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2K BlackMagic Pocket Cinema Camera, active m43, $995
  • 4493 Replies sorted by
  • vicharrisvicharris

    @DocoDocoMan Thanks and sure man, give me a timecode and an email via PM and I'll email you a full scale still if you want.

  • StylzStylz

    Just ribbing ya buddy.

  • kingmixerkingmixer

    +1 for enjoying the simple Effects-less camera

  • ala_imgala_img

    @apefos Why with a native lens? IDynamic works with any lenses on GH3.

  • vicharrisvicharris

    @Stylz Sorry man, I'm exhausted and a bit chippy I guess :)

  • lmackreathlmackreath

    Quick question.. If I use resolve to ingest my bmpcc raw dngs.. Convert the files to bmd film and then export out as prores to then edit in fcp x... Am I gaining any quality advantage doing this or woukd this be basically the same as shooting in prores in the first place?

  • TronTron

    @lmackreath The real benefit to shooting in raw is being able to nail that exposure you deem best for the scene while also having the power of 12 bit color correction prior to exporting. I have been color correcting the dngs in AE and ACR and exporting in DNxHD 10bit 4:2:2. The quality of the files are superior to the 4:2:2 ProRes I get straight out of the camera and I get to try any exposure I want to without experiencing any noticeable degradation of image. I am really blown away at how clean the final output is (minus the occasional false color debayering artifacts), the grain is so fine it is practically invisible! I was really amazed at how much control I had over the sky when grading the few clips I was able to shoot yesterday -

  • lmackreathlmackreath

    When you export where do you then do your final clip editing?.. My other workflow is grading the dngs in lightroom , exporting out as tiffs.. Compiling the tiffs into prores hq in compressor and then importing these prores files into fcp x for the final cut. I wanted to know with the resolve method above am I gaining any quality over just shooting In prores in the first place?

  • theconformisttheconformist

    @tron What is the file size of the exported DNxHD files versus the original raw file? Is it preferable to export to DNxHD over proRes 422?

  • apefosapefos

    @ala_img this is interesting news for me. in GH2 the iDynamic just works with native lenses with electronic contacts. With native lenses iDynamic gets enabled everytime there is contrast in the image. With legacy lenses iDynamic just gets enabled in GH2 when the image is overexposed which does not help anyway.

    If in GH3 iDynamic works in the same way for native/non native lenses, this is great news!

  • dbpdbp

    Just browsing random tests on vimeo, there's a night and day difference in the RAW vs Pro Res stuff. The colors look much nicer. The RAW stuff is really starting to consistently make the Pocket shine I find.

  • _gl_gl

    Nice shots @Tron.

  • matt_gh2matt_gh2

    @Tron A lot of nice shot here.

  • majoraxismajoraxis

    I second that on the quality of shots. I was almost expecting opening credits to starting rolling in...

  • matt_gh2matt_gh2

    @vicharris Desert shots look quite nice. Especially since quickly done with quick grade. This and other videos are starting to show the ability of pocket to do nice establishing shots. Reminded me of some film I've seen - maybe it was Hitcher. Thanks for posting.

  • JuMoJuMo

    Hey guys, I'm not able to share any of my current project work shot with the RAW update just yet, but I am really loving this update. It's like a whole new camera! I think ProRes still has it's place, but RAW is clearly the way this camera is meant to be used.

    I went for a short walk with my wife and little boy this afternoon and brought my BMPCC and just one lens along: a Canon FD 28mm f2 with the Metabones SpeedBooster and Vari-ND (left my IR cut filter behind). Please forgive the hand-held shooting.

    I wanted to play with magic hour footage and experiment with a couple of very quick and dirty LUT based grades (maybe spent 20-25 minutes in total to get the edit and both grades). I focussed on a Kodak LUT and Hook's LUT. The sunset light wasn't all that great, fairly heavy cloud cover blocked most of the good light, but I thought I'd share my experiment anyways.

    Hook LUT:

    Warmer, saturated and dreamy

    Kodak LUT:

    Contrasty, moody and organic

    The RAW workflow with Resolve is honestly not putting me off at all. It's super streamlined. I edited and graded the footage in about twice the time it took the transfer the files and had them exported and uploading shortly after that. It seems that when to use RAW is really just a matter of how much space you are ready to use.

  • DanHarrisDanHarris

    @jumo what IR cut filter you using with your Vari ND? I have a 77mm Singh Ray and in need of a decently priced IR. $50-100? Almost all synthetic black fabrics are deep reddish brown with my Nikkors + Vari ND Anyone use this Tiffen IR on a BMPCC or any of the Tiffen combo neutral ND IR's 1.8, 2.1, 1.2 ? http://www.bhphotovideo.com/c/product/658765-REG/Tiffen_W77IR_T1_Infrared_Filter_77mm.html

  • JuMoJuMo

    @DanHarris So far I like the stronger Tiffens on BM sensors, but there are definitely higher end (and pricier) options out there. I found this video to be very helpful in comparing a few different manufacturers filters on a few different cameras. 2:40 ish for BMCC and Tiffen (IR ND 2.1)

  • DanHarrisDanHarris

    yep watched that @jumo it was not entirely conclusive with Vari ND combo. Best combo seems to be IR+variND+hot mirror. problem is my pricey Singh ray is a slim version, no front thread... so might have to at some point replace entire system. Gracias.

  • TronTron

    @lmackreath One thing you can do is grade in lightroom for the first frame of the sequence then use after effects and import the dng sequence and use that preset in camera raw upon import to apply to the rest of the frames (or just save the .xmp if it is compatible with your version of camera raw). Export in Prores HQ if you're on a Mac. Should be a simpler and cleaner workflow and yes, you will see higher quality over the in-camera ProRes.

    @theconformist The file size is relative to the 176Mbps rate, so a little smaller than ProRes 220. I use it because I'm on a PC, editing in Sony Vegas and cannot export ProRes files.

  • markr041markr041

    My experience shooting a video with the BMPCC using RAW is provided here:

    http://www.avsforum.com/t/1500163/taking-raw-video-using-the-black-magic-pocket-camera

    Many of the reviews I have seen, because of the newness of RAW, are actually a bit misleading about the camera for RAW mode shooting.

  • TronTron

    @_gl @matt_gh2 @majoraxis Thanks for the kind words guys. I've been exposing with zebras set at 95% and it seems it's nearly impossible to screw things up this way and ETTR keeps the files essentially noise free. The raw image this camera produces certainly gives one confidence that they can take on more ambitious projects, maybe even a feature of some kind down the road!

  • MikeLinnMikeLinn

  • JuMoJuMo

    @DanHarris I wish I could help more with vari ND and IR cut, I use a Tiffen IR T1, but almost never use a vari ND (just walk around/run and gun) so I haven't done a lot of testing with that combo yet.

    I usually prefer to have a matte box with 4x4 Lee and Schneider NDs and so far I'm liking the results with the IR T1 behind them, but I haven't pushed it as far as they did in the AbleCine video above.

  • vicharrisvicharris

    I don't know what Able did in that test but I'm starting to think it was fake. I went through three of the Tiffen IRND 2.1s and none of them worked. Then I finally got ahold of Tiffen and they confirmed non of their 2.1 IRNDs work on Black Magic Cameras. I asked them if they knew about the Able test and they didn't. Also I messaged Able twice about that test and never got a response so I wouldn't say that test is the end all be all. Plus everyone of my Tiffen IRs has a strong green shift, STRONG! I'm switching to the Hoyas and calling it a day.

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