@Imackreath ...or you can drop your pre-order and use those funds to offset half the cost of the bmcc ;)

I've heard not good things with SLR Magic glass multiple times. That's why I have Pany, Oly and Voigt lenses. :)

@vicharris

I was under the impression that Mr Cheesy Cam' studio shoot all their footage - hence they use the same gear, as does Oliviatech- very incestuous that lot. So if anyone's to blame it's not the chick. LOL

@SuperSet No, I was trying to make a joke but yeah, if she was in charge of putting Vari NDs on that thing, she's an idiot. Period and shouldn't be reviewing brand new cameras since she has no idea what she's doing. Period :)

Philip has a production model from CVP, so the same one that everyone else has.

As far as Softness goes, this is basically what happens when people don't sit down and look at what they've got before posting footage. Variable NDs = wrong, flat out wrong.

Captain Hook's footage shows that it can be plenty sharp, so does some of John's footage (some of it was soft). Soon enough, though.

@vicharris her whole ensemble was quite impressive... seriously :)

She did say that the softness was due to the variable ND filter she was using.

Reid will bring a blind leading blind manual out for his phalanx of adopters soon, fear not - book of Mormon? Meme Video - and if ever one of his believers makes it to a work situation the stinky meme will keep me lucratively working weekends , along with many more happy chaps!

Hopefully we'll get some better footage here. I'd say 75% of the footage is not sharp. I just don't know if people are having a hard time focusing with it. The colors are great but it almost looks like there's a softening filter put on most the footage. I'm not one for crazy sharp images either. I really like what the 2.5K is giving me. I don't get it.

http://en.wikipedia.org/wiki/Meme

hey hey. Some of the best looking films over the last few years were shot on s16..

I can see why sensor size would be a concern for those who have limited means to get quality optics (are heavily invested in optics for larger sensors).

For cinematography, though, sensor size is not a major factor. If you compare film and digital, there is actually a bigger difference in-between s16 and s35 (given the very clear texture differences) though it can be hard to spot with certain stocks. In between a s16 and s35 sized digital sensor, the differences are much smaller. Obviously there might be differences in texture but they might be nearly identical.. detail (the amount or lack thereof) won´t necessarily give away the sensor size. Images can be made to look one way or another.

Optically, the differences need not be noticable at all, and you have the possibility of shooting with a normal DOF at lower light levels (or lower sensitivity) with the smaller sensor.. which is much more useful for moving images than having the possibility to shoot extremely shallow DOF on full frame..

In my opinion micro four thirds (or thereabouts) is a perfect all round size for a digital sensor for moving images as it strikes a fine balance between the possible looks that can be had and the amount of light needed to obtain good results.

If you need a sword you need a sword, if you need a knife you need a knife and if you need an axe you need an axe.

The pocket cam will be a tremendous knife.

Yes, he "was" my favorite living DP. I was very sad to read of his passing. It didn't matter what format he shot on, the result was fantastic.

In addition to his work on the Viper folks should also look at other DP's work with the SI2K, a small format camera who's imagery is featured in films like Slumdog Millionaire.

The Super 16 stuff is a great reference too. In addition to films you have fairly cinematic programs like The Walking Dead still shot on the format. I don't like how it looks broadcast but it's quite nice looking on BD.