Mattias Burling

I woulnt have a problem using a c100, bmpcc or some other non weather sealed camera in south america. Im sure you have seen lots of docus and movies from djungles shot on everything from DSLRs to s35mm film cameras. Non weathersealed doesnt mean "made out of paper". One just needs some comon sense and creativity. Plus, rain covers exsist and are not expensive.

Most of the widely used run n gun cameras arent weather sealed.

Thats what many of us have said since its release. I don't even use a loupe and think its a great Run n Gun cam. You can save a lot of space by using proves when appropriate.

And even more importantly, the audio.

I can get a F3 with media included for less than $1000? I know they are cheap but I have never seen them that cheap. $1500-2500 is the cheapest I've seen. What gets me down with the F3 is that I only know two pros that have bought the F3 for their productions. They don't know each other. And when I asked them about it before getting the BMPC4K, both said they regretted buying it. One because of form factor and the other for IQ. It was one of them that later sold it for $1500. I remember that, plus seeing a side by side of the F3 and BMPC4K that made me go completely cold over it. Today it might be different, if I could find one for $1000 I would get it instantly to at least try out and see what the fuss is about

When Auto Focus gets invented I will try it. But to be serious there are times when AF can be usefull. On small chip camcorders it can be nice. In selfie mode with good face detection. Just to name two. But there is no such thing as Automatic Focus.

For me thats the important question. A BMCC might get me the best image I can produce.. scratch that.. Film gets me the best image I can produce. A camcorder get me a very nice image, but it does it so fast and easy that the quality drop is worth it.

My point exactly. But still, I would choose the camera within my budget that made my job as fast and easy as possible without skimping on the quality.

For panoramic ambient sound I had great success with the XC10 and Videomic X. All tests are XC10 and auto levels with 0db gain on the mic.

I to was after some sort of Cinema/Camcorder hybrid. The C100ii of course came to mind or the now sub $3K c100i. But the JVC always intrigued me, it seemed to fit the bill perfectly but still people wasn't buying it. I kept my eyes on it and when the first Lowlight footage from J-Log came out I just had to try it. Now when I have been shooting with it for a week, and love it btw, a few thoughts and questions about the market surfaced in my mind. I thought that the lessons from the initial bad reviews of the BMCC and C100 would have taught people to not let specs blind them. But maybe more importantly, don't let their feelings about brands get in the way of the results people are getting. Its like when people say "Nikon is bad for video" based on what reviews said 5 years ago. Same with the BMCC, "Philip Bloom says you can only shoot for 30min with a huge rig and no SDOF". But we all know thats not the general truth. A guy on this board just said, "JVC footage looks like news" when he has only ever used a t2i. My suspicion is that the reason we aren't seeing more reviewers giving the camera an actual chance is because its a JVC. They might have been big back in the days, and thats why the reviewers so far has been traditional "Camera Men". But a s35 is mostly interesting for the cinematic shooter, and they/we aren't used to JVC. Just look how long it took before Sony and Panasonic was widely considered an option over DSLRs. Or the faith of the NX1. And speaking of Panasonic. Does a day even go past without people shouting for a AF200? Well, why wait, its already here. It has the 4K, 4:2:2: LOG, Improved form factor and soon HFR that the AF100 users wanted. Plus a cheaper initial price. Plus a s35 sensor.. with the m4/3 mount. And Panasonic owns JVC.. What are they still waiting for? Lastly, I could buy it just for the satisfaction of owning a camera from a brand named "Japan Victor Company" I know NAB is close but Im pretty set on getting a LS300 anyway. I simply don't want to give it back. If you know me Im a vintage lens junkie, and there isn't a better camera to satisfy that need on the market. NAB for me will more be about a B-cam or 4K recorder. Speaking of B-Cam. Given that a B-Cam imo should use the same lenses and do stuff that the A-Cam doesn't, I currently have two great options. BMPCC, Brings a small form factor so that it can always travel in a pocket of the bag. Ads a second angle, Raw and the super stealth, given that the LS300 might raise eyebrows in certain situations. It can use both the MFT, all the vintage and EF lenses I have. 5DMark3, Can only use the EF lenses and some of the vintage. But it brings Raw, FF, Stills, even better lowlight and semi stealth. So if NAB doesn't bring another Raw option to use as B-Cam, my 5D3 might get to stick around or be replaced my a BMPCC. (PS. For the love of god BMD... A BMPC4K with an active MFT.. I can crop the sensor in post for you.. instant buy.)

I agree that most modern cameras are just fine. But I dont agree that skin tones are the "least" of the problems for shooting interviews. If I where using it for interviews it would be my number 2 priority after audio. All the cameras produce the frame rate and resolution needed. Handling and build isnt very important for locked down interviews. The only two specs to care about is audio and skin tones

Sounds like a top priority issue.

Ive never used an IR cut on the pocket and never had an IR issue. It depends on the ND.

Same here, 64gb is 12min HD 16:9.

I only have a smart adapter. But you can bet Im pretty curious to. Im 99.99% sure it covers the sensor since an MFT mount is wider that s35. The question is if the edges would be just a distorted mess, given the optical designer probably didnt care about the area outside the intended sensor. A Speedbooster would however let in more light. So having one would give you the option to trade sensor size for light with no loss in resolution. Also the cameras sensor size is variable. If the SB on s35 looks bad, it might look great somewhere in between.

Ahh, with a plugin, I thought I had missed something, bummer. I use Raw Magic to create lossless compression. Works nice and fast.

You can open MLVS in Resolve or FCPX? That would be nice.

Equal or greater Dynamic Range, a million times faster workflow. Trade of is softer and less ability to grade as well as no crop mode.

I think Zaks was better.

Funny thing is that it already had an awesome crop mode in Raw. Imo the nr1 best feature of the 5Dmk3 raw.

I also have the Xume adapters and they arent faster nor better imo. But if you need a speed booster, have a Canon, etc they of course makes more sence. No problem with reflections or color. Very high quality fader.

Yes its J-log. Its a mix of Impulz Fuji and Kodak Gold. Last shot is ungraded. No but its in pretty lowish light at the end and it looses fine detail at very gain/iso (like most 8-bit). Other than that Im pleased its a detailed but not "digitaly sharp" image. Shooting rec709 or Cine with sharpness up will give you that. I get excited from using it. Ive always loved this form factor and level of controls.

Not exactly useless imo since on a Sony its probably 1% of the time I would need to do that. And changing the adapter is 10 times faster and easier than unscrewing a filter.

Next order of business I know I said I would shoot more vintage. But the Metabones Smart Adapter side tracked me. Received it today and the first thing I did was to make sure the stabilization in my EF lenses worked. I also, even though I rarely use it, tested the auto focus. And I was quite surprised. It was pretty decent on both lenses. Better however on the 24-105, much more quite as well. Even in the lowlight its not hunting very much.

Depends on what you call mainstream I know 0 people that have ever thought about buying anything VR. There is one guy at work that are looking into the Holo Lens but I doubt he will buy it.