Leaderboard

I'm a huge fan of the bmpcc. It's the ONLY camera that fulfilled the needs of my FORBES70 prototype camera in terms of DR, low light performance, resolution, compatibility with adapted specialist lenses, solid codecs, etc. since the bmpcc's release there has yet to be anything that comes close to its overall performance when paired with fast modern c-mount lenses. The sheer number of so-called high end cinematographers interested in FORBES70 but who disregard it based on that fact that the internal camera is a BMPCC is amazing. Also those who complain about anything the camera does visually are asking far too much. £800 for the best picture available from any camera in the price bracket where re-mortgaging isn't required to make a purchase. https://vimeo.com/136554487 password : fbs I hope the bmmcc does the same amazing job and better!

We head into 2016 with a treasure chest of great cameras but how exactly do the mirrorless and DSLR cameras rank for video? View the charts here

here's some screengrabs from a short film I'm making for Bernie Sanders using the A7S ii with leica 35mm lens in 4k mode. Click on them to see full-size. Pro Gamut, sharpness at minus 5. CINE4. in post color chart, then to 500t lut and also adding in an alexa rec709 lut from film convert and some film grain. I'll make a lut to download if anyone is interested. I feel that even at minus 5 sharpness it feels too sharp of a camera. I'm really impressed by the quality and the stabilization on the sensor is great. Walking with the camera, well it's not going to look smooth unless you use a steadicam or a gimbal. Interested in the Nebula 4200 when it comes out. Also now I have to do a test with the Sony F35, F3, and A7S ii and see which ones I'll sell onto ebay.

character - yes . I was thinking about this the last couple of days when I stumbled on some old gh2 footage. it has something that the gh4 does not.

I didn't record my settings at the shoot, but playing with the camera yesterday - this is ISO 2000. I see a tiny bit of noise in the shadows near the ear, but very fine. For web delivery I wouldn't mess with it at all - if the project were going to be projected large? Maybe. But in years of Nikon and Canon shooting, this looks to me like ISO 400-800 noise.

It was also used on Kingsman: The Secret Service. But i don't think bmpcc is for weddings and doc space of the file and all but where it shines is controlled environment and DOP using lights and all a movie set Here is one of my fev videos shot on bmpcc And Short film

WB above 5000k works with the blue highlight issue. Its been discussed a lot, and it works. Here's a sample

I find that the NX1 can be very tricky to grade especially for the sky. From my experience there isn't much to do, it's just a matter of being soft on the grading. The image of the NX1 is so clean that it breaks down a bit sooner than a GH4 for instance. It's worse if you have a scene that contains tons of details, then the compression can be stronger -> and you have macroblocks even sooner.

Well on the trailer for Teenage Mutant Ninja turtles - https://www.youtube.com/watch?v=dwXFsrp6WBs Which is probably shot on the Alexa XT or something there seems to be both blue and red channel clipping in this shot of the headlights. I attached a screengrab from the trailer. So it's a common problem with all cameras. I think as well as film, but I don't know. Shooting police sirens is a way to test. I think if you can, just avoid these super saturated deep lights with any camera.

Unfortunately not for Windows users, heartbreaking. Curious what is the reason.

Not mine, but a wedding shoot on the NX1.

I'll give it some use over the holidays. I'm still at home until tomorrow so I can hopefully compare the lenses, check for infinity focus, etc. I think the Sigma 30mm f/1.4 Art for APS-C sensors is probably a better fit sizewise than the 35mm f/1.4 Art but I have barely heard anything about the optical qualities so far. The Nikon 50 1.8 G was really in proportion, can see why Kidzrevil likes the older Nikkors and FD primes on it.

Unfortunately, this Avenger movie hardly features one pure recording. One that allowed to draw comparisons or conclusions. You can't tell where the Pocket was used and why. Unlike Nicolas Winding Refn's Drive. It was shot with Alexa and 5D. 5D obviously for the shots inside the cars. However, having sold the Pocket (after 18 months of use, many hours of test shots, one ambitious doc and two weddings) and being back to prosumer video (I own no camera anymore, my buddy hates BM and has an FS7), I begin to see the virtues. The richness of colors is unrivaled in this price class.

I'm with you on the NX1, Andrew! It has captured striking imagery with an astonishing success rate for me compared to any other camera. It might not sit atop any specific quantifiable ranking of cameras, but what it's capable of is just short of miraculous. On the Ronin, that AF system is a dream come true, and paired together in the right hands, most any shot is possible. It handles extremely well, is reliable as heck, and it has good tech specs where it counts.

FS-700 menus are fast. FS7 menus are slow- perhaps that's what he meant?