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BREAKING NEWS! I actually just bought the GH4 and the Lumix 12-35 f2.8 I think I'll also buy a BMPCC in the next few months, now that I know I can share lenses between them! That is a wonderful revelation, brought on by my own stupidity! As for the Nikon, well - frankly I wasn't hugely in love with it.. it was definitely a workhorse and got me a lot more work, but want 4K and want to have the same lenses as the BMPCC without buying an expensive adapter... I know I'll end up buy an adapter in the future, but... I can wait! I just watched that video you made and it's GREAT! I really can't wait to start using log and grading properly. Totally inspiring! Thanks so much everyone! I really appreciate all the help, and dealing with my stupid! I will try and come by more often and maybe next time I can help out the idiot

Grats on that and getting the name right for the first time. Enjoy the new camera!

That would be the 3rd topic on the same thing...

So the BMPCC has a 2.88x crop factor compared to full frame. What this means is that you'll have a wider depth of field than you would on APS-C or FF sensors, as well as a narrower field of view when using FF/APS-C glass. This means you have two main options when it comes to your lenses: 1. You can use a normal/generic speed booster to reduce that crop factor to 2x, which makes FF doable if you're not a huge on focal lengths wider than 40mm, or a BMPCC-specific speedbooster, which reduces the crop factor to 1.67, which makes the sensor effectively just smaller than APS-C. The advantages of this option are that you have a wider assortment of vintage and modern lenses to choose from, get a stop more light (or 1 2/3 with the BMPCC-specific booster), and can give you the look of a larger sensor (which some prefer). The disadvantages are large lenses (which can be unwieldy on the BMPCC), expense (powered speed boosters and BMPCC-specific models are pricey), and no IS/AF on non-electronic lenses (which may or may not matter to you). 2. Buy native Micro Four Thirds mount lenses. Because they're made with a 2x crop in mind, they offer much wider focal lengths that murder you way less on the crop factor. You can get a Panasonic 12-35 (35-100 FF equiv.) f/2.8 IS and have an amazing all-rounder for only $550 used, or the amazing SLR Magic 10mm t/2.1 for a 29mm FF equiv. that's built like a tank, completely manual, and razor sharp from max aperture. The advantages of this option are IS/AF on Panasonic/Olympus/Sigma lenses, much smaller lenses, cheaper lenses (depending what you buy), and better performance (again, depending--there are exceptions). The downsides are that they won't affect the sensor size/look or give you extra light and can't be used on larger formats if you ever decide to switch. I lean toward option 2, because I like the option to keep my package small (heh heh), because I can use the same lenses on my Panasonic/Olympus MFT cameras for video and stills, and because there's some incredible glass in the MFT stable that I couldn't bear to part with. It's usable. Not great, but usable. I ordered a sun hood for the LCD (like the one recommended on DrewNetwork), which is the cheapest option to improve visibility, but you could also pick up a low-end LCD loupe or external monitor if you're having trouble. Definitely give it a try before you buy any of that stuff though--I've shot a music video and a short doc without any of it and done just fine. Definitely give it a whirl for editing. I started on Premiere and planned to just color correct in Resolve, but I'm finding the Resolve 12 Beta to be more than enough NLE for me. It's a personal preference thing; you won't know unless you try. In terms of color tools, Resolve is the most comprehensive option available. It can look a little intimidating at first, but the tools are deceptively simple. I've had good luck just watching some simple Youtube tutorials and playing around with footage. You'll get the hang of it in no time.

True. I'm shooting on the F55 tomorrow. Lucky menu day!! So the recent rumours suggest it has the "A7S" sensor... so the groundbreaking part is a camcorder with high sensitivity? I'm guessing they would exclude 4k 60p and have the highest frame rates at 100p in HD. It would also be interesting if it was 10 bit. There has been talk on this forum lately saying there is hardly any difference with 10bit vs 8bit. From what I've seen from my recent tests on the FS7 codecs - there is a MASSIVE difference. 8bit codec highlights in some shots had banding galore, heavy macro blocking and a mess of colour information - whereas the 10bit codec was clean and could be pushed around much, much more. My judgement of the A7S' low light ability is that it comes with very serious issues if used for professional work - mostly due to the sick cocktail of colour and the awful amount of noise, plus loss of resolution. The sensor in a more powerful, video-centric body might improve on this. We'll see eh!

Yes, CTRT, BMPCC is MFT mount, same as GH4. You can use your lenses.

This guy has made a series of fantastic vids where he looks at the work of major directors. This one is on Spielberg, but you should check out the others as well.

Hi, Matthew has written a review about the app on the Play Store, and he has a Note 5: "OMG! I've been waiting for an app like this for eons. Flat profiles, 200mps, 24fps, full manual focus (w/assist!), AE/AW locks. Realtime stats. Effective, simple UI. This is very close to my pro NX1. Works brilliantly on my Note 5. I now can use my phone as a reliable B-Cam. Suggestions: Grid lines, (like thirds) manual focus/zoom during record & focus/exposure peaking. Very, very impressed. Was using Cinema-FV5 but it's extremely buggy. Now I don't have to! Thank you! I got the paid version."

Th BlackMagic video assist is pretty neat. I hope they add a few hundred to the price and do a 4k version of it too.

Sony implementing a menu system that's easy to understand and makes sense from a user perspective WOULD be groundbreaking!!! They tried to hard to go the Alexa-style menu route with the F5/55 and failed so, so miserably

Hello, Resolve newbie here... Okay, I have searched, and searched. I have tried all the suggestions I have found, and I still cannot get this to work. Yes, of course, I searched the manual, and actually tried it. too. How do you desqueeze anamorphic video in Resolve 12 Lite, or can you? Background, I am using Canon 5DMkII Magic Lantern RAW video, exported to Cinema DNG, via raw2cdng.1.7.4 I import the Cinema DNGs into Resolve 12 Lite, I have tried adjusting the timeline, and the project properties with no success. What are the settings I am looking for? Thanks! I have ordered the adavanced copy of the book on Amazon for Resolve 12, and having a really hard time waiting on it, and the training videos, as I refuse to give any more monies to the arrogance of the adobe mismanagement...

Wow...some challenging conditions there, and the camera handles it beautifully. That DR, those colors (especially the reds and skin tones)...I'm amazed. It's like a completely different camera. The 8-bit is very good, but 10-bit V-LOG is a whole new league of image quality. *drools*

I mean, that's fair. All these letters and numbers are a lot to keep straight for non-obsessives. Hahaha It's so funny to hear what you decided, because I was just about to post that the GH4 was more of a compliment to the BMPCC than a replacement for it and that within the next month, I'll be buying a GH4 and 12-35 to go with my BMPCC and primes. Being able to share lenses between the two sold me as well. Congrats on the purchase, and keep us up to date with your experiences!

FANTASTIC thanks for the info guys!!! im gonna pick up a Note 5 this week

Aren't we all?

I'm very, very impressed with what I've shot on the RX10 II. I've just finished shooting a Christmas music video - all on the RX10 II. Slog2 is a great profile (when tweaked in the camera settings) and the picture quality under controlled lighting conditions looks really great. 100p is impressing me more, now I've got more practice with the lens, focusing and the peaking. Other than that it's great fun, delivers great results and shouldn't be ignored.

Nifty, we've got free grading software and now we've got more affordable panels coming too.

This could be a groundbreaking camera. According to sonyalpharumors, Sony is working on a camcorder prototype that has the same sensor as A7S - and of course internal 4K recording: http://www.sonyalpharumors.com/sr3-sony-has-a-4k-camcorder-prototype-with-same-a7s-sensor-and-internal-4k-recording/

The best Bauch & Lomb test in my opinion : Lol, that blackmagic black spot !!!

Can confirm... works without problem on my S6 and Note 5.

Just out of curiosity, would you not consider getting another Nikon D7200, since that's the camera you've used and the camera you know? I only ask because if it's a job, you want to remove as much of the unknowns as possible, and if you're getting steady work with the gear that you had, then you don't have to worry about having to learn all the new gear and work out a new workflow and all that stuff. For what it's worth I shoot a GH4, and I think that's the best value all-rounder package on the market right now. The 4K footage looks great, and being able to shoot 4K without the humungous file sizes is a revelation. It has really useful functions for video like peaking and zebras, the LCD works well in daylight and the EVF is really nice as well so you can operate without a monitor, the battery life is astonishing (I've shot whole days on just 3 batteries). For everything else it does ok compared with the other cameras it competes with. So it's not as good as an A7s in low light, but it's perfectly usable (assuming you expose correctly). The colour isn't as nice as a Canon, especially anything that shoots C-Log, but with the right settings on the camera and the right post-production process, you can get good colour from it. I've been using Andrew's GH4 Log Converter, and it's made getting great colour out of the GH4 a snap. Here's something I shot recently with the log converter: https://vimeo.com/137681905 V-Log is going to improve things dramatically on this front -- I had a look at the V-Log footage Nick Driftwood released and put Panasonic's V-Log to Rec709 LUT on it and it looks brilliant! If you expose well when you're shooting your post-production is going to be super-simple once V-Log is available. That little film was shot with the GH4 and the Lumix 12-35 f2.8, which is a nice combo that would work for lots of different circumstances. I also have a Voightlander 17.5mm f0.95 which is my go to lens for night time shooting, and a Metabones Speedbooster which lets me use all my Nikon lenses when I need to. Most of what I do is hand held, or I need to be fast and lightweight, so the GH4 is perfect for me. I think if I did a lot more video work (I'm primarily a stills photographer) I would look more seriously at something like a C300. But then again, maybe not -- you can buy a whole lot of lighting with the difference in cost between a C300 and a GH4.

Mattias's samples looked great! This is literally the only time I felt stupid buying a OnePlus One (but the Note 4 doesn't have camera2 either, so I guess I'm not that mad)

The device you want exists in the K1M. It just requires a little bit of extra work for it to attach. Sony have already given you 2 more options than any other DSLR manufacturer! And you complain because one of the options is a little brittle, and you can't use the device that attaches via a small area of electric contact points as a second handle..?

Here's this I shot on the sony f3 and fs700. And now more and more reason to rejoice -the fs700 and f3 price drops to now around 1k used - cheaper than the NX1 or A7S and better sensor, better motion, and it is such great news - thank you latest and greatest technology. Because I still think there is a lot of magic to be had from what you can do with the f3 and fs700 - and save yourself $3000 that you can put towards lenses or other things. The march to newer and newer technology makes the old stuff so much cheaper and with the same results.

You can always build up small camera with a cheap eBay rig and matte box if you want it to look more "serious." Also, I'm typing on my phone right now, so I'll keep this brief: the BMPCC is a very, very easy to use and grade. DaVinci Resolve 12 is free, and can handle RAW and ProRes without a sweat. Worst case, if you want a usable starting point, all you have to do is right click each clip and apply the BMD Film to Rec709 LUT, and boom--usable footage. I actually have a much easier time lighting, exposing, and grading BM footage compared to other cameras because of their huge DR and super robust codecs. The camera also requires a lot less accessories than people pretend. Realistically, you need a couple big SD cards ($100-200), a pile of batteries or external solution ($60-$120), and a lens. That's it. The other stuff can be nice, but it's by no means necessary. I'm a beginner as well (film school), and I'm finding the Blackmagic to be a powerful and straightforward tool to work and learn with. If you want more information, I highly recommend checking out Mattias Burling's and Drew Network's YouTube series. Both are extremely informative and do a lot to reduce the camera's intimidation factor. You can also feel free to message me. I'd be happy to answer any questions and even run tests, if I can find time.

S-LOG 3 and SGAMUT3.cine would make this camera a star. I don't think most people realize what a difference it makes in grading, but the color science with Sony's Type A LUT is very, very close to Alexa.

Why not make your own grade, not based on a exciting LUT. It has a couple of advantages the first being it’s your own grade, the second being that if you adjust it you adjust the grade and not add an adjustment after the LUT (deteriorating your footage even further) and third you learn a little more about grading or at least your grading software. I tried to recreate the ArriRec709Lut image I found on Driftwoods twitter page of the woman in the close up. Took a day or so …and later I found more efficient ways to do the same thing and eventually made my own version. Applied that same setting to the other footage as well and it seems to hold up just fine.

I really doubt it'll be full frame. The APS-C modes of the A7S and A7R II have performed better than full frame anyway, so why bother? Make a great S35 camera and let the FF nuts use a speed booster.

I just wanted to throw in my two cents of experience with Andrew's Log Converter. I've shot a couple of little jobs with it and it's been absolutely great for me. I transcode my footage to Prores with the LUT applied, and in the latest version of Premiere I use Premiere's 1DC input LUT in the Basic panel (made by the SpeedLooks guys), and choose one of the built in LUTs (I like the Clean Punch HDR) in the Creative panel. That gets me rich, punchy colours, and great skin tones -- really, cleaning up skin tones is by far the best bit about the Log Converter. The other thing I like about the Log Converter is that I can shoot a pretty contrasty look in camera (using Andrew's in camera settings), so I get a good sense of what I'm looking at. I find it difficult to get the mojo going looking a flat flat images, and I love that I can see a punchy image on camera and know that I have a reasonable amount of flexibility in post. Below is a screenshot from a job where I used those settings (her skin is a bit red because she had red brick walls on both sides of her). Of course, Your Mileage May Vary, but for me it's a total winner. Thanks Andrew!

Yep fair price. I guess if people think it's too expensive, they can always go off and buy another 4K internal LOG shooting interchangeable lens cinema camera for $1500. Oh wait...