So I read that RX10 ii review, and... help!

[fuzzynormal]

I look at the soccer clip posted by Fuzzy on the last page though and think... why am I even pretending.

Man, you should see the crap I do to pay the bills that I never show anyone. 

Besides, I look at stuff like what Ed David does and think...why am I even pretending.  

I came to terms with the fact that there's always going to be people out there so much better at this than me.  That's okay and as it should be.

[CTRT]

Man, you should see the crap I do to pay the bills that I never show anyone. 

Besides, I look at stuff like what Ed David does and think...why am I even pretending.  

I came to terms with the fact that there's always going to be people out there so much better at this than me.  That's okay and as it should be.

yeah, I came to terms with that ages ago..  

I think as long as you're happy and proud of what you make, as much as you can be at least, then you're probably doing ok...  I would LOVE to be a lot better, and produce next level stuff, but I need to really learn a lot more - put in the hours - first... 

Then one day my bank videos will look like this:

https://www.youtube.com/watch?v=6KXqfXkKRA4 
 

[CTRT]

I just went and looked at Ed David's stuff... wow!

[TheRenaissanceMan]

Wow! thanks so much for that information! Do you use a speedbooster or some other solution to deal with cropping? Or am I totally misunderstanding that as well? 

So the BMPCC has a 2.88x crop factor compared to full frame. What this means is that you'll have a wider depth of field than you would on APS-C or FF sensors, as well as a narrower field of view when using FF/APS-C glass. This means you have two main options when it comes to your lenses: 

1. You can use a normal/generic speed booster to reduce that crop factor to 2x, which makes FF doable if you're not a huge on focal lengths wider than 40mm, or a BMPCC-specific speedbooster, which reduces the crop factor to 1.67, which makes the sensor effectively just smaller than APS-C. The advantages of this option are that you have a wider assortment of vintage and modern lenses to choose from, get a stop more light (or 1 2/3 with the BMPCC-specific booster), and can give you the look of a larger sensor (which some prefer). The disadvantages are large lenses (which can be unwieldy on the BMPCC), expense (powered speed boosters and BMPCC-specific models are pricey), and no IS/AF on non-electronic lenses (which may or may not matter to you). 

2. Buy native Micro Four Thirds mount lenses. Because they're made with a 2x crop in mind, they offer much wider focal lengths that murder you way less on the crop factor. You can get a Panasonic 12-35 (35-100 FF equiv.) f/2.8 IS and have an amazing all-rounder for only $550 used, or the amazing SLR Magic 10mm t/2.1 for a 29mm FF equiv. that's built like a tank, completely manual, and razor sharp from max aperture. The advantages of this option are IS/AF on Panasonic/Olympus/Sigma lenses, much smaller lenses, cheaper lenses (depending what you buy), and better performance (again, depending--there are exceptions). The downsides are that they won't affect the sensor size/look or give you extra light and can't be used on larger formats if you ever decide to switch.

I lean toward option 2, because I like the option to keep my package small (heh heh), because I can use the same lenses on my Panasonic/Olympus MFT cameras for video and stills, and because there's some incredible glass in the MFT stable that I couldn't bear to part with. 

How about viewing the screen in the daylight?

It's usable. Not great, but usable. I ordered a sun hood for the LCD (like the one recommended on DrewNetwork), which is the cheapest option to improve visibility, but you could also pick up a low-end LCD loupe or external monitor if you're having trouble. Definitely give it a try before you buy any of that stuff though--I've shot a music video and a short doc without any of it and done just fine. 
 

Oh and do you just grade in Resolve? Or edit in it? I'm used to FCP and wonder if it's worth investigating as an editor. 

Definitely give it a whirl for editing. I started on Premiere and planned to just color correct in Resolve, but I'm finding the Resolve 12 Beta to be more than enough NLE for me. It's a personal preference thing; you won't know unless you try. 

In terms of color tools, Resolve is the most comprehensive option available. It can look a little intimidating at first, but the tools are deceptively simple. I've had good luck just watching some simple Youtube tutorials and playing around with footage. You'll get the hang of it in no time.

[CTRT]

So the BMPCC has a 2.88x crop factor compared to full frame. What this means is that you'll have a wider depth of field than you would on APS-C or FF sensors, as well as a narrower field of view when using FF/APS-C glass. This means you have two main options when it comes to your lenses: 
1. You can use a normal/generic speed booster to reduce that crop factor to 2x, which makes FF doable if you're not a huge on focal lengths wider than 40mm, or a BMPCC-specific speedbooster, which reduces the crop factor to 1.67, which makes the sensor effectively just smaller than APS-C. The advantages of this option are that you have a wider assortment of vintage and modern lenses to choose from, get a stop more light (or 1 2/3 with the BMPCC-specific booster), and can give you the look of a larger sensor (which some prefer). The disadvantages are large lenses (which can be unwieldy on the BMPCC), expense (powered speed boosters and BMPCC-specific models are pricey), and no IS/AF on non-electronic lenses (which may or may not matter to you). 

2. Buy native Micro Four Thirds mount lenses. Because they're made with a 2x crop in mind, they offer much wider focal lengths that murder you way less on the crop factor. You can get a Panasonic 12-35 (35-100 FF equiv.) f/2.8 IS and have an amazing all-rounder for only $550 used, or the amazing SLR Magic 10mm t/2.1 for a 29mm FF equiv. that's built like a tank, completely manual, and razor sharp from max aperture. The advantages of this option are IS/AF on Panasonic/Olympus/Sigma lenses, much smaller lenses, cheaper lenses (depending what you buy), and better performance (again, depending--there are exceptions). The downsides are that they won't affect the sensor size/look or give you extra light and can't be used on larger formats if you ever decide to switch.

I lean toward option 2, because I like the option to keep my package small (heh heh), because I can use the same lenses on my Panasonic/Olympus MFT cameras for video and stills, and because there's some incredible glass in the MFT stable that I couldn't bear to part with. 

It's usable. Not great, but usable. I ordered a sun hood for the LCD (like the one recommended on DrewNetwork), which is the cheapest option to improve visibility, but you could also pick up a low-end LCD loupe or external monitor if you're having trouble. Definitely give it a try before you buy any of that stuff though--I've shot a music video and a short doc without any of it and done just fine. 
 

Definitely give it a whirl for editing. I started on Premiere and planned to just color correct in Resolve, but I'm finding the Resolve 12 Beta to be more than enough NLE for me. It's a personal preference thing; you won't know unless you try. 
In terms of color tools, Resolve is the most comprehensive option available. It can look a little intimidating at first, but the tools are deceptively simple. I've had good luck just watching some simple Youtube tutorials and playing around with footage. You'll get the hang of it in no time.

First, thanks so much for all of this info!

Second, one quick question, on your option two, do you mean I wouldn't have to use an adaptor if I use micro four thirds lenses? So that's the same as the HG4? So any lenses I bought for the HG4 would work for that? That would be amazing as I could skip the expensive speedbooster - at least initially.

[Santiago de la Rosa]

Yes, CTRT, BMPCC is MFT mount, same as GH4.

You can use your lenses.

[jhnkng]

Just out of curiosity, would you not consider getting another Nikon D7200, since that's the camera you've used and the camera you know? I only ask because if it's a job, you want to remove as much of the unknowns as possible, and if you're getting steady work with the gear that you had, then you don't have to worry about having to learn all the new gear and work out a new workflow and all that stuff.

For what it's worth I shoot a GH4, and I think that's the best value all-rounder package on the market right now. The 4K footage looks great, and being able to shoot 4K without the humungous file sizes is a revelation. It has really useful functions for video like peaking and zebras, the LCD works well in daylight and the EVF is really nice as well so you can operate without a monitor, the battery life is astonishing (I've shot whole days on just 3 batteries). For everything else it does ok compared with the other cameras it competes with.  So it's not as good as an A7s in low light, but it's perfectly usable (assuming you expose correctly). The colour isn't as nice as a Canon, especially anything that shoots C-Log, but with the right settings on the camera and the right post-production process, you can get good colour from it. I've been using Andrew's GH4 Log Converter, and it's made getting great colour out of the GH4 a snap. Here's something I shot recently with the log converter:

https://vimeo.com/137681905

V-Log is going to improve things dramatically on this front -- I had a look at the V-Log footage Nick Driftwood released and put Panasonic's V-Log to Rec709 LUT on it and it looks brilliant! If you expose well when you're shooting your post-production is going to be super-simple once V-Log is available.

That little film was shot with the GH4 and the Lumix 12-35 f2.8, which is a nice combo that would work for lots of different circumstances. I also have a Voightlander 17.5mm f0.95 which is my go to lens for night time shooting, and a Metabones Speedbooster which lets me use all my Nikon lenses when I need to.

Most of what I do is hand held, or I need to be fast and lightweight, so the GH4 is perfect for me. I think if I did a lot more video work (I'm primarily a stills photographer) I would look more seriously at something like a C300. But then again, maybe not -- you can buy a whole lot of lighting with the difference in cost between a C300 and a GH4. 

[Oliver Daniel]

I'm very, very impressed with what I've shot on the RX10 II. I've just finished shooting a Christmas music video - all on the RX10 II. 

Slog2 is a great profile (when tweaked in the camera settings) and the picture quality under controlled lighting conditions looks really great. 

100p is impressing me more, now I've got more practice with the lens, focusing and the peaking. 

Other than that it's great fun, delivers great results and shouldn't be ignored. 

[CTRT]

Just out of curiosity, would you not consider getting another Nikon D7200, since that's the camera you've used and the camera you know? I only ask because if it's a job, you want to remove as much of the unknowns as possible, and if you're getting steady work with the gear that you had, then you don't have to worry about having to learn all the new gear and work out a new workflow and all that stuff.

For what it's worth I shoot a GH4, and I think that's the best value all-rounder package on the market right now. The 4K footage looks great, and being able to shoot 4K without the humungous file sizes is a revelation. It has really useful functions for video like peaking and zebras, the LCD works well in daylight and the EVF is really nice as well so you can operate without a monitor, the battery life is astonishing (I've shot whole days on just 3 batteries). For everything else it does ok compared with the other cameras it competes with.  So it's not as good as an A7s in low light, but it's perfectly usable (assuming you expose correctly). The colour isn't as nice as a Canon, especially anything that shoots C-Log, but with the right settings on the camera and the right post-production process, you can get good colour from it. I've been using Andrew's GH4 Log Converter, and it's made getting great colour out of the GH4 a snap. Here's something I shot recently with the log converter:

https://vimeo.com/137681905

V-Log is going to improve things dramatically on this front -- I had a look at the V-Log footage Nick Driftwood released and put Panasonic's V-Log to Rec709 LUT on it and it looks brilliant! If you expose well when you're shooting your post-production is going to be super-simple once V-Log is available.

That little film was shot with the GH4 and the Lumix 12-35 f2.8, which is a nice combo that would work for lots of different circumstances. I also have a Voightlander 17.5mm f0.95 which is my go to lens for night time shooting, and a Metabones Speedbooster which lets me use all my Nikon lenses when I need to.

Most of what I do is hand held, or I need to be fast and lightweight, so the GH4 is perfect for me. I think if I did a lot more video work (I'm primarily a stills photographer) I would look more seriously at something like a C300. But then again, maybe not -- you can buy a whole lot of lighting with the difference in cost between a C300 and a GH4. 

BREAKING NEWS!

I actually just bought the GH4 and the Lumix 12-35 f2.8 

I think I'll also buy a BMPCC in the next few months, now that I know I can share lenses between them! That is a wonderful revelation, brought on by my own stupidity!

As for the Nikon, well - frankly I wasn't hugely in love with it.. it was definitely a workhorse and got me a lot more work, but want 4K and want to have the same lenses as the BMPCC without buying an expensive adapter... I know I'll end up buy an adapter in the future, but... I can wait!

I just watched that video you made and it's GREAT! I really can't wait to start using log and grading properly. Totally inspiring!

Thanks so much everyone! I really appreciate all the help, and dealing with my stupid!

I will try and come by more often and maybe next time I can help out the idiot  

[agolex]

I actually just bought the GH4 and the Lumix 12-35 f2.8 

Grats on that and getting the name right for the first time.  Enjoy the new camera!

[CTRT]

Grats on that and getting the name right for the first time.  Enjoy the new camera!

Ha! thanks!

I had put it into my head that it wasn't alphabetical order and actually switched it repeatedly! Because, I'm a dope! 

 

[agolex]

I had put it into my head that it wasn't alphabetical order and actually switched it repeatedly! Because, I'm a dope! 

Aren't we all?

[CTRT]

Aren't we all?

I have been kind of letting my vision gloss over when I looked at all these different names and numbers, but now - even against my will - things are coming into focus...

including the model of my new camera...

[TheRenaissanceMan]

I have been kind of letting my vision gloss over when I looked at all these different names and numbers, but now - even against my will - things are coming into focus...
including the model of my new camera...

I mean, that's fair. All these letters and numbers are a lot to keep straight for non-obsessives. Hahaha

It's so funny to hear what you decided, because I was just about to post that the GH4 was more of a compliment to the BMPCC than a replacement for it and that within the next month, I'll be buying a GH4 and 12-35 to go with my BMPCC and primes. Being able to share lenses between the two sold me as well.

Congrats on the purchase, and keep us up to date with your experiences!

[CTRT]

I mean, that's fair. All these letters and numbers are a lot to keep straight for non-obsessives. Hahaha

It's so funny to hear what you decided, because I was just about to post that the GH4 was more of a compliment to the BMPCC than a replacement for it and that within the next month, I'll be buying a GH4 and 12-35 to go with my BMPCC and primes. Being able to share lenses between the two sold me as well.

Congrats on the purchase, and keep us up to date with your experiences!

I will! I am currently trying to figure out how to get a c mount lens onto the GH4

I am so excited at the moment if I'm honest.. and really glad to figure out enough - with everyone's help - to make a decision that's set me on the right path for growth... at least I hope so...

:)

[Cinegain]

Just a little something like this for example: http://www.ebay.com/itm/FOTGA-C-Mount-Lens-to-M4-3-Adapter-for-E-P1-DF1-G1-G10-GH3-GH2-GH1-GF6-/181626377484 . Some lenses to try can be had on eBay as well, e.g. http://www.ebay.com.au/sch/m.html?_armrs=1&_from=R40&_sacat=0&_nkw=cctv+lens&_ssn=roxsen&LH_PrefLoc=2&_sop=15 . Actually the first time I see those with 'APS-C' tag and reworked lenses. Bit more expensive as well. Sounds interesting.

[CTRT]

Just a little something like this for example: http://www.ebay.com/itm/FOTGA-C-Mount-Lens-to-M4-3-Adapter-for-E-P1-DF1-G1-G10-GH3-GH2-GH1-GF6-/181626377484 . Some lenses to try can be had on eBay as well, e.g. http://www.ebay.com.au/sch/m.html?_armrs=1&_from=R40&_sacat=0&_nkw=cctv+lens&_ssn=roxsen&LH_PrefLoc=2&_sop=15 . Actually the first time I see those with 'APS-C' tag and reworked lenses. Bit more expensive as well. Sounds interesting.

sweeet!

I need to start going to thrift shops again apparently as well... I need to get an adapter first, and just some cheap lens, so I can learn what to look for in the wild.... 

It's amazing how cinematic some of these c mount lenses look... can't wait!

Thanks for the links!

[Cinegain]

I think I'm going to ask these guys at the New-world store over at AliExpress about these APS-C covering ones: http://www.aliexpress.com/store/group/CCTV-LENS/736134_260465049.html . Unlike the previous ones (that I have), these are actually supposed to be optimized for mirrorless cameras, without vignetting on APS-C/M43. The blades on the aperture of the 35mm doesn't even look too bad. Hum...

- The deal I was able to struck with them: the 8mm, 25mm, 35mm and 50mm APS-C covering line with 1 x M43 kit (adapter, hood and so on) for 220 USD. So basically 55 USD each. Shipment as per wish with Singapore Post (beats Hong Kong or China Post). Included in the price. Gonna give it a try!

[CTRT]

I think I'm going to ask these guys at the New-world store over at AliExpress about these APS-C covering ones: http://www.aliexpress.com/store/group/CCTV-LENS/736134_260465049.html . Unlike the previous ones (that I have), these are actually supposed to be optimized for mirrorless cameras, without vignetting on APS-C/M43. The blades on the aperture of the 35mm doesn't even look too bad. Hum...

I have to get over the bias against CCTV I guess.... 

I also need to figure out how to track down the cine lenses as well... I found a bunch of companies - names the rest of you guys all know I'm sure: Kern, Angenieux, Kinoptik, Dallmeyer, Cooke, Hugo Meyer - and I wonder if those things can be found easily.. at least to look at online   

[Cinegain]

I have to get over the bias against CCTV I guess.... 
I also need to figure out how to track down the cine lenses as well... I found a bunch of companies - names the rest of you guys all know I'm sure: Kern, Angenieux, Kinoptik, Dallmeyer, Cooke, Hugo Meyer - and I wonder if those things can be found easily.. at least to look at online   

Well, just beware, prices of those could get out of hand quickly for a good one in nice condition... That's why a brand new mirrorless minded one for a fair price might be a decent start.

Seems @Julian had a nice topic on C mounts (actually via http://bmcc.tv/the-vintage-lens-hunt/ ; 'Ebay is clearly the best place to look for lenses': agreed!):

http://www.eoshd.com/comments/topic/2513-blackmagic-pocket-cinema-camera-c-mount-lens-compatibility-list/