Right now it is only management decisions, not technical issues. All big guys have all the tech. As I said, all of them can release cameras with raw and ProRes-like format even in 2013.

Right now? Always. This isn't a new niche. This is a management culture that's pervasive and has been making decisions against what you're suggesting all the way through the tape-based portion of the digital video revolution.

@kholi

Right now it is only management decisions, not technical issues. All big guys have all the tech. As I said, all of them can release cameras with raw and ProRes-like format even in 2013.

It will take a long time to replace ProRes or DNxHD as a desired and trusted acquisition format, and not just because of acquisition but post processing and delivering.

Yep, but making good and fast converter that you can download for free solves this problem also :-)

It will take a long time to replace ProRes or DNxHD as a desired and trusted acquisition format, and not just because of acquisition but post processing and delivering.

They are deeply rooted in most post processes today.

I can believe that larger companies will consider using an open standard like CinemaDNG in the near future, but as long as they're pushing proprietary media (Sony and Panasonic) or not implementing DNxHD or ProRes in camera then they're still going to fall slightly short.

Just slightly.

Afterward, focusing on facets of image and not just resolution or noise floor.

if Panasonic finally got it together and released a GH2 successor with at least RAW and 13 stops I can't say that I would not buy it. Only if it had the GH2 core image and color, and not the GH3.

Noob question: given that ProRes is Apple proprietary codec. Does camera company pay fees on its use? COuld it be the reason for not adopting it from big company? Is there a free comparable one?

This is complex question. ProRes can be replaced by some new industry standard, as making such format is very easy.

No doubt Sony or Canon or Nikon or Panasonic could do a camera that, at the same price as any model BMD, beat it in every key area. But they won't. BMD and smaller companies don't have to create a fictitious ceiling on the capabilities of their inexpensive products. The Big Dinosaurs do.

I am sad to disappoint BM here. Dinosaurs will make such cameras. They spotted the niche and are ready to make the strike.

@Pixcanfly Most of the "professionals" I know shooting with smaller cameras understand professional audio to mean dual-system sound. I rarely use on-camera audio for anything except reference audio -- although I am keen to see how the BMPC works with a JuicedLink Riggy pre-amp.

Use and prize very good cameras that BM made. But remember that it is just embryo inside the egg waiting for big dinosaurs outside to be crushed.

The big dinosaurs didn't give people what they wanted in the DV era. Why would they now? They're very slow and often incredibly dumb beasts at reacting to what's happening or what people really want. They're a lot better at cranking out superfluous variations on the same crap, creating a false sense of breadth to their product catalog.

I expect 4K with shitty compressed codecs being the priority from the Big Dinosaurs. I'll happily eat my words if I see anything from one at anywhere near BMD prices shooting uncompressed or raw. They've had the ability since day one. This forum exists largely because curious individuals have proven that the Big Dinosaurs sell cameras that don't perform to half of their real potential.

No doubt Sony or Canon or Nikon or Panasonic could do a camera that, at the same price as any model BMD, beat it in every key area. But they won't. BMD and smaller companies don't have to create a fictitious ceiling on the capabilities of their inexpensive products. The Big Dinosaurs do.

They don't need raw and 10bit 422 is more or less overkill for those applications anyhow.

I see absolutely no logic in all this claims about "pure cine cameras from BM". Nothing currently prevents to make proper preamps and record sound direct. Especially for the main BMPCC market.

As I said, many guys will be utterly disappointed after they will realize how easy it is to add ProRes and raw video to modern cameras. It was just not the goal yet :-) But things change and change fast.

Use and prize very good cameras that BM made. But remember that it is just embryo inside the egg waiting for big dinosaurs outside to be crushed.

I am wondering if anyone has any experience with ENG lenses on micro 4/3 (particularly on BMPCC or BMCC)? I have two old Canon J16 8-128 f1.8 ENG lenses in great condition and wondering if I should get some adapters or just sell them off. The adapters are like $150 because they include a built in tripod mount (I wouldnt want to let these lenses hang off the camera).

It still cracks me up when someone posts crappy audio complaints for a camera.

@johnbrawley

Yep, but we already had bunch of same stuff in the topic. I specially collected complains in one place.

As for your quote. I think it is just not really too fair comparison made by reviewer. As actually you need to compare downscaled RAW photos made by mentioned cameras and footage of BMPCC to understand real potential.

My point is - it is quite easy for big guys to add ProRes and raw. All it requires - adding fast USB 3.0 implementation and external connector. But it is much harder for BM to catch and implement all else that they have. I am working on few posts with single title "Why Black Magic can die".

The screen is at least two generations behind the mainstream manufacturers in terms of contrast and brightness. It is also physically extremely soft. In fifteen years of using, testing and working with digital cameras on all six continents and in extreme conditions I have never scratched a rear LCD. Yet somehow I managed to scratch a big hole in the BMPCC's LCD screen on the first day or field use. I have no idea how, but I now have a group of about a dozen bright yellow pixels engraved permanently at the top left of my screen

Camera arrived with one visible hot pixel, and also a large dust booger on the sensor. The dust was easily removed with a blower, but the hot pixel is there forever unless Black Magic comes up with a sensor refresh mode, which many camera makers offer.

There is no in-camera card formatting, no file erase, no thumbnail review. More importantly, there is no indication of the amount of time left on the card. Camera can not remember the last aperture used when the lens is changed or the camera restarted.

Autofocus is, to put it politely, a work in progress. It doesn't work with all lenses. Indeed it seems to only work with a few lenses, and when it does work with these lenses it does so in a slow and inconsistent manner. Pressing the Focus button puts a white square on the center of the screen and the lens then starts to slowly autofocus. Maybe.

I'll be gentle. The audio in the BMPCC sucks. Problem is not just the tiny in-camera mic, but the audio pre-amps as well.

http://www.luminous-landscape.com/reviews/camcorders/black_magic_pocket_camera.shtml

I ordered it from B&H July 26th (took me a while to save up ok!) so I guess Ill get mine mid 2014. -facepalm :(