According to the Blackmagic page, "Starting with a chassis machined from solid aluminum, capped with a smooth rubber front and rear for easy grip..."
It looks like BMD really nailed the design on this one and put together an incredible package ! Of course it won't be for everyone as it does seem to have a very distinctive softish style to it's images, but personally I find it very pleasing to the eye.
Just need a report on rolling shutter, which I can't imagine being worse than a 5D or D7000, and then I may have to sell my Mac Pro for financing
Also, what's the crop factor when using Canon EF lenses on this micro 4:3 sensor ?
I haven't heard either of those complaints yet though I do agree that it's prosumer level gear in terms of overall features and price point. 2.5k 12-bit RAW and the DR is totally unheard of, but there's no genlock, TC I/O, XLRs, etc., or other features that you would typically find on professional level piece of gear.
And that's one of the problems with trying to talk in generalities about workflows. Everyone has their own needs and quirks. It's like walking into a shoe store and asking for the best shoe they have. Well, what you need the shoe for (dancing, basketball, football, etc.,) and what your individual quirks are (the shape of your feet) will determine the best shoe for you. And the best shoe for you might not even be the best shoe for the guy next to you even though you are both looking for a new pair of track shoes.
You are talking about two separate things, IMO. The spec of the gear and what the gear gets used for are two different things. I've used iDVD to make DVDs for clients but that doesn't make iDVD a pro-level DVD authoring app.
For a stills only camera I agree. For a broadcast or d-cinema camera I disagree. No Genlock, no TC I/O, no HD-SDI, no XLR, no built in ND, no phantom power, no clean video output, etc. Whether or not everyone uses all these features all the time doesn't change the fact that pro level cameras come with them (though d-ciname cameras and b-cast cameras typically have slightly different feature sets).
Spike Lee, Danny Boyle and Steven Soderbergh all made theatrically released feature films using DV cameras as the primary camera (not a 'B' cam, not a crash cam, not a we-can't-get-anything-else-to-physically-fit-in-this-space cam, but as the 'A' camera) but that doesn't mean the DVX100 and XL1 weren't prosumer cameras. Prosumer HD cameras like the Z1U and HVX200 have been used in various aspects of movie and TV production for years but that doesn't mean that they are anything more than prosumer cameras being used on some high level productions.
For a stills only camera I agree. For a broadcast or d-cinema camera I disagree. No Genlock, no TC I/O, no HD-SDI, no XLR, no built in ND, no phantom power, no clean video output, etc. Whether or not everyone uses all these features all the time doesn't change the fact that pro level cameras come with them (though d-ciname cameras and b-cast cameras typically have slightly different feature sets).
When I look on Canon's pages for their HD video cameras and Cinema series cameras I don't see the 60D, 7D nor 5D listed there.
Spike Lee, Danny Boyle and Steven Soderbergh all made theatrically released feature films using DV cameras as the primary camera (not a 'B' cam, not a crash cam, not a we-can't-get-anything-else-to-physically-fit-in-this-space cam, but as the 'A' camera) but that doesn't mean the DVX100 and XL1 weren't prosumer cameras. Prosumer HD cameras like the Z1U and HVX200 have been used in various aspects of movie and TV production for years but that doesn't mean that they are anything more than prosumer cameras being used on some high level productions.
This is more of a general rant and not meant for any one person, but I'm always surprised at the Napoleon Complex that some people seem to have when it comes to their gear. Back when I was shooting w/a prosumer DV camera I never felt compelled to convince the guy w/the BetaSP camera next to me that my rig was as good as his and when I was the guy w/the BetaSP I never felt compelled to look down at the guy w/the DV rig. It is what it is and there's different markets of gear for a reason (just like any other product).
Not everyone can afford to spend $18k on just a camera body and there's nothing wrong with that. But if you think concessions aren't made in order to sell a $3k camera body yer just being delusional. There's no reason for people with high-end gear to look down at people with budget gear and there's no reason for people with budget gear to try and convince everyone w/in earshot that it's as good as the high-end gear. What matters is the end product as a whole and that's much more than the sum of the gear used to make it.
Lethal
W/that logic no TV shows should've ever been shot on film. If you can pull a cleaner key, rope back in some highlight detail, enlarge a shot for stabilization (or reframing) in post w/o it pixelating, use deep focus w/o fear of moire killing the shot or push & pull the image in post w/o it falling apart you can create a noticeably better image even on Vimeo or
TV. Whether or not the viewer will care depends on the individual. That's really a non-issue to me though because it's my goal to do the best I can in the time I have with material I have. If someone is willing to drop $3k on a camera I hope they have at least some clue as to why they are doing it.
For a stills only camera I agree. For a broadcast or d-cinema camera I disagree. No Genlock, no TC I/O, no HD-SDI, no XLR, no built in ND, no phantom power, no clean video output, etc. Whether or not everyone uses all these features all the time doesn't change the fact that pro level cameras come with them (though d-ciname cameras and b-cast cameras typically have slightly different feature sets).
When I look on Canon's pages for their HD video cameras and Cinema series cameras I don't see the 60D, 7D nor 5D listed there.
Spike Lee, Danny Boyle and Steven Soderbergh all made theatrically released feature films using DV cameras as the primary camera (not a 'B' cam, not a crash cam, not a we-can't-get-anything-else-to-physically-fit-in-this-space cam, but as the 'A' camera) but that doesn't mean the DVX100 and XL1 weren't prosumer cameras. Prosumer HD cameras like the Z1U and HVX200 have been used in various aspects of movie and TV production for years but that doesn't mean that they are anything more than prosumer cameras being used on some high level productions.
This is more of a general rant and not meant for any one person, but I'm always surprised at the Napoleon Complex that some people seem to have when it comes to their gear. Back when I was shooting w/a prosumer DV camera I never felt compelled to convince the guy w/the BetaSP camera next to me that my rig was as good as his and when I was the guy w/the BetaSP I never felt compelled to look down at the guy w/the DV rig. It is what it is and there's different markets of gear for a reason (just like any other product).
Not everyone can afford to spend $18k on just a camera body and there's nothing wrong with that. But if you think concessions aren't made in order to sell a $3k camera body yer just being delusional. There's no reason for people with high-end gear to look down at people with budget gear and there's no reason for people with budget gear to try and convince everyone w/in earshot that it's as good as the high-end gear. What matters is the end product as a whole and that's much more than the sum of the gear used to make it.
Lethal