David Peterson

Wake me up when it hits $4K! But by then it might be completely irrelevant due to "not being 4K".

Just finished my a weekend of shooting with the Liliput A5 for the first time, and I really liked it! Was a nice screen (in fact the B cam would often be using it for himself! Rather than for its purpose: to be pointed at me, so I could keep an eye on the B Cam shots), seemed to be battery efficient (I think? I wasn't doing battery management though, that was B Cam AC's job) while being super small and lightweight. For its price (only US$149!) I think this was an awesome bargain buy. [VIDEO] [/VIDEO]

If context is given, then lots, it isn't exactly super complex code

Sanken COS-11D are surely the most popular choice on bigger budget productions. DPA 4016 is another popular alternative, and is what I've got half a dozen of myself. Oscar SoundTech lavs are a popular low budget choice which gives you a lot of bang for you buck, and I use several of those as well.

Link doesn't work :-/ Am wondering if you can change the lens mount of the F65 to anything else than PL mount? (like you can with the F55/F5/F3)

Wish I could go! But USA Is a bit far for me :-/ Will be following the news closely anyway. I put online my long rambling pre-NAB thoughts, together with a couple of friends of mine:

Of course got to release the BTS to their marketing video, showing the Fujfilm X-H1 rigged up to the max (ohhhh.... I spot a Roland R88! A moment of silence for his back please): [VIDEO] [/VIDEO]

My favorite line:

Completely different design. The hint is in their name: studio vs cinema Wouldn't recommend

People (not me!) can buy an Alexa LF. You can't buy an Alexa 65!

I think it is just because the BMPCC is much more famous than the Micro, as the Micro came along latter. A lack of a screen is no excuse, you can get a Feelworld F6 for under two hundred bucks to use with a Micro: https://www.aliexpress.com/item/Feelworld-F6-Professional-Grade-5-7-IPS-4K-HDMI-Camera-top-Monitor-for-Camera-Video-it/32841628214.html Or spend a bit more for a SmallHD Focus or a SmallHD 502 (that one is my dream!).

Indeed, when you have such nifty little monitors as the SmallHD 502 or others at an even much lower price (such as say the Feelworld F6, if you're looking for a waaay lower priced option!) then a person really has no excuse against the BMMCC when it comes to lacking a monitor. https://www.aliexpress.com/item/Feelworld-F6-Professional-Grade-5-7-IPS-4K-HDMI-Camera-top-Monitor-for-Camera-Video-it/32841628214.html I tend to think of 7"+ as more like an AC monitor or a portable director's monitor While 5" ish and less is better for a camera op

The Canon C300mk1/mk2 also can't be user swappable mounts either. Why not just buy the URSA Mini 4.6K (or even URSA Mini 4K... seeing as you were otherwise happy with it aside from the PL mount?!) in an EF mount?

Errr.... the BMPCC (& Micro) *IS* a Micro Four Thirds mount camera!!! :-o I use MFT lenses on my BMPCC all the time. (and the fact people would use expensive S16 cine lenses on the BMPCC just shows what a damn fine camera it is, that people will even pair it with very nice glass) A "lot of work"?? I don't see what is so hard about just selecting the right lens (paired with a focal reducer)? That is after all a core job duty of the cinematographer! (oh and you mean the Tokina, not the Sigma 11-16mm, that doesn't exist from Sigma) Some of Rokinon's lenses (especially on the wider end) are designed for S35/APS-C/DX, and not for FF35/FX. Such as their 16mm lens, which is top of my list to add next to my Rokinon Cine DS collection. http://ironfilm.co.nz/rokinon-cine-lenses/ Errr.... the BMPCC (& Micro) *IS* a Micro Four Thirds mount camera!!! :-o I use MFT lenses on my BMPCC all the time. (and the fact people would use expensive S16 PL lenses on the BMPCC just shows what a damn fine camera it is, that people will even pair it with very nice glass)

The good news is you can pick up a Sony FS700 secondhand for around US$1.5K ish! (add on an Atomos Shogun for FSraw 4K to ProResHQ 4K for only another US$600ish secondhand. Total cost? Barely over $2K if you hunt for it). As for a BMPCC, why hate on it for having SD cards? The FS700 recorders to that as well! (so does the GH4 & GH5 you mentioned) As for battery life with both the BMCC and BMPCC, you should always use external batteries (which are pretty cheap and easy to do) and only view the internal battery as a "bonus" feature (hey, it allows you to hotswap batteries! ;) ) Also, you might be getting the Micro Studio and Micro Cinema mixed up (the Micro Studio needs external recording, the Micro Cinema uses the same SD cards as a BMPCC would). Oh, and is very very easy to get wide angle shots with any of those! (Pocket or Micro) Just get yourself a Tokina 11-20mm f2.8 + a focal reducer. Problem solved. Easy.

Smart slates can already take all the info in the audio recorder (such as take number, not just the current time) and have that displayed. Assuming you're using some tech that supports that. For instance I'm a fan of the Timecode Systems Ultrasync One: Thus the only missing part of the puzzle here is to get Blackmagic Design on board! Sooo close... yet so far! Someone should reach out to BMD? Get them to talk with the Movie Slate app developers and with Timecode Systems the company.

If your sound department is greater than one person (as otherwise, it is unreasonable to expect so much from them) then yeah they'll be uploading fairly detailed notes. But they'll be sound focused. The script supervisor would be entering other kind of info, but if you're using say Timecode System's Blink Network & a 600 series recorder from Sound Devices this can all together with each other and using the Movie Slate app. The next step would be to get the Camera Department on the same page to talk with the Movie Slate app as well.

URSA Mini has a timecode input, you don't even need to use Tentacle's software to sync the files together. It should be bloody easy, not a bloody mess.

There is only a small difference in resolution between 2.5K and 1080 And if you're not shooting in raw (95% of the time I am not, and I presume any one buying an ultra low budget camera is also not, especially if say they're doing a long project like a feature film or a web series) then there is basically ZERO difference between the ProRes HQ of the BMPCC , BMCC , and BMMCC (maybe some careful A/B testing can find some hairs to split)

In my eyes the two best cameras from BMD are: URSA Mini 4.6K Pro (the non-Pro version is not that much cheaper, but the Pro is so much better Micro Cinema Camera (is like the peak of development of the BMCC => BMPCC => BMMCC series) As we can ignore anything with the 4K sensor (welllll.... if I saw the URSA Mini 4K at a crazy low price like US$1.5K secondhand or lower then maybe I couldn't say no!).

The big two: 60fps (sweet sexy slow motion!) + smaller size & weight (important if rigging, say an overhead shot or onto a car. Also very important if using with a gimbal) The expansion port is also interesting, if you want to use the Micro on a drone, or another handy use I've seen people design shoulder rigs so you've got more control of the Micro from the grip handle. But everything else is just gravy on top after those big first two points. I'd even be willing to pay a premium for them over the BMCC! (but you don't need to, as they're around the same price now. But if the BMMCC went on half price sale like the BMPCC did the I'd snap up a Micro in a heart beat!)

If Panasonic GH5 / GH5S doesn't appeal to you and you really want to keep your budget around $2K or under then I seriously reckon you should go for a Blackmagic Micro Cinema Camera or a Sony PMW-F3 (or maybe the Sony FS700, but you'd have to be very lucky to get that with an Atomos Shogun and not end up pushing the budget too far past $2K).

Darn it, can't edit my post now? Anyway, looked it up, is 2014 vs 2015, as to when they where each released. Big difference!

I'd be keen to see that comparison!

FS7 is older than the URSA Mini, if anything, BMD copied Sony?!