Bill Bruner
Forum Replies Created
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I didn’t want to attach a battery pack to the top of my camera and I don’t like bulky cages, so I solved my BMPCC’s battery problem with:
– a $25.90 ILED NPF-Series Battery Plate Adapter for BMPCC
– a couple of $6.98 2900mAh Sony NP-F550 batteries
– a $1.79 1/4″ to 1/4″ double male screw adapter
– a $32.69 pistol grip and
– a $15.99 dual channel charger
Here is a picture of my setup (before I screwed the battery pack to the bottom of the grip).
If you want more storage, you can buy a $33.99 set of NP-F970 batteries with 8700mAh of storage each instead of the NP-F550s.
Hope this is helpful and good luck solving your power problem!
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Nathanael – if you want your documentaries to look like this (please watch at 2160p and your monitor’s highest resolution):
Dawn at the river bend by Martin Wallgren
LUMIX FZ300 – Autumn Impressions 4K
Wild ~ Panasonic FZ300 [4K] Lumix DMC FZ330 Camera by Irfan Khokhar
FZ300 600mm zoom with stabilized control by Gos
2 weeks in Myanmar – Birmanie by laxe333 (downscaled to 720p)
You might want to consider the $497.99 4K Panasonic FZ300 with the 24x constant f2.8 lens. Like a camcorder, this camera can record for hours continuously at 1080p.
This camera also has a built-in intervalometer for timelapse, records slow motion at up to 1080/120 fps, its LCD flips out and turns around for self-shooting, has fast and quiet autofocus, an external 3.5mm mic input and it records at a maximum resolution of 3840x2160p “4K”.
In addition it is weather-sealed.
I started with a T2i also, and in my view, this camera will be a great complement to your DSLR.
Hope this is helpful and good luck!
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Hi Eric – I am a GH4 shooter and I recommend you keep the Tokina, get the $479 Nikon G to MFT Speed Booster – and, when and if you are ready to step up to the C100, get a $15.99 Nikon to Canon adapter.
I prefer Nikon lenses to EF lenses because they can be adapted to just about any mount except PL.
Canon lenses, on the other hand, cannot be adapted to Nikon mount (in case you’re ever interested in buying a D5 or D500 :)).
One more thought – instead of the C100, you might want to consider the $3495 JVC GY-LS300 4K Super 35mm camcorder when you are ready to replace your AF100.
This is a 4096x2160p 4K camcorder with a MFT mount (like your GH4), a Super 35 sensor (like the C100) and all of the pro camcorder features you’re accustomed to with your AF100 (e.g., dual card slots, a top handle, built-in XLR inputs, built-in NDs and SDI out).
It also records to 3840×2160 Ultra High Definition (UHD), 2048×1080 DCI 2K and 1920x1080p HD (up to 60fps).
In addition, it has a new flat LOG profile similar to Panasonic V-LOG called J-LOG, which increases its dynamic range.
Like the C100, this is an 8-bit camera, but it has 4:2:2 color subsampling and will stand up to grading pretty well.
Here’s a UHD file shot with cine gamma (before the J-LOG release):
“Honmonji Temple” in GY-LS300 by moribun (downloadable if you’re a Vimeo Plus or Pro member [if you’re not, you can sign up here)
Here’s a nice J-LOG piece from Dan Chung at newssshooter.com:
JVC GY-LS300 4K J-Log Vision (not downloadable)
And here’s a very quick J-LOG camera shelf test at 4096×2160 Cinema 4K resolution from Gert Tetzner at avmediafactory:
JVC GY-LS300 Firmware 2.0 J-log ungraded (downloadable for Vimeo Plus and Pro)
A few more examples of the image quality this camera can produce:
GY-LS300 UHD 4K w/ Canon 70-200 and 85mm lenses
EVS’s test footage for the JVC GY-LS300 4K super 35 Cinema camera
…and 1080p on Vimeo:
A very nice overview from Zacuto:
A couple of useful reviews from Rick Young’s Movie Machine:
One of a kind – shooting with the JVC GY-LS300
Shooting with the JVC GY-LS300 & Micro Four Thirds Lenses
And two recent reviews of the new features introduced with firmware update v2.0:
Fred Blurton Reviews JVC’s GY-LS300 Firmware Upgrades Version 2.0 by Fred Blurton Productions
JVC LS300 Firmware v2 by Philip Johnston
I have shot with this camera – it is an easy-to-use, very high quality Super 35mm camcorder and a very good value for your money.
Hope this is helpful and good luck!
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I have a GH4, but haven’t shot with those specific setups. That said, there are several examples you can look at to get an idea which lens you prefer:
Shot with Tokina 11-16mm f2.8 and Speedbooster:
[Test] Tokina 11-16mm lens test // GH4: Tokina 11-16 by Kusushiro0322
Shot with Oly 12mm f2 (due to its compact form factor and light weight, this lens is really popular for aerial and gimbal shooters):
Personally, even though it will cost you $94 more, my vote would be for the $418 Nikon mount Tokina plus a $475 Speed Booster XL for the added flexibility provided by the zoom.
Hope this is helpful and Happy New Year!
Bill
Hybrid Camera Revolution
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If you want 1080p 96 fps slow motion that looks like this:
And you want your music videos to look like this:
You might want to consider a $1297.99 Panasonic GH4 DSLM and a $133.43 Canon EF to micro 4/3 lens adapter instead of a similarly priced DSLR that is limited to 1080/60p or worse, 1080/30p.
With its 4096×2160 pixel video, this camera has 4 times the resolution of any of the 1920×1080 pixel Canon DSLRs on your list, records slow motion at up to 1080/96 fps, has a viewfinder that actually works while you’re shooting video (as you know, DSLR viewfinders are blocked by the mirror), can record for hours continuously (no Canon 12 or 30 minute limit) and is compatible with your lenses with the Commlite adapter.
I traded my T2i in for a Panasonic GH2 about 5 years ago, then upgraded to the GH3 and the GH4. Switching from DSLRs to Panasonic mirrorless for video has been the smartest camera decision I ever made.
Hope this is helpful and, whatever you decide, good luck with your upgrade!
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Sadly, Sony E mount has a shorter flange to focal plane distance than Micro 4/3 (e.g., 18mm for E mount, 19.25mm for MFT).
This prevents E mount lenses from being adapted to micro 4/3 mount cameras such as the BMPCC.
You can, on the other hand, mount Micro 4/3 lenses on E mount cameras with a simple adapter.
Sorry I couldn’t be more helpful.
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Alex- for a few hundred dollars more than the $2998 Panasonic HC-X1000, you can have both 4K and the large sensor look of a DSLR.
The new $3495 (body only) JVC GY-LS300 camcorder has a Super 35 sensor, about the same size as the 7D II or a Hollywood cinema camera – and records to full 4096×2160 4K.
With the v2.0 firmware update, 4K and a new “J-LOG” flat color profile, it can produce images that are competitive with high end cinema cameras.
Here’s a nice review of the new J-LOG and prime zoom features:
– Fred Blurton Reviews JVC’s GY-LS300 Firmware Upgrades Version 2.0
Here’s a 3840×2160 Ultra High Definition file shot with cine gamma (before the J LOG release):
– “Honmonji Temple” in GY-LS300 by moribun (downloadable if you’re a Vimeo Plus or Pro member [if you’re not, you can sign up [here])
Here’s a nice J-LOG piece from Dan Chung at newssshooter.com:
– JVC GY-LS300 4K J-Log Vision (not downloadable)
And here’s a very quick J-LOG camera shelf test at 4096×2160 Cinema 4K resolution from Gert Tetzner at avmediafactory:
– JVC GY-LS300 Firmware 2.0 J-log ungraded (downloadable for Vimeo Plus and Pro)
A few more examples of what this camera can do:
– GY-LS300 UHD 4K w/ Canon 70-200 and 85mm lenses
– EVS’s test footage for the JVC GY-LS300 4K super 35 Cinema camera
…and 1080p on Vimeo:
A very nice overview from Zacuto:
– First Look at JVC’s GY-LS300
And a couple of useful reviews from Rick Young’s Movie Machine:
– One of a kind – shooting with the JVC GY-LS300
– Shooting with the JVC GY-LS300 & Micro Four Thirds Lenses
I have shot with this camera – it is an easy-to-use, very high quality Super 35mm camcorder and a very good value for your money.
Hope this is helpful – and good luck with your decision!
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Lisa – as Jason says, it’s called moiré, and it is the result of poor downscaling from the 20 or so megapixels collected by your sensor to the <2 megapixels needed for 1080p video.
Most of the extra pixels are thrown away in a process known as “binning”. This can create moiré on patterned objects (e.g., bricks and shingled roofs). Many DSLRs (especially Canons) suffer from this phenomenon.
Panasonic G and GH cameras, on the other hand, have a better downscaling algorithm. Here are a couple of side-by-sides between the Canon 60D and a moiré-resistant Panasonic GH camera:
Sadly, newer Canon cameras are not much better. Here is a side-by-side between the Canon 60D and 70D:
This was part of the reason I sold my Canon DSLR and bought a Panasonic DSLM.
If you don’t want to buy a new camera, there is a company called Mosaic Engineering that sells anti-moire/aliasing filters for Canon, Nikon and Blackmagic cameras.
Hope this is helpful and good luck!
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Shorter flange to focal plane distances for mirrorless mounts (e.g., 18mm for E mount, 19.25mm for MFT) prevent these lenses from being adapted to Canon EF mount, where the flange to focal distance is 44mm.
That’s why you can adapt Canon lenses to MFT or E mount, but not the other way around.
I own a GH4 and have made pretty much the same decision. My next camera will probably be an EF mount Blackmagic camera, so I plan to start buying Canon lenses in preparation.
Good luck!
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Hi Jakub – you can save yourself some money with a $23.99 Omnidirectional Lavalier for your smartphone.
You can clip this lav to your subject, plug the mic into your iOS or Android phone, put the phone in the subject’s pocket, record to a free app (e.g. Rode Rec LE for iOS, Smart Voice Recorder for Android or Skyro Voice Recorder for Android) and sync your sound in post.
Here is how a lav/phone combo works (example is for the Rode SmartLav, but it makes the point for the entire lav/phone category):
This is a little more work, but costs less than buying a Zoom H1 – and will give you much higher quality sound than plugging a mic directly into your DSLR.
Hope this is helpful and good luck with your interviews!