December 16, 2015 at 5:35AM


BMPCC: Help me, for I'm stuck in the arranging of my kit.


I think I've mentioned it before, but I've recently purchased a BMPCC and a Sigma 18-35 f/1.8 (Canon mount). I got the Canon because I own a 50mm for stills and I thought it was the way to go.

The list of items I'm going after is:

- Metabones speedbooster
- Sandisk Extreme Pro 64GB 95MB/s (2) or a 128GB one.
- Anker Astro Pro2 20000
- Aputure Light Storm LS 1s
- Reflector
- X-Rite ColorChecker or Lastolite EzY Balance
- Tascam DR-60 MKII
- Sennheiser MKE 600
- Headphones
- Tilta / Moza cage
- Monitor / Viewfinder
- Tripod
- ND Filter

The next logical step is getting the metabones speedbooster, but having asked in the BMCuser board and after having read Guy's advice about going Nikon and manual, I don't know if I should reconsider, return the Canon Sigma (I still have time) and get a Nikon one.

1. I intend to get some cine lenses eventually. If I stick to the EF Metabones, could I benefit of its focal length reduction? Or because of it being electronic I wouldn't be able to make it work at all with fully manual lenses?

2. The Anker battery seems a very affordable solution, but I always get a 'meh' reaction about it. Is there something wrong with it I should know? Would it be enough to power both camera body and metabones?

3. I was certain about getting the Light Storm, mostly because of this video and the daylight effect the guy gets out of it
but some BMCuser talked me out of it, advising me to go for a three fresnel lights kit instead. Should I? Could I get a daylight effect with a three fresnels kit at the price of the Aputure? If that's the case, could you recommend an affordable kit to go for and the features I should look for?

4. Can I do without a colorchecker if I get the lastolite ezy balance?

5. I may not have enough budget to get a proper video tripod (my old manfrotto for stills will have to do for the moment) nor a monitor, but I've been told I can do without them since I mostly want to shoot indoors narrative material.
If I don't get a monitor and plan to record audio separately, do I really need the cage for the pocket?

Any help and advice will be appreciated.


The Sigma 18-35 f1.8 is a crazy-cool lens. The speedbooster is an amazing way to adapt an existing vault of 35mm glass to m43 (or other smaller) formats. The Light Storm is a great fill light. Fresnel lamps are the industry standard for 3-point lighting. Color checkers are great ways to objectively match disparate cameras and/or disparate lighting conditions. Tripods are absolutely essential if you want to shoot a scene without camera movement, and a good video head is essential if you want smooth tilts and sane pans. The microphones and audio recording unit are also industry standards. That said, if you add up all the good advice available on this board, you'll definitely spend tens of thousands of dollars before all is said and done. But even if each item is individually justified, you are right to question the premise of your SYSTEM, which may not justify all the individually justified decisions. For example, you might spend good money on a microphone but learn that your sound stage (aka living room) is so noisy that the microphone picks up way too much environmental noise to be useable for your narrative ambitions.

Instead of trying to use the BMPCC to imitate what the big-shots do in Hollywood (with their Panavision Primo lenses, open-gate S35 sensors, geared heads, motorized dollies, HMI lights, techno cranes, etc), play to its strengths. The BMPCC has a small sensor relative to m43, S35, FF35, etc., which means normally it has much greater depth of field for a given aperture. If you use that to your advantage (using a narrative style that doesn't depend on shallow DOF, but rather creates focus and interest using lighting, wardrobe, etc), then a large part of the manual lens question goes right off the table.

I think you are right to question the idea of putting the BMPCC in a cage. It's a tiny camera. It doesn't make a lot of sense to try to bulk it up into some monolith. You especially don't want to temp yourself to mount your microphone to it. Microphones should live close to the talent, not the camera.

I hope this points you in the right direction.

December 16, 2015 at 2:07PM, Edited December 16, 2:07PM


Thanks, Michael.
I don't know if your comments will point me in the right direction indeed, ha, but they sure help and bring up some important questions to consider.

December 17, 2015 at 8:23AM


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