[Andrew Akada]

Thanks for the input! We’ve had a lot of problems in the past trying to work transfers so I figured this would act as a good work-around.

In practice, how would this work if I were to acquire the exported EDL file? Theoretically, would I just be able to upload this to – say – DaVinci Resolve and just plug in the raw footage into the “skeleton” acquired from the EDL or is there some third-party program I’d have to use to do this?

My editor isn’t very experienced and I can only do so much remotely but he told me that there was an entirely separate FCP extension that costs $100 to export the EDL. That didn’t sound right to me….

[Andrew Akada]

I’m planning on working up a decent collection of lenses as I go along but generally I’m bracketed by the pricing allotted me by my day job.

Any good middle-ground or interim options at my disposal?

I’m interested in hearing about the nuts-and-bolts of too. For instance, what is a “rear standard adapter”, what is it designed to do and how exactly would it work with something like a BMCC?

[Andrew Akada]

Peter: thanks again for the great information. I’ll stay tuned for updates as they become available and I won’t try to splurge all at once when it comes to augmenting my BMCC.

That said, as per my reply to Sareesh Sudhakaran, about tilt-shift capabilities, do you have any recommendations in that regard?

[Andrew Akada]

Peter: Thanks for the advice!

I’ve read some of your other posts in the forum and I really dig the minimalist philosophy you’ve adopted. That said, I’m compiling a wish-list for items and equipment considerations I need to make so I’ll look into those drives and budget accordingly.

But aside from considerations with hardware like processors, is there any kind of considerations I need to make on-set or during pre-production when it comes to handling a RAW DNG workflow?

I’m scouring the BM site and related forums so I’m not playing dumb or anything but I’m trying to centralize some of these responses so I can have a means of verifying what I have or have not heard.

For instance, I heard that the battery life on the BMCC isn’t very great. And is it fixed in the camera so you cannot swap out batteries like you would on a standard SLR.

I’ve also heard that you can use a 12-30-volt source (w/o a converter). Can you shed any light on these assertions?

[Andrew Akada]

Thanks for the reply! As for my needs, I have some ideas in mind but I thought I’d start it off light and general. One of the things I was really curious about was the BMCC’s ability to handle tilt-shift techniques in video.

E.G.
https://www.youtube.com/watch?v=jTHczRidwh8&list=FLI62l40KZroGylUCWmXvmAQ&index=20

Some of the projects I’m planning are pretty straight-forward but if there’s any considerations to be made at all it has to do with high-speed photography and low-light conditions (noir-ish settings a la Fritz Lang).

I’m planning on shooting a short film that utilizes a lot of in-camera effects with mirrors and miniatures and after the research I’ve done I know that the BMCC only has a variable frame-rate up to 30fps (if I’m not mistaken) so I understand that for some of the FX shots I’m planning I’ll probably have to rent out something like a Panasonic HVX200.

But since I’ve worked with DSLRs (just never owned one), I really wanted to try to move beyond some of the cheaper alternatives and invest in something that I could use as a good A cam. Something I can get mileage out of and something that’s adaptable (which is why I’m focusing on lens interchangeability w/ the MFT).

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