Zach

You really don't get it do you? It's not just about image quality, it's about production workflows. Many DOPs only made the switch to digital with the Alexa and not the RED, and that's because of how it was designed and how it fits in a production workflow. The Alexa image itself won't be that different from a RED after you've graded it, etc, but it's the whole experience that matters to them.
 
You'll see plenty of BMCC cameras on big films, that's for sure, they'll be replacing the 5Ds whenever they need a small compact camera, and they will be so much better at it, no doubt about it, but that's it.
 
Rolling shutter is the worst problem about DSLRs in my opinion, and it's too bad that the BMCC didn't improve that aspect of it. Saying no one notices it is just plain nonsense, have you ever even shot handheld? How can you not notice it? On top of the weird effect, it makes the footage really hard to track and be used in post production, etc. It also makes stabilizing more difficult for stabilizing software, global shutter footage can get much better results with stabilizing in post.

can this thread go more childish...
my camera that i dont own is better than your camera that u dont own ....
people need a lot of talent and craft to use full potential of both cameras ...

http://www.youtube.com/watch?feature=player_embedded&v=LO7rxitFLZg

Thanks for [url="https://twitter.com/SmackChopG/status/273979426075713536"]G Xiong on Twitter[/url] for this one :)

Just got my email from Amazon today!! Shipped!

I wanted to see who would ship one the fastest so I preordered the first day from B&H, Amazon and Adorama. For some reason everything I preorder from B&H now is always released later than everybody else. I thought they were on top.? :-(

If this camera is using the 5dmkII sensor, well then I can't believe the moire. Worse than even the t4i. I am seriously ditching Canon. I love my 5dmkIII, but it'll be for photos only from here on out. Thank you Panasonic, can't wait for my GH3!

I couldn't past the first 8 seconds of the video. That is horrible image quality! Needs to be hacked...



;)

The image out of camera loses some false-detail sharpness but responds a lot better to sharpening, by the looks of it.

I noticed this about anamorphic too, the softening effect of the wide stretch lets the footage respond nicely to sharpening, and you can push a lot harder than with spherical lenses. The humble 550D also denoises in a far nicer way than the FS700, I think, though it doesn't have the 422 or ultimate sharpness.

Combined with ultra-hacked I-frame bitrates on 600D I think this filter will help to peak this generation of cheap and cheerful EOS! I think there's still life in it yet ;) and there's whole new generation of film-makers with even less cash and even fresher ideas yet to come...

What a silly discussion. These people do have way too much time on their hands... seriously...

I don't have any money invested in this, but you don't need to look further than the Digital Bolex website news section to get extremely detailed info on the progress of the entire project. On top of that, you have the 2 creators showing up for interviews everywhere, on every different filmmaking website or blog, do you think they're all in on it? I don't think it would be worth it...

If this was a scam why would they stop at 100 orders? They could have gotten at least 5 to 10x more orders than that through kickstarter alone!!!

Maybe they're scammers AND dumb?

Yes it is pretty good in low light, better in the shadows than the GH2.

This was a wide range of ISO, mainly between 640 and 1600 with the train cabin shot right up at 3200, F1.6 (it was shot through black glass and almost completely dark to the human eye).

SLR Magic 12mm F1.6 is superb for shadows wide open because it has a cinematic effect, lifting the blacks. I found their new 35mm 0.95 and 1.4 prototypes did the same when I shot with them in Cologne.

[quote name='markm' timestamp='1353881982' post='22276']
Mike Why'd you do that? I need to see people different places lighting conditions focal lengths NOT closeups on stained glass! Please try again!
Have you got some 16mm lenses to test with a monitor plugged in or maybe even a prores recorder?
[/quote]

geeez dude, it's his camera, he can shoot whatever he wants lol

[quote name='HurtinMinorKey' timestamp='1351719332' post='20734']
I really like the sequence of shots, color, and all the captured moments.

But I f-ing hate the camera. I can't wait for you to start tearing it up with the BMC.
[/quote]

So you really love the images, yet you really hate the camera that created those images?

Bizarre.

1080p looks awesome! I used to think 720p was good enough, back when I had a 1280x1024 4:3 monitor. When I got my 23" 1920x1080 monitor my life changed. And as the size of the screens and their resolutions improve (along with everything else) we will notice the difference and worth of 4K. Not that we need it now, but it will be in the future. And it'd be great if we could start shooting future proof content!

Well... You can get a Mark 3 for $3000 now. Sigh..

In general, you won't want to be changing the focus while its on a steadycam. That means you'll probably need to use a smaller aperture so that you have less trouble getting whatever it is youre filming in focus. If you're just filming one moving subject, staying the same distance from that subject will keep it in focus, rather than moving around and changing focus.

When you aren't on the steadycam, a tripod is a helpful tool to combat this :)

Full-frame 4-2-2 8-bit in Pro-res seems pretty good. Plus you get the Canon look. Plus it's an amazing still camera. Steeper than BMD overall, but no focal length crop to worry about!

Yes what camera are you using? I'm assuming a crop sensor Canon.

I used a 50mm for about a year as my primary lens, and used it for about 90% of the stuff I shot until I could afford more! Not ideal for everything, but a great way to learn and build up your skills

To an extent, yes each lens will have its own look. That being said, I don't think it will look "different" in the way you are imagining. Professionals use all manner of different lenses. You should have no problem matching footage from the Canon and Rokinon. Definitely no need to stick with one brand.

[quote name='EOSHD' timestamp='1348176270' post='18759']
Moire and aliasing is certainly there on the D600 as much as the D800. Seems similar looking at my footage.
[/quote]

Well damn.

[quote name='Digital Master' timestamp='1348060882' post='18580']
[size=5]Hello Andrew & friends.... [/size]

[size=5]Some low light tests by Emanuel Pampuri with Lumx GH3 (Beta firmware ...[/size]


[size=5]Filmed in Paris... Le Louvre.... [/size]



[size=5]Best regards[/size]
[/quote]

Why did this guy get a camera?

We must find this pocahontas and conduct some more thorough, extensive skintone tests.

yes please. Im leaning d600 right now. i dont think this camera is getting near enough attention.

I can't believe some people are complaining about the $1299 price tag. Have you forgotten what you're getting and what a big step this is up from the GH2? Blackmagic is considered a bargain at $3000, and it is. But the GH3 has 1080/60p, a larger sensor, stills, swappable internal battery, better low light performance, is smaller and lighter, likely better handling, more physical controls, the list goes on.

And next to the Blackmagic after you've graded raw, ALL-I 72Mbit H.264 stands up very well with a fine grain of noise and as much detail.

What the BM does better is 2.5K resolution, the advantages of raw for grading and likely an extra stop of dynamic range. Very different cameras but if the BM is a bargain then the GH3 bloody well certainly is.

I love both personally even though I've not used either yet. My view may swing one way or another once I do.

[quote name='nigelbb' timestamp='1347019020' post='17531']
The good thing about Phillip Bloom's work is while he is an excellent camera operator & has a great eye for an image he is no DoP so most all of his work just uses available natural light. Contrast this with the super-slick professional demo piece 'Afterglow' from John Brawley on the the BMCC involving 1.2K HMI lights, reflectors & flags & a even a Steadicam operator all designed to make the image from the camera look as good as possible. Philip's Naked Cinematographer approach is the opposite of the latest Zacuto Shootout where the best DoP wins rather than demonstrating what the camera can do without any outside help.
[/quote]

sorry that you don't really know my work or consider me a DP. Each to their opinion. Doesn't matter than 99.9% of my work is lit. Often in complicated ways but I guess you my work more than I do! :)

RIP AVCHD, you won't be missed.

[quote name='EOSHD' timestamp='1346711974' post='17259']
Maybe all these money obsessed filmmakers need to go to school as well. Or at least art class.
[/quote]

What? Filmmakers taking art classes? That's me; in NYC for the semester and loving it. L.A. last semester, no work this summer, NYC this semester, broke, single and in debt . . . life's a roller coaster. Before you go being a negative nancy, ask yourself what good it'll do in the grand scheme of things (usually the answer is no good at all). Just keep on trucking, learn from the hard stuff, work hard when you get the opportunity.

That's what I like about products like the BMCC. There's clear innovation, and were there's innovation these days, there's usually a pretty special team of people behind it. They're persistent, passionate and professional; they wouldn't be able to innovate otherwise. I'm very excited for the BMCC not for the nitty gritty details that it is measured by. I'm exited about what it means on the grander scale. It is innovation and progress. Hats off to Blackmagic.