biginvegas

The 2X you refer to was designed for a widescreen immersive cinema theatre experience, here on Vimeo it looks like a bad crop. For budget filmmakers who want to shoot an anamorphic feature and project at a few festivals and then likely only get online distribution, 2X would frankly look ridiculous. 1.5X would be the ideal but I am really liking the 1.3X SLR from what I have seen here over the last many months.

S16 was adopted and adapted for television delivery in the 70's through the present, the highly influential NFL films still shoots S16 (as of 2012) to Walking Dead. If you shot a doc through the 90's for the BBC you used S16. S16 was kinda the 5D revolution of the day, as a filmmaker you sensed it was possible to make a film on low budgets. There is a tendency to romanticize the Bolex, truth is it was a nightmare to use certainly if you only had the spring loaded version. Like you said pretty much only used in film schools and hobbyists although great for animation. The 80's it was trying to get your hands on a 16mm Arri, Eclair npr (the great doc camera of the 60's) or the S16 Aaton to make your short films.

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Don't underestimate the student, hobbyist, amateur photographer with aspirations of being a prophotog who invest thousands of Dollars buying and upgrading their Canon DSLR's to shoot weddings for a living. DSLR's still make you look like a pro to a client.

What were the technical specs or reasons by going with 1:3X and not 1:5X stretch?

The taking lens and the adaptor are connected by a step up ring?  Missed that detail...

Not everyone is buying the BMPCC for feature work.   The joy of C mount lenses from CCTV's to Kern Switars is the great stylings they give for other applications, commercials, music videos, experimental etc etc.   And they are cheap. My collection of C mounts will never worthless as long as cameras like GH2 and BMPCc are made.

I picked up the Nikon 20mm 2.8 manual,the 24mm 2.0   manual and the Metabones SB for the BMPC and my GH2.  Will report back with some samples when they all arrive.    The Nikon 20mm 2.8 can be modified as previously reported by Metabones that it was incompatible with the lens.   I'm betting my future on the BMPC , Nikon glass and the SB so it better work! http://www.dvxuser.com/V6/showthread.php?310326-Review-and-Grabs-Metabones-Speedbooster-Nikon-F-to-M4-3-on-AF100/page5

http://www.hotrodcameras.com/lenses-optics/pl-mounts-adapters/panasonic-micro-4-3-af100-series/hot-rod-pl-mount-for-all-micro-4-3-cameras-pl-mount-only.html   Hot Rod make one as well.  I own it and its very well made.

Andrew, Anyone, reposting to this thread....   Have more information on these CCTV lenses for possible use on the BMC Pocket Camera? I have emailed them for a price quote, but know they are not cheap CCTV lenses. http://www.qioptiq-s...es/MeVis-C.html   They were used on this Ikonskop shoot as well as sequences of Slumdog Millionaire. https://vimeo.com/36804057     As the Ikonskop sensor is a S16 in theory these lenses should work fine with the BMCP? Ikonskop is a 2/3" sensor (10,6x6mm) as compared to the slightly larger true S16 BMCP sensor....     US$ prices on quote I received: $2,541 each = 0020-005-000-40 MeVis-C 1.8/12    2/3"       $1,349 each = 0020-004-000-40 MeVis-C 1.6/16     2/3"         $1,059 each = 0020-002-000-40 MeVis-C 1.6/25  1"

Andrew, Anyone,   Have more information on these CCTV lenses for possible use on the BMC Pocket Camera? I have emailed them for a price quote, but know they are not cheap CCTV lenses. http://www.qioptiq-shop.com/en/Precision-Optics/LINOS-Machine-Vision-Solutions/LINOS-Machine-Vision-Lenses/MeVis-C.html   They were used on this Ikonskop shoot. https://vimeo.com/36804057   As the Ikonskop sensor is a S16 in theory these lenses should work fine with the BMCP? Ikonskop is a 2/3" sensor (10,6x6mm) as compared to the slightly larger true S16 BMCP sensor....     US$ prices on quote I received: $2,541 each = 0020-005-000-40 MeVis-C 1.8/12    2/3"       $1,349 each = 0020-004-000-40 MeVis-C 1.6/16     2/3"         $1,059 each = 0020-002-000-40 MeVis-C 1.6/25  1"     Back to Product

Long time GH13/GH2 user but was not taken with the Gh3 and BMC.  The pocket BMC is the no brainer replacement.   A grand, you kidding me?  Just checked specs on my GH2 DCage and the pocket BMC is 128mm to the 124mm GH2.   Durn it, don't think it will squeeze in.

[i]we go to the cinema to dream, not see things too clearly.[/i] Love that comment by the way. Andrew and y'all, you've all lost your minds. We are living in the cinema digital age generation, it has begun... this is  fun , I love reading about new technologies, latest camera and equipment designed to make that picture of yours just a little more cinematic but you have to jump into the deep end of filmmaking, sharks and all. Work with what you have and use the look from the specific camera and lens [i]you own[/i] to tell your story.  There is no Hollywood, broadcast bias or cabal  telling you your shit 'aint good enough because it was shot on a GH2.  They don't care, they want authenticity and courage from you. This film in Berlin last year was shot on a 7D, one lens, a monopod, crew of one, zero budget. http://www.youtube.com/watch?v=zCBRhgic2Jw The filmmaker lives in Calcutta... My point is Andrew, can you use this unique platform of yours to mix it up just a little!

ok so was looking up comparing specs with the BM and  my favorite cam out there the Ikonoscope A cam D2 ( here is a fine video to show you what it can do with Linos machine lenses https://vimeo.com/36804057) now the Ikon shoots 1080 RAW right as opposed to the 2 1/2 K sized Blackmagic? Now looking at the Ikon 1080 16 sensor 12 bit from that video ( yes it graded) why the insistence on 2 1/2 K as the holy grail for cinema?  The Ikon is a $9k camera that should be  sold for less but I get their philosophy and limited output, these Scandinavians aint getting rich off this cam.... but 12bit RAW, I mean wouldn't that be a real option for  camera manu to deliver at even better price?  The form factor on the Ikon as a cinema camera is just stunning BTW as compared to the BM alarm clock.

this is the final quote from an article by Michael Murie in Filmmakermag about 4k that pertains to 2 1/2K as well and why buying this camera for most filmmakers is even at $3k a waste of money. http://www.filmmakermagazine.com/news/2012/04/the-empire-strikes-back-canon-goes-4k/ [i]It’s ironic that today we’re salivating over 4K cameras, when the reality is that many of the current HD camcorders haven’t been pushing the resolution that can be stored in a 1920×1080 frame. With the line skipping, debayering, and other processing, it’s often difficult to tell the difference between 720p and 1080p images. I can’t help but think that the majority of shooters buying 4K cameras over the next couple of years will be upgrading their computer systems, storage and archiving systems to deal with the large amounts of data these 4K cameras will produce, all with the ultimate goal of producing a more detailed and vibrant HD image, rather than 4K deliverables.[/i]