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I am upgrading some members to moderator status. If they choose to exercise their newfound abilities, this upgrade comes with the ability to delete and lock posts as well as the all powerful, all conquering ability to ban members who misbehave!   Thanks for their positive contributions to life here at EOSHD I am promoting RichG101, mtheory and jonpais to moderator status for the main forum and all sub-sections.   It carries no extra work or obligations - exercising their privileges will be entirely at the discretion of the moderator. I'll continue as the main admin. But I think having extra eyes and ears plus a few more trusted people with the ability to clean up posts and ban members will help me a lot.   Also since they expressed an interest, JohnBarlow will moderate the Anamorphic forum and Andy Lee will get his own sticky thread on lenses and lighting which may build into it's own forum section if it is successful.   I'll create the moderator privileges later in the week. Any objections or any opt outs please have your say on this thread!

I would happily do that to some internet users.

I would say in first place it depends on what you are going to do with the camera... I have a GH3 and an OMD em5 which are absolutely enough for my needs (my customers don't have an idea of 4k and raw) - I don't produce big stuff just for the web and some corporate stuff. But when I want to make something special I grab one of my filmcameras choose appropriate stock and decide carefully on my motiv, subject, cinematography. That is a totally different approach and absolutely worth a consideration. Sometimes I have got the feeling the people who film are much more focussed on an artistic and creative work rather then tech-specs. And keep in mind for film you get a 100 year "warranty" (good storage needed) :)

Part of the learning process as a filmmaker is to try different cameras to see how well they work to and see how they cut together. There is no camera (yet!) perfect for all situations. Sometimes the camera you have on-hand is the best camera (or when the batteries died on your A-camera :) ). Here we tested 5D3 raw, processed with raw2cdng (very fast but no vertical stripe removal yet) and ACR (first shot, outdoors at golden hour), Sennheiser G3 wireless, Oscar Sound Tech OST-802 mic (great value at around $110 for the kit wired for the G3)), FS700 + SpeedBooster, and iPhone 5S for the last shot (FS700 batteries gone). Canon 24-105 F4L used on both cameras, same mic. Lighting (except first shot- only sun, no reflectors) was 2 6-element 'twisted bulb' high CRI fluorescent studio lights (sorry, don't have brand info anymore- they were low-cost) with diffuser material draped over lights. When the host (Elena) saw the iPhone 5S footage, she exclaimed "I like that better than the Sony!", lol. Getting good color out of the FS700 is possible, but takes work (other folks have stated the same thing- even with a 7Q it's not as good as Canon (or Apple!) color processing (from what I have seen online so far)). Here's 100% FS700+SB + Canon 24-105 F4L at F4, handheld with an HDV-Z96 LED light on camera. This was our first time shooting this kind of thing and the live audio ended up needing to be replaced with ADR (live quality was excellent with the Audio Technica 4029 stereo shotgun and Sony preamps, however the dialog had to be re-done). We used a Shure SM7B and a Focusrite Scarlet 2i2 for ADR (great preamps for the price- sold my RME Fireface 800* after getting this!), recorded directly into PPro at my desk in my home office (not a sound-treated room). I had not done this before and it was good practice (didn't try for perfect sync + some of the words were changed- kind of reminded me of old Clint Eastwood Spaghetti Westerns). * The Sound Devices USBPre2 has more accurate preamps, while the Scarlet 2i2 is a bit smoother and well suited for vocal recordings. The Fireface 800 is a great, very stable product, however I never liked the preamps (and while the routing complexity will blow your mind (in a good way), it's so complicated it will blow your mind (in not a good way when things don't work :) )). Here are the same clips on youtube: https://www.youtube.com/user/TheHotDishShow There was a time when youtube and vimeo offered similar quality- it's clear vimeo is now better (too bad as youtube has more social/virality features). We just shot another piece using 100% 5D3 RAW + Z96 light and G3 + OST-802. When we ran out of card space (2 64GB and 1 32GB Komputerbay), I pulled out the slower CF cards and continued with H.264. With good lighting I believe it will cut well with RAW, especially for internet delivery. I picked up this viewfinder and mini rail system for $130: http://www.amazon.com/AUTHENTIC-KAMERAR-VIEWFINDER-FINDER-NIKON/dp/B00EAXU6UM/ (says Nikon but works perfectly on the 5D3). I almost got the Zacuto for $300 but decided to try this first. I mounted a handle using the rails under the camera for balance: this setup works very well! Can't imagine the Zacuto or other brand would be any better in terms of optical quality and magnification ratio (2.5x)(Zacuto has anti-fog- not an issue so far in SoCal). Focusing wide shots is still an issue, even with ML peaking (have to punch in first). Really need an electronic viewfinder with full 1920x1080- I can easily focus when hooked up to an HDTV (no peaking even needed).

Shooting weddings on a BMPCC? I'd easily take a 5D for that... Better battery life, low light, easier workflow for quick turnaround, easier media storage, onboard mics that are functional (in case of emergency), more lens options w/ IS.

Just called a local dealer listed on Sigma's site and they had one left! They already shipped it and should be here in a matter of days. Local business saves the day.

it depends on the use, and on the overall equipment you have, i have invested in canon so all my equipment is best matched with my mark 3 lenses extra batteries,mods, also im used to the ergonomics, which i think they are great! if you are a semi-pro i think the mark 3 is an awesome tool, if you shoot weddings like me the mark 3 is gold, I have no use for 2k or 4k footage in weddings, it would just make things more difficult, time consuming.. if you shoot commercials then i think its worth going GH4 and 4k if you shoot docs then again go for the gh4 the mark 3 is a workhorse, for me, and its softness is fair for the faces of people in my line of work, and if you are an artist go get a mark 2 hack it with ML get some vintage lenses and go wild. the camera above all is a tool you are the one that makes it work. :D

Yep!

Forgive me if someone else has already brought this up, but what about dead pixels? For example: my 5D II has been aging pretty gracefully, but hot-and-or-dead pixels became impossible to ignore last year at the higher ISOs. When I bought my 6D, it had a few straight out of the box, but thanks to pixel remapping they disappeared immediately. Direct pixel-to-pixel recording in 4K is going to mean that if a photosite dies, you can't get around it in-camera. And at the high ISOs where the a7S is so awesome, I think there could be a huge risk of the image being spoiled by these little buggers, and possibly sooner than you'd think, which will make high sensitivity shots a massive pain every time you go into your NLE. I wanted so much to love the a7S—I think Sony is producing some of the best new sensors (D800, a7R, and yes a7S), codecs (S-log, XAVC), and all around cameras (I love the F55 and FS700 so much). Unfortunately, for my purposes at the moment, I think the GH4 is just a more usable day-to-day tool. I'll use the a7S when it's needed, but... Anyone have any other thoughts on hot pixels with this baby? @krisicwalsh

If you value a large sensor and raw over 4K resolution and workflow, then absolutely.

Thanxs! Just contacted my seller about the monitor. No I won't upgrade to GH4 as my camera is only one year old. I will use it for quiet a while. I'm not a person who upgrades whenever a new product is available - I think its over consuming. Bye the way not the camera but the person behind the camera defines if a film is good or not ;)

I'd be happy to put my name in the hat, as an ex-Uni Lecturer/BBC man - to keep things on topic, stick up for the small guys & the educational side of things & perhaps getting people to write stickies that would be useful/interesting to the forum community.

these types of cameras fall into a really confusing territory. Why would someone buy one of these when the type of work this product is aimed at is clearly undertaken primarily by people who rent. And why would a rental firm buy it when they can just rent out an Alexa, f55, etc out and know it will deliver to their clients continuously day in, day out. Come on black magic. Redesign the pocket with an evf, proper sized battery compartment for sony NP style batteries, CF card slot and user friendly interface and prores LT. Give us an all in one solution that can actually be used in small budget situations that works like a dslr. There are people who would pay 3 times what they are asking for the pocket camera if it worked like a dslr without all the flaws.