BlackMagic Design's Cinema Camera is a 2.5K RAW Shooter with Built-in Monitor and Recorder for $3K

Holy cow. What if I told you BlackMagic Design was introducing a 2.5K resolution, 13-stop dynamic range, RAW-shooting (with format-agnostic ProRes/CinemaDNG/DNxHD options), Thunderbolt-connected, built-in touchscreen LCD, SSD-recording camera that comes with the new version of Resolve 9 color correction software... all for $3,000? You'd say, "what's the catch?" Looks like the only catch is a 15.6 mm x 8.8 mm (active) sensor size, which makes it a S16 camera, not a S35. Still, for that price and with those options -- this is a seriously disruptive camera and one that targets the HDSLR space perfectly.

If you don't think S16 is a large enough sensor, keep in mind that it's been used to shoot a million features lately, including Darren Aronofsky's most recent (The Wrestler and Black Swan), as well as this year's Sundance-winning Beasts of the Southern Wild. Also, BlackMagic was wise to make this a Canon EF mount camera -- PL glass is so expensive that a lot more of their target customers will already have Canon lenses lying around than will have PL lenses. Finally, the fact that it has a built-in recorder and monitor means it has the ease of use that most shooters want -- spec sheets be damned. And it takes standard 2.5" SSDs -- you are not tied to one (overpriced) brand of media, as you are with RED or (quite often) Sony. The flipside is that many believe that standard SSD connectors were not designed for frequent insertion/removal; time will tell.

The fact that it's a S16 RAW camera makes it a competitor to the Digital Bolex camera we mentioned previously, though I would note the fact that BlackMagic is an established company -- and the fact that it comes with the full version of Resolve and Ultrascope -- makes this one more appealing in theory.

There are video samples here by cinematographer John Brawley. For the most part the images look very good -- the only area they seem to fall a bit short compared to the best cameras out there is in low-light, which is to be expected given the smaller sensor size. Also, in the Beach Dusk sample there are numerous stuck/dead pixels -- presumably BlackMagic will work these out by the time a final camera is shipping (slated for July). Note of course that I'm judging compressed Vimeo samples, and I'm judging them against cameras that cost a lot more.

Images of the $3K shooter are below, as is the full press release and link to BlackMagic's official product page. It looks like if you were thinking about getting one of the new $3k DSLRs, like the Nikon D800 or Canon 5D Mark III, now you've got something else to seriously consider. We will do our best to get our hands on one of these units ASAP!

Link: BlackMagic Design Cinema Camera

Press Release

LAS VEGAS, Apr 16, 2012 (BUSINESS WIRE) -- Blackmagic Design today announced Blackmagic Cinema Camera, a revolutionary digital cinema camera design that includes powerful features such as super wide 13 stops of dynamic range, high resolution 2.5K sensor, built in high bandwidth SSD recorder, open file format support, color correction with full version of DaVinci Resolve and a built in LCD with metadata entry, all in an attractive compact design for only US$2,995.

Blackmagic Cinema Camera will be demonstrated on the Blackmagic Design NAB 2012 booth at #SL220.

Many current generation video cameras suffer from a "video look" due to a limited contrast range, a maximum HD resolution sensor, poor quality optics and lenses, the use of heavy video compression for file recording and poor integration with NLE software metadata management. With these limitations, they cannot be used for high end work or feature films.

Blackmagic Cinema Camera has been designed to eliminate these problems so customers get a true feature film look, and at an affordable cost can shoot high end television commercials, episodic television programming and feature films.

Blackmagic Cinema Camera

Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD files, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and is fully compatible with extremely high quality Canon EF and Zeiss ZF mount lenses.

Blackmagic Cinema Camera also includes a full copy of DaVinci Resolve for color correction and Blackmagic UltraScope software for waveform monitoring. UltraScope can be run on a laptop connected to the camera via a Thunderbolt connection.

One of the most important features of the camera is its super wide dynamic range of 13 stops, allowing feature film quality images. Commonly people focus on more pixels, however often this just creates a higher resolution, but still "video" looking images that suffer from highlight and black clipping that limits details. Blackmagic Cinema Camera's wide dynamic range eliminates this problem and provides film quality with dramatically more detail retained in black and whites in the image. Once the shoot is complete, the included DaVinci Resolve color correction software can be used to adjust images and take advantage of this extra range in the images. The high quality EF and ZF lens compatibility also helps create sharp and cinematic images that look incredible.

To eliminate the damage that low bit depth and high compression video storage creates, Blackmagic Cinema Camera includes a fast SSD recorder. The built in SSD recorder can record on fast solid state disks the full sensor detail in 12 bit Log RAW files in the open standard CinemaDNG format. These files can be read by all high end video software. The full 2.5K sensor data is stored in the files completely uncompressed because the SSD has the speed to store video data at the required rate. Then this high quality file can be color corrected on DaVinci Resolve for the same high quality result currently only possible on cameras costing tens of thousands of dollars.

Blackmagic Cinema Camera has been designed as the perfect companion to Final Cut Pro X and Avid Media Composer NLE software. Unlike other cameras, which require the use of custom video file formats that are not compatible with popular NLE software, often making the post production process a nightmare, the Blackmagic Cinema Camera includes absolutely no custom video file formats, and every file type included is open standard. It records into Cinema DNG format for RAW files, ProRes and DNxHD for HD resolution files compatible with Final Cut Pro X and Avid Media Composer.

The built in large LCD display makes focus easy, and allows playback of captured files. Blackmagic Cinema Camera includes a built in microphone, as well as external jack based mic/line level balanced audio connections. When playing back recorded clips, a speaker is built in, and there is an included headphone socket, as well as embedded audio on the SDI output and Thunderbolt connection. The SDI output includes all camera data such as timecode, transport control, shutter angle, color temperature setting and ASA information overlaid in attractive antialiased fonts.

For easy metadata entry, the built in LCD features fast and responsive capacitive touch screen technology. When the user taps the display with a finger, a data entry window called the "slate" appears. This lets the user enter shot information just like typing on a smart phone. This data is then stored in the files so can be accessed by NLE software when editing content later. Metadata is compatible with popular software such as Final Cut Pro X and DaVinci Resolve. All camera settings can be changed on this touch LCD, such as frame rate, shutter angle, color temperature, dynamic range, focus assist settings and more.

Blackmagic Cinema Camera includes an innovative industrial design built from solid machined aluminum metal which results in an attractive but rugged design. All of the camera, recorder and display have been shrunk down into a lightweight design that's very portable.

"This is one of the most exciting products we have ever created and its been a work in progress for a very long time," said Grant Petty, CEO, Blackmagic Design. "Ever since I was a telecine engineer back in the 1990's I have wished that video cameras would include features that allowed them to perform creatively similar to film. However current digital cameras are too heavy, way too expensive and need costly accessories to work. We felt there was a need for a camera that delivered these features in a design that's optimized for professional video shoots, as well as being a compact, elegant design that's easily affordable. We think we have achieved that!"

Blackmagic Cinema Camera Key Features

  • High resolution 2.5K sensor allows improved anti aliasing and reframing shots.
  • Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
  • Built in SSD allows high bandwidth recording of RAW video and long duration compressed video.
  • Open file formats compatible with popular NLE software such as CinemaDNG 12 bit RAW, Apple ProRes and Avid DNxHD. No custom file formats.
  • Includes no custom connections. Standard jack mic/line audio in, BNC 3 Gb/s SDI out, headphone, high-speed Thunderbolt I/O technology, LANC remote control and standard DC 12-30V power connection.
  • Capacitive touch screen LCD for camera settings and "slate" metadata entry.
  • Compatible with extremely high quality Canon EF and Zeiss ZF lenses.
  • Supports 2.5K and 1080HD resolution capture in 24, 25, 29.97 and 30 fps.
  • Thunderbolt connection allows direct camera capture via included Media Express software and supports live waveform monitoring via the included Blackmagic UltraScope software.
  • Includes a full copy of DaVinci Resolve 9.0 color grading software.

Availability and Price

Blackmagic Cinema Camera will be available July 2012 for US$2,995 from Blackmagic Design resellers worldwide.

Your Comment

202 Comments

5D mark III or this beauty ??!

April 17, 2012 at 4:56AM, Edited September 4, 7:54AM

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Aleksander Frem...

You'd be nuts to buy a Mk. III for video, given the competition.

April 17, 2012 at 6:32AM, Edited September 4, 7:54AM

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swested

Agreed.

April 17, 2012 at 9:11AM, Edited September 4, 7:54AM

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Brynn

"THIS" baby hands down. No contest whatsoever.

April 17, 2012 at 10:06AM, Edited September 4, 7:54AM

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Lliam Worthington

"THIS" baby hands down if video is the most important thing to you.

April 17, 2012 at 10:07AM, Edited September 4, 7:54AM

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Lliam Worthington

anyone know how many stops you lose due to the size of the sensor. Not sure if that's the correct question but comparing it to the 5D3 which has a bigger chip is more sensitive to light.

April 17, 2012 at 12:28PM, Edited September 4, 7:54AM

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Justin

@Justin, What I think you're asking about is the Field of View. The sensor size is a little bigger than S16, and a little smaller than the GH2, so your crop will be just a little over 2x. Here's a chart to compare: http://www.eoshd.com/wp-content/uploads/2012/04/blackmagic-cinema-sensor...

April 17, 2012 at 4:24PM, Edited September 4, 7:54AM

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Ryan

Since the 60's the history of 16mm ( Arri, Eclair, Bolex etc) and its impact on filmmaking have been these camera form factor, portability, price (camera and 16mm film stock), modifying like the Maysles 16mm Auricon's with 1000ft mags. These cameras created a new style of filmmaking that influences generations to this day. Unfortunately today's filmmakers obsession with the perfect 2K for post has resulted in the coming of the Messiah with the Blackmagic camera. I've read all the specs and astonished the designers did not think of the growing creative doc community who want great cinema images out the camera. How do you shoot an event that takes place over a day with this camera that has an internal battery that lasts barely 2 hours? Why the compact design if not for documentary style shooting? Expensive battery packs, extra rigging, EVF's what a hassle for a 16mm film image. GH2 good for another few years.

April 17, 2012 at 6:19AM, Edited September 4, 7:54AM

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Dan

Fully agree with the guys who consider an integrated battery idiocy of the people that have never made cameras before. Hope the next version will have not only rechargeable but also re-changeable battery.

April 26, 2012 at 7:35PM, Edited September 4, 7:54AM

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Val

The pessimist in me is sure that the day this thing arrives at my door, Arri Alexia will announce a $3k IMAX or something with double everything... The hardware game changes sooo fast... This looks awesome though.

April 17, 2012 at 7:27AM, Edited September 4, 7:54AM

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James Neuendorf

The internal battery is probably going to be a huge issue (for me anyways). I mean, a HUGE issue. Satchler's FSB Cell would be a really nice way to power the camera but I don't think it has enough juice. If there is enough demand maybe they (or another company) could develop a similar concept. I just don't want to mount a large V-mount battery on a rig (or pay for them). Yet, at $3,000 I suppose I can adapt.

It seems silly that the audio inputs are 1/4" rather than XLR. Oh well, it's still better audio than any DSLR out there; including that $15,000 4K shooting brick of a DSLR.

April 17, 2012 at 7:34AM, Edited September 4, 7:54AM

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I think they're 3.5mm (1/8") instead of 1/4. either way, having two inputs, as well as the ability to monitor through headphones, sets this above most of the dslr market in this price range. definitely better than 4k M-JPEG for $15 grand.

April 17, 2012 at 9:47AM, Edited September 4, 7:54AM

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Kevin

my mistake - 1/4' jacks it is. a weird choice then, instead of xlr. but whatever. two inputs and a headphone line out is still a great feature to have on a $3k camera of this capability.

April 17, 2012 at 11:37AM, Edited September 4, 7:54AM

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Kevin

The 1/4" audio inputs are balanced, so all you really need are the right XLR to TRS cables. True, they won't lock, but given the size of the camera body, it really makes perfect sense.

April 18, 2012 at 12:28PM, Edited September 4, 7:54AM

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Randy Walters

There are plenty of dirt cheap external 12v power options, I use a few powering various things on set. No doubt there will be a 3rd pary external battery pack that sits under the camera shortly after release and soon after that there will be knock off's from China

April 17, 2012 at 9:48AM, Edited September 4, 7:54AM

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Lee

What excites me about this is not even so much the camera itself, it's the fact that this is BlackMagic's FIRST foray into this field, so I'm extremely interested to see where they take this. They really push the envelope with their other product lines and I'm excited to see them join the fray. I think they are the perfect company to give the industry a little shake-up.

April 17, 2012 at 9:10AM, Edited September 4, 7:54AM

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Brynn

If you look at the test footage again, the highlights look amazing on this camera. Beach at dusk around 2:39 looks impeccable!

April 17, 2012 at 10:05AM, Edited September 4, 7:54AM

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Robert

I think it's a mind blowing release and easily the most disruptive since the RED one. Unless you count the happy accident of the 5D. Resolve 9 thrown in just makes this something truly incredible.

I think this will likely be my B cam for Scarlet.

April 17, 2012 at 10:11AM, Edited September 4, 7:54AM

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Lliam Worthington

Resolve 9 being thrown in is literally forcing my hand on this. They better not make this a limited offer!

April 17, 2012 at 11:48AM, Edited September 4, 7:54AM

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With almost a 4/3" sensor, why not offer a m4/3 mount option as well? The crop factor will make EF lenses look a little long. Or maybe they will offer 16mm lenses of their own design as well?

April 17, 2012 at 3:24PM, Edited September 4, 7:54AM

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I doubt they're ready to go THAT far, but it's a nice thought :)

April 17, 2012 at 3:39PM, Edited September 4, 7:54AM

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Brynn

Can someone tell me the asthetic difference of a 16mm designed lens at say 25mm focal length and a 35mm EF-s lens say 11mm that crops to 25ishmm?

Will geometric distortion be drastically different?

April 17, 2012 at 3:43PM, Edited September 4, 7:54AM

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You cannot compare 12bit RAW to any DLSR with 4:2:0 compression period.
Only RAW will give you the oppertunity to do high end grading in post. The range and color depth of a camera, is one of the most important things to establish a film look.
All DSLR look video because they are lacking range and color depth. (that's without compositing with look-alike effects). This Camera can be used for high-end film productions for a very low price, with quality getting near alexa and red epic. (i.m.o. it looks a way better than red one thanks to it's 13 stops range).
The range of any camera is more usefull when you can change or grade before "baking" the LUT and compress it. The lut of most video/DLSR camera's result in 5-7 stops range, baked-in and compressed, mostly in 4:2:0 colorspace. (don't let marketing fool you, even the sony F3 doesn't have 13 stops).
Working in 12bit RAW with large lattitude gives you the benefit of pushing up a underlit face +2 stops without loss of quality, or grade back a lot of detail in overlit clouds.
The sensor size is not 35mm, so what? More depth of field? Look at the popular movies, when do you see a small depth of field (F1.2, F1.4) ? Only if it's really needed for the cinematography, to tell the story. Mostly the DOF is set on a F-stop comparable with S16 DOF, because it's looks natural. If you can't tell your story in S16 format, you can't tell it with 35MM. The big difference now is that the aspects needed to get a high end level picture is in reach for nearly everyone now. Blog's soon will no more be about "this is the best camera ever", but about "this might be the best story filmed ever".
I think Black Magic has scored big-time. Adobe has aquired Iridas, so it's only a question of time adobe will implement high end color grading in CSx. By nearly "giving" away a camera with Davinci reslove....they will blow out any compettitors for now.

Too bad that there are not 2 versions, one with a PL mount ,a dicision that looks like a marketing stunt to get most DLSR users over to buy their camera and keep their lenses. Please give PL lenses a chance too.

Beside the good side of all this,is that this camera will destory capital of a lot of professional creatives, filmmakers etc.who recently invested a lot of money to earn a living. Prices will drop and they all are played out by marketing tricks again......remember red? the camera they promised in 2007 was actually the camera with "epic" specs released many years later. (they promised F11 in range, but called it "wide dynamic" camera later on, because it only had F7 when they started) Don;'t even start mentioning the scarlet. nearly everyone believed in the marketing capaign and pre-ordered.

A decade ago, everything labeled "film" was very "exlusive" expensive. The black magic camera looks like a game changer. Wait a few years more and you'll be able to buy a digital cinema camera at your local super market, with an optional choice for zeiss or cheap glass.

April 18, 2012 at 2:43AM, Edited September 4, 7:54AM

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Roger

I was literally anxiously excited about this camera until I heard one complete deal breaker.

It has an "internal" battery with a 2 hour re-charge time and a 90 minute (probably 60 minute real world running capacity)

That completely blows! An internal battery are you kidding me? Forget using this thing for Documentary work, Event work and Abroard.

Bummed.

April 19, 2012 at 10:35AM, Edited September 4, 7:54AM

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You just need an adapter and you can connect almost any battery to it. I don't think this is a big issue, just because Canon batteries don't slide into it doesn't mean it's worthless.

April 19, 2012 at 3:24PM, Edited September 4, 7:54AM

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Joe Marine
Camera Department
5789

I'm with you on this. I just think of it as batter holder is not inside the camera. It will just be an add-on sitting underneath it on a tripod. And the reason for that is just the small size. But, if you did need to do something quick, then you'd have an hour or so of batter life. I don't see that as a big deal really. I think if they had included a batter slot, then there probably wouldn't have been enough room to fit SSD cards. And to me, if you said "you can have either SSD cards and and add-on battery; or SDHC cards and a battery slot," I'd pick the first option. I'm not a camera designer, so I don't know if there was another way to do it, but in the end, there is only so much real estate on a body this size.

April 20, 2012 at 1:24PM, Edited September 4, 7:54AM

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Mike

sorry, for some reason my "y" key wasn't clicking in when I was typing "battery" lol.

April 20, 2012 at 1:26PM, Edited September 4, 7:54AM

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Mike

battery pack BOOM

April 20, 2012 at 12:46PM, Edited September 4, 7:54AM

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mikki

It's not a "ZF" mount camera - That is Zeiss's Nikon mount. Whilst Nikon lenses can be used on a Canon EF camera an adaptor is required and auto-iris etc. is not supported. This camera uses Zeiss ZE lenses !!

April 19, 2012 at 12:50PM, Edited September 4, 7:54AM

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Damen Stephens

In fact you can even see this in the promotional photo with the Zeiss lens attached. If you look at the lens you will see it is a Canon ZE mount not a Nikon ZF.

April 19, 2012 at 12:53PM, Edited September 4, 7:54AM

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Damen Stephens

Updated -- thanks for the catch!

April 19, 2012 at 3:04PM, Edited September 4, 7:54AM

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Ryan Koo
Founder
Writer/Director

does this camera shoot at 60fps on a lower resolution or is 30 fps the highest it goes i shoot alot of sport videograpghy and as such shoot alot of my videos at 60fps so i can later slo it down in post

April 19, 2012 at 4:29PM, Edited September 4, 7:54AM

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Barry

The Thunderbolt out will not be very useful for PC users - such as me, at least for a while. No PC's have Thunderbolt available and, according to Intel, it cannot be added using a card - it has to be integrated onto the motherboard. It will be interesting to see how BMD handles the certified motherboards for use with Resolve when none of them currently have Thunderbolt. Ultrascope currently uses an external device to connect to PCs. I'd love a Mac, but the conversion cost would be more than the camera.

April 20, 2012 at 8:13AM, Edited September 4, 7:54AM

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John

Don't believe everything they say, with the lightpeak demo they used PCI cards. ;)
You can find it on youtube.

April 20, 2012 at 10:46AM, Edited September 4, 7:54AM

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Stefan

I like the possibility of this camera, but I was concerned about the crop factor. What lenses would be best for this kind of sensor?

Or what would the math be to figure out what lenses would really be after the crop factor? Just don't want to waste money on lenses, or not get what I'm paying for. I'm thinking about getting this camera, got my preorder form already, yeah!!

Now I'm trying to figure out lenses.

April 20, 2012 at 1:06PM, Edited September 4, 7:54AM

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Jason

I like the possibility of this camera, but I was concerned about the crop factor. What lenses would be best for this kind of sensor?

Or what would the math be to figure out what lenses would really be after the crop factor? Just don't want to waste money on lenses, or not get what I'm paying for. I'm thinking about getting this camera, got my preorder form ready to go, yeah!!

April 20, 2012 at 1:07PM, Edited September 4, 7:54AM

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Jason

Does anybody have an idea why they desided to go with such a non standard sensor size with that mount combination?

I don't wanna complain, just understand. I don't have a problem with a 16mm-ish sized seonsor, as long as I got the right lenses for it. All the good 16mm lenses are PL mounts (as far as I know) that start from even 6mm (which is around 12mm on a 5D, correct me if I'm wrong), so you can go really wide if you want. But those will not fit the mount of this camera. Why not just make the sonsor a little larger, so all the canon lenses would be very usefull also in wide angles? Would it have raised the cost of the camera that much?

I just hope, that soon there will be fast wide lenses for that camera.

What do you think?

April 20, 2012 at 2:12PM, Edited September 4, 7:54AM

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Because they didn't design the sensor, they took one that someone else is already fabricating. They probably balanced cost, sensor size, and resolution and that's the best option.

The mounts on the camera make sense because the widest range of lenses that are cheap and most people are using are Nikon and Canon mount.

The sensor is too big for super 16mm, and people buying a $3000 camera probably can't afford PL lenses.

The only other option is that they could have made a mount that was very close to the sensor and just allowed any lens to be used with an adapter. But they were trying to keep it simple and easy. The only thing you need to buy with this camera is an SSD drive and you're shooting immediately (since so many people have Nikon and Canon lenses).

April 20, 2012 at 3:29PM, Edited September 4, 7:54AM

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Joe Marine
Camera Department
5789

An APS-C sensor can't be that expensive. I got this Sony NEX-C3 recently whic has a really good APS-C sensor. The camera is super small and costs like 250 bucks - so what's the problem with APS-C?

They could have at least gave it a four-thirds sensor and mount. With the weird non-standard sensor size you will always struggle to find good wide-angle lenses? You'll need something around 12mm on this camera to get a 28mm equivalent wide angle. I never heard of a good 12mm prime lens, you'll have to get one of the full frame fisheye lenses or super wide-angle zooms. And I don't even know how a FF fisheye performs on a 2.x crop sensor - can that be any good?

April 20, 2012 at 4:36PM, Edited September 4, 7:54AM

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Heiko

oh boy. :(

April 21, 2012 at 9:59PM, Edited September 4, 7:54AM

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Jordan Carr

Does anyone have an idea how the footage from this camera would cut with that of a MDII or T3i? Would this create a good A/B camera combo?

April 27, 2012 at 2:07PM, Edited September 4, 7:54AM

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Wes

So Canon EF and Zeiss ZF lenses mount to this camera? Isn't ZF a Nikon mount? Would Nikon lenses then work with this camera?

April 28, 2012 at 10:37AM, Edited September 4, 7:54AM

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I believe it was a typo, because it is now referred to as ZE - which is the Canon mount Zeiss lens. So Nikon lenses will work with an adapter - but it will not be native.

April 28, 2012 at 10:49AM, Edited September 4, 7:54AM

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Joe Marine
Camera Department
5789

Well, no, it doesn't target the HDSLR market perfectly, unless this does good still photography as well? The selling point of HDSLRs is that they can do both HD video and stills, I see no information to suggest this does anything but video -- albeit with better quality video than most HDSLRs at a still reasonable price.

April 29, 2012 at 1:44PM, Edited September 4, 7:54AM

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stuck pixels in the test video done on the beach... three of them.

April 30, 2012 at 11:43AM, Edited September 4, 7:54AM

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dg

This Camera is really catching my eyes, I was planning to buy the Canon 5D Mark III for mostly video use. I am currently studying interactive media and I'm building my skills towards video making. I am an amateur, so I am confused on some specs on the BM video camera. The sensor of this camera has a crop factor 2.3 which doesn't bother me at all, the only thing that I'm conceded is the DOF that I will get out of the sensor. This question mind sound silly for some of you but I'm new into understanding sensors! Will iI get more or less DOP compared to the 5D Mark3?

Also do you guys think they will release a firmware which will allow the shoot of at least 60fps? Maybe Magic Lantern?

Cheers!

May 1, 2012 at 4:48PM, Edited September 4, 7:54AM

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Alexis

I like most things about this camera.

A little bummed about the 30fps cap, no audio level meters, no real timecode and the exclusion of HDMI for a low cost monitoring solution (although SDI is needed for most pro situations it is much more expensive to accommodate on a budget... so the $3000 budget friendly camera gets more expensive). Only big complaint: For a camera that is touting non-proprietary everything... It sure seems geared for a Mac! "Apple ProRes and Avid DNxHD (No custom file formats? FCP and Avid seem custom to me)... Thunderbolt... Mac formatted ssd." It seems to penalize PC owners. We have to buy special software and hardware to use the camera.... And the budget friendly camera gets more expensive...

With that said... I can't wait to get one of these. I love the possibilities that it offers. I love that BMD stepped up to the plate and handed the RAW 12 bit, high dynamic range, film like option to us at a decent price point. Stepping outside of the box and going where no one else would go was gutsy and appreciated. So nice to have the options ;)....

May 1, 2012 at 5:41PM, Edited September 4, 7:54AM

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Genghis

Why does 60fps matter so much to people? What films are made in 60fps?

May 28, 2012 at 8:40PM, Edited September 4, 7:54AM

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60fps at 1080p for slow motion - 60fps played back in a 24fps timeline gets you better slow motion than 30fps.

May 28, 2012 at 9:56PM, Edited September 4, 7:54AM

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Joe Marine
Camera Department
5789

Without a Thunderbolt connection, how do I get the video from this camera to my Windows pc? Do they make SSD readers that plug into a pc like a compact flash reader, etc? Thanx everyone.

July 13, 2012 at 6:51AM, Edited September 4, 7:54AM

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you can get a usb sata HDD enclosure to copy the files, it will act just like an external HDD

September 14, 2013 at 1:29AM, Edited September 4, 8:21AM

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Aidan

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