Oh got it. I did not notice that the same settings do not apply tint to the ProRes material. Technically it should if it applies a white balance change to the ProRes as well?

Might have to ask about that one. I haven't shot as much ProRes as RAW.

@itimjim Keep in mind there are still limitations to digital cams with 13+ stops of DR. It's not yet film where the highlights roll off soooooo nicely and you are almost never worried about them. They roll off better than DSLRs, but not like film.

My 5 stop zone bleeding into 7 stops on DSLRs changes to a 7 stop zone bleeding into 9 stops when shooting on them - leaving the outer zones for blacks and blown out whites. Only because even though there's still detail in those outer zones, I don't want to sit there worrying about them cuz i can push them to the outer boundaries with more control in post. I only ever use them when I have no other choice. Like in outdoor scenes where there's just not enough firepower to do what I wanna do.

Also keep in mind that 16:1 is a pretty contrasty look and it's only a difference of 4 stops. The characters in "Blade Runner" are mostly exposed with a 16:1 contrast, and the full frame's DR is around 256:1 which is a difference of 8 stops. What you gain with these newer cams with all the DR is falloff. And that's what I love about them, the gradation of the light changes as they fall across objects is so smooth.

But @danyyyel is right: those with wide DR in their cams and no idea how to paint with light, will still shoot shit. It requires almost no thought or talent to get some really decent looking images out of the RED and Alexa and these new BMD cams. And for most viewers who aren't savvy, it's good enough. They won't care. I'll know it's shit. You'll know. Everyone with an eye for beauty in photography will know. but the general audience won't give a flying fuck. And to those of us that really have a passion for this stuff, it's frustrating and sad.

Soon every cam will have 13+ stops and RAW - so what's it gonna matter? A level playing field. Then you'll really need to know how to paint with light and how to compose.... to impress us image geeks. But no one else will really care. How sad :(

@kholi I hope I didn't offend you with the term autoshit! It was a bit harsh, I more meant just standard stuff people are doing in Davinci to get the same look. I have seen different looking footage out of BM cameras but most of it does look the same. Not saying it's bad.

On another note, if anyone has seen Gangster Squad, first, I'm sorry. Second, as soon as the first image came up, all I could think about was how much it looks like all the BMCC footage. It had that same, brown-blue tint to everything. Just thought it was funny that the discussion came up about this look and how the exact same look is in that movie!

@HenryO Cool man, took the cast right out of it.

What are you talking about? Smaller sensors = faster readout = less rolling shutter. It´s not "magnified" like optical properties of lenses. I think even John Brawley wrote something about it in his first tests.

@vicharris

No nah man not at all. Now that we've met I can kinda hear your tone, I know you're not being offensive haha. A lot of us really did notice the "cast" that the image had, which was why that first thread on BMCuser exists. Problem is that there are many factors that attribute to it. But, it's actually not a big deal.

There are all types of looks you can get from the camera, starting with acquiring the image. Underexposing, overexposing, etc. It's just mostly a matter of (being repetitious here) balancing things first. And, sometimes? I like the grey-blue-shadow-cast-type-deal that goes on. It works for some things.

I'm sure more people will create LUTs for the camera as they become more popular, when you guys jump into resolve you'll have a few to start with already so that's really cool. X_X Early Adopters not so much.

Oh and on Cap'n Hook's LUT, a lot of people are using it so yeah, that's what a LUT will do. Things will look similar. It's like when everyone shoots with a Nostalgic profile on a GH2 or Technocolor on 5D. I think all of us can spot each of these cameras for the most part... BV1 and BPC (then B4K) shouldn't be much different, it has its own vibe.

Or maybe I'm just prattlin. xD Carry on.

@RRRR yeah by saying small sensor I was talking about FOV without getting into the FOV discussion, it's tougher to get wide basically. I'm not disagreeing with JB on the form factor but the fact your not as easily going to get wide to me is the other big reason why RS needs taming on the Pocket cam. Stabilized lenses will be your friend hand held.

@gameb - Hmmm, not sure about expensive EVFs for a $1k camera, but I plan on purchasing and using a sunshade for run and gun during the day... probably this if it I can fit it on the pocket cam body:

http://www.ebay.com/itm/380673378401?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649

The screen is matte. It's designed to have a very good visibility under bright sunlight.

@jimmykorea - Haha, I won't mind how I look. I just want to see the screen clearly in the glare of a sunny day. Maybe it won't need it. We'll see.

@jimmykorea Good point. I actually raised this point with my wife only on Saturday. I recently shot a wedding for a friend on my GH2 and I could see that people were not really taking me too seriously as It looked like I was just carrying around my "photo" camera and using the video mode to get a few clips, its only when they see the finished result they realize the power of the DSLR's.

I drove past a wedding on Saturday and saw this guy outside with a huge camcorder on his shoulder with a big mic on top...now he looked the part and I bet everyone took him seriously when he turned up with that....I bet his footage turns out to garbage...

In 12 months time am I going to turn up to weddings with an iphone sized BMPCC camera on top of a monopod??..Thats my plan but as mentioned, the perception with this will be even worse than that had when using a GH2...perception I guess that will only change with time, reputation and familiarity of the product.

my work has all come from reputation, and referrals where they have seen a clip and want the same. once in a while they will ask what I shoot on, I say dslr because no one knows lumix, its then left up to them if they want to proceed. I have yet to feel negativity towards it. I dont see things changing with the BMPCC, well for me anyways. then again im not shooting big budget productions.

@shian

Then you'll really need to know how to paint with light and how to compose.... to impress us image geeks. But no one else will really care. How sad :(

I'd argue that this has always been an unresolved dilemma in the no- and low-budget world, which seems to dog everyone who gives a s*** about the visual qualities of a movie: even assuming you have a DP who knows what he's doing, and has the means to do what he wants, how much time can reasonably be spent on production value for no-name festival circuit movies which sell almost exclusively on their stories, novelty and appeal to festival culture?

Is beautiful image making time well-spent, even assuming the writer/director knows the difference and has any visual imagination, which is usually not the case (just look at the typical Amerindie production)? And at what point is enough enough since, no matter what you do, it's never going to look like Reds or The Godfather, on these kinds of budgets.

OTOH, almost all low-budget stuff, from $5K and up, now has at least decent visual quality if the shooter had the sense to keep the highlights under control and get a proper exposure, which wasn't at all the case in the mini-DV era.

Now I'm not sure if I should sell or keep my gh2.

@Chaos123x

I gave mine to my wife to use. :)