Unless you're recording live events with these cams, which is really weird and dumb to do.

I hope you can see the hypocrisy of what you just wrote.

@Tschekoff

I don´t get why it should be a problem to switch cards every 40 minutes of recorded material unless you absolutely need a longer recording (in which case I will use other cams). Nor is it any problem to kit up a camera if you need something in particular.

I´ve shot a lot with 16gb sandisk cards with settings that swallowed 1gb per minute and it was completely OK to work with. Kit up with enough cards. I have 2 64gb sdxc cards and I wouldn´t mind getting a couple more.

People seem to be clutching at straws when it comes to perceived weaknesses with this cam. Yes, an articulated screen is easier to work with and in terms of minimalist shooting but you have to weigh in what´s most important for you in any given scenario. Complaining about features missing or having to mount a monitor or something else is kind of ridiculous (not saying you did, just people in general in this thread).

Personally, I will make good use out of the pocket cam as a fast b-cam or if shooting exteriors on the go / with minimal preparation or some kind of stealthy work. I will use other cameras when necessary. I wouldn´t even dream about complaining about the lack of wide angles because I so rarely need to go really wide; even an 18mm on a 35mm frame size (which is really wide angle for cinema) is not that wide in comparison to what you can put on a full frame stills cam. (other sensor sizes too, but really wide lenses often look bad on video / film) It´s very rarely necessary and in those cases; plan ahead - use another cam for such shots.

With BM raw, you get 12 steps of dynamic range. With Magic Lantern on a 5D Mark III, you get around 14 steps of dynamic range. Each step represents a doubling of the amount of light available in the previous step. Generally speaking, the "best" portion of the range in terms of noise, detail, etc. is somewhere near the center of the range, though in some cameras it skews a bit to the upper or lower portion. The brightest highlights and darkest shadows are both likely to get noisy and/or lose some detail. So, it's better to understand your camera and how it works before shooting, even if you have raw to help you salvage technical mistakes. Being 2-3 stops underexposed with h.264 is pretty bad. Being 3 stops underexposed with raw isn't great, but probably not fatal. Being 8 stops underexposed with raw will still probably result in footage that you can't use.

In terms of why "0" on the over/under exposure guide on your camera isn't always right, if you're shooting soemone who is backlit by a window, for instance and you're using center-weighted average metering, there's a pretty good chance that the metering system in the camera is going to end up exposing more for the light coming through the window. You might get a beautifully exposed scene of the nature outdoors and unrecoverable shadows on the person in front of it.
You're better off using a histogram (or similar). It gives a nice breakdown of luminance values across the scene and you can decide for yourself where you'd like to place the exposure to set the right mood for your scene (as others have pointed out, there is no correct exposure, even if there are completely wrong ones. :) If you're shooting run-and-gun and don't feel like you have time to nail exposure on every take, it would also be wise to read up on the different metering modes supported by your camera and when you might want to use them.

shoot like you shoot a roll of film. get your exposure right. RAW is a lifeline not a saviour. Otherwise why bother exposing correctly in the first place. Do you have time to fiddle in post? Most people don't have that luxury.

correct exposure depends on what mood you want to achieve, lighting, subject matter, etc. to tell a story, therefore "0" isn't always correct.

but back on topic =) I myself would like to see the difference in IQ from the 2.5k BMCC vs BMPC and dynamic range, active(if it is active on the BMPC) vs passive MFT lens mount. I watched the clip comparing the 5dmiii vs BMCC and was just blown away.

Raw isn't magic. You still need to expose correctly (and "0" isn't always correct for a given scene).

@MikhailK yeah but has been some problems with the availability of older BMD cameras in Europe so I think Grant Petty is on top of it. The problem is that US dealers pre-order hundreds of cameras as soon as they are announced and some dealers only post their orders when clients actually order them. It works both ways but I think BMD is trying to keep things "fair".

Yawn

After a huge debit card fiasco.... I was finally able to order mine and have them charge the full amount upfront...thanks all --- I plan on shooting a most of short film in Oct on the Camera so hope I get it before that. Thx all

@No_SuRReNDeR I've had good luck with B&H and Adorama in the past. I have my order in with B&H right now but may change if it looks like a long line.

The 10 mins of footage comment makes me giggle. Tells me all I need to know about real experience. :)

I am going to pre-order a BMPCC today!!! It took me all this time to save up the money ....

Anyways MY question is B & H my best bet to get it the soonest?

I figured that they would probably get the largest shipment... Thoughts?

@jimmykorea "...if you make rubbish now, it's cause you are a rubbish filmmaker."

Pushing your own reasoning to its logical end, the reason why you've been writing shit so far is because you're full of it? Spare us your rigmarole

The thing I don't like with the whole it's about the creativity not the camera discussion is I actually agree. the problem is I also recognise that if you want to succeed then purposely having marginally 'good enough' equipment is like your trying to cripple yourself. And my main problem is people give the same tired examples like Blairwitch, etc that was done on a cheap camera. Well they are the exception not the rule. But the consensus among everyone is that creativity trumps equipment when 99% of the time that's simply not true and ideally you really want to have both creativity and decent equipment. (And know how to use both)

Now I expect this to be deleted cause its not 'on topic'but actually it completely is cause the BM cameras are making a PRO Image possible with good dynamic range. So everything I think about other cheap cameras isn't relevant to the Pocket Cam cause I believe it is the first truly dirt cheap camera that you actually could make a movie on and not be held back by the cheapness of the equipment. Something worth getting excited about and also we can drop the whole creativity/ equipment discussion. if you make rubbish now, it's cause you are a rubbish filmmaker. We can't fall back on blaming our tools anymore.