I am wondering if anyone has any experience with ENG lenses on micro 4/3 (particularly on BMPCC or BMCC)? I have two old Canon J16 8-128 f1.8 ENG lenses in great condition and wondering if I should get some adapters or just sell them off. The adapters are like $150 because they include a built in tripod mount (I wouldnt want to let these lenses hang off the camera).

They don't need raw and 10bit 422 is more or less overkill for those applications anyhow.

I see absolutely no logic in all this claims about "pure cine cameras from BM". Nothing currently prevents to make proper preamps and record sound direct. Especially for the main BMPCC market.

As I said, many guys will be utterly disappointed after they will realize how easy it is to add ProRes and raw video to modern cameras. It was just not the goal yet :-) But things change and change fast.

Use and prize very good cameras that BM made. But remember that it is just embryo inside the egg waiting for big dinosaurs outside to be crushed.

Use and prize very good cameras that BM made. But remember that it is just embryo inside the egg waiting for big dinosaurs outside to be crushed.

The big dinosaurs didn't give people what they wanted in the DV era. Why would they now? They're very slow and often incredibly dumb beasts at reacting to what's happening or what people really want. They're a lot better at cranking out superfluous variations on the same crap, creating a false sense of breadth to their product catalog.

I expect 4K with shitty compressed codecs being the priority from the Big Dinosaurs. I'll happily eat my words if I see anything from one at anywhere near BMD prices shooting uncompressed or raw. They've had the ability since day one. This forum exists largely because curious individuals have proven that the Big Dinosaurs sell cameras that don't perform to half of their real potential.

No doubt Sony or Canon or Nikon or Panasonic could do a camera that, at the same price as any model BMD, beat it in every key area. But they won't. BMD and smaller companies don't have to create a fictitious ceiling on the capabilities of their inexpensive products. The Big Dinosaurs do.

@Pixcanfly Most of the "professionals" I know shooting with smaller cameras understand professional audio to mean dual-system sound. I rarely use on-camera audio for anything except reference audio -- although I am keen to see how the BMPC works with a JuicedLink Riggy pre-amp.

Noob question: given that ProRes is Apple proprietary codec. Does camera company pay fees on its use? COuld it be the reason for not adopting it from big company? Is there a free comparable one?

This is complex question. ProRes can be replaced by some new industry standard, as making such format is very easy.

No doubt Sony or Canon or Nikon or Panasonic could do a camera that, at the same price as any model BMD, beat it in every key area. But they won't. BMD and smaller companies don't have to create a fictitious ceiling on the capabilities of their inexpensive products. The Big Dinosaurs do.

I am sad to disappoint BM here. Dinosaurs will make such cameras. They spotted the niche and are ready to make the strike.

It will take a long time to replace ProRes or DNxHD as a desired and trusted acquisition format, and not just because of acquisition but post processing and delivering.

They are deeply rooted in most post processes today.

I can believe that larger companies will consider using an open standard like CinemaDNG in the near future, but as long as they're pushing proprietary media (Sony and Panasonic) or not implementing DNxHD or ProRes in camera then they're still going to fall slightly short.

Just slightly.

Afterward, focusing on facets of image and not just resolution or noise floor.

if Panasonic finally got it together and released a GH2 successor with at least RAW and 13 stops I can't say that I would not buy it. Only if it had the GH2 core image and color, and not the GH3.

It will take a long time to replace ProRes or DNxHD as a desired and trusted acquisition format, and not just because of acquisition but post processing and delivering.

Yep, but making good and fast converter that you can download for free solves this problem also :-)

@kholi

Right now it is only management decisions, not technical issues. All big guys have all the tech. As I said, all of them can release cameras with raw and ProRes-like format even in 2013.

Right now it is only management decisions, not technical issues. All big guys have all the tech. As I said, all of them can release cameras with raw and ProRes-like format even in 2013.

Right now? Always. This isn't a new niche. This is a management culture that's pervasive and has been making decisions against what you're suggesting all the way through the tape-based portion of the digital video revolution.

Re:audio

You can select between MIC or LINE in the menu for the 3.5mm audio input. That means you can use your preamp to monitor your levels.

if Panasonic finally got it together and released a GH2 successor with at least RAW and 13 stops I can't say that I would not buy it. Only if it had the GH2 core image and color, and not the GH3.

Agreed. I would possibly believe this move from them. While Sony and Canon failed to deliver progressive, Panasonic did. While Sony and Canon failed to deliver 24P, Panasonic did (and JVC). But it was a small, cottage vendor who proved that even back in the DV days we could have all had uncompressed 444 with enhanced DR streamed off those cameras.

And that was the tape days. They carried their bad habits into DSLRs where Panasonic, again, spanked them. And, again, small cottage and open source vendors showed how all these products weren't performing at half their capabilities.

If Sony finally wised up and matched or beat BMD cameras on key features plus price I'd still go BMD because their sensors, all the way up to the Fxx line, have video-like "rolloff" in highlights and why I'd never replace my GH2 with a GH3.

If it weren't for smaller, cottage vendors making an impact Sony would still be trying to convince Hollywood that a 2/3" ENG camera shooting 3:1:1 compressed video was better than shooting on 35mm film and getting false idols among their ranks to say it was true.

I think we are all went offtopic here. We'll have place and time to talk soon about it.

Look how long they were talking about global shutters (the GH2 was supposed to have one for chrissake).

Mostly some rumors sites are talking about it :-)