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There's  something Freudian about FF sensor obsession ... :)

[url="http://www.eoshd.com/wp-content/uploads/2012/12/bmcc-rewo-1.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/12/bmcc-rewo-1-660x439.jpg[/img][/url] Above: ReWo caged Blackmagic Cinema Camera. Review of the cages for the BMCC is coming soon (click image to enlarge) [url="http://www.slashcam.de/artikel/Test/Blackmagic-Cinema-Camera---Teil-3--Die-Schattenseiten-und-unser-Fazit.html"]SlashCAM[/url] here in Berlin have been putting their expertise to work on the Blackmagic Cinema Camera. They also had the opportunity to compare their regular test shots with new shots from the Blackmagic. As you can see in the example after the break, the blacks are far cleaner in post than material shot on the Canon C300. SlashCAM have tested an enormous range of camcorders and cameras over the last 10 years. Here they've tested all the important aspects of the BMCC's performance in detail, such as rolling shutter, dynamic range, etc.

Some of the FF guys seem to want both the background and the subject out of focus most of the time :P

I'd also like to point out that by saying you can't fit people in is a ludicrous statement You should be using lenses designed for the format your shooting on and scale your thinking and lenses down accordingly. As for sensor and out of focus background what are we talking about here the difference between ONE stop?

You can't compare the 'ludicrousness' of 11 stops of dynamic range recorded in 8-bit at 50Mbps to 13 stops of dynamic range recorded in 12-bit raw at 1.1Gbps.  Sorry, you just can't.

Gene there are specialist uses of a large sensor (confined spaces) as you rightly point out, and slow mo. But unless your whole film is going to be shot inside a car at 240fps, the Blackmagic is the better choice. I mean look at the history of cinema. How much super slow-mo do you see? Is it really that critical? Don't forget Sigma 8mm will be wide enough for the car shot you're trying. Equivalent to around 18mm on full frame.

  Look it really is time to nail this argument down so hard it can never get up again.   By your logic Super 16mm which is a 2.7x crop is also ludicrous. OK but didn't stop The Queen, Black Swan and Moonrise Kingdom being made on it. They're some of the best looking films I've seen in the past 2 years if not THE best looking.   Remind me of the advantages of a full frame sensor. So you can defocus everything apart from a tiny sliver of hair? Oh please... It looks rubbish. This is not cinema. In low light at fast apertures, my 5D Mark III makes focus unmanageable at close distances. You cannot shoot a film this way.   Like I say if a 2.7x crop is good enough for Darren Aronofsky then 2.3x is good enough for you. Super 16mm films have won multiple Oscars throughout history and nobody complained about the lack of shallow DOF or the film stock being ludicrous! Do you realise how silly it sounds?   It isn't even a 2.3x crop factor over the C300. It is a 1.6x crop versus the C300 which is what you are comparing it to, not a photographic camera with a video mode tacked on the back.   Super 35mm - the cinema standard - is not the same as full frame.

Crop factor, what?  Oh please.  Not a big deal at all.  Better image quality than cameras that cost 3 times more = I'll cope;

I am blown away by the image, but this statement is so true. The 2.3x crop factor is a huge draw back that very few BMC fans boys mention. 2 weeks ago, I shot a music video that took place primarily in a car. We had to use a Tokina 11-16 on an FS700. On the 16mm end, it was tough to fit both people in. With a 2.3x crop factor, it would have been impossible to get those shots. I'm not a wide angle shooter at all, in fact I generally prefer longer lenses. With that said, there have been numerous times where I had to pop on the Tokina 11-16 or else the shot just would not have worked because of crazy tight spaces.   I think the real revolution will come when BMC comes out with the Super 35mm version with some higher frame rates. Then the S#!T will really hit the fan. But this camera is an great start.    After using the FS700 with it's high frame rates which is amazing for projects like music videos, artistic pieces, B-Roll for docs and sports, I just cannot go back to a camera that only shoots 24fps, which is fine for narrative, but 24fps is just too limiting once you've had a taste of high frame rates and the amazing drama and sexiness that is created, especially when done correctly and not gratuitously.    For me, I would gladly sacrifice some image IQ for a super 35mm or wider sensor and high frame rates.