Alex Mand

yeah man, I've found it, but it's a hassle only review the footage on the external monitor. The client and the director will be a little far from the camera... I don't know why I can't review it on both monitors. Simply dumb thing...

That's the problem. When I plug the hmdi cable, it disables the option for monitor/viewfinder. I'm trying every single option, searching for something... No deal yet. EDIT: Actually found it, sort of. Just turn off HDMI info .Display inside the HDMI settings and the image appears on the external monitor. But there's a catch: you can't review the footage on both displays, only on the external display. Real bummer.

Hi guys. It's my first shooting with this cam on a set, actually I'm still working with the MK3. I'm testing the camera and trying to use the camera monitor/EVF and a external HDMI monitor but that's no option for mirroring the image. Well, turns out that when I plug the cable, the image shows only on the external monitor disabling the evf and the internal monitor. I'm looking for something on the menu, but there's no info on mirroring so both can work. I need to send something to the director and without the external monitor, this camera is pretty useless to me. there's nothing on the manual regarding this issue. Anyone solved the problem? :( thanks!

I was waiting for a new camera to sell my MK3 and the raw cards. Well, Nikon is offering something great but I've made my mind and bought an a7S. The slog2 oversaturated blue highlight is a problem for sure depeding on the situation and I think is really important to ask sony a solution for that. Indeed Slog3 seems to manage it. So be it, just sent en email asking them about it. People should do it also. Couldn't be that complicated to port it to the aS7. Other than that, the a7S is my camera of choice now for fast, low budget gigs. Just shot a small web content with just 3 small led lights on the streets and it was awesome! Could bump the iso so high and still work in F5.6. For a steadicam cam job it's priceless if you can't pay for an extra focus assistant. It just did the trick... Also using filmconvert with the F55 slog2-sgamut with good results. I few more tweaks but it's getting there.

I'm still impressed how good RED MX still is. Worked with it and an EPIC last week and the image just blew me away. It's such a nice sensor. folks can use it for years yet. And also MKIII can achieve wonders in RAW mode. I think its colour calibration is just fantastic. Really top notch and also details on the images are awesome. BM cameras come close of course, but I don't know, that's something in raw coming from MKIII that's in another league.

  Well, raw cameras like RED are used on daily shows as now the BMCC camera.RAW is intensive, yes. It's not for those who don't want to grade footage, but it goes beyond that. imagine having more, really more DR, using power masks and Keys to isolate or bring back blown highlights and really recorver the sunny sky... You can't do that properly even with a a C300 if not careful.   GH3 can't come close to a RAW camera...

Image... MKII Raw lol... Yes.. They'll freak out! And of course guys developing that will laugh a lot. Canon deserves this for lying about tech specs and cripping so badly MKIII... "this is SPARTA!!!" lol

U mad? of course not! lol they would instantly kill the C100... Even the C300 or the 1 DC.. why buy a C300 if you can buy at least 3 MKIII with a lot of CF cards???? and have a better image? lol

If this comes in a crop mode to MKII, you know, 1920x1080... lol imagine that!! A camera from 2008 now doing raw! lol!!!!! This will be the most amazing thing in years to happen!!! A full kick muay thai style in canon's face! lol

    It really depends where you live, people consider only US rentals, but in other places like Europe, South America, Asia, it can be hard to rent camera gear for a good price...   It's insane some prices. For example, you can rent a Red easily in LA, but try renting it in Spain or Brazil... It's expensive as hell and hard to find.

  ummm... I don't know but it's heavy... At least a lot heavier than Redraw from REDMX on 42 compression mode. And I'm not using any rocket card. I guess this can be a lack of proper codec support on adobe side... But man, this is a fine cam! if they did such a good job on this one, I imagine what will come on a V2 of BMCC. Bright days ahead for indie film makers!

  Never had a problem with my R1MX... Guess I'm lucky. lol   But seriously after a day of shooting I'm happy with the BMCC. I've seen folks talking highly about this cam and it deserves it! For me, it's not a red, but c'mon, it's really cheap for what it delivers.   My only complain is actually the cinemaDNG format. it's so damn heavy! They really should invest in some codec like redcode or cineform. It'll be hard to keep the storage ok. We backup all our raw footage and right now, for us cinemaDNG is not an option. We're teanscoding everything to cineform but not ideal.

Cripple more than the C100? Ok... A canon 7D on a C100 body... Got it! lol

We're testing the BMCC and the R1MX for an car advertising. The BMCC will be used on the car rig. From the first images coming from both cameras, It's safe to say you can mix footage with not much effort, but one thing I must say: You better prepare your pockets for Hard drives if you want the full potential of this cam. Man!! For us, it's better to work with red footage to keep the storage low. It's just massive how big the files are (pictures).   Our editor liked BMC footy, great DR! but it's had to edit without proxys... Red is a breeze compared. It's a good "$3000" camera, but you'll need hard drives, lots of them and a powerful machine to handle it or go proxy every time.   I'm a red user for some months, but BMCC is a great little gem. I still prefer the RED MX image, but it's big and clumsy. BMCC is small compared and it delivers a great image. It's a huge step for everyone coming from a DSLR. It's like jumping a canyon!    I'm curious what BM will do on the next versions of this camera in the future.

Bought my BT R1MX for less than 10k complete package with 40hrs. 4.5K, 120fps 2k, Red color 3 now, great sharpness, good latitude... Ok It will not upgrade the sensor in the future, but neither the F3 or FS700... Just shot an ad with it... Hard to believe I can afford such equipment for that money...

  No it won't...   this is an amazing camera... just overpriced.

 Bamm.. wrong. This camera is soft at 4K and to my eyes doesn't mach the resolution of RED M. We could argue about that, but I'm not the only one saying that...   I was talking about the image as a whole, sorry you are right... But my statment keeps as it is.   And I really hate that skin tones. Plastic...   well, you get what you pay... $12.000. NOT.

  Are you kidding, right?   Man, I have a Red MX and you can't compare Red to this camera... Really! First you want to compare redcode to this 8bit footage? Even with vimeo's compressed footage...   Ease of use, ok this camera wins, but the rest? far, very far...

I've been using REDs for a while. redRAW is a breeze to work with a proven workflow. I can edit with my laptop without a red rocket easily. Good compression rates. the only thing that botters me is the premium you have to pay for the extras. That's way I think bmcc is o amazing.   You can use your canon lens and off-the-shelf SSDs... And you're "almost" ready to go! At least on pro res, since RAW would need lots of storage.. Not good for me. If this thing had some sort of lossless compression like cineform ith would be amazing.   I'm not looking for this cam since it is so delayed. Folks from april still didn't receive it!!!! Also I got my Red MX and for me is more than enough, but bmcc sure seems promissing new tech... Perhaps a V2 with S35 and some compressed raw is the way to go in the future. Let's see what happens in 2013...

Ummm... It'll be a good battle between BMCC and the scarlet...I've been using Reds for a long time now and for me $4000 (more like $8000) is still a great deal for the R1 MX. Although it has slightly less DR than BMCC, it's sure a beast. it's a real contender, as well as the Scarlet, for the BMCC. Things won't be as easy and I'm really enjoying work with REDcolor3 and gamma3. Skin tones had a BIG improvement! On the other hand, let's face it. This little cam is a revolution! For $3000 (more like $5000 kitted) you have such a powerfull tool, it's just unbelivable! I didn't like MKIII look at all, it's just not in the same league. On the other hand I quite liked GH3 night footage even on highlights... ummm This camera will most certainly shake the pro market... lol Will be fun to see what the giants will do, cause they'll fall and it'll hurt...

Yeah man! Asking the right question! And is good to know that a company like canon still thinks their indie/pro market is completely dumb! April 2013 to release the new firmware for MKIII. That is a joke! Besides by that time we all will be shooting with BMCC. Images from that camera are just amazing. Really waiting to see the comparisson tomorrow between BMCC, EPIC and F65! Unbelivable camera for that price! And now here go 1D C overpriced as hell. This should cost $6000-$7000. Not 15k! I work with a Scarlet daily but is really good to see a camera like BMCC for $3000. Let's hope it solves the sensor issue soon and begin shipping it faster. Well... 15k for pros. Ok then. Pay it. I'm out.

This is my new B cam along with the BMCC. It makes a great M4/3 kit for nearly everything. And yet really affordable! I could buy those 2 cameras rig it, buy some glass to finish my lenses kit and yet it would be cheaper than a FS700... And probably buy a new tripod, Fresnels... Led... Amazing how cheap you can equip now with a good professional kit without breaking your account. And it's weird to think that just 6 months ago I was saving for a new scarlet cam... It just keep getting better and better! Great affordable times indeed!

[quote name='avrofilmvideo' timestamp='1346709291' post='17252'] It is subject for another time.. It is time for you to go to school now and study hard to be a real cameraman...if you do not understand term "crushed blacks". Also looking at other shots from other Video sample- this camera has problems with Highlights Clipping...that could be due to Internet Compression ... while i had camera in my hand for a while it was quite HOT...I have no idea how it will perform outdoor Down Under in Hot Aussie Summer. BOTTOM LINE IS,IT IS GREAT CAMERA FOR $3,000 as long as You have Glass Designed for it. Question is also, why do you need for Corporate or TV work RAW?? Decent 4:2:2 Codec(if possible 10 bit) is great. I would rather spend $8,000 on Sony FS700.. Good Luck to Black Magic and their customers...they are forcing other manufacturers to design better camera.. [/quote] Man... Crushed blacks on a RAW camera?? lol I think 13 stops of DR are not enough for you... I work daily with the scarlet and I think that 13.5 stops is something of interest for any company willing to go to the next level, things that only big budget project allow us. The scarlet is an awesome camera but is always rented for a number of jobs, but now I can do my own projects with the same flexibility I have working with Red footage, this is something amazing considering the price of BMCC. Crushed black you say. This is really hard to do with a RAW camera. You must be really amateur in lighting a scene to achieve that with such a powerfull tool. Here I'm not talking about sensor size or battery. This camera produce such an image on par with the scarlet and the MX that I'm used to work and grade... It's really an incredible sensor. We work with master primes on the MX but I think that the tokina will be more than enough sharpness wise. It costs only $3000 and comes with Raw and Pro res AND Da vinci. It is the best deal I could imagine right now... Also I got a kit of Zeiss ZF that I'm using a lot on MKII and will be a great pair with the BMCC. Great optics and affordable. Also Nikons Ai will be awesome too... And also the tokina... lol Don't get me wrong I just think that will see lots of broadcast stuff done with this camera.

I don't get this rant about the sensor size and batteries... Well… If your problem is the lack of a S35 sensor but you want 13 stops of DR and RAW, you can move to a RED Scarlet and pay $20k to rig it properly… I worked with one last weekend and it’s is an awesome camera but the redvolts last nothing, so I decided to work with the v-mount batteries on the back of the scarlet. The point is if I buy a Scarlet and want batteries to last I need the v-mount ones not so different of the BMCC. I really don’t get this rant about internal batteries. Alexa also needs external V-mounts too…

[quote name='Peter J. DeCrescenzo' timestamp='1346292773' post='16913'] Am I reading the C100's specs correctly: No 50p or 60p? At what list price? In 2012? I think the BMCC is a far better value than the C100 camera if video quality is more important to you than built-in ND filters, phantom power, and a 1.6 crop factor difference. I also think that the BMCC's true "killer feature" is not its ability to record uncompressed 2.5K 12-bit RAW CinemaDNG, but instead it is its ability to do that [b][u][i]and[/i][/u][/b] alternatively record 1080p 10-bit ProRes 422 HQ using "Film" (log) gamma @ 220-megabits/sec. ProRes 422 HQ is an industrial-strength, professional 10-bit 4:2:2 codec that can support [i]very[/i] high quality HD video. ProRes 422 HQ requires 1/5th the storage space and disk speed of the BMCC's CinemaDNG files, and ProRes 422 HQ log edits & grades easily on both Mac & Windows. The BMCCs 13-stop dynamic range is essentially the same using either format, only the resolution & color depth changes. CinemaDNG is perfect for projects and budgets that can support it, but ProRes 422 is ideal for everything else, and far superior to AVCHD and most other camcorder codecs. After seeing John Brawley's BMCC sample ProRes 422 HQ and CinemaDNG files that BMD has posted in their web forum, I think the camera produces spectacular results for $3K US, especially when you factor in all its features and the included industry-leading software. I'm sure that there are sufficiently well-heeled shooters for whom the C100 is a perfect match, but for shooters looking for maximum HD video quality using industrial-strength codecs, a solid set of professional camera features, recorded on commodity-priced SSD media, and including an excellent software bundle, the BMCC is currently the best value for the money, hands down. Cheers. [/quote] Right on spot! C100 seems to be a good cam but is really hard to pay that much money when you have the BMCC. Even the sensor that was supposed to be too small is showing really good shallow DOF when needed as guys from BMCuser are showing on tests. Also very very good in low light and build like a tank. The only issue I see is the battery but easy to solve... And with this spectacular image quality. This camera is so ahead of competition that is really hard to buy an FS100 or a C100. And c'mon it comes with a full copy of Resolve!