In theory, what would you want to see in a mini cine 17k?

Personally, I'd love a lens mount from the newer mirror less digital medium format cameras like either the hasselblad xcd or Preferably the Fujifilm gfx mount as the sensor size of the 17k is actually perfect for that being less than 2mm larger on the diagonal than those 44x33 sensors and I feel would help for having lenses that could resolve the 17k sensor. Now not to be completely delusional for a second but I would hope it falls into the pyxis form factor like how Arri used the 35 body as a platform to use for different sensors in the same body like they did with 265 being within the realm of the 35 ecosystem in terms of accessories. I think it would be so cool if they were to miniaturize the 17k into a roughly pyxis sized or slightly larger body (like with the 265 being slightly larger than the 35) it would bring the miniaturization of cinema cameras full circle and achieve what I truly wanted for years, a usable version of the cinevised version of the hasselblad h6d100c known as the alpa platon. (remember that camera? Larger sensor area for video than the Alexa 65 in a roughly red sized body). Now why any of this you may ask? Because I think a smaller camera with the image quality like this will actually be the key towards the adoption of these cameras as historically, the cameras that have made a dent in the superiority of Arri have always been ones that could be usably smaller like reds or the Sony Venice with the Rialto (also, I think a lot more people would not be complaining about the side screen on the pyxis if it has a side finder available for it like the smallhd 502 back in the day lol)

... Now not to be completely delusional for a second but I would hope it falls into the pyxis form factor… I think a smaller camera with the image quality like this will actually be the key towards the adoption of these cameras…

The Cine 12K/17K are designed to support a very feature rich camera not to mention offering a very large number of photosites in their camera image processing pipeline compared to the Pyxis 6K. What you are suggesting might be wonderful if it were possible. You’re not “completely delusional” but let’s say a visionary ahead of our time.

Personally, I would rather see a smaller single-operator version of the U12kC in s35. Really, just an upgrade of the UMP12k with a newer sensor and better changeable lens mount system... and, maybe a stripped-down box version of that camera with built-in video transmitter... something that's easy to stick on a crane or a drone. While we're at it - BMD, it would be cool if you had a line of Tx/Rx Video Assists.

Shawn

I don't know if the Mini Cine 17K is possible just yet. Wishful thinking for sure.

However, I'd love to see a Mini Cine 12K. Something that fits between the URSA Mini Pro and PYXIS. Mainly taking a lot of the improvements that Blackmagic brought to the URSA Cine body over the URSA Mini Pro, but keeping to a relatively small size and weight. I guess the elimination of the side LCD would be a major part of this.

However, I think getting rid of the extra buttons and dials of the UMP and UCine would go a long way on trimming the size of the camera down. I never use the ISO, Shutter, or White Balance knobs on the side. I barely ever touch the Settings Switch and Settings Wheel. The only things that get used are ND, Function, HFR, and Record buttons. So those could stay.

I know many love the larger 5" flip-out display. But if that got moved up on the design to be like it was on the original URSA Mini then that may allow us to keep the 5" flip-out. Keeping the Status Screen on the back door of the 5" flip-out is also something I would love to do because I use that a lot. Keeping a lot of the buttons for that back of flip-out also makes sense. Maybe replace the Iris, Focus, and PGM buttons with the F1, F2, and HFR Buttons would help reposition buttons that we do use. Then the Menu and Record button can be put on the back of the flip-out. The ND Filter Buttons and Power Switch on the URSA Cine can stay. This will get the body closer in size to the original URSA Mini.

Keeping the interchangeable lens mount of the URSA Cine is definitely desired. And, keeping the USB-C for EVF and the front Lemo Ports.

I'm also in favor of losing the XLR ports. Make the camera more designed for image capture and let audio be captured separately. As long as there is Timecode Input that's all that matters. Plus Scratch Audio Mics. Going to 5-Pin Lemo for Timecode would also be great as it's smaller than SDI so you can get more room on the body. This could allow for the Genlock SDI to remain. Get rid of the Ethernet Port in favor of the 5-Pin Lemo for Timecode.

Ultimately if this shrinks the body to the same size as the original URSA Mini then that would also mean that the weight can come down a bit. That would be ideal for an URSA Cine Mini. Paired with the URSA Cine then you would have a solid A & B Cam set up.

I don't know if the Mini Cine 17K is possible just yet. Wishful thinking for sure.

However, I'd love to see a Mini Cine 12K. Something that fits between the URSA Mini Pro and PYXIS. Mainly taking a lot of the improvements that Blackmagic brought to the URSA Cine body over the URSA Mini Pro, but keeping to a relatively small size and weight. I guess the elimination of the side LCD would be a major part of this.

However, I think getting rid of the extra buttons and dials of the UMP and UCine would go a long way on trimming the size of the camera down. I never use the ISO, Shutter, or White Balance knobs on the side. I barely ever touch the Settings Switch and Settings Wheel. The only things that get used are ND, Function, HFR, and Record buttons. So those could stay.

I know many love the larger 5" flip-out display. But if that got moved up on the design to be like it was on the original URSA Mini then that may allow us to keep the 5" flip-out. Keeping the Status Screen on the back door of the 5" flip-out is also something I would love to do because I use that a lot. Keeping a lot of the buttons for that back of flip-out also makes sense. Maybe replace the Iris, Focus, and PGM buttons with the F1, F2, and HFR Buttons would help reposition buttons that we do use. Then the Menu and Record button can be put on the back of the flip-out. The ND Filter Buttons and Power Switch on the URSA Cine can stay. This will get the body closer in size to the original URSA Mini.

Keeping the interchangeable lens mount of the URSA Cine is definitely desired. And, keeping the USB-C for EVF and the front Lemo Ports.

I'm also in favor of losing the XLR ports. Make the camera more designed for image capture and let audio be captured separately. As long as there is Timecode Input that's all that matters. Plus Scratch Audio Mics. Going to 5-Pin Lemo for Timecode would also be great as it's smaller than SDI so you can get more room on the body. This could allow for the Genlock SDI to remain. Get rid of the Ethernet Port in favor of the 5-Pin Lemo for Timecode.

Ultimately if this shrinks the body to the same size as the original URSA Mini then that would also mean that the weight can come down a bit. That would be ideal for an URSA Cine Mini. Paired with the URSA Cine then you would have a solid A & B Cam set up.

Or even better, we keep the xlrs but make them mini. I need those. Also the Ethernet for Livestreaming, we have it on something as small as the pyxis, why get rid of those things on a camera theoretically bigger than the pyxis?

Or even better, we keep the xlrs but make them mini. I need those. Also the Ethernet for Livestreaming, we have it on something as small as the pyxis, why get rid of those things on a camera theoretically bigger than the pyxis?

I get the desire most have for cameras to have audio inputs. However, I'm still a fan of recording audio externally. And, with a real Cinema Camera it's preferable. The URSA Cine 17K & 12K are being marketed as real cinema cameras for big productions. Thus majority of the time the audio will be captured externally and the camera only needs to capture scratch.

Mini XLRs may be fine for a wireless receiver on camera getting a stereo mix sent from the sound mixer. I won't begrudge having those for at least good scratch with the video files from the audio.

With a Cinema Camera I don't see the need for Live-streaming, but I get where you're coming from. The PYXIS can keep it for use in Live Streaming, but the URSA Cine is mainly using it for media offload at the moment. Maybe there can be some expansion for the ethernet port that hasn't happened yet. But I would love to have separate timecode and genlock on camera.