Just ribbing ya buddy.

@apefos Why with a native lens? IDynamic works with any lenses on GH3.

Quick question.. If I use resolve to ingest my bmpcc raw dngs.. Convert the files to bmd film and then export out as prores to then edit in fcp x... Am I gaining any quality advantage doing this or woukd this be basically the same as shooting in prores in the first place?

When you export where do you then do your final clip editing?.. My other workflow is grading the dngs in lightroom , exporting out as tiffs.. Compiling the tiffs into prores hq in compressor and then importing these prores files into fcp x for the final cut. I wanted to know with the resolve method above am I gaining any quality over just shooting In prores in the first place?

@ala_img this is interesting news for me. in GH2 the iDynamic just works with native lenses with electronic contacts. With native lenses iDynamic gets enabled everytime there is contrast in the image. With legacy lenses iDynamic just gets enabled in GH2 when the image is overexposed which does not help anyway.

If in GH3 iDynamic works in the same way for native/non native lenses, this is great news!

Nice shots @Tron.

I second that on the quality of shots. I was almost expecting opening credits to starting rolling in...

Hey guys, I'm not able to share any of my current project work shot with the RAW update just yet, but I am really loving this update. It's like a whole new camera! I think ProRes still has it's place, but RAW is clearly the way this camera is meant to be used.

I went for a short walk with my wife and little boy this afternoon and brought my BMPCC and just one lens along: a Canon FD 28mm f2 with the Metabones SpeedBooster and Vari-ND (left my IR cut filter behind). Please forgive the hand-held shooting.

I wanted to play with magic hour footage and experiment with a couple of very quick and dirty LUT based grades (maybe spent 20-25 minutes in total to get the edit and both grades). I focussed on a Kodak LUT and Hook's LUT. The sunset light wasn't all that great, fairly heavy cloud cover blocked most of the good light, but I thought I'd share my experiment anyways.

Hook LUT:

Warmer, saturated and dreamy

Contrasty, moody and organic

The RAW workflow with Resolve is honestly not putting me off at all. It's super streamlined. I edited and graded the footage in about twice the time it took the transfer the files and had them exported and uploading shortly after that. It seems that when to use RAW is really just a matter of how much space you are ready to use.

@DanHarris So far I like the stronger Tiffens on BM sensors, but there are definitely higher end (and pricier) options out there. I found this video to be very helpful in comparing a few different manufacturers filters on a few different cameras. 2:40 ish for BMCC and Tiffen (IR ND 2.1)

@lmackreath One thing you can do is grade in lightroom for the first frame of the sequence then use after effects and import the dng sequence and use that preset in camera raw upon import to apply to the rest of the frames (or just save the .xmp if it is compatible with your version of camera raw). Export in Prores HQ if you're on a Mac. Should be a simpler and cleaner workflow and yes, you will see higher quality over the in-camera ProRes.

@theconformist The file size is relative to the 176Mbps rate, so a little smaller than ProRes 220. I use it because I'm on a PC, editing in Sony Vegas and cannot export ProRes files.

@_gl @matt_gh2 @majoraxis Thanks for the kind words guys. I've been exposing with zebras set at 95% and it seems it's nearly impossible to screw things up this way and ETTR keeps the files essentially noise free. The raw image this camera produces certainly gives one confidence that they can take on more ambitious projects, maybe even a feature of some kind down the road!

@DanHarris I wish I could help more with vari ND and IR cut, I use a Tiffen IR T1, but almost never use a vari ND (just walk around/run and gun) so I haven't done a lot of testing with that combo yet.

I usually prefer to have a matte box with 4x4 Lee and Schneider NDs and so far I'm liking the results with the IR T1 behind them, but I haven't pushed it as far as they did in the AbleCine video above.