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Peter J. DeCrescenzo

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    Portland, Oregon, USA

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  1. If you mean BMPC-4K footage, it's been available for a while, including several camera-original 4K ProRes HQ files: http://herefortheweather.wordpress.com/2013/12/19/bmpc-4k-1st-sample-footage-finally/ http://herefortheweather.wordpress.com/2014/02/05/bmpc-4k-marco-solorios-bmw-car-racing-doc-teaser/ http://herefortheweather.wordpress.com/2014/02/05/bmpc-4k-music-video-dpd-by-captainhook/
  2. Hi Andrew: Thanks for a good article. BMD says the BMPC-4K sensor is "21.12mm x 11.88mm", not S35 motion picture frame size. Perhaps you should update the diagram in the article? Diagrams are a helpful way to show how the GH4's sensor is smaller (less wide) than the BMPC-4K sensor when both cams are in UHD (3840 x 2160) mode. Likewise it would be good if the diagram also showed how the GH4 crops its sensor when in full 4K mode. The GH4 looks to be an improvement on the GH3 in every way. Eventually I'll probably add a GH4 to my GH1, GH2 & GH3 collection, but hopefully my BMPC-4K will ship first! Cheers.
  3. Or, just get a Blackmagic Cinema Camera and shoot industrial-strength 1080p 10-bit ProRes 422 HQ (log) @ 220-megabits/sec, or uncompressed 2.5K 12-bit RAW CinemaDNG @ 5-megaBYTES/frame, both with 13-stop dynamic range, on commodity-priced SSD media, with a plenty-big-enough sensor, EF lens mount, dual balanced audio inputs, 5" LCD touchscreen, headphone jack, built-in uninterruptible power supply, including state-of-the-art software, all for $3K US -- and be very, very, happy. And, if you want, add a "GH3" body-only for pretty-OK-looking 1080p60/50 (hopefully) for ~1/3 that price and be insanely happy. Cheers.
  4. As a long-time GH1 & GH2 owner & supporter ... [url="http://www.cinematography.com/index.php?showtopic=37701"]http://www.cinematog...showtopic=37701[/url] [url="http://www.cinematography.com/index.php?showtopic=48216"]http://www.cinematog...showtopic=48216[/url] ... I'm looking forward to the new "GH3" or whatever Panasonic decides to call it. My m43 lenses want a new body! However, as a US resident, I'm concerned about Panasonic's US organization actually making the new camera available for sale to US customers via authorized US dealers any time soon after the announcement. The GH2 was announced at Photokina in mid-Sept. 2010 and only became available (in extremely small quantities) from authorized Panasonic U.S. dealers in mid-Dec. 2010. It was still very hard to buy in he U.S. for a couple of months after that, through early 2011! It was available in Japan in late Oct. 2010, and in a few European countries by mid-Nov. 2010. So, availability varied quite a lot depending on location. It was a similar situation with the GH1 starting in mid-2009. It's impossible to guess how Panasonic will distribute the new "GH3". It's almost certain it will be announced at Photokina next month, but when it will become available to customers in each country is a complete unknown. Based on past experience, Panasonic might not make the new camera available in the U.S. until after it's available elsewhere for weeks or months, but that's just a guess. These things are unpredictable, so the "GH3" might be available in the US the same week it's announced, or not. I especially hope the "GH3" will feature at least semi-nice looking 1080p60 as a compliment to my new Blackmagic Cinema Camera, which I expect to receive "any day now". Cheers.
  5. Photokina starts in a few weeks, and the BMCC will [i]probably[/i] start shipping before the show is over, if not sooner (just a guess). Most of the cameras announced at Photokina won't start shipping for many weeks or months, some not until 2013. Meanwhile, the BMCC is probably by far the best video camera value right now, for reasons I explain in another post elsewhere here in the forums (I'll wait here while you go read it): [url="http://www.eoshd.com/comments/topic/1217-canon-launch-8000-cinema-eos-c100/page__st__60#entry16913"]http://www.eoshd.com...__60#entry16913[/url] Welcome back. Of course, as always, there's no 1 best camera, there's only whatever camera you have available to you that best matches your budget, project, schedule, and skill set. It's all good. For me personally the C100 is a non-starter. Too insanely expensive for what it offers. But that's just me. Cheers.
  6. Hi IanCarlson: I agree completely! See my post elsewhere in the forum:
  7. [quote name='vincegortho' timestamp='1346306987' post='16919'] I apologize for old questions. If I don't want to shoot RAW DNG on the black magic. Will ProRes 422 files be compatible with Premier and after effects CS5.5? [/quote] Adobe video software has supported ProRes (various levels of the codec) on Mac & Windows for years. I suspect the older version of CS that you have probably does, too. But you should double-check with Adobe to be sure, and to see if a software update or driver is required.
  8. Hot Rod Cameras is likely to be one of the first reputable companies to offer a m43 lens mount mod for the BMCC. There will of course be others, too. It's too obvious & tempting for it not to happen, and very soon. http://www.hotrodcameras.com/?p=4038
  9. [quote name='Philip Lipetz' timestamp='1346247420' post='16809']
Why choose over BMCC? To avoid costs of SSDs, graphic cards for post, rig, monitor, audio xlr rig, and HUGE storge costs. The BMCC has very limited low light and is not suited for event or doc work, and that is according to them.

Also, the C100 has XLRs I handle, allowing for a much more compact setup than a c300. Have to see of color banding is an issue with the AVCHD codec.
[/quote] There you go again, Philip, with your insistence that the BMCC requires "expensive" add-ons! It's like you can't help yourself … Let's go down your list: SSDs are commodity-priced solid state media. Their price is falling rapidly, and they already cost the same or less per GB than most other popular solid state media. This trend isn't slowing down; in fact it's accelerating. You conveniently ignore that the BMCC includes the ability to record very high quality 1080p 10-bit ProRes 422 HQ @ 220 megabits/sec with almost the same dynamic range as its CinemaDNG mode. ProRes 422 HQ is a very, very good codec, far better than the video codec used by most conventional video DSLRs or camcorders. ProRes 422 HQ is easy & fast to edit & grade in Mac & Windows systems, including relatively old, slow machines, graphics cards, and storage systems. Hard disk drives capable of use with ProRes 422 HQ are so inexpensive it's hardly worth mentioning. The sample ProRes 422 HQ files shot by John Brawley that are available for download from BMD's website prove that the BMCC is capable of shooting very high quality HD video using this codec. True, if one chooses to use the BMCC's fantastic uncompressed 2.5K 12-bit RAW CinemaDNG recording format for maximum quality there are associated computer system and storage costs. But that's an option, not a requirement. The BMCC's $3K US price can be easily justified even if you never use its CinemaDNG capability (although that would be sad). As for the cost of other gear such as monitors, shoulder rigs, etc., those are optional and absolutely not required for every shooting scenario, and would be pretty much the same for any camera -- they're not a requirement unique to the BMCC, nor a requirement at all in many cases. Now you, Philip, may have shooting requirements that would compel you to buy or rent a substantial quantity of add-on gear for use with a BMCC (or any other camera), but your requirements aren't always (if ever) everyone else's requirements. As for the BMCC's suitability for "event of doc work", BMD disagrees with you, and says so right on the BMCC product page! It says, "… it’s perfect for displacing video-only cameras for work such as sporting events, weddings, music videos and more!" I agree with BMD. People have been shooting all manner of video, including events, docs, TV news, commercials, comedies, dramas, feature films, and so forth for decades using every manner of video camera, lens, recording format and add-on accessory imaginable. What makes you so certain people won't be able to do the same using a BMCC, a state-of-the-art video camera that includes many features not even available at any price just a few years ago? True, some cameras have features which lend themselves to shooting certain subjects and in certain situations more easily or with "better" results than others. For example, I might choose a camera with slo-mo capability at a sporting event -- if I could afford to buy or rent it. Same as it ever was. Cheers.
  10. Am I reading the C100's specs correctly: No 50p or 60p? At what list price? In 2012? I think the BMCC is a far better value than the C100 camera if video quality is more important to you than built-in ND filters, phantom power, and a 1.6 crop factor difference. I also think that the BMCC's true "killer feature" is not its ability to record uncompressed 2.5K 12-bit RAW CinemaDNG, but instead it is its ability to do that [b][u][i]and[/i][/u][/b] alternatively record 1080p 10-bit ProRes 422 HQ using "Film" (log) gamma @ 220-megabits/sec. ProRes 422 HQ is an industrial-strength, professional 10-bit 4:2:2 codec that can support [i]very[/i] high quality HD video. ProRes 422 HQ requires 1/5th the storage space and disk speed of the BMCC's CinemaDNG files, and ProRes 422 HQ log edits & grades easily on both Mac & Windows. The BMCCs 13-stop dynamic range is essentially the same using either format, only the resolution & color depth changes. CinemaDNG is perfect for projects and budgets that can support it, but ProRes 422 is ideal for everything else, and far superior to AVCHD and most other camcorder codecs. After seeing John Brawley's BMCC sample ProRes 422 HQ and CinemaDNG files that BMD has posted in their web forum, I think the camera produces spectacular results for $3K US, especially when you factor in all its features and the included industry-leading software. I'm sure that there are sufficiently well-heeled shooters for whom the C100 is a perfect match, but for shooters looking for maximum HD video quality using industrial-strength codecs, a solid set of professional camera features, recorded on commodity-priced SSD media, and including an excellent software bundle, the BMCC is currently the best value for the money, hands down. Cheers.
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