New BM Product Announcement on 9-14-23

The recording resolutions on the BMCC6K are not very friendly towards shooting with 1.33x anamorphics. I spent sometime this afternoon going through the reductions I can use for capture to deliver 4K and 2K anamorphic video. One is forced to discard a lot of height on the captured video. The BMPCC4K is much more efficient in that regard.

Option A
Thanks to the SLR Magic APO original primes having an image circle of 46.3mm, I would just barely be able to capture 4K anamorphic 1.33x squeeze shooting 4838x4032 for good quality colour 4096x1716 deliverables.

Option B
With room to spare, it’s easier to capture 1.33x anamorphic 4096x3072 for 4096x1716 deliverables.

Option C
For 2K, I’d efficiently capture 2112x1184 for 2048x858 deliverables.

I’ll have to test these to see if I can discern any quality difference particularly between option A and B.

I’m used to capturing Super35 which uses the sweet spot of my primes. Option A will take me right to the corners of the image circle of my primes; if that looks bad, option B will work well.

Now I think I need to pray for one software change regarding anamorphic selection. Currently BMD assumes some default squeeze factors such as forcing a 2x squeeze in the menu selection if the aspect ratio is 4:3 or 6:5. I need less AI and more common sense: please let me set the squeeze factor I want for any resolution. I’m hoping they’ll do that at least for the newly designed BMCC6K. I know several people want more choices for squeeze such as 1.5x, 1.8x; I’m supporting that as well as making the squeeze user selectable.

Thank you BMD for these great new cameras and the new functionality!

Just go look at all the wishlists on this forum for the past 3-5 years.

Exactly. A handful of people on this forum, who don't represent the customer base.

Also, people who are dissatisfied with current offerings are vocal, whereas people who are happy with what they have tend not to repetitively post about it.

For my purposes (verite, small-footprint, kinetic documentary shooting) the 6K Pro form factor is pretty much perfect. Sure it would be great if it would balance a little easier on a gimbal, but my 6K Pro balances just fine on a Ronin after you set the counterweighting properly.

The benefits of having something I can pull out of my backpack at a moments notice that's ready to shoot without having to rig monitors, hand-grips etc are immense. It's an extremely good tool for this style of non-fiction filmmaking.

Looking forward to BM solving the heat dissipation to the point the URSA12K sensor tech can fit into a smaller profile camera. That's the main 'watch' for me.

One more item seems strange to me. It appears the new photosites are 6 microns compared to much smaller photosites on all other cameras (let’s not talk about the 6x6 photosites in the 12K camera). So with an area that is at least twice the size of the previous Pocket cameras, i expected another stop of dynamic range so the BMCC6K would match the URSA Mini 4.6K for example. Since I shoot with two different cameras in each assignment now, the slightly less dynamic range of the BMPCC4K is noticed. True 13.5 stops is better than 13.3, but I was hoping for 14 stops.

One more item seems strange to me. It appears the new photosites are 6 microns compared to much smaller photosites on all other cameras (let’s not talk about the 6x6 photosites in the 12K camera). So with an area that is at least twice the size of the previous Pocket cameras, i expected another stop of dynamic range so the BMCC6K would match the URSA Mini 4.6K for example. Since I shoot with two different cameras in each assignment now, the slightly less dynamic range of the BMPCC4K is noticed. True 13.5 stops is better than 13.3, but I was hoping for 14 stops.

Rick do we think BM designed this sensor from scratch like on the 12k camera? I'm curious to know more about the sensor itself.

I meant the micro cinema. My bad.

It might as well be the replacement for that too.

Dan, I don’t think the 32x24mm sensor was designed and built to BMD’s specifications. But that information will come out at some point if they did. Until we hear otherwise it may be the normal CFA and not the RGBWWW of the UMP12K camera.

I do think the sensor is using a 6 micron pitch for the photosites and I understand the electron well only occupies a small portion of the surface depending on the circuit design including the allowance for the dual gain feature. The trend is to make the electron well a larger portion of the surface by putting more of the circuitry in layers below. Because it’s a modern sensor I thought the dynamic range would improve.

But I have no expertise in electrical engineering to know what other factors come into play. For example the new sensor design may have improved signal-to-noise ratios so the 13.5 stops is realistic and the 13.3 stops previously claimed may have been overstated.

I do know what I see and the UM4.6K handles greater dynamic range than the BMPCC4K. I hope to find the BMCC6K is an improvement over the UM4.6K because I have to face the reality that one day that UM4.6K camera will give up.

Rick thanks for your thoughts. I appreciate it. I imagine and this only a guess but perhaps the full frame sensor might be a bit better in low light and if so the dynamic range feels like it performs a bit better. But truly just a guess.

I for one was happy to see the new micro 4K. I wish it had a cinema brother, but USB-c recording is usable. If they are not going to make a dedicated micro cinema version, could they at least make a cinema menu firmware allowing c4k and c4k 2.40 recording like the pocket 4K has, and iso rather than db gain obviously.

I for one was happy to see the new micro 4K. I wish it had a cinema brother, but USB-c recording is usable. If they are not going to make a dedicated micro cinema version, could they at least make a cinema menu firmware allowing c4k and c4k 2.40 recording like the pocket 4K has, and iso rather than db gain obviously.

I'm also intrigued in the new Micro. Given I that I already have a Micro Cinema rig, this seems like it could become a drop-in replacement.

That said, how does it differ from the last Micro Studio camera, other than recording to USB-C disks? Is it the same sensor?

Good that BMD finally join the FF party. I suppose its bettter late than never.
I'm not optimistic about the readout speed. It only manages 120fps at HD crop compare to 2.8k on the BMPCC6K, you get the idea filming in 6k would be like with jello.

Are you planning on using this one a lot John? I know you wanted a replacement for the micro, but this doesn’t seem like quite the same thing

Yeah I’m keen to try it. I haven’t actually had one in my hands yet but I still use micros a lot. Probably more than the pocket camera.

JB

I have the BMMCC for awhile. Just hated the menu. I'm guessing the new Studio Micro 4k arent going to better that in terms of DR?

The new Micro is interesting, but would have been better if you could have attached the BM Viewfinder to the top!

Steve.

but BMD dropped the ball majorly in regards to form-factor. IT'S ALL PEOPLE WANTED! FOR YEARS! I'm really surprised by this, disappointed and expect there to be dismal sales. Truly unbelievable.

What's unbelievable is that a tiny number of BMD customers, present or past, have convinced themselves that the BMD customer base is pining for box cameras. On this forum, maybe. But where's the evidence it runs any deeper than that?

You really think BMD doesn't doesn't survey the market and doesn't know its customers?

I’m with you John.

I’ll just park this here

http://bmd.link/yuXYHi

Hint… BMD dropped a 4k box camera with the L camera. But I guess it’s not actually what people want when they scream for a box camera…

JB

I think people don’t want it not because it’s a box camera, but it’s a boxy small camera (unlike the Komodo) that is for ENG use, not Cine cam. It would have been nice if it had all the features that they put into the new P6K FF, but in a Komodo style box of course with a small display. The pocket look is just plain ugly and difficult to rigged.

I really would like to upgrade my little Cinema Micro rig.
The Micro Studio 4K G2 accepts time code on 3,5mm audio input.
But if one would like to use both channels for stereo audio capture, do you believe it would be possible to do LTC in over SDI? It would be a sweet setup with my USO and MixPre 3/6 II.

I for one was happy to see the new micro 4K. I wish it had a cinema brother, but USB-c recording is usable. If they are not going to make a dedicated micro cinema version, could they at least make a cinema menu firmware allowing c4k and c4k 2.40 recording like the pocket 4K has, and iso rather than db gain obviously.

I'm also intrigued in the new Micro. Given I that I already have a Micro Cinema rig, this seems like it could become a drop-in replacement.

That said, how does it differ from the last Micro Studio camera, other than recording to USB-C disks? Is it the same sensor?

Looks like this new Micro uses the same sensor as the current 4K Studio Camera models. The specs appear different to the Pocket 4k, so my question is whether this sensor has been ever used in a BM cinema camera? I know the 6K Studio Camera and the Broadcast G2 uses the same sensor as the Pocket 6k, for example.

but BMD dropped the ball majorly in regards to form-factor. IT'S ALL PEOPLE WANTED! FOR YEARS! I'm really surprised by this, disappointed and expect there to be dismal sales. Truly unbelievable.

What's unbelievable is that a tiny number of BMD customers, present or past, have convinced themselves that the BMD customer base is pining for box cameras. On this forum, maybe. But where's the evidence it runs any deeper than that?

You really think BMD doesn't doesn't survey the market and doesn't know its customers?

I’m with you John.

I’ll just park this here

http://bmd.link/yuXYHi

Hint… BMD dropped a 4k box camera with the L camera. But I guess it’s not actually what people want when they scream for a box camera…

JB

Being a heavy user of the original p4k, I've been struggling with the form factor forever, thus making the other pocket updates not worth it. The new cinema camera, despite its nice sensor and price, doesn't sway me either.
I think it's kind of a miss & the quick live reveal may suggest the company isn't too proud either.

Could the new Micro Studio be the box-style P4K I wanted? Grant said studio cameras are rehoused pockets with broadcast features (with another 16:9 sensor?), and that Micro was like a screenless version. I'd love to see a comparison.

Anyone have more info?

Upon further research, I've come to learn a great deal more about the new Micro Studio Camera G2.

This thing is essentially a 4K Studio Camera in a Micro body; and the 4K Studio Camera is essentially a stripped-down Pocket 4K with broadcast features, so as far as image quality is concerned the new Micro is just a Pocket 4K in Micro housing. The sensor seems slightly cut down to only record in UHD, not in DCI 4K. Note that it only records BRAW in UHD, to a USB-C drive.

The new micro camera is the same sensor as the current pocket 4k.

My tongue is in my cheek when I say they already make a box camera.

But it illuminates a point. Users don’t want a box camera.

They want a gimbal camera.

JB

Upon further research, I've come to learn a great deal more about the new Micro Studio Camera G2.

This thing is essentially a 4K Studio Camera in a Micro body; and the 4K Studio Camera is essentially a stripped-down Pocket 4K with broadcast features, so as far as image quality is concerned the new Micro is just a Pocket 4K in Micro housing. The sensor seems slightly cut down to only record in UHD, not in DCI 4K. Note that it only records BRAW in UHD, to a USB-C drive.

Not sure if you were responding to me or not, but this looks like we're onto something interesting there !

The new micro camera is the same sensor as the current pocket 4k.

My tongue is in my cheek when I say they already make a box camera.

But it illuminates a point. Users don’t want a box camera.

They want a gimbal camera.

JB

Current P4K has a DCI sensor, while Micro has a 16:9, Are they really the same? If Micro is marketed as a box P4K and retains similar features (gyro stab would be awesome), it could greatly satisfy users like me (Box obsessed). Still, details are scant, which may be why it was missed by the community. Thoughts?

The new micro camera is the same sensor as the current pocket 4k.

My tongue is in my cheek when I say they already make a box camera.

But it illuminates a point. Users don’t want a box camera.

They want a gimbal camera.

JB

Current P4K has a DCI sensor, while Micro has a 16:9, Are they really the same? If Micro is marketed as a box P4K and retains similar features (gyro stab would be awesome), it could greatly satisfy users like me (Box obsessed). Still, details are scant, which may be why it was missed by the community. Thoughts?

Every review I've watched of the 4K Studio Camera (which has the same sensor as this new Micro) seem to agree that the image is identical to the Pocket 4K, so it seems that the sensor is some smaller variant made only for 16:9 UHD.

For filmmakers the Pocket 4K just seems to be the better choice than this little guy. For a little more, you get DCI 4K, ProRes, more recording options/media, etc. The only appeal for this new Micro over the Pocket 4K seems to be the cube form factor; which, though I like, I cannot justify losing all those options for.

In regards to the new Cinema cam, what's interesting is professional users on here asking an enthusiast on YouTube for basic specs like 'does it have good AF?' right after the official reveal. Does the fact that they mentioned absolutely nothing about the basics suggest that it has worse AF than its predecessors?

The box style thing isn't just about putting it on a gimbal imo. They've seen how Zcam, Red & Kinefinity have done it and want the BM science in those form factors, ie clip a battery on the back, slap on a monitor and go. If they had revealed that form factor last night I would have sold the 6K pro and added two to my basket..... and then remove them shortly after once I'd found out they'd removed Prores

One big thing people have wanted in the next model has been improved rolling shutter performance, again after mentioning nothing in the reveal I can only gather there's no improvement there either. I'd like to hear John's thoughts on that subject as in the scene of the couple driving away (1.5 anamorphic), you'll notice some jello maybe due to the vibration.

I’m with you John.

I’ll just park this here

http://bmd.link/yuXYHi

Hint… BMD dropped a 4k box camera with the L camera. But I guess it’s not actually what people want when they scream for a box camera…

JB

Are you planning on using this one a lot John? I know you wanted a replacement for the micro, but this doesn’t seem like quite the same thing

It's literally a replacement for the Micro.

But it has no 4KDCI

The new micro camera is the same sensor as the current pocket 4k.

My tongue is in my cheek when I say they already make a box camera.

But it illuminates a point. Users don’t want a box camera.

They want a gimbal camera.

JB

Current P4K has a DCI sensor, while Micro has a 16:9, Are they really the same? If Micro is marketed as a box P4K and retains similar features (gyro stab would be awesome), it could greatly satisfy users like me (Box obsessed). Still, details are scant, which may be why it was missed by the community. Thoughts?

Every review I've watched of the 4K Studio Camera (which has the same sensor as this new Micro) seem to agree that the image is identical to the Pocket 4K, so it seems that the sensor is some smaller variant made only for 16:9 UHD.

For filmmakers the Pocket 4K just seems to be the better choice than this little guy. For a little more, you get DCI 4K, ProRes, more recording options/media, etc. The only appeal for this new Micro over the Pocket 4K seems to be the cube form factor; which, though I like, I cannot justify losing all those options for.

I understand your opinion, I switched from USB to CF card on my P4K & loved it, but I'm open to SSD on Micro if ergonomically caged (might end up printing it myself). Also never used Prores & not sure I'd miss DCI format. For me, Micro could be a great ergonomic upgrade! Awaiting more details & tests!

In regards to the new Cinema cam, what's interesting is professional users on here asking an enthusiast on YouTube for basic specs like 'does it have good AF?' right after the official reveal. Does the fact that they mentioned absolutely nothing about the basics suggest that it has worse AF than its predecessors?

AF is better than I've seen on previous models of BMD cameras. Quite useable.

One big thing people have wanted in the next model has been improved rolling shutter performance, again after mentioning nothing in the reveal I can only gather there's no improvement there either. I'd like to hear John's thoughts on that subject as in the scene of the couple driving away (1.5 anamorphic), you'll notice some jello maybe due to the vibration.

With any camera's rolling shooter the big clue is the maximum frame rate. That basically tells you the top speed of the sensor. That's as fast as it will ever go.

Also the larger the sensor size, the harder it is to get a faster readout.

I don't know the actual number, I'm sure BMD will update their list here at some point soon. Pretty sure they are the only camera manufacturer I've seen that publish these numbers.

viewtopic.php?f=2&t=156200

JB

In regards to the new Cinema cam, what's interesting is professional users on here asking an enthusiast on YouTube for basic specs like 'does it have good AF?' right after the official reveal. Does the fact that they mentioned absolutely nothing about the basics suggest that it has worse AF than its predecessors?

The box style thing isn't just about putting it on a gimbal imo. They've seen how Zcam, Red & Kinefinity have done it and want the BM science in those form factors, ie clip a battery on the back, slap on a monitor and go. If they had revealed that form factor last night I would have sold the 6K pro and added two to my basket..... and then remove them shortly after once I'd found out they'd removed Prores

One big thing people have wanted in the next model has been improved rolling shutter performance, again after mentioning nothing in the reveal I can only gather there's no improvement there either. I'd like to hear John's thoughts on that subject as in the scene of the couple driving away (1.5 anamorphic), you'll notice some jello maybe due to the vibration.

Yes! One thing that I love about the komodo, despite literally everything else on that camera, is the global shutter, which is great for VFX, but then no dual ISO, no gyro stab, else I'd have switched sides for a while now

[CaptainHook]

I don't know the actual number, I'm sure BMD will update their list here at some point soon. Pretty sure they are the only camera manufacturer I've seen that publish these numbers.

viewtopic.php?f=2&t=156200

I've updated the list

The new micro camera is the same sensor as the current pocket 4k.

My tongue is in my cheek when I say they already make a box camera.

But it illuminates a point. Users don’t want a box camera.

They want a gimbal camera.

JB

In another word in good lighting the original Micro Cinema camera has better IQ if you are after cinematic look?

It's literally a replacement for the Micro.

But it has no 4KDCI

What are you talking about?

The Blackmagic Micro Cinema Camera was only 1080p.
The Blackmagic Micro Studio Camera was 4K but couldn't record, had a sensor size of Effective Sensor Size 13.056mm x 7.344mm, resolution of 3840 x 2160 / 30 with a Dynamic Range of 11 Stops.

This camera is the Blackmagic Micro Studio Camera G2. It has a Effective Sensor Size of 17.78mm x 10mm (Four Thirds), resolution of 3840 x 2160 (Ultra HD) up to 60 fps, with a Dynamic Range of 13 stops.

4k dci is 4096 pixels horizontally. That’s what he is talking about.

I'll pass on this one

Good that BMD finally join the FF party.

yea, but it's 5am in the morning and the party started yesterday afternoon 3pm!

The new Micro is interesting, but would have been better if you could have attached the BM Viewfinder to the top!

Steve.

..or at least just a little display, only to have an idea what the cam sees and to for the menu

The pocket look is just plain ugly and difficult to rigged.

especially as you have all the connections on one side, the memory card on the other side, battery on the bottom, switches on the top and display and more switches at the back...!
You have absolutely NO side where there's nothing you need to access, so you can't mount the cam somwhere without at least having to remove it from time to time
that's also one of my big problems: mounting the camera on a Ronin S for vertical shooting with a L-brackat is impossible as first of all the battery only lasts some minutes so I have to power the cam with a cable from the Ronin S which works absolutely fine and lasts for hours in horizontal, but you can't access the connections when it's mounted on a L-bracket,
and second: as the camera is much wider than high it's absolutely horrible to balance and it isn't really stable, it's very shaky as the center of gravity is pretty high due to the form factor

I have a weird feeling reading trough the comments here, at CineD and some related YouTube videos...

I mean, I know the Cinema Camera 6K has its compromises (engineering is always about that), but people are complaining about how it doesn't have eND like Burano (25K USD), or global shutter, or box format, or...

I don't think BM are trying to be everyone's camera. We have ARRI, RED, Z-Cam, Sony, Panasonic, Canon, Fuji...

So I just want to show my gratitude to Blackmagic, not just for this particular model, but for how they have disrupted the industry. As RED did 15 year ago. A lot of innovations in other manufacturers have been motivated by or pushed because of what BM has done over the years. As I understand, Blackmagic is not a company the size of Sony, Canon or Panasonic, and look at their wide catalogue!!

RED is a also a smaller company (AFAIK), but they're super focused on the cameras. BM has to share their R&D time and money among many products. Design, improve, market, bugfix...

So, this just goes to show my gratitude. We have a motion picture recording device with a quality that surpasses what Hollywood had 20 years ago in digital acquisition (Thomson Viper, Sony F900...), that most people could not tell apart from an ARRI Alexa, and for 2.600 USD.

I'm sure this wonderful machine wil enable lots of stories to be told in a beautiful, cinematic way...

Cheers!

Footage on YouTube looking pretty nice and handling high contrast scenes really well. Has me wondering if the dynamic range ratings by BM are less optimistic than the charts for the BMPCC6K...

Would be interesting to see what happens when CineD get their hands on this.

The pocket look is just plain ugly and difficult to rigged.

especially as you have all the connections on one side, the memory card on the other side, battery on the bottom, switches on the top and display and more switches at the back...!
You have absolutely NO side where there's nothing you need to access, so you can't mount the cam somwhere without at least having to remove it from time to time
that's also one of my big problems: mounting the camera on a Ronin S for vertical shooting with a L-brackat is impossible as first of all the battery only lasts some minutes so I have to power the cam with a cable from the Ronin S which works absolutely fine and lasts for hours in horizontal, but you can't access the connections when it's mounted on a L-bracket,
and second: as the camera is much wider than high it's absolutely horrible to balance and it isn't really stable, it's very shaky as the center of gravity is pretty high due to the form factor

As someone who has balanced a Pocket 6K on a first Gen Ronin-S, having a box camera isn't going to solve anything. The camera isn't worth putting on a gimbal. You are better off putting a Micro Studio Camera 4K G2 on it, as the Pocket is too heavy for any real use. Even with a vest, you are better off using a smaller cam.

4k dci is 4096 pixels horizontally. That’s what he is talking about.

The neither the Micro Cinema Camera or the Micro Studio Camera 4K had that.

At the end of the day, I absolutely don’t care. I’m a Sony shooter now.

It's funny because my first reaction to this camera is that "this will save me from switching to Sony." I shot my first full-frame video on Sony a few weekends ago, and the images were nice but the codec is not (I was using the A7iii that I normally use for photography; I also had an A7s but the A7iii has better choices for codecs and the picture profiles that you need to set up; not worth trying to shoot log on that camera). Obviously the FX9 and other cameras in Sony's cinema line are a different story, but the new Blackmagic 6K cinema camera is priced similarly to a Sony A7iv but with incomparably better video specs (though maybe not any better rolling shutter).

With L-mount I can use all my existing lenses, including Leica M and LTM-mount lenses, Nikon-mount, Minolta SR-mount, and PL mount for my Angénieux Super 16 zoom (the 6K has a Super 16 crop) for the price of a few adapters. Much better lowlight capability than my existing cameras and much better workflow and flexibility than my Sony. To get something relatively similar from Sony I'd have to buy an A7siii or FX3, which are much more expensive.

I don't know. Seems a huge let down. FF is great, sure. But, really, even if a redesign toward a true cinema cam-style body added $500-750—even $1K to the retail cost—you keep all the present features, maybe even add full size xlr, SDI, whatever...these things would be FLYING off the shelves. But no. They took a 6K Pro and ripped a page out of Canon's cripple-hammer handbook.

I just want to butt in and say that I really like the form factor of the pocket, but I don’t do gimbal work. What other camera has a five inch 1000 nit high contrast monitor on the back?

John's footage looks incredible. I recommend playing around with the demo raw footage in Resolve. However, I do notice some horizontal lines in the footage that is quite noticeable when you punch in a bit.

What I’m getting from conversations from people in my film community, YouTube video comments, and forums away from here is “this is not an upgrade, it’s a side grade”. FF sensor great from what we can see, but feels like this isn’t a must buy for many people. Stick that sensor in a proper cinema camera with some sdi, proper timecode inputs, nd’s etc and a form factor easy to rig up for shoulder mount- basically a slightly smaller ursa…I think it would fly as an A cam for many. Anything in the pocket range that doesn’t have the norms of its competitors like auto focus, ibis etc just doesn’t feel like it’s doing enough. BM are known for disrupting the market so I’m sure one day we’l get a proper A cam again but for now I’m with a large portion of the standard reaction to this and having to shop elsewhere.

I don't know the actual number, I'm sure BMD will update their list here at some point soon. Pretty sure they are the only camera manufacturer I've seen that publish these numbers.

viewtopic.php?f=2&t=156200

I've updated the list

It's interesting to me that this new camera has less rolling shutter in Super 16 crop than the original BMPCC or the BMMCC:

6K Cinema Camera:
2112 x 1184 - 8.29ms

Original Pocket:
17.74ms

Micro Cinema Camera:
13.3ms


The Ursa Mini 12K has the best rolling shutter in Super 16, but it's not that much better than the 6K at 7.78ms

The new 6K cinema camera looks like a really interesting camera for Super 16 lenses.

Difficult.

Having slept a night over this I still don't really know what to make of it. Online reception is so-lala. I think where this camera excels is anamorphic shooting. Other than that, I'm a little lost.

My main gripe is that "good old" form factor, I worked extensively with it for the past years and came to absolutely hate it for several reasons. I wish BMD would move on from it for their smaller cameras.

The online feedback tells a similar story but it's hard to evaluate that - everyone who knows Twitter knows that it doesn't necessarily represent the real world.

As someone who has balanced a Pocket 6K on a first Gen Ronin-S, having a box camera isn't going to solve anything. The camera isn't worth putting on a gimbal. You are better off putting a Micro Studio Camera 4K G2 on it, as the Pocket is too heavy for any real use. Even with a vest, you are better off using a smaller cam.

I also still use my firt gen Ronin S mainly because it can power the Pocket 4k through the Ronin battery.. which ist absolutely necessary and whenever I have to shoot vertically I get into big trouble because I need a bag full of batteries... And a power source so that I can always charge the used batteries
And I had a Micro Cinema Camera in 2018 on another gimbal (was also before Ronin S) which was horrible as you need an external monitor which was stupid to mount, wherever it was, it was the wrong place at some point and you always have the cable somewhere. It ended up switchung the monitor from mounted at the gimbal's side to holding it in my left whil holdingt the gimbal on miy right to someone else hlding for me while I tried to get the image... AND it was absolutely horryble to operate with this stupid menu and the buttons in the front... absolutely crap. And the image quality war horrible toom btw...
That's why I replaced that one year later and got the Pocket 4k as soon as my dealer got one for me.. with the problem it has the wrong form factor for so many things

The Micro Studio Camera wouldn*t be an option for me, especially as it has no screen, so I still need external monitoring and I have already bad experience with that.. and also you need external recording to SSD. And also here, you have the connections on both sides, so it's difficult to plug he connections to the SDI and USB (on different sides of the cam) have both cables attached, one to the monitor and one to the SSD for recording (or I have to record in the monitor..) especially when I have to shoot vertcally and mount the cam on a L-Bracket

What I’m getting from conversations from people in my film community, YouTube video comments, and forums away from here is “this is not an upgrade, it’s a side grade”.

It absolutely IS!
whatever they call ist, it's just a Pocket 6k with another sensor... nothing else than that!

I don't know the actual number, I'm sure BMD will update their list here at some point soon. Pretty sure they are the only camera manufacturer I've seen that publish these numbers.

viewtopic.php?f=2&t=156200

I've updated the list

Thanks so much for the updated list. This is very helpful. Seems like Open Gate and anamorphic is a bit slower, but most of their other settings are about the same is the 6k Pro/G2. So that should give us a pretty clear comp of what to expect.

Listed readout speeds.

Blackmagic Cinema Camera 6K:
6048 x 4032 - 25.08ms
6048 x 3200 - 19.90ms
6048 x 2520 - 15.67ms
4838 x 4032 - 25.08ms
4096 x 3072 - 19.10ms
4096 x 2160 - 15.13ms
2112 x 1184 - 8.29ms
1920 x 1080 - 7.56ms

Blackmagic Pocket Cinema Camera 6K (Pro/G2):
6K - 19.73ms
6K 2.4:1 - 14.61ms
5.7K - 16.26ms
UHD - 15.79ms
3.7K anamorphic - 16.42ms
2.8K - 7.98ms

What I’m getting from conversations from people in my film community, YouTube video comments, and forums away from here is “this is not an upgrade, it’s a side grade”.

It absolutely IS!
whatever they call ist, it's just a Pocket 6k with another sensor... nothing else than that!

I kinda feel like I’m taking crazy pills. How is Blackmagics first full frame 3:2 sensor with a mirrorless mount not a really big deal?

I kinda feel like I’m taking crazy pills. How is Blackmagics first full frame 3:2 sensor with a mirrorless mount not a really big deal?

Exactly. I think it's a huge step. Not what some people wanted / expected, sure. But I feel like we're being so spoiled by constant tech advancements, that we can't appreciate good things anymore. Instead of focusing on what it has (which is A LOT), we focus on what it's missing...