yeah, the glare on that sucker is awful - makes the rig almost completely useless. I had to throw a jacket over my head like a 19th century photography hood to see a damn thing on it.

Some people (including me) are suffer problems wiht Hot / dead Pixels. A quick test . Iso 1600, cap on the lens, activate peaking(double click focus), and vuala!...me around 20 noticiable "hots" in very low light situatons. Some one more??

Low light: Chinese Lanterns with Rokinon 16mm T2.2.

@maulkentor

I recognize that leaning tower in the back ground. Where did you get you bmpcc from?

@Inean I recorded high DR scenes with mixed lighting at night and noticed a persistent noise pattern as well - it stays in the same place during pans. Overall the BMPCC sensor is still impressive and the footage is very malleable to color correction. Anamorphic film look at 23.98fps 172.5 degree shutter ISO 800 f2 50mm Summicron graded in Lightworks

@Dionysus The footage seems way to dark for me. I can hardly see anything in the frame lol.

i agree , but when it wasnt too dark (the car coming toward it directly) it looked good actually... give it a little more light, crush it down in post if you want too, but let it breathe ! black magics cameras have most of they dr in the upper end of the spectrum anyway.

Did anyone notice I was already at 1/50s exposure ISO 800 at f2 - just where is more light supposed to come from for scenes like that - a Noctilux? Sorry to say friends - that's the brightest a pitch black night scene will appear on any BMPCC footage without 5K spent on glass! I graded it using the scope and the waveform shows plenty of clipped highlights with breathing room in the blacks. Zebras were set at 90% and filled any light source that was being filmed. Do you have a CRT monitor? Maybe I'm just used to a lack of Light pollution - I do live in a small dark town. Cheers :)

@vicharris Thank man... I guess the other cable i bought was crap IDK? I went ahead and ordered the one you linked me to today :)

@Dionysus One suggestion to get more effective light on the BMPCC for free is to change the ISO from 800 to 1600. That'd be a place to start - while 1600 isn't as nice as 800 quality-wise, the vast majority of that footage looked underexposed to the point of uselessness and exposing up another stop probably wouldn't hurt. Also, faster glass than f/2 doesn't in any way need to cost $5000. You can get a decent quality manual focus 50mm f/1.4 lens for around $80 or an f/1.2 version of the same for like $150. Panasonic's 20mm f/1.7 lens costs around $400. Otherwise, you also have the magic of going around 2 stops faster with an SLR Magic or Voigtlander f/0.95 lens (ranging from $600ish to $1200ish).

@MaulKentor Same here.

It is an issue of context - I was responding to Inean's hunt for hot pixels by shooting footage of blacks and harsh highlights - what mid tones were you expecting to see? The DR of the BMPCC is nowhere near film - I can easily get 10 stops in highlights while keeping four to five in the shadows on Kodak 500T - hence rolls of it in my freezer. Less highlight range means you have to key low to avoid clipping just like on every other digital. Sorry to say, there's no skew toward highlights apparent with the DR of the BMPCC. The video below clearly shows that it's either clipped highlights or lost shadows, you can't keep both like on film. Kodak vision would spank the lost orange clouds seen here with its S roll off and golden saturation.
Are we splitting shutters now? 24fps 172.8 degree ~= 1/50 it's what I set in the Sekonic. To those suggesting replacing a Summicron with a random $80 1.4 prime or nokton, please see an occulist - you may be suffering from chromatic aberration blindness. Those are issues I don't have to deal with once I screw on a Leica. The current noise at 800 ISO is enough of a chore to suppress, I have no desire to put up with any more at 1600. At that point might as well reload the scoopic 16mm and have the lab push the stock, it would come out with much cleaner blacks. It may be better than most DSLRs yet BMPCC is not film and wet dreams of a similar DR on highlights are just that. With my unit's hot pixels, bars and lines I'm already on the fence about a straight refund instead of warranty exchange. Only hopes keeping me with BM is the actively cooled sensor, lack of AA filter and finally seeing RAW... and I guess Niagara film lab's processing delays.