Oliver Daniel

The BMPCC is very useful for its intended purpose, but the bigger brothers (especially the 4k) need some major TLC, alongside this new monster.

So this possibly could be the 'complete' version ;) I've not bough the previous cameras, great price, but unfinished products.

I do hope that current Blackmagic Camera owners get their promised firmware updates. So.... this is a camera for studios, to hook upto that Eclipse thing they've just made.

I have just seen this.... https://twitter.com/FrankGlencairn/status/453131580324605952/photo/1 So it does look like Blackmagic are going to announce a new camera....

@andy lee..... Cheers for all the useful info :) It's very likely I'm going to order a GH4 in the next few months to replace my GH3, and I'm looking for the right glass to create the most cinematic image possible, sharp and suitable for grading. I own quite a few FDs, and I find these to be decent besides the Canon 28mm 2.8, it has way too much contrast and grading images out of this lens is a bit of a nightmare (as opposed to the Canon 50mm f1.4 which can be stunning!) I'm liking the range of the Zeiss Contax lenses and any other FDs, to be used with the CY and/or FD Speedbooster. Looking to get a nice set of primes and a couple of zooms for speedy jobs. From your experience with these lenses, what do you think would mostly suit my needs? I like my image out of the camera flat for grading. ;) Cheers

I've used the 1DC on pro shoots and I didn't like it. The GH4 (for video) does so much more for less, shooters might as well spend the money on lenses than an expensive body! The biggest issue I found with the 1DC is focusing a 4k image on full frame, its very challenging compared to other cameras. The only reason I can see a video shooter needing to buy a 1DC is if they need 4k images AND need the power behind the stills capture. Looking forward to having a rummage around 4k 10bit files! (and 1080p of course!)

NAB 2014.... 4k external recorders for HDMI. That is the ticket!

Sounds like a decent lens.... for stills. Like the GH3, I think this camera will shine most with manual glass if you are going for cinematic. That's what MFT is all about! ;) Electronic Panasonic lenses look overly clinical, knife sharp and very contrasty..... absolutely awesome if thats what you want!

Good points. It's also funny how some people knock a camera before even using it. For example, I have never used a Nikon before for video, and when I get asked if they are any good, I reply with 'not sure, never used one.' Baffling!

Yes you are right. I'm editing it now and the image doesn't really snap. Its just about good enough for the project though. The Canon slow motion modes have always been a bit rubbish, I remember the 720/60p mode on the 5d/60d/7d etc was more like really badly compressed 240p! Absolutely terrible it was! The good thing about it is the Log mode, its not too bad. I hope they completely re-design the 1DC next time round and make it better for video - its decent video but not for the price. Plus no focus peaking on a full frame cinema camera? Ouch. A monitor with peaking is a must!

Although my taste isn't to go for the jittery-ish, bright highlights look of that video - I do love the organic, beautiful look of these Digital Bolex cameras. Every camera has issues, but you cannot ignore what has been achieved by Joe and Elle. To me, this is a camera with a very specific use for indie filmmaking. The most exciting thing you cannot ignore is the fact the camera will make you try harder and not be lazy (none of this shoot in rubbish natural light at f1.2 nonsense) - everything from the choice of glass (vintage!), to the handheld compositions, raw images, need for good light - the Bolex puts a unique filmic power in your hands and makes you think about the actual FILMMAKING very seriously - and thats really cool! Not for the majority of shooters - but absolutely incredible for fans of the Super 16mm image in the digital age. I want to buy one, but can't just yet....

I was shooting with the Canon 1DC on a shoot the other day, but everything at 1080p50. The image is pretty good, nice skintones, although its a bit soft, even though I was shooting mostly on a Canon 24-70 L II at f5.6! If you are just shooting video and don't intend to do many stills, the camera is way overpriced - and this GH4 is testament to how it should be done for a really good price. I'm looking forward to seeing the next C line from Canon though, but not looking forward to wincing at the price!

These guys have just finished a Kickstarter campaign which I backed. http://www.24shots.com/articles.asp?id=282 This would be ideal - although you will have to wait until its on general release, or even see if you can get one anyway!

What a disappointing comment - I thought this site would be more respectable than that. Does it really matter what anyone chooses to shoot on, as long as it suits them and their work? Not trying to step on your toes when I say this, but a lot of this TV crap happens to be technically and creatively brilliant, and absolutely puts the work of any well known knowledgable bloggers way into the shade. We don't question the spec of the cameras the 'TV crap' people use, who cares as long as its awesome? I myself have had many music videos broadcast on TV, the first bunch which were shot on the Canon 60d. It just so happens the decision makers saw past the 'puny thin' image and thought what I created was good enough to be slotted between Iron Maiden and Metallica videos. Not boasting, just saying! As for the topic, C200 and C400? Cool! Obviously going to be popular if true.

Many of you haven't seen the positive in this. Blackmagic will clearly find the reason why the batteries could explode and improve the QC in future cameras. Professional cameras used in a professional environment should be able to withstand the rigours of professional shooting, whether thats under hot studio lights or on top of a cold mountain side. Obviously if you shoot inside a volcano or in the bath, there could be an issue ;) If it was the fault of the user however, then well, s*** happens! However thats unlikely. Something on the rig caused it, the camera itself or the battery pack. Or the power of the filmmakers minds! :ph34r:

Cheers Andy! That particular lens I've been curious about, although didn't know what to make of it. Looks like a worthy addition. The one you posted has a bit of dust in the lens, I like mine mint/near perfect, because I'm like that. In the market for the Canon 24-35L, many people talk of this lens like its a work of art. Also the same of the Zeiss Contax 21mm.... although its very expensive! (but seriously cool looking!)

Have you ever used Vivitar glass on FD? I have a 55mm macro lens and its awesome. I'll make sure I avoid the Zeiss FD, going to beef up my collection a little and grab some CY lenses. How do you find the FDs in comparison to the Contax Zeiss?

I reckon the 6k spec could be a clever marketing ploy to grab some much needed attention at NAB and beyond. (as well as a monster feature for resolution.) They will grab some headlines for sure (and some dealers!). The cameras do cater for Europe at HD Videoshop in Berlin. You can pre-order them now.

I have quite a few FD lenses and I love them all. The only one I don't like is the 28mm f2.8, the image looks kinda flat and out of focus areas look blotchy. Have been thinking about getting the FD 35-105mm, worth it? I've been seeing a few Canon FD fit Carl Zeiss too, these are the East Germany type right? Any experience with those?

I don't know anyone who does, or know of any name that has created something decent with them (besides the filmmakers who made Journey Of Love) featured on the website. They desperately need more skilled content to show what the cameras can do, which I'm sure they must of sorted pre-NAB.

You get the benefits of the Speed Booster too, making the lens a stop brighter. Constant aperture is the way to go, although a stop lost isn't much, considering it only changes to f4.5. Andy is right about the focus thing, have you ever tried focusing anything on a wide aperture? Especially on full frame, its very tricky. Most cinematographers shoot drama scenes at f4 -f5.6 as the widest aperture because of this reason.

Heard a lot from people banging on about the 35-70mm too. What is your Yashica prized possession?

Just found this thread on the RED cam forum reagrding Zeiss Contax lenses.... http://www.reduser.net/forum/showthread.php?92044-Contax-Zeiss-Survival-Guide What do you make of that? Its a pretty unique line of lenses and I'll be keeping my eye out on some gems.

These cameras look very exciting, and are far more enticing than the flagship Blackmagic model. I have been watching this company very closely being a new camera company, and the innovations they offer are just what I need. I'm more interested in the Mini. If the overall quality stacks up, if I have the money they have an order from me. Some people have mentioned they think the quality is poor on these cameras. If you go to Kinefinity's website and look for "Videos Shot on KineRaw'....the quality capability is very high and very beautiful. Other videos out there showing footage from the earlier cameras have been shot poorly, very rushed, and don't show what the cameras can do whatsoever. Looking forward to some skilled, non-lazy footage on these cameras, showing the 100fps, dynamic range and skin tones.

I agree. A lot of hardcore forum users come across as 'camera spec geeks' who do nothing but moan the camera or lens is not good enough, when really, it is usually themselves that isn't. There is a very good reason why they spend a lot of time time on forums as opposed to actually shooting (and yes, cats and shots of bushes don't count!). Ignore them anyway and believe in what you think is worthwhile. :)