After URSA Model?

They need a camera that will compete with the red in both sensor and form factor.

Red are less and less relevant.

Sony are the ones setting the pace

JB

Agreed that Sony seems to be setting a pace. It does help that they develop their own lenses. And, it keeps in line with the autofocus development. Remember Sony lenses are the ones that the cameras can do focus breathing compensation with, but third party lenses are left out.

RED does make good cameras and sensors. The Komodo X impressed me greatly working with it on this last feature film. RED also made me happy with the improvements to the bodies that they are making. However, I'm not a big fan of the RF Mount and needing to use a PL to RF Adapter.

Same with Sony E Mount when it comes to PL. However, the Burano seems to address this in the best way. I'm very thrilled by what I'm seeing with the Burano. And, I really hope to shoot on one this year.

Blackmagic isn't out of the game. They have a lot of potential. They simply need to move away from physical body designs that are over 5-years old now. It is time to innovate again.

... However, the Burano seems to address this in the best way. I'm very thrilled by what I'm seeing with the Burano. And, I really hope to shoot on one this year. Blackmagic isn't out of the game. They have a lot of potential. They simply need to move away from physical body designs that are over 5-years old now. It is time to innovate again.

I don't know what a Sony Burano body-only costs, but I assume it's considerably more than an Ursa Mini Pro 12K OLPF. I suspect if BMD releases a new top-of-the-line cinema camera it will sell for considerably less than a Burano. Of course, the Burano will probably be more capable in some ways, but BMD's camera could still be a great value (as they usually are.)

I think the current Ursa Mini Pro body is near-perfect, and perhaps only requires a few obvious tweaks (such as faster internal recording media, and possibly a full-frame/VV size sensor, etc.) But it's already very similar to the Burano in terms size and weight, and the UMP12KOLPF has about half the power consumption compared to a Burano. We'll see what the future brings.

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... However, the Burano seems to address this in the best way. I'm very thrilled by what I'm seeing with the Burano. And, I really hope to shoot on one this year. Blackmagic isn't out of the game. They have a lot of potential. They simply need to move away from physical body designs that are over 5-years old now. It is time to innovate again.

I don't know what a Sony Burano body-only costs, but I assume it's considerably more than an Ursa Mini Pro 12K OLPF. I suspect if BMD releases a new top-of-the-line cinema camera it will sell for considerably less than a Burano. Of course, the Burano will probably be more capable in some ways, but BMD's camera could still be a great value (as they usually are.)

I think the current Ursa Mini Pro body is near-perfect, and perhaps only requires a few obvious tweaks (such as faster internal recording media, and possibly a full-frame/VV size sensor, etc.) But it's already very similar to the Burano in terms size and weight, and the UMP12KOLPF has about half the power consumption compared to a Burano. We'll see what the future brings.

sony_burano_weight_and_size.jpg

bmd_ursa_mini_pro_12K_olpf_weight_and_size.jpg

Still too big:long for gimbal work

Still too big:long for gimbal work

The Burano or the Ursa Mini Pro, or both?

Well I use UMP on gimbals quite often, but heavy yes but easyrig helps with that for long runs.
Also the pocket is an option for lighter gimbal setups if needed

Well I use UMP on gimbals quite often, but heavy yes but easyrig helps with that for long runs.
Also the pocket is an option for lighter gimbal setups if needed

Again, if they are interested in competing what's out, they're going to have to compete with cameras like the Red Komodo.
The pocket 6k is terrible to balance on gimbals.

I myself am already looking at a move up from my S1h that I moved to last year, coming from using Blackmagic cameras for 3 years.

Come summer, if BM doesn't have a camera that doesn't have the hideous pocket camera form factor. The it's moet likely going to be a red komodo fur me.
The Ursa for factor is just a no go for me.

The UMP12K (non-OLPF) in stock at Adorama but the discounts are over, it's back up to the $6385 MSRP.

Well I use UMP on gimbals quite often, but heavy yes but easyrig helps with that for long runs.
Also the pocket is an option for lighter gimbal setups if needed

Again, if they are interested in competing [with] what's out, they're going to have to compete with cameras like the Red Komodo. The pocket 6k is terrible to balance on gimbals.

I'll be surprised if BMD doesn't announce this year (2024) a Micro Studio Camera _6K_, with all the features of their recent MSC4K, but slightly bigger and with a 6K sensor and L-mount. If they do, I hope they add Bluetooth, an HDMI output switchable between UHD/HD, and the ability to _PLAY_ BRAW clips it records to an external SSD (the MSC4K doesn't have these latter 3 features).

We'll see. Cheers.

Sony Burano is $25,000 USD:

https://www.bhphotovideo.com/c/product/1786230-REG

That’s a steal compared to the early Cine Alta cameras

And it’s only advertised as a camera B or C to the Venice 2 camera A. Hopefully BMD’s next camera is a camera A.

What's an A camera is defined by the job at hand, not by Sony's marketing department, isn't it?
I can imagine a lot of jobs where the UMP 12K is a fine A camera and any of the other BM cameras a B.

True enough. I guess Sony is thinking Venice 2 camera A owners will be purchasing the Burano as camera B. But you’re right it depends upon the suitability of the cameras for each assignment and what other cameras you have.

What's an A camera is defined by the job at hand, not by Sony's marketing department, isn't it?
I can imagine a lot of jobs where the UMP 12K is a fine A camera and any of the other BM cameras a B.

Yes. When I say A-Cam most of the time I mean the camera is built with the intention to be used as an A-Cam primarily. B-Cam is a supplementary camera. And C-Cam is specialty in terms of Gimbal/Drone/Car, etc. D-Cam can also fall in line with the Drone and other specialty uses such as crash camera.

Even the Komodo X doesn't feel like an A-Cam to me. Even though it was the A-Cam on the feature we just did. The reason it doesn't feel like an A-Cam is that you have to rig it up so much. Especially with adding the extra expansion box on the back for Timecode, Genlock, and the other I/O ports. That shouldn't need to exist on a properly built A-Cam. But, as we used it as an A-Cam that proves that a B-Cam could exist as an A-Cam.

I love the build of the Alexa, the URSA Mini Pro, the Sony Venice, and even the RED Raptor XL. Those are built right for A-Cam purposes. The problem is that bigger budget productions can afford all the cameras they want. Many of us are stuck buying one camera, and maybe hopefully getting a smaller camera to help supplement as a B-Cam.

One more thing I do hope that Blackmagic does bring back is ProRes. Mainly because of the clients I need to hand that off to. I prefer BRAW, but it is needed. Proxies can still be done in H.264/H.265 for Blackmagic Cloud.

I think the thing that gravitates so many former mirrorless camera people to the Red Komodo (X) is the overall cost. (Heck, a used Komodo is like $4400.) Because the body is so small, yes, you have to rig it up, but the weight and size means lower cost of everything else: tripods, giMBaLs, dolly/rails, EasyRig, etc. Those people getting their first cinema camera that they can show off to the world means they don't have to upgrade much of what they already own.

I started a few years ago, buying gear for larger cameras and more robust equipment that will last longer. And I've been more than happy with the durability and functionality of 'beefier' gear. There's SO MANY videos on YouTube about BUDGET GEAR and comparing a higher-end piece to an Amazon buy. And yet, the old mantra applies: Buy quality once; Buy budget over and over.

I still think about what someone said last year. Paraphrasing: "The year is not over." and that was AFTER the release of the 6k FF. SO lets hope for some first quarter release!

That would be me you quoted. Ever the optimist. If you don’t have hope, you have nothing.

Adam's observation holds true for many individuals venturing into cinema cameras, particularly those exploring budget-friendly options. A significant number of them may already possess a mirrorless camera system, often from Canon or Sony, and have a collection of lenses compatible with that system. In such cases, the desire arises to invest in a cinema camera that allows them to utilize these existing lenses.

Notably, Canon Mirrorless users find appeal in RED Komodo and Raptor systems because they share the RF Mount, allowing the use of Canon RF lenses. Canon has a few cinema camera options that use RF, like the R5C and C70, but others are still stuck in EF, like the C300iii. I know at least one Canon Mirrorless shooter that got a RED Komodo in 2021, but barely uses it because he doesn't have a lot of the support gear to make it viable option on the sets that often are hiring.

On the Sony front, individuals who initiated their journey with Sony still cameras often amass a significant collection of E Mount glass. This inclination frequently leads them towards Sony Cinema Cameras like the FX3 and FX6, especially since these cameras offer autofocus and in-body image stabilization (IBIS). Many in this category also find joy in using gimbals for their videography.

Choosing a genuine cinema camera system involves committing to more robust support, often at a higher cost. PL glass, in particular, comes with a heftier price tag as it necessitates additional equipment such as follow focus units, wireless follow focus units, and dedicated personnel for focus pulling. Moreover, it demands wireless video capabilities, all of which contribute to increased expenses.

All these factors contribute to a divide in markets. As videography evolves towards one-man-band shooters equipped for fast and nimble shooting with autofocus, demanding less crew involvement, it becomes a prevailing trend. In contrast, cinema production leans towards a collaborative team effort, emphasizing manual control and requiring a larger crew for storytelling. This shift in preference extends beyond the choice of camera to the entire ecosystem and workflow, shaping the trajectory of the purchase decisions.

Blackmagic Design Yottabyte Pro

I mean, you can get a Petabyte worth of Blackmagic Cloud Storage for $30K/month. So, why not get a Yottabyte for $100M/month.

You know Apple should do it. Start doing their movies in Digital 32K 15-Perf IMAX Uncompressed RAW. Give Nolan a blank check and buy 1 YB worth of storage in Blackmagic Cloud for the Resolve edit workflow.

I can see the headlines now:

Apple suspends CPU R&D because it blew its entire budget to produce a promo video with one shot, because it ran out of storage in its own cloud.

The big question for me, is whether this theoretical new body comes with a *bespoke* new sensor too.

I have a hard time believing BM are returning to using off-the-shelf sensors exclusively...

As has been mentioned previously, the next camera could be a 16K version of BMD’s 12K RGBWWW technology.

My guess would be another 12K, but with support for higher frame rates in the lower resolutions.

If it's around the same price as the current 12K, just imagine having a camera with that lovely sensor that can record high frame rates like 600 Hz even if it's "only" in 2K, but with the full frame image downscaled and still raw...

I don't think that it would make any sense for Black Magic to go down the ultra-specialized route like Kron and Vision Research have, but even just reaching 600+ fps would be dazzling at that price point.

I would be absolutely thrilled if they released two cameras that had the same sensor in them. I know the Pocket 6k sensor has been put in multiple bodies, but utilizing the 12k sensor in more design HAS to be the next thing, right? I wonder of the 12k OLPF will be the last Ursa Mini body design we see or if they will figure out a way to put a VV or FF sensor in it.

From what I understand, the biggest obstacle to putting the 12K sensor into smaller body designs is heat management.

Price-wise, I wonder where a new camera will fit. If they are able to do $8000-$10000 on a 'big boy' camera and a $3500-$4500 on a mini version, I think that would be decent enough and have people considering BMD again (for those that have jumped ship).

The Ursa Mini Pros ARE "big boy" cameras in all but price. I don't believe that BMD wants to raise its camera prices because Grant Petty wants to make affordable owner/operator cameras rather than rental house cameras.

They need a camera that will compete with the red in both sensor and form factor.

Red are less and less relevant.

Sony are the ones setting the pace

JB

You beat me to it... but even if you weren't correct, BMD still would not need to compete with Red; Red only has one camera that's under $10,000, and even the Komodo is above the budget for a lot of indie filmmakers.

What I REALLY want to see is more film schools teaching editing instead of Premiere.

I find it comical that even in Vancouver a lot of film schools teach Premiere, even though you can't get a job with a post house unless you are Avid fluent... and anyone teaching newbie filmmakers to COLOR GRADE in Premiere is really shooting them in the feet.

… in Vancouver a lot of film schools teach Premiere, even though you can't get a job with a post house unless you are Avid fluent... and anyone teaching newbie filmmakers to COLOR GRADE in Premiere is really shooting them in the feet.

I wasn’t aware that Adobe had that market, probably with free software to get the students to subscribe and generate revenue after they graduate from school. What a frustrating mountain for Resolve to climb when the free version of Resolve / Fairlight / Fusion likely would suffice.

Good to hear from you on the forum as I was just thinking about you earlier today!

I wasn’t aware that Adobe had that market, probably with free software to get the students to subscribe and generate revenue after they graduate from school. What a frustrating mountain for Resolve to climb when the free version of Resolve / Fairlight / Fusion likely would suffice.

It's Adobe's secret. It spends more on sponsoring film schools than on development, but it also has a major issue with marketing-driven software management. One of the software development managers that I worked for warned me against working for Adobe because of that; I have a feeling that is why things like the relinking functionality in Premiere is STILL so ridiculously convoluted and unreliable.

I had to do some work with Premiere lately so I snarfed the latest with a 1-week eval to do it, and I have to say, I absolutely hated it. And in the end the translation from Premiere to Resolve was still completely broken, just full of glitches.

Fortunately, the director/producer decided to bite the bullet and learn Resolve with my help so that it would be faster and more efficient on future projects, probably partly because I couldn't think of anyone at all who knows AfterFX, probably since the only AfterFX uses I know of in this area only do mograph, and I don't know anyone in that field. Hopefully for the next shoot I'll be doing the compositing in Nuke, but for now I'm using Fusion.

Good to hear from you on the forum as I was just thinking about you earlier today!

Likewise

I've been in something of hermit mode for a while, due to going from pandemic -> laid off -> got into film after the DGC strike got averted -> cat developed stomatitis -> holiday lull -> WGA-strike-threat-lull -> strike -> massive cat vet bill for extracting all but two teeth...

But yeah... Geoff Boyle (sadly late founder of the Cinematographers' Mailing List) got a chance to chat with the former project manager for Premiere once, and even HE admitted that Adobe's primary focus was on wedding and event videography, because they're MUCH bigger markets than film.

But with Black Magic encroaching even on that territory I think Adobe got worried, and both Avid and Black Magic are very solidly entrenched in film where Adobe wants to be, but Adobe doesn't sell hardware at all, unlike both Avid and Black Magic.

So Adobe bought Frame.IO to get the customers and almost immediately set about annoying them as usual, and now Black Magic is turning its cloud into another monster that probably has Adobe worried because it has the best remote collaboration setup I've seen yet.

It's kind of like Git, only implemented without the stupid but with the addition of user friendliness.

For anyone who's not familiar, git is the incredibly unintuitive, convoluted version control system used by most software development projects even though they all claim to be "agile" while using the most anti-agile and anti-collaboration oriented version control system ever designed by that dufous who developed that now-popular UNIX clone that killed AIX.

(I've had interactions with Linus Torvalds on tech forums... he wouldn't last here, because the moderators here don't care for toxicity. I'll leave it that.)

You had quite a struggle. Glad to hear you’re getting involved in film. Best.

Seems that Adobe is not sponsoring as well in Germany. At my arts university we left Premiere behind for DR when they switched to subscription. Just as we left Avid behind when they abandoned NuBus and didn't offer any reasonable upgrade plan to us.

The film school where I regularly teach too, Filmakademie Ludwigsburg, has been using DR for years now.

… The film school where I regularly teach too, Filmakademie Ludwigsburg, has been using DR for years now.

Such a distinguished school. Excellent you’re contributing to that.

Thanks.

You had quite a struggle. Glad to hear you’re getting involved in film. Best.

Thanks... yes, it's been a tough couple of years, but it's improving at last, though slowly.

Oh Adobe. I've had a few conversations with a couple people now who are holding on to Premiere with dear life. It's almost painful listening to them state that they work so fast in Premiere that it is too difficult to change. The irony is that so many people who have switched are now faster in Resolve than they were in Premiere. Plus they get far more power. Getting a Speed Editor or Editor Keyboard also speeds up their workflow. Premiere lacks that.

Adobe definitely puts a lot of effort into getting their software in schools to get kids on it early. I still remember back in the day when I first learned to use Photoshop. It was the only option for graphics. It was 20-years ago that I first used Premiere Pro in high school. At that time the options were Premiere Pro, Final Cut Pro, and the "Industry Standard" Avid. Yet, high schools would never have Avid. At least Premiere and Final Cut were in them, but Final Cut was only on Mac computers and Premiere was only on the PCs, even though Premiere could be on Macs as well.

It took no time to switch from Premiere Pro to Final Cut Pro in 2004/5 and then again in 2011/12 migrating away from Final Cut Pro to Premiere Pro. Remember the Coen Bros. and David Fincher used Final Cut Pro and did promotional material for Apple about using the software for their movies. Rian Johnson edited his feature debut Brick (2005) in Final Cut Pro because it was accessible. Then many of these filmmakers have done promotional material for Adobe about using Premiere Pro for their feature films. The Coen Bros and Fincher use Premiere now. Rian Johnson however uses Avid now.

That's what needs to happen with DaVinci Resolve. A big name filmmaker needs to embrace the entire post-production workflow inside Resolve. Then another. And, it needs to be heavily publicized in promotional videos and stories.

Avid was bought by a private equity firm last year, and this year news broke half of the staff was laid off. The time for Avid to have industry dominance is at an end. The time is ripe for Blackmagic Design to swoop in and become the industry standard.

“Easier said than done” since my understanding is most of the editors of Hollywood films are still using Avid due to decades of familiarity with it even if it doesn’t evolve. Agree it will take more than one prominent post production company to switch from Avid to Resolve before Resolve has a chance to assume a leadership role. An occasional cinematic use of Resolve isn’t enough. Linking it to more than one concurrent major production may get the ball rolling

It’s certainly not held back by anything related to costs but humans are creatures of habit and value familiarity. There are some old dogs that enjoy learning new tricks.

Oh Adobe. I've had a few conversations with a couple people now who are holding on to Premiere with dear life. It's almost painful listening to them state that they work so fast in Premiere that it is too difficult to change. The irony is that so many people who have switched are now faster in Resolve than they were in Premiere. Plus they get far more power. Getting a Speed Editor or Editor Keyboard also speeds up their workflow. Premiere lacks that.

I've seen a few people ditch Premiere after just seeing how to sync footage in Resolve... just try syncing second system audio using timecode in Premiere.

Adobe definitely puts a lot of effort into getting their software in schools to get kids on it early. I still remember back in the day when I first learned to use Photoshop. It was the only option for graphics. It was 20-years ago that I first used Premiere Pro in high school. At that time the options were Premiere Pro, Final Cut Pro, and the "Industry Standard" Avid. Yet, high schools would never have Avid. At least Premiere and Final Cut were in them, but Final Cut was only on Mac computers and Premiere was only on the PCs, even though Premiere could be on Macs as well.

It was a clever marketing move from Adobe, but it probably has had the side effect of taking effort and resources away from actual development. But that's ok; I'm not paying for Adobe's marketing

That's what needs to happen with DaVinci Resolve. A big name filmmaker needs to embrace the entire post-production workflow inside Resolve. Then another. And, it needs to be heavily publicized in promotional videos and stories.

I think it's been slightly detrimental that most of Black Magic's marketing has been based on word of mouth, plus Resolve is already so ubiquitous that it doesn't generate attention when people use it

Avid was bought by a private equity firm last year, and this year news broke half of the staff was laid off. The time for Avid to have industry dominance is at an end. The time is ripe for Blackmagic Design to swoop in and become the industry standard.

Avid screwed itself a long time ago. I lot of users didn't upgrade their Avid version for several releases because there weren't any new features that mattered to them. Avid's response was to switch to a subscription model... which was obviously a mistake.

Black Magic is on its way to becoming the industry standard, I suspect; the fact that we now have a Black Magic Cloud + upcoming camera-to-cloud functionality is helping, and I run into a lot of people who start migrating off of Premiere after seeing the Premeire -> Resolve fall flat on its face due to Premiere bugs.

But in the end, I don't care that much if some people are too terrified of change to try Resolve; 95% of those will never bother with color grading anyway, so it's their loss not ours

The fact that Blackmagic basically gives away Studio versions of Resolve is still amazing to me. I love them for it.

When talking with my financial guy for stocks, he says that he doesn't like that business model for Blackmagic and Resolve. But, he loves Adobe because financial growth is tied to the subscription model and profits can be seen in that model. In other words it makes stock merchants happy, but does nothing for the actual user base. This is something I disagree with because it lessens the value of the product.

Subscription model business is the death to good innovation in my opinion. The only subscription currently tied to Resolve is for Cloud Storage Space. That might be the best tangible cost to have for a subscription because per month you only need so much space in cloud storage for sharing files. At the same time, the pricing can fluctuate based on advancements that allow for cloud storage to increase without increasing cost to the consumer.

At the same time the problem is internet speeds, and in particular upload speeds. As file sizes increase as we increase resolution and other codec properties that increase data rates, it increases the cost for storage needs. This is a major reason Proxies should be handled via Cloud and Original RAW files should be handled through physical drives.

Blackmagic is poised in a great position for this with their cameras and the Cloud Store devices. This is hardware that can be bought and upgraded over time. The next generation cameras will have simultaneous raw and proxy recording, which the current Full Frame Cinema Camera 6K and Broadcast G2 do. So it makes sense for the next URSA Mini Pro to have it as well. Yet, I've stated above in this forum that there are other needs to address in the next URSA Mini Pro models.

A lot of food for thought. It's going to be an exciting couple of years for Blackmagic Design.

Like Microsoft Excel, Adobe had a winner with Photoshop. I used to upgrade my Adobe software every other year. The year I was due to upgrade, Adobe switched to an expensive subscription. I had already switched to purchasing On1 after trying CaptureOne. Now On1 allows both purchase and subscription models. And it’s a decent contender to Photoshop at a fraction of the cost with a key new feature in each upgrade.

Resolve is simply amazing. Always updates I want and basically free to own. It always has bugs so not perfect but astounding in its complexity and ease of use nonetheless.

Went to Affinity when Adobe went to subscription. Never looked back.

Ok. RED just introduced a Raptor X with an 8K VistaVision Global Shutter. Up to 120 FPS open gate.

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Ok, so what? You don't have to say, I already know. Something that tops this. The U12K came out 2 years ago and in at least one way still tops this. More than one way when you count price. And yet people still did not buy it. I own the U12k, and if BMD came out with U16K, I'd probably buy it too, but I'm not chasing 16K now and wasn't chasing 12K then but unlike for many resolution stirs negative reactions but not a dirty word for me. It's a feature, not a flaw. What 16K represents however, is the probability of everything needing upgrade at the same time, new monitors, new workstations, uncertain compatibility with 3rd party apps, unknown 3rd party support. It's all there in place already for 8K. The U12K just polishes it by oversampling and novel RGBWWW sensor which is another feature. U12K at 8K120 has a fast readout too, and I feel 120fps is more than fast enough for most things, too fast for many, and not fast enough for only a very few. Like the pocket cameras and cameras before, BMD more than anything or anyone provides a pathway, to the industry, to it's other products like Resolve and BRAW, speed editor, decklink, a complete ecosystem. Affordable entry to top level products. So in my opinion for what's next, *nothing* is required to keep me in the fold, they don't have to do anything to remain in lockstep with anyone, and I'd rather they not play that game. If they don't have what you need so be it but let's not keep asking for dream products at an unbeatable price that you aren't going to buy. People *have* bought the pocket series. That's an obvious success. Resolve is another. Support the existing products. And all the best too, to Red that the Raptor VV is all they hoped it to be.

For me the Raptor XL has the right things built in for the body. The Timecode (Lemo) and Genlock (SDI) ports, 3X SDI Output Ports, etc. but the coolest thing is the wireless Timecode and Genlock feature. That would be very useful in virtual production for when needing to be untethered for LED Wall Genlock.

It’s mainly that RED is providing options and doing a lot of good work. I want Blackmagic to work on the body upgrades requested over the years. It’s really useful to have the two SDI outputs currently in the camera, but one more would be fantastic. Separate Timecode and Genlock ports are a must.

Remember Blackmagic was the first of the two to do Global Shutter. So I would love for them to return to it and with higher dynamic range. Especially if they get higher frame rates.

The URSA is 10-years old this year. The URSA Mini is 9-years old. The URSA Mini Pro is 7-years old. It’s time to upgrade the body. Again, would love a return to a larger body and a smaller body with the same sensor. URSA & URSA Mini to work in unison.

I’m very curious what Blackmagic is cooking up. They are not just resting on their laurels.


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I think I’ll play the background music at ten times the volume and twice the speed as we slowly walk “Nick from B&H” to face the firing squad that he deserves for such an irritating video delivery.

Putting this more politely… drop the background music entirely and slow down your words per minute by 50% since surely this isn’t a horse race and people only talk this fast when they don’t want to give the listener any time to think about what has been said and what hasn’t been said.

I think I’ll play the background music at ten times the volume and twice the speed as we slowly walk “Nick from B&H” to face the firing squad that he deserves for such an irritating video delivery.

Casey Faris missed those two faux pas in his embarrassing 'tuber video editing blunders.

Hahahaha!


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They need a camera that will compete with the red in both sensor and form factor.

Red are less and less relevant.

Sony are the ones setting the pace

JB

Not according to Sundance 2024 were there is a massive switch to Canon at 22% surpassing Arri at 19% which dominated in previouse years. Sony in 3rd place at 13% beating RED at 10% largley represented by the Komodo closely followed by Blackmagic at 9%.

Unlike last year which is almost excluevely Arri, this year camera choice is more diverse with lower cost cameras gaining ground possibly due to smaller budget.

A survey of films from a US centric independent film festival is the benchmark?

If you eliminated documentary I bet Canon would almost disappear.

I’ve never seen a Canon camera as the primary camera on a narrative drama set.

Arri, Sony and RED in that order. Occasional crash cameras not withstanding.

JB

Being fully immersed in documentary, I’m extremely happy with the Ursa Mini Pro 4.6. 15 stops dr, affordable used canon l series lenses, very comfortable shoulder mount with the elf, simple rigging with a couple of Velcro patches to keep a tentacle and rode go 2 receiver from dangling and I’m in business! I’m one happy camper. I find used as dependable as new from a dealer that goes through their used gear. 6k, 8k, and 12k are wonderful options but not for me. Storage space is my weak point. Next item on my list is a mirrored 32tb NAS.

We are not all doing narrative drama or pure documentary. We should be accepting cameras for everything. People still looking to America because of its association with Hollywood and Sundance is still the biggest event for independent filmmakers there and this year there is an obviouse shift from Arri to Canon,

When it comes to documentaries at this year's Sundance it is Sony who came out on top ahead of Canon, so if you remove all documentaries it is Sony who is more likely to disappear before Canon

So, Sony is lucky, they make cellphones too. And sensors for many others. Any Canon cellphone around?

Ultimately I've been moving away from Canon for years. Sony has won me back in many ways. For corporate or documentary I'd choose Sony over Canon easily. Blackmagic is less inclined towards corporate these days because of the lack of autofocus. And, I've been told the files are too beefy for corporate with ProRes compared to the more compressed codecs. This is from a corporate editor still using Premiere Pro.

Either way, I love Blackmagic for the simplistic menu and UI. It's lightyears ahead of Canon and Sony. Also, the image quality is far above and beyond Sony and Canon. Especially with internal raw in the form of BRAW. When it comes to narrative I'd easily choose a Blackmagic over Canon or Sony. Unless the budget is there for a Venice or Venice II.

So it comes to ARRI and RED as the other narrative choices. Both are more pricey unless using a Komodo. This last feature impressed me greatly with a RED Komodo X. The tentative feature I will be a DIT/Assembly Editor on next month will be shooting RED. Waiting on a deal memo still, so not 100% confirmed yet that I'll be on it.

I'm looking forward to what Blackmagic does next with their cinema cameras. I think the Broadcast can start leaning into the corporate video content more. That's where autofocus should be focused, and cinema cameras should prioritize features meant for a narrative film production set. They are different beasts and it's time to recognize that. I'm done with the hybrid approach. One shoe does not fit all.

Off topic, but what’s an assembly editor? Does it go beyond being responsible for screening dailies?