Ratguity

Hi. 
 
I am looking for advice on a project. As I have limited green screen expereince, I want to make sure i get it right. I'm much more an 'on-location' kind of guy!
 
I've just been assigned a music video project using green screen and the Blackmagic Pocket Camera. Its a mickey take on Japanese infomercials.
 
The screen is painted 18FT wide, and we will be shooting around 8FT before the wall.
 
I have in my ownership 3 Dedolights and 2 Kino Flo Divas 401s. I know I will require more lights to light the screen (as my owned lights will be mostly lighting the actors), and I was thinking of mounting some Kino Flo 4 banks on C-stands high. The studio location has no lighting grid at the top. 
 
The Pocket will always be on a tripod, filming wides, mids and close-ups of the products/adverts the Japanese people are 'selling.' Got the Panny 12-35mm and 35-100mm, the SLR Magic 12mm and loads of Canon FDs.
 
Does anybody want to give me any advice about this and the use of the Pocket camera? It would be much appreciated. I'm certain I'm doing everything right, just want to make sure I have everything in tow. 
 
Thanks. 

People of the world. Have you been able to locate a Pocket Cinema Camera or Blackmagic 4K Production Model? Has your dealer been weeping on your shoulder recently? Do you know something we don't?
 
:)
 
This is the place for all Blackmagic camera related shipping news.

What recommendations do you guys have for budget Super 16 lenses for the new BM Pocket Cinema camera? I'd like to start doing some hunting on Ebay, but I really don't know what to look for!
 
I'm a big fan of fast lenses for doc-style run-and-gun shooting and I also really like wide lenses for the great landscapes I have here in Phoenix! 

I am somewhat surprised that no one mentioned Hiding Place, although it is already three days old:
http://vimeo.com/72996911
 
I understand, Bloom had fallen from grace. The more relentlessly we can pull the clip to pieces. But actually, despite it is sepia sunset again, I find it quite nice.
 
In the german SlashCam forum they have a Pocket already, and right after there were reports in the BM forum about grisly artifacts, they made own tests. The effect is called sensor blooming or white orbs or black hole sun phenomenon. Maybe a sensor problem, that would be bad. Maybe software, maybe the codec.
 
http://www.youtube.com/watch?v=stCTphrtqfo
 
Easy to reproduce: Parts of the image that really clip tend to 'bloom'. If the clipping is very heavy, the center of the white area turns black.

I've had the Black Magic Cinema Camera (EF version) since April, coming from a hacked GH2. I kind of jumped on the BMCC fanboy bandwagon and jumped into the camera without really studying other options at the time. It's capable of some pretty great images, but overall, I just don't like the camera. It stinks for any type of handheld shooting, the crop factor is a pain to deal with, pretty much every hard drive I own is full of RAW footage even though I try to delete what I'm not using, and it takes a ton of time just to grade a shot to get it to look "normal" and sync audio from my external recorder. No built in ND's (coupled with a native ISO of 800), lack of changeable battery, and poor audio with no audio meters is annoying as well. Like I said, the image quality can be great, but it is just no fun to shoot with and there is so much not to like about the camera. Sometimes I like to just pick up my camera and shoot something, but with the BMCC, this is really impractical.
I'm not a professional, just an amateur/enthusiast obsessed with great video quality. I'm primarily looking for something that has a large sensor and can produce sharp, detailed images with minimal noise. I'd like something good for narrative with the bonus of having something I can run and gun with if I want to. I can hold my own with basic color grading, but I'm by no means highly skilled at it, so I feel I wouldn't lose too much if I no longer had RAW.
I've narrowed my options to either selling the BMCC and buying a C100 or FS100, or sucking it up and keeping the BMCC. As for price I feel they are all somewhat similar. If I keep the BMCC I need to still buy ND's, a battery solution, a better rig for handheld, a wider lens, and probably some type of storage array for all this footage I'm amassing. For the FS100 I'd need to add the Speed Booster and ND's to get it up to the C100 configuration.
For the C100, I'd probably pick up an Atomos recorder at some point in the future. For the FS100 I'd be shooting only with the Speed Booster as I have only EF glass.
From what I've read it seems like the C100 should be an easy choice over the FS100, but I feel like the FS100 looks much more cinematic (maybe it's just that I've stumbled upon videos made by FS100 users with better skills than the C100 users? Or maybe it's just because the FS100 has been out longer?). Honestly all of these very cinematic pieces shot with the FS100 are pretty much the only reason it's on my radar as otherwise I believe the C100 to be superior.
Any advice from people who have shot with either camera would be much appreciated. Is the C100 just as good or better than the FS100 when it comes to image quality?
C100 Concerns: -Possibly not as cinematic as the FS100
FS100 Concerns: -Would only be shooting with the Speed Booster (bugs/issues/etc. with this?) -It's a couple year old camera, so I'd probably be disappointed if Sony released a replacement shortly after I bought one -No ND's -Form factor not as much to my liking as the C100

What Nikon DSLR is currently the best for shooting video? I know the obvious choice is a Canon + ML but I'd like to know what Nikon has on offer.. I just bought a BMCC so I'm covered for RAW (I don't think there are many situations where I am going to want to shoot multi-cam RAW)..
 
I just want a DSLR as a B-Cam that I'll be able to hopefully match fairly well to BMCC in prores for some small projects. I am obviously considering the BMPCC but want to see how things play out from here (with the problems it's supposedly having) and consider what else is available, since I don't particularly need RAW in a B-cam and have Nikon lenses I'm wondering what Nikon options are available up till the D600 6D range of cameras. Thanks.

When I import my GH3 files into FCPX the clips names are change to the event name. Is there a way to prevent this, would like to keep the original file nameif possible. Thanks in advance.

Check this out.    
 
Betty is a custom camera housing that combines a Silicon Imaging SI-2K Mini Camera Head and an Apple Mac Mini into a cohesive, portable camera system.
It shoots 2K Cineform RAW Quicktimes with 1:1, 3:1, or higher compression to removable (off the shelf) 2.5″ SSDs.
 
http://blackbettycameras.com/first-camera/
 

With this recent price drop in BMCC, buying a 2.5K camera seems relevant again. Especially since it has one extra stop of dynamic range over the 4K version, and with the metabones speedbooster it actually has similar form factor regarding the DOF. And It could be a great B cam once you decide to get a 4K version (or if finances are low, get a pocket version as a B cam for 2.5K)
Now my question is, would I need to buy a metoabones speedbooster for each of my lens types as I have contax yashica, Leica, Nikon, EF, etc... (which would be extremely expensive), or could I only get the EF to MFT version (once it comes out) and use the C/Y, Leica, etc... to EF adapter?
Thanks a lot for your responses.

Hello everybody,
 
First i would like to thanks this forum and Andrew Reid for the quality of the reviews. It really helped me a lot in learning photography, so i will not thank you enough for this.
 
Regarding my topic, I'm a Visual Effect Artist starting a career in the industry in London.
My main skills are in 3D (stereoscopic) post-production, and I'm establishing a new small studio for this particular tasks.
 
Our budget is approx 10k-15k $, so i would like to ask to you guys, what do you think it will be the best buy for this kind of range? 
We need to buy at least 2 Camera (same type obv) and a Stereo Rig for future jobs.
Red Scarlet is way too expensive at the moment, so what's about the new Blackmagic 4k Production Camera? Does 2x 5D MkIII will be a good bet for this kind of work or do we need to focus on something else?
The main aspect concercing this choice is the quality of the image. Keep in mind that we need to work on shots in post too, not just grading, but putting in it a variety of digital Visual Effects (mainly with Nuke, Maya, After Effects).
 
Thanks to all

Just got my GH3. I noticed when I have my Panasonic 7-14mm on and I'm looking at the live view from the OLED touch-screen, it's kind of laggy depending on where I'm pointing the camera. For what ever reason when it's pointed at most places in my room the feed is really choppy, but when I point it at my window it feels like I'm watching a 60fps movie.   Is this normal ?    

I'm going to get some serious gear soon and I have to upgrade my current shotgun.
 
I'll be shooting a lot of interior shots in small to medium sized rooms. From what I've been told, a shotgun mic like the MKH 416 is terrible for indoors, correct?
 
What's the best indoor mic for $1,000 and under?
 

Here is from the email newsletter Grant Petty just sent out:
 
Blackmagic Cinema Camera Price Reduction
We have worked very hard over the last year to be able to build the Blackmagic Cinema Camera at a lower cost so we can reduce the price and allow access to digital filming to a wide range of cinematographers and photographers.
We have done it and from today the Blackmagic Cinema Camera EF and MFT models will be reduced in price to US$1,995. This is very exciting and is one of the proudest moments of my life to be able to do this!
I think people will be able to use the savings to invest in some exciting lenses and rigs to really boost the creative possibilities. The Blackmagic Cinema Camera is a fantastic design that's now well proven. The advantage of the 2.5K sensor is it has enough resolution to eliminate the bayer resolution loss of a HD sensor, but when shooting RAW it produces files that are too not to big to store and work with easily. It's a fantastic solution.
All orders placed that have not yet been filled, can be reduced to the new lower price.

Holy crap.. I think I might stretch my budget for a BMCC and get the BMPCC down the track a bit. ALSO a firmware update coming for BMCC too - Details at end of post.

"Blackmagic Cinema Camera Price Reduction

We have worked very hard over the last year to be able to build the Blackmagic Cinema Camera at a lower cost so we can reduce the price and allow access to digital filming to a wide range of cinematographers and photographers.

We have done it and from today the Blackmagic Cinema Camera EF and MFT models will be reduced in price to US$1,995. This is very exciting and is one of the proudest moments of my life to be able to do this!

I think people will be able to use the savings to invest in some exciting lenses and rigs to really boost the creative possibilities. The Blackmagic Cinema Camera is a fantastic design that's now well proven. The advantage of the 2.5K sensor is it has enough resolution to eliminate the bayer resolution loss of a HD sensor, but when shooting RAW it produces files that are too not to big to store and work with easily. It's a fantastic solution.

All orders placed that have not yet been filled, can be reduced to the new lower price."

-----------

"There are some new features in the software for the Pocket Cinema Camera. You can now focus by pushing the focus button when using an active MFT lens. This makes it very easy to accurately focus. The focus peaking feature is still there and you enable it by double pressing the focus button. The focus zoom feature is enabled by double pressing the OK button.

There will be an update for the 2.5K Blackmagic Cinema Camera soon that will also add these features, plus new de-bayer processing that will improve the cameras sharpness when shooting non RAW files."

http://vimeo.com/70676876
 
Wow that looks incredible! The only thing holding me back is the question if there is some lens out there that would cover the wide end...I would definately need some FOV that a 18mm would give me on a 1.6 crop, so, something around 6-8mm, right?
And one question is really always on my mind when thinking of this camera...might it be too small? Can I shoot handheld with it, like I can with my 60D?
Any thoughts? What do you guys think of the footage?

[media]http://vimeo.com/69803484[/media]

Red shooter Ryan Lightbourn has been combining the Red Scarlet-X and raw shooting 5D Mark III on the same production. His aerial shots reveal very little difference between the cameras but also some striking observations regarding the 5D Mark III's raw prowess.

[url=http://www.eoshd.com/content/10741/raw-5d-mark-iii-vs-red-scarlet-for-1080p-delivery]Read the full article here[/url]

Hello I am new here and really hope that this is the right place to post this, if so, please excuse me ;)
So to my question...
Since the latest developments with the ML RAW Hack on the 5D Mk3 (and a whole bunch of others) is still moving and running like a charm it seems, I am more and more drawn towards buying a 5D Mk3.
As I am still some young guy, fascinated by cameras and the movie making world and still not really earning thousands a day, this would be a HUGE investment for me.
I got my 60D and some glass, but damn I really have the feeling that I´m running into my limits there. I like the camera, I own it since it was released and it has fulfilled its job eversince, but I feel like its time to step up the game a bit.
Could this be the right choice? Would it be gamechanging for me?
 
Also feel free to make this the general go-to thread with equal matters relating buy/dont buy decisions ;)
 
Cheers,
Lukas

http://blog.burakoguzsaguner.com/2013/05/07/20-tips-by-roger-deakins/
 
 
These tips were gathered by theblackandblue.com from his official forum site deakinsonline.com. This is the refined version.
 
1. Don’t Get Distracted with Technique “Operating the wheels needs to become second nature as it can be a disaster if the technique of operating distracts from the relationship that an operator has with the subject.
When I was starting I practiced doing figures of eight with the wheels and progressed to signing my name with them. I don’t feel the need to practice anymore but I do reassure myself that I can still sign my name each time I start a new film, if I am using a gear head.
A gear head is not everyone’s choice and I don’t always carry one but it does have distinct advantages on certain set ups and on certain films.”
2. You Must Discover Your Own Style “I am very wary of showing too much in the way of plans and diagrams. Not because I am secretive and I don’t want to give away something that is personal. Not at all!
I just remember that when I began as a film maker and a cinematographer I never watched another cinematographer at work. The closest I ever got to seeing ‘how it was done’ was by shooting some documentary footage of Doug Slocombe at work on ‘Pirates of Penzance’. I loved seeing him work but it had absolutely no influence on the way my work evolved.
Our styles could not be more different. That’s my point really. You can’t learn your craft by copying me or anyone else. I hope what I do can do is in some way inspire others but I would be appalled if I though my work was being studied as ‘the right way to do the job’.
My way is just one of an infinite number of ways to do the job.”
3. Compromise is Sometimes Needed for a Better Film “Sometimes, as with the death row scenes on ‘Dead Man Walking’, it is better to compromise composition, lighting and perhaps even sound a little and shoot with two cameras in order to help an actor get their performance. Sometimes it is better to go wider to include a prop in frame than break an actor’s concentration.
When an actor appears on set ready to do a take it may be too late to change anything. At that time if I see a bad shadow or an eyeline that is slightly off I might talk to the actor or I might not. Perhaps I might think it better to change things for take two. If not then I judge it my mistake and I must try not to let it happen next time.
In the end a film can look lousy but work because of a great performance but not the other way round. That’s something always worth remembering.”
4. Work Inside Your Practical Limits “I rarely took lights on the documentaries I shot in Africa. Much of the time I worked without an assistant so carrying more equipment than absolutely necessary was out. I did carry some white bed sheets and a silvered space blanket, which I used for sleeping in on cold nights (and it can get very cold in Botswana for instance) protecting the raw stock and equipment from the sun as well as for lighting.
I think the most important aspect of shooting documentary is to make use of what light is available simply through your positioning of the camera - and the subject if you are controlling what you are shooting. For me, using extra equipment, whether it was a tripod or a reflector, was usually a distraction and counterproductive.”
5. Pick a Camera Based on the Job “There is an obsession with technology that I don’t care for. You pick the camera for the job based on cost and many other factors. I think ‘In This World’ or ‘Slumdog Millionaire’ are good case studies in this regard.”
6. “Cinematography is More Than a Camera” “Cinematography is more than a camera, whether that camera is a Red an Alexa or a Bolex. There is a little more to it that resolution, colour depth, latitude, grain structure, lens aberration etc. etc. etc. The lenses use for ‘Citizen Kane’ were in no way as good as a Primo or a Master Prime and the grain structure in that film is, frankly, all over the place. But the cinematography? Well, you tell me.”
7. Camera Choice is a Personal Decision “In the final analysis you can only judge picture quality by eye and make a personal decision as to what you like and what you don’t like. Perhaps some people really can not see a difference between a 2K scan and a 4K scan of the same negative and I am sure some people really do prefer the look of an image produced by the Red Camera to one shot on film.
The choice of a camera system is no different than the choice of a lens set, a camera position or where to put a lamp.”
8. Filmmaking Never Gets Any Easier “On one of my first dramatic films I had got to the set early only to hear the 1st AD and a Carpenter questioning why someone whom they had never heard of was shooting their film. They turned to me and asked if I knew the cinematographer. I said I did.
I then told the Carpenter to rig a beam at the ceiling for lighting and asked the AD to send out for some asprin [sic] whilst I went outside to be sick.
I still have times when I feel totally stressed out and sick in my stomach. I explain it to myself in thinking that I have ever higher expectations for what I am working on and consequently it never gets any easier.”
9. There is No “Right Way” or Expected Career Path “If you work your way up you might find it easier financially. Also, you will have time to learn your craft and become confident in what you do. On the other hand you may well find youself stuck for some time at one level and find it hard to make the jump from an assistant to an operator for instance. If you try to start shooting right away you may find yourself waiting a long time between pay days. Have you a showreel? Friends that might give you a break? A family that you need to support?
I never assisted. I went to film school and started shooting right away after that. Well, to be honest I couldn’t get work as an assistant so I called myself a cameraman. I found it no easier to get work as a cameraman but at least I felt better about myself. It was probably 6 months before I got my first paying work but it built quickly after that.”
10. Being Great is Often Rewarded with Loyalty “There are a number of key crew members that I have worked with consistently. Obviously, not everyone is always available especially when work is slow. I have worked with the same 1st assistant cameraman since he was promoted from 2nd assistant for the last two weeks of ‘Shawshank Redemption’ when the previous 1st AC had another commitment. He has yet to make a ‘wrong move’ so I’m not sure what I would do if he did. I would be in shock probably!”
11. Internships Are Scare, Learn By Discovery “Personally, when I am shooting a film I am totally focused on the job in hand and find even having a silent observer detrimental. There are many people who ask to be a part of my crew or to merely observe on a production that I might be shooting. Because of my hesitancy to accede to their requests perhaps my consequent feeling of guilt has led to the creation of this site.
For good or bad I never, as a student, had the luxury of observing another cinematographer at work on a set. It was only when I came to work in the US that I actually visited another set. I say this because I genuinely feel that cinematography, like photography in general, is not something that can be learned but, pretentious as it may sound, can only be discovered.”
12. Pulling Focus is a Tough Job for the AC and the Operator “The 1st AC’s job is one of the most responsible on the whole crew. I know I could never do it and I have great admiration for someone who does the job well. I have worked with the same 1st AC for many years and we are very much in sync. I do think judging focus is very much intuitive but it is also the job of the operator to watch for image sharpness and for the timing of a pull etc.
Sometimes, as when I am making up the shot or on a particularly tight close up, I will work on a fluid head and have one hand on the focus knob just as if I were shooting a documentary. When you are working fast and without real rehersals, as is becoming the norm, there is little choice to do otherwise.”
13. If You’re Going Handheld, Go with an Experienced AC “The first thing I should say is that I work with a very special assistant and he rarely needs to work from marks. If I am shooting hand held, as I was in the boxing for ‘Hurricane’ or for pretty much all of ‘Jarhead’, my assistant will attach a remote focus to the camera or I will control the focus myself. I find this is the only way sometimes, especially if I am ‘creating’ shots as things unfold. I spent many years shooting documentaries where I always controlled the focus myself as the kind of films I was shooting demanded a very instinctive way of following the subject.
You could use a fast stock to get a greater depth of field but, in truth, it would give you relatively little advantage. You might need to build the light levels to an F8.0 to gain any real advantage from lens depth of field. I would suggest using an experienced assistant at the end of a remote focus system.”
14. Use Focus Marks Only When You Need Them “On the film ‘Jarhead’ we shot often without rehearsals but as I (often with Scott Sakamoto on a second camera) was operating with a hand held camera it was not only possible to react to an actor’s movements but it was just that style we were looking for. Something less formal, more spontanious and reactive which we hoped would give more of a feeling of being there to the viewer.
After a take we might talk with the actors about the scene and make suggestions to them at the same time as changing the way we were moving with the camera. It became a interesting collaborative process. Lighting had to be more general in this case and neither I or my assistant gave marks to the actors. In fact my assistant almost never gives marks to an actor. He may put a few marks down to give himself an idea of lens position and it’s distance to some points in the space but he will often say to an actor that they are not for them and nothing for them to bother about.”
15. Collaboration and Trust Between the DP and AC is Key “My equipment list actually changes very little from film to film. Of course equipment has advanced and that has made for different choices but the basic idea of the package is the same.
[...]
I have worked with Andy for some time now and I rely on him to test the package before a shoot. We work together on concocting any special items such as the ‘helmet cam’ for shooting the game in ‘The Ladykillers’ and we usually spend a day shooting tests even if the film is quite straightforward.”
16. Know What You’re Talking About “I think you need to be very familiar with grip equipment just as you need to be familiar with the range of lighting units available; otherwise you might ask for something that is really impractical or might not produce the right result. It is a Key Grip’s job to come up with a technical solution to a task and also the most efficient way of achieving it but it is the cinematographer’s responsibility to know if the concept will work in the first place. I think this requires a general understanding of the equipment to hand and it’s various usage.”
17. Communicate with Your Key Crew Members More important than any notes is to spend time with your gaffer and key grip so that you are all in sync with the plans you have of the work ahead. I do remember telling my gaffer once or twice ‘It’s on my diagram’ only to be told that he was going by his memory of what I had said and not diagram I had given him.
18. Feeling Intimidated is Normal “I generally feel intimidated! One of my first films was with Richard Burton and I felt intimidated by his talent (‘The Spy Who Came in from the Cold’!!!), at least I felt was until he gathered the crew, thanked us all for one of the most pleasant days he had ever experienced on a film, and then told us he had in fact felt totally intimidated by our youth!”
19. Plan Ahead with Your Crew “After having done a tech scout with the crew I will always draw (sometimes I do them on a computer but not often) plans of each set regardless of how complex the scene or the lighting might be. Each diagram will contain information on lighting positions, lamp types, practical sources, diffusion to be used, camera platforms and crane requirements that was discussed on the scout as well as other things that I have considered since.
Often I will return to particularly difficult locations and scout them with my Gaffer and Key Grip only. Before production I will sit down with my Gaffer and Key Grip to go through all the details of the plans so that we all have a clear of what is involved and so they can communicate these needs to the rigging crew.
Something else that is extremely important is to go through the schedule in detail with your crew. Any pre-rig requirements have to be discussed with the AD and sometimes the schedule needs to be adapted to facilitate the work required.
I couldn’t say that I have any tricks other than that I try to work with the same crew as much as I can. It makes such a difference when you know the people around you and they know the way you like things done.
[...]
I find that once a shoot starts I am far too busy on other things. Naturally, we refresh ourselves on what is coming up in the next day or so as we go but I think it is important to take the time during prep to look at the overall schedule. It is good to know where you might need extra effort.”
20. It’s Your Job to Find a Way to Work with Others “As I have said before every director is different and may require something different from a cinematographer. The onus is on the cinematographer to find out how best to work for and with a director and with other members of the crew, for that matter.”
 

Apparently, new firmware updates for the BMPCC including Autofocus...
 
 
https://twitter.com/brawlster/status/355512652430188544
https://twitter.com/brawlster/status/355550178452856832
https://twitter.com/brawlster/status/355550020646346754
 

Hallo there!
Next month i am going to buy a dslr or a camcorder...
And i need help, to decide what to buy...
Well, i saw a lot of dslr video tests on youtube, most videos where fine when the dslr's where still, but when they were "in action"  video was kind of (i dont know how to explain that, lets say wobbling/distorted they didn't had that "smooth" on video), was that because of bad settings? I don't know you will tell me!
On the other hand the camcorders, didn't had that kind of problem..
 
I like a lot the mirrorless Panasonic GH3, but i saw "that problem" in video tests too...Is there anyone using the GH3? I need your opinion too!
 
My budget is up to 1800€, maybe more....
 
I need help!
Thank you!
 
 
 
 

Our favourite GH2 hacker Vitaliy Kiselev has just released version 2.55 of "NTool", his firmware patcher for Nikon cameras. Vitaliy says there's references to 'LiveView Raw' in the firmware. What does it refer too?

[url=http://www.eoshd.com/content/10691/nikon-d7100-has-reference-to-liveview-raw-in-firmware-and-vitaliy-kiselev-working-on-patches]Read the full article here[/url]

Here's another Low Cost Gyroscopic Camera Stabilizer.  Not sure if this was posted.   Cheers. 
 
http://makezine.com/2012/03/12/how-to-low-cost-gyroscopic-camera-stabilizer/
 
$529 US.  Coming soon.  Read this website.    https://www.gyroscope.com/d.asp?product=GYROSTABILIZER
 
 

In a recent post Andrew touched on something which I think could be missing in the low-end film-making marketplace, that of a discreet eyepiece-only EVF. Off the top of my head I can only think of the Bomb EVF for RED as an example of the sort of thing I mean.
 
I'm currently looking at options for an EVF for my FS700 that will allow me to use a shoulder rig, and whilst I like some of the features of offerings by the likes of Zacuto, Alphatron and Kinotehnik the size of them along with the loupes put me off a bit. Am I just being ultra-fussy here or does anyone else share the same view?!
 
I'm probably going to ride it out until after NAB before pulling the trigger on something, but if anyone had any suggestions or any experiences they could share with EVFs for FS700's or similar I'd love to hear them.
 
Thank you all!

http://vimeo.com/59832019

The Nikon D5200 is the best mid-range Nikon yet for video. What is more of a surprise is the relish in which it takes on the much more expensive 5D Mark III, Panasonic GH3 and Nikon's own flagship the D800 and D4.
 
http://www.eoshd.com/content/9653/nikon-d5200-review

New versions of these cameras are expected to be announced tomorrow (27june).

http://www.sonyalpharumors.com/sr5-first-images-of-the-rx1r-and-rx100mii-leaked/

I'm for one is really exited to see what innovation Sony have managed to cram into the new RX100 - I dream of no moire, 1,8 constant aperture and a better codec. Hopefully Sony have decided to rise to the challenge of the BMPCC.