New Camera(s) for 2020?

A new Ursa X is likely to be improved. Never know about a new pocket, but a new micro with better sensir would get worth looking at.

So it will have an OLPF?

A new Ursa X is likely to be improved. Never know about a new pocket, but a new micro with better sensir would get worth looking at.

I doubt a new URSA Mini will be introduced this year. Mainly because the G2 is less than a year old and if Blackmagic is introducing a new sensor they’ll want to take the time to do it. Thus it will be another year before they do. They can improve upon the G2 right now with Firmware Updates. They still have some of the new features brought to the Pockets to bring to the G2. Also, some of the suggestions I’ve made for Slate Metadata and even what I said for BRAW Presets could be worthwhile ideas to ill mo prove upon what’s there in the G2.

I’ll always wonder why people need a new phone every year. The same can be said about a new camera. The only reason I’ll get a Pocket 6K this year is to have a B-Cam with BRAW capability. That’s mainly because BRAW never came to the Original URSA Mini. Otherwise, I technically don’t need a new camera because I still have two very good cameras that work well together. Alas, the UM4.6K is never getting BRAW.

Otherwise, the only camera I see getting a update is the Micro… and that might be to make it competitive to the new RED Komodo.


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Tim. The sensor hasn't really been upgraded in basic picture performance for many years, and it's no Alexa yet, which is about to receive a moderate upgraded to pull further ahead again, or Sony sensors which have received a number of upgrades in the same time (but you really have to Pay for the best models to get more of it (Venice+), I think). I would have expected a 16 stop upgrade years ago. Maybe they are planning something spectacular, or to go to a new sensor?

While a new mini could come, a full frame Ursa X model is possible. Upgrade of the Fairchild to fullframe with newest technology would be most promising boost in resolution, but if it was 8k next years s24 mini with the same upgraded pixel technology would be a welcome 5.66k. They are planning something, but what?

Still, micro/studio deserves an good upgrade. I think we will see two new cameras at least this year. We might see an announcement before NAB and a preview at NAB again or latter in the year release. I would hope both together. But, in such a case, I would prefer the micro first, but in reality, the main can would be first and the micro at.the same time or latter. The 6k was a pleasant dissapiontment to have that instead of a $995AU micro. But, we need nano action cams which can remote head, multipoint and use the VA a camera control in multi point. Unfortunately thunderbolt is being held back and synchronised with the inferior USB, but at least USB catches up to Thunderbolt 3 speeds. That would have made a very good remote head cable system, as TB optical dues a long length. However, another story, is what's behind the TV backwardness, as pci 4 and 5 speeds are most welcome for technical purposes and even displays and consumer TV. But you can't just put the two specs innlock step as PCI is meant to be short haul compared to TB, to maximise performance over copper, lengthy matters (but reminds me of a new technique, I forget wether plasmids?). Maybe Intel is finally readying on silicon on board optical, which TB was said to be getting from the start, or maybe they are going to one of the new high speed fabric/interconnects.

If they do come out with a newer camera I hope it's not the Ursa line. I'm still in love with my black magic cinema camera looking for something like the BMCC w/a bigger sensor and resolution!

Personally, I'd like to see:

-Pocket s16/M43 sensor in a Sony Handycam form factor: It'd be nice to be able to pickup a small handcam style camera and just GO.
-3-5" flip out touch screen with your card slots underneath just like the Ursa Mini.
-A rosette on each side so we can use the current Ursa Mini handle. if not then maybe a pistol grip option.
-Sony NPF battery on the back (once again mirroring the handycam style)
-5-Axis stabilization would be game-changing but isn't a deal breaker
-Wouldn't mind if the lens was fixed, but of course interchangeable would be ideal

You guys think I'm asking for too much?

I'm sitting here trying to picture a handycam with a side handle... or a pistol grip for that matter...




In my head, those things don't seem to belong together. A pistol grip could theoretically be attached like a tripod with a short cable to a remote port, however...

Personally, I'd like to see:

-Pocket s16/M43 sensor in a Sony Handycam form factor: It'd be nice to be able to pickup a small handcam style camera and just GO.
-3-5" flip out touch screen with your card slots underneath just like the Ursa Mini.
-A rosette on each side so we can use the current Ursa Mini handle. if not then maybe a pistol grip option.
-Sony NPF battery on the back (once again mirroring the handycam style)
-5-Axis stabilization would be game-changing but isn't a deal breaker
-Wouldn't mind if the lens was fixed, but of course interchangeable would be ideal

You guys think I'm asking for too much?

Not sure about your specific list but I do think they need to address usability in the Pocket form factor. IMHO, they are one ProRes license away (e.g. Panasonic or Sony on a sub-$2.5K mirrorless) from being in a world of hurt.

Steve

Sony so do 1 inch camcorders for years. Pretty nice except the datarate and lower bit depth etc.

Frank,

Camcorders with a swivel grip or side handle have been out for decades. I've got two Sharp view cams with the camera mounted in the side handle.

At this moment, I wish I had a camcorder version of one of those miniature keychain cameras and a full size grip to put together and post a picture of.

Personally, I'd like to see:

-Pocket s16/M43 sensor in a Sony Handycam form factor: It'd be nice to be able to pickup a small handcam style camera and just GO.
-3-5" flip out touch screen with your card slots underneath just like the Ursa Mini.
-A rosette on each side so we can use the current Ursa Mini handle. if not then maybe a pistol grip option.
-Sony NPF battery on the back (once again mirroring the handycam style)
-5-Axis stabilization would be game-changing but isn't a deal breaker
-Wouldn't mind if the lens was fixed, but of course interchangeable would be ideal

You guys think I'm asking for too much?

Holy Macaroni. I'm not sure who this is for... Other than you of course.

I would be happy with an updated Micro Cinema camera. Love the form factor. It is USEABLE. Can we get a pocket 4 without an screen. Square shape. Then it has a fighting chance to ride on a gimbal.

I'm sitting here trying to picture a handycam with a side handle... or a pistol grip for that matter...




In my head, those things don't seem to belong together. A pistol grip could theoretically be attached like a tripod with a short cable to a remote port, however...

@Frank I'm thinking of the Digital Bolex form factor but less tear dropped shaped and with a flip out screen.

Not sure about your specific list but I do think they need to address usability in the Pocket form factor. IMHO, they are one ProRes license away (e.g. Panasonic or Sony on a sub-$2.5K mirrorless) from being in a world of hurt.

Steve

I wholeheartedly agree the form-factor of the pocket 4K is less than ideal. However, I do understand why they went that route. I think they were trying to capture some of the same users who would have already invested in parts and pieces for their mirrorless Sony's and Panasonics.

I agree Kevin - a P4k Sensor in a micro-cinema package would be all I need in my book to make me happy.

Personally, I'd like to see:

-Pocket s16/M43 sensor in a Sony Handycam form factor: It'd be nice to be able to pickup a small handcam style camera and just GO.
-3-5" flip out touch screen with your card slots underneath just like the Ursa Mini.
-A rosette on each side so we can use the current Ursa Mini handle. if not then maybe a pistol grip option.
-Sony NPF battery on the back (once again mirroring the handycam style)
-5-Axis stabilization would be game-changing but isn't a deal breaker
-Wouldn't mind if the lens was fixed, but of course interchangeable would be ideal

You guys think I'm asking for too much?

Holy Macaroni. I'm not sure who this is for... Other than you of course.

Imagine if the JVC GY-LS300 could shoot BRAW and ProRES

.

Based on what I'm seeing from the details about the RED Komodo I'd say that a Blackmagic Micro Cinema Camera update is in order. A very small and compact camera that has complete wireless control capabilities. Maybe a wireless control from a new 5" Video Assist that has built in Bluetooth.

Otherwise, I'm open to the an URSA 65. Bigger than Full Frame, and beautiful 65mm sensor. Or 70mm sensor. Either way, I'm kind of just having fun here.

@sjaehnert The 4k has to be rigged when I use it, which includes external battery + monitor. With all the physical quick access buttons on the BMPCC4K I rarely have to look at the screen. For reference. I have one button set to ISO 400...One to ISO 3200...And the last false color. Since I am shooting RAW I don't need to adjust white balance. At that point I am good to go.

BM cameras just took a big leap up. Sigma has scrapped it's current planned fullframe foveon sensor still camera, and give back to the drawing board. With Red's fantastically expensive Komodo micro like camera, BM is left in the clear to introduce improved models. Sigma is improving it's small fullfrane but the internal recording mode and restrictions on 6k are a bit much.

The Mini G2 sensor needs an upgraded model. I imagine that Sigma has a fullfrane Foveon ready to go at around 6k, world beating color almost, but dark performance similar to the G2. A new sensor partner might be nice. I imagine that even though Foveon have been at work on video sensor technology, probably lags behind the Sony sensors used in the stills feild, except in colour. So, if they have a finished L-Mount sensor ready to be built, they might be conducive to a call to make use of their planned production capacity. Even if the issue is thermal related, the Mini is a pit bigger cooling platform than a stills camera.

Personally, I'd like to see:

-Pocket s16/M43 sensor in a Sony Handycam form factor: It'd be nice to be able to pickup a small handcam style camera and just GO.
-3-5" flip out touch screen with your card slots underneath just like the Ursa Mini.
-A rosette on each side so we can use the current Ursa Mini handle. if not then maybe a pistol grip option.
-Sony NPF battery on the back (once again mirroring the handycam style)
-5-Axis stabilization would be game-changing but isn't a deal breaker
-Wouldn't mind if the lens was fixed, but of course interchangeable would be ideal

You guys think I'm asking for too much?

Holy Macaroni. I'm not sure who this is for... Other than you of course.

Imagine if the JVC GY-LS300 could shoot BRAW and ProRES

Oh, please!

My personal plan is to keep using my Ursa Mini Pro G1 for the rest of the year and then look at upgrading.
For now, shooting 4.6k with 60fps is really all I need.
(I was even editing a dark wedding reception @ 3200 ISO and was still able to grab info and usable images with a tiny bit of Noise Reduction!)

I would like to see BM release small modular 4k-8k Nano cameras for a few hundred dollars +, using ambarella 4k and 8k chipsets running Braw (it should be possible). The size of action cams but with pov, cinema, video and stills ability, and wifi wireless. Stick them wherever. The latest mobile sensors are great compared to years back. With the ability to stick two to nine together, to do computational imaging, making a cheap usable capable camera that Red has been wanting to do.

One of the latest chips, sticks groups of 9 pixels together to give full coverage phase detection. Computational photography on one sensor.

@Frank I'm thinking of the Digital Bolex form factor but less tear dropped shaped and with a flip out screen.

Thanks, that makes more sense... that's not really a handycam. When I think of a handycam (handicam?) I think of the little consumer camcorders that are barely bigger than the hand that is holding them.

Those generally have straps on the side that are already comfortable enough to hold. The Digital Bolex isn't really much different in terms of size, but it has a different sort of a build to it that lends itself a bit better to the idea of using a handle.

The Sony VG30 is a decent candidate for an interchangeable lens camcorder design. Hits most of the targets, but still too consumer in function and design.

The Ikonoskop is a work of art and I don't like EVFs, it's a wasp.

Good Luck

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Ikonoskop.jpg (44.33 KiB) Viewed 8353 times

The best image isn’t produced in camera.
It’s post production.

To get the best image, you should strive to get as close to the final as possible in camera, no matter the camera.

A better camera sensor, colour science, and capture codec gives you the tools for a better image out of post.

All of these make the first stage easier... and frankly, I think that anyone who struggles to get a good image out of a Black Magic camera should give up and get out of filmmaking. They're very forgiving cameras...

But how I can bend that captured image to suit my artistic goals matters more than pixels once I begin with 4K/UHD to deliver 2K/HD. If I was ever asked for 4K deliverables, then I’d consider 6K.

You can make 4K deliverables using 4K on Black Magic cameras. You really don't need to downsample for 4K; Black Magic cameras can deliver good enough 4K in competent hands to pull it off without down sampling... so the extra resolution is really a luxury rather than a need.

I can’t speak to 8K, but I am astounded by the extremely low low bitrate for R3D 8K footage.

On a film I shot over the summer, I used a Pocket 4K for the gimbal shots and a Red Helium (Epic-W) for the rest. They cut together quite well, but even at 10:1 compression, the 8K footage definitely had more latitude to finagle in post than the braw did. Both cameras delivered more than enough latitude to enable me to do the graded I needed to for those shots, both had enough dynamic range for even the specular highlights.

There's a reason that so many companies try to upend Red's patents on Redcode, or just license the codec and take advantage of it.

Excelent explanation!

I hope this year they release a Micro 4K Cinema Camera, that's similar to the Z Cam E2. The main feature I hope they add is wi-fi, so you can live preview to a Smart Phone, and control the camera wirelessly. A feature like that would be a godsend for Gimbals and stabilizers, as well as for Jibs and Cranes.

+1 on live wifi smartphone previewing. That would be an enormously useful feature: focus-pulling, video village, lightweight shooting.


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+1 on live wifi smartphone previewing.

I'm assuming you mean bluetooth rather than wifi? Controlling anything via wifi, even with a good dedicated router, can be a risky proposition as I learned the hard way with wifi-only mixers for live sound. Never again.

Live previewing not controlling. I think that needs the bandwidth/distance of wifi and has been done by other camera manufacturers that way as well as terradek


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The best image isn’t produced in camera.
It’s post production.

To get the best image, you should strive to get as close to the final as possible in camera, no matter the camera.

A better camera sensor, colour science, and capture codec gives you the tools for a better image out of post.

All of these make the first stage easier... and frankly, I think that anyone who struggles to get a good image out of a Black Magic camera should give up and get out of filmmaking. They're very forgiving cameras...

But how I can bend that captured image to suit my artistic goals matters more than pixels once I begin with 4K/UHD to deliver 2K/HD. If I was ever asked for 4K deliverables, then I’d consider 6K.

You can make 4K deliverables using 4K on Black Magic cameras. You really don't need to downsample for 4K; Black Magic cameras can deliver good enough 4K in competent hands to pull it off without down sampling... so the extra resolution is really a luxury rather than a need.

I can’t speak to 8K, but I am astounded by the extremely low low bitrate for R3D 8K footage.

On a film I shot over the summer, I used a Pocket 4K for the gimbal shots and a Red Helium (Epic-W) for the rest. They cut together quite well, but even at 10:1 compression, the 8K footage definitely had more latitude to finagle in post than the braw did. Both cameras delivered more than enough latitude to enable me to do the graded I needed to for those shots, both had enough dynamic range for even the specular highlights.

There's a reason that so many companies try to upend Red's patents on Redcode, or just license the codec and take advantage of it.

Excelent explanation!

Maybe Rick has a point. There are things even the monstro would struggle with, which requires significant effort to get into production, or compromise. Remember in the old days you had drawn curtains during sunny days, or tint, or just blow it out. I know the sort of things Rick deals with, real work, stage work with heavy lighting and contrast. In real life if you got the sun in the picture even monstro might back, but if you can get that shot through the go in the clouds properly, that's arts, that's special. So, yes, extra is just extra tool fur the art, even 30 stops and virtually noiseless filming by Starlight. It might be rarely useful, but it's there. With my little credit card camera I saw some pleasing images and effects. I remember taking a shot of some friends next to the car or something, and the rendering of the sun in the reflection was stark and beautiful. These things people don't seeing real life, are an artistic touch, but few can live that way I suppose. Taking pictures of bright top leaves through its meager jpeg codec, noise and all, rendered beautiful subtle tubes of color (completely crushing the bkacks to get that at 16 stops) in a way that reminds me of the old one, but better, from the extra stops and devoting them to the high end, but if it had been over 20 stops, I would be getting close to getting it all without crushing the low end. You will just sit there and look at things like that, and while not the main story, I see it as the good salad with the steak meal. Always wanted by discerning audiences, but not too distracting. Things have to be things or beauty. Now, on a cheap and nasty camera, there you want to put the extensive effort to do it at filming.

+1 on live wifi smartphone previewing.

I'm assuming you mean bluetooth rather than wifi? Controlling anything via wifi, even with a good dedicated router, can be a risky proposition as I learned the hard way with wifi-only mixers for live sound. Never again.

It's a shame wi-fi direct collapsed. Technically it could deliver superior/lower energy solutions to Bluetooth, and I think it was rolled into Bluetooth, but it was botched. As horrible as Bluetooth was to set up, Direct was a pain.

I've been asking for BM to implement a wifi live view and recording near by, to keep the costs down, and use on a small crane etc. But they don't even have the Bluetooth version with limited wifi in it for a lower res view. If only they had that extra section at least, with attachable optional antenna if needed. I really see a desirable circumstance to have a basic arm chipset to deliver basic control and IO on-top of the recieving and recording FPGA. Surely there must be a $1 ARM option out there, the FPGA functionality is the issue. Even if you get one version this year and another in two years time, they are programmable to be compatible, and wouldn't be doing much except offering some IO and controlling the on screen interface and relaying commands to the FPGA.

Further to Brad’s concern about WiFi for live production:

I’m not the audio guy for our live production but I do record that audio for video work in post. The theatre moved to a WiFi based system using about 16 headset on principal actors. It took a few days for me to discover how to do my audio recording job, but the audio guys took that time as well to find clear signals without conflicts from so many headset mics as well as a powerful WiFi signal from the nearby airport apparently. Even so there were problems when I did my recording of the first performance and thankfully I could use some of the audio from the dress rehearsal to patch my soundtrack in post. Unfortunately the theatre isn’t going to abandon the path they’ve taken anytime soon so my normal two day effort will be more like a week effort until a solid solution is found. So Brad is right to be cautious about multiple WiFi

I always do my own Sennheiser MKH416 recording as a fallback in the event of a disaster but using the house audio is so good when it works!

The main issue I've found with Wifi is that unless you're operating in the higher (5 ghz) bands you can get a lot of interference, especially during live events when several hundred people try to connect to your network using their cellphones. There are ways to hide your network or to label it (when I was using wifi for sound I called my network "no internet access").

This is probably not an issue for monitoring cameras; as mentioned above it's more of an issue when trying to control them. In my live sound experience, I had three deer-in-the-headlight moments when my wifi connection dropped out for minutes at a time, and after those three strikes my system was out and I went back to using a snake and a more conventional digital mixer (which I can still control with a phone or iPad, but as a supplement to direct wired control).

an electronic ND Filter would be great, on whichever camera they do next.

Having multiple stops of ND in my UMP has been AMAZING with run-and-gun situations.

@Howard Roll
Thank you for introducing me to the Ikonoskop I think I'm in love.

Wifi needs a public broadcast, network and infrastructure modes (with a simple and reliable direct and direct chanel set (of channels) mode, to overcome these things, and preset handeling, which I suppose 5G or 6G will handle. More latter. This would include dedicated bands. A small subset of slither bands across the bands would be enough fur infrastructure etc, as users are on average a lot less, but also you could dynamically set that space and slithers by infrastructure control too, with safety margins of up to 50% of available bandwidth, but also reserving the cleanest slithers for specific infrastructure tasks.

They have made some recent advancement in handling mass 5G situations which improve things immensely.

Sorry battery was during and I forgot what I was going to say. What I proposed was short range 3-10-30 feet line of sight virtually, for at least primitive view and control. Six it can be fine cheaply and reliably, though dynamic beam forming would be great. Due to detection of distance and direction you can further guarantee reliability, by forming your own mini cell using the same channels used beyond it around you, with power reduced to the amount needed to communicate reliably. Problem is, the standards might be against it, but otherwise it is that simple, but not simplified lego engineering.

I love the Corridor Crew guys for doing this little "rant" video:

I definitely agree with a lot of the points about things I'd love see come to professional cinema cameras. And, I think Blackmagic could be the ones to do it. Especially when it comes to how well the cameras can work with tools they have in DaVinci Resolve & Fusion. Here are the ones I definitely want.

1) Accelerometer & Gyroscope. Blackmagic wanted to get the GPS and Gyroscope in the Original URSA Mini 4.6K back in 2015, but it never materialized. It's 5-years later and I would love for them to revisit the idea. Especially for motion tracking and image stabilization. DaVinci Resolve has the best stabilization tools built in. Imagine how much it could improve with camera data feed to it with the accelerometer and gyroscope information.

2) 3D Camera Tracking. This is definitely a realm for Blackmagic to win because of Fusion and DaVinci Resolve. And, it feeds off the accelerometer and gyroscope point above. And, with Ultimatte it seems especially possible. Blackmagic could easily move to the top tier with this kind of feature. Not just for in camera monitoring to see a VFX element integrated with the live action elements, but also for saving time & money in post production.

3) Wireless Audio Input & Output. First it probably is more conceivable to be able to pair with some wireless headphones and output wireless audio to the headphones. So that could come first. But, how about input? I'm already using several wireless audio tools these days. The Rode Wireless Go uses Bluetooth to send the signal from the transmitter to the receiver. Why can't we get built in receivers into the camera?

And, I agree with the sentiment at the end of the video to stop chasing higher resolution. Better pixels over more pixels. So, 6K is fine now that it's in the Pocket. 8K? Whatever! But, for me I want the tools to improve now that we're getting great images. Let's get Blackmagic to give tools that make them stand out above the other camera manufacturers. Especially tools that help with post production and cutting down time and money.

So glad that the Corridor Crew guys put this video out there because a lot of the points are things I've said in the past and agree with.

That would be a strong statement from BMD to offer new built-in features rather than jump to 8K at NAB 2020. We must remember of course that BMD might offer both! And would they include CFexpress?

They have so many 8K capable tools to think they’re never going to an 8K camera. But I imagine that camera ecosystem will be a significant increase in cost especially if it uses CFexpress.

If Frank Glencairn can shoot a feature with three BMCC cameras, I don’t feel badly about being ‘stuck’ with the URSA Mini 4.6K and BMPCC4K for my narrative work in 2K/HD. It’s only 2020.

I was watching the latest series of Narcos, and shock horror there was a dead Pixelmon my new TV, but it wasn't the TV, it was the camera in lot's of scenes in an episode (pays to view at full resolution). However that sicker was moving around between scenes. They shot at higher resolution and used it to frame the shot in post.

Anyway, the built in cgi is useful. If the actors could have small cup like displays on their eyes which could be auto post processed out (or the new contact lens display) they could see and interact with the cgi in real time. When Mario isn't working out Inna scene and stuffing it up, you can tell home to just go and wait in the corner.

We don't need no new stinkin' cameras anymore. The UMP G2, the BMPCC 4K, and the BMPCC 6K are plenty enough. What we need are enhancements in the firmware for these cameras and a whole lot of stability in Resolve 17. These cameras should last for another 3-5 years.

Firmware updates are more important to me and my pocket 6K. I would love more control over cooling, and I would definitely love to see some form of sleep mode introduced. I always used low-power preview and sleep mode on REDs.

I would love more control over cooling, and I would definitely love to see some form of sleep mode introduced. I always used low-power preview and sleep mode on REDs.

What's your issue with the current way cooling works ?

JB

1) Accelerometer & Gyroscope. Blackmagic wanted to get the GPS and Gyroscope in the Original URSA Mini 4.6K back in 2015, but it never materialized. It's 5-years later and I would love for them to revisit the idea. Especially for motion tracking and image stabilization. DaVinci Resolve has the best stabilization tools built in. Imagine how much it could improve with camera data feed to it with the accelerometer and gyroscope information.

I'm pretty sure they're still in there but they could never make them accurate enough.

If you look at your phones compass and compare to a real compass, you know that they just aren't that accurate to be useful.

JB

+1 on live wifi smartphone previewing.

I'm assuming you mean bluetooth rather than wifi? Controlling anything via wifi, even with a good dedicated router, can be a risky proposition as I learned the hard way with wifi-only mixers for live sound. Never again.

WiFi is bad bad bad.

It's already used by every single wireless device out there. I had three Terradeks on my last show, they would knock each other out, and then the DMX / Desk would get taken down, and it killed the wireless mics a lot as well.

There's so much RF out there not it's getting really really difficult to manage.

JB

We don't need no new stinkin' cameras anymore. The UMP G2, the BMPCC 4K, and the BMPCC 6K are plenty enough. What we need are enhancements in the firmware for these cameras and a whole lot of stability in Resolve 17. These cameras should last for another 3-5 years.

I think in a similar way, only that I don't have stability problems with Resolve, and that I'm very happy with the current firmware of the P4k.

The capturing devices (cameras, sensors) are here. What we need is the right glass. The right filters. The right light. The right camera movement. The right team.

+1 on live wifi smartphone previewing.

I'm assuming you mean bluetooth rather than wifi? Controlling anything via wifi, even with a good dedicated router, can be a risky proposition as I learned the hard way with wifi-only mixers for live sound. Never again.

WiFi is bad bad bad.

It's already used by every single wireless device out there. I had three Terradeks on my last show, they would knock each other out, and then the DMX / Desk would get taken down, and it killed the wireless mics a lot as well.

There's so much RF out there not it's getting really really difficult to manage.

JB

Yeo. Wifi implementation incompetence. It always amazes me how engineers can stuff things up, and overcomplicate things. In the old days, if wifi had been as easy as Bluetooth and Bluetooth as hard as wifi, things would be in balance, and we would have had at least one full on standard. Hopefully future 5G/6G frequency sharing advances get over this.

Hi- I'm new here,
but Blackmagic has pre-announced a live event on youtube for tomorrow.
July 16 at noon est. 9am Pacific-
"Please join us at 9am PDT Los Angeles time on 16 July to hear about new developments in cameras!"

Any predictions?
I'm guessing a price drop on the BMPCC 4K under $1000
A version 2 with an articulated screen of some sort- with better connections for the same price.
An 8K camera.
New settings for the 6K to shoot 4K

actually- none are guesses- just wants (except I have no need for 8K).
What I need is a 4K that uses EF lenses and has great autofocus, a better battery solution- and a way to use the screen easily- articulated and 4k 120 FPS would be nice.