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Film will always have a place in Hollywood (I hope).... But for episodic tv production, Alexa rules. C300 is doing pretty well.... I think the Sony F55 will have an impact, but they somehow seem to keep missing the ball a bit, the F3 didn't really take off and the F65 is just too much camera for most. Maybe the F55 is the sweet spot?

the BMC shoots RAW so does the F55. SO you get the same picture with BOTH. ---------------------------------------------------------------------------------------------------- I guess the sensor and processor count for zero? As long as you have raw, everything looks the same, right?   If the GH2 shot raw, do you think it would look like Alexa? (Even though it's DR is rated at below 12 stops, in raw, compared to Alexa's 14.5).   Remember the Red One M? Shouldn't that have the same picture as the Red One MX? They both shoot raw, afterall.

I am used to it.... I have one on order! But you seem to be mistaken about what fanboyism is.... Fanboyism is generally a failure to see the cons of your prefered product and the benefits of other products. I think only one person on this entire article is displaying such traits. I have no allegience to Sony and haven't owned a Sony product since the EX-1.   I have a fair chunk of change saved up though and i will probably be looking to move to an Epic or F55 for the 4K and overcrank features that my work sometimes requires. That doesn't make the BMCC (that I will own) any less of a camera and i'm sure I will get lots of use out of it and make lots of cash out of it. But there is no shame in wanting (or needing) more features. If BM come out with a F55/Epic killer, I will rejoice. If not, I will look what is on the market and buy what ticks the most boxes for the best price.   Also, what do you mean you'd just pan slowly and speed up in post..... what if there are people in the shot? what if there are cars in the shot? would the viewer accept the reality of a cat running past at 300mph? :lol: I'd love to see you DPing a film like transformers.

Here is a rolling shutter test from a RED Scarlet, which should have a pretty fast readout, probably faster than the BMCC.   [url="https://vimeo.com/37522370"]https://vimeo.com/37522370[/url]   Do you seriously not see a problem with that? Now, you can say, well I don't pan like that..... Great, as I said right from the start, the BMCC is great for certain 24p narrative work. That's why i've ordered on.... Most of my shots are locked off or with very controlled movement.   But if you are shooting an action sequence, a train passing by, busy traffic, POV shots from a car... etc, etc, etc .... You will notice the difference with the F55.

You're beyond even speaking to.   No one notices jello..... :lol:   "There is not a rational argument to choose anything other than a BMC."   There is no rational reason to carry on this conversation. You clearly know very, very little about real world shooting.

"The truth is the Alexa / F55 / BMC footage all looks the same and your not going to notice any difference when you grade it."   So, 1-1.5 stops of extra DR are unnoticable? So, skin tone rendition is unnoticable? So, the unique qualities of an S35 sensor* are unnoticable? So, 16 bit is unnoticable? So, zero jello is unnoticable?   * Please don't come to me with the line that with the right lens combos, you can get the same look. Go find me an equivilent lens to this: [url="http://www.arri.com/camera/lenses/35_format_lenses/ultra_prime_8r.html"]http://www.arri.com/camera/lenses/35_format_lenses/ultra_prime_8r.html[/url] You would need a 3mm-4mm T1.5 lens that matches the quality of an Arri Ultra prime. Their 16mm lenses go to 6mm, but would vignette on BMCC.   I think everyone on these boards are supporting BMCC, but blind fanboyism will do them no favours.

I don't see how this converstaion is still going on.   The F55 is superior in every respect and that is reflected in the price.... and considering what it offers, the price is resonable.   The BMCC is fanatastic, but alot of DPs will need s35, higher frame rates, the extra stop of DR, the dual recording (HUGE!), 4K, 3D capablities, global shutter, pro I/Os etc.

So, if you had $40k and both cameras happened to be $40k... You'd take the BMCC?   I'm signed up for a BMCC, looks amazing.... But come on

Yep... for certain narratives and with the right glass.... You will get a similar look... Just like the F55 will push close to the more expensive F65.   But extra "bells and whistles" is not the right way to look at it, imho..... For some people, they are essential features.   One of the most overlooked of which is the service you get with a CineAlta camera. You can be shooting anywhere in the world and get fast customer service, parts or replacements.

If you only shoot 24p narrative and don't need to worry about rolling shutter.... then they may be comparable.   Other than that, the F55 is clearly a completly different beast and will likely be the shining light of 2013.   S35 Global Shutter 14 stops DR 1250 ISO base Amazing colour spectrum Ultra low noise 4K 60p 10bit 4:2:2 4K 60p RAW 16 bit (external) Dual recording 240p 2K mode Pro I/Os (audio, monitoring etc) Sony Service centers worldwide

[url="https://vimeo.com/54571154"]https://vimeo.com/54571154[/url]   Pretty stunning..... Both in narrative and production.... (download the 1080p version)   The F55 is the real deal. I expect it to big THE camera for 2013, unless ARRI go 4K.

I love Aaton for using the "like a cat on the shoulder" as part of their marketing: http://www.aaton.com/products/film/ :lol: only in europe

$100k+ I think.... but a beautiful beast of a machine with dual ISO sensitivities (100 and 800, i think).... From what I understand, that means you would get the full DR at 100 ISO and 800 ISO... depending on which base rate you pick (going lower than the base ISO usually hugely reduces the DR).

Neither camera shoots RAW internally.... Only via the bolt on module (which is surprisingly cheap). It does, however, shoot 4K, log, 10bit, 4:2:2 internally...... This is a huge selling point. Edit ready, filmic 4K. The reason Alexa has won the war over RED is that it is edit-ready..... It is just that simple (of course, both have amazing IQ). Sony have been very clever in being 1st to market (1D-C aside) with a 4K edit ready codec. Offering RAW for just $6K more is the cherry on top.

I'm sure most of you have seen this: http://www.youtube.com/watch?v=UB8ulHWBWsU Definitely has a special look.... Not excatly filmic, but not video either.

[quote name='EOSHD' timestamp='1353649568' post='22166'] I'm sorry, but WTF! How in any way is an SSD a compromise. SD cards are yesterday's technology, painfully slow and low capacity. Good luck getting that 1D C 4K footage off your compact flash in a hurry. [/quote] It's called giving an example, the SD was far fetched, but it is just an example.... I know plenty of people who will not even look at the BMCC, because of the sensor size. I know people who will not look at the BMCC because it will need rigging out and they like to be stealthy.

are there really 40,000 indie shooters who need 4K and have $6k in their pocket? The indie market really is not huge. I just think Canon should get a little more credit for being brave enough to be first out with a 4K DSLR. First out with a APS-H 4K cinema camera.... 1st out with a 4K system that can be setup to run all day for under $15k. They also have, by far, the smallest 4K system, the easiest to edit 4K system with broadcast ready codec and arguably the best low light 4K system on the market. If you forget about the 1D-X for a minute, can you really argue that the 1D-C is overpriced? It's a minor miracle. horses for courses, and sometimes the jockey is expensive... Just to get the horse to run 1% faster.

[quote name='FilmMan' timestamp='1353609623' post='22130'] Why can a new camera as the BMC offer a $3K camera with such good specs? [/quote] Because they choose to comprimise in other areas.... your good specs (and mine, incidentally) are another man's "why bother with such a smaller sensor?". Your "great, it takes SSDs" are another man's "damn, SD cards are so much cheaper, lighter and i have 10 already". Under $10k, you will comprmise, for now at least. The 1D-C is a very strange and unique entity, I personally think it [b]is[/b] value for money... a 1D-X and a 4k cinema camera in a tiny package with cheap media/batteries that can go anywhere. I can understand people getting frustrated that it is similar tech to the 1D-X and thinking it should be priced likewise.... But business does not work like that. I've been paying 200% more for 10% extra power for decades with high end computers and the like... Nothing changes there.... cutting edge tech costs (hardware or software). Pro features cost. Niche features costs.

How can you possibly know? Do you know how much software costs? rerunning circuit board? testing? They might have a target figure of 1000 sales to regroup that money. That is alot of cameras to sell to a [b]very[/b] niche market. Your problem here is you are putting mass market costs on a product with a very finite market. Yes, you could agrue that Canon could have launched this at $6k-$8k and made many more sales.... But, in today's market, that is not garunteed. $6k-$8k is not small change and would still be out of reach for the majority of people here. but overall.... If you are first to launch a niche product, then you set your own price. Overpriced? As of now, it is probably the cheapest 4K solution out there that could be used on a feature (kitted with battery, lens and media).

The 1D-C is in a league of it's own, literally no peers. A large than s35 DSLR that shoots cinematic 4K video onto cheap media with cheap batteries. If you can't afford it, wait.... But don't hate on Canon because it's out of the league of the indie crowd, for now. New tech, especially in a niche market, will always cost a premium. 5 years ago i spent $10k+ to lug around a HVX200 and s35mm adaptor, now i can get a better image out of a GH2..... Just be patient and enjoy the great cameras in your price range.... You'll soon enough have your hands on a 4K DSLR in your price range

Come on guys, it's not that bad and we know nothing about the sensor. What if it is outputting a nice, sharp, 12+ DR, lowlight, 60p, 10bit 4:2:2 with a flat, log style? All you need is a hyperdeck and you have a camera that is (potentially) better than a C300 and maybe an F3. Don't forget the NDs, XLRs, waveforms etc. For, what, $5k with deck and SSD?

I have a BMCC on order.... I'm not dissing it. But I am well aware that it offers some comprimises over, say, a 5DIII (for a similar price). That is my point... You have to choose what is important to you. I choose BMCC as I don't need ridiculous DOF and love DR, raw and the 10bit ProRes option. For my nature/landscape work, it ticks the right boxes. My brother, who is a stills/video professional chose the 5dIII for obvious reasons. Top quality stills, with good, aliasing/moire free video, for things like weddings. As Brian above mentions, 5-6 years ago, we were dreaming of a camera like the 5DIII and would have paid $10k easily. I was lugging around a HVX200 with a huge 35mm adapter and a $1500 tripod to accomodate it. When I view footage from my bro's 5DIII on a good HD monitor, i'm blown away.... I have to pinch myself to remember it is shot on a tiny DSLR.

all the same things that everyone was absolutly in love with a few years ago are still there, and they have removed aliasing, moire and will soon offer 4:2:2 uncompressed out. They are not as sharp as the GH2/3.... Neither of those holds a candle to the Canon's colour and DR though. If you are in the budget $10k or below range... expect comprimise. The BMCC has great features, but a small sensor and is not a stunning, professional DSLR... The RED One is a beauty, but a tank of a camera and will require $2k+worth of tripod and many $$$$ of accesories. Comprimises.

[quote name='charlie_orozco' timestamp='1351910767' post='20938'] Point in the matter being that the video is good thanks to the creator, not thanks to the camera. [/quote] Why not just save $3000 and use a compact or an iphone? Download the source file, play it through a HDTV... looks good right? No moire, no aliasing, sharp, nice colours, decent DR. "oh, but it's not sharp enough for a cinema release".... well "act of valor" earned over $4m at the box office, shot on 5DII. "oh, but you can't grade it to hell"... no, but you can grade it and the image out of the box is pretty damn nice. Just admit the truth, there is a huge, blind Canon hatred on here and, even when presented with quality imagery, you will still attack it.

[quote name='Bioskop.Inc' timestamp='1351872067' post='20879'] but thats not my thing. [/quote] Yep, if you are in the right enviroment for such a camera, you are not gonna get a better deal. S35, RAW, 12+ DR, decent low light, 4.5K, slo-mo modes..... Deal of the century! I just worry that all these guys jumping for BMCC are in for a hell of a shock when they see one fully kitted. Some people i know think they are not much bigger and heavier than, say, an F3. My advice is to rent or at least go and see one at the rental shop before you leap in. (I should keep quiet actually, more R1 owners = less wait for my BMCC)