HurtinMinorKey

One thing to note.  ACR applies sharpening by default on dng files.  So if you haven't zeroed it the noise does get lifted a bit.

An oldy but goldy, but worth another look if you've seen it before
 
http://www.youtube.com/watch?v=C5yhxqkJiAQ
 

I prefer the image on the BMCC, but not enough that it overwhelms other considerations. If you like to shoot a lot of handheld and or really make use of it as a stills camera, I'd probably go with the 5D3. If you are going to be using tripods or other forms of stabilization I'd go with the BMCC.
 
The ability to shoot to SSD is a huge plus for me. I can store and edit a bunch of footage directly off it, without having to dump a bunch of footage between shoots.
 
I recommend spending a lot of time watching the best clips both systems have offer, focusing on the types of shots you envision yourself using.

I got a good offer on a 5D MKiii recently, but despite the raw and overall superior image to 600D I've just stuck with the latter for a few things that are coming up because I know it, and the cost won't improve the product enough.
 
I could also borrow a BMD M4/3 for these shoots, but still, it's an unknown factor and delivery is PAL SD (yes, SD!), so I think the 600 will be fine.
 
I that situation 4K and raw are overkill, I just want to make the piece and deliver it as quickly and efficiently as possible, quality is not the priority, and would go un-noticed. Five friends who barely shoot ever own 550Ds that I can borrow as other angles! FIVE! That's market share...
 
When it's my own work however, music videos and films and so on, I'd like the best I quality can get, but still within reason. I love raw manipulation, so much freedom, but right now the idea of having multiple terrabytes of rushes and a long, long workflow feels like it'd slow me down a lot, plus it's expensive to deal with and presents archiving problems...
 
Shoot ratios on music promo and narrative are both high. Documentary can be insane, 100:1... there I'd probably use an RX100 (and a million batteries) but raw would be project suicide with current technology.
 
If ML could code RAW compression (down to 10-bit from 14-bit colour, some lossless compression) into the 5D MKiii it may become more practical, but now it's pretty mental to handle, and I keep reading about lost clips and so on.
 
I think that's why out of all the BMD owners I know, none have actually embarked on a truly ambitious full project with raw.
 
***
 
The last short film I did was for Virgin Media Shorts, I used the 600D with hacked high bitrates and antialiasing filter and I'm happy with it. Sure it's a limited look, but so is certain film stock. I had to work so quickly, I just couldn't have done it with a glitchy camera, too much weight and rigging, or a demonic workflow. I just ran with the look and gave it a grungy psuedo 16mm feel.
 
If I could've had an Alexa look from a small DSLR box (as BMD promises), complete with compressed ProRes or DNxHD, then it would be the best option, but right now I hear a lot of grumbling from those using those cameras in the heat of battle so I'm keeping clear.
 
I loved Upstream Colour.... you could tell it was an 8-bit cam and quickly shot in places because the colours were different on every shot, sometimes in the same scene, but it worked with the piece, the confusion and surreal settings, it all added to it.
 
I think the key is working with what you have. If you have a camera that makes footage look like video, work with that look, if you try and make it look like Red Epic, you end up looking cheap, and so on...
 
I see a few films shot on Epic where they've tried to emulate film stock and the result is actually too sharp to be believable, so it works both ways.

I suggest, you pick up a pair of Zoom H1 ($99) or Tascam DR-05 ($99), and get a pair of Giant Squid Lapel Mics ($40) (get 3, just in case 1 has any issues). You land up spending about $198 + $120 = $318
 
You could add an opteka shotgun mic VM100 ($80) for reference sound, and you have brilliant quality audio, at a fraction of the cost of Sennheisers.

I have a LowPro Flipside 500, which is huge, and I love it, but I'm not sure It's big enough for all of your gear. It fits a BMCC with it's Switronix battery pack, a 5D3 and 6 lenses.
 
Sounds like a lot of gear, you might consider...

You are almost certainly panning too fast. It's really surprising just how slow you need to do it. If you can't pan slowly enough it's better to do a whip pan as the brain accepts that better than the jitters of a fast pan.

Make sure that the image stabilization is turned OFF on your lens.
 
But I suspect more that it's a side effect of shooting at 24 frames per second. If an object takes less than about seven seconds to pass from one side of the screen to the other, then you are likely to experience motion judder when viewing on a 60hz monitor. It is one of the limitations of that frame rate.
 
If you really need smooth motion, you may find that 30 and 60 frames (especially 60 frames) per second are better for your purposes.

I have a LowPro Flipside 500, which is huge, and I love it, but I'm not sure It's big enough for all of your gear. It fits a BMCC with it's Switronix battery pack, a 5D3 and 6 lenses.
 
Sounds like a lot of gear, you might consider...

I have a LowPro Flipside 500, which is huge, and I love it, but I'm not sure It's big enough for all of your gear. It fits a BMCC with it's Switronix battery pack, a 5D3 and 6 lenses.
 
Sounds like a lot of gear, you might consider...

A short film from Germany, shot with the Pocket. They speak english, because Germany isn't exactly the home of cinematographic talent, and the latter has to be invited from elsewhere. However, it's graded rather extremely, but it has a story and not just landscape or cats. One of the marks of cinema.
http://www.youtube.com/watch?v=tZ_INEKUQpA#t=22

I just got my BMCC up and running last week and I wanted to see how the camera would perform under conditions that i wouldn't even try with the ol' 5D: Direct bright sunlight.
 
https://vimeo.com/65017609

Vid atlantic claim the smaller sensor of the Black magic will make shooting with these adapters easier in comparison to full frame slr's where you will have to shoot with 85mm+  focal lengths to avoid vignetting.
 
http://vidatlantic.tumblr.com/post/29382687522/small-sensor-fears-blackmagic-camera-with-anamorphic
 
That article mentions 2x anamorphic adapters whereas the one you listed is 1.33x. 
 
Also the century optics filter your linking too really isn't worth the money, all the test videos are riddled with distortion and it looks cheap. If you want to use anamorphic for a few short films and to play around with get a Sankor 16C, it's 2x so the image is super slim but it's the best looking anamorphic footage for this price range that isn't an iscorama. 
 
The LA700 has been used to good effect with the BMCC however I really don't see the merits of using one. The LA700 creates a bland image and the flares are less than unique. You're better off buying the vid atlantic flare filter than shelling out next to a grand for a pretty useless adapter which you will have to continue spending money on for things such as diopters to really get it to work. It's a pain in the ass you'd rather not have. Just buy a Sankor 16D (cheaper but cooler blue flares) or a Sankor 16C (sharper image), much more reasonably priced and it will allow you to have some anamorphic work on your vimeo/showreel! And the vid atlantic article suggests these 2x lenses will have a better effect due to it's sensor, check em out. We're just enthusiasts not pros so don't blow your money on the LA7200 or century optics. I was once tempted and can safely say I couldn't give a flying f*** now. I'm curious and may purchase a 16C for fun in the hopes of one day buying an iscorama 36. 
 
16D flares: 
http://www.youtube.com/watch?v=lx1AooxwR3w
 
16C test: 
http://vimeo.com/65590394

Here is a rough cut of a short narrative that I'm working on. 
 
https://vimeo.com/68572361
 

When you are just starting, lesson 1, let raw be lesson 101, second volume. You can start with just about every camera. If I lost my whole equipment in a fire and just had so much money, I'd be torn between those choices:
 
1. GH2, used (latest biddings in € on ebay), 500 €, with SLR magic 12mm and SLR 25mm, cheap tripod, cheap but well chosen shoulder rig, Tascam audio recorder or the like.
2. BlackMagic Pocket, new, 880 €, SLR magic 12mm (wait for other aproved lenses), cheap tripod, cheap but well chosen shoulder rig, Tascam audio recorder or the like.
 
and, if I was into photography in earnest:
3. 5D M2, used, with kit lens 24-105, ~1800 €, external EVF via HDMI, able to zoom in the 5D's output, peaking, that means Zacuto or this price class, ~800 €, Sachtler ACE, 550 €, relatively cheap, but VERY well chosen shoulder rig (let's say, 300 €). Tascam or the like.
 
Why not the ACE in any case? 
 
Because, I wrote this before, the main duty of a tripod is to stand motionless. Many tripods under 100 € will do with light cameras. Only if you wish to make very good, smooth pans, the fluid head needs to be of high quality. And still it's a craft only mastered by few, most pans have either the wrong speed or are unnessesary und uncinematic.
 
But why the ACE for the 5D then? Because it is relatively small and lightweight, yet built well enough to carry the 5D. You get heavy weight, low duty junk for ~150 €, but it's not worth the shipping costs. And besides this, the head allows for good pans.

cost for new PC approximately 1600.
 
If you ever plan on shooting/editting raw, you need at least a 2GB graphics card. I'd go 4GB GTX 780.
USB 3.0 or thunderbolt ports to offload the SSDs
Raid configured hard drive, or SSD  for read/write speed while editing.
Intel I7-37** or above for encoding.
 
There is no need for multiple SSD if you are doing work in the studio. Just get a caddy with USB 3.0 or Thunderbolt and you can offload you footage pretty quickly. 480 GB is plenty for shooting in the studio.

https://vimeo.com/71650199
 
 
BMCC raw, graded in Resolve and Primiere 
Rokinon 24mm, Canon 100mm Macro.
Music: "Fractal Universe" by Mat Zo
Sunset on the Charles looking at Boston from Cambridge. This started as an idea to see if i could get some rolling shutter grossness (from fast pans), and moire from all the buildings, but the camera did pretty well. I tried out a bunch of different grades and LUTs to give it some variety.

I did some shots of the Duck Boats in Boston to try out my new Revo Rig. As you'll see,  It wasn't quite stable enough for the 100mm shots.
 
The company liked the video and posted it on their Facebook and Twitter.
 
https://vimeo.com/73272837

Paulio, I'm still chuckling at your post.  Too funny.  Cheers.  :D

GH3-- Here's a look at what it can do with the proper lighting...
https://vimeo.com/72737956

Do we even know what the BM4K image will look like, yet? Will we ever? :o

He sounds like a defeated man. I don't think he should have mentioned the haters in his farewell speech, He's done enough (more than enough), he doesn't really need to offer any excuses.
 
Say what you want about the man, he definitely changed the industry for the better.

GH3-- Here's a look at what it can do with the proper lighting...
https://vimeo.com/72737956

But the smaller sensor has it's advantages too, more lens options, better DR. But i agree that the main competitor to the Kineraw is probably the 5D3 because of the full frame.
 
Either way, the Kineraw seems like is stuck between a rock and a hard place in this market. If I was desperate for full frame, i really don't see the value of it compared to the 5D3. 

He sounds like a defeated man. I don't think he should have mentioned the haters in his farewell speech, He's done enough (more than enough), he doesn't really need to offer any excuses.
 
Say what you want about the man, he definitely changed the industry for the better.