Andrew Reid

You're talking crap.   Reason I haven't 'flooded you with footage' yet is that quality takes time. Maybe your posts would benefit from more thinking time.

  So shoot raw and convert it to 2.5K ProRes or H.264 after grading. This is what I am doing. Right now.

  Price!! Minimum shooting price is $3000 + $299 battery + $200 SSD + $100 vari-ND. Stick it on your tripod, shoot ProRes and you don't need to upgrade your editing rig. So a long way off $6500 C100 price for a better image. Same Canon lenses.

There's no way you can judge this from a crappy 720p Vimeo stream. No original file. I'm surprised Blackmagic let stuff like this out of the gate without first checking for major artefacts as it creates a whole bunch of (possibly unnecessary) doubt about the performance of the camera.   If you have a situation where moire is an issue, you can use a softer lens to avoid it on the BMCC and GH3 since the moire on these cameras only occurs with very sharp glass, unlike on the 5D Mark II or D800 which needed filters to remove it.

Correct, creative modes are point & shoot, no manual control. I don't see a place for them.

I actually think Jim is spot on here, and Dragon looks amazing.   That part is such an important differentiating factor in a camera. If you want to see something stupid look at Sony. They gave their best sensor technology to Nikon (D800) and put a lousy moire riddled 24MP chip in their OWN camera (A99, VG900) which isn't as good on the stills side either. It is like they wanted to lose? Canon on the other hand will develop one truly good sensor every 3 years and try to shoehorn it into 10 different products to make as much money as possible. Incredibly boring. Jim is also correct in his reference to Canon's fabrication process - it is old by modern semiconductor standards. Panasonic and Olympus seem happy meanwhile to be also-rans and buy Sony sensors, this despite the fact Panasonic had a cutting edge CMOS program of their own. Baffling. How can they ever hope to overcome Canon, Nikon and Sony if they can't out perform them on image quality? Fuji innovate on the sensor side - but sadly not on the business side. They had the chance to replace their film stock with a digital equivalent and didn't. Happy to let their cinema business die along with Kodak. Again - baffling.   The Germans have it right. Leica with CMOSIS and Arri. The Japanese don't seem to have a clue at the moment, maybe it is the economy.

I think you mean expensive compared to the price in GBP which is £2200? 2999 euros is a mark up over Blackmagic's official pricing?

Not sure what Helen is questioning (see my next post) but I find that when it comes to pricing a lot of consumers need to get a clue. They'd happily spend 1000 euros on a TV which makes movies look like digital sick, but a mini Alexa artistic tool is 'too expensive' at 3000 euros.

Million dollar blah blah blah. So you're suggesting the reason Aronofsky movies are good is because they are expensive. If you look at the way he conceived of and shot Black Sawn I think you'd change your mind! I'm not against your argument for shallow DOF and good cinematography giving a low budget shoot a higher production quality and DSLRs are great for this. Your conclusion about me being some kind of apologist for the BMCC is way out of order though. It is superior technology.

No we only had it for one day and a few hours at that. The aim was purely to see what the performance and handling was like. We shot some nice footage and I'll post it soon.   I actually think test footage if done right tells you more than a narrative film, it is essential to have a reference camera and compare the two. Sometimes it even helps to compare 4 or 5 cameras at once. A narrative film is my artistic goal, you need a mixture of both. Tests have their place, it would not be practical or scientific to only show creative work. I loved watching Moonrise Kingdom lately but it really doesn't tell me which camera I should buy out of Super 16mm and the Alexa.

  Who cares?     Who cares? Video village. Meh. There wasn't even a video village on Dark Knight Rises, it was hands-on.     Superior for $35,000?! Good detective work Mr Bruno :)

What Lynch says is always springing to mind. How about this from the Hollywood Reporter... It's another gem...           This is so true. As soon as your heart is not in what you do and you are more concerned with what people will think of the outcome, and the more you try and focus on controlling the outcome rather than focus on the film itself, you are done for.   In today's Hollywood a paycheck without inspiration is all too easy.   Unfortunately the 2nd page of his interview is behind a paywall :)   [url="http://www.hollywoodreporter.com/news/david-lynch-feature-films-have-395849"]http://www.hollywoodreporter.com/news/david-lynch-feature-films-have-395849[/url]   A couple of examples from my own experience really relate to what he's saying. If suddenly a format that I didn't like became incredibly popular with readers of EOSHD, would I start using it and blogging about it? I would not. It has to come from your passion, your interests. Another example... The reason EOSHD carries no advertising despite 500,000 visits per month is because I'm dispassionate about it. To do something well you have to believe in it. I believe in the books and my own filmmaking. Everything else is not concerned with the "action" as David puts it, or the love of it, but for the fruit of the action. I believe if the emphasis is placed in the action that the fruit of the action follows naturally. This is my advice for all filmmakers. Just focus on the action and only do something if you're passionately in love with it. You can make a quick buck with no passion or inspiration, but you'd have to be insane to put so much energy and effort and time into something you're not interested in.

  Depends if you need to spend $40k. I wouldn't spend it on a camera at all!   Regardless, comparing a $3000 price tag to a $40k one is kind of insane.   And you shoot with what you can afford, allocate funds appropriately. If you're Roger Deakins it would be silly to compromise on a mere camera.

Thanks for your comments.   Looking at the balance sheets all the signs are that it is Sony who are closer to elimination than Red or BMCC at the moment. Sad but true I'm afraid. And why would they pool their resources? They're competitors. There's enough room for plenty of competition, but first you have to enter the game. They haven't yet got an answer to the BMCC at $3000.     Why is it disingenuous? Sorry I don't understand. Resolve is free with the camera and is of industry leading calibre. Their standard of software is key to this whole thing. Canon or Panasonic literally don't have the people, IP or market share to offer the same thing with their cameras. DaVinci Resolve was a large part of my decision to order the camera. It is amazing for my work.     I can assure you 2.5" SSD is going nowhere. First they are a PC industry standard and fresh on the market. They're not a camera standard. It will likely take 10 years for the desktop PC industry to use denser media. How long have 3.5" hard drives been around? 25 years? The need for smaller drives is relevant for tablets, surface PCs and laptops but not for desktops and they will be with us for a while yet. When the denser SSD media does arrive, it will likely be adaptable to the SATA interface, just smaller. Therefore, with a simple adapter plate it will still be usable in the camera. By the time this happens, we'll likely be on the Blackmagic Cinema Camera Pro Mark IV!     Yes a 3 year shelf life is enough for many, remember this is a version 1.0 product but this is so unlikely to be an issue anyway. I've seen iPhone touch screens which work flawlessly with smashed glass!. They don't degrade with physical wear, they are long lasting components and a mature technology so I don't see it as a risk. The usability of that screen is superb, so quick to use and so little do you need to be fiddling with the menus on this camera, it really is a case of minimalism and it allows you to just get on with the shoot. FS100 is far worse ergonomically. You need fewer physical controls on a raw camera than for an 8bit camcorder or a DSLR. ISO for example is almost redundant, as is picture profile - because all that stuff is done in post. The shutter angle is also pretty much always on 180 degrees for most shoots. The menus are really to set up the monitor or the recording format.     It is larger than S16mm and S16mm has been around for 40 years! Major motion pictures ("Moonrise Kingdom") this year shot on it.   Saying certain sensor sizes will go obsolete is like saying the colour blue may begin to disappear from the artist's palette and get superseded by orange. We filmmakers need the choice of aesthetic.   Large sensors are not THE deciding factor of image quality anyway. It is damaging to have so many misconceptions out there because it leads to marketing lead decisions about products rather than focussing on the things which are actually most important. Look at the Sony NEX VG-900. Full frame sensor but it's crap!     Hahahaaaa. I cannot tell you how little I care about end user consumption. There will ALWAYS be a demand for high end viewing experiences and as an artist I want my films to provide for the like-minded. Let these dummies watch their feature films on their crappy phones when they could be watching it in a cinema or a home cinema. C'mon which is the better experience? Squinting at an iPad or iPhone? No thanks. I'll continue to watch mine on the big screen. Totally different experience. And also, given this logic James Cameron should downgrade his camera to suit the iPad screen. Why shoot 4K or 3D?     It is exactly because the big three are so focussed on cash-flow instead of the product that they are failing.   Again, cinematic shooters are who matter to me on EOSHD. I don't really care what the fastest growing segment of consumer whatever is and if that is GoPro / action sports, then good for them. Why would this impact cinema? They co-exist peacefully, room for both. You tend to find that it is trends like slow-mo and timelapse that peak and then settle back to their intended more sparse use, and that the cinematic experience is timeless.   But I appreciate your counterpoints, even if they are quite far off the mark in my opinion sir.

  Atomos is great but DSLRs cannot make full use of it yet. The image isn't good enough. Look at the D800. Slightly less compression but still a limited dynamic range, 8bit banding, aliasing, moire, low res, line skipping. You compare the HDMI output to the internal codec on the hacked GH2. Better internally! This is a DSLR video blog. That is my focus, and until the HDMI image quality gets better, Atomos isn't worthwhile for me. I have an FS100 and will review the Blackmagic Hyperdeck Shuttle next week.

It is not about giving something more zing it is about genuine passion for an image. The C100's image is just not as cinematic. I'm sorry, but you cannot compare it to 12bit raw at 2.5K. Low light ability - at ISO 800 and 1600 the shadows go far deeper and cleaner on the Blackmagic Cinema Camera. Granted your ISO 6400 will be better on the C100. But it is also just as nifty on the FS100 and that is $2500 cheaper, with uncompressed HDMI. It also does 1080/60p whilst the C100 maxes out at 30p. Internal battery is not an advantage. You don't get raw. For raw you need an external battery. Why the hell compromise your image for a BATTERY!? Somehow I don't feel compelled to spend double the price on a C100 for a worse image. No idea why!?? :)

Gene there are specialist uses of a large sensor (confined spaces) as you rightly point out, and slow mo. But unless your whole film is going to be shot inside a car at 240fps, the Blackmagic is the better choice. I mean look at the history of cinema. How much super slow-mo do you see? Is it really that critical? Don't forget Sigma 8mm will be wide enough for the car shot you're trying. Equivalent to around 18mm on full frame.

  Look it really is time to nail this argument down so hard it can never get up again.   By your logic Super 16mm which is a 2.7x crop is also ludicrous. OK but didn't stop The Queen, Black Swan and Moonrise Kingdom being made on it. They're some of the best looking films I've seen in the past 2 years if not THE best looking.   Remind me of the advantages of a full frame sensor. So you can defocus everything apart from a tiny sliver of hair? Oh please... It looks rubbish. This is not cinema. In low light at fast apertures, my 5D Mark III makes focus unmanageable at close distances. You cannot shoot a film this way.   Like I say if a 2.7x crop is good enough for Darren Aronofsky then 2.3x is good enough for you. Super 16mm films have won multiple Oscars throughout history and nobody complained about the lack of shallow DOF or the film stock being ludicrous! Do you realise how silly it sounds?   It isn't even a 2.3x crop factor over the C300. It is a 1.6x crop versus the C300 which is what you are comparing it to, not a photographic camera with a video mode tacked on the back.   Super 35mm - the cinema standard - is not the same as full frame.

  Resolve doesn't yet use two cards in SLI for CUDA I'm afraid.

  True it is all mobile hardware, not desktop like a Mac Pro or a PC.   GTX 680MX is still a nice card though and will run Resolve well enough for basic editing and grading with Blackmagic Cinema Camera footage.

I've heard from Timescapes (Tom Lowe) that 3GB video ram on the card makes a large difference over 1.5GB or 2GB in editing Red Raw with CUDA. Could be a reason some consumer GTX cards are out performed by a Quadro card.   Just make sure you get a 3GB card, 580 or better, will be fine for the Blackmagic Cinema Camera. Budget option is a 560 Ti 1.5GB.

[url="http://www.youtube.com/watch?v=6l7KTDHla5k&feature=youtu.be"]http://www.youtube.com/watch?v=6l7KTDHla5k&feature=youtu.be[/url]   Video about anamorphic, mentions me! Enjoy.

[url="http://www.eoshd.com/wp-content/uploads/2012/12/bmcc-rewo-1.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/12/bmcc-rewo-1-660x439.jpg[/img][/url] Above: ReWo caged Blackmagic Cinema Camera. Review of the cages for the BMCC is coming soon (click image to enlarge) [url="http://www.slashcam.de/artikel/Test/Blackmagic-Cinema-Camera---Teil-3--Die-Schattenseiten-und-unser-Fazit.html"]SlashCAM[/url] here in Berlin have been putting their expertise to work on the Blackmagic Cinema Camera. They also had the opportunity to compare their regular test shots with new shots from the Blackmagic. As you can see in the example after the break, the blacks are far cleaner in post than material shot on the Canon C300. SlashCAM have tested an enormous range of camcorders and cameras over the last 10 years. Here they've tested all the important aspects of the BMCC's performance in detail, such as rolling shutter, dynamic range, etc.

Actually I am not sure, will check.

I've just started turning my PC into a Hackintosh tonight, as fed up with Windows.   It is incredibly easy.   I bought a 120GB SSD boot drive for 69 euros which is latest Sandforce controller and 500MB/s read / write.   I downloaded my copy of Mountain Lion OS X from the App Store on my Mac and made sure the Install file was located in Applications and that I had an SD card formatted to HFS in my USB port.   I went here [url="http://www.macbreaker.com/2012/02/how-to-update-mac-os-x-lion-on-your-pc.html"]http://www.macbreaker.com/2012/02/how-to-update-mac-os-x-lion-on-your-pc.html[/url]   And am following the steps.   Leaving it for now and will report back when finished.   My PC is a Dell XPS 8300 off eBay. These are meant to be well suited as Hackintosh machines. The hardware is all compatible.