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I've been testing this today and indeed the dynamic range is insane, proper Alexa league stuff.   The problem is, I don't believe the image is usable yet.   http://www.eoshd.com/uploads/5d3-hdrx.jpg   Alex says he will optimise it but it needs very complex maths.   The problem is, some sites out there have jumped on this like it is a free pass to 14 stops of DR. It isn't. That's what happens when the people writing the hype-articles never shoot or test anything with their own two hands before blogging it.  :wacko:

Created this short Ode to Summer to test my 'new' Trump from Dogschidt Optiks. Flare beast and 1.5 anamorphic bokeh. https://vimeo.com/70412767  

It will be a real shame if they don't manage to ship in time, specially since they said the cameras were shipping for sure in July. hopefully it will only be a month or 2 of delay. The amount of people that had canceled 2.5k pre-orders, or even forgot about them is quite bad. A lot of people stopped caring a long time ago.   On a positive note, I've been collecting bmcc footage for quite some time now and the footage that comes out of this camera is truly amazing and can be very cinematic. So this is what keeps me going, and makes me think the wait will be worth it. I am getting a pocket camera by the way, 1st in the queue ;)

http://www.metabones.com/product/micro-43/nikon-g-mft-speed-booster-detail   Anyone know if this is a smart or dumb adatper? Would be great if you could use image stabilization on the BMPCC.

Would be cool to reuse the sensor in a bigger body then :P

progress :D   http://instagram.com/p/b358s3o8HB/     my prototype MFT mount works GREAT :) its like no other on the market not pressed by springs its pressed by mechanics :D   big thx to my machinst without him this would not be possible.   one pity it the the c-mount to mft adapter i got from ebay dont works :-( the problem is that i cant screw the lens far enough in :-/     but my mft to ef mount works flawless also my backfocus adjustment :-)    guess my buddy and me need to machine an own c-mount to mft adapter ;-) cheers janosch

I find it unethical and a lack of respect to tell people "we'll deliver for sure at that date" and then leave customers in the void. I don't understand potential customers saying "yeah, but for what they offer, I'm OK to wait 6+ months". Is the concept of telling the truth that outdated?

  Actually you need a larger and more unwieldy external box: an entire computer to offload to (or if you trust one of those offloader devices be my guest) every 15 minutes. You need somewhere to put the computer, keep it powered, you need to stop the entire shoot or have an assistant for the offloads. With an external recorder like the Ninja 2, you can record all day long, direct to ProRes 422 HQ, without ever changing drives or batteries, four channel audio pre-aligned, with scene and shot and take written directly to the filenames, and you get a peaking monitor thrown into the bargain, for $695 retail with commodity drives (even rotational laptop drives) and cheap Sony-type batteries the only additional expenses. No assistant needed, no interruptions to workflow during capture or post, no transcodes, batteries are even hot-swappable if you do run out.   And they do not smell if kept clean.   As for the perfect camera, Sony F55 + R5 (also an odor-free external recorder, with a handy clip mount direct to the chassis) looks to be quite acceptable if you can't spring for the Alexa atm.

I'm scheduled to go the event in LA next week, will be curious to see what the status is. Probably cameras inside a glass case.

old bolex made 40 years ago crap tired arri 2 you can use it now and in der future. the film look is kind of natural yes no no time,iphone looki loop ground hog late days. no black magic here just clockwork swiss or german speckle finish 1950s metal and kodak analogue love. old reality not fat bloke cock fighting future fantasy https://vimeo.com/20324795 http://www.youtube.com/watch?v=I2iun_OQfh8

To me, it's all about the anamorphic bokeh. Standard bokeh makes me think of a Dunkin Donuts commercial. Anamorphic bokeh makes me think of a painting.

It only took a year of living in LA to understand why the industry is headed in this direction: nepotism. And not so much literal nepotism... but more-so the broader idea of "who you know-ism". Your only chance of landing a job in Hollywood is through a "connection"... ESPECIALLY in the business/executive roles that make the financial decisions. It's all very simply. The people in charge are the kids (and friends of kids) of the last generation who only learned THE BARE MINIMUM requirements to take over these positions. Now that there are so many other options for entertainment... and the system has to be reworked to adapt... nobody has any clue as what to do. Basically, these people have learned how to do a "job"... not how to "make films". The couldn't innovate if they tried. But, hey, it's not all the execs faults... there is a such thing as "workers greed" as well... and it also runs rampant through Hollywood. Let's say for a minute, that somehow a producer or executive DOES have a genuinely good business idea... can he/she execute it? Nope. Not really. The unions are still going to demand the picture be made to union standards... i.e. hiring 8 people for a 1 person job. Why do the unions do this? Well, obviously, the more jobs they can keep around... the more pockets they can take union dues from. And the longer it takes to make a film... the more they can justify taking. Unions benefit from throwing wrenches into the machine, and then demanding you hire "thier workers" to pull it out... for you know, oh, about 100x the labor value. This is why the execs are taught it's better practice to kill films... then to green-light them. It's a circle of destruction from both ends.   It's top-to-bottom corruption... and the ones who are getting screwed are the audience, the next generation of creatives who might actually be able to make better material for 90% less $, and the industry/art form itself. The film execs want million dollar salaries for having nothing but their arbitrary titles they earned for networking/sleeping their way to the top... and the union workers want $1000/hr for jobs, that more often than not, don't need to exist. Things have to adapt. They're basically using the same film-making model since the last overhaul in the 70's. Innovation needs to happen. We have the technology and capability to make films for about 80% less money and require 80% less labor... better start putting it to practice soon.