Ben Prater

You need to chose your glass and stick with that. If you go Canon, you are going to start building a EF lens set. If you go G6, you're going to build a MFT set. It's almost like getting married! My suggestion: Go with Canon 60d or T2i/3i/4i/5i or 7d. Get whatever you can find cheap, they are all the same visually. Still photos on all these Canon cameras are superb. In fact, to really save money, see if your uncle has a Canon camera you can borrow for a few months. Instead, spend your $800 on getting some good glass. I'd suggest the Sigma 18-50 f1.8 EF. That's gives you a great range on any of the 1.6x crop Canon cameras. Eventually, when you save up some money, you can upgrade to something like the BMCC or BMPCC or GH3 and get a EF-MFT speedbooster and you'll continue to use the Sigma 18-50. If I were doing it again, that's how I'd play it right now.

This week Luke Neumann put up a video about Anamorphic. Later on, NoFilm picked up the article:   http://nofilmschool.com/2013/10/get-started-shooting-anamorphic/   I am in a similar boat with a couple commentors: I don't exactly get WHY anamorphic is a useful storytelling tool. Sure, I love the flares, they are cool. The crop is great, I love watching some films at this ratio. However, I can do flares and cropping in post.    The only clear benefit I see with anamorphic is that no sensor information is lost in the pipeline -- the lens does some nifty magic and covers the sensor. Extra data is always good. I'm a software engineer, I get that.   However, I feel there are two reasons why anamorphics may not have a lot of life left:   1. 4k camera systems are all in the pipeline. We now have a ton of data to work with and even more in the near future. Why fool around with a dual-focus anamorphic lens system -- when you can just shoot in 4k and crop the image in post and still retain HD level quality?    2. Everyone's TV set is 16:9. Everyone's phone is 16:9. Everyone's tablet is 16:9. Anamorphic is from a generation of filmmakers who could show films in theaters that supported this ratio. As a cultural thing, people don't "understand anamorphic", they just want their screens full of pretty images.   Andrew, you are the man when it comes to Anamorphic. Luke mentions you in his video. Am I missing something critical in this anamorphic discussion?

If you are looking for the best image -- the BMPCC wins. Consider what glass you own, too, in making your decision.

I found this little gem today:   http://www.youtube.com/watch?v=-joFyUcBIqk   Get on it Blackmagic! 

Thanks for putting this test together Andrew. I was surprised that the BMPCC did so well in low-light!

If you want perfect green screen, you need a RAW camera. Three exist in your price range:   BMCC. This $2k camera currently runs RAW and the picture is phenomenal. BMPCC: This $1k camera should have it's RAW firmware released soon.  Canon 5d3/ML: This $3k camera does RAW when hacked with Magic Lantern.   If you are new to the game, go with the BMPCC. It's compressed RAW will fit on SD cards. Soon, you should be able to edit directly in Premiere CC.

Hi Andrew -- great article. I've been looking forward to seeing what you had to say about this combo. Looks like it's a winning package. All 3 are on my immediately wish list now! Question: if I'm not needing this next week, do you think it is worth waiting for the Metabones EF-MFT adapter rather than buying the Nikon variation of the Sigma and Metabones?

I played with images for a few minutes in Adobe RAW. Lots of color information to play with. Looks great. However, I see a little color fringing in certain parts of the images. For instance, in the trees where the sky peaks through. Are these lens artifacts? Or does the sensor have really gnarly highlight rolloff?  

Spend money for the variable NDs. Put the IR filter behind it. You don't want to be screwing on-and-off filters, especially at a live event like a wedding. Especially if you want to keep your shutter angle consistent throughout. Did you get a shoulder rig to go with the BMCC?   Check Dave Dugdale's review of NDs, I thought he did a great job comparing them.

  Sweet. I'd love to see some footage on the long end. I'm curious how the bokeh turns out.

What lens? Sample footage?

OIS is an optical stabilzation -- so ultimately, it doesn't matter if you have it on-or-off if you are doing a locked shot.   If you are panning the camera, you might get some wobbles as the lens compensates for your movement, so in that case, you may want to shut it off.

Milan -- what is it that you really need in a camera? ML RAW or even BMCC RAW isn't the end-all, be-all. If you are shooting a documentary, you likely aren't shooting RAW. You can get a lot more RAW on a SSD drive than a CF card.   Do you have a budget for rigging, batteries and SSDs for the BMCC? Do you have a computer that can handle RAW editing?   It isn't clear what you really want and need -- so you may have a hard time getting a solid answer from folks here. Are you going to shoot RAW 100% of the time?   From what I've seen, RAW images on both BMCC and 5D3 are very similar. However, if you are shooting ProRes from the BMCC versus H.264 from the 5D3, the BMCC wins. 

I don't think you need a 100mm lens. 35mm is a terrific lens for your 600d. It gets you close to 50mm on full-frame. You could go a year without needing another lens. Use the hell out of it. Find out where it's strong -- and where it's weak.   Spend your $200 on buying a shoulder rig and a ND filter and start shooting. Here's a video that I shot with a 550d and a cheap 50mm prime:    https://vimeo.com/59777345

GH3 is a very good choice. You'll get stellar video, an easy workflow, cheap media cards, 60fps, and a headphone jack. It's the camera body I'm recommending to most people getting into shooting.     Pound for pound, you probably want to be looking at this zoom lens -- the Panasonic 12-35 f2.8. She's a bit pricey, but it'll be a core piece of your kit for a long time, if you are choosing to go with the MFT mount:    http://www.amazon.com/Panasonic-H-HS12035-LUMIX-12-35mm-Series/dp/B00843ERMW

If you have Kino's available and can dump enough light on the green screen, I don't see any problem. The goal with green: plenty of light, consistently lit, no spill from the greenscreen itself to the actor, and no spill from the green's lights back to the actor. (Maximize distance of talent from green, as much as possible.)   Otherwise, I think you are in great shape. The BMPCC is a capable camera, so if you nail exposure and focus, you shouldn't have any problems in post knocking out the green.

Interesting. Does viewing it in color make it seem less blotchy?

If you are looking for high-quality image for the dollar, the GH3 will win hands-down in this price range. It has a headphone jack, making this a standout from all the others. Additionally it has 60p, a lovely overcrank.   The T5i offers no real benefits -- buy a used T3i and invest in glass if you really want a Rebel. If you are going Canon, though, find a used 7D instead. (The upcoming RAW hacks for the 7D will make it a winner when you need high-quality B-roll.)    If you want the best image on a budget, the BMPCC will be the winner. It's high-dynamic range can't be beat for anything under $2k. However, it isn't the most usable package, so unless you love color-grading footage and buying lots of media, I'd go with a 7D or a GH3.

If you like RAW and solid images, and the C100 happens to be in the budget, you should probably be looking at a hacked 5Dm3. You get the best of all worlds -- a big image sensor, standard Canon mount lenses, RAW, and a fairly small package.   Otherwise, the GH3 is very capable and puts out better stock video than the unhacked 5Dm3. You get headphone jack and 60p. Right now, you can snag one at Amazon for $1000 new.    Also, you have the 7D as a potential RAW option, too. How are you feeling about the BMPCC? $1k and RAW soon. Very portable shooter.

Does anyone know if it's possible to use lenses on a rig like this that zoom and would affect the balance? Assuming you could wire a camera to remotely zoom, would it affect the rigs balance? Or can they actively compensate for payload changes?

If in doubt, get the GH3. (Does your budget include lens?) The GH3 gives you 60p and a headphone jack. Nothing under $1500 comes close. (Other than BMPCC, which doesn't do stills.)   The 60d/70d have no jack, and the image quality isn't better than GH3 or D7100. (They don't carry CF card slot so don't expect RAW recording.)   If you can find a good price on a used 7D, you might consider it. With the new RAW recording coming out, it could be a gem and the photo mode is stellar. 

First, I don't believe this is official footage from BM. Second, the clips are boring, but what is important to note is the latitude, crispness of the image, moire, etc. All the good stuff we like to talk about here in choosing camera systems.   So far, we've had the Brawler cruising around without locking the thing on a tripod -- so this is the first locked shots we've seen with the BMPCC. 

Some of the best BMPCC footage to date:   https://vimeo.com/71841230   In the comments, you'll find that the original files are available for download.

Looks like BH has updated pricing to match:   http://www.bhphotovideo.com/c/product/855879-REG/Blackmagic_Design_BMD_CINECAM26KEF_Cinema_Camera.html

Here is from the email newsletter Grant Petty just sent out:   Blackmagic Cinema Camera Price Reduction We have worked very hard over the last year to be able to build the Blackmagic Cinema Camera at a lower cost so we can reduce the price and allow access to digital filming to a wide range of cinematographers and photographers. We have done it and from today the Blackmagic Cinema Camera EF and MFT models will be reduced in price to US$1,995. This is very exciting and is one of the proudest moments of my life to be able to do this! I think people will be able to use the savings to invest in some exciting lenses and rigs to really boost the creative possibilities. The Blackmagic Cinema Camera is a fantastic design that's now well proven. The advantage of the 2.5K sensor is it has enough resolution to eliminate the bayer resolution loss of a HD sensor, but when shooting RAW it produces files that are too not to big to store and work with easily. It's a fantastic solution. All orders placed that have not yet been filled, can be reduced to the new lower price.