GH2 Anyone else looking to upgrade their GH2 for the Blackmagic Camera?

About the mount...

It should go without saying that they picked EF for a reason: to capitalize on the DSLR market using Canon glass, which is a majority of us. Yes, this is poor choice strictly in terms of camera design, but note that they are well aware of the demand for a m4/3 mount. The sales of the EF mount will likely put the necessary cash in their pocket to release other mounts, so really it's a matter of biding your time. If there's anything I've learned when it comes to new and expensive technologies, it's to never buy the first batch.
 
HotConductor said:
I looked at the photos again... NOW I see it. I forget how massive those lenses are!
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It is very deceiving. I understand. Haha.
The initial reaction is well warranted, just want to try and help by adding perspective for those interested.

Thomas is also right about the crop factor and lens choice. My concern is distortion but we'll see what happens.
 
wgzn said:
i guess thats my real complaint. with an m4/3 sensor wont there be the crop factor? thus every lens is effectively nearly 2x what it really is?
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Yes, and it is a bit too narrow field of view. But there has been no better alternative. It is my opinion that 24 - 25 mm sensor width (S35) is ideal for cinema production. Many cameras already have that sensor size, so I would expect BMD to have this in the cards also. They will probably generate nice revenues from the new camera, so the next iteration might well have broader field of view.

By the way, according to Kodak on-line information, 10-bit is enough to represent full logarithmic dynamic range of film. To have that compressed visually lossless like Cineform codec would greatly reduce the required recording bandwidth. So, a S35 10-bit camera using codec like Cineform vould get my vote for indie film making.

GoPro, are you reading this?
 
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ErikTande said:
The ability to shoot raw is nice, but there's no way I'd give up a $600 camera that shooting amazing video for a $4000 camera that only shoots 30fps.

I really like the design of the black magic though, very streamlined, plug ssdrives right into it, it's a cool camera.
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Wait...it only shoots 30 fps?
 
Aki_Hartikainen said:
By the way, according to Kodak on-line information, 10-bit is enough to represent full logarithmic dynamic range of film. To have that compressed visually lossless like Cineform codec would greatly reduce the required recording bandwidth. So, a S35 10-bit camera using codec like Cineform vould get my vote for indie film making.
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The Kodak Cineon file format (basically became dpx we know today with metadata and the ability to hold an alpha channel), is 10-bit log, which held about 13 stops of exposure, and equivalent to the best film stocks. This even held some noise beyond exposure at the top and bottom of the range.
It equates to 1024 code values of captured neg.
The linear print LUT that you view it under (equivalent to projecting in a theatre) was pegged between 95 and 685 code values, but these were not hard clips and had subtle run offs into the highlight and shadows.

We were always told the 10 log was equivalent to 14-bits linear.

So working on these principles, Blackmagic are being very filmic in how they have set this camera up, and I would think the Kodak methodology is very much at the heart of this.

When I work for Kodak, they were even using Cineon (the film system that I demoed, not the file format in this case) to help design new film stocks in Rochester.
 
I see you are quite deep in the cine business.

13 bits of linear contrast video could be pretty much developed to look like any film stock. The file size will be massive and many won't have a computer that will be handling such files with ease. Hence I would prefer to select a log camera profile and record with lower bit depth and possibly compressed to a known good quality codec instead of RAW.

This option could possibly be in the BMD camera, we'll see soon enough.
 
Aki_Hartikainen said:
I see you are quite deep in the cine business.

13 bits of linear contrast video could be pretty much developed to look like any film stock. The file size will be massive and many won't have a computer that will be handling such files with ease. Hence I would prefer to select a log camera profile and record with lower bit depth and possibly compressed to a known good quality codec instead of RAW.

This option could possibly be in the BMD camera, we'll see soon enough.
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You could say that... 15 years and counting, and Digital film compositing for most of that time.
10-bit log 2k files (2048x1556) are 12.7MB a frame, 24 of the little buggers a second.
So I've had a SATA RAID for years for running these off for realtime playback.
The fact I've now got a 6G SSD in my MacBookPro and can do the same thing on the go is mind-blowing.

I'm currently doing a 5k IMAX stereo job, 53.3MB a dpx frame. Not fun as regarding interactivity.

I'd hate to see the linear equivalent file size of this.

But I do like OpenEXR more and more as a file format, 32bit float linear with clever compression.
If I take my 10-bit Log Cineon Marcie and save it as a Linear EXR it comes out at 22.6MB.
That's an image with film grain on though, so obviously won't be as compressed as a grain free image.

So with BlackMagic talking about approx 6MB a frame for their 13bit RAW DNG image off the Cinema Camera,
they're doing some clever stuff to get it so small.
And they talk about Log profiles too, so the frame could potentially be even smaller.

Seeing that beach shot that's going around, I love the velvety film look of the image.
Absolutely gorgeous, and reminds me very much of a proper Cineon Log scan from film stock.
 
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I think it's an interesting camera, but when someone earlier in this thread said that it was a $4k camera, they weren't that far off for some of us. If you don't have Canon glass, if you need longer life batteries for location shoots, add in the SSD's and you're at or above $4000. Also, it's very Apple centric, and not all of us are Apple users. It may well be worth it, but we won't know until someone gets a production camera.
 
Well they came a lot closer to 3K for 3k than Red did... right? It's an interesting camera for sure. Kind of looks like a harddrive with a port on the front... They do make nice products and I bet it will work right away and not be in BETA with "issues".... let's hope. It is kind of weird to have no 60p options though.

This and the new Sony FS 700 looks very interesting.... I think a lot of camera manufacturers will be scrambling to catch this lightening
 
In response to the question in the title of this thread: Me.

I'm definitely considering buying the BmD cinema camera. But I'll keep my GH2 (and GH1), too.

The only other cam I'm considering at the moment is the Nikon D800.

My guess is that it'll be Xmas 2012 at least before those of us in the US will actually be able to buy the "GH3" (or whatever it'll be called), or its possible sister/brother prosumer version (not the replacement for the AF100, but a GH3 in a prosumer package). Based on Panasonic's past performance, even if they announce the GH3 & its sis/bro by Photokina this Sept., it won't be available in the US for a least 3-4 months afterwards. Of course I hope I'm wrong, but that's what happened with both the GH1 & GH2.

I'm interested in the BmD CC because:

It'll record very good-looking video; it features 10-bit 4:2:2 ProRes HQ (DNxHD & RAW CinemaDNG are a bonus); my old manual Nikkor F lenses can be easily & inexpensively adapted to it; it costs less than $3K w/o media; it has a "big enough" sensor; it has 2 balanced audio inputs; it has a headphone jack; it has a built-in UPS (e.g.: battery) & I can adapt my AB batts to power it; and, it has HD-SDI & Thunderbolt outputs.

Though I'd much prefer it had a S35 or larger sensor, I can live with one slightly smaller than the one in the GH2. I'd prefer it featured 1080p60, too, but I can always get a GH3 (?) for that reason alone. I'd also prefer it had an HDMI output in addition to HD-SDI: In 2012, HDMI out is as close to free as it gets.

But my quibbles are just that. None of them are deal-killers. And I expect future BmD Cinema Cameras to include most/all these features, and more. Eventually.

But for this Summer and at least several months after that, the BmD CC may be just about the perfect camera for me. YMMV.

P.S.: I probably won't pre-order one. I'm inclined to wait about 30-days after the final production units are in customers' hands and the inevitable initial bugs are identified & addressed. And I think BmD will be able to match supply to demand.
 
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So I couldn't resist and I caved in. Pre-ordered from Markertek on the 19th. While a lot of it was due to lusting for 13 stops/12-bit RAW/etc, I also didn't want to risk kicking myself in July when I change my mind and these things are backordered for half a year. While I'm not saying BlackMagic won't be able to supply the demand, I just don't want to risk being put on an indefinite waiting list like I did with the GH2. Also, I can cover all the focal lengths I need with the addition of two lens purchases, the Tokina 11-16 EF and a Nikon 24mm which I bought today for a good price. I will miss using the wide and fast 20mm pancake though. I don't plan on selling the GH2 because of its 60p and it being the only still camera I have! Haven't been this excited about a camera since the DVX-100 was announced.
 
Well, I just caved as well. Bit the bullet and placed a pre-order with Texas Media Systems! Check out their group buy over on the BMCC section of this forum. They have a nice discount for DVXusers!
 
Hmmm... intriguing camera, but if you can't compose a good image with an 8bit 10 stop camera, 12bit raw and 13 stops are not going to make that much of a difference. Just saying.
 
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