LaneMc

I have no problem with Cinema5d posting a 40k cage. Many of us were creating video content professionally far before the "dslr revolution", and we continue to do so. Back in the day we could get a 5d mk2 and create images that were arguably better than the $30k video cameras of the day. But, since then the industry has moved on... and many of us have moved with it. We still like the smaller mirorless and dslr cams that produce great results, but as our careers have grown, so have our camera options. We have easy access to Alexa's, Reds, Varicams, Fs7's on down... Most pro jobs cover the cost of renting these cameras rather then sinking $45k into ownership anyway. As an independent producer I appreciate knowing what's happening across the entire landscape of digital cinema. All the shooters I personally know feel the same way.

Bought this a while ago and just finally got around to using it. I'm happy with the results. However, I shoot 16-235 instead of 16-255. I believe you're seeing highlight "recovery" because you're simply bringing the levels down to a 235 spec with the lut. I noticed it darkened my footage too much with the 235 setting. There is not additional highlight information captured in the 16-255 setting, but in post you must bring down the highlights to be view-able. (Maybe this has been said - i haven't read through the forum on this.)

I just like a camera to get out of the way. For me, the best one so far has been the C100 (Mark 1 or 2) - Doesn't need a cage. You can hand hold it easily without micro jitters. Great image. Super useful built in ND filters. (I really dislike external ones, I do find them too time consuming for my liking, and it's an extra thing you need to deal with. Heck, I don't even like changing lenses that much.) A 17-55 with a 70 - 200 is a great combo. I can handle run and gun and interviews without issue. Only drawback for me was the codec. It's fine for Web, but not for TV. I shot 13 episodes with a ninja connected, which I also disliked. The magic arm kept getting in the way or falling out of place. I don't shoot it anymore because I like 4k, but don't have a great replacement at the moment. Didn't like the C300 as much because it's bigger/heavier than I like. Same with Mark 2.

Yes... B&H is stating they should be in stock around March 9... plot twist indeed.

This is really disappointing. I'm in the market for 3 new cameras for a broadcast program shot in different locations each week. I have been excited by so much of this camera's form factor, ND etc. - but a crippled image / codec really takes this out of the running for me. This camera could have been a huge hit. Now I'm left thinking: FS7 - bigger than I want, color takes more tweaking than canon and we've got a lot of show to edit...Ursa Mini 4.6 - No ND's, not out yet, who knows the bugs we'll haveC300 Mk1 - No slow mo, but good broadcast image & form factorC300 Mk2 - Expensive, good image but cropped slow mo... FS5 would have fit the bill. Internal broadcast codec is a must - external recorders are too bulky for my needs. I wonder how many in broadcast would have jumped on the FS5? I'm sure quite a few have been like me, waiting, watching for the reviews and footage to come forth. My guess is they'll fix the bug - but we'll be left with the weaker codec. Unless... we get an FS5ii in a couple months... (kidding, kidding)

Andrew - which Herdwhite track is in the Nx1 vs 1DC video? I combed their soundcloud and cannot find it. Phenomenal track.

Anyone with any information on this topic, please alert the internet as to his whereabouts. Thank you.

I own a BMPCC and a GH2. I rent other cameras for gigs... C100, C100 mk2 and most recently GH4. All of the work I rent those for is corporate style paid gigs. I have some strong opinions on the BMPCC. It really is a love/dislike sort of relationship. When I began freelancing (after 12 years of being a media producer for corporations) I needed a camera. I bought a Sony Nex5n. Soon after, I replaced it with a GH2. (The overheating drove me mad on corporate gigs). My next camera purchase was the BMPCC. For months, it sat on the shelf - only getting used in one project. That project was a short film which I was producing on my own time. I didn't have to fit my shooting into a 2 - 4 hour window, like with many corporate clients. And this is precisely why it sat on the shelf - It was a pain in the butt to use for corporate work. 1. The LCD screen isn't great. 2. The crop factor is crazy! 3. Battery life... not fun. So now, it sits in my bag on every corporate gig still. BUT!!! I have a couple short films in the works and I will certainly go for the BMPCC. The image is LOVELY. I purchased the speed-booster (just factor this into your cost - you want it.) I also bought the Sigma 18-35 and a 50mm 1.8. You may also want an EVF. I bought a 5" LCD, but think I'll get an EVF at some point. You also need shoulder rig at least... The GH4 is really nice to use. It sits in the hand really well. The image is nice - but I really wish the image was more like a C100. It's not as detailed to my eye and the color science isn't quite as nice. But, it'll probably be my next camera purchase. For the money - its really great and the ability to crop in on the 4k image is good to have. BUT - I still would use the BMPCC for narrative work. And I mean - every time! (unless I needed a slow motion shot) So basically - in my experience Blackmagic is for narrative work where you have time to set up shots. The others (GH4 and similar) are for quicker turn around, run and gun, corporate work etc. Most corporate clients think DSLR footage looks just fine. But, in storytelling - the feel of the image really can add to the overall piece. And I would rather spend the time to have the image that I really love. That's just my experience... hope it helps.

Lovely! Nice grade on this. Admittedly, I was a little freaked out when she tried to eat the tree.

That's crazy! It's the same issue I found in the Sony Nex5n. When that camera came out I shot a short film that had a police car scene in it. In the edit I noticed the clipping with the blue flashes. Granted, those lights were quite bright, but after seeing your video, it's the same look totally. I had to bring down the blue levels to compensate on those shots. I wonder what this similarities are between how the A7s and the Nex lineup in video capture. We know it's not the codec... Makes me wonder if other cameras (like the fs7) will have the same issue. Anyone know if this is present in the f5 or, god forbid... the f55?

Anytime you make something outside of "safe" and "norm" you'll get critics. People tend to respond adversely to that which they're not familiar. Why does Nog say he's not a fan of this look? No freaking clue. What's not to like? ... or really, what's to like? I mean, the piece is 100% experimental with not plot, or story or point really. How can you have such a strong opinion about it unless you want to cause trouble? I don't mind it at all. Why would I? Is it great? Will I share it with friends?... nope. Do I hate it... no way! Actually, I kind of dig the music. If I was into checking out the low light ability of the camera with my friends I would certainly share it. But I'm not. I'll stop ranting......... now.

Great test. Thanks. One note... in the dynamic range test I believe the Blackmagic pocket would have done better if you had used the native iso of 800 instead of 400. Obviously doesn't change the results overall... but, you know.

The dynamic range just gets me on the GH4. I preferred the 5d in every shot. It jumps out at me in highlights mostly.

Yep. Totally see this as good advice. I don't know TAPTAP, but in reading his post - I get this point. I read the blog here all the time and have no issue with your opinions Andrew. I appreciate them. I can also differentiate opinion from fact within your posts without issue. My brain works without fanboy blindness. It's great really. But, others may not be so fortunate. I'm sure you'll take it or leave it - whatever, but I like TAPTAP's post. I didn't think he was saying "don't have an opinion" - just, make it a little clear where the facts end and the opinion begins. Either way - I'll still visit your blog.

DNxHD

Thanks for the footage. Always a great blog... I'm noticing quite a bit of micro-jitter on the opening shots. Would you say it seems similar to other DSLRs - or are you noticing it to be more exaggerated?

I just sold my 5N.  Stills were fantastic.  Really better than the Canon's my friends had.  Video was great too, but the overheating was far too bothersome to be able to count on it.  The kit 18-55 wasn't bad, although not tiny.  The 16mm 2.8 was quite enjoyable.     You could always go the SLR magic route - 35mm 1.7 for around $150 could be small, fast and fun! http://www.amazon.com/SLR-Magic-35mm-1-7-E-mount/dp/B007Y05I6A/ref=sr_1_5?ie=UTF8&qid=1377811413&sr=8-5&keywords=slr+magic

Fun fact:   If you take the letters after the "5" in this NEX series you get, "NRT"  a nice anagram for "Not Really Trying".

Did yours ship yet? The site still says it's on back order.

Yes, you're right.. Hate to overpay though. The $749 price with kit lens doesn't seem to be in stock anywhere. As far as bit rate goes, that doesn't concern me very much. Several very nice cams use similar bit rates, and they've been well proven.

Thanks for the review Andrew. Been eyeing this cam for a little while. I understand the benefits over the GH2 - but still feel the GH2 has a more cinematic feel overall. But, in looking at new cameras - I'm debating between the G6 and GH3. The lack of HDMI monitoring is probably aimed at getting those doing professional work to get the GH3. And thus - I'm debating between the two. In looking at the GH3 group on vimeo, it seems as though the colors tend to be richer out of that camera - although, admittedly there aren't too many G6 videos out yet. Also, owning a GH3 package may result in landing a few more jobs than owning a G6 package. For personal use... I like the G6 and all it has to offer. Currently in the states, ebay seems to be the only way to get a G6. GH3's can be had readily at major retailers.

B&H Photo has the G6 listed without 24p in the specs.  This is puzzling to me.  I called to verify the recording specs and the rep told me that the camera DID NOT shoot 24p.  Can anyone shed some light here?     B&H link here   Edit* Another rep said this is a typo on the website.  Camera is NTSC/PAL switchable.

Its funny that everyone screams "workflow" problems from the get-go.  Not too long ago we were capturing everything in real-time from tape... remember??  My film-school experience was that we shot on 16mm - had to get it processed overnight (while praying that your exposure readings were actually OK so you wouldn't have messed up footage) and then we edited on pre-final cut pro systems... meaning Steinbeck machines with white gloves and scotch tape and razor blades... And I'm not even old!!   In 2006 we were so impressed when we began producing tv with a big production company that had a TERABYTE!! of storage.   In my estimation - the color on this footage is BEAUTIFUL! - A drastic, marked difference that any non-pro can easily see.  Honestly, this stuff makes me want to buy a 5D3.  An option I would absolutely not have considered two weeks ago.  

_

Thanks Andrew. Have you noticed any increase in detail/sharpness with the Speed Booster? I am wondering if this used on the forthcoming Pocket Cinema Camera will increase its perceived resolution to be a close match for the 2.5k Blackmagic.