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Cut the gumf - if you want a still camera and a video camera you buy a 5dmk3 right?


zenpmd
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In computing there's usually two types of "boot flag", one in firmware/bios, and one on the media device itself (ssd/hard disk/dvd/cd/flash memory etc).

 

The one on media only tells "yes, you can use this device for starting up" and might have the first pieces of code for the first pieces of the booting process of the operating system.

 

The one in firmware often has two purposes, telling 1) "yes, this device can be used for starting up the system" and possibly but not necessarily, 2) telling in which order different devices should be chosen to start from if it's possible to boot system from more than one type of devices.

 

I'm not a user of ML, but from what I've understood of it, the boot flag adds the flash memory as a bootable device with higher booting priority than the ROM in the camera - meaning that if you have a flash card (with bootable flag on media) with magic lantern - it will boot that. If you have an empty flash card without magic lantern and bootable flag on the media - it will boot from the standard firmware ROM.

 

Basically, this kind of booting process is used by most embedded devices and computers.

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5. NO COLOR CORRECTION!  apply correct exposure-apply kalvin ,manual whitebalance, and you have the footage ready to cut, dont need to spend 100 hours making it look normal. huge time saver, forget the "ill fix it in post"

 

Are other cameras different?  That's not been my experience.

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100% agry with everything you said. 
Except that unfortunately sometimes you can't buy lens and body used (for EG A7S, with FE lenses) and will loose a lot after selling it 1 year later. 

But thats the game. 

That will depend on if the A7S does what people want and will be interesting to see a few months after its release.    There are a few A7 cameras for sale second hand but I don't think FE lenses (the few available) are losing money much.   

  Even the kit lens is quite good and the only FE lens I want.     The current A7 pair are used by many people with good manual focus lenses for stills (I like Canon FD L primes on mine), no reason to think the A7s will not be the same and those lenses can be used across formats.  

 

If someone else comes up with a full frame mirrorless  with AF for around the same price, things might be different.

 

I am a video novice and I know it is not ideal but I am happy with the A7 and the kit lens and FD primes.

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Are other cameras different?  That's not been my experience.

the black magic, and the previous gh cameras, even the gh4 as i can see now, needs a lot of correction to be "watchable"

colors come out flat, the purpose being probably to have the artistic freedom to grade them as you want.

Unless you are a skilled colorist, you need to spend hours upon hours to grade them.

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the black magic, and the previous gh cameras, even the gh4 as i can see now, needs a lot of correction to be "watchable"

colors come out flat, the purpose being probably to have the artistic freedom to grade them as you want.

Unless you are a skilled colorist, you need to spend hours upon hours to grade them.

 

Or you could use something like film convert or a LUT to give it a look with one simple click...

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It goes without saying that with the BMPCC, you've got to be prepared to do some grading: anyone who purchases one of Black Magic's cameras already knows that; most of their users enjoy color grading, or they would have picked up a point-and-shoot. As for the Panasonic G cameras, you can get wonderful results without a lot of fuss if you like - or you can shoot flat and have more control over your final image. Since picking up Denver Riddle's LUT Utility and watching color grading breakdowns like those over at iseehue and DaVinci Resolve tutorials by Matthew Scott and others, I think half the joy of filmmaking would be gone without post, and I feel bad for anyone who considers it a chore. But my background is in historical printing processes and printmaking, where for every hour I spent shooting, I spent ten in the darkroom. 

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All video cameras start with RAW images, the primary difference between the BMPCC and the GH4 is that the former writes the image data "raw" from the sensor and the GH4 fits each image into a 24bit color space and compresses it into video then THROWS OUT the raw data.  For whatever reason, I find that no matter how you set up h.264 video, it never looks as flat as RAW based video. There is more dynamic range, more nuance.  I sold my BMPCC because it's distracting, but I miss it every day.

 

As for problem with MFT being that of "the photographer", it all depends on the type of photography or video you want to do.  The video that comes out of that GM1 is nothing sort of extraordinary--for video.  The silent shutter allows for more photography in quiet places.  The images are nice.  However, for edge to edge sharpness and color depth, sorry, they are not as good as full-frames, or even APS-C.  Many of the samples you showed have blurry backgrounds.  For some kinds of photography, however, the edges are where the rubber meets the road.  Either the MFT sensor isn't up to it, or the glass just doesn't exist.  I don't know.  If someone offered an architectural shoot to you and you were competing against other photographers with full-frame to medium format you'd see what I'm talking about.  That isn't to say you couldn't take beautiful shots with an MFT camera, but not beautiful in edge-to-edge sharp beautiful.

 

I can post some photos if you want to see what I see in my photography using these cameras.

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