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Hmm. So dated compared to what is already available for much less money.   Don't like the size and weight.   Don't like the 2/3" sensor with 11 stops.   Don't like the idea of a Mac Mini in the back. They're not designed to be portable machines. They will break.   Don't see the image quality advantages over a 5D Mark III with raw, KineRAW MINI or BMCC.   KineRAW MINI is miles better ergonomically.

What Nikon DSLR is currently the best for shooting video? I know the obvious choice is a Canon + ML but I'd like to know what Nikon has on offer.. I just bought a BMCC so I'm covered for RAW (I don't think there are many situations where I am going to want to shoot multi-cam RAW)..   I just want a DSLR as a B-Cam that I'll be able to hopefully match fairly well to BMCC in prores for some small projects. I am obviously considering the BMPCC but want to see how things play out from here (with the problems it's supposedly having) and consider what else is available, since I don't particularly need RAW in a B-cam and have Nikon lenses I'm wondering what Nikon options are available up till the D600 6D range of cameras. Thanks.

I am somewhat surprised that no one mentioned Hiding Place, although it is already three days old: http://vimeo.com/72996911   I understand, Bloom had fallen from grace. The more relentlessly we can pull the clip to pieces. But actually, despite it is sepia sunset again, I find it quite nice.   In the german SlashCam forum they have a Pocket already, and right after there were reports in the BM forum about grisly artifacts, they made own tests. The effect is called sensor blooming or white orbs or black hole sun phenomenon. Maybe a sensor problem, that would be bad. Maybe software, maybe the codec.   http://www.youtube.com/watch?v=stCTphrtqfo   Easy to reproduce: Parts of the image that really clip tend to 'bloom'. If the clipping is very heavy, the center of the white area turns black.

I've had the Black Magic Cinema Camera (EF version) since April, coming from a hacked GH2. I kind of jumped on the BMCC fanboy bandwagon and jumped into the camera without really studying other options at the time. It's capable of some pretty great images, but overall, I just don't like the camera. It stinks for any type of handheld shooting, the crop factor is a pain to deal with, pretty much every hard drive I own is full of RAW footage even though I try to delete what I'm not using, and it takes a ton of time just to grade a shot to get it to look "normal" and sync audio from my external recorder. No built in ND's (coupled with a native ISO of 800), lack of changeable battery, and poor audio with no audio meters is annoying as well. Like I said, the image quality can be great, but it is just no fun to shoot with and there is so much not to like about the camera. Sometimes I like to just pick up my camera and shoot something, but with the BMCC, this is really impractical. I'm not a professional, just an amateur/enthusiast obsessed with great video quality. I'm primarily looking for something that has a large sensor and can produce sharp, detailed images with minimal noise. I'd like something good for narrative with the bonus of having something I can run and gun with if I want to. I can hold my own with basic color grading, but I'm by no means highly skilled at it, so I feel I wouldn't lose too much if I no longer had RAW. I've narrowed my options to either selling the BMCC and buying a C100 or FS100, or sucking it up and keeping the BMCC. As for price I feel they are all somewhat similar. If I keep the BMCC I need to still buy ND's, a battery solution, a better rig for handheld, a wider lens, and probably some type of storage array for all this footage I'm amassing. For the FS100 I'd need to add the Speed Booster and ND's to get it up to the C100 configuration. For the C100, I'd probably pick up an Atomos recorder at some point in the future. For the FS100 I'd be shooting only with the Speed Booster as I have only EF glass. From what I've read it seems like the C100 should be an easy choice over the FS100, but I feel like the FS100 looks much more cinematic (maybe it's just that I've stumbled upon videos made by FS100 users with better skills than the C100 users? Or maybe it's just because the FS100 has been out longer?). Honestly all of these very cinematic pieces shot with the FS100 are pretty much the only reason it's on my radar as otherwise I believe the C100 to be superior. Any advice from people who have shot with either camera would be much appreciated. Is the C100 just as good or better than the FS100 when it comes to image quality? C100 Concerns: -Possibly not as cinematic as the FS100 FS100 Concerns: -Would only be shooting with the Speed Booster (bugs/issues/etc. with this?) -It's a couple year old camera, so I'd probably be disappointed if Sony released a replacement shortly after I bought one -No ND's -Form factor not as much to my liking as the C100

When I import my GH3 files into FCPX the clips names are change to the event name. Is there a way to prevent this, would like to keep the original file nameif possible. Thanks in advance.

Check this out.       Betty is a custom camera housing that combines a Silicon Imaging SI-2K Mini Camera Head and an Apple Mac Mini into a cohesive, portable camera system. It shoots 2K Cineform RAW Quicktimes with 1:1, 3:1, or higher compression to removable (off the shelf) 2.5″ SSDs.   http://blackbettycameras.com/first-camera/  

Glad to see Ben Mendelson getting some roles. He's a regular on Australian TV since the 80s!

OK, Julian, you talked me into buying the DVD... and you were right: absolutely gorgeous!   Abstract anamorphic compositions and shallow depth of field combined with naturalistic lighting schemes to make a thoroughly convincing universe.  This worked really well with the rambling and very realistic dialog...   I couldn't help thinking that it would have been better set in the 70's, though.  The costumes, set design, choice of cars, etc. all screamed 70's.  But then all the 2008 election stuff in blaring on the soundtrack at all times which was strangely anachronistic.  It seemed as if the director wanted to place the movie in 70's era Boston, but budgetary limitations forced him to go with contemporary New Orleans, so then he decided to update the story to parallel the election and financial crisis at the last minute...  

Video to check out.   http://vimeo.com/71071523

  That's actor experience (and the talent of your AC).  Believe me, I know.  You have to either alter your desired aesthetic to allow them to be spasmatic and overly-animated or you make them do it again.  I've noticed if they do a lot of stage and live performance or if that's where a majority of their experience is at you're going to have problems with them hitting marks in any composition.  The good ones know, however, small moves read and are what is appropriate for film.   They know instinctively when you put that CU lens on and they crave their CU.  Hinting that you may have to stick with wider in your coverage of them because they just can't hit their mark or appropriately scale their performance and odds are they're going to work on improving their craft.

Fun fact:   If you take the letters after the "5" in this NEX series you get, "NRT"  a nice anagram for "Not Really Trying".

Footage looks spectacular, I didn't watch this as i'd heard not good reviews but I think I'm gonna have to check it out. Hopefully I can follow the story and not just nerd out on the anamorphic.