IronFilm

Yeah screw this talk of making another BMPCC v2.0, just put the BMPCC on another $500 sale again! :-D

I got some names. Let's do this, punk. I challenge you to an EOSHD rap battle:
Yo' 7d RAW is a mutha f€c7!n& wh0r£! Panny BM Sony Nikon kick it down to the floor! Canon colour science is a thing that we adore, hey! But yo' 7D colours get all pi$$€d on with moire! 

I have a D750 and I like it a lot. I've considered getting another to accompany it, but then there's the D500, so my question is similar to yours, but not quite, since there's a big advantage to having two cameras set up the same. I'm betting the next significant Nikon successor will be for the D810 - possibly more MPs and with 4k, but no articulating screen, and considerably more expensive than current D750 prices. So with an eye to getting very good value I think there's a lot to be said for getting a slightly long-in-the-tooth camera that does what it does very well. If I wanted anything more from the D750 for general stills and for 1080p corporate videos and event recording it would be... well, I can't really think of anything much at all. So, as a value proposition, my money would be on a secondhand D750, which means that if, by chance, a new camera comes out with a bit more x factor, you could do the upgrade without any great loss. As Thom Hogan points out in his D750 review, its a bit of a Goldilocks Nikon Fx: Just right. YMMV depending on need, of course.

Yeah screw this talk of making another BMPCC v2.0, just put the BMPCC on another $500 sale again! :-D

Yeah screw this talk of making another BMPCC v2.0, just put the BMPCC on another $500 sale again! :-D

Yeah screw this talk of making another BMPCC v2.0, just put the BMPCC on another $500 sale again! :-D

I think mostly everyone imagines an evolutionary step above the current (old) offering. Size-wise between BMPCC and BMCC with the 2.5K sensor and - if possible - 60fps. If it would use LP-E6 or NP-F batteries instead of the internal one, that would already be a big step forward. What I miss a lot on the BMCC is a HDMI port, a lot of cheap external monitors don't have SDI.
Personally I'd love a BMCC v2 (if necessary even in the current body) with LP-E6 batteries, the 5" FullHD display of the VideoAssist, the 60fps & 3:1 RAW of the BMMCC and a HDMI port. If it comes with the Resolve dongle I wouldn't mind a price between 2000 - 3500€.
I realize there's the "buy the Ursa Mini" logic but most here probably don't want the 4k sensor and the 4.6k one with all the rig you need incl. batteries and media brings it quite high in price. And that's completely ignoring that it's not really that mini at all and quite heavy.

Actually, I started using MLVFS (Magic Lantern Forum link : MLVFS) to import the footage in Ae (to use Camera Raw). I then use the Ae comps directly in Pr with ingest for creating proxies. It is painless compared to the transcoding mayem (raw2cdng -> Ae -> DNxHD 444 -> Pr)  that I used before.

Actually, I would love to see exactely the same BMPCC but with a better battery and an even lower cost (say $500 ?), so that everyone can have one (think film schools, they could give one to every student). RAW S16 for everyone ! YAY !

If Yi does to Panasonic what Kinefinity is doing to RED (or heck, Yi is doing to GoPro!) then we've got very exciting times ahead indeed! :D

THIS! x1000 this.

I feel rather than a BMPCC v2.0 (unlikely!) we will instead see a new camera which overlaps with the BMPCC (like the BMMCC does) but more importantly fills in another different little niche that BMD hasn't done yet. (such as a dedicated gimbal camera? Like has been possibly rumoured)

I would love to see an upgraded pocket. 2.5K. Up to 60p. Better screen. Better battery life. A sleep mode that disengages, or saves battery power. Keep the same form factor and MFT mount. 

No contest, get the G7 over the GH3.
I'd even prefer the G6 in most cases over a GH3, and in fact that is what I did.... I purchased a G6 rather than a GH3.

No contest, get the G7 over the GH3.
I'd even prefer the G6 in most cases over a GH3, and in fact that is what I did.... I purchased a G6 rather than a GH3.

Be very careful about mixing up imagery created by the camera vs by the person / lighting / grading / set design / etc.

As when you look at imagery made when the C500 came out it would almost all be made by near top level pros. 

While the FS5 is more enthusiastically taken up by many newbie pros / indy film types, who at each level of the production have nowhere near the same level as what is done with the C500. So how much of that final "cinematic look" comes from the camera as you think vs coming from literally everything else?

Get rid of the D7000 and buy a D5500? Would make sense for someone familliar with Nikon. It has very nice video actually at 1080p60 and a flat profile. Of course, if the thing that attracts you is the tinkering around with settings and experimenting with features, go ahead and get any of those you mentioned. But all it will do is create more perhaps unneccessary post processing when the D5500 would be very straight to the point. Just my 2cts. Gd luck.

I think I'd rather shoot with the 5 axis IBIS of Panasonic / Olympus and have a proper image

His speech pattern and body language changed when confronted about the lack of C-log, it clearly suggests elevated stress and anxiety, which implies that he didn't know the actual reason behind the lack of C-log, and he was making up an explanation on the fly in front of the camera.

Ha, his reasoning for lack of C-Log is complete BS. As Squig says, he's basically just told everyone who paid 5k for a C100, or more for C300, that they paid for a 'sticker'. Right... and there was me contemplating paying for that sticker...
The probable reason is that Canon cheaped out on the processors to save money, or haven't worked out how to draw the heat away from their DSLR, so in 4K it's not possible due to extra processing step. Or – and call me cynical – Canon left it out on purpose to protect C-Line and save development costs .
Fine, it's primarily a stills camera, but just say it as it is (like Matt Frazer from Panasonic would - he's awesome and honest). Enough of the BS, Canon, it's like listening to a politician not a camera manufacturer, and trust me, we've all had enough of that 
Can't wait to see what Panasonic deliver with the GH5!! You know that everything they can put in, they will put in, in order to deliver the best tool they can for filmmakers. Paid update for VLOG like last time? Maybe, but will still be way less than half the price of the Mark IV. I feel so happy with my decision to stick with Panasonic bodies, investing in lenses and equipment to go with their cameras, as I know when it comes to the next upgrade cycle they will have my back.

His words were ridiculous, but his hand gestures so confident.. I don't know what to believe anymore

The Pocket is in desperate need of a refresh. I don't know their sales figures, but I bet they've sold as many of the Pocket as they have every other camera they've made combined. 

This is so tedious.
It's incredibly ignorant to keep on saying "off the shelf sensor".
To keep on re-iterating this means zero understanding of what it actually takes to make an image, especially so if you want to brag about being an academic in screen culture.
Olympus cameras are highly praised for their look, yet they use "off the shelf" Panasonic or Sony sensors. Somehow they're renowned for their look, because of the whole image processing pipeline, even though they use the same sensors used in many of the G series panny cameras.  Olympus don't have a patent on their "look" though.
So same sensors, totally different imaging outcomes, none of which are patented.
They do highly customise their sensors, and there are lot's of ways you can do so...the CFA for example...
Leica are the same, they have also used "off the shelf" sensors in the past and somehow they too are praised for their look, and also, surprise surprise, have no patent for their look, and yet, it's the very reason many buy them.
I thought you'd have wised up by now, but you keep digging in on the ASICS and sensor design.  Here's a clue.  ASIC's have nothing to do with the sensor design.  You assumed so because of Land's comment, but then you couldn't explain why some cameras don't seem to have ASIC's. I've challenged you and you haven't answered.
According to Land and you for quoting him, the prerequisite for a cinematic camera maker is designing your own sensor AND ASICs and yet you can't account for Canon, Arriflex or Blackmagic... what do you think they're using if there isn't an ASIC ? How is the ASIC linked to sensor design ? In what way is using an ASIC making the sensor design more credible ?  What do other camera manufactures use if they aren't using ASICs ?  ASIC's run the camera, not the sensor....
ASIC's aren't related to sensor deisgn any more or less than FPGAs are. You still haven't brought up the alternative yet because you don't know.  Go google FPGA. 
You posting history is entirely relevant when your credibility is at issue.  Your backflipping contradictory posts are just as insightful as when you first posted them.
And yeah, it's pretty normal for companies not to protect their IP using patents which require them to publish in detail the IP itself. I'm pretty sure RED will have a patent on RedCode, but not your precious ASICs.
JB
 
 
 
 

Go for the g7. You can get one new for less than a second hand gh3. Shoot 4k and down sample to 1080 and you will get a beautiful image. Plus it's smaller and lighter, AND it has peaking. All you lose is a headphone jack and weather sealing really

Harass Nikon for news about the KeyMission 360 (and harass Nikon about **FINALLY** making a cinema range?!).

See if Kinefinity is there?! See how far along the Terra 5K is ticking along. 

Pop into Aputure to prompt them about when is their Aputure D3 microphone coming.

Find out pricing of the Sigma Cine lenses?

Encourage Samyang/Rokinon to make a zoom! (an affordable S35 20-85mm T3 would be awesome!!)

Even though it is a story without dialogue, the soundscape is done really well!