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Just some impressions... Second time out with an SL2, last time was in early 2020. Terrible things followed. Let's hope I haven't just cursed myself with the second coming 🙂 So it has had a lot of firmware updates, but some things remain the same... The 5K open gate mode has some mojo, like the camera it was based on (Panasonic S1R) Take a look at this footage early in the video of his family...if you didn't know you'd think that was actually a reel of film. I know he's done quite a bit to it in post but still... That is crazy filmic. Second thing which sold me on it was the price... I think 2300 euros is fair. In today's market we can get 8K and 4K/120p for this with the second hand EOS R5 bless his overheating heart. So this is 4K/60p full frame 10bit LOG H.265, 5K open gate, 1080p goes up to 180fps... And best of all it isn't a fucking Canon. The second hand market with these sorts of prices has to make you think twice about buying new stuff especially if it is $3-6k doesn't it? The UHD 4K is pixel binned in 24p and 60p, there is a very small 1.1x crop of sides, it does however look very clean and detailed, you'll only notice a difference to oversampled 4K from 6K on a test chart really. DCI 4K mode there is no crop, goes edge to edge of full sensor width. The in-camera LUT view assist works well, and has a few built in pre-sets as well from Leica like Classic and Natural. There are 3 slots for your own .cube files. You cannot bake a LUT into the recording, it's only for display. In stills mode autofocus is very very fast when it works, just not as reliable as phase-detect obviously, and in video mode it is neither fast or reliable 🙂 EVF is immense. Entering video mode is a single button tap. Like Samsung NX1. A great and minimal way to quickly toggle between photos and videos. It has USB charging, full size HDMI, dual card slots Now the not so great stuff... A tad on the heavy side, but not as chonky as S1H. No articulated screen... The main downside where video is concerned. No phase-detect. Could benefit from a few more function buttons. 5K Open gate is a Super 35mm crop L-mount lacks a few exotic adapters like the Techart Leica M Autofocus beasty which I have for Sony But biggest downside is the dilemma of choice at $2000... the market is ridiculous. So much going on now at this price region... There is the Nikon Z6 III which obviously has better specs where video is concerned, the only question is whether you need the higher numbers or not. The EOS R5 is also better specced for used price of $2000-25000... Fuji GFX 100S can be had also for around $2.7k now if you want 2019's $10k medium format camera in a smaller, more compact form. Absolute steal. And of course the Nikon Zf will do a lot of things right for a lot of folk. Panasonic S5 II / S9 as well. None of them have quite the same magic feel when shooting though as the SL2

They're still there but hidden behind the "Watch" menu item. No longer obvious by, for example, someone who doesn't know the site. It looks like the main page of a company and you have to sign up to do anything. For someone just wanting to watch some videos it looks from the main page like it's not a site for that.

Yep. So many good things are now just useless. It's almost like it was planned all along. Or it might have started with good intentions but then shareholders or agent provocateurs from competitors get on the board and make it less useful. I remember this video art piece that was aired on broadcast TV. They bought air time to show it. We (the viewers) are the product and sold to the advertisers. The content is just a way to bring in the products.

I was at uni and it was cheap wine, snacks and packed student house every evening it was on. It was an event. No one distractedly scrolling on their phones either…because no one had phones back then, other than people that worked in The City in banking!

I was about 16 when Twin Peaks came out. It really was the most mind blowing original TV and has probably not been bettered.

IMO, THE best series of the 90’s and one of the best series of all time.

Also shot in 1080p! A camera that could shoot ISO one billion would be welcome though, as I could set it to 3200 and get cleaner images, then bring them down in post so that night actually looks like night. Thanks! Maybe a little, but much more influenced by Illkoncept, especially his Japan on 16mm Film, things like Man with a Movie Camera (1929) and also from Parts Unknown | Tokyo.

Locked off shots and not using ISO One Billion to make night time look like broad daylight, what sort of heresy is this ?

Oneplus 8 pro modded with Vega 20mm wide open with custom anamorphic lens, Motioncam pro app.

Hello Everyone, Thinking about selling my dvx100a andromeda camera if anyone is interested. I have the camera and the software. The camera has seen better days but still works and it has some history to it. let me know if your are interested. thx

I've come back to this thread many times over the years, thanks to everyone for your enthusiasm and information! I just made a deep-dive video essay on the BMMCC, hope you enjoy: The Blackmagic Micro Cinema Camera in 2025

The 3.5K image with Magic Lantern RAW video on the 5D Mark III is a truly beautiful image. Might be interesting to compare it today to Sigma Fp-L Cinema DNG, the EOS R5 Canon RAW 8K and Nikon N-RAW.

The GFX100 is the most misunderstood camera on the market. It's a full frame mirrorless camera, which just so happens to have an even larger sensor and the highest resolution of any mirrorless camera. In the full frame mode it is 60mp, like an a7r V. In the medium format mode, it is more like full frame+ rather than real medium format like a Hasselblad film camera, so the full frame lenses still work. Had it been an even larger sensor or a reflex camera with a mirror, of course you'd need to get the native lenses but really you don't. So that brings the cost down massively and opens up the creative possibilities more than any other camera I know. Also what people don't understand is that the smaller GFX 100S is a significantly cost cut version, which doesn't feel anywhere near as good. The OG GFX100 has the best build quality and ergonomics of any mirrorless camera, full stop. The size isn't too bad, and neither is weight a problem. It's closer to a Nikon Z9 than a RED. I also really like the top display and gunmetal blue, and the detachable viewfinder which the GFX 100S doesn't have. It becomes completely flat on top without it, which is somehow quite charming and brings the profile down. With it, the EVF is one of the best on the market - big, detailed, fast. With superb IBIS and on-sensor phase-detect AF it has all the bells and whistles. You put a humdrum 50 dollar M42 lens on there and it looks like a fucking Noctilux. And this is the part I don't understand - the lack of awareness for that, and the massive depreciation as if nobody wants it. This was a $10,000 camera when it came out, and it came out in the modern era not in the fucking 90s! At half that price apparently it didn't really sell, so second hand prices kept going down and down. Now it is less than the price of a Z6 III! It makes that camera feel like a complete toy.

The problem with LOG is first of all that the gamma assists are a bit rubbish. (Aside from the Panasonic S9 and cameras where you can load on a LUT and monitor with it, without resorting to some shitty external monitor) But on the more common and better specced cameras you can't do that... Nikon Z9, Z8, Sony a1, a7 IV, GFX 100, Z6 III, EOS R6 II and so on. Secondly you should never really shoot it WITHOUT a gamma assist. Contrast, tonality and light are a really important judgement in cinematography and you can't really see any of that with a very flat display. Sure you can toggle LOG profile on/off quick in the menu and judge... but doing so is a PITA every time you want to see the real contrast and lighting. The gamma assists are all quite bland looking and flat with not very much pop, I find. Then we come to the LOG profiles themselves... EOS R6 Mark II / R5 / R3 all have C-LOG3, which a lot of people complain about but I don't mind. One of the better ones and easier to grade. C-LOG2 is reserved for the Cinema EOS line. C-LOG3 is closer to the original C-LOG on the 1D C, I seem to remember. Sony a7 IV has S-LOG2 and S-LOG3, they offer the widest dynamic range of the bunch but you still have to get exposure perfect for optimal image quality. Gets noisy really fast if you under expose. N-LOG on the Nikon cameras needs the most colour correction, otherwise you have very green-olive skin. By the way, there is a very small difference in image quality between 50Mbit/s 10bit 420 H265 on the Sony a7 IV and the higher bitrate LOG formats in range of 200-500Mbit... yes even in S-LOG3! So you can save a lot of money and card space there. With standard gamma picture profiles you don't need to shoot 10bit... 8bit will look the same. People tend to overestimate higher numbers on the specs sheet. So those tips in summary: Don't shoot from a flat image off the back screen Nail exposure to get the maximum dynamic range benefit from LOG With modern codecs like H.265 in 4K/24p - don't bother with the higher bitrates in most cases, the laws of diminishing returns apply big time (Although if you're shooting 8K or high frame rates then 200-500Mbit/s is recommended) C-LOG3 is easiest to handle, with N-LOG last Hope that in-camera LUTs/monitoring becomes a common thing, it's really bad that it isn't even 12 years since LOG first came on the mirrorless camera scene.

10 Bit is always going to be better than 8 Bit when correcting Log. That said it is dependent on codec and bit rate too. Ive always felt a Lumix 8 Bit file, regardless whether it's H.264 or H.265 is so much thicker and easier to work with than any Sony A7 whatever rubbish. Another factor is your software of choice. Premiere Pro is not a colour grading software, Lumetri sucks. Davinci on the other hand is so much kinder to weak codecs, much less banding and colour artefacts when you try to stretch things like correcting white balance and tint. Clearly better algorithms that are much more forgiving.

Solution A - the battery grip ($999)! Solution B was the SL2-S. Not a great outcome really. A quite expensive one for users. There was never a firmware update to fix it.