I changed my mind :) Just got confirmation about preorder here in Sweden. This is going to be exciting!

@DrDave You mean a GoPro Black? (LOLOL)

I can't see how anyone getting the BMPC should be worried about the added cost of storage. It's the cost of the best IQ we can get for the money. You're already saving thousands off the camera!!! I mean for the cost of a decent DLSR you get a great little cam that exceeds the codec of any video cam anywhere near it's price.

I can really only think about the projects i'm gonna do with this camera. I live 5hrs from the Gulf Coast and tons of beautiful tropical beaches. Also just 3 hrs from the Atlantic coast with a different look altogether. Dense pine forests in Georgia. Oh excuse me I was daydreaming. :)

The cost of SD cards will continue to come down IMO. Storage in general only comes down in price, so what's to worry about?

The camera is great, but just a little pepper to the discussion:

Shotting RAW will be difficult these days due to superfast and superlarge SD cards are rare and expensive. They will come in a near future, but for now, Prores will be the way to go for most people. Making a feature film or a doc it will need lots of shooting and reshooting, so lots of storage in computer until the entire film is done.

Also, there are thoughts around which says Prores is not 13 fstops DR and it is 11 fstops DR. It needs definetly a good comparison: RAW vs Prores and both vs Flaat or other flat picture styles in D5200 and T3i...

Imagine if we use the Nikon D5200, or the Canon T3i with VAF-TXi filter to clean moire and aliasing, and use the correct picture profile / picture style in these cameras for each situation... So we will achieve 11 fstops DR when needed and great skin tones when needed... also good enough in low light.

So, will the Pockect cam worth the expensive large amount of storage and more difficult workflow in post for the low budget indie filmmaker? Of course production facilities working for rich clients like publicity do not need to worry about money, but the indie filmmaker needs.

Just thoughts...

@soundgh2

Shaves a good old chuckle aint he

Sure is. I want him on my debating team!

Me thinks the 16:9 sensor pattern could maybe filter or Bayer and rest covered or monochrome, except non straight border on bottom, but then some extra pixels for sensing not for image. If rest is image and not covered too much, hackable to get, maybe shift brightness and color to compensate.

Do you have original low compressed version to see details?

Still, why such a large area to on sensor circuit, no manufacture would be putting professional codec circuit on a sensor, unless general processing they use big camera codec chip. Big area does not make sense on big sensor, on little yes. If circuit image circle overlap can heat and shift run speed unevenly. Frame buffer?.

Still to hack for all it's got and uncompressed 50/60p 10-12 bit record through external recorder $500-1500, worth it, and noble compared to gh3. But maybe I leave, framerate and rez lame duck on special camera. Potential Ambarella camera hack give a lot. S16 Nikon J series such camera, do 4k video sensor. Think maybe ambarella based. Maybe Olympus Pen mini is but maybe too old to be Ambarella.

I would like to see a real life comparison between the two film profiles it offers.

I totally agree it is a no-brainer buy for a narrative short film and possibly a very low budget (below $100K) feature, but I'm probably not going to pre-order. I just finished showing my co-editor what I did on the film we're cutting, and we chatted about RAW workflow. I shot around 43 interviews and broll on two GH1s and an HMC150 for this film and we transcoded to Pro Res in FCPX (yes, X on this one) and the transcoded video is over 3TBs.

Can you imagine RAW for a doc? I cut a Red single camera doc that clocked is at around 4TBs. We have two arrays for this one and it is choking us. And I used the LP reliability hack.

I've watched some videos on RAW workflow and isn't video captured separately and then synced on import after color correction? I'm already doing a lot of syncing (which FCPX handled well, by the way).

If you buy the BMPC and plan to shoot a doc with it, you're likely going to shoot Pro Res and be prepared to buy a crate of SD cards. And then buy a nice Drobo or a QNAP and start the daisy chain.

Ordered and happy :) I can't see too many downsides for $1000.

Soo True the audience don't care about tech specs like S16, or S35

+1

It's true that they care about noise and grain to a certain extent, but these modern digital s16 sensors are as clean (or cleaner) than s35mm film. So it doesn't really matter anymore. That's really the main reason s35 was used... for it's grain and latitude characteristics... not really the DOF.

@manstok, you might consider this little mic for the S16 BMC

http://www.amazon.com/Olympus-ME-52W-Noise-Canceling-Microphone/dp/B000MYPPPE/ref=sr_1_8?s=electronics&ie=UTF8&qid=1365633754&sr=1-8&keywords=stereo+microphone

@trevmar, agreed. The lossless compression ratio will vary depending on the image complexity, so they are probably quoting for the worse-than-average case (else they'd get flak later). Plus they have to factor the worst-case into card speed compatibility.

Also I don't know what the exact size of the BMC 2.5k RAW frame is - anyone know?