I'll go against the status quo and argue the BMDD will allow you to compete against the big boys. But, not over a feature length film. How about a teaser? trailer? A short? You can probably last a minute or two against Manny Pacquiao before he'd wear you down. But I'm thinking a lot here at PV could be golden for 30 seconds on screen before getting decked.

"What it changes for me, someone that can shoot high end at will, is having the same confidence in the tool that I have in said high end formats. That way I can focus on everything that really matters when trying to create."

Exactly. This kind of technology allows me and others to more easily get done the "3 F's" of shooting (framing, focusing, and *ucking exposure) so I can spend more time with the talent and crew getting stuff worth actually shooting. To me, it finally makes a big step toward for my ability to focus on creativity during shots, and flexibility in post. When shooting, I don't want to worry about tiny slow storage, which compression might work, record times, a stop +/- of exposure, or GOPs... I want to communicate with the crew, including easily view and review on set. This camera is a major step forward.

Plus. As a post professional, I look forward to not getting as many semi-pro "baked in" DSLR footage shot disasters day after day to cut into otherwise well shot projects. If this and the newly announced GoPro update come out as expected, it was a great NAB show in my book!

Without meaning any disrespect, I think there are mainly two architypes of people following these development, which of course intersect a great deal. On one end there is the indie filmmaker who's objective is to influence the audience with moving images and sound, and on another there is the camera gear consumer, someone who takes a lot of joy out of getting the best technical results from the stuff he can afford to buy. For the former, a camera like this, at such a low price, is a pleasant improvement, but in the big scheme of things a detail. For the later it can be a game changer. I think there is nothing wrong with both perspectives, they just have different goals in mind.

@Vitaliy_Kiselev

"Do not share your idea about music producing. Especially part claiming that it can be done for cheap and somehow magically become popular and bring money."

Never said that it would make someone 'popular' or 'bring them money'. I was merely talking about the sound quality, which can be achieved in a bedroom with a minimal amount of gear, can sound as good as major label stuff, especially electronic / sampled music (hip hop, dance, electronic, dubstep, etc.).

I was trying to make an analogy for video tech, by using audio tech. But it's not coming through clearly, in writing. Sorry about that.

@jrd I agree with everything you said, but it's also worth remembering that technological improvements in cameras can reduce the amount of on set gear or setup time that's required: smaller lighter cameras can be moved about easily on smaller rigs and cranes; better low-light performance means you can shoot with less lights (and less heat too); real-time monitors mean you no longer need a light meter; better DR means that you don't have such a narrow range of light level to work in (e.g. perhaps that window no longer needs scrimming?) etc.

I've read that Kurosawa had to use vast quantities of light (even on the daylight exteriors) to achieve the deep DoF shots in Seven Samurai. I highly doubt you'd need to do that today.

I agree. 24 bit audio would greatly enhance the flexibility to capture in a more flexible dynamic range. I doubt enhance sample rates would make nearly as much difference as people think.

I've been lucky to be part of thousands of double blind audio and image tests. Both administering and being tested at different times. The results are sometimes (often) frustrating, but always enlightening. In my life I've met less than ten people with truly amazing listening skills. (Many more with great visual skills.) Some are audio engineers and some studio engineers. And personally I've never met someone out of the working audio industry, including most musicians, that could come close to the deciphering skills of these few working audio or studio engineers. It's amazing how much outside influences can override your internal hearing and sight signal chains, driving you into thinking you hear and see things you actually don't...

For that reason, the longer I work in the biz, the more I prefer raw, dynamic range recording when capturing image and sound on set, over anything, anything "baked in." You are your best friend, and your worst enemy on set. Especially with multiple sensory inputs are happening with talent and crew. "Focus, Frame, and Freakin Exposure!" If you work on getting those three right on set, you have what you need to tune it in post, where you have a much more balanced and relaxed listening and watching environments to make good critical "bake in" decisions. This camera is going to help in delivering that option to the masses.

@RRRR

Yeah, I guess it's regional. Spending a good chunk of money (from a tiny budget) just to shoot Alexa on a short film would be considered bad producing in my area. But, that's just me I guess.

Anyway, again, not trying to crush anyone's hopes and dreams. jdr said it pretty well, and that's just the working reality whether anyone wants to face that or not. Sometimes I have to remind myself of that, too.

Coming from someone who's still straddling the line very heavily, with a no-budget vfx heavy feature almost being done, one of the things that I regret and do not regret at the same time was spending more money on locations and set design, things that actually make a difference in a narrative piece.

I can say that I do not regret shooting 2 x RED MX, despite not having the right amount of crew to support it... but, I also only paid for the storage space to keep the material, not the cameras. If the Magic Cam was out then I would've fought tooth and nail to shoot with a pair, so I get it. xD

You guys are crazy. I have worked on many no to low budget films back in the day. The worst problem we had was that the camera we were using (mini DV) made everything look like a porn. lol.

The DVX100 changed this a bit and later Letus adapters and then DSLRs. I think we're getting closer and closer to the "film look". If I had a lot of money though I would still shoot on film.

This beaslts the old "pro" Panasonic S-VHS camera I started out with lol.

I think I've found something wide enough for this sensor: http://www.bjp-online.com/british-journal-of-photography/news/2169615/rare-extreme-wide-angle-nikkor-lens-goes-sale

In all seriousness, I'm excited about the price, the DR, and RAW although I imagine I'd be recording ProRes more than anything else. The question, of course, in Panama, is whether it's worth it to me to purchase this in addition to a camera for photography, when my camera for photography will deliver videos in plenty high quality for the market. I'd like better, and I'd really like to sneak off to my ranch and do narrative, not this 2-3 minute stuff, but, we'll see what the almighty dollar allows.

Is thunderbolt any better than usb3?

John_Farragut I think that's true. If you like the FF look, then BMD won't give you that. I like it too every now and then, but it's not very practical and useful in storytelling terms, in only a limited number of situations in reality.

jb

I can't afford one of these cameras but in case you want to pre-order and need an ssd drive bundled Safe Harbor computers has a bundle with 240GB ssd for $2999 and another bundle with a 480GB ssd for $3499.

Bought software from them before. I highly recommend them.

http://www.sharbor.com/catalog/digitalcameras.html