Costa wrote:First things first... AVCHD is actually a very efficient compression format!
Secondly for around 600 you can get a new Atomos Ninja for use with the FS100 (it's what I use) and you'll get ProRes HQ.
ThIrdly. FS100 is a reality. BMCC seems to be an illusion at the moment.
Just thought I'd add that I am not anti BMCC. I love it and I cannot wait for it. I think it is an engineering marvel, but... people have other choices. The BMCC ADDS UP FAST. You'll need a rig, a tripod, externel battery solution, high capacity SSD hard drives (at least 2x480 for RAW), An external monitor, Thunderbolt adapters and drives, a PC or MAC with thunderbolt connectivity... the list goes on!
So why am I still going for the BMCC? Well luckily I have most of the above already. I need to add a rig for the BMCC (have a Shoot35 for our FS100) and a few more SSD drives, but that's all.
Good morning everyone!
Costa my man, I'm a little surprised to continue to see you here. Don't get me wrong, I enjoy your posts, but I thought you had convinced yourself to hop off the BMCC train? Or maybe I misunderstood? In any event, welcome ... back?
As for AVCHD: Yes, as a container it can carry pretty good-looking imagery if a camera actually allows it to (and AVCHD v.2.0 is more of the same -- in a good way).
However, except for the generally nice FS100 (and maybe 1 or 2 others?), most cams that feature AVCHD are cr*p or semi-cr*p, including the GH2, which nonetheless I own, love and have hacked. To paraphrase Firesign Theater, "... but it's really good cr*p!"
But the FS100 is strictly an 8-bit cam -- though a very nice 8-bit cam, and one which records internally at a stupid-low data rate, too, although I give it props for dithering its 8-bit relatively nicely so it doesn't look like total cr*p most of the time, except maybe not so much on highlights.
This is me
liking a camera. You should hear what I sound like when I don't like one.
And yes, you can connect a FS100 to a Ninja or various other external recorders and get the very real benefit of fewer motion-induced compression artifacts because of the vastly higher data rates. But, there is no benefit in terms of color quality, because it's still only 8-bits total of color data in a 10-bit recording.
And yes, the FS100 is a reality and the BMCC is not. Absolutely true. Of course, a big part of the reality of the FS100 is that reputable authorized Sony dealers sell the FS100 for far more than the price of the BMCC.
A good argument can be made that the FS100 includes features that easily justify its extra cost, such as 1080p60/50, an S35/APS-C sized sensor, powered-XLRs, VU meters, etc. On the other hand, the BMCC has quite a few nice features that the FS100 lacks (plus an awesome software bundle), so an argument could be made that maybe they're about equal hardware-wise, but the FS100 costs considerably more and doesn't include awesome software. So there's that.
As for your comment, "The BMCC ADDS UP FAST. You'll need ...", blah, blah, blah. As an ex-New Jersey guy, I say: Hogwash. But when I say hogwash, I mean it in the nicest possible way ...
http://herefortheweather.wordpress.com/ ... tions-not/BTW, the still you posted earlier that you shot with the FS100: Very nice. As I said, it's what properly-dithered 8-bit video should look like if shot correctly. But it's still cr*p.
Have a great day, everyone!
(I'm off to do a shoot today with a FS100 & PMW350 again ... but wishing it was BMCC ...)