mercer

Audio is annoying, that's why they still ADR, a good portion, of a lot of films.

I actually just learned that the Sony Tough V90 64mb 300mb/s (read) 299mb/s (write) card works in the OG BMPCC and BMPCC and I happen to have one here so I popped it in and guess what, it works! I haven't tested it at all framerates in the BMMCC, which would take a while as dropped frames often don't happen right away so you need to record at least 10-15 minutes at each framerate in CDNG (and CDNG 3:1 at 60fps) to be sure. But it should work for all framerates on the OG BMPCC. These cards are readily available and not as expensive as the Angelbirds. I have two of the 128 GB Angelbirds and those are fantastic but expensive. The Kingston Canvas Selects that I bought died after a few months so I'd be wary of that solution, although some people are happy with them.

Maybe not....

 

We've been pretty euphemistic in our reaction towards the quality of a lot of 60p posts. Some were insulting a master of cinematography or referring to people in underwear. This thread is a showcase of pampering gone wrong and learning and insights gone lost. @zlfan

Putting taste aside, I just don't understand why you would shoot this way? Unless you are a true run and gun, video shooter, shooting auto because  you're trying to get as many shots as possible in a short amount of time or you need to fudge your shutter speed to get a little extra light... exposure.
Cinematography is difficult enough, so why muck around with tried and true conventions when you can spend that time with lighting or sound or art/set design?
Maybe the OP just wants to "discuss" theory and that's fine, but the argumentative nature suggests otherwise. 

You’re making claims that have actually already been tried.  Which if you had a clue you would already know.  Youre not the first genius to think of this.
Peter Jackson made a HFR film with a 270 degree shutter at 48fps for exactly the flawed logic you presented.
In his own words…
“Changing the shutter angle affects the amount of motion blur captured during movement. Reducing the shutter angle gives you the stroby (or jerky) “Saving Private Ryan” look. 
However, we’re going the other way, shooting at 48 fps with a 270 degree shutter angle. This gives the 48 fps a lovely silky look, and creates a very pleasing look at 24 fps as well. “
Except it didn’t work and was universally hated in its HFR versions. 
Oh and because you won’t know how to do the maths, that means a 1/64th of a second shutter speed. 
Its not about motion blur. 
It still tanked.  
Next!

Not this again...
You were the one that made the case against 24p, so you provide the proof that it's inferior.
We understand, from your posts, that you are most likely a teenager or young adult, and maybe nobody has ever told you how the real world works but your claims, statements and wishes aren't proof that 24p is inferior...

Not this again...
You were the one that made the case against 24p, so you provide the proof that it's inferior.
We understand, from your posts, that you are most likely a teenager or young adult, and maybe nobody has ever told you how the real world works but your claims, statements and wishes aren't proof that 24p is inferior...

Not this again...
You were the one that made the case against 24p, so you provide the proof that it's inferior.
We understand, from your posts, that you are most likely a teenager or young adult, and maybe nobody has ever told you how the real world works but your claims, statements and wishes aren't proof that 24p is inferior...

Not this again...
You were the one that made the case against 24p, so you provide the proof that it's inferior.
We understand, from your posts, that you are most likely a teenager or young adult, and maybe nobody has ever told you how the real world works but your claims, statements and wishes aren't proof that 24p is inferior...

Not this again...
You were the one that made the case against 24p, so you provide the proof that it's inferior.
We understand, from your posts, that you are most likely a teenager or young adult, and maybe nobody has ever told you how the real world works but your claims, statements and wishes aren't proof that 24p is inferior...

Ironically, in 1971 Leica forced Olympus to change the name of their 35mm SLR from M1 to OM1... the cycle continues. 

I've been following this thread and now have a related quandary myself.
This summer I'm taking my 15yr old son to the Cambridge Folk Festival - an event I used to attend yearly 'back in the day', but now only manage to visit to coincide with my decade birthdays.
Anyway. Naturally my thoughts have wandered into possibly making some kind of film - it would seem a waste to go somewhere where there'll be loads of colourful, noisy and interesting stuff going on and not, TBH.
Obviously I don't want to take my FS7. Even stripped down (the camera, not me) I wouldn't want to be carrying it around with me the whole time and I'll be camping, so there'll be nowhere secure for it either. Also there's a distinct possibility that the odd tipple might come my way!
The obvious answer would be my GX80, but the sound - as we all know - is abysmal and there's no mic input either, so I'd have to record externally. Will I remember to start recording? Did I mention the tipple situation?
I've had a play about with my EOS m and the newish crop_mood Magic Lantern build. It's an excellent build, but I'm still getting the odd bug-out and since my idea for a film includes vox pops, I just don't feel it's reliable enough.
So option one is GX80 and I'll spend GBP170 on a Zoom F2 for the sound, or I trade in the GX80 for around GBP200, then spend <GBP400 on a different small, interchangeable lens camera that will give me a nice image and an audio input. Question is - what?
All suggestions gratefully received.

He'd have to be a pretty pessimistic estimator, or seriously experienced at doing mods like this, for that number to be anything other than wildly optimistic.  
There might still be a RED tax, even on the OG Komodo, but you're buying into an ecosystem, rather than than a very niche mod.  Depending on the footage you look at online, there was a mojo to the OG Komodo that I haven't seen on the modern BMPCC models.
Good luck to the person making the product, but I'm not really that sure where the final product sits.  I watched a video from a documentary shooter about what matters and doesn't in buying cameras, and his number one criteria was reliability / ruggedness, which I suspect won't be high on a mod like this.  R&D for commercial products is a long and complicated process involving many iterations of destruction testing and the like, which likely aren't going to be done here.  Let alone warranty support etc.

With the mere existence of the Komodo, I think the "Red Tax" may not exist as much anymore.
That said, that is the point of BM, Panasonic and Z-Cam, I suppose... very good/great cameras for less. But it doesn't take too long of a search on YouTube/Vimeo to see why someone may pay a little more for the Komodo instead of those other cameras.
Of course, I can only speak for myself. Everybody has their own needs, wants or opinions.
For me, I am done with any camera over a certain price that doesn't offer some form of internal raw or ProRes. I'd much rather shoot 1080p raw or ProRes than 4K on some crappressed codec.
With regards to this post, I don't think this mod is really geared towards your average video shooter, so that in and of itself, puts it closer to Komodo territory. Even with the mod, at its heart it's a Pocket 6K and although I have seen amazing work shot with the camera, I'm unsure if the upgrades are worth the cost of admission with the other options on the market.
Assuming my price assumption is correct, a C70 with its DGO sensor or an R3 or Z9 may be better options.

The relationship between a cameras image and the emotional experience of the viewer are connected, but a compelling story will completely overwhelm the image quality.  I know there is no discussion on here about what happens to images once they're captured (and much discussion is relevant to only single images) but I think that the image quality is part of the last 10% of polish on top of a finished piece.
Love is still love, even if it's in SD Heartbreak is still devastating even if shot on Alexa Betrayal is still ugly even if using Canon colour science Emotions are still colourful even if filmed in B&W If you want to make a feature then go ahead and make one.  You are probably already familiar with Noam Kroll and the principles of writing the film you can make, starting with what you have access to and working backwards.  I think that probably everyone is capable of making a feature film of significance if they were able to look within and tell a story inspired by their own struggles.  
Until recently all of TV was in worse quality than every FHD camera on the planet, and millions or billions of stories were told.  Don't let colour subsampling and DR distract you from the fact that the human experience is universal, and that what separates a good film from a bad one is how much the audience can relate emotionally to what they see.

I've been chatting with @mercer about it and we think it's the same sensor as the P4K.  The sensor specs that we've looked at all line up between the two cameras.  
So if you think of it that way, it's the small box version of the P4K that everyone was asking for.  It might be larger than the M2K but it sure is smaller than the P4K!

Just a 3d render and a guy with nervous hands. Fake vertigo inluded.😂

20mm Nikon AI was vignetting pretty strongly wide open at f3.5 on full frame and the 35mm f2 as well iirc. @mercer  My Canon Fd 28mm f2 has a lovely little vignette on FF when wide open. Only tested it wide open so i cannot talk about other apertures.

Obviously, I understand the contradiction... haha. And I knew you'd know what I meant.
I end up reaching for my Canon 28mm 1.8 a lot of times because it has that vignette that allows me to push the exposure a little higher in certain situations because I know that the vignette will help to cloak my highlights a little.
And I know I've mentioned the Sigma 30mm 1.4 Art that covers full frame with a pleasing vignette... I just haven't found one for the right price yet.
My mouth is watering just thinking about it. If I could figure out how to make money with any of this crap, I'd probably own one by now. 

Looks cool... but... just buy a Komodo and have a better camera. 

My P2K and M2K are both ready to shoot!

It just seems that i don't wanna take a chance on the port nor rig the beauty up. I really enyoyed the restrictions and freedoms of using it barebones as I wrote above. 
I got two 64GB cards plus a 32one, all three working well but none for 50p raw 3:1. Read on this forum about more recent cards working without troubles iirc. Maybe we could do a og p2k or m2k cinema verité parade, you, @kye , @mercer , me and anyone else.

Period! 😊 @Emanuel@mercer

Have you ever watched this one @mercer?
Your face! : ) And simply one of the loveliest pieces ANYONE can EVER watch on the screen!
End of the story.
So I hope this may serve as definitive word on the responsibility you have as creator, no excuses, you're much more than a writer and... period ; )
EAG :- )