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Hi guys, We just shot this video with the BMCC, Metabones Speedbooster, Nikon Lenses and Iscorama 54MC. RAW files were developped in After Effects CS6 (with Camera Raw) to Prores444 2400/1350. Color grading was done in AE. Please let us know what you think, we'd love to get some feedback. Cheers, Mihnea

That's not rolling shutter. Those trains are actually bending the space-time continuum. ;)

"The GH4 really does offer everything doesn’t it?" Yes indeed. If there would be just the 5-axis stabilizer in it... ;)

The KineMAX is a Super 35mm raw shooting 6K camera with 14 stops dynamic range, increasing to 16 stops in 3K mode, native ISO is 800. Impressive. I contacted Jihua of Kinefinity recently to talk about a few remaining questions I had on the recently announced KineMAX as well as the updated lower end model, now dubbed KineMINI. Read the full article here

Okay Panasonic, I hereby officially request that you TAKE ALL OF MY MONEY!!! And since I don't have to spend $2K on the brick, I'll take 2 GH4s, thank you very much!! A 4K, two camera setup is in my very near future!

The Voigtländer 12mm Ultra Wide Heliar comes to mind without even 15-second research, and there may be others in the C-mount range and possibly others, too. But none of this really matters, does it. It's all just needless nerdy-nam-nam, and veering off the original topic. What matters is that any wideangle prime, be it the Olympus, Samyang, Panasonic, SLR Magic or even some other mount lens between 7 and 17mm, they're all still wideangles, and as such much easier to shoot with than the suggested 50mm Nikkor. A lens around 12mm or slightly wider would be ideal for moving/gliding footage. More practical as the first lens than some 100mm equivalent telephoto one. I thought my point was clear enough in the original reply to jonpais. How many different 12mm options there are is beside the point. If one or two is not enough, pick another focal length. Again, no need to make life harder than it already is. /OT

buy the book 'New Cinematographers ' by Alexander Ballinger. http://www.ebay.co.uk/itm/New-Cinematographers-by-Alexander-Ballinger-Paperback-2004-/331151390404?pt=Non_Fiction&hash=item4d1a2936c4 it is a gold mine of infomation on how to shoot films and what lenses and f stops are used , with drawings and breakdowns on big Hollywood films and how they did it . you will see most Feature films very rarely shoot above f2.8 or f2 max in low light mostly shoot lower f5.6 etc Darius Khondji shot Alien Resurestion at f2.8 , he lit all the sets the whole moive for that stop. the Great Freddie Young didn't like going over f3.5 - (read his autobiography its very good) if you want bokeh - use a telephoto lens to isolate the subject from the background that way . thats how these guys do it - have a read of the book!! and dont forget Movie Cameras (Alexa, Epic, Super 35mm etc) are not full frame !

@Orangenz the rolling shutter on that video made me seasick. I wouldn't touch that camera.

As far as I've understood, the BMPCC is using a peltier cooling system, which uses a lot of battery power, but the heat is dissipated into the camera body via the cooling element, it's not the battery that generates the heat. So the body getting pretty warm at times is normal. In theory a component breaking inside that cooling system could possibly cause problems. But it's pointless to speculate, as we really don't know anything. It could still be a number of reasons. It's the 2010's, and the whole mainstream media has become brain dead. Click baiting and copy&paste journalism are the new normal. Oh come on, don't join yet another internet lynch mob, and help propagating yet another pointless (and often purposeful) internet meme. Let's not be played by yet another silly distraction for all the wrong reasons. This isn't worth it. There are at least two sides to this story, too, and we don't really know either of them. All we know that a camera started (apparently) overheating for some unknown reason, that's all. What BM will or won't do as a consequence is none of our worries. Some (now viral) online video won't make it our business. People were criticising the uploading of that video without all the facts, and the way the controversial video now gets promoted online as "news." It has nothing to do with BM per se. So let's move along, shall we.

Fughen (spelling?) make one specifically for the GH3 with HDMI lock.

Rumor has it Atomos will announce such a recorder at NAB, but when that comes to market, who knows. Andrew, love your passion. To me, you are relentless in your pursuit of providing information on obtaining the best device, image, and price to the indie demographic. [web link removed] Thanks for your hard work.

Just made a quick update to the article. Odyssey 7Q does not actually accept the 4K signal from the GH4.   It has no 4K capable HDMI input.   You need to use the HD-SDIs on the YAGH with the Odyssey 7Q.   So the hunt is on at NAB for a 4K HDMI recorder...

Agreed, if you are using the GH4, YAGH and an external SDI recorder, you are more than likely using a small rig at the very least. Easy to mount an external battery to power all devises. I'd like to see a third party manufacturer release a battery grip similar to the current Photo one that has a battery compartment and just the XLRs and preamps. That way it would be perfectly viable to shoot handheld without a rig and use XLR mics. Then they could include a multi pin port and have an external break out box or even recorder for all the SDIs for when you needed them. Patent Pending 2014 Tone13 :-P

6k? Meh, why not 16k?

I think it's safe to assume that they are putting dedicated pre-amps in the base unit. At $2k, the pre-amps better be dead quiet!

Old rule of thumb, to get the best bang and performance for your buck, hold-off buying gear until 1, you have a big project ready to go on the horizon, and 2, the platforms and workflows are reasonably understood, tested and stable. This worked for me when Andrew detonated the GH2 on the scene and craftily paired it with vintage anamorphic glass. I am now very happily (and gratefully) editing a feature with some beautiful ProRes footage transcoded from the GH2 source. A top pro colorist here in SF has no problems, and reasonable latitude, working with our 8 bit ProRes 422 HQ. A year from now, 4K production and post should be stable for we mortals who live to make movies. And yes, I think 4K 10bit should be amazing...

Whatever they paid you to make this, it probably wasn't enough. :D Fucking masterpiece. Looks like it was shot on film. Great story, great lighting, great shot composition. If forced to nitpick, i would say that the opening shots in the graveyard were not as strong as everything that followed.

Very useful, thank you Andrew and Orangenz! Maybe Panasonic or even third parties could also make different bricks for different uses. Maybe also with h.265, or internal battery, or internal SSD recorder, maybe without XLR audio or SDI video for who, like me, doesn't need it. Just guessing :)

This is the year of 4K - even if you don't agree with it or need it - it's here. So I'm wondering what Canon and Sony are going to do. Everything I've heard about the GH4 sounds great - but Canon and Sony are sure to offer something interesting - aren't they?

Wow. Panasonic keeps surprising me with how seriously they're taking this camera. Care to speculate on what an external recorder/monitor might cost for this?