The FS7, to me, was the closest anyone has gotten to a really good budget camera that would be to the modern filmmaker what the Super16 format was for so many years. You could stick it on your shoulder, you could control the camera easily while it was on your shoulder, it had well-implemented audio, and you could shoot high frame rates and log, in 4K. There were some issues though. Lenses could be a problem, but adapters fixed that for the most part. It didn't always balance super well on the shoulder especially if you had a heavier lens. It still required third party rigs if you wanted rods, a follow focus, or a heavier mattebox. The viewfinder was detestable. The URSA mini takes everything that was good about the FS7, and made it better. A better built-in screen, a better viewfinder, better lenses mounts, a (potentially) better sensor, better shoulder balance, pro battery options, internal RAW and the most important thing that really set the URSA apart: A simple, streamlined, easily navigable menu system. This is THE camera for anyone making videos for YouTube or Vimeo, anyone who's shooting for SXSW or Sundance or any other festival, anyone making documentaries. The people who should be jumping on board with this camera are the Stillmotion's, the Joe Simon's, the Ryan Conolly's. Basically anyone who is using a C-Series camera for their regular work, and renting a RED for more polished stuff, you should be using this camera. Blackmagic has won NAB, now for the 4th year in a row.
The point is that the FS7 is an easily owned camera. And let's be honest, the ones that own their own high end cameras are gonna be more familiar with them, and thus able to make better pictures faster. No two ways about it, this camera cannot compete with the FS7.
All good and lovely, and I'm sure that lots of C300 users and Canon faithful will hop right on, and they'll make great pictures with it. But this is what the original C300 should have been. Canon is, once again, way behind the curve. And they still didn't change the biggest problem with the original, which is the form factor. The FS7 is doing everything right, with better specs (60fps 4K, cheaper recording media, more lens options, 180 fps HD, in-camera-audio on the body instead of some external handle, and a form factor that allows for shoulder mounting) at HALF THE PRICE. So yeah, no doubt Canon will make money from all their faithful followers. And this will be a great option for people running on a Glidecam or Movi, since you won't need an assistant to pull focus, while still being able to shoot 4K. And I know that some people prefer the way Canon cameras handle certain lighting situations. But honestly, here in 2015, the camera doesn't matter. What matters is the person behind the camera and the lens in front of it. Due to the price of the FS7, more people will be behind it, and they'll have money left over for better lenses. FS7 is still the way to go. Sorry Canon, but you really tossed a mulligan. Again.
That's nice, but what do these numbers mean? I've seen great films from no budget to multi billion budget shot on all these cameras. It's about the person behind the camera, not the stupid crap inside.
This is exactly right. And basically what I've found is that these blockbuster action movies use RED because they're so much smaller and can be rigged up small to be able to move quickly through complex camera moves. For films with less action, the more "Oscar-y" ones, they almost always use Alexa. Look at the statue haul for Birdman this year. Shot on Alexa. I saw two movies within a single week, one shot on RED and one shot on Alexa, and I thought the Alexa one looked better. Now to be fair the Alexa film was DP'ed by Roger Deakins and he's a master, but still.