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There's a lag of 1 second from when record button is pressed and recording begins. More worryingly there's a 1.5-2 second curtailment at the end of the clip so if you stop recording a stopwatch on 10 seconds, the end of the clip will show the watch on 8.5 seconds.   This was in the pre-production model too and I told Panasonic to fix it.   Seems they did not do this.

Grabbed a few shots last night at a location I shot a while back on the Alexa - not a side by side, just a rough comparison.  Different lenses and white balance, I'm yet to get a handle on getting optimum exposure out of the BMC.  DNxHD and RAW look very different, also not sure about workflow.  For this I converted the RAW cDNG to Cineform RAW with filmscan, then AMAed into MC6.  More testing needed. https://vimeo.com/59594452 pass is BMC

Hi, You need to fix the link... Cheers!

Tokina 11-16 with Novoflex Nikon mount adapter. Allows you to control the aperture.

Seems that aliasing is the main culprit here in Super Slow Motion due to frame rate being high and the camera not being able to handle it, which is fine, but I wanted to get your thoughts on the do's and don't for Super Slow Motion with the FS700. I have complied a list and am curious if anyone wants to add anything:   Do's: Do shoot the following, especially in macro (based off of my test shoots so far) - the closeups seem to be the best for Super Slow Motion such as: Water from a faucet, Glasses Filled with Liquid/Bubbles both the top and the side, Blurred out of focus shots (for dreamy type of visuals and transitions).   Do know your limitations.   Dont's:   Don't shoot sharp lines, etc like the following: Shirts up close (the threads will alias), long thin hair, in-focus images against the sun (sharp images like in focus branches, greenery), sharp thin areas like wooden fences with lines, knives, building roof tops with lines, brick walls, etc.

We're testing the BMCC and the R1MX for an car advertising. The BMCC will be used on the car rig. From the first images coming from both cameras, It's safe to say you can mix footage with not much effort, but one thing I must say: You better prepare your pockets for Hard drives if you want the full potential of this cam. Man!! For us, it's better to work with red footage to keep the storage low. It's just massive how big the files are (pictures).   Our editor liked BMC footy, great DR! but it's had to edit without proxys... Red is a breeze compared. It's a good "$3000" camera, but you'll need hard drives, lots of them and a powerful machine to handle it or go proxy every time.   I'm a red user for some months, but BMCC is a great little gem. I still prefer the RED MX image, but it's big and clumsy. BMCC is small compared and it delivers a great image. It's a huge step for everyone coming from a DSLR. It's like jumping a canyon!    I'm curious what BM will do on the next versions of this camera in the future.

I'll just mention that I now use this all the time. Once you set it up, it is just there, but it is incredibly nice to be able to watch my clips desqueezed straight from the camera, no rendering, no converting. Once I've dumped a card to my drive, I just open all the clips at once. That way, it loads them as a kind of "playlist" and it holds the modified aspect ratio from clip to clip so you only have to set it once. This simple little trick is a major time saver when you add it all up! Thanks again for the tip!