I think they did it to relax demand of the Pyxis. Maybe they had a PILE more preorders than they anticipated or can fulfill, or maybe they ran into a production problem. Either way, putting the plastic football variant of the Pyxis on sale for half price I'm sure swayed a bunch of Pyxis customers over to the 6K FF instead.

The learning curve isn't too steep as long as you know basic exposure principles. The biggest difference in how BM cameras operate compared to most others has to do with the ISO limitations when working with BRAW in post. Basically, you need to choose whether it will be in low or high base ISO on the day, and then in post you'll be limited to specifying ISO values only within the range you've already chosen. Thats different from R3D, where ISO in post can be modified to whatever value. You'll get the hang of it.

@@loudandclearmedia Thank you so much man, appreciate the insight

Well, some of it is pretty easy to predict. For instance, EVERY BM release event is opened up by the announcement of 3 esoteric pieces of broadcast rack gear that nobody who works outside of an OB truck is ever going to care about. I get that that's their heritage, but it's hard to imagine the demand for that stuff is anywhere near that of the software and the cameras.

Interesting times indeed. We're pretty blessed these days with all the great options available.

@@AdamSzarmack To be clear, I still prefer the RED image over Blackmagic, but what you’re saying is true. The juice IMO is no longer worth the squeeze.

that's not the reason. People rushed for the original 12k non olpf. Whilst it was a great camera, the color science internal compression etc wasn't ready for market. there was a clear quality control issue. BM cut the price 40%, sending shivers down the spines of would be buyers. the Olpf version is certainly top 8 in cameras on the market. its certainly one of the best Cameras on the market. I agree with you on having a corporate like broadcast Codec for those who won't have time for grades. However the beauty of Braw is really the LUTs. You can literally scout locations with camera and create Luts. I create LUTs using Alexa log c3 cube. I don't need to do any real grading beyond basic brightness and contrast CC still having extreme flexibility if and when client wants variations. .

The Ursa 12K has always been a bit odd. Awesome camera, but SUPER niche. Full of potential from the color alone, but that pixel pitch of 12K on a crop sensor rightly gives a lot of people pause. It'd be interesting to know how many they sell vs the 4.6k G2.

@@loudandclearmedia yes would be good to know. they refer to that camera as their best. never been on any deep discount, on all testing charts as extremely versatile. Sadly there the world is moving from S35 and 4.6k. everyone wants a camera image that will be relevant in 5 years. its all in their minds

ProRes is not an issue. You can export ProRes from Fusion Studio with the Saver node. Your DaVinci Studio license works for Fusion Studio for free.

@@loudandclearmedia this pixel pitch concern, I googled it, I could only come up with Redusers and Phil holland discussing it. It’s a non-existent, virtual or made up concern. I happen to know the largest studios multiples of the 12k Olpf to capture plates globally for led volumes. LED volume are known to be dull, and bad for representing bright daylight projected images, the extra resolution from the 12k’s sort of help mitigate those issues. So that filming with a camera like the Alexa with less resolution blends perfectly, since the color science is similar.

Yeah, but that 65" for $299...trust me, you don't want that one. 😀

@@loudandclearmedia definitely not. 🤣

I agree with everything you said, with one big difference. While true that the layman iPhone users won't possess a skill set nearly as advanced as one of us, the tool will still give them the confidence to not hire us in the first place. Think of it as the "liquid courage" analogy. Drunks start fights with dudes bigger and tougher than themselves, but if they were sober and not under the influence of alcohol (or iPhones in this case), they'd likely make different decisions.

@@loudandclearmedia Yep, agreed.

Right there with you brother. I shoot a LOT of interiors work (Real Estate, Hospitality, Builders) and having a full frame opens up a whole nother world of lensing. Having said that, there aren't a whole lot of native L mount wides that are also well corrected. Certainly not compared to the Sony and Canon mounts. I find myself adapting EF most often.

@@loudandclearmedia I'm not impressed by the choice of L mount lenses either. They're overpriced and uninspiring, but I've been shooting EF for ages and have about 20-30 lenses. The key difference here is when I grab a 24, it's a 24, what I was surprised by is how many other lenses are easily adapted to L vs EF. In a nutshell, you get all the EF lenses, plus all the lenses that can be adapted to EF, plus all the newer mirrorless full frame and pre-digital lenses that otherwise couldn't be adapted to EF because of the spacing. Then when you factor in the new framing and cropping options and I'm understanding why so many platforms are going full frame. The key difference, as you pointed out, is I have four Blackmagic cameras that cost me less than the price of one high end Red.

I feel the same way about BM, but with autofocus. BM is one solid AF system away from market domination.

@@loudandclearmedia yeah but I wouldn't recommend anyone to film with autofocus. You can always see it and the whole picture looks rather digital. Especially if you film a moving object with a wide-open aperture...

@@aronisvisions it obviously depends on what your filming, but there are certainly times that autofocus works better than any focus puller ever could. Aside from that, the Canon/Sony iterations of "face only" autofocus are a fantastic way to have an unmanned B cam in motion. and they work really really well.

@@aronisvisions autofocus looks digital? what?

@@loudandclearmedia everything looks better without autofocus bro...

don't know why, that makes me happy!

@@watzmaaname I can hear 'ol man Robertson (of Duck Dynasty) saying "happy happy happy"

@@loudandclearmedia Wasn't familiar and had to look it up. Can't unhear that anymore.

I disagree about RED not being there for their customers. Let's remember that the cameras and systems RED traditionally competed against were WAY more expensive than anything RED had (remember 4K for $4K?) . Add to that, they've always been engaged with their user base. For instance, I have on a couple occasions communicated directly with Jarrod Land. Which Presidents of which other camera companies have you had the direct ear of? That's pretty darn unique, and I fear and suspect that's what RED has now lost on the other side of this Nikon deal.

lol. Your brain works just fine, Carlos.

Thanks Alan!

Thanks Ty! You'll love the Blackmagic cams.

@@VistarCreative We can still argue if you’d like. Great to have you around! 🍻

I think we're all hopeful about the future of RED...I know I am anyway. Until there is clear direction though, the uncertainty is pretty unsettling, I mean, we're not talking about $100 widgets after all.

@@markjob6354 My eyes tell me the same thing. With a stable, actively innovative California company at the helm, paying such prices for that look was tolerable. Also, I do think the BM image is frighteningly close for a camera that costs several times less. Seeing the two side by side will show the RED image superior. Aside from that though, seeing the BM image on its own just looks like a great image.

Great point. It's perhaps worth pointing out that Apple has a track record of buying out/acquiring companies whose tech is beneficial or has been implemented into their products. Now THAT would be an interesting move, wouldn't it.

@loudandclearmedia Yes it would!

It really does.

All great points. I agree about the build quality of BM and suspect that's a huge reason they can be as affordable as they are. I too prefer the RED image, but honestly not by much. The BM 6K FF has a wildly better image than it has any business having for 1500 bucks...and I think that's always been true of BM cameras.

​@@loudandclearmedia They absolutely punch above their weight class and I'd recommend them all day long to folks on a budget or jumping into their first proper cinema camera system. I don't think I've found an easier to grade codec than BRAW. R3D is a bit better overall, but you need to know how to extract that from it, where I felt BRAW graded easier for me

Hey, I let it fly with thumbnails these days. The only thumbnail type I refuse to use is booty girls...mostly because I know how pissed off I am when after clicking on a booty girl thumbnail it's some hairy dude talking about cameras.

@@ozzmanzz yeah, I’ve seen those things…no thanks! 😅

"as client tastes digress" is a great way to describe so many things in the world these days. 😅

@@loudandclearmedia Sadly so, just see how glorious cars were and where we're headed. We went from going to 4K then 8K to now just settle for extremely compressed vertical 1080p.🥲From anamorphic to horse-blinder vision.

Great points, all of them. From what I've seen, owning FX9, FX6, or now Burano will probably get you the most calls as an owner operator in the commercial space, and it remains to be seen whether the C400 will move the sticks on that much. The Sony's are just workhorse cameras with great I/O, great ISO performance and usable AF. Your comment seems more centered on narrative work though, and I'm MUCH less experienced in that world. Most of what I do is B2B and the majority of that is in the real estate, developer, and hospitality world. As far as RED owner operators getting work BECAUSE they own RED...I know it happens, but I really don't think that's a big part of the commercial world unless there's some heavy VFX being spec'd in post. I do know several RED owners who rent out their kit much more often than they use it themselves, so there's that I guess. The price point to own RED means a lot fewer people are owning them vs the FX6s and C70s of the world. Having said that, I've never been a "hired gun" except for a few rare times, and the types of commercial projects, outside of real estate, that I produce are almost always at a small, local business level where the clients are not astute enough about any of this to have an opinion on which gear is being used...which is why I made the point in the video of the Pyxis being better "client facing" than say the plastic footballs. Clients largely don't know the difference, but the pyxis looks more serious. RED cameras are great for that too. My most recent project shot on RED (the KX), a few months back, in one of the shots I had the main client framed at a table with several other people as a Sommelier was presenting wines to the party. The RED control app, along with the 12G SDI feed made it possible for the client to have an IPAD "monitor" to see simultaneously as the Atomos monitor I was using on top of the camera, and she was perhaps a bit unusually impressed by that...lol. It's those dumb little things that give you street cred with average folks, and nowadays they're a lot easier and cheaper to do than ever before. That was really my main point. The cheaper tech has made RED a more fringe proposition.

Finally someone who knows what they’re talking about. The Pyxis camera is a piece of crap!

@@2424rocket If BM could bring that 16-stop sensor into the $6000 range with dual CFExpress and a body design about the same size and weight as the C400 with comparable I/O and built as an 8k design with limited 12k frame rates…maybe??? they could carve out a decent sized portion of the mid-cine market. But I’m not holding my breath. I don’t think BM knows how to make cameras that don’t in some significant way look and feel like toys. Even the 12k Cine looks like something cobbled together by basement tinkerers rather than something built for high durability professional use.

he did say that in his video. he clearly said the same way red revolutionized the industry by a somewhat affordable camera, so too is BMD, but even more aggressively

​@@TheSpiritawake sure, but this did not "kill" RED, nor did it attempt to.

Finally, someone who knows what they’re talking about.

I stopped watching at 5 minutes. There’s no there there.

Champ, you sound just like a Red Komodo fan boy. Everything you said is nonsense. The camera is not even out yet, so how would you know? 2nd, Everything you mentioned is not a problem for professional DPs that are shooting high end indie films or commercials. Only KZfaq content creators and wedding shooters will say such amateur, uneducated things about a camera no one in the world have actually used in a film or commercials settings. Youmtold on yourself Komodo FAN BOY.