On a more serious point, I wonder if some might run into the issue of not looking professional if you use a pocket cam for any paid gig. Even a wedding your going to get people annoyed they paid for a guy with a point and shoot? personally It's not an issue for what I'm going to use it for but it may be an issue for some , even if its a superficial issue.

@itimjim I totally agree with everything you said. And right, RAW certainly won't turn someone into a master craftsman. Look at the results @shian has achieved with our lovely GH2 (by the way...8bit...). Anyway, as it was said above, all cameras have their "personal" look/tone. And in any case, if someone wanna shoot RAW with BMPCC (or other RAW camera), he doesn't give a shit about this personal look, he will be (and it's a MUST) grading his shots 100% and it's very simple to get rid of any color/tone you don't like during post.

All I care about with BMPCC is: dynamic range, correct initial exposure during the shots I made (because even with RAW you can screw it up and post won't help you that much), details I can see (or I can pull out duting post) and that's it!

If someone can't shoot (make correct/beautiful shots), he'll screw it up even with Alexa... In Russia we got a saying - If a man is an idiot, this is for a long time... :-)

@wilbo not mocking but basically you will look like your walking around with just a sunshade.

Actually I think I heard possibly JB mention the screen is far better in bright light than the BMCC. I do hope that's the case..

@jimmykorea

I get what you are saying!

In my experience RS is more tricky on wide lenses than it is on longer ones. Reason: on longer lenses you can normally spot immediately (with no particular monitoring) wether the shot is going to work or not, but on a wide lens you can end up in a world of problems with small vibrations.. / micro-jitter that can´t be cleaned up later. I´ve experienced this with tracking shots where there has been slight bumps in the tracks, f.i..

If you are shooting hand-held (or on a glide/steadycam) then wide/long makes no difference for RS (up until a certain point, it gets really difficult to keep a long tele steady) as long as you are steady in your overall movements, IMO. Basically the overall movements disguise any RS issues.

Lens stabilization can be extremely useful but it can also be a PITA, for instance if you are walking around a lot and the stabilization action becomes apparent in the footage (rather than a controlled hand-held look). However, with really good stabilization that is rarely an issue - you get a sort of forced steady-cam look.

@johnbrawley - ok, thanks for clarification on the issue!

The RS is the same, but it often to me seems worse, because the form factor of the camera being more difficult to hand hold. A small and light weight camera which has less mass tends to be inherently more jittery.

jb

@gravitemediagroup There is no evidence that the jello is better than the BMCC. In fact I would expect it to be more of a problem all things equal due to the smaller sensor. The above clip was on sticks and glidecam.

CaptainHook over at BMCUSER has been playing with the pocket cam for "a week or so"

this camera has the same aesthetics as the BMCC with less jello ; ) and I can't wait

if you haven't checked out captainHook's LUT for resolve it's free and really nice. http://www.captainhook.co.nz/blackmagic-cinema-camera-lut/

Okay here is a small white balance with the LUT to lean to a cooler tint - Nothing fancy really. I am not a colorist guys so take it for what it is. Didn't white balance in firstlight this by the way - just the LUT which may or may not work on everything. I did go deeper in Speedgrade to deal with the Highlights, mid tones and secondaries so there is some stuff under the hood. If anything I think the shots from these cams require individual shot adjustment. It wasn't just the colour temperature required to get it right but the tint as well and some shots seem to drift into cyan or magenta at a low level. With such fine adjustment required it may go to show that getting to know a good colorist is a good investment to make these cams shine. Like I said - finding a pure white seems a major challenge for me and that blue just stays put or fades into brown - hard to find a sweet spot like a Sony where everything looks pristine and white. All the same - exciting times ahead

Here is one of the cleaner BMCC shoots I have seen. Wedding shot with 5D MK III as well. Real test of figuring out which is which but your average Joe won't care. Great showcase for the cam I reckon.

Right, what I am saying is that the camera does not let you set tint in-Cam.

Even though it's metadata when shooting raw, it's not when shooting prores, and there is no adjustment of that tint in camera when shooting.

That tint makes a big difference.

Side note on white balance - one of the most critical things when you have the ability to shoot raw - there is no tint adjustment in camera, hence a "lean" towards green when shooting prores, and even raw if you don't adjust the WB tint in your suite... Of course this gets baked into the prores, even when shooting Log as a bias. Not a complaint, just an observation, but it would be great to have granular adjustment of WB and Tint.

@Kholi thanks for your input. I know you have had a lot of experience with the cam. Perhaps I need to clarify that when I said white balance I meant in post not at capture as I do understand that white balance is a none issue with raw. Even in cineform's grading suite proper white balance was able to mitigate it somewhat so I agree that it is the whole image affected. Anyway await your hints and tips in the future.....and your lut

@vicharris Examples coming soon

@danyyyel I've not seen a single example of that in here. Folks want RAW because they've been trying to paint Rembrandt with a toilet brush (8-bit, 6-7 stops).

Look at someone like @shian who is pretty much a master with said toilet brushes and also wonderfully transparent with how he achieves his results. Have you seen the hoops he jumps through to keep everything under 6:1?

Now RAW certainly won't turn someone into a master craftsman, but for those that know what they are doing, they'll be able to concentrate on creating great images, not controlling the limitations of the toilet brush.