Phil A

The people who need a selfie screen for video are typically people who do a VLOG, so they have the camera on a tripod, stabilizer or handhold the camera on a gorillapod. For these uses the flippedy screen is unusable, so you can only utilize it to photograph yourself while holding the camera in your hand (where by now most people I know would still use a selfie-stick or gorillapod to get a better perspective). I stand by what I said, I think it's a design flaw, might as well have stopped at 90° tilt. Really curious about the electronic digital stabilization though and if it has the wobbles like WarpStabilizer or the DIS of NX1.

I'm baffled by the tilt screen... apparently it tilts 180° downwards. So, it tilts behind your tripod/stabilizer. What genius had that idea?

It's normal that a sensor has more actual pixel than effectively used, you'll find that with most if not all DSLR and MILC.

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.

I once bought a cheap, used Canon EF 24-105 f4 L lens with a scratched front element (2 scratches, ca. 5-10mm long and 1mm wide). Didn't even show at landscape pics with f/8.

Here in Europe you can't find any used BMMCC so far so buying a set together instead of scavenging eBay can be pricy. I really like the the BMMCC but you basically "need" the SpeedBooster and an OLPF and then you're at over 2000€ if we say you already have lenses and monitor. This week I've seen a BMCC MFT incl. Resolve dongle sell on eBay Germany with rig (rods, matebox, follow focus), battery plate and the Ursa EVF for just 2100 €, all together worth over 6000€. Kinda regret not jumping on it but it's just a heavy system.

What I wonder with the expectation regarding 4k60p is, why would anyone shooting with a mobile phone consider that?I'd guess there's really no interest from regular consumers. 1080p gives them 120fps which is "better" slow motion. I made a quick check by asking 5 people at work (industrial manufacturing company) if they set their iPhone 6s (we have them as work phones) to 4k30fps. I got a "can Instagram or Facebook show that already?" and everyone stuck with the standard 1080p30fps, actually only one of them didn't have to look into the settings to find out (the others didn't even know there is a setting), he said 4k uses too much memory and he made a concious decision. I feel like there's as good as no interest from consumers in 4k60p. Like with the cameras, enthusiasts are a small market wedged between consumers who don't give a f*ck and pros who buy purpose built equipment, so we can't really expect the industry to make us happy.

Saw it for 550€ on Amazon Germany today (actually shipped by Amazon) but once I managed to convince my better half that I totally need to buy that, price was 699€ again. And buying from China gives me bitter 19% VAT on import. The shame, oh the shame!

Because it doesn't. UHD up to 30fps, FHD up to 120fps and 720p up to 240fps.

Another (noob) question. I know that the gimbals are best used with wide angle and moving but how well would it work to stabilize a static shot, i.e. APS-C cam with a 50mm or even 85mm lens when just holding still? What if it's a system with optical image stabilization / sensor stabilization plus the gimbal and holding still for a static shot?

The Sony FS5 is worlds better. So is the Panasonic GH4 (didn't check the newer ones). Obviously the BMD Production Camera 4k has global shutter which eliminates the problem completely. Currently evaluating one hand gimbal vs monopod vs shoulder/chest rig (like the one posted for the BMD Micro Cinema Camera) to make it more stable and usable. It would be easier to manage if the 1080p mode wasn't so so bad.

Nearly everyone of these whom I know films everything in portrait orientation. I pray to gawd the iPhone and GoPro generation isn't the benchmark for future filmmaking

Answer for bold part: You can't. Computer monitors, laptop displays and mobile phone displays are all over the place so you have no idea what it will look like for your viewers. Best thing would be a calibratable grading monitor but those are $$$. If this is your actual job, get those. If it's a hobby, you probably can do with a calibratable screen with a wide color gamut (at least 100% Rec709/sRGB) and even brightness. I'm just doing stuff for the internet as a hobby so I use a Panasonic Viera Plasma TV that is configured as close as possible to the colors & contrast of the iPad Pro. After rendering I check how it looks on my calibrated Dell U2711 at home and my horrific Dell P2210 at work. That gives me a rough idea of the ballpark of how it will look.

That's from Kamerar. It comes alone for a bit over 60$ or as part of their Socom shoulder rig.

Because the lens only covers S35 to begin with (F mount only describes the mount, not the image circle. There are many APS-C lenses in F mount, too), not "Full Frame". If you want to speed boost it, you have to go to a format smaller than APS-C, i.e. M43 or S16.

Seeing how some of you shoot with the BMMCC since a while I'd like to bring this thread up again. Curious how the sensor which had slight improvements over the BMPCC fares with moire and aliasing? I've seen on FB that Zak got the OLPF installed to eliminate it but I wondered how the thing fares without it. A lot of moire? Identical between RAW and ProRes? I guess when using a field monitor with real 1080p resolution I would already see the moire while shooting to change angle/distance/focus? I just can't get the BMMCC out of my head. While I actually like my a6300 I always thirst for RAW/10Bit ProRes and the low rolling shutter, on the other hand I'm afraid of the resolution (but I've seen some quite sharp & "commercial" looking videos with it) and moire (that might be a deal breaker). The BMPC4k and BMCC would actually be exactly what I like, but some of their specifications would make a rig necessary that's bigger than what I'd want to use (SDI to HDMI converter for my monitor, V mount battery, doesn't go on an one-hand-gimbal, etc.)

It's nowhere near some of the great short movies and docu stuff you guys post here but I thought I might as well share what we're currently working on. We started Instagram-ing food photography themed stuff in 2015 with the focus that it's actually edible food (not "styled" food), a lot of booze and some traveling in between. At some point we got the idea that we also might start making clips for Instagram, especially now that you're not bound to the 15 second limit anymore. We've just now started to fill a back log of articles with he recipes for the stuff into an own website and will also create more and more moving stuff which we put on YT, also longer and more informative. Actually I would really appreciate constructive feedback. I know there's jello on some of the handheld shots (NX1 + A6300), I'm looking for better camera stabilization for the future to fix that. Also still working on better text overlays/lower thirds but I'm only using Resolve at the moment and it seems that you need AfterEffects/Fusion for that or some expensive plugin like BCC.

JPEG can even be 12 bit if you have a look at the standard. But seeing how most displays are blah, I see why we're stuck with the 8bit implementations.

I think what BMD does is amazing. There's a huge gap between the segment of 8bit 4:2:0 cams (Sony, Samsung, DSLRs, etc.) und then the high end with RED, ARRI, Sony FS7/F5, etc. There are workarounds like F3 with external recorder, C500 with external recorder, etc. but they are the only ones making affordable cameras with high end images/codecs that are actually somewhat integrated and don't need to rig them together with x different devices. I think the UM4.6k is great piece of technic but I'm wondering if BMD aren't spreading their R&D too thin with the amount of product lines. You get the BMCC with 3 mounts (EF, PL & MFT, S16), the BMPCC (MFT, S16), the BMPC4k with 2 mounts (EF & PL, APSC), the BMMCC (MFT, S16), the Ursa witht he 4k turrent (Only EF?, APSC), the Ursa Mini in 4k (EF & PL, APSC) and 4.6k (EF & PL, APSC) and the studio stuff. I can see how it gives customers choice but wonder if it would make sense from an economic point to trim it down a bit, after all there's economies of scale at work when it comes to quality vs price vs production numbers. I'd love to see an update to their middel segment in the future, i.e. the BMCC and BMPC4k. The image out of these is great and they still have the size that DSLR-shooters feel home at when upgrading (the Ursa Mini isn't that Mini in my opinion). If the BMCC would come with exchangeable batteries (Sony L?) and a 60p framerate, who would say no? I'd love that sensor, like many people I don't actually need 4k but most 1080p recording cameras fall short because of lower than 1080p resolution with moire and aliasing. I'm still on the fence if I want to buy a BMMCC or not. If it had the 2.5k sensor it would be a no brainer. But with the 1080p sensor I'm afraid of moire because I really want to shoot raw.

That's true, but how do you frame from the camera monitor with the motor directly in front of it?

I'm curious if there's any way to mount a field monitor (SmallHD 502, BMD VA, etc.) to the stabilizer. Obviously you wouldn't want it on the camera itself but is there any way to mount it somehwere on the grip (without going for magic clamp, etc.). My impression was the only possibility with the Crane is to mount it somehow via the tripod mount on the bottom? Seen a bunch of vids and it seems to currently be one of the best choices for a A6300/A7 setup.

The Dynamic Range of the Canons is usually good enough. Most of my favorite pics I've shot with the 1DsIII and 5DIII and when I had the D750 I only had a few rare occassions where I really was able to utilize more DR at the low ISO. The worse thing with the Canon is the fixed pattern noise you get when pushing the shadows. But then if you know it, you work around it.

He meant 360° shutter, e.g. shooting 24p at 1/24, hence his comment on motion blur. Got them swapped in his thoughts.

Just quickly giving feedback on this specific part of the question as I've tried the X-T1 which has the same sensor. You don't want to shoot video with the X-E1/X-E2/X-T1/X-T10. It's so full of moire and aliasing that you won't get happy.

It means exactly that. If no one makes a Smart Nikon adapter, those new lenses with electronic diaphragm won't be usable.