Jenkly

Good points there, I agree about all that. But with the 5200 you need an external recorder, you just doubled the price. I have a bmpcc, I have 3 studio 4:2:2 Sony cameras, I honestly prefer the grading and lack of dof on the bmpcc. Heck, it is 3x crop. Get a good amount of lighting in there and close your aperture. You'll need light for a good key anyway. And then you've got a sharp key and tons of color info. It does lack fine tuning with your key. All you have for that is a choice between film/video look and Kelvin. But it is still my choice under 2 grand. And that is saving you some money.

4:2:2 is all you need. It sounds like people are trying to give you the best here but not taking into account time management and affordability as a whole package. Most broadcast is keyed with 4:2:2 cameras. You still get definition around hair and fuzz. It is completely manageable. I would never go back to 4:2:0 after working with a live digital key, you notice the difference instantly. Yes the G6 is a great camera, yes it is adequate, but you are going to get more value out of the bmpcc.

Very nice, and they have now said that this calibration will be for anyone who wants it and there will be no termination on the service.     "Essentially, once we have the stuff required to do it, we can do it whenever. So, there's no real termination to how long we can offer the service."

Looking back at my lens purchases I wish I had bought the 12-35mm first.  It is a lens that changed my shooting style for the better.  Plus, once you get a lens like that, it will spend 90% of its time on your camera.  The 12-35 is sharp, sharp, sharp.   Consider following it up with the 25mm after.  It has gorgeous out of focus areas and is incredibly sharp in the center at f1.4.  In fact, I'd recommend shooting at f1.4 a lot of the time.   I'm not sure what camera you are using or what focal length is ideal for your next purchase.  However, because both of these are so sharp, they perform very well in Ex Tele Conv.  You've pretty much doubled the value of either lens with that.   You won't regret the purchase, no matter which way you go.

Ah, well, you can start by using a shutter speed of about 1/100th since you are doing 50fps.  That would help with motion.  Unless of course your intention was to twixtor it.  But yes, keep with a proper shutter speed according to your frame-rate.  Also, you are playing it back to us at 25-30fps.  If your intention is to just throw it online and have slow motion, you need to first conform it to 25fps on a timeline and then export it at 25fps.  Even with their 2.0x slowdown, Youtube won't do that for you.  Your footage looks pretty sharp at 720p, some color correction and getting that shutter speed under control might help your video look like those other ones that you have been watching. 

  I have to say, I'm right there with you.  The GH2 was my first 1080p camera, and now it feels like I was a bit cheated.  But I got some really wonderful footage out of it.  Only recently has it looked like it might look good with a for sale sign next to it.  I really agree with you about the industry these days.  There are too many cameras out there that excel at one thing and completely bomb at another.  I invested in the GH3 so that I could have the king of mirrorless cameras.  It has been a slow ride, but I've been nothing but happy with it.  And then Canon raw happens.  And now every friend of mine with a 7D looks like the smartest guy/gal in the Universe.  I even sent a message to my friend with a 5D Mark III to tell him that I bet on the wrong pony.  But here's the kicker:  he isn't going to hack his camera.  He is making great money off of the 5D right now and might lose out on some of that business with a modified camera.  (I might still try to persuade him!)   Once I heard that, I took a step back from this and looked at old reliable.  There she stood, with her black plastic body and said "Hack me again, we'll have fun."  As a side note:  I've been watching Upstream Color. :-)   I really think that you should go for the 50D.  You've made me think about it again.  There is some footage of a brick wall floating around on the forum.  It is interesting to look at.  Also, there is an anamorphic shot and a sharpened anamorphic shot.  I've been looking at it all day and I've come to my own conclusion about it.  But it is still early.  And there is a 95% chance that I will regret not getting one of these bodies while they are $450.  I do however remember seeing that it doesn't have audio recording on the body.  So all of that might have to be external and matched later on.  But that might be beneficial!  Seriously though, a 5 year old camera with above 720p raw.  Blows the mind!  Don't let me convince you otherwise.

Whoa whoa whoa! Look at some of the footage rolling off of the 50D before selling the GH2. Make an educated decision about it. If you can find the + or - $450 go for it. But you lose a couple of things on the 50D as a filmmaker. Truly groundbreaking, though. I've been watching this develop and have had my hand hovering over the "buy now" button. I think it is a very capable camera. But something hurts when I almost see a GH2 fly out the window.

I might still hold on to that bmpcc pre-order. That promise of CinemaDNG Raw later is really something.

I've been looking for a lens like this to make a film.  I really think the CA adds to entire vintage feel that I recognized in it.  And this lens just loves the sun.  I think it has a lot of character and would be great for a science fiction.  Not because of the flairs, but because of how displaced you feel by the strong center sharpness aided by the softness around the edges.  I know this is going to sound vulgarly experimental, but it is otherworldly and mesmerizing. So, if you are looking for some feedback, I really like where you are going with this.  It is a great prototype because it has attitude. 

My first Anamorphic video.  This is a lens test that turned into a vignette about a small park in a large city, Caesar's Park.   http://vimeo.com/64361609

Are BMCCs regionally different?  Or can I preorder one now and know that I am getting the same one as everybody?  Just curious, otherwise I will wait for BH to get them in stock.

  The clamp in your picture looks like one of Vid-Atlantic's XL Clamps.  You will probably need the smaller one for the Sankor.  I can't confirm that, however, since I've never dealt with those clamps before.

  I did a lens cap test.  (actually made a video too)  The noise/grain has a very consistent ascent.  I'm not sure how accurate these tests are but I remember watching one where they used the GH2.  This seems a bit more consistent. I hope I understood you correctly when you asked about trial videos at a lower ISO.  I know I already posted this response on Vimeo but I just wanted to reiterate it in case anyone else was wondering.  The Extended ISO does not seem to translate to video, only pictures.  But the ISO Increments option will get you more ISO between 200 and 6400.   Thanks for the response!  I've been watching your videos.  Wonderful!

  I'm not sure either.  I'd eventually like to compare them to see if the quality is consistent.

Here is a little tutorial for getting some extra ISO options on the GH3.  It gives you two more ISO values between the ones that came preset with firmware 1.0.  You just have to enable them.  I'm not sure how widely known this trick is. I keep seeing ISO tests showing off ISO 200, ISO 400...etc. and nothing between.  So, I hope this helps!   https://vimeo.com/62399018

I know in Premiere CS6 you can right click on your footage in your bin and have it interpreted at any frame rate that you desire.  If you are working on a 23.976 (or 24p) timeline, you can set 60p to 23.976.  This, to my knowledge, is the best way.   http://imgur.com/QYUR3or   And then:   http://imgur.com/n00MrD7   After this, you can drop in your 23.976 (24p) footage with no conflict to the 60p footage.  Dragging and dropping usually automatically wants to chang your sequence to match your footage.  I think that this might work better for you.

I wonder if they'd let me send them mine for an upgrade...  Looks like fun!

If you still feel unsure about it, you could visit an Apple store or other retailer with Mac Minis.  They may be able to help you if you bring in some GH3 files.  There are a couple of resources available on this forum where you can get some of the original files.

GH3 footage isn't always as heavy as some higher bitrate GH2 footage.  If you have a system that can edit GH2 footage, I wouldn't worry too much.   I've edited GH3 footage on a dual core.  It can be a bit sluggish and a little painful but it does work.  With the GH3 (as with any other camera released within the last year) I'd recommend a recent Intel quad core for smoother editing, 8gb ram (as a baseline) and a lot of storage (a few terabytes).  The system itself doesn't need the storage onboard.  With the mac mini, you can get a few external drives to store footage.  You can edit footage directly from them.  I wouldn't forget to add these into your budget.  An Invidia GPU may help you with editing depending on the software.    Laptops come in a bit underrated these days.  I do most of my GH3 editing on one.   The system that I use can handle the footage and then some.  My specs: Intel Core i7-3720QM, 12GB DDR3 1600 ram, Nvidia 660m GPU.  However, I will say that both of my systems have processors that cost about as much as a mac mini...so it might be just a tad overkill.   I think that a Mac Mini would work.  If it is a good price for your budget I don't think it would hurt to try.  I don't have first hand experience but I can tell you that I edited a lot of hacked GH2 footage on an Intel Core 2 Duo at 2.0Ghz without any assistance from a GPU.  And that was really pushing my luck.  But it did its job, and I got a few videos out of it.

A short test run with the Panasonic GH3 and my new favorite lens.   http://vimeo.com/56649545

A pistol grip can come in handy if you are in a pinch.  I would honeslty say the stabalization technique isn't much different from the GH2.  I keep a monopod with me at all times since I shoot mainly on legacy lenses.  QuickHitRecord much has it right.  The only time I obtain unusable footage is when the camera's movement is being influenced by the things he listed above.  On windy days while using my monopod I often resort to 60p.  I can grab footage from that that is very usable even when the movements of the camera are sudden and unpredictable.  It is one of the great things about high framerates.

When I reserved the GH3, I knew of this fault.  But I also worked an external monitor into my budget.  I can respect what Panasonic did with the GH3.  They gave us a lot and yeah, we lost a few things as well.  I can say with confidence that magnified focus assist is one of the best tools I have worked with for focus.  At the very least it is adequate.  I have shot some things that I thought were far above my talent with the GH3.  Even without this feature I highly recommend the camera to anyone considering the purchase.