Yes.
Yes.
"It is dark the other side. Very dark!" - "Oh, shut up and eat your toast!"
90 minute battery life? I think id rather go with one of Sony's options and get full professional video controls, and pay extra, like in the $4000 cost. Why $3k? That just seems so cheap to me, I would have gladly paid $4000-4500 for more controls and a bigger body for documentary type work. Not only that but the sonys come with a $800+ lens.
Yeah, but they're Sonys!Originally Posted by blondandfun
I see the internal battery more as a backup than as a main power source, the camera accepts external batteries which can be of any size. Internal battery keeps the camera going when switching the external one.
What controls you see as missing?
*Balanced audio hack* *Variable ND filters* *HV20 vs. Film* "All animals are equal, but some animals are more equal than others." (George Orwell: Animal Farm)
Thank you.
I think that by the end of 2013 or 2014, 240 fps will be a standard option on all cameras, and people will be selling these B.M. cameras in droves to get that.
I can easily see the Sony FS700 being my sole camera for a span of 5 years.
The only question is who's going to give me the credit cardObama?
pre-ordered mine and am still getting it. I know another camera will come around that will be better later on down the line, but for right now I can use this to shoot my short and I will use it.
This thing looks very sloppily constructed. Touch screen? What's going to happen when time passes and it develops smears, scuff, and scratches? It's going to be painstaking enough to keep peering behind it to see if you've got your shot in order, especially when it doesn't have a flippable screen like the 60D or GH2. Solution? Buy an external monitor. Yay.
Most movie gear on sets is taken very well care of so if you take the same care of it that happens on a film set, then it will be fine. As far as the touch screen, just get a protector screen on it like you can put on your GPS. Problem solved.
First production:
From the film's description:
Here at OneRiver Media we received the new Cinema Camera last month from Blackmagic Design for our own testing. We asked for permission to shoot with cast and crew, and in less than one day, assembled a story, crew, and actors.
The biggest reason for attempting this shoot, (“Texting is 'gefährlich'” or, “Texting is ‘dangerous’” translated from German) on such short notice was to really see how well the new Cinema Camera could hold up under a real production environment, and in the end, it worked very well for us. A few main factors I wanted to specifically test for in this production were the following:
- Low light abilities (among others, the opening shot only uses city lights).
- Dynamic range (we literally shot INTO headlights).
- Image sharpness
- Tonal range
- Narrow DOF
- Extreme wide angles
- RAW CinemaDNG image data quality
- Functionality and ease of use
For more details on why we shot this video and why it was shot this way, please find more info on our blog here:
Part 1: onerivermedia.com/blog/?p=700
Part 2: onerivermedia.com/blog/?p=709
In all regards, I feel the camera was able to accomplish all of these tasks with no problems and exceeded my expectations in many situations. In the end, I’m very happy with the results from the camera. The short film, which is currently getting funding as a PSA, isn’t the next Hollywood blockbuster, but it did allow us to test the camera in extreme situations, and on such short notice. In all accounts, this was truly a 24-hour film production and we had fun doing it. We will upload a 1080p24 version once funding is completed.
Note that we did not go for a gravy grade in post. Again, our main object was to really push this camera and go deep with it, not just do a typical beauty video. We really wanted to test this camera! We went for something something somewhat neutral with contrast that didn't stretch too far away from the source. We wanted to really *push* the camera and shoot something tough for it to handle, not a simple in-studio or daytime production. Our main objective was to push the camera in sever conditions. Had we shot on a DSLR or regular video camera, the highlights would have been blown out and the shadows would have turned to mud. So instead, we opted for a post-production neutral look with contrast. Again, a DSLR wouldn't have given us detail in both range and sharpness.
We used the following lenses on this production: Canon 24mm f/1.4L, Canon 50mm f/1.2L, Canon 135mm f/2, Sigma 8-16mm f/4.5-5.6 zoom. The Sigma lens ended up working perfectly for super wide shots, and ended up being used a lot. Surprisingly, we ended up using fewer lenses than we expected.
Did we learn anything on this production with the Cinema Camera? Absolutely. Are there things I may change in future productions using the Cinema Camera as a results of shooting this one? Absolutely. Stay tuned as we’re going to be presenting a lot more info on this production, including behind-the-scenes footage.
"It is dark the other side. Very dark!" - "Oh, shut up and eat your toast!"
Blackmagic announced today that there will be two cams. They added a Micro Four Thirds mount to the program.
http://www.blackmagicdesign.com/prod...iccinemacamera
From the announcement at IBC:
“One of the most common customer requests since announcing the original model of the Blackmagic Cinema Camera is other lens mounts,” said Grant Petty, CEO, Blackmagic Design. “We felt that Micro Four Thirds was a fantastic option and so we designed a second model with this mount. Only Micro Four Thirds lets cinematographers use a wide range of creative lenses, but it also easily adapts to other lens mounts such as PL mount, so the range of exciting lens options is virtually unlimited!
"It is dark the other side. Very dark!" - "Oh, shut up and eat your toast!"
They also announced a 4K capture device for 1300 bucks.
http://www.blackmagicdesign.com/products/ultrastudio4k
If I wanted to edit dual stream 4K or 3D on an MBP or iMac?
"It is dark the other side. Very dark!" - "Oh, shut up and eat your toast!"
And everyone has said it is built like a brick. And most people actually have external monitors now so that is not an issue
Fun video, thx for link, but I am skeptical of this review for the following reasons:
1. The night footage without a doubt the BM camera wins. However, the daylight footage is misleading. How do I not know that the 5D couldn't have been dropped down in exposure to fit the blown out sky highlights? Also, I am a little skeptical of the color of the grass the tester is talking about. I thought that the flat image profile was desirable in film, and how do I know that the best effort was put into color grading here?
2. The 5d sensor is larger so shouldn't they have dropped the exposure down on the 5d, especially during daylight?
3. People who are buying the BM camera, are they using this type of color profile? I would think they would be shooting flat.
I think a real-world comparison would incorporate my points.
I think you may be missing the point, B&F.
My understanding is the high-saturation grading was applied to the daylight shots in post to make the differences between the cameras easier to see. The exposures look pretty well matched to me, and the "extreme" color grade highlights the coarse detail and limited gamut of the 5D relative to the Cinema Cam. As you say, the night exteriors speak for themselves ...
Shooting raw with the BMCC should give the most neutral starting point possible for grading: everything the sensor "saw," with the least amount of in-camera "processing" the camera allows (I haven't yet read if the BMCC adds noise reduction, sharpening, etc. in camera, and, if so, whether any such settings are exposed for user control). You'd only worry about "baking in" a color profile in-camera when recording a compressed codec like DNxHD or ProRes.
Watched the comparison last night, and it was pretty impressive. Minded, had they not pointed out many of the things they did, I doubt I would have personally noticed them. I think the only thing that would hold me back from the BMCC is the ergonomics. Non-removeable battery, and touch screen are both very big problems for me.
That was an interesting watch (even without the high quality version), and bodes well for the capabilities of the BMC. However, it was far from a balanced comparison: First, the author forgot a few of the most important and fundamental element of DSLR shooting--form factor, complexity and price. That's what allowed so many consumer and prosumers based independents to get into this business in the first place. It should have already been obvious that a cinema camera would perform better at doing what it does best.
Granted, the BM has reduced that gap considerably between cinema cameras, but fully equipped, it's still a mint beyond the 5D. A better comparison would have been each cameras performance straight out of the box? Not a battle I'm sure the BM would want to fight.
Second, despite how popular the use of the 5D is in cinema productions these days, lets not lose sight of what it really is at it's core--a still photography digital DSLR. Can the BM even do that? But I digress; and I'm not a proponent of either camera. Nevertheless, I do know a skewed review with I see one.
Finally, I couldn't help but notice that he only briefly mention the much higher complexity and work flow of the BM--and price--was virtually forgotten. You'd need a lot of peripherals and accessories to get the BM up and running to achieve results like that.
He should have listed those peripherals along with the price side-by-side and right up front the way the pros do unbiased comparisons. I'm betting we would have been left with a totally different feeling about the BM other than the warm and fuzzy one we have now. Don't you agree?
No.Don't you agree?
"It is dark the other side. Very dark!" - "Oh, shut up and eat your toast!"
BM doesn't need any more accessories than 5D. The workflow is just as easy on both.
BM has better quality codecs (Prores and DNxHD vs. h.264) for "normal" footage plus the option to shoot with log gamma (to the HD codecs) or raw (at full 3,3 megapixel resolution). The form factor looks better for video than 5D:s. Shooting raw video means each frame is also a technically perfect still - though obviously on much lower resolution than 5D does. The price is more expensive than 5D MKII, but cheaper than 5D MKIII.
And of course the main point is, BM wipes the floor with any DSLR when it comes to the video image quality - it's more comparable to the still images from the DSLR:s, or the Red cameras.
Last edited by Halsu; 2012 September 25th at 18:01.
*Balanced audio hack* *Variable ND filters* *HV20 vs. Film* "All animals are equal, but some animals are more equal than others." (George Orwell: Animal Farm)
Nope. If you don't mind shooting video on a stills camera, knock yourself out: most of them from pocket-size to full-scale pro can do it now.Don't you agree?
If, however, you want something purpose-made for digital cinema production, that can record full color depth high resolution frames at motion-picture frame rates, with an OLPF tuned for high-rez motion and a standard lens mount, there are very few options. And the BlackMagic is certainly the most affordable so far.
One sallient point that seems to have been missed completely is that the BM is a dedicated 'cinema' camera. The 5D series are stills cameras first and foremost.
Which really speaks to the versatility of DSLRs.
But isn't that rather Jack in all trades, master in none?
"It is dark the other side. Very dark!" - "Oh, shut up and eat your toast!"
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