New Camera and Mount Upcoming ?

Grant never worked on those later machines.

When I met Grant for the first time he was the in-house engineer on the Cintel Ursa gold that had an aftermarket mod called a “Y front”. His first product that he made was a frame store card for that telecine. That naturally lead to capture cards and that kicked off his career change.

After the “gold” it went “diamond”, then “C reality” then “DSX”

I think millennium was a CCD machine and much later. Ursa was all “flying spot” tube based.

JB

Doesn't Red hold that name?

Since Ursa is known more widely as both a major and minor constellation, you could choose anything from Aquarius to Virgo, though something like Gemini or Orion, could sound more cameralike. But as Ursa is a kind of brand moniker for BMD, much like Alexa for Arri, I think it will survive future models. Ursa Mini suggests at one time BMD had intended it perhaps to go hand in hand with a continued improved big Ursa, but the market has seemingly downsized, ever since.

Only in the northern hemisphere.

Ursa isn’t visible in Australia. Or a lot of the southern hemisphere.
So really not that well known or associated like it is for those in northern parts.

JB

Only in the northern hemisphere.

Ursa isn’t visible in Australia. Or a lot of the southern hemisphere.
So really not that well known or associated like it is for those in northern parts.

Since most of the famous constellations were first recorded by Northern Hemisphere civilisations and continents like Australia and South America are populated by many non-indigenous peoples whose ancestors originated there, I can't imagine many not being familiar with them, even if they now can't see them. Centaurus would be an example of a constellation less familiar and not visible in the North, but then it would be a strange name for a camera.

Only in the northern hemisphere.

Ursa isn’t visible in Australia. Or a lot of the southern hemisphere.
So really not that well known or associated like it is for those in northern parts.

Since most of the famous constellations were first recorded by Northern Hemisphere civilisations and continents like Australia and South America are populated by many non-indigenous peoples whose ancestors originated there, I can't imagine many not being familiar with them, even if they now can't see them. Centaurus would be an example of a constellation less familiar and not visible in the North, but then it would be a strange name for a camera.

Full camera - BM Big Dipper
Micro - BM Little Dipper

Or go with something like a star name, BM Betelgeuse . Imagine the Beetlejuice sequel shot with that. Marketing for that movie writes itself.

As for naming next camera BMD DRACO

Are you Sirius?

They should name their next camera Arri Alexa 35 and sell it like hot pretzels as long as they can.

sensational what you are thinking about +g*

Blackmagic Warlock! We could go with magical names for magical creatures and beings.

I feel like there has to be autofocus in BM's upcoming cameras. Sony, Canon, and now Red & Panasonic are all offering cameras with cutting edge autofocus at competitive prices. The demand and obsession with autofocus just keeps getting louder and louder every year.

Truth is that most sub-$10K camera users are one man bands and autofocus simply makes their life easier. This is where the trend has been going, and it's where BM will lose more & more customers. If BM doesn't have professional quality autofocus in their next round of cameras then they'll be DOA. The resolution war is over, and unless BM offers dynamic range that can at least match the Arri Alexa classic then DR won't be enough to turn heads away from the competition.

BM was once leader of the pack for the best bang-for-your-buck camera, but not anymore. They are behind on every level including price.

As someone who used to own the Pocket 4K and 6K Pro, it seems like BM is behind now. I really love using the Sony A7S3 as it's just so much easier to use vs the Pockets. But, I do wish it had the Pocket's BRAW and 12-bit color.

Blackmagic Red and Blackmagic Blue...?

Autofocus? Don't make me laugh! Auto Focus and Auto Exposure are two of the main reasons we have populations that can't produce reasonable images moving or otherwise. Not that as tools themselves they are not useful, but the total reliance on them for low end equipment has definitely lowered optical knowledge for users.

Steve.

BS.
It's another tool.
Auto focus using both the Rs3 Pro Lidar, and the standalone version of the DJI 3dfocus module, has allowed me to get some great footage in solo, guerilla shoots for narrative films I have been making.

As someone who used to own the Pocket 4K and 6K Pro, it seems like BM is behind now. I really love using the Sony A7S3 as it's just so much easier to use vs the Pockets. But, I do wish it had the Pocket's BRAW and 12-bit color.

I agree. I'm moving away from the BMPCC's as well. Waiting for my S1H to arrive, that will replace my 2nd 4k.
The first one was replaced by a Zcam f6.

But I'm still shooting Braw using the 12G video assist.

BS.
It's another tool.
Auto focus using both the Rs3 Pro Lidar, and the standalone version of the DJI 3dfocus module, has allowed me to get some great footage in solo, guerilla shoots for narrative films I have been making.

Whilst they are incredible tools used by many professionals too now, they have only become necessary as sensors have got much larger and now with the demand for FF on DSLR/Mirrorless handheld type cameras almost essential in some situations. Whereas at one time the use of a tripod and much smaller sensors meant manual focusing was not a problem. The BMD Pocket cameras are not really the best tool for this type of filmmaking, for example, since they are cine cameras really. It could be argued that any of the small cameras are often the wrong tool for the job, when there are still small good camcorders around, and only used because they are cheaper and have the SDOF 'cinema' look so in vogue now. Every professional cameraperson should be able to focus manually and AF/IS are only recent innovations, whilst run and gun documentaries have been made for decades, even on 35mm cameras, but much more frequently on 16mm and ENG type cameras, because of the reasons I outlined above.

I don't understand AF snobbery either. Suppose my only complaint about it would be producer understandings of new whizbang technology being excuses to not give me the proper equipment + support staff on a shoot. Whether you use AF or not is a project-by-project, shot-by-shot thing; for me at least.

Similarly I'm not sure I buy "ah well, cine cameras don't need this" as an excuse when the big players are rolling this tech into their cine lines. There's a risk of being left behind if you're stubborn about it. There'll always be a market for purists I guess, but you can also just... turn AF off if that's what you want. It's not cheating.

There's also the question of BM's target market - specifically who the Pocket 4K and 6K are popular with. People who want bang for their buck; indie filmmakers, hobbyists, some corporate/product-based video types. The attractive price point, great UI, and image quality are drawing people in - but can BM keep them as customers long term when there's increasing competition for that demographic? I've had my head turned by other cameras, even if I'm very eagerly anticipating what BM are bringing to the table next.

Similarly I'm not sure I buy "ah well, cine cameras don't need this" as an excuse when the big players are rolling this tech into their cine lines. There's a risk of being left behind if you're stubborn about it. There'll always be a market for purists I guess, but you can also just... turn AF off if that's what you want. It's not cheating.

I'm sorry Chris...but what a load of nonsense. A risk of being left behind because you can't use an automatic device that does it for you? Are the feature film crews who use Arris/Venices/Reds similarly in the same boat? Since there is hardly no AF yet used there. I'm probably who you refer to since I have never ever used an AF lens up till now in my life, except on my phone. The only reason AF is necessary is, as I say, the increased hand held use of larger sensors. Nothing wrong with it at all but these large formats mostly needed focus pullers in the days of only manual. I'm increasingly having to deal with rushes in TV programmes that have some unusable shots because of hunting AF, it's not infallible. Anyone can operate an AF button but it's worth learning to manually focus too, at times.

I'm sorry Chris...but what a load of nonsense. A risk of being left behind because you can't use an automatic device that does it for you? Are the feature film crews who use Arris/Venices/Reds similarly in the same boat? Since there is hardly no AF yet used there. I'm probably who you refer to since I have never ever used an AF lens up till now in my life, except on my phone. The only reason AF is necessary is, as I say, the increased hand held use of larger sensors. Nothing wrong with it at all but these large formats mostly needed focus pullers in the days of only manual. I'm increasingly having to deal with rushes in TV programmes that have some unusable shots because of hunting AF, it's not infallible. Anyone can operate an AF button but it's worth learning to manually focus too, at times.

I think you might misunderstand me. It's not a one size fits all solution, it's completely situational, and it's helpful to have in that context. I've manually pulled focus on lots of projects, but in others continuous AF has saved my bacon because I don't have a second operator or a focus puller. I think anybody who uses AF enough knows when it's appropriate and when it's not.

As for the Arri/Venice/RED comparison - I don't think it's the same. BM has quite successfully cornered part of the lower end market but that's not guaranteed forever now the Canons and Sonys are going after the same people with the sweetener of good continuous AF, which has also propagated into their cine lines.

maybe there should be more categories than just focus puller or AF.

Agreed, the Canon cinema line has their system where the lenses are manual but the camera monitor indicates visually how far off from focus you are. DJI also has an interesting system for manual focus assist.

Here are two examples of shorts I shot without a crew.
First one I used the DJI 3d focus.
2nd the RS3 pro with lidar.

Especially on dark scenes, I didn't have to worry about focus.

I see so much soft and out of focus shots on major TV shows I mix. Hell, there's the scene towards the end of Babylon where Margot Robbie goes on and out of focus a couple of times.

I think you might misunderstand me. It's not a one size fits all solution, it's completely situational, and it's helpful to have in that context.

Chris, I understand it can be incredibly useful in certain situations for the lone operator, which most of us are here. But it is used too much because it can be used now. Some of the rushes I mentioned even have AF on sit down interviews, which as soon as they moved their heads, voila, background in sharp focus. I know you're not that kind of person. But for me automatic anything and the professional craft of filmmaking are somewhat mutually exclusive. Most of the people you refer to, outside of high end filmmaking are trying to ape that level, even if they are only making YT videos. These gadgets are ultimately about selling them that bill of goods.

Perhaps I am that dinosaur you allude to but I make sure I never film anything that I can't focus manually and I have done a lot of hand held, run and gun over many years - Documentary and mostly smaller sensors but a mantra I have repeated here often - the right tools for the job! if I had an AF button I perhaps wouldn't bother so much and use it too much, because it's there. If I was making drama, I wouldn't do it guerrilla style, but that is just a subjective thing that I can't and shouldn't judge. But if I had to I would still want to mostly manually focus, to have absolute repeatable control. If you can sing only with auto-tune, you perhaps should feel a sense of slight imposter syndrome, even if you have hit records, I feel.

Some of the rushes I mentioned even have AF on sit down interviews, which as soon as they moved their heads, voila, background in sharp focus.

That's a really crappy AF by todays standards. They should try a Sony or a Canon.

I have shot sit down interviews where the person was moving back and forth, while we needed to isolate him from a pretty nervous background. I rather used the AF instead of loosing my only other member of the team taking care of perfect sound, by asking him for focus pulling.
Oh, and I was very grateful for Sony's breathing compensation.

So, it's still horses for courses.

That's a really crappy AF by todays standards. They should try a Sony or a Canon.

It was a Sony FX9 - why do you need AF for interviews?

See above.

Well, IMO, if your shooting an interview and the slightest of movements mean they go out of focus, then you have too ridiculously shallow depth of field. You can still throw the background out of focus, unless they are too close to it. I would never use AF on a sit down IV, but that is me.

It was not the slightest movement, believe me, that guy was rocking back and forth like a pendulum when getting into his most interesting stories. Being both pretty famous and busy, we had no chance to stop him or change the setup. When the question is getting that shot or not, I don't care for cinematic purism, grab my Sony A7IV and get the shot.

So maybe new camera

New firmware for cameras?
New cameras?
Gear addicted selling their (good) old cameras to buy newer?
Well it’s time to do good business with used tools


Inviato dal mio iPhone utilizzando Tapatalk

Very curious! Even if it's not a new camera I'm always pleasantly surprised by software updates. Fingers crossed for more desqueeze options.

I think it needs to have global shudder and timecode and genlock on a box form. These are some of the current needs in the virtual production arena right now. It's a shame that the only camera that has all three of these things are the Komodo right now.

I think it needs to have global shudder and timecode and genlock on a box form. These are some of the current needs in the virtual production arena right now. It's a shame that the only camera that has all three of these things are the Komodo right now.

Agreed

BMD could add:
CFExpress Type B
L-Mount
Proper IR Cut

Are we assuming this is going to be focussed more on the live production cameras because of being grouped with the ATEM switchers?

I would be surprised. To me this is what they have been focused on for the last several years. To continue with a heavy focus in this area would signal that they are not moving away from this area. I feel that the "boom of zoom" is coming to a close and because of that I would hope that BMD sees that as well. And releases new products accordingly. Not to say that they won't continue updating and making small revisions...just hoping they are starting to pivot to virtual production specific hardware and not so much broadcast hardware.

interested in seeing if it's a new cam or a firmware update. Mount doesn't really make a difference to me.

I would love to get back into the BM ecosystem at least if it's only for my personal films. Would definitely be interested in a P8K with the new sensor and a little more DR than the 6K

the statement of the announcement means new ATEM switcher
with integrated control of the new blackmagic PTZ camera ; -)

the statement of the announcement means new ATEM switcher
with integrated control of the new blackmagic PTZ camera ; -)

Best guess so far.

Well we have now:

ATEM Switchers and Camera Update!
Please join us to learn about what's new with ATEM Switchers and Cameras.
Los Angeles 10am PST 23 February 2023
New York 1pm EST 23 February 2023
London 6pm GMT 23 February 2023
Singapore 2am SGT 24 February 2023
Tokyo 3am JST 24 February 2023
Sydney 5am AEDT 24 February 2023

the statement of the announcement means new ATEM switcher
with integrated control of the new blackmagic PTZ camera ; -)

You will hear the biggest groan heard ‘round the world if no new cinema camera is announced, haha.

the statement of the announcement means new ATEM switcher
with integrated control of the new blackmagic PTZ camera ; -)

You will hear the biggest groan heard ‘round the world if no new cinema camera is announced, haha.

I am just looking forward to watch Grant Petty presenting BMD's latest toys - I really enjoy every time his straight to the point no bs presentations.

I'll take any of the current sensors with a more ergonomic box body, SDI, internal ND and a native 4:3 or sensor. 6K is fine enough for me.
Just Enough with the current weird shape bodies.

See the word ‘Camera’ in the title gets me very excited, but seeing the word ‘Update’ lowers my expectations.

Well they usually call their live streams an "Update", where you're updated on what they're releasing. For example, the Pocket 6K Pro was introduced in february two years ago in an "ATEM Mini and Camera Update".

Great, now my expectations are unchecked and running wild

Hopefully they'll offer something that isn't EF mount

the statement of the announcement means new ATEM switcher
with integrated control of the new blackmagic PTZ camera ; -)

You will hear the biggest groan heard ‘round the world if no new cinema camera is announced, haha.

I am just looking forward to watch Grant Petty presenting BMD's latest toys - I really enjoy every time his straight to the point no bs presentations.

He's gone a slide each of them over 3 inches.

Everytime Blackmagic mention "Camera Updates" its always involve a new camera not just a firmware update so this time should be no different.

I hope is a gimbal-friendly one, with improved AF and electronic ND. We'll see tomorrow!

I hope is a gimbal-friendly one, with improved AF and electronic ND. We'll see tomorrow!

Personally, I really don't care about autofocus in camera.
.

You will hear the biggest groan heard ‘round the world if no new cinema camera is announced, haha.

Regretfully I will be joining in on this groan, haha.

I dunno, it depends where BM's priorities are these days. They've made big moves in live production, and the affordable "cine" camera space is increasingly crowded and competitive. I wouldn't blame them for deciding to pivot or sitting out another year before they bring a new cine camera. Reckon this is just a touch of pessimism on my part, though.

We'll see tomorrow. If it's a new cine camera, great! If it's not... well, let's see how the Kinefinity Mavo MKIIs look when footage eventually drops for those.

BM’s broadcast focus has steadily moved down market since covid and overall seems geared more toward boardroom and bedroom streaming.

It would be nice to see an updated Micro Studio as well as some much needed updates for their flagship switcher.

Good Luck