This was just in my mail box.

We have also been working on a Passive Micro Four Thirds model of the camera. People have been asking for this as there are a lot of nice high end manually operated MFT lenses on the market, and the MFT mount can also be easily adapted to PL and other lens mounts using third party adapters.

The new Blackmagic Cinema Camera MFT is expected to ship in December, and will be the same price as the original model. It’s identical in features as they are both the same camera, just with different lens mounts. The price will also be the same at $2,995. We will be working with our dealers to help people change their orders if they want.

http://www.blackmagicdesign.com/products/blackmagiccinemacamera/

The biggest advantage is that it will allow for a a non-surgical way to mount true Cinema glass via a PL adapter. And for this to be effectively used as a B cam with Alexa that needed to happen.

Kudos BMD you are slowly winning me over. Now just begin offering a RED type "Obsolescence is obsolete" type trade-in/upgrade program, and I will be ordering ASAP. And you'll also distinguish yourselves from the other planned obsolescence companies like Sony, Panasonic, Canon, Apple, HP, etc... Which will win you more loyal customers than you could possibly imagine. Especially considering its not your only product.

I guess there will be some cancelling of pre-oders now (so did I)

Too bad that it's passive MFT.

I think, with time it won't be passive. But it is hard task to make electonic mount like m43.

As for lenses. m43 version allow to use same adapters you already have for m43 cameras, with all your lenses.

@Vitaliy They are different cameras for sure :) already owning a gh2 has been great, the creative flexibility of the form factor has meant that I can take the gh2 almost anywhere and put some really interesting glass on the front to get some beautiful images (made even better with your hard work and the community here) now as the gh3 comes over the horizon, I am looking to see what else I can use this collection of glass on.. to get better depth to the images, loosing the banding and highlight issues would make me happy and increased options for slo mo. I am just someone interested in images, rather than a moviemaker I realise moving images probably means I am a moviemaker but my output would probably be considered "art" (or just "visually confussing" for those used to a convetional narrative). The BMCC and the GH3 have interesting aspects to them that I might consider them as a step forward from the gh2, and at this time the BMCC is making it difficult for me to just pick up a gh3.

Don't get me wrong, I am happy to have these great choices, just tricky with the abundance of interesting options :)

Wow, what news!

@vitaliy_kiselev I think the decision not to announce other mounts is purely commercial. In an ideal world they would have developed and announced both in the same time frame. Assuming that wasn't possible, then they absolutely needed to release EF first to guarantee volumes. Announcing mFT as a delayed choice might have hurt pre-sales.

I think they've been smart, and I'm so happy to see the mFT mount. Just checking it isn't a late April fools :-)

@matthere

Generally it contradicts with all the previous interviews of BM staff. They constantly told that we won't see any other mounts in this version.

Choice is not difficult, as GH3 and BMCC are different cameras.

Blackmagic Cinema camera now available in m4/3 ! Available from December.

From our IBC topic (via John twitter)

There is theoretically an advantage.

I'm here at IBC and was talking directly to the head of the Resolve development team about this.

He was telling me that the Debayering in Resolve will be better than what's done in the camera, so the transform in camera that happens before being changed into ProRes Vs doing it in Post means there is more CPU power to throw at the image.

That and the fact it's 12 BIT Vs 10 of course.

Is it enough to make a visible difference ? I haven't tested for it. But I agree, that ProRes will be bloody awesome enough for most.

Nice to have the choice though.

jb

Loving coming here and watching the gossip - as far as film "film" makers go (as it isn't on film, and sure 90 % of you never seen it, I am a (feature) film mixer, editor etc, whatever you call me this week,,,) educated in the old fashioned way holding a pole and placing mics on a super 16 unit , 6 in the morning day in and out for many years in my youth - v lucky - been in a discussion today inadvertently about delivery (i.e. no tape SR etc) and it's absolitely going to be the norm very soon in the biggest prod companies - spurious link to the RAW workflow mooted here - wether we love it or not if it's expensive - MTV NAT GEO etc blah have no money to accommodate ingesting RAW full - stop I can tell you that now - aspiration is lovely but work 365 for these guys (where it may shine next year) no budget - zero - oh did I say zero - yes zero - flim flam away lenses IQ etc they dont give a fuck - no nothing, sat next to a PM now who follows development - im pausing for effect - oh - he and all his colleagues dont care - and FYI he hires you me and that strange bloke on internship that will never work, who after 40k given to the SAE mogul - end result sadly is you need to be totally retrained - soz! We#re desperate for audio post future mixers - sadly most of them submit CVs saying went to SAE and IM a mixer -what a shame My advice after spending 10s of Ks is dont put SAE on your CV if you want a leg up - tought by students - forever students - sound is fun and nothing to do with books and everything to do with people.

I am curious to see skin tones shot with ProRes

Agreed. It seems like ProRes would be good for most things, with RAW as the emergency backup for tough shots. Now if I could only afford the camera! LOL