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I've always known the GH3 packed a great punch in its IQ since I saw how much the latitude in the shadows improved over the GH2. It was my first sign that this little beast mixed with the right glass could produce amazing images and finally, having the time to create something for the art of filmmaking, decided to dive into the world of anamorphic and create something that I hope you all enjoy!   https://vimeo.com/71554911   All the technical details are in an article linked on the Vimeo page.   Used the Isco Ultra Star 2x anamorphic lens 

I'm certainly not asking for helicopters, jibs, cranes, etc. A simple interview, maybe a studio lit and more natural lit one, would be wonderful. A few dolly shots, maybe a simple tripod pan. I don't feel like I'm asking for TOO much! :) I'm sure someone will get there hands on it and something like this will surface at some point. I just wouldn't want to be an early adopter without seeing it in action

I'm not attacking you or John really.  I'm glad that he has released clips, whether it be the BMCC or BMPC.  My point is that I'm on the fence for cameras and I'm not wanting.  I have a GH3 and a Canon 5DmkIII.  Do I need to get a BMPC?  No.  Do I want to get one? Sure.  Like any tests, they help me make up my mind on what to buy.  Pure and simple.  Did I go buy a D4 last year because of Nikon's slick marketing?  No.  I'm just saying that there are a lot of choices, and this made it even easier for me to decide that I don't need or want the BMPC right now.  Maybe version 2, but so far from what I've seen I don't have any desire to have it anymore.  Especially if it doesn't have RAW from the start.  As for the clips, do they really stress the camera?  The codec?  Does static shots really do this?  I guess if grading is your thing well then there you go.  I for one shoot things in motion, so I'd like to see more of that.  Because these test clips are really just for grading.  I'm sorry but I like to do more shooting and less grading.  Right now the GH3 is the camera I need and use.  The BMPC well maybe next year, maybe never.

For any film or commercial yeah, for a camera test? Not really, all these things will disguise what the camera is or is not capable of. Any kind of stabilization rig will hide rolling shutter artifacts, any kind of lighting might compensate for lack of dynamic range. Watching pretty images is one thing, judging a camera's capabilities is another thing. Personally I'd rather see the footage as raw as possible, and from that I can tell exactly how much good lighting and grip can improve it. When I see a well shot and graded image, it's harder to tell how much money and time was spent making it look like that, and it could very well be beyond my budget, even if I can afford the camera alone.

Nice! I remember watching the trailer, the first 5 minutes and reading about it here a year ago: http://www.eoshd.com/content/8549/watch-the-first-five-minutes-of-gh2-feature-film-musgo-warning-nsfw   I love the look of it, will try to watch it soon. Thanks for the heads up!

I'm interested in this. I love the 35 and 85, but the 14 was really bad in my opinion. Plus I hated how it didn't have a filter thread.

Really? A request for a panning shot, a dolly/slider shot, and simple lit shot is a "huge" production?    Heck interesting composition and a tripod with something actually happening in the frame would be a great place to start. 

Here are the ungraded files of "Auckland" courtesy of CaptainHook. These shots have tripod plus movement.   https://www.copy.com/s/bHQjkpc21Q1d/Pocket%20Cam%20-%20Originals

Your post makes me feel uncomfortable for critizising Brawleys approach, and I realize I just missed the point. Also about the DR. You know, I am used to scale the stops for my GH2, cramming all values in front of the lens into the eight or nine stops (does anyone have the hard facts?) I have. Brawley could have done this as well. He could have chosen to shoot on another time of day, when there was no directly reflected sunlight on bright walls, blue sky and a lot of shadow in the image. He could have used an ND grade. He could have used an ND-filter(*) and dial up the iso, which had resulted in noisy shadows, but higher DR (GH2's 'iDyn'). (*) He needed no ND, he could have used a smaller aperture, like f8. Would also have helped to keep everything in focus. But what would doing so show us about the BMPCC? Also, natural high dynamic range is not like the HDR-images you can generate out of 2-9 differently exposed jpegs (principle: Make a LFR image, that shows different bright objects with the same values). It is about having dark and bright areas. And that's how it looks in ProRes 10-bit (on an 8-bit monitor for most, graded as 8-bit). Reverie: I don't hate it, but I never loved it. I didn't like the 30p, it looked like video for me despite the shallow DoF. I had the Canon XH A1 (aka GH1 in the USA) with a Letus. I had the same DoF and 25p, I wasn't much impressed, only by the helicopter ;-)* *EDIT : Wrong! Every 35mm adaptor owner and fan of Blooms Letus clips was VERY impressed by the lowlight in Reverie. This really was something. What can we expect from the BMPCC in this regard?

Very nice work Julien, the balance between tone and compression is just beautiful.   The Ultra Star has a deep seated pedigree in the world of Scopes. It is actually based on the STOP Berthiot Hypergonar and has three elements in the front and two at the rear and is achromatic. The very front element is very thin like filter thickness.   The non constant compression is a feature of the Hypergonar design and one that I particularly like, especially for narrative. If it is not your cup of tea, then it is simple to correct using the Photoshop filter Spherize. Just shoot some graph paper and choose horizontal mode and swish the slider until all is corrected. After Effects has something similar.

I am using hellios 44 mm with no vigneting it is sharp lens. And i got my for 50 ebay

The flat files were released by John Brawley, out of the goodness of his heart. I don't think this was sanctioned by BMD at all. And if you are interested in buying this camera I think you should download some of this stuff and see the type of versatility you can get over the files in the grade. Are these the most interesting shots ever, no. But Brawley wasn't being paid to shoot a commercial for BMD.   In fact, I'm glad that BMD doesn't waste a bunch of money on marketing. And I'm surprised Brawler leaked these clips again, given the Shitstorm he go got the last time he let clips out (for the BMCC). And to be fair (to you guys), back then I was one of the people screaming bloody murder about the BMCC clips until i realized that John was doing this pro-bono.    Anyway, how helpful (for a potential buyer) would it be to release a bunch of clips with $100K worth of cranes and studio lighting? I think it looks like quite a capable camera. Think about how far we have come. And speaking of overproduced promo vids, lets take a tour through history, shall we?   https://vimeo.com/7151244   I've come to hate this film... and I'm not sure I have a good reason.

I remember the panic about the GH3 when it first came out and everyone was over analyzing and despairing over what few images we were given, like it was the zapruder film. I think patience, for this one time, is deserved for BMD.

Not impressed. I think I will wait for a SATA (or similar) port on the NEX 5,6,7 etc or CANON M, which is one easy step that the Japanese giants can make to kill the PCC at a stroke. 

Let's not forget that we all have seen better graded sample footage from the BMPC before this ones. In addition, let's not forget other John Brawley's contributions in this process.   https://vimeo.com/67562461 https://vimeo.com/66955436 And more recently: Auckland In My Pocket - Blackmagic Pocket Cinema Camera https://vimeo.com/70676876

My latest (and last) 1 v1 RAW video.