVC interleaved 10 bits easy to push ? 14 stops dynamic range looks a bit curious for a small camera like this... Sony says it has the same sensor as the FS7. SLOG3 on the FS7 looks great... When the FS5 will be upgraded with 4K 10 or 12 bits (with probably an external Sony recorder), won't it be a super great camera ?

For my needs, i can start with Full HD 10 bits for the 90% of time i shoot for trademarks, and rent some big brothers when 4K needed ? Or the 4K 8 bits is usable ?

You can't push a whole lot out of 10bit XAVC but it's not bad to work with. Slog3 is great. The external recorder, like the one I used on an fs700, especially going the Sony proprietary route, even though you don't have to, is $5k, and throws the ergonomics off - unless they put out a new recorder and it's not through the r5-axs like it was on the fs700. Even through the recorder is 12 (or 15 bit I can't remember..) you are still using a 10 bit sensor so the image will be noisy. Again I'm basing my knowledge off of my fs700 (8 bit sensor) so I'm not entirely sure.

Hopefully someone can clarify this.


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Nicolas, I've been on pre-order for the Ursa MIni 4.6k since June. The FS5 announcement made me reconsider for a moment, because I personally could use the FS5 on any shoot I would currently be working on. I love all the external buttons and overall features, including HD HFR burst. But as others suggested I don't like the Sony color science either, specifically the sample footage of the FS5, and the base SLOG-3 ISO of 3,200 is not ideal for me.

If I chose the FS5 I would want to record externally as I prefer ProRes, and recording 4K externally to 10bit would solve the internal 8bit 4K limitation. The dust protection of the FS5 for use in more dirty and rugged environments would also be a huge plus for me. The electronic variable ND looks amazing and it's built in!

Still I am choosing the Mini 4.6K for the win. But For my work, I will definitely need a second camera for specific shoots, where the Mini won't be ideal (not talking about a B camera, but secondary A camera), the FS5 could be my full time primary camera. I do really like the new A7SII, but the body and button design I think is just awful for my use. Some combination of the A7SII and body of the FS5 would be a great camera for me.

Great analyse on your bog !!! I feel the same about these two little babies...

But we have drawbacks on BMD Ursa mini camera that annoys me :

- No ND on BMD camera... no problem with mattebox anyway but to have integrated NDs is a cool option when you want to run n gun your gear like sometimes it happens.

- No low light abilities for the BMD camera... I have no problem with low light as i always have someone on set who makes great job about light... But this is a great option when you shoot in some (rare) conditions... I like the way the F55 handles low light scenes... I think BMD is behind on this subject.


I really can't decide which one is better... Real life tests will be important. I like Sony and their XAVC codec... I don't like the fact it is 4K 8bits...
And that's true their RAW option will be proprietary... and the price that goes on with it... BMD has Prores and RAW inside... Better codec option.

Don't know how the Full HD of both will record... Is it a full sensor reading then a resizing or just a crop of the sensor without line skipping ?

I've been looking into these both. For me the ideal camera is the Sony FS5. But that is because I shoot documentary and hands down it is a winner if you are a lone run-n-gunner. This is because of its size, form factor, weight and variable ND and its data rates/format - clearly the compromise of 8bit is a compromise but not for what I need - if shot well the footage will still look gorgeous

Now if you are shooting docs with controlled environments or film then the 4.6K is the better investment - this is because of its output more than anything.

I prefer the "look" from BMD products but that would not stop me choosing Sony given its practicality for my needs - the main killer for me is the timeframes of the release. The FS5 will not be available till 31st December in the UK (according to Sony)

I will definitely be buying the FS5 early next year. For now I am going Ursa Mini and looking forward to falling in love with the superior image and swearing out loud about data cards on set

For doco use, the FS5 is really hard to beat:
-NDs + electronic var. ND
-good HD codec (but XAVC-L needs processing power!)
-small+light
-allround mount (can adapt nearly every lens type!)
-2k center scan (cropx2) doubles your effective focal length!
-4k RAW with CG Odyssey7Q in the future over SDi (hopefully)

I fumbled around with it at IBC and thought it was the ideal HD doco cam with everything onboard you need.
Just buy a lens, battery + some SD cards + microphone and you're good to go...

Hi guys,
Guys, for my jobs (Commercials, short fiction films) does the FS5 look a good choice ? I'm used to rent the cameras for my jobs, RED epic, Sony F55...

Strange request.. you rent RED and F55?
Does your operator know how to use them both optimally?
And the person that grades the clips?
And if you answer yes to both questions how is it possible that you're considering an FS5 as your next camera?

Hi guys,
Guys, for my jobs (Commercials, short fiction films) does the FS5 look a good choice ? I'm used to rent the cameras for my jobs, RED epic, Sony F55...

Strange request.. you rent RED and F55?
Does your operator know how to use them both optimally?
And the person that grades the clips?
And if you answer yes to both questions how is it possible that you're considering an FS5 as your next camera?

I agree with this post. I'm very confused by your wants/needs, based on your past experience.

The FS5 is way less of a cinema camera from a RED or a F55. It's a great camera, but extremely different to what you are comparing it to.

I feel like the URSA Mini is going to closer match that "cinema workflow" that you are used to.

What's the matter guys ? Yes i rent RED epic and F55 for jobs. And then ? I rent them... this costs me a lot with grips, batteries, etc...

I can buy only a camera that's not too expensive but that can fit the jobs i am paid for... I work with these cameras and it is a great thing. I'm searching to buy a camera to find the best way to do the job and to avoid taking too much space on my servers at work... Where's what you don't understand ?


Yes i think both of Sony FS5 or Ursa Mini can fit my needs... Not enough pro cams ? is that what you mean ?

Men, well, i think FS5 or Ursa mini can be good enough as not so much persons could make a big difference between an 40k US$ camera and them. I don't have the money anyway to buy a camera this expensive... Please tell me the difference could be seen at the first sight when compared in the same conditions with a F55 or an EPIC... I think what REALLY makes the difference is not the camera itself at this level of production... Men... Lighting is controlled, we make commercials... I think the difference is so small i can buy an FS5 or an URSA mini and nobody could make the difference if not directly compared side by side...

The tools don't make cinematography... I think an FS5 or a Ursa Mini can do the job as well as an EPIC or a F55...


But i cannot choose which one i should buy to give me the best codec/workflow/file size/dynamic/comfort to use ratio...

I think the verbiage was confusing me.

Honestly I think, based on the workflow you're used to, the URSA / mini would be a better choice for you. Unless you're going to move forward doing primarily documentary and run-and-gun work, in which case then you may want to spring for the FS5.

Of course there is always the optional RED RAVEN, which would be a bit more expensive to operate (around 15K) but if you're really familiar and comfortable with RED products, I wouldn't discount it.

The tools don't make cinematography... I think an FS5 or a Ursa Mini can do the job as well as an EPIC or a F55

That is the right attitude to have. Unfortunately you can't just go to a local store and play with an Ursa Mini and FS5 together to see which one feels better in your hands.

As much trouble as switching lens mounts on the Ursa Mini might be for some people, I think that for what I intend to do with my Mini (docu with B4, everything else PL) and how much I love BMD's color science decisions and choice of codecs and bitrates, plus my experience with BMCC, I am definitely more comfortable with Ursa Mini PL and will get more out of it than the much lower-quality codecs and boring color science of the Sony cameras. That's just my opinion, obviously, but as much as I am in love with my Sony X70, I don't like it's image as much as I love my BMCC's image. But, I prefer my BMCC for cinema, and I prefer my X70 for events and documentary work. But I bought the X70 for precisely the opposite reasons I bought the BMCC: the BMCC is intended for me to be a piece of a large, heavy, complicated camera rig for shoots within controlled environments like a movie set. The X70 was purchased to be a single, self-contained, fixed-lens, light-weight, inexpensive battery and media card "handycam" for fast run-and-gun situations that the BMCC, even while naked, would be too heavy and cumbersome to bring to. I HATE changing lenses in a docu environment. I hate holding the heavy BMCC in front of me and needing an external monitor and external audio recorder. I hate not have a parfocal, servo-zoom lens, too. Ursa Mini fixes all of that...for me.

I hope you're aware of prices for PL parfocal servo zoom lenses for S35...

Erik, with the B4 mount option for the Mini PL, you can use less expensive ENG HD servo zoom lenses for Doc work, and switch back to PL for Cine prime lenses. Yes PL glass costs more, but some up and coming new PL lenses may change that.
Cheers

Ok. Everyone tends to say the same thing about the match FS5 vs BMD Ursa mini...

I do never shoot documentaries... sometimes interviews and sometimes some institute films with less controlled lights but my main concern is Fiction with short films and commercials.

So my choice would certainly be the BMD Ursa mini. I like their color too. I like Prores 422 for its relatively small file size when LT or proxy. Direct comparison between the two will make the choice for me. What i can see right now from the FS5 is it has no banding in the sky due to 8 bits when shooting in direct sun... Transitions are great for 8 bits, and dynamic remains good enough to see details on the persons back on the film "free spirit" demo from Sony.

I'm not fixed right now on paper. My preference goes to the Ursa mini, but i think the little sony is not so far behind and have some arguments i'm sensible to : integrated NDs, high iso abilities, 240 fps Full HD...

Time will tell.

Ok. Everyone tends to say the same thing about the match FS5 vs BMD Ursa mini...

I do never shoot documentaries... sometimes interviews and sometimes some institute films with less controlled lights but my main concern is Fiction with short films and commercials.

So my choice would certainly be the BMD Ursa mini. I like their color too. I like Prores 422 for its relatively small file size when LT or proxy. Direct comparison between the two will make the choice for me. What i can see right now from the FS5 is it has no banding in the sky due to 8 bits when shooting in direct sun... Transitions are great for 8 bits, and dynamic remains good enough to see details on the persons back on the film "free spirit" demo from Sony.

I'm not fixed right now on paper. My preference goes to the Ursa mini, but i think the little sony is not so far behind and have some arguments i'm sensible to : integrated NDs, high iso abilities, 240 fps Full HD...

Time will tell.

If you are doing Fiction with short films and commercials then the decision is easy, get the BMD URSA mini unless you can spend a lot more money and get a RED or ALEXA. You do really need RAW or as close as.

Jules

I hope you're aware of prices for PL parfocal servo zoom lenses for S35...

Do I want to buy a house or do I want a PL parfocal servo zoom lens for S35.....

I would choose the lens.

What's the matter guys ? Yes i rent RED epic and F55 for jobs. And then ? I rent them... this costs me a lot with grips, batteries, etc...
...
Yes i think both of Sony FS5 or Ursa Mini can fit my needs... Not enough pro cams ? is that what you mean ?
...
The tools don't make cinematography... I think an FS5 or a Ursa Mini can do the job as well as an EPIC or a F55...
...
But i cannot choose which one i should buy to give me the best codec/workflow/file size/dynamic/comfort to use ratio...

It's not a matter of art versus tech, otherwise we wouldn't be here lurking about specs, DR and bitrates.

URSA mini can be in the same league of RED and F55, FS5 simply not.

If you worked with RED u know very well that the difference is not in the look of the image out of the box (except for the flat output) but in the post process.

Simply put, your question is the same as a photographer who says he works renting a 5DMarkIII and thinks of buying a camera that outputs jpegs only.

I want to add another question to the FS5 vs Mini 4.6k consideration. How is the repair/warranty support for both Sony and Blackmagic brands? I'm asking about sending gear in for repair specifically, not simply email or phone support. Do you have experience with support being slow, costly, painless, etc, with either brand?

It's unfortunate, but one can always break their camera, under or out of warranty, so repair support I think is a huge consideration to long term ownership. Of course, I'll always have backup gear.

Erik, with the B4 mount option for the Mini PL, you can use less expensive ENG HD servo zoom lenses for Doc work, and switch back to PL for Cine prime lenses. Yes PL glass costs more, but some up and coming new PL lenses may change that.
Cheers

But have in mind that you can only shoot 2k windowed with B4 mount lenses. The 4,6k option is gone if you use that kind of lenses.

Most people answering here haven't used both cameras.
I have the FS7 and shot a lot with BM cameras. I loved the image from the BMCC and the BMPCC.
I did not like the 4k Version of any BM camera.

With the Sonys, it's just another machine.
Most people forget that you can add the CG Odyssey7Q and have 4k RAW, 4k ProRes and many formats more. You have to spent another 3k, but the Odyssey is one of the best 7" monitors too.

I wouldn't recommend the BM for doco work. It misses NDs, smaller codecs for recording...
The FS5 is not meant for motion picture shooting with big crews.

It looks like everyone says FS5 is more a documentary camera as it has NDs integrated, high iso abilities etc etc...

Now i think i'll wait to see footage from both of them. End of October for the Ursa mini 4.6k... Hope it will be the case.


I have still a question : do anyone of you know the power consumption of the Ursa mini ? I don't find it on their website... I need this information to calculate the cost of batteries... IDX 150 or 90... Not the same price...

Sony batteries for the FS5 are waayyyyyyyyyy cheaper...

I think power consumption is going to depend on dos rate being used, widow mode or full sensor, etc. unlike traditional ENG camera that either had a "standby" mode power rate, and recording power use rate, which was constant.

The Ursa Mini power rate is going to depend on how it is being used. You might plan on getting one 90 and one 150 to start, then use the camera and see which works better. If the 90 gets you by for normal shooting, then get a 2nd 90, and save the heavier 150 for situations requiring more running time than the 90 gives. I had both for my ENG camera, and switched between them as shooting requirements changed. Most of the time, I got by with the 90 and saved the weight.

BMD doesn't appear to publish the wattage of their camera, viewfinder, monitor/recorder. That would be helpful to make a ballpark estimate, but actual usage of your rig is what's really needed. For example, are you supplying phantom power to a mic or two? Are you supplying power to another recording device or preamps? That sort of think is going to add up as well as the frame rate and sensor window and codec and so on. My guess would be 60 watts at a minimum on a rig, but margin of error could easily be 15 watts. If you plan to shoot for an hour, a battery rated at 90 watt-hours should be fine. Then either put in a fresh battery or use a (heavier) stronger battery initially. I haven't decided myself what I'd use on the Mini when shoulder mounted. I like the convenience if one 150 WH supply that will get me through a two hour event and helps balance the camera on the shoulder. But two 90 WH buys some insurance in case you need to record for three hours.


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Another thing is a ~150 Wh brick is great for a tripod or easy rig. But for general shoulder work, its just better to go down to a ~90 Wh battery. Even though you have to switch it out more frequently, your shoulder and spine will last longer, even if your kit bag needs, well...i remember 2 dionic 90s were the same size as one of the hytron bricks and probably weighed about the same. So size and weight shouldnt be an issue in the bag, 4x 90s compared to 2x 150s, lets say. The savings happens as you use a brick at a time because, as mentioned before, a 90 is half-ish the weight of a 150. They also last half as long but when youre handheld every ounce counts. Next thing to do is buy an easy rig.

Yes Jason, you are right, but the newer LiPro batteries now I. Use are much lighter than the old AB and Sony batteries were NMh or NicCad were "bricks", because if their weight, and similar.ar size to real bricks. The new AB and Sony 90 Wh Lipros batteries are a joy to work with by comparison. Cheers.

Thanks, Jason and Denny. I guess it makes more sense for me to carry a lighter weight. I'll keep it in mind.


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For mountaineering, I definitely prefer 90wh batteries, but on the shoulder a bigger brick tends to be easier to balance, weight wise, leading to the feeling of a lighter rig.

That was my thinking. I'm thinking perhaps I should have both and then I'll be able to determine which works best on the shoulder. On the tripod, sure 150 WH. The newest Anton Bauer batteries look like they were designed expressly to appeal to RED Weapon shooters. I may go with the previous Digital generation that look like a great fit for the size of the URSA/Mini.


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Yes Jason, you are right, but the newer LiPro batteries now I. Use are much lighter than the old Dionic NMh or NicCad bricks were. The new AB 90 Wh Lipros are a joy to work with by comparison. Cheers

AB "Dionic" batteries are Li-Ion; their "Hytron" line is NMh. I own both (90 & 50 Wh respectively) & they're very good.

Of course AB now sells newer designs, including high-current capacity models.

-

Thanks Peter, my bad, I meant Hytrons. But it seems the newer Dionics are smaller than the earlier ones were. Battery technology is definitely getting better. Cheers

Here's a link to the Anton Bauer Digital 90 battery that was the latest and greatest power brick until the box designed for Weapon was introduced:


http://www.bhphotovideo.com/c/product/1053652-REG

The Hytron batteries give you a % remaining but the Digital batteries will show you a dynamically calculated remaining record time in hours and minutes when the battery is connected to the camera. Remove the battery and it reverts to the % display.


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Thanks Rick, I have the older style Dionci 90, that shows a graphic pie level indicator, and gives remaining time battery will last at the current load. http://www.bhphotovideo.com/c/product/6 ... ttery.html
Cheers

Thank you guys for the tips. I use my camera on tripods, steadicams, or cranes. It's really rare i take it on the shoulder. For some short films sometimes but for commercials i think i've never done it.

I think i'd take 2 x 150 Wh. But once again i'll wait for real tests... It's not fair BMD don't communicate power consumptions on their cameras... They could make a standard consumption when Rec is on @ 4.6K Raw 3:1 with basically EVF on and monitor Off... I think they should be able to do this... A standard procedure...

Well, we'll see the feedbacks on the field soon...

For those knowledgeable I have a question Re: the 4.6k Ursa Mini. I own a Ninja Assassin and was wondering if I rented the 4.6k Mini would I be able to hook up via HDMI and record UHD, or 4.6K downsampled to UHD ProRes?

While debating the merits of the URSA Mini and the Sony FS5, you might enjoy reading these first impressions of the FS5:

https://www.cinema5d.com/first-sony-fs5 ... fs7-owner/



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For those knowledgeable I have a question Re: the 4.6k Ursa Mini. I own a Ninja Assassin and was wondering if I rented the 4.6k Mini would I be able to hook up via HDMI and record UHD, or 4.6K downsampled to UHD ProRes?

Not likely, as the Ursa Mini does not have a HDMI output, only 6G SDI outs, one for an EVF in the front
and one SDI in the rear, plus SDI return input from a recorder or switcher.

Just have to convert sdi to hdmi with Blackmagic product done for it. Magical isn't it ? Anyway i prefer sdi connection over hdmi.

I just called with my supplyer to check how things are with my pre ordered URSA mini 4.6 ef.
They told me they expect it in Februari.

I might buy the FS5 to have until I can lay my hands on the 4.6. Bought the A7s as a bridge camera but it really is time to get a real video camera.

Hmm. Okay it probably just makes more sense to rent CFast as well and just use the 502 as a monitor.

I own an Xbox One, a Playstation 4, a Windows laptop and a few Mac desktops. Because sometimes games I want to play are only available (or are better) on only one of those systems. I say, why should that keep me from playing the game? I am not loyal to any one of them (for gaming; else I'm loyal to my Macs for everything else) and they each have pros and cons versus the other.

I feel the same way about cameras.

I can see myself commiting to one mount like I am with Arri PL, nay being loyal and investing in one set of lenses but with interchangeable mounts is even better, but the rest of the time I see the camera bodies as hammers and wrenches. Some of them are good for doing one or several things, other cameras are better at other things.

I think URSA Mini 4.6K PL is going to be a Swiss Army knife for me and my intentions, especially with that switchable B4 mount, and will solve many of my wants and needs for a nearly one-size-fits-all camera body solution. Other times, I might need to use a Micro or Pocket, or a GoPro or my Sony X70 or one of my old Panasonics or a Canon DSLR. But they're all just tools and the trick is to pick the right tool for the job...consistently. Because sometimes you need a screwdriver. And sometimes you need a GoPro for some reason.

In other words: I wouldn't mind owning both the Ursa Mini and the Sony FS5 because I'm sure they would compliment each other depending on how appropriate each tool is for the job. I can't afford to do that so I pick the one tool I believe I will get the most amount of my work taken care of with, and that camera is the one from Blackmagic. Just pick the right tool that you will get the most mileage out of.

I end this with the sixth paragraph in a row that begins with the letter "I." Boom.

One of the best reasons for going with the URSA Mini 4.6K is that BMD already sells three other cameras from which you can pick your B camera should you find you need that option and you know it will be fairly easy to match your images in post: BMCC, BMPCC, and BMMCC. If someone buys the Mini 4.6K EF, they may prefer the convenience and compatibility and go with BMCC EF. If someone buys Mini 4.6K PL, and a quality adapter for MFT->PL, they can select either BMCC MFT, BMPCC or BMMCC with BM Video Assist.


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One of the best reasons for going with the URSA Mini 4.6K is that BMD already sells three other cameras from which you can pick your B camera should you find you need that option and you know it will be fairly easy to match your images in post: BMCC, BMPCC, and BMMCC. If someone buys the Mini 4.6K EF, they may prefer the convenience and compatibility and go with BMCC EF. If someone buys Mini 4.6K PL, and a quality adapter for MFT->PL and select either BMCC MFT, BMPCC or BMMCC with BM Video Assist.


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Great points, Rick.

Here's a Newsshooter update on the FS5 firmware coming in January 2016. Take a look at the restrictions when recording 4K in camera. You may feel differently, but I don't see how this is such a great solution for a run-n-gun shoulder mount camera if you want 4K.

http://www.newsshooter.com/2015/11/13/s ... -insights/

"in 4K internally, you can select either:

· View on FS5 screen without any output, OR

· Not view on FS5 screen with HDMI output, OR

· Not view on FS5 screen with SDI output

In other words, the moment you hit record, you can only use one of the three outputs at any time. This means that if you want to record while you use the FS5’s screen/EVF, and also send a SDI or HDMI signal to an external monitor, recorder or wireless transmitter, then you are out of luck. The only way to run the FS5 screen at the same time as recording in 4K is to record to an off-board HDMI recorder like the Atomos Shogun or Convergent Design Odyssey 7Q+ instead. The output over SDI is also likely to be HD only."


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This is called restricted video processor bandwidth, the AF100 has a similar issue, when using the SDI output, you can only use the EVF or the fold out monitor screen, not both as rest of bandwidth is kept to support internal recording, weather or not you,are actually recording. The camera did not have enough bandwidth to do all three. Looks like the Sonymhas the same issue, with internal recording thrown in a monkey wrench on the external output options. Cheers

It does make sense... Sony needs to differentiate the FS7 and the fs5, but they also need to maintain higher margins than BMD does, since Sony makes its own sensors and a lot of its own custom ICs instead of using off-the -shelf ICs like BMD does.

Aww poor Sony.

Rakesh, it makes sense to Sony, but I don't think it will be popular with customers who want to run-n-gun with a lean rig and still record 4K in camera.


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