Riadnasla

@jax_rox Yeah, it comes with B4 lens mount, but you can reasonably buy BMD's custom adapters for EF, PL, and Nikon F. That's honestly a huge appeal to me. @webrunner5 Can you help me interpret some info in the manual? (http://bit.ly/2F9lo2C) Page 223 states that Gain min/max is (-128/127) and ISO is (0/2147483647). Is this able to be interpreted into "normal" ASA/ISO numbers? 2 major concerns with this camera: 1) Clean low-light footage. This camera would earn its keep through conference room recordings with hotel lighting. This won't need to be "no-light" camera, but enough to record from the back of the room with hotel ambient lighting. 2) Versatility. No camera is going to do it all, however this (or any next camera) would need to perform a variety of tasks, even for conference jobs. Tripod following the speaker, steadicam for alt angles etc., and creative ability for promo videos. Just on speculation, while I want B4 DOF for most "boring" jobs, do you think there's a way to get shallow-ish DOF for more creative projects, through using PL or EF lenses? For this camera, yep! (https://bhpho.to/2owwV2d)

I've been seeing a lot of chatter around BMD's new broadcast camera. The price is insane, real-world examples are few to none, and I can't wait to take one for a test run. I'm looking for my next "go-to" camera as an operator for hire. I do a lot of event recording, trying to get into the local TV station, and have just started booking gigs with my steadicam. My main concerns about this camera are low-light (not no-light) and getting a more creative look when needed. For the first, I don't need it to perform for indie films who can't afford more than a light or two. I would need it to perform in hotel conference rooms and urban areas, with perhaps a small d-tap light on top of the camera. For the second, I am planning on buying the PL mount for my 18-50mm T3 cine zoom. But on a 2/3" sensor, how would that react? Would it crop or vignette, and could I still get a creative DOF?

I recently got myself a Steadicam Pilot AA, and am now customizing everything the way I like it. I'd like to run the camera and monitor off of the in-sled wiring, but am concerned about the power requirements, as 10xAA=12v, and the BMPCC needs 12v, nevermind the monitor. I've searched online, and I think I still need someone to help break it down for me. How do I add the different power requirements to know what to supply? Say I have a 12v camera plus 5v monitor?

Hey, sorry for the absence. Been a busy time all of a sudden. The pilot was affordable enough used, and we are just waiting for it in the mail. As for the CAME-TV option, I've read and seen enough where it doesn't react very well until under mid to heavy loads, then the spring loudly complains, and the longevity of it seems to be a bit gimped. As for the electric stabilizers, they are a great tool, but do not achieve the look we are going for. In a vest I can run an entire festival floor without much up/down jostle, however I can't say the same with these handheld electric ones....unless you add an easyrig which is more money and time to setup again.

Just found a used Steadicam Pilot for the same price range.....so nevermind? Still curious for opinions though.

A colleague and I are looking into getting a steadicam-style stabilizer. I've flown Glidecam's HD2000 for years now, and still love it. I'm pushing for a used Glidecam X-10 and vest, but we're having difficulty getting one in the ~$1000cad price range that we can afford. Then I noted CAME-TV's knockoff, last a year or two full rig with monitor and power-wired sled. For $888usd, not bad. What is your opinion of best bang for buck steadicam system? Is there a knockoff you'd recommend, at least for a year or two while earning money to afford better rigs? Specs for reference: We will be flying lighter cameras, especially a C100MkII, but also a built-up BMPCC with heavy lens, mattebox, etc.

Is 8 even real? Holy Frick.

Hey, thanks for the recommendation. All of my lenses work perfectly on my AE-1 and when converted to my T2i and T4i. From what I understand, the BMPCC has a small difference in the flange distance compared to any other m43 photography camera. I'll take a look at the focal reducer, it's certainly be nice to not have as extreme cropping!

Good morning! Recently I bought an adapter from Canon FD to M4/3 which promised to work for the BMPCC...When I tested it, it turned out that the only way I could get a proper focus was to move into macro focusing, meaning that I also had to zoom my lens to make macro focusing available....... Can anyone recommend a lens adapter to convert my FD collection to the BMPCC effectively? Additionally, if anyone can recommend a good "dumb" adapter for EF (EF-S) to BMPCC, I'd love to start adapting Rokinon lenses to it.

Cool! I'll take a closer look. Do you know if it will recognize my lightroom photo metadata as I transition? Yeah, I never buy software in person anymore. The retail cost is simply way overpriced. However, the lower price does make my point even stronger to get off the cloud, eh?

Thanks for the recommendations! Looking through them, they're more geared towards editing the photos, whereas I'm more interested in cataloging and sorting, then doing mild-to-moderate editing, as most of my work is done in camera already. Any ideas for that? The Photography plan is something like $20USD/month ((20*12=240usd/yr)*1.3=312cad/yr ). London Drugs sells a CD copy for around $600CAD. Doing the math, as long as I use it more than 2 years I'll be saving quite a chunk of cash. I don't make money from my photos, but I love the cataloging system of Lightroom.

Ending my Adobe CC Subscription, and just getting a feel for what alternatives there are out there. I am currently a big fan of Lightroom (pre "Classic" "CC" Oct 2017). Should I shell out the $600ish for a CD copy of Lightroom, or is there another cataloging and editing platform you'd recommend?

Hmmm.....It appears "Adrev on behalf of Rights Owner" has filed a claim on my video's music.........that I paid $50usd for. Not happy. Here's a link to my reel on Vimeo.

Lol.....yup. The Gemini can do single SDI, however then you might as well record internally on the C300, except for the clarity of each frame as a photo file. Atomos will give you your generic ProRes file that I consider to be the low-end of this cameras output capabilities. The dual SDI image is worth every penny, even if you transcode it down later, the detail from the original does stay better, since the camera isn't doing that processing with a small onboard computer with time restrictions (recording speed) vs. a editing computer taking its time (1 day export anyone?) That's in 24 or 30fps. The Gemini doesn't do higher framerates, but if you have a recorder that can, the F3 does output 60i.....The new ninja star (2?) does HDMI ProRes, and while not listed in the features, I do see a light indicator for a "i to p" mode in the images....... It will work, but fully built with PL Lens......mine was pretty maxed out. Stability was acceptable, resistance had to be upped to almost locked. Lock tripod properly before letting go no matter what....etc., etc. If you can rent a beefier tripod, it'd be more reliable, while mine has done the job so far. Yup......oops. Colour isn't perfect, only spent an hour or two including picking footage, then colouring, but you'll get the idea. Most of this was shot with no light control, lantern shots had zero lights other than the practical, and lit sets were extremely limited by gear, time, and manpower. Seriously, when 20 ppl get together and I'm the only one who can do camera, DIT, and Lighting? Least they had a dedicated sound guy....would've loved to fire the director.

Cool....don't know the answer to this, but if IQ is a priority, I would advise against recording ProRes when you have DPX available. With Resolve, DPX won't be an issue, but as a native Edius then Premiere editor, it did cause some annoyances, hence the extra step in the workflow. Canon's C-series has done wonders for ergonomics. Period. The F3 isn't terrible on its own, and is actually really small as far as dedicated cinema cameras go, however once you rig any camera to be film-worthy it's going to be a unwieldy package to heft around. My main reason for selling my F3 was simply that I don't work with crews very often, and when I do, they prefer to rent a shiny new popular camera vs 'old faithful. If you have a crew and proper support gear, you can get away with a very quick and relatively small camera. One thing I forgot to mention about the two cameras.....if you do the F3, you will get far more data....like 256GBs lasts 20mins data. For projects that don't need originals, I typically "developed" the footage and added my ownership metadata, then deleted the originals. Even 10-bit Cineform is much smaller than the Gemini sequences. Just be prepared. Some footage I slapped together to sell the camera: https://www.youtube.com/edit?o=U&video_id=1d3Ll9r5VdQ Some pics of the camera built and another in action: