As comparison, does the internal screen and focus peaking work well enough on the BMCC that you can use it without needing an HDMI monitor to achieve critical focus?

@No_SuRReNDeR @BurnetRhoades But you're killing the whole Pocket concept!

Just kidding. I'm also really tired of "the pocket concept".
Want small, get this:

To me the point is that stripped down it's the smallest camera with this level of image quality and flexibility you can buy at this price range. You can add to it and it's STILL going to be small. The only real issue is if the camera fits the needs of the user. I was going to get a Pocket but decided instead to try out the Magic Lantern RAW on a 50D. It's been interesting but it's still not a finished product. Only paid $450 for the 50D. I could still eventually add a Pocket since it's so affordable and has some real possible uses where size and being able to shoot without drawing attention is an issue. Still think overall it's a great niche product. The remedies to most complaints are plentiful and in some cases very cheap. Don't see the legitimacy of many of the complaints.

You don't need a rig if it's a car cam/arial cam/inconspicuous cam/underwater cam/B cam. If it is someone's A cam then yes a rig of some kind is a must.

@vicharris could you post a link for Franks latest post?

@J_leonetti

How can one think the problem of not being able to shoot and needing an external monitor or EVF of some sort kind of goes against the NAME of the camera is a small one? That baffles my mind? Most of the people buying this thing I'm sure do not want to carry around anything like that. That's the point of this camera. Sure the image is fine and great for the money but this problem is very confusing to me. Sure, the pros are going to hook up a monitor or evf so it's a non issue but what is the real percentage of pros to everyday joes? I have no idea what the number is but I'm will to bet it's mostly everyday joes shooting stuff in very uncontrolled environments. That's how they marketed this camera. That's a fact. No me personally, I always planned to use an EVF or external monitor so it didn't bother me that much but most of the people I've talked to didn't plan on this and that's my point.

The issue is not if the BMPCC has quirks, but do the BMPCC and BMCC live up to the professional expectations the BM marketed. Look at BM's website picture of the BMPCC attached to a massive Angenieux lens costing tens of thousands of dollars, and found only on the highest level set.

@_gl you are not wrong. It is a mess. But the market has been heading this way for some time now. Race to the bottom if you will. Do I like that I can get Avid software for $995? Sure. It's still good NLE. However, am I worried about whether they can sustain that business model and stay in business? Sure. I've always loved a balance between quality and pricing. Take Sound Devices for example. Exceptional quality, affordable for sound professionals, and support is fantastic. Perfect balance.

If BMPCC is a dud, Black Magic will have to examine their business model. If it's a success amongst the market they are aiming for, you will continue to see a similar business model, but perhaps some improvements over time as they get more experience.

Black sun spots were on RED footage from get go. Firmware tweaks dealt with that. No longer a problem on current generation. Alexa has purple sun spots. Had them on $60 million dollar movie just worked on. easy fix in post. Annoying? yes. dealbreaker? No.

@peaceonearth but see this is the nasty side effect of everyone jumping into the production game. Skilled camera people have always found solutions to challenging shooting conditions. if you need a camera that just works without much fuss in the field doing documentary work, then you find the appropriate camera for that kind of work. Will it cost more they you can afford for your production's budget? Maybe. Then that's where compromise comes into play, and we have to get creative. Can't afford a mattebox - build one. Camera's LCD screen is hard to see in daylight - construct something that solves that problem.

I know a good cinematographer who has decided to use 2 or 3 of these BMPCC for a project because they will suit his needs. He is well aware of limitations of the cameras. He will know how to work around those limitations.

I think BMD should fix whatever problems are within their control, especially if they are issues that affect the camera's reputation. Having said that, I really do believe that people getting into production, who don't have a wealth of professional experience need to understand that sometimes things don't work as advertised and you either need to move on or deal with compromise. Yes, budget is a factor for everyone. We'd all like the best of the best but usually there is a price to pay for it. I see a sense of entitlement sometimes and not sure where the blame should go - those who feel entitled to getting the best for practically nothing or the manufacturers who market and over promise, under deliver. Either way, my rule of thumb has always been to test and then move on. Find the right tools for your style and the rest will be up to you.

Someone will film a gem with this BMPCC and everyone will scratch their heads and say "how did that happen?". Talent and perseverence. Same as it's always been. Okay, maybe throw luck in there too. :-)

@vcharris,

I have the 2.5k and have tried shooting on the bmpc, so i have experienced the strengths and limitations of each camera. 2.5k is by no means perfect. 10 bit 422 pro res aside, it's a hopelessly jello cam. BMPCC has its own set of problems, and enough has been said here and elsewhere. Honestly, given the present situation, what do you wanna do? What CAN you do? Sue BM for false advertising? i seem to remember when Sony advertised VG20, they mentioned the camera came with so many new fangled stuff, but when the actual product hit the market, the camera was stripped down to its basics. Did the buyers complain? Sure they did. Did they sue, not that i know of. Was Sony guilty of misleading the consumer? Your guess is as good as mine. Well at least BM delivered a product close to the specs. Anything else I am sure given its reputation can be rectified. What can be the worst case scenario? March up to their office and demand a refund? I have balls to do that, do you?

But my big question 90% of the time is why are you even shooting in uncontrollable harsh bright midday sunlight anyway outdoors??? Cinematography 101, the best outdoor light is Dawn and Dusk.

because you have to. Request of client, location isn't lit neither in dawn nor in dusk, location is available just now, documentary shot ... c'mon, be creative and find another reason if you won't pick one of those above.

"...the best outdoor light is Dawn and Dusk"

+1

Great test @moribun1984, your orbs were especially bad, the perfect example. If you don't call this a fault, you don't got eyes.

Interesting how the calibration also cleared up most of the Black Spots of Doom.