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Ed is right. I had to switch to BMPCC with my speed booster because the low light. Also, I shoot weddings in ProRes LT so the image isn't as strong as the 2k 12 bit raw from the Bolex. Realistically, it's a terrible camera to use practically for a wedding or doc. I think the c100 is the best wedding camera. All day battery life. Great high quality compression. Perfect skin tones. Ed is also right about the fact that most the stuff shot on Bolex is purposely narrative. Which means more care has gone into the lighting and composition. A good DP can make any camera look good just like a good musician can make any instrument sound good. My buddy just got back from Nicaragua where he was going to shoot a doc on C300. They wouldn't let him bring his camera rig into the country so he shot an entire professional project on an iPhone and a Nikon point and shoot camera and the client was actually happy with it. Don't forget that these numbers bit rates and sensors are honestly not as important as you think. If you make a killer film using whatever and a producer sees it and hires you, you'll have budget to shoot on Alexa or whatever you want and it won't matter what sub $3,000 camera you purchased. Just get something that is the best workhorse for you and will make you happy. To me, I prefer the look of Bolex to any RED camera. So I rent the Bolex on my higher budget stuff and I usually have tons of room left over for crew and lighting because a Bolex is super cheap to rent. Having grip and gaffers who know what they are doing is the real secret.

Threw this together this morning. Settings in description.

I don't see much evidence of massive de-saturation or heavy noise past 1600 here. 6400 sure, but it's honestly not past saving with a little Neat Video. What CAN'T be saved are those horrible artifacts on highlights. In the first scene, all the lights next to the pool have gone sickly, saturated yellow. Very videoy. The Panasonic's are neutral, more like film's would be. Look at the underwater pool lights in the second scene. 100% clipped, then a ring of pure cyan, then blue water again. There's no fixing that in post. Now look at the Panasonic. A smooth gradient from darker blue to aqua, then a gentle transition into soft highlight. It takes longer to clip too, which means it holds more highlight detail than the A6300 even at higher sensitivities--which I prefer, since I light most of my work. I agree that the noise grain has improved quite a bit, but it's not more than a stop, stop and a half better than the G7. If you need that, cool! You have another good option. But realistically, how often do people really need to shoot about 3200? Even the weddings I've shot rarely require more than 800-1600. The A6300 does have a certain sense of "richness" as it ramps up in ISO, but that might be the amber-magenta color bias fooling my brain. Hard to say without a better white balance. It's good to hear that some of the profiles have been improved. For people who prefer to bake in their look, that's awesome. But for video power-users and enthusiasts who are trying to squeeze every drop of performance from this camera, it's disappointing to have a LOG mode that's borderline unusable. Natural has the best color straight out of the G7, and it loses maybe one stop to V-LOG. CineD loses nothing to it, and has excellent colors with the Leeming LUT. So it feels like I'm losing out less on Panasonic by not using LOG than I am on Sony. Although...I guess I've never seen any empirical tests. Has anyone shown the difference in DR between SLOG and the Cine profiles? You could get 3 or so hours out of a GX7, and the A6300 certainly isn't smaller than that. I haven't heard much on the A6300's battery life, but does it top that? The G7 does 4 hours, and it has the same small battery. And once you've added several overpriced Sony spares, you're adding more weight and expense to the bag, both of which you were supposed to be saving with a Sony mirrorless camera. Ah, so you did see the word "native" in there. Eventually. :P Seems rather unwieldy to strap huge Sigma or EF glass to a tiny Sony body, and the AF won't hold up for some stills work. I suppose unlike Sony themselves, Canon does offer a nice variety of APS-C glass, which should balance reasonably well. Shame most of them are focus by wire, though. Sony's actual APS-C lenses are mostly either awful or very overpriced. The stabilized 35 and 50 are good (if sterile), but other than that....you've got a couple Sony Zeisses that are nice, and...that's basically it. You could get FE glass, sure, but paying $1000 for a 55mm 1.8 when Panasonic and Olympus sell portrait primes for less than half that seems silly to me. It definitely wins with vintage glass, though, especially smaller primes. No arguing that. And come to think of it, SLR Magic makes a few lenses in E-mount. No AF in that case, but they render and handle better for video. Unless Sony's improved their button customization, the A6300 should still require a healthy amount of menu-diving over the course of a shoot. By your own (and most other people's) admission, Sony menus are ass. I'll still take Panasonic for usability. Eh...maybe it's to do with S-Gamut, but I'm not sure this test was even shot in that and it shows mis-balanced color too. I'm guessing, like other Sony cams, the A6300 will benefit heavily from manual WB with a grey card. Look, I'm not trying to bag on Sony. This looks like a great camera, and the sweet spot for a lot of shooters. But when we have 2 or 3 different topics breaking down why Sony cams wow and impress out of the gate but ultimately fall short of their competition, I feel compelled to play devil's advocate. Thanks for the tests, Andrew. Eagerly awaiting any new footage. Cheers. Edit: Any chance of an answer to the two questions at the end of my last post?

Still my favourite is the 5D Mark II especially as it is now so affordable used (£650) Even without the Mosaic AA filter it's a beauty of an image and every bit as good as the 5D Mark III, if not actually even a bit more 'characterful' and less 'clean'! There's no need to even consider anything newer, they're all far worse... although the 70D with dual pixel AF is quite a lot of fun with raw. Problem is, the image isn't nearly as good as the 5D Mark II from all those years ago. 80D won't be getting raw any time soon I don't think. ML probably have moved on a bit to be honest. Canon had their chance to nurture something great... didn't...

Hey Andrew, I appreciate the response, and I'm glad you like the content Chris and I put out. We look forward your feedback on anything we produce, and I've gained a lot of useful information and insight from this blog and the message boards. However, I feel that essentially calling out the entire review community for being in Sony's pockets is excessive. If you were in North America and wanted to test a production A6300 before launch, the only way to do it was to fly to Miami for the press event. I wish that it was an option to have the camera shipped to us in Calgary for testing at that time, as I have other productions and a family to focus on outside of my TCSTV work. But the A6300 is such an important camera that we agreed to spend a few very busy, not at all relaxing days testing the camera out. You have to remember that this is a time when a huge number of enthusiasts pre-order their camera before launch, so these pre-release videos can serve a very useful purpose. Most of the other journalists and reviewers I spoke with felt similarly. I'm sure a few odd ones didn't use the time to properly test the camera and wrote puff pieces about the camera and G-Master lenses, but many of us spent 16-20 hour days trying to make sure we had accurate impressions. I'd hate to see all of these people lumped together as shills for Sony. It's a huge compliment that you see us as an honest, respectable source, and we appreciate you embedding our video on the blog post. Chris appreciates your beard-envy. We hope you keep watching!

The only canon camera before the 80d that was able to do 1080p 60fps was the 7d mark ii. i think they had trouble cracking it and it was to much trouble to be worth it. Very true but im not gonna lie, the 5d mark iii raw is stil my favorite digital image out there under 15k.

Alright, did some tests today. My observations so far: - G7 in 1080p 50fps in MP4 or AVCHD mode is 99% the same. So don't have to worry about that. Will just use AVCHD for 1080p then. - G7 1080p vs GH3 1080p with low ISO's is 99% the same. The GH3 has a bit more magenta in the colors and the G7 more green. Which one is 'better' I don't know. Probably the G7 is a bit more natural looking. - G7 vs GH3 in 1080p mode in low light and high ISO's: Starting from ISO 1600 the G7 starts to be really a lot cleaner. ISO 3200 and 6400 is unusable on the GH3 due to too much noise but the G7 is a lot cleaner. Might even be usable at 3200 and 6400! - G7 at 4k mode, downsampled vs GH3 at high ISO's. G7 is EVEN CLEANER at 4K mode. - G7 at 4k mode vs GH3 at 25p -> GH3 is smoked. I don't see any gain in DR however. The colors are slightly different but no big deal. Slight color correction fixes either. So the big improvements are cleaner high ISO's and of course better detail and no more moiré (!) at 4K mode. Too bad I can't use an external monitor with g7 but luckily it has focus peaking. So at least I can see the focus good enough on the small screen. I'm thinking now of shooting the wedding on the G7 as the main cam. Use 4K for 90% of the shots and downsample in post. Then use 1080p 50fps for the slowmotion shots. They look about 95% the same as the shots I'm currently making with the GH3 so I don't need to 'get used' or anything to what I'm seeing. Computer had no problems with 4 different types of footage on the timeline so that's great as well. I only need to find out how to make the Warp Stabilizer work on 4k clips on a 1080p timeline. It simply doesn't work. When I 'nest' the clip and apply WS it actually works, but it crops the image very weirdly and like 200%. Anyone knows how to do that?

Here you go, BMPCC TIFFs and D16 DNGs. REMEMBER: This was the old D16 firmware, with the old Matrix, therefor it must be switched to BMCC or preferably BMPC4K Gamma. Otherwise its very magenta. You can do so i Resolve or After Effects if you have the BMDFilm converter. http://www.filedropper.com/frames Here is something I did with them.

Aside from lowlight- and frankly you can compensate for that with fast lenses, I think the nx1 image is better. I have no plans to get a a6300 because if ýou have an nx1 and don't need something specfic that the sony has, there's no reason to. The examples I've seen don't do much for me. The test in my hands is always how well the image grades. Can I get it to where I want it, even when the footage isn't perfectly lit and all that? The nx1's 4k footage is pretty flexible, it's not raw, but you can push it around. I have no issue getting "cinematic" looking footage out of the color grade. The only thing I still struggle with is some of the darker areas can lose detail, a black level thing. I've been shooting mostly under the colorless slate gray swedish winter skies and frankly if I can get a pleasing image out of that swill, sunlight should be easy. The nx1's detail surprises me every time. It is too sharp, but that's way better than not being sharp enough. It's fixable. I've shot with both samsung and manual lenses, although nothing older, and the image is always stunning.

I wonder if Sony can implement the better codec as a firmware upgrade to A7R II / A7S II.

I picked up my A6300 this morning at Samy's in LA on the way to a shoot at an auto body shop and have been shooting with it (in Slog2 PP7) in place of my A7s. I did a quick and dirty sharpness test between 4K 24p, 4K 30p, 1080 24p, and 1080 60p. I also threw in a 1080p Slog2 frame from the A7s version 1. All images are on a speed booster (non ultra) using a Canon 24-105 F4L IS (wide open at reported f2.8) through a "Fader ND Mark II" brand variable ND. This is my doc-style work setup and now that I'm seeing the results I'll definitely be redoing this test stopped down a little on a different lens, with a less busy subject. Good news is that the 4K 30 mode doesn't seem to suffer from any weird image quality loss or additional noise compared to the 24p mode aside from the obvious crop. I was very surprised at 20,000 ISO that the shot has very little noise in either mode. Granted it's still daytime and I just applied lots of ND for a proper exposure, but I'm going to do more tests as night falls. https://philymack.box.com/s/3x7ge6qqeqgvsvj3z4t6e05oi7vc00a4 Overall, having a good time with the camera today especially because I was able to roll right into a gig with it, but between the 4K having a near-dealbreaker amount of rolling shutter (10-11ms more than the A7s II 4K mode) and the 1080p mode being a little soft, it's going to be a tough sell for me. You can definitely tell that the 1080p mode almost looks like a combo between the softness of, say, a 5D Mark III's video mode with the dynamic range of an A7s. I'm dedicating the weekend to tests and have rented a Sony E 24mm 1.8, a 16-70 f4 OSS, and a Sony E 35mm to give them all a shot. I've got plenty of A7s Is and IIs through work so I'm sort of debating whether I want to keep the A6300 for myself as a personal stills/video powerhouse or jump to an A7rII.

I have been shooting on BMPCC for years and have had some great experiences with the Digital Bolex. Sure its a really odd camera but there is some sort of mojo about it that can't be explained. Its got that Kodak CCD that is truly unique. I shot a shot film on it using their own Kish lenses and REALLY enjoyed the process.

I'd put the D750 on the short list for best hybrids. Then G7/A6300/NX1, then A7RII. If you already have the lenses, the D750 seems like a no-brainer. Shot on the D810, but video quality is almost the same as the D750: Don't worry about lens IS. Grab a cheap monopod; mine is solid as a rock and cost me $5. Combined with an LCD loupe, this style provides results as good or better than VR lenses. It's hard to give any more information without knowing more about what you shoot and how.

Also the Nikon D5500 does great looking 60p

This is a bunch of basic information about affordable camera support gear. A lot of people who are new to all this Blackmagic Pocket Cinema Camera stuff (or DSLR sized cameras), and folks who don't have much money to spend have been asking me about all this lately. I don't have a lot of time to do gear reviews, so I decided to try to cram as much information as I could into this one video hoping to answer as many questions as I can all in one place. Items covered in this video: BMPCC Cages Rail Systems Shoulder Rigs External Batteries Follow Focus Devices Matte Boxes Cats and Dogs Living Together Tripods Jibs Gimbal Carry Case *Note: The "one size fits all" cage I show here costs $149. I forgot to mention that. https://www.youtube.com/watch?v=hqzJlgPjL_c Some of the links I've been able to locate: "One size fits all" Cage - $149 Movcam BMPCC Cage - $323 Fotga Follow Focus - $170 Follow Focus Speed Crank - $13 Giottos Quick Release Adapter - $38 Offset Riser Clamp - $18 Cavision Matte Box - $99

The real suprising champ is the RX100IV - the slow motion out of this guy is beautiful. I am shocked by how good it came out. Mixed F35, A7S, everything - especially at the waterpark.

Yeah I agree, I have the 28, 40, and 90 and they all match in terms of look. Thought the 58 1.4 would be great, but aside from it's aperture it does not match the other lenses, and stopped down it reads as too sharp compared to the others, I like it for photos on my Nikon camera, don't enjoy using it as much on the NX1. Still need that 20mm to complete the set.

Didn't say that it did, as I assume these were already from such a set-up. But it's no grounds for actual concern. We only get to see just a hint of what's going on, we get an image, but not the full picture, if you know what I mean, so I'm hesitant to draw conclusions based on my pixelpeeping, which ultimately doesn't have to mean experiencing the footage in motion as it's ultimately envisioned will be come across like that. You can always take a step back if you need to broaden your scene, sure, that will however change perspective and how far your point of focus is (and in turn how it renders fore- and background. With a focal reducer, you keep that same vantage point, yet widen and brighten the image. Which makes the sensor plane in-line with where a S35 would be. With the de-crop you get back to around the thing you'd see on S35. So it does have some special mojo to it for sure.

There is no look burned. They are RAW DNGs. Just change them to BMD in Resolve and they go flat. They are just numbers at this point.

Heres the S%$& that bothers me though. Its the fact that I talk to my colleagues about Blackmagic or Digital Bolex (or now thanks to Ed the F35) and they all just look at me with a confused look on their faces and just tell me to shoot on a C100 or a7s and just call it a day. I don't know why but it just drives me insane if Im not constantly seeking after the best image to my eyes and I just can't settle on anything. Its an annoying problem for sure. Its also annoying when I get hired to shoot with other people who are all canon and Im the only one with black magic and I have to explain to the editor how to color it properly...

We are too similar dude. Except my wife keeps me in line and I can't spend the money :P haha!

You must shoot at ISO 200 (now 160). I shot Frequency with the Kish lenses too which were F4 only. It was kinda fun though. Constructing our lighting around those locked settings. Not ideal for most scenarios, but when done correctly, the D16 really has a gorgeous image. Definitely some mojo for sure that is very unique. But I digress...back to the original topic of this post....the 1dc and Blackmagic micro. I have heard that the micro just has the exact same sensor as the BMPCC...but it looks better to me. Do we know categorically whether this is a new sensor or not? Also, is a 1dc relevant anymore? I used one in Haiti and really loved it but the files were pretty annoying to manage. Shot a Christian mini doc out there on the 1dc. Enjoyed it. But it was several years ago. Its a brick of a camera for sure

I don't have the 75, but I do have the 58mm 1.4 and 90mm f3.5

Haven't tested this myself but I have seen this floating around in regards to D16 dynamic range: Shooting 200 ISO lighting for 400: 12.3 EV DR +5/-7.3 Shooting 200 ISO lighting for 200: 11.7 EV DR +4.2/-7.5 This is some nice older firmware D16 footage with some low light at the end.

Tech talk aside, this was a really powerful piece, you should be proud. Just bought myself an RX100 iv and I second it as a damn solid B cam and FS700 stand in.

Maybe you should watch it fullsize, fullscreen with your monitor at full brightness, then you'll be able to spot a couple of things... but the grab with the 'Police'-guy. Dang. It really doesn't get any better than that. Such striking composition, lighting, color. Everything just falls into place on that one.

Dang, that detail in the foliage around 00:07. You see every individual twig and leaf about crystal clear. And the fibers from that sweater. That's some resolving combo.

I wouldn't call it that smooth, his camera is all a bit all over the place. And the vertical lines of the building are a worst case scenario especially if you're look for the problem and know how to spot it. I still think the A6300 has a lot... But I also think RS is one of the more 'overrated' problems with these cameras. The NX1 has 90% as much, yet not so many complainants about it over the last year really. I've heard more people mention the banding. Yes small improvement.

Great AF for this kind of shooting. This video is also a good example of how the rolling shutter behaves while shooting smooth handheld. Discrete but real issues : even when the buldings dont bend too much, you can feel the jello effect. Is it possible to eliminate that kind of weird jello feeling in post with the Premiere tool? I think I never had that problem with my GH2 and Z5 so I've never used that correction tool.

Thanks Andy! Will do some testing soon and see how it compares to the GH3. Also, will see how my PC handles all different types of footage on the timeline. GH3's mov 50fps, G7's MP4 4K and G7's AVCHD 50fps. Sounds crazy now but that's how it might end up after a real shoot.

This guy is a wedding videographer in the countryside in South Korea. He has some interesting tests like this one: It's off topic but I'm in Korea and was watching his videos, so I was pleasantly surprised to suddenly see his video here.

Here's your 2-handle holders:

Sorry about the false hope, it was a parody on the Pocket summer sale:

Man, its the same sensor as the Ikonoskop A-Cam DII?! How did that pass me buy? Because that was one of the images that i really loved, coupled with the shape of its body. It just seemed to be the perfect camera for just picking up & shooting with - no rigging or evf/monitor needed! Such as shame it got discontinued - now if BM or someone does a camera with that form factor again, I'd jump...

plain old hd 1080p files 50p 1080p is only 28mb/s so its not as thick a file so be careful when you do heavy grades on it

Don't forget to factor in the price of a monitor though... And a cage... And... And... And...

Haha, then maybe to make it interesting again they'll do a repeat. In that case, count me in for one of those summer deals...

guys im in a place call it cgpersia where there are a lot of people crack program like premiere element 3d etc etc..i can open 3d and ask to this people if can help us to do somethink to this camera....

Yep. It sucks in Indiana too.. It was fine. I don't get it. I type something in the search bar and it contemplates your request now like its using the Dewey decimal system. connection level = God.

Hey Jordan No way! It kills me to have a misunderstanding like this I am an avid follower of your videos at The Camera Store, I absolutely love then I featured your video on the blog purely out of love for what you do and to draw attention to it. I'd have a hard time passing that off as my own!! Berlin might be cold but it's not that cold!! I do not have a stunning beard. I do not have Chris's strange accent either The PR comment wasn't aimed at you guys *At all* I get involved with the manufacturers and try to build a relationship, I go to the events organised by PR companies to try out the cameras early when I can fit it in, nothing wrong with this and all reviewers do it. I didn't realise you and Chris just got back from a Sony press event so it was a really stupidly badly timed comment on my part. No one can deny there's generally a subversive whitewashing going on due to so much PR in the consumer electronics world but YOUR reviews are NOT like that... I like to think we remain balanced about negatives and unbiased and thinking of our content rather than our relationship with the manufacturers and this is totally what sites like ours do... We shoot from the gut and we are outspoken. I can't tell you how sorry I am for this misunderstanding it is terrible... I'm up for a chat on the phone if it helps solve any issues Sorry - Andrew

D750 video is really nice. Easily on my top 10 list of DSLR style cameras. Its even top 3.

I think the D5500 may be my next camera. In some ways going back to a DSLR that only does 1080p seems dumb, but I just cannot deny that Nikon Flat Profile and it's clean shadows and great 60p.

I got my first message from Vimeo, whilst watching a video at 1080p, saying that is should change the quality. Never had a problem before (even after they implemented their new system) & now they seem to have crippled the playback even more! So they seem to have been taking even more steps backwards. I wonder if this is because I cancelled my auto payment? Hmmm, makes you wonder...

Exactly what Tito said about the fact that you can't spend loads of time & money on tests. Here's some of my stuff: This was a test of a cheap anamorphic lens I bought in a drunken ebay bidding moment a few years ago at Christmas time (Canon 60D + Iscomorphot S8/x2: This is Short film I shot for a friend, using the same set up (60D + Iscomorphot S8/x2): And this is a short sequence for another Short Film, which I didn't like at the time, but have now gone back to the footage and am editing up for a quasi fake Documentary (60D + Iscomorphot S8/x2 - aspect ratio/squeeze is wrong on this one)):

You have to be joking even testing for a bandwidth issue if that is your connection. That upload destroyes about 99% of peoples download. You could probably live-stream 8k with that connection. Its like a member of a swat team walking down the street saying "well I dont see any muggers". Basically the data rate of a vimeo HD video is about 4.8 megabit per second. If your connection is always above that you will never see this issue. Lets say your downstream is only half that, you would clearly need to stop the video and let half of the video buffer. The maximum buffer is now only 20 seconds, so anyone with a connection slower than 2.4 meg will not be able to watch from beggining to end a HD video that is longer than 40 seconds. If yout connection is 3/4ths of 4.8 you will need to buffer a quarter of the video, which means anyone with a 3.6 meg connection will not be able to watch from beggining to end a HD video that is longer than 1 minutes 20 seconds. Trust me, speeds this low are not uncommon at all. many rural exchanges in the UK are limited to 2 meg.

Where pots of gold hide and unicorns roam.

If Digital Bolex got a picture of Wes Anderson holding the D16, people would go nuts.

NX1 feels like the better bang for your buck unless you shoot a lot of nightclub stuff or wedding receptions. Or you could simply invest in faster glass.

And you think the camera is the problem? There are two approaches you can use If you don't plan to grade the image and just want great colour out of the box stick it on 0-255, normal picture profile, avoid raising the black levels or using gamma DR. Don't forget to remap 0-255 to 16-235 in post to get rid of the harsh clip to highlights and crushed black details. Or you can raise the black levels and use gamma DR then grade it, do all sorts... To say quality decreases is not correct. You can apply a range of very artistic looks to the flatter output.

I've just finished up a shoot using the Blackmagic Pocket Cinema Camera on a professional shoot, so I thought I would share my experience with the camera in this environment. (I will post the video when its finished up)   The Shoot   My business was hired to shoot a music video for a concept on Green Screen. It was a parody of infomercials, so the task was to film various models and comedic hosts demonstrating several very silly products. I was the DoP/camera operator, and we also had a director, 2 assistants, 2 photographers and  a make up artist.   The Gear The Blackmagic was mounted on rails in a Wooden Camera Cage, with just a Follow Focus. I had 4 x Sandisk Extreme Pro SD cards, 3 batteries, mic, charger and AC adapter. The camera was connected through HDMI to an external monitor. The green screen was lit with 2 Kino Flo 4-Banks, and the models with Kino Flo Diva 401s and Dedolights.    I would not recommend the Wooden Cage. Its just ok. The screw holes all over it make no sense. The battery charger was the worst piece of kit I've ever used in the history of video production. Cant remember the brand (begins with a H), but lots of companies are selling it with the camera as a bundle. You can put AA batteries in it and its so fiddly. It sucks.    Blackmagic Pocket Cinema Camera Feedback Whilst I was impressed with the BMPCC, I did have various issues with the camera - mostly with the lack of in-camera formatting and batteries. I will display these through Pros and Cons.    Pros + The build is solid and of high quality   + The back screen is nice and clear, a very decent size!   + Very simple to use meaning you can focus on creating   + Image quality is fantastic. Compared it with the GH3 in flat profile and the difference was staggering   + Skin tones are beautiful, very organic   + Not much dynamic range to see, but the roll-off was very smooth on the models   + The size makes it easy to handle and not a pain to shift around. Nice and quick.   + Zebras are very useful. Wish I had these on my GH3!   Cons - This camera eats memory cards for breakfast, lunch, and dinner! Used all of the 4 x 32gb cards. So the cost of running this camera at a professional level could be quite costly.   - Battery life is dreadful. The shoot was 8 hours long and we went through 9 full charges.    - No ability to format cards in camera. Completely unacceptable. We ran out of space, backed up the cards and tried to format one to exFat on a Mac. Camera wasn't having it. 10 mins left til close. So had to use GH3 for last 2 shots. Director wasn't happy.    - No indication of recording time left. No idea if 1 second left on 60 mins! Again, this is unacceptable.    - Auto focus is absolutely terrible. I don't use it much, but its useful when you are against time in a studio. Just doesn't work. Why bother Blackmagic? Your features HAVE to work.    - Focus Peaking is temperamental. It works, then sort of does, then doesn't at all. Maybe something wrong with this unit?    - Manual focusing with the Panny zooms seemed to be a lot more fiddly on this camera than on the GH3. It seems to be much more intricate and I have no idea why that is. The director agreed.    - No articulated screen. Its 2013. I don't want to sit on the floor or bend over in front of models to see the screen.    - Moire. Can't handle fine lines.    Conclusion Having only use the camera once for a studio shoot, its hard for me to give a full opinion on this camera - but from my experience there are some definite quirks that I feel are a major issue for its use in a professional (and general usage) environment for its target 'DSLR video user' market.    Ok, it shoots in 10 bit ProRes and has a beautiful image. It will shoot RAW soon. Its cheap. But...   For professional use, the fact you cant see how much recording time you have left or even format a card is a completely ludicrous omission and causes issues. Issues that take more time, more work, more stress, more stuff you shouldn't have to deal with in a camera. Blackmagic need to sort this out, it cant be difficult.    The fact the the camera is labelled 'Pocket' is mind boggling. Batteries constantly need charging, and its always a worry. If you were to really carry this round in your 'Pocket', expect to need a bagful of batteries. Or you are screwed.    The focusing area of the camera also seems unfinished. Auto focus doesn't work, and peaking just can't be arsed half the time. Didn't they test the camera, or is it a good-egg, bad egg thing with the production line?    My opinion so far is that this camera isn't completely ready for use in a professional environment, and is better suited as a hobbyist item for (very) short films. If you can afford lots of storage, 60 billion batteries and a ton of memory cards, and dont mind a few workarounds then you should enjoy it - its a cool gadget with a beautiful image that a video DSLR really needs.    Its very quirky and needs more work, which is expected of a 1st generation model. Lets hope for more improvements and a Blackmagic employee facepalm about essential little features that are unacceptably missing.    I like it. Its just a pain in the arse. Like my fiance. You might just have to put up with its issues just because its so beautiful ;)