@_gl A lot of dealers still don't have stock so returning the camera to them is a no go. @stanlymanly2 go to their website and fill out the form on their support page. I had the same problem with stuck pixels. It took about a week from the first email I received from them to getting the replacement sent out. You'll have to send them pics showing the stuck/hot pixels. Mine were showing in broad daylight so it made approval of the RMA easy. I suggest carefully checking some daylight footage.

Hey everyone! happy halloween!! :D heres a lil short thriller I made. We shot it in an hour, edited the next day. All the foley was done around my house too. The camera is a beast in lowlight surprisingly! All shot at iso800. Used the regular rec709 LUT then retouched it. Sadly, it showed that my camera has sensor issues on it. There are a lot of hot/dead pixels and there seems to be a grid pattern all over the image. If anyone else can confirm this happens to me, lemme know. Anyone also know how to get BMD to fix this?

@kurt10 The mic would work but the capsules are omni-directional and have a restricted frequency response. It's not really designed for the purpose you want to use it for (unless you want to include the sound of your camera-man scratching his balls during takes). However, Olympus generally make very good recording products.

Hello my bmpcc has audio noise...

Does this mini Stereo Microphone work? http://www.amazon.com/Olympus-145037-ME-51S-Stereo-Microphone/dp/B000BTAH62

@balazer

You're somebody I respect, so I read your report with great interest. I'm wondering, have you done much testing in the rec 709 mode? Are the colors any better or more consistant in that mode?

Any word on a possible AA/OLPF for the BMPCC? I'm running into moiré a lot with people's clothing, kinda makes relying on it for talking head type jobs a real risk. I switched back to my GH2 on a shoot last week because someone's shirt was giving the BMPCC a fit.

@ahbleza Shian and I shot a pilot a week or two ago and they only difference he saw was a density difference and a little bit of a DR difference on the scopes.

I would expect a difference somewhere as the sensors are not the same.

As @kholi says below, yes, so far no real problem matching them.

Hdmi out of the camera?

@vicharris If the quality would be good, the price can be quite high because it could be used very universally and not only for one lens type series (its use would dominantly be for manual 35mm lenses connected via a M4/3 adapter of course, but how nice would it be to have Leica, Canon FD, Nikon AI all using the same speedbooster). I am just curious whether it would be possible from a theoretical point of view, commercially it would be near to impossible anyway. Can you please give me a link what to search for, I really have no clue here.... As I understand the speedbooster it is a reversed teleconverter so I would not be suprised if technically it would be possible to construct such an adapter....

@vicharris can you please explain a bit; there are some adapters where optical correction is built-in because of flange distance issues. For example the Canon FD to EOS adapter http://www.amazon.com/Optic-Canon-Adapter-Correction-Glass/dp/B00009R7ZR uses such correction. I am far from an expert here but I have the feeling that it is not per definition impossible to correct a flange distance?

Hey everyone, so I've experimented a bit with shooting at 4500k in ProRes with the BMPCC for the last 3-4 days when I've had the chance. A tip @kholi and @vicharris have mentioned.

I've found that most situations can be corrected in Resolve, nice skin tones can often be achieved after correction but some color temperatures are more problematic for this. 3200k is doable, lower than that and it gets way messier way faster. Seemed better all the way up to 7000k though. More problems if you combine the wrong WB with way under or over exposing: you can stretch it to correct, but expect a mess to clean up.

Under mixed lighting: natural light, fluorescents, incandescents - all on my subject in a 3 point config, I have to say I'm amazed at the color coming out of this camera! I was able to correctly balance to the key light in post to save my skin tones and it looked like I was using some beautiful warm gels for the fill and cool gels for the hair light. I thought it looked great and is pretty cool to keep in your back pocket - if used right.

So my conclusion so far: I'd only recommend shooting 4500k when it's the right WB, when you are in a pinch, maybe some mixed light scenarios or to leave your camera set at it as your default so that if you need to pick up and hit record it's set (get ready for heavy NR in some cases). It seems to be a fairly robust WB setting for correction, and can often be fixed satisfactorily in Resolve without too many headaches, but I believe that with ProRes, the closer you can get the WB to the actual color temperature of the scene, the nicer your footage looks with way less work. Assuming you have exposed correctly. That's my experience with it so far, would like to hear others opinions though.

Hooks LUT is amazing, but I will say that the Resolve BMCC Lut is no slouch either and can do a decent job if that's all you've got.

@astraban the speedbooster has optical elements so correcting this could be theoretically possible?