@jrd @Vitaliy_Kiselev

I totally agree that the camera is merely a tool, in a much larger picture. Junk in, junk out. I get it. But I'm saying someone who actually has a really great idea / story to tell, and is able to pull together the resources, they could potentially do it on the cheap, with the camera technology that's right around the corner. If Robert Rodriguez had had this camera, he could have pocketed close to $7k, when he shot El Mariachi. Obviously, if I'm shooting a feature or project with a significant budget, camera rental cost wouldn't really be that much of a consideration. It's also a great tool to learn a professional camera workflow.

Good ideas don't necessarily cost a ton to produce, and these future cameras give us even more power. Music recording is a great example of good ideas that can cost next to to nothing and can be produced in a bedroom, and still compete with major label, multi million dollar recordings and sound great.

No, I mean this part:

John: I've already been using the camera in my own work. It's complimented the Alexa's I've been using on a TV series I'm doing now very nicely. And that's the way to think of this camera. It compliments cameras like RED and Alexa.

=P

And this:

@Aria BMD very much wanted to give 5D users a better alternative to line skipped highly compressed HD video. That's what they are going for. To make this camera a better 5D and a complimentary camera to bigger cameras like the Alexa or RED.

@Vitaliy_Kiselev

Honestly, coming from working in that world, I do disagree with you. I know producers, I know DPs, I know how this system runs. What John says is pretty spot on.

Most FS100 and AF100 owners are shooting for web or corporate videos. Talking heads. The majority of 'em are happy with what they have and don't need more. Go on over to the Af100 forums on DVXuser and ask.

I guess we'll see how much they get used, but my bet--from working experience on high end/major shoots to low-end shoots is that it's going to go there and go wide.

Sorry to have to disagree with you guys, but they clearly and repeatedly state where they were going. You can quote a few BMD people on the net, but the gist was very well stated:

This will compliment high end cameras like Alexa and RED.

It's just low enough in price that we too can participate and it defeats the weird things that DSLRs give. But, it's not targeted at the AF100 and FS100 by any means. If it were, it would have many MANY more features and video friendly options.

It doesn't. It is not a video camera, it is clearly designated as a Cinema Camera.

@Vitaliy @mwp

Yeah these were people that actually had paid for the 5DMkIII, D800, and/or D4's and were on hold with major online or local resellers. They, along with me, canceled the orders and placed new orders for the Magic Cam.

@TrackZillas

It's probably true that if you have a great script that only someone who's highly accomplished could write, and actors who are capable of doing work of the highest order, great lighting, first class production design and appropriate locations, and a director and crew which can put it all together, a BMD camera may prove to be workable on the production and may deliver "filmic" imagery. It won't save much money in the end -- the cost of the camera will be a fairly small percentage of the budget of such a production -- but at least it's an option.

But the fact is, these claims -- that filmmaking will be a democracy -- are made every time there's a new format or a new camera. It's been going on for at least 20 years. But nothing ever changes, because all the other production costs either stay the same, or go up.

For that matter, I can give you a great script for nothing: King Lear, Hamlet or Othello. And the camera is only $3000. If it were that simple, everyone would be making masterpieces for next to nothing.

@Brian202020 Yep, I was considering trading up to a 5dmkiii and the BMCC announcement changed that. New plan is get a BMCC and keep my 5Dmkii as a B-cam (also for stills). Keeping my GH2's as well.

The biggest issue I see with the BMCC is the crop factor along with the EF mount. The widest lens I've got in ef compatible mount is a 16-35L which won't look too wide. I've been looking at the sigma 12-24 for a while...might have to pick one up (slow but works as a super-wide on my canon as well). Ultimately, I hope they come out with a way to use both M4/3 and canon lenses...or at least the camera side mount can be easily&reversibly removed and adapted to something with available wide glass. Wait and see I guess...

On the subject of glass--there will be more legacy mount to EF convertible lenses usable for the BMCC than for the Canon DSLRs.The issue is that a good number of legacy lenses in mounts that can be adapted to EF mount based on EF flange distance actually end up hitting the mirror on a Canon DSLR. On the ones I have, this is due to the rear element protruding back into the camera (often only at infinity focus, but still annoying). The BMCC (like the Gh2) has no mirror and an extreme distance to the sensor from the flange. So more choices...

One more thing--I already use Resolve. That software kicks ass. Getting the full version for free with the BMCC is icing on the cake!

@johnbrawley wrote

@Aria B

MD very much wanted to give 5D users a better alternative to line skipped highly compressed HD video. That's what they are going for. To make this camera a better 5D and a complimentary camera to bigger cameras like the Alexa or RED.

This is pretty much how I understood the goal of this camera. There was a desire for such a product from the user base. Of course not every DSLR user is in this group looking for a bit more than a 5D can deliver, but there is a HUGE percentage of users out there that have been looking for just this kind of solution. All those guys trying to get clean HDMI out of the DSLR's and hooking them up to Atomos Ninja's etc. Guys pushing the limits of the GH Hack and tweaking their cams to death. Desperately trying to inch closer to the look of the big boy cameras.

@Vitaliy

I know you feel this camera is geared to a different market than the DSLR market, but I have to disagree. I know at least 7 people off the top of my head that canceled their 5DMkIII, D800, and/or D4 orders for this camera.

I've done 20 odd years work in audio and using DAW's from Logic to Reaper etc.. Most of the real difference that happens, actually happens in mixing (before its mastered) and the engineers ability to create space with Eq, reverbs etc...and also musical arrangement, then theres microphones, pre amps...all that stuff. Then there is the plethora of new VST mastering tools that work on the stereo out of the DAW...modeling valve compressors etc... and some of them are really good. Thats where you will hear a difference thats quite noticeable. To me anyway (the final medium) the stereo PCM Audio 24 bit, 16 bit, be it 96k or 44.1k or even the higher encoded mp3's 320kb etc.. is where you will hear the least difference. Sure in an enclosed and controlled studio environment you will hear a little difference....but as most people listen on ipods and whatever else and computer speakers...so I doubt wether there will be a big push to surpass PCM, since most people listen on lesser mediums than that.

I find the BMCC attractive as a serious entry level feature camera. 5 years ago I bought a camcorder with the same price that is nowehere as nice and versatile as BMCC. Now you get a cinema quality for the same price. But I would think 5D users like the 5D look and like the 5D form factor.

@alcomposer I believe that's the plan....Thunderbolt....

@Aria BMD very much wanted to give 5D users a better alternative to line skipped highly compressed HD video. That's what they are going for. To make this camera a better 5D and a complimentary camera to bigger cameras like the Alexa or RED.