As someone who has a lot invested in some nice EF lenses (and several Canon DSLRs, including a 5D3), I watched this with great interest.

If it weren't for the workflow, I would have ordered the BMD CC immediately after watching this comparison (downloaded). But, the fact that I must have special software to even format the SSD drives on my Windows PC, the battery issues, and the rest of the workflow issues have me sitting and drooling, wishing I had that dynamic range and detail in my images.

Fortunately, Magic Lantern is making great strides in what they are able to do to get improvements in images from the Canon DSLRs. But, I won't rule out a BMD CC in my future.

An additional problem for me is that while I started using DSLRs for video only, I have really kind of fallen in love with photography. I really don't want a camera that doesn't take really good stills as well as video anymore. I wonder how the BMD and the GH3 would compare?

I find that review very compelling. The sensor is larger than S16 (and much bigger than the EX series) and I was happy with the control of DoF when I used 16mm. The BMC does offer Apple ProRes and Avid DNxHD compressed video formats should the job not require uncompressed. I'm tempted to go around my adage of "don't buy initial versions" since the design assumes upgrades will be provided. Is the 90 minute battery charge really a problem? Has input for external battery. Replacement will mean a professional service. Remarkable just how quickly things are changing.

I dont like the idea of having to invest in more glass just to get wide shots. Its a bit over x2 crop so my much loved Nikon and Canon glass would all be 50 to telephoto on this. Much like the GH2. Yes you can step back 6 feet or so and get it wide, but im not always able to do that depending on room size. This feels like a technological step back to me, Super 35 is here right now and it rocks. I always thought i would be bothered about sensors not being full frame 35mm like DSLRs - not the case. Super 35 feels right to me. I would not want to step back (literally) to smaller sensor sizes, not now, its a done deal.
I think they missed an opportunity here, but after all, it is a Mk1 so who knows whats coming. They already have a micro 4/3rds mount to help out and was very soon released after the EF mount version, so things are moving fast.
Battery life. 90 minutes is just not enough. Not for serious work. You need hours. Or better still, a removable battery so you can swap it out. So you really need an external bat pack - more expense, possible rails rig.
Yes you can record Prores. Not a problem and it does get around the raw workflow. But its of little advantage over a high bit rate codec anyway say 50mbps.
The camera also suffers badly from rolling shutter or 'jello' reports of it being worse than a 5D. Do you want that in a cinema camera?. i dont.

So i see this as a great start.. seriously, i mean, we have raw shooting at a fraction of the price from last year. But really, does that matter in the end?
The camera does seem sharper in the tests with more detail and better dynamic range - thats all great. But it stops right there there for me. Those alone are its good points. But sensor size, battery life and rolling shutter kills it for me personally. If it was up to me and i ruled the world (hahah) ALL cinema cameras would be S35!
Dream on Paul... The reality is im just an unemployed nobody with about as much influence as a damp squid.

Paul.

The test shows rolling shutter effects the same as the 5D. Adding an external battery is fine and no camera I run will go "hours" on a single charge. I would add rails anyway, so depends on one's work needs.

The lens thing is what hurts my head.
The MFT mount is only passive so...does it realy help?
A S16 sensor with a PL mount is what I'd like.
The battery life, not an issue, just use a Bob Battery and that will run the camera all day. Cost of SSDs could be something to consider too.

Bob.

The flange mount is closer to the sensor for MFT. So your lens selection goes up with adapters. Thats all it means really. Well, the FS100 for example lasts 4-6 hours plus on a single charge, and its removable. Thats normal today. Edit: or should i say, thats the standard to aim for.

Paul.

"The flange mount is closer to the sensor for MFT. So your lens selection goes up with adapters"

Sure, I'm just a bit averse to adaptors. The system P+S developed for the SI-2K is great but it is expensive and heavy.

"Well, the FS100 for example lasts 4-6 hours plus on a single charge, and its removable."

As soon as you add a battery like the NP-970 to the BMD camera you pretty well have to start the whole design over again, there just isn't the space for it.
Assuming the internal battery in the BMD is charged from the DC input you can run the camera all day from a cheap SLA etc with it on sticks. When you need to get off the stick and run around the internal battery will run the camera for long enough, then when you're back on sticks plug big battery back in and the camera is being charged.

Bob.

The thing that does surprise me is the 1/4 inch jacks for audio input rather than XLR.

Without reading the camera spec sheet, if the jack inputs are true balanced TRS jacks then converting to proper XLRs is easy. Its just two converter leads, left and right.

Paul.

Well, it is so. Nothing like the joy of daisy-chained leads.

Wont be long before someone makes a box that sits underneath the camera with XLRs on it, easy enough to make one. But good news that its at least balanced.

Paul.

Okay, I'm getting semi-serious about this now.

Is there anyone else here who has ordered this or is thinking about it?

My main issue is workflow. I'm in a Windows only environment. It seems that BMD and Resolve are geared toward Macs. But, Resolve is available for Windows (I've tried the Lite version on Windows).

I'd like to be able to use Vegas with the BMD CC. But, I'm sure Vegas can't handle the raw files right now. I'm okay with using a raw converter - I'm used to doing this with raw stills. But, ideally, I'd like to handle the raw files in Vegas. Is this asking too much?

For those here who plan to use this cam, what will your workflow be? Just hoping to start sharing some ideas here.

I'm taking this slowly. There is no chance of getting a camera immediately and in general terms this is a bare camera without some facilities one might assume will be provided (e.g. phantom power) ---so need to check all aspects of how I will set it up as well as questions of workflow. Worth having a look at Phil Bloom's initial look at v1.0 https://vimeo.com/48956550#at=0Phil Bloom preliminary review[/link]

Thanks, Serena. Yes, I have seen PB's overview of the cam - he did a nice job. Like you, I'm taking it slowly. That's why I'm trying to gather information. I'm really trying to wrap my head around the workflow.

I can get the external battery and get around the physical aspects. And, I know I can use ProRes or DNxHD (the latter works fine in Vegas, I think). But, I figure, why buy this camera if I'm not going to shoot raw at least some (or a lot)?

IF I decide to go for it, I'd rather be higher on the pre-order list rather than lower (I think). I'm thinking about doing the "order it now and cancel it later" ploy. But, I'd rather take it slowly. If it is that great, what is another month?

It sounds like you're also seriously considering this. What are your thoughts/plans on workflow?

The attraction is the camera's position on the price point for dynamic range and resolution. As Philip Bloom said (several times!) 2.5K imaging for $3K. Clearly one needs to become familiar with the included software (DaVinci etc) and on workflow it would be a good start to get hold of some raw footage to test the feasibility of working with RAW on my present system. And the alternatives, such as converting RAW to cineform and whatever benefits are still to be had working shooting ProRes etc. There is also the question of hardware developments, as we've already seen in the lens mount. The cost of the camera is quite attractive but acquisition must consider all the extras; a new computer system would blow out the budget somewhat.

Well, it is so. Nothing like the joy of daisy-chained leads.

No need to daisy chain. I made a pair of balanced leads to connect my Echo 3G to my M Audio speakers. They have 1/4 one end and XLR the other. The soldering connection diagrams are out there on the net. I guess B&H might sell pre-made leads with these connections.

I'd like to download some RAW footage if it is available. Link anyone?

>>>>No need to daisy chain<<<<
Nick, I must say that does meet my criteria for a "daisy chain"! But, as you say, not actually a problem. The lack of phantom power from the camera means adding in another box for that. However these are not big issues when the camera is part of a system, which I think is the design assumption. It needs an external battery, a matte box (for ND filters), EVF, and a follow-focus will not go astray. Fortunately I have these and a variety of lenses, so the issue isn't so much the hardware (with its obvious solutions) as the demands of workflow. Rather as Phil Bloom said, I'd love to shoot with RAW but will I find this too much drag for the benefits? And if so, how severely do the compressed formats compromise image performance? At this stage I don't know the answers.