I will be going to the May 16th event on Los Angeles. Let me know if there is anything specific you want me to find out when I am there If I can.

I've pre-ordered this camera. However, have really gotten into using the Pentax K-01. The K-01 is looking more and more like a professional, capable camera, especially since the short film "The Wedding Toast" (made with the K-01) was released. I'm currently out-of-work; so money to tell my story is tight. The K-01's APS-C sensor (and K mount lenses) along with the Hacked (thank you VK) GH2 (which uses all the lenses in the world) now appear to be all that I'll need. 13 stops DR -or- anamorphic lenses can each be useful in telling a story, ...but you don't need to have both.

@PappasArts

No, "jrd" did not say that (you're thinking of somebody else), and I disagree with that sentiment.

There are any number of highly successful filmmakers who didn't, and could never, succeed with a DSLR and a few thousand dollars. And I don't know of anyone who has succeeded "with a DSLR and a few thousand bucks", if you're talking about dramatic feature filmmaking. There is a case of a filmmaker who succeeded wildly with $50,000 and a DSLR, with the help of a highly accomplished DP and experienced producers, but it wasn't because her film was a masterpiece.

Maybe we should change this topic title to "Success in Film - Myths & Philosophies" as I don't think we are talking about the BMC anymore :-)

Oops, my bad JRD. My apologies for attaching that quote to you. -Pappas

Just to play devils advocate to the people that say you can't make a sucsessful film on the cheap look at El Mariachi, and that was shot on film.

http://en.m.wikipedia.org/wiki/El_Mariachi#_

The US$7,000 production was originally intended for the Mexican home video market, but executives at Columbia Pictures liked the film so much that they bought the American distribution rights. Columbia eventually spent several times more than the 16 mm film's original budget on 35 mm transfers, promotion, marketing and distribution

This is most important part here.

Plus all such primers must always be accompanied with clear statistics. As if it is absent, it could look like it is good and very smart idea to buy lottery tickets.

About El Mariachi, Rodriquez always said the final DVD product was based off the video transfer that he edited and then sent tapes to studios to try and get it sold. When it came time to make the VHS & DVD, the original negative was so used up, he had to use the video transfer since it looked better. So the final version avaliable to home users was pretty much the $7000 version.

He did get an offer from a Mexican distribution place for around $20,000. Not as much as he'd have liked but he was prepared to take it until he got lucky and somebody high up saw the trailer he made for the movie and bought it. So the extra cash was just for the theatrical distribution. Cash that will be spent by the distributor regardless of what cam is used.

Any current stock DSLR produces a good enough image to make a movie. The problem is story, acting, directing, editing, production values, etc....not shooting flat or DR. Again, the best part of the BMD cam is it pushes the price point down closer to where it should be, with a industry presence that can't be ignored.

Has anyone seen Monsters? Reportedly made on a budget of $15,000.

http://www.slashfilm.com/how-gareth-edwards-shot-monsters-on-an-incredibly-low-budget/

And "Following" by Christopher Nolan had a $6,000 budget. This film was used as a example on a lighting course I attended, because most scenes are shot using only available light, not rigs.

Just shoot, and do the best you can with what you have available :)

Note that I periodically update various BMC related FAQ pages.

It is especially sad to see that absolutely no RAW or ProRes footage is available.
I think that someone from PR department is advising them not to release it. As it could become apparent that camera (and any other) has its shortcomings and flaws.

From what I understand the sensor is still undergoing calibration, and to release any raw footage before it is complete wouldn't justify the final image at all. I also think it would be best not to be teased with "inaccurate" images either. It will come soon enough though.

As for the event, it will be seminar-style. The schedule runs from 11am-7pm:

• 11:30 Customer Keynote: Ramy Katrib, CEO of Digital Film Tree
• 12:00 Adobe CS6 & Blackmagic workflow
• 1:00 Avid MC6 & Blackmagic workflow
• 2:00 Blackmagic design Davinci Resolve 9
• 3:00 Adobe CS6 & Blackmagic workflow
• 4:00 Avid MC6 & Blackmagic workflow
• 5:00 Blackmagic design Davinci Resolve 9

Of course, I am no expert on sensors- just sharing all the information I can come across. As for the sensor calibration, this coming from John Brawley, the only person I know to really use the camera. But it makes complete sense to not show off something that isn't 100% ready; raw or not- I really don't think sensors are just plug-n-play.

@Vitaliy_Kiselev

I agree, and that would most certainly be ideal in most situations. I think it's safe to say that lots of people have trust in a company like Blackmagic to deliver, based on the affordable, yet reliable products they provide for thus far.

Let's just say, if I had to choose to get in a car with Blackmagic or Digital Bolex, and I didn't know where they were taking me- I would go with Blackmagic.