sudopera

They always do it on the promotional videos, it's horrible.

The combination of the 2.2 crop factor in 4k and the Nikon F mount makes for a really uninteresting camera in my opinion. It's like shooting a GH4 with adapted DSLR lenses but no option of a speedbooster. I see it as a pure spec sheet gimmick for marketing.
I went from "omg I need it!" to "why would anyone use that?" in the time between the anouncement and people posting the specs.

The funny thing is, i think indie community were making great strides towards demanding the right things from a camera... and the industry were starting to listen, then 4K came around and alot of people were again ready to accept 4:2:0, 8 bit, low bitrate etc just to get 4K.
Hopefully when we all have the camera described in Andrew's post... We don't then collectively dump it all for 8K, 4:2:0 etc!

I came to terms with, some years ago, that what we are discussing here is in fact..
...Moby Dick.
Always on the horizon. Always close. Just a little more. Next time...
Its never gonna happen. I see it in all of us. Its easier to notice among public reviewers such as Andrew or Philip Bloom. And to some probably in my videos as well.
One month a DSLR is the greatest due to its size/prize. Next month its all backwards. Form factor/features, now thats the key.
In the meantime we dream of some perfect compromise.
Personally Ive stoped beliving in compromise. I dont buy a hybrid tablet/laptop thing. I buy both or make a decision. When Im at the store and cant decide between chips or candy for the movie, I get both.
My Red One for example. What a beast. Love it so far. Can I use it today while skeeing? Nope, so I will use a GoPro. Unless I just want to film others skeeing...
And I dont want a compromise that does everything nice. I want them to be great. And then I just have to face having two cameras, renting or just decide what Im willing to skip. When owning only a BMCC you decide that look goes before slowmo. With a D750 you sacrifice bitrate and resolution. With the R1 obviosly easy portability gets left behind.
But they all give somehing back.
Lots of whales out there. Might as well pick an easier target than that basterd at the horizon
No point here, just some thoughts.
(btw, bootup isnt unworkable. I turn it on and its usually done before I have framed and everything. (You get picture while you whait))
(Im not saying whale hunting is ok, because its not.)

Imo the f35 is the best digital look out there.

Nice write up. And please, this is in no way a "defense", Im happy people don't like it. Thats why I could get is so cheap
But a few thoughts as answers to why I, even though I knew everything Ebrahim says before buying it, still went ahead.
All clips in my video are ISO +800 pushed. Doesn't look noisy to me. The number of stops depends on what you compare to. I have decided to rate the BMCC at 13. Which means the XC10 has 12. And the R1 has in my experience more than the Canon. I will do a side by side with the BMCC. But what Ive seen so far makes me guess 13. Anyway, will know tomorrow. Power isn't a problem for me. Its like any other camera to me and the way I shot. The codec is what finally made me buy it. I takes up almost no space/quality, is super easy to work with and I just like it. The fan is very quite. Feels nice compared to the noisy BMCC. ND, again, business as usua (ursa mini includedl. Regarding the URSA mini 4K, I didn't want it since its lower DR, not what I consider "filmic", twice as expensive, no red code and I just don't se it when a BMPC4K can be had for so much less. After the URSA 4.6K is out I suspect I can pick up a BMPC4K for just over 1K. And of course the no above iso400 zone. And here is what it all as usual comes down to. Taste. I agree, the F35 has more mojo. But I definitely put the R1 in the top together with the f35, Bolex, Ikonoskop and... ... Don't really know any more.
To me the R1 is the most filmic of all Reds so far. The BMCC has its color/DR but the Moire and the "digitalish" sharpening thing that happens in debayer is often needed to be fought imo. The URSA mini 4K needs a difusion so bad its crazy.
To give an example. As I write this my girlfriend started watching my Bluray copy of "The Hurt Locker". Its shot on the same 16mm Fuji stock I have sitting n my freezer. This image is to me the absolute bench mark. It is what I consider "best". The super sharp NX1, BMPC4K, any of the Sonys, you name it, can't touch it. Its the utopia. Not even 35mm looks as good imo.
So you can imagine why the R1 is a better choice for me.

(only time I didn't like the image in Hurt Locker so far was the massive moire from the digital Phantom during the first high speed footage. Where up at the Sniper scene now. Intense stuff... Love the long canon zoom lenses they used also. Thats why I shoot long on the BMPCC. Drifting of topic here....)
Also reason number 1 in my top 5 list was simply that its "fun" and "cool"
Again not ment as a defense or argument, just my thoughts. Im well aware that Ebrahim only speaks for himself and know as well as I do that every single camera has flaws, deal brakers and major let downs... depending on who you ask.
A heavy camera to one is stable to another. A GoPro kicks the Alexas ass for diving but falls short for feature. Both of them gets smashed by the Phantom in the slow department. The list can go on forever.
/M
 
 

I Bought one and sold one last year camera is awesome all the shooting options but he forgot to mention that it take up to 96 seconds for it to power up it eats batteries power for breakfast no to mention space on HD. i know camera is a professional and PL mount now you need Pl lenses in my case i cant rent every time i like to shoot or experiment i got family to feed I was thinking i can get use my Yashica lenses well on top of 10k i spend on camera i was looking for another $2350 for 2 mounts that will enable me to use my yashica lenses pretty much anything for that camera from a screw to extra battery or is above 500 dollars. And lets not forget the weight of the camera. Felling that i got from the camera that i head for entire 2 months is that its a 2 man job to operate i was always asking my wife to hold this hold that. Then i went to shoot outside charge the batteries got a Zeiss Compact Prime 35mm 300$ a day by the time camera power up one batteries was half gone i got 22 min of shooting and 36 minutes in standby mode. Then wanted to buy bigger battery but 450 US dollars that is 620 Canadian it just adds up. And lets not foget you nedto to spend some money on a HD space for your computer or a brand new computers since you are working with red raw its fine to play with one file or one shoot but wen you start editing short films or music videos in 4.5k or even HD it cost money.
So what did i buy with 10k a color correcting station (something like in that pic) beefy computer BMPCC, lights, glidecam400  kowa B&H davinci resolve. My main goal is the learning the art. I know that MX shoot nice pictures but if i cant view those images properly on a dedicated monitor or grade them and see what i am doing wrong i might as well get a grading station and BMPCC which shoots raw and i can see exactly what i am doing with color and scopes. BMPCC is not MX but its dam close when it comes to image and what you can do with it. But if everything goes according to plan next year purchase will be red scarlet camera they go for for abut 7k to 10k. but still i am jealous that he has red mx its a great camera for right person just not for me

That was discussed just a few weeks ago to some length here in the forum:

The outcome: turn all "features" off.
Funnily my s/o's sister said she thinks it looks way better with the sharpening, saturation and motion smoothing cranked up. Seems the "film look" will probably die out in a few generations.

Cant speak for others but Im not excactly allowed to share footage from work. It belongs to my employer or client.
I can only share stuff from home. And eventhough I just finished a 20min doc shot on the bmpcc, bmcc, bmpc4k and lx100 that I own completly, I wont share it because it then looses value when selling it to a network.

For me this hipster shit is great, nobody expects you anymore to shave every single fucking day.

Very grateful to all the forum users and the readers of the blog, so merry christmas right back at ya!

Thanks so much, Andrew, for all the work you've done to provide all of us with a nice hub for information related to video production and photography. I check the forum of this site almost daily and am very appreciative of all who collaborate in a positive way here, but also love the product reviews you've done. Happy Holidays to you and all the other forum members who make this little place on the internet great.

I don't know why FCPX continues to be bashed. 
It's an absolutely incredible editing program, very intuitive, very fast and greatly supported by third party software (plugins etc). 
 

If it's under 1000€ and has the nice arri stuff going on it might be an option, but I have a feeling this won't be the case

Franz Kraus addressed at Conference of the International Association of Film and Television Schools (CILECT) in Munich on Nov 27th, that a s16 Amira prototype has been tested. They are apparently in progress to a feasibility study with an aim to supply film schools/educational market, as many schools still having lenses left over from the SR/ST days. Simplified s16 Amira (true S16 Sensor not a crop) sounds very much in the feasibility stage for now, but could end up being an interesting little camera if produced and made available outside the educational market.
http://if.com.au/2015/11/26/article/Arri-reveals-prototype-educational-camera/IQUTSYTINV.html

Don't be afraid to crush your blacks, but don't clip your highlights. Film, especially black and white, has real 100% black, but an incredible highlight tail. This will produce the most a natural image with striking contrast. Depending on the project, try and use shadows as graphic elements in your frame. And don't be afraid of subtlety. Not every shot has to be a melodramatic Sin City still frame--low contrast B&W can be as immersive and powerful as high-contrast. Just remember, even in a low-contrast scene, to include one very bright element and one very dark element to give the viewer a sense of relative contrast within the other tones. If you do a straight desaturation, you're working with luminance information only, which makes your lighting absolutely critical. You'll probably want to use harder light than you're used to, or the image will feel a little "undefined." 

Let me know if I can offer any other pointers. B&W is something of a passion for me. As usual, the best research is to go watch some great B&W movies and steal like an artist.

No matter the camera one shoots on, slog1, 2, 3, clog, BMCfilm, log-c - you need to get it to a point that is a good starting point.
So having a LUT takes out a ton of guess work.
From there you can really start to tweak.
 
Having a final LUT - a la film print out - is what Juan Melera does - and I think that's a great strategy .  But like all things in art, there is no one way to do it.  Some people don't use LUTS, some do.  And none of it is wrong.
People who make fun of people who use LUTS - well, whoopee do.
I know of a film editor who just started editing randomly and now he edits giant Hollywood movies.  He learned on his own.  No film school.  He was training to be a chef.
There is no right path to get anywhere. Just takes an open mind and a lot of patience and practice.  10,000 hour rule.  On that note I know a very prominent Hollywood DP who got his start shooting soft-core videos for Playboy.  Do you know who this is?  

Finally one reason to buy that YAGHE brick for GH4 

This video is a pure goldmine of information regarding the proper use of Sony cameras and their features, but most of this can also apply to any other camera brand. I bow to the man for this kind of simple but thorough explanation of all the features, codecs, gamma curves, gamuts etc., when and how to use them, why not to use some of them in some scenarios...
I highly recommend watching this whole video, because even if some of you guys are already familiar with most of this stuff, I'm almost certain that you will get some new useful info.

This video is a pure goldmine of information regarding the proper use of Sony cameras and their features, but most of this can also apply to any other camera brand. I bow to the man for this kind of simple but thorough explanation of all the features, codecs, gamma curves, gamuts etc., when and how to use them, why not to use some of them in some scenarios...
I highly recommend watching this whole video, because even if some of you guys are already familiar with most of this stuff, I'm almost certain that you will get some new useful info.

haha! rich posted two pics of the lens he's building for me on instagram today! dying here. can't wait to get my paws on it. the finish looks rad!

Keep in mind that with most of these "BMPCC sucks" "Nikon 750 is useless" posts - that's the entirety of the post. No examples or actual information. They both can make great images in good hands. I've seen some beautiful work from the pocket, once you get around that tiny sensor...

This video is a pure goldmine of information regarding the proper use of Sony cameras and their features, but most of this can also apply to any other camera brand. I bow to the man for this kind of simple but thorough explanation of all the features, codecs, gamma curves, gamuts etc., when and how to use them, why not to use some of them in some scenarios...
I highly recommend watching this whole video, because even if some of you guys are already familiar with most of this stuff, I'm almost certain that you will get some new useful info.

Please. If it's good enough for Paul Thomas Anderson, it's good enough for our dumb asses.

I can agree with your points but I think that for greenscreen he is mostly right. Most often it will be done in studio with lighting so there is no reason to stretch the codec.
To me this presentation is important exactly because of that great technical information for better understanding of how things work, and when you know and fully understand this stuff, then you can afford yourself the luxury of breaking the "rules" for the sake of creativity. Also to have all of this info in one place without the need to go all over the www searching and reading, is a godsend.