IronFilm

Harass Nikon for news about the KeyMission 360 (and harass Nikon about **FINALLY** making a cinema range?!). See if Kinefinity is there?! See how far along the Terra 5K is ticking along. Pop into Aputure to prompt them about when is their Aputure D3 microphone coming. Find out pricing of the Sigma Cine lenses? Encourage Samyang/Rokinon to make a zoom! (an affordable S35 20-85mm T3 would be awesome!!)

Even though it is a story without dialogue, the soundscape is done really well!

Depends on what you're looking for and what you want. You could for instance get a Sony FS5 for less (which will also give you 4K raw with the Odyssey, & once stripped down would be a far nicer casual run & gun camera). An URSA Mini 4.6K or Kinefinity Terra 5K is also cheaper. So yes, the Canon C500 has had a big price drop, and almost kinda sort of is creeping into entering the start of the "ok good value" category, but there are still quite a lot of other good options out there in that price range and cheaper if you're wanting a 4K raw camera.

BMMCC and BMCC is not the same thing.

Yes! Now who wants to buy my soul so that I can afford a few 120D lights?

The big strength of the Canon Cx00 series is it was targeting the many thousands upon thousands of video shooters who started out with a Canon Rebel, as they'd then move up to a Canon 5D mk2 / mk3, but then after that... where did they go next? To a C100 / C300 of course! This is one of the reasons Canon can kinda ignore the competition and not need to push too far in front with the spec sheet (like say Sony does), as Canon has a *MASSIVE* built in market for what they bring out. This is a reason why the C100 mk1 and C300 mk1 was such a humongous success. However, we've come a long way since the 5D mk2 days (plenty of new shooters are starting out on a GH4 or a7S instead, reducing the built in market Canon would have for the Cx00 range once these shooters grow up. We saw how the new C300 mk2 struggled, leading to big price cuts), plus more importantly if Canon tries to bring out a camera which is too far outside where their "core" is then they'll lack the advantage of a built in market for it. Which I feel is a significant reason why the C500 wasn't as successful as they'd have liked, because the C500 targeted shooters that are too far removed from their "5D video shooters core" (unlike the C100/C300 which is a natural one step up from a Canon DSLR). The C700 is in the same boat, it isn't at all aimed at the Canon DSLR shooters. I fully expect in a short space of time we'll see big price cuts on the C700 just like what happened with the C300 mk2, as the C700 needs it if it is to be a competitive choice vs a Sony F55 / F5 or Varicam LT. Those cameras have been on the market much longer (thus are already more widely used and accepted) and are much cheaper. I don't see what is the killer features of the C700 which will justify its substantial price premium over those alternatives? Maybe I'm wrong and the C700 is worth the extra cost, will need to wait and see from user reports of how it performs.

Unless you need ***need*** the HDMI on the DR701 I'd skip that and get the F4 for sure, much much better overall. Or save your pennies and get the heaps cheaper DR70D (which is more or less the same as the DR701 but without the time code input).

Cooke did the right think and is making theirs for MFT as well, but swappable: http://www.43rumors.com/cook-minis4i-lens-range-will-available-mft/

The Terra body is so crazily small you can easily shoot handheld with it.

Yes get yourself something like a CAME-TV Single or their Mini 3.

There is a ***MASSIVE*** market underneath them of cinematographers who don't get to use Cooke's, Panavisions or Zeiss's on every shoot.

Yes, people are best to grade it themselves before judging it.

That is **VERY** strange!! As that makes it over a thousand dollars more expensive than the 28-135mm f4 lens! Which is itself is seen as overpriced (can very easily be picked up secondhand for a much cheaper price), https://www.bhphotovideo.com/c/product/1082051-REG/sony_selp28135g_e_pz_28_135mm_f_4.html

I think the BMCC MFT is an excellent camera! And better than many of the other alternative options. However... I struggle to see the point in it when I could instead buy a much better BMMCC for **less** money! :-o For me personally I think I BMCC MFT would have to be falling down into the $600ish range before I'd consider it to be a good solid almost automatic buy.

Why the hell would they make these for MFT but ***NOT*** make the mount be swappable by the user?? It boggles the mind. On the upside however we're now seeing a glorious explosion of options in PL lenses on the "affordable" end (although the Tokina lens is surprisingly expensive for its brand name). http://www.newsshooter.com/2016/09/08/ibc-2016-tokina-35mm-50mm-85mm-t1-5-cinema-prime-16-28mm-ii-t3-lenses/

The BMCC is such an old body now I doubt it would be covered by warranty. Why are you looking at a BMCC anyway? (hope it is MFT and not EF!!) I'd rather look into getting a BMMCC instead. edit: oh wait... just remembered the username, we've had this discussion before :-P

Aside from E mount being able to work for FF, I don't see there as being a significant notable difference between E mount or MFT when it comes to choosing one over the other. EXCEPT... for one very very big factor: MFT is open, E mount is closed. Oh, and also, MFT has far more native mount options for it than E mount has.

I don't expect BMD to announce any cameras at IBC, as it has always been at NAB that they do that. More "open" than that? A new open standard? Would be nice... but don't we already have enough new mounts! ha It reminds me of this: I've speculated before on mounts that BMD could use in the future, I think it would be absolutely fantastic if they adapted the sub-PL mount that Kinefinity is using. And having two manufacturers backing it would make it go a long way towards perhaps becoming the default standard used in the 2020's. http://ironfilm.co.nz/what-if-kinefinitys-kinemount-became-a-universal-cinema-mount/ As an owner of the Sony F3, I'd quite like to see the FZ mount have widespread adoption, but of course just like E mount that can't happen because Sony controls that. In my view MFT has the strengths it already has wide spread usage, and it can be used with S35 lenses as the JVC LS300 shows. I feel MFT is a good option in the short term, so they could for instance announce a BMPC4K MFT / URSA Mini 4K MFT "tomorrow". But in the long term (a year or three from now, or whenever) they should go with something like the sub-PL mount that Kinefinity is using.

Maybe they'll respond by making a camera that doesn't overheat.... but I won't hold my breath!

Perry Mulder on the Kinefinity facebook group (https://www.facebook.com/groups/kinefinity/) gave it a quick grade the sample footage to try it out:

This.

So? They're lower end models you're referring to, so of course they should be replaced by something better fairly quickly. Additionally the GX series is aimed at photographers, thus naturally their video specs should be easy enough to beat with a soon to come out new model.

It is natural for technology to progress forward every year.

I started out years ago as a casual hobbyist photographer (still am that), think it made the transition to filmmaking even easier as I understood a bunch of general terms already.

Zero excitement from me over this, except... this should apply pressure on the DSLR/mirrorless manufacturers to add 4K 60fps to their cameras. As consumers will ask why can't it do what their iPhone does already??