cantsin

Yes, but not with a focal reducer.

Yes, it is. I know that this is highly confusing. The whole "crop factor" and "35mm-equivalent" (meaning: full frame photo equivalent) mess is a historical legacy from the early days of digital SLRs photography. The first DSLRs only had APS-C sensors but were sold to previous owners of 35mm analog SLR cameras. These photographers used "crop factor" and "35mm-equivalent" calculations to determine how their existing SLR lenses would behave on digital bodies. (Since the 50mm lens you used on a film DSLR would no longer be normal focal length, but a slight portrait tele on an APS-C body.) When photographers adopted DSLR video, the "crop factor" and "35mm-equivalent" thinking partly spilled over to video/filmmaking, and created a lot of confusion because 35mm cine film is actually equivalent to APS-C, not to full frame (except for the rare format of 35mm Vistavision cine film).

No, only without focal reducer: http://www.abelcine.com/fov/ A 27mm s35 lens has an angle of view of 49.5 degrees. The s16/1" equivalent for the BM Pocket is 13.5mm. If you use a 0.71x focal reducer, you'd need a 19mm lens. (With a 0.58x Metabones Pocket Speed Booster, a 23.2mm lens.)

No, 27mm is 27mm. (FF equivalence is not used in cinematography. So when Fincher shoots 27mm on s35, he shoots 27mm on s35.)

Blackmagic's product development fundamentally differs from consumer brands and big camera manufacturers (like Panasonic, Sony and Canon) because BM has to design and build its cameras around off-the-shelf sensors made by independent manufacturers like Fairchild and CMOSIS. In this respect, BM's cameras are very much like other "outsider cameras" including the Aja CION, Axiom Apertus and Digital Bolex. (In fact, BM's first-generation 4K cameras use the same CMOSIS sensor as the CION and the Apertus.) Fortunately, BM still manages to survive in the market while Aja and Bolex have already withdrawn. Neither Fairchild, nor CMOSIS offer a 4K sensor that would fit a renewed Pocket camera and maintain the image quality of the old model. (The sensor built into the 4K Micro Studio Camera has 3[!] stops less dynamic range than the Pocket and the Micro Cinema Camera.) The Fairchild 2.5K sensor built into the first-generation BM Cinema Cameras, on the other hand, needs too much cooling to fit a smaller camera body. So it really doesn't make much sense to speculate on a BM Pocket successor, with a new sensor and improved image, if such a sensor isn't available on the market yet.

Made the switch from a Mac Pro to a $2000 custom-built i7/GTX-980 PC with Windows 8.1 (now 10) two years ago because I just needed a system for Resolve and Premiere for editing Blackmagic Raw footage. There was no sense in paying twice as much just for the sake of Mac OS. Resolve and Premiere run as stable and with identical interfaces and functionality under Windows. When you spend 90% of your time or more in the applications, the operating system doesn't matter that much. (And while the Windows desktop interface is uglier, clunkier and messier in its multi-layer complexity, it also provides excellent customization and keyboard shortcut operation, with the one or the other real-life productivity advantage.) We're objectively past the times where FCP7 was a de-facto industry standard and where Mac hardware and software was years ahead of anything else . Platform choice therefore is no longer "natural". Pragmatically, one should first determine the software with which one wants/needs to work and then the OS. If one needs FCPX or, say, Edius, then the software will naturally dictate the OS. For cross-platform software (especially in demanding scenarios such as native 4K editing and/or use of Resolve), and unless there are major productivity obstacles, it's become mostly a matter of bang-for-the-buck.

Exactly. (And you can still grade from there if you want to stylize the image.) The ca. $80 for the X-Rite Color Checker passport was one of my best investments. - Helps me all the time to get good color even in the most difficult light situations like this one, where I recorded a gig/performance in near darkness and had to push the CinemaDNG material to 12800 ISO:

They're only meant for white balance. A color like the X-rite in combination with Resolve chart gives you full color correction/calibration.

The best thing to do for accurate color is to shoot an X-Rite color test chart (photo or video, passport or full size - doesn't matter) and use the color chart matching function in Resolve. You will get 100% accurate and realistic colors, much better than any of Blackmagic's standard LUTs. If you don't edit and/or grade in Resolve, you can still use the color matching function, export the resulting color correction as a LUT and use that LUT in Premiere/Lumetri, FCPX/Color Finale etc. (Also make sure that your monitor is properly color-calibrated, for example with DisplayCAL.)

The frustration comes from the fact that Apple's MacOS products are declining like they did back in the early 1990s (before Steve Jobs came back), but there's no alternative that doesn't have its own set of drawbacks. Ten years ago - in the times of modular workstation Mac Pros, laptops that were years ahead of the competition and FCP7 -, buying a Mac was just a no-brainer.

Yes, the VideoMicro is a great performer for its price and always handy to have as either an improvement over internal camera mics or a smaller, battery-less backup for external mics. Here's a video I recorded with it:

I guess most people shooting video don't care because they never use autofocus. On the upside, the Sigma has a really good focus ring.

Maybe the only conclusion is that Sony's color science is majorly screwed up (with the terrible defaults, all the inconsistencies between different cameras, between JPEG vs. video, between the way the same settings work on different cameras etc.etc.). Picture profile fine-tuning allows to rectify the worst, but not all issues. With profiles like EOSHD's, you push color away from its weird defaults, but that can create other issues in other situations, since Picture Profiles can't be as finely adjusted as, for example, a 3D LUT. And finally, the 8bit color out of the cameras doesn't always give you enough room to fix things in post.

Pragmatic strategy: Use either Canon EF or Nikon F mount SLR glass as your universal and broad set of lenses. This should include all standard and exotic focal lengths (super-wideangle, super-tele, fisheye etc.) and special purpose lenses (toy lenses, tilt-shift, vintage/character lenses). With conventional adapters or focal reducer/Speed Booster, you'll get them to work on all mirrorless camera systems. If you also work a lot with autofocus and other electronic lens functions, get no more than 3 bread-and-butter lenses for the mirrorless system you currently use. These should be lenses you'll use in roughly 80% of all shooting scenarios. Be prepared to sell them again when upgrading cameras (and switching systems) in the future, and be prepared to sell them at a comparatively high loss.

That should work, although a recorder adds unneccessary weight and bulk (in comparison to a pure monitor). But I'd only do this with the Micro, not the Pocket, since the Pocket's HDMI port is fragile and soldered onto the camera's mainboard in such a way that a worn-out port will wreck the whole camera.

When you shoot raw stills, in-camera color settings/profiles (including EOSHD profiles) don't matter. Color profiles only affect JPEG and video.

Actually, when you shoot raw, your in-camera WB settings don't matter at all.

Footnote to the above: among the Canon APS-C DSLR and mirrorless cameras, there's no major difference. All of them use very similar sensors and produce pretty much the same video image ever since the Canon 550D/Rebel T2i: https://www.dxomark.com/Cameras/Compare/Side-by-side/Canon-EOS-M10-versus-Canon-EOS-760D-versus-Canon-EOS-550D___1048_1011_645

In any case, the video embedded in the article - even if the YouTube URL changed in the meantime - is still mute from 9:41.

No, Andrew wrote that he reuploaded.

Still mute from 9:41 (tested both on a PC and smartphone - and by playing the video file locally with VLC after using a YouTube downloader - to make sure that I didn't have an old version of the video in the browser cache, or that it was some browser issue).

Sound is missing after 9:46.

To which degree does it work with first-generation A7 cameras like the A7s?

Just look here: https://www.blackmagicdesign.com/support ...then select the respective software package (Resolve, Camera Utility), click on the "Read More" link and scroll down to "minimum system requirements". We could have spared us the whole discussion here.... (It says Windows 8.1 64bit or higher, as I had written here several times.)

@Simon, everything you write is correct, but nevertheless offtopic in this thread. Blackmagic's cameras and software only support Windows 8.1 and higher, period. If you want to use Windows 7, don't use them.