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Blackmagic and John Brawley Release RAW Cinema Camera Files for Download

08.22.12 @ 9:50AM Tags : , , , ,

We often have to blindly trust spec sheets and compressed online footage before purchasing a camera. Sony, Nikon, Canon, and anyone else that builds cameras are all guilty of this — at best we get a few 720p YouTube or Vimeo videos, and at worst, we don’t get any footage at all. Thanks to Blackmagic and John Brawley, you won’t have to do the same thing with the Cinema Camera because just this morning, he posted RAW files (in Cinema DNG format) on the new Blackmagic forum. Five short clips were selected from a film he had been shooting that range from internal lighting, to external lighting, to low-light — all in a completely adjustable RAW format. So what are you waiting for? Download the files now and start pushing this footage as far as possible.

Here is a quick grade of that footage thanks to Shian Storm:

Here are the shots – you can download them by clicking on the photos themselves or using the links below. Remember they are in Cinema DNG format so you’ll either need Resolve, one of Adobe’s products, or any other specific color program that might be able to handle them.

Shot 1: ISO 800. 24 FPS 172.8 Deg shutter. 5600K. 85mm @ Zeiss Compact Prime T2.1. Schneider sapphire ND 6.

Shot 2: ISO 800. 24 FPS 172.8 Deg shutter 5600K 35mm Zeiss Compact Prime @ T2.1 Schneider Sapphire ND 6

Shot 3: ISO 800. 24 FPS 172.8 Deg shutter. 5600K 50mm Zeiss Compact Prime. T 5.6 2/3

Shot 4: ISO 1600. 24 FPS 172.8 Deg Shutter. 5600K. 50mm EF Canon “L” @ F1.4

Shot 5: ISO 1600 24 FPS, 172.8 Deg Shutter. 5600K. 50mm EF Canon “L” @ F1.4

The biggest thing that people have been wondering about is how this camera performs at a higher ISO setting and in lower light — and thanks to this footage — we can see both of those things in action, and actually get to mess around with the files ourselves. All of these clips just reinforce the things I have been saying about the camera. There is something about the way this camera renders colors and skin tones that I haven’t seen in any other camera under $10,000.

I have to applaud both John and Blackmagic for releasing footage like this for people to mess around with. While it would have been nice to play around with some of it sooner — we honestly can’t complain if we consider that none of the big manufacturers have done anything remotely like this before their cameras are released. On the one hand, I understand why they do it, but on the other, it forces people to trust compressed web footage and reviews from sites like this one.

Download the footage and let me know what you guys think. Even better — upload the footage that you’ve graded and post it here in the comments. It will be interesting to see how far people can push these RAW files.


[via Blackmagic Forum - Afterglow]


We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 91 COMMENTS

  • Still not convinced to spend 3k on this. I’m probably the only one, but I don’t see much difference between this and a much cheaper dslr. Just saying.

  • Lol biqu… you really need to do some research then. This camera stands up to my expectations, of course they are using Ziess lens but the DR is amazing

  • How do you import the files into Premiere?

  • Travis Jones on 08.22.12 @ 10:29AM

    I agree with biqu. I’m gonna get a mark III. And a unicorn.

    • You know a Mark III costs more, needs more add-ons, no RAW, no ProRes or DNxHD, and doesn’t come with grading and scope software, right?

      • john jeffreys on 08.22.12 @ 6:06PM

        And the resolution is also complete shit compared the the BMC. On the other hand, it has a larger sensor and better low light capability and its a great stills camera.

      • Unicorn comment suggests sarcasm to me.

  • Wrango Davenlo on 08.22.12 @ 10:31AM

    These clips take a long time to download. Which one, if any, displays the lowest light?

  • Wrango Davenlo on 08.22.12 @ 10:34AM

    Never worked with Pro-ress, Raw, or DNG. Is adobe Cs5 and Cs6 compatible with these three formats?

    • Marcos Avlonitis on 08.22.12 @ 11:22AM

      Essentially, yes (Adobe invented DNG after all) although technically ‘RAW’ is a general term for a wide range of formats (DNG, RedRAW etc).

      Here’s a brief tutorial on how to get DNG into Premiere CS5.5 courtesy of Cinescopophilia:

      • I find this workflow to be the easiest. Thanks for posting. For some reason when I import the DNG files to premiere the footage adds all types of contrast etc. Messes the footage up. This is an easy way and I remain in control. Thanks for posting.

    • Yeah works like a charm in AE CS6. After inporting the clip you’ll get the same window as you would get with for example a cr2. You can still acces this later on by right clicking the file (in your project window) and choose > interpret footage > more options. Same applies to r3d files i believe.

  • just did a fast grade on Da vinci and all I can say is…

    Sharpness is really on par with RED footage and colours and skin tones are more accurate. There is a cinematic feeling that is so easy to achieve on these files and the motion rendering is just superb!

    I can’t push files from my MKII this far, not even close. Even RED MX is a little bit more difficult to get there and also it seems that this cam has a good perfomance in low light. I pushed really hard to see the noise pattern or pixel blocks and try for yourself. Is all I can say.

    I don’t know about you, but for me, this cam is a game changer! Is in a completely new ground compared to DSLRs.

    Also kudos to BM to release these files before the camera shipping but really they know how good their product is.

    I was waiting for kinefinity’s camera but I’m sold. Just pre-ordered this baby! Man… Just… WOW!

    • Just a note. You can convert it to cineform and use firstlight for grading too… I did something unique in less than 1 min with shot 3 on it. Seriously, I’m shocked!

      I’m showing the graded footage to my felay at the post house and everyone is saying the same. It’s a cinema camera for the masses really. Although you’re going to spend another 2 grand on SSDs, battery system and storage, it really can’t compare with footage from FS100, GH2, MKII…

      You can compare it directly with RED footage and this is amazing.

    • Lliam Worthington on 08.22.12 @ 11:18AM

      “for me, this cam is a game changer” This.

      • Yes. I mean it. For the first time I could push footage in a way I liked with breaking it apart. At least footage from MKII. I work daily with RED MX footage in my job but I can’t afford to buy one. It’s a gap I couldn’t reach until now.
        That’s why ti’s a game changer, at least for me.

    • While I like the color science as well, the sharpness is not on par with RED at all.

  • I’m smiling behind my computer… can’t wait!!!

  • I’m still not sold on this camera either. for roughly the same price I can get the 5DMark3, and just start shooting both stills and video, but as with the Black Magic, I still have to buy SSDs and some way of holding the thing. plus the sensor size is a real turn off. But then again, these clips show how much better the resulting footage of this camera is compared to the MKIII.

    • Man… You should try it. Although MKIII is a full frame camera, there is a cinematic feel on this that you can’t achieve easy on MKIII. Skin tones are just…Accurate. If you want to replicate that “Bourne” tone. You can! You can Tint it, shade it… It’s really like working with RED footage, but I prefered this material.

      MKIII seems mushy and out of focus compared to this.

    • True but don’t you think the color space and workflow make up for the add ons? Plus you would have to add rigging to the MKIII. The codec for the MKIII alone makes me want the BMCC more. I’ll give you the stills part as thats what the MKIII is mainly for, but I don’t shoot stills, almost never. The sensor is smallers but you can still get a shallow DOF look with the BMCC sensor, it’s still not small compared to other consumer and professional ENG cameras

    • If you want to take both video and stills, the 5D3 might be your choice. But it depends on the person (do you shoot more video than stills? Stills to video?). Also download the RAW footage…you could use many of the frames as an actual picture!

      The 5D3 is also $3,500. Add a few CF cards and it’s 3,600. You can go handheld if you want, but your footage won’t look that much better than the BMCC handled.

      The BMCC cost $3,000 (which includes an amazing $999 color grading program and scopes, $599). Add a 256GB SSD for around $300 and that leaves you at $3,300…which will help go towards more SSDs/External Batteries, Rigs, etc.

      You’re going to end up near or over $4,000 for either one (with the 5D3 being slightly cheaper).
      Just depends on what *TOOL* will serve you best!

      • My point is I was expecting something good but not that good, you know?

        Is in another league… It’s unfair to campare it to MKII footage…

        • Haha at this point I agree. This camera shouldn’t be compared to DSLRs…it should be compared to the REDs and C500s of the industry. Are their going to be limitations with the camera, such as a smaller sensor? Yes, but ALL cameras have limitations. This camera, as you put it, is a game changer.

          I’m so glad I pre-ordered mine. Got a free 246GB SSD, no tax, and free shipping =)

        • I’m Comparing them because they’re the two cameras that I’m considering. not because they are in anyway similar, in terms of their video.

    • Logan for any serious camera out there you’ll have to buy SSD drives, or at least something more expensive than canon media. If you need to take pictures as well this is not a camera for you. You can’t compare this camera with Mark III in any way, they are different cameras for different things. Jeez

  • Wrango Davenlo on 08.22.12 @ 11:44AM

    I can’t download the clips at the moment, away from my computer.
    Do the clips contain any low light night shots of the actress on the street or anything?

  • This is a bit off topic, but it’s something that I’ve been wondering about and has been keeping me from ordering this camera … how much RAM is generally required to work with files this big. I bought a maxed out iMac a few years ago (16G Ram, 2T HD, 8T Thunderbold Raid Array), and ran into speed problems when editing a 90 minute doc shot on a GH2 and using CS5.5. It was generally ok, but sometimes got really slow, especially once I had graded all the footage using Magic Bullet Looks.

    Anyway, I’m already considering building a hackintosh or holding out to see what happens with the MacPros, but am trying to figure out what the real cost of this camera would be once I have to consider my workflow.


    • Yeah Luke.that has been an issue to me much power do you really need to edit and grade the footage?that is another cost that one should consider before getting this,anyone with a proper answer to this…

      • It’s a lot less intense than Epic/RED footage, for which you need an actual piece of hardware (red rocket) to make things really flow.

        But, you don’t really cut the raw, you convert to Pro Res or something that you can edit just fine, go back to the raw to color, then master.

        It’s really not a big deal unless you just haven’t updated your computing system in say four years.

        Sadly, right now I’m throwing a tantrum because I’ve got to make a switch on my mobile computing situation, and for the first time I’m feeling like I have to have a Macbook Pro.


        • I know what you mean, got a Macbook Pro Retina myself, pretty much handles my workflow: Import RAW to Resolve, create proxy for editing, edit proxy, send edit to resolve, grade RAW.

          This camera just proved to us that anything that Trolls have been saying lately is just that, trolling.
          Nobody can say shit about it now. And please don’t even say “small sensor”, that is so stupid it actually gives me the right to hit you.

          • Weeeell, I dunno. I think I’ll wait for the 8k full frame version that takes PL mount and still uses SD cards – probably same price, right?

            I feel like a lot of people haven’t ever used any of these cameras before, and are just picking sides to have something to argue about.

          • john jeffreys on 08.22.12 @ 6:09PM

            Small sensor. Its the reason why it is so cheap. They had to compromise somehow. Oh well, super 16 is way smaller, and I’ve seen some pretty movies made with that.

  • The low light shots are grainy for me but it’s a nice grain…i don’t know how to explain it.

    • Sold. One thing I have always been wary of with this camera is low light performance. I don’t mind noise though, the one thing I look for is how well it holds onto detail AFTER de noising. Every camera will have noise at high ISO values so it comes down to how much detail they preserve after de noising. That means the most to me. These files hold onto a ton of the original detail.

  • i’m impressed, played with the shot no 5, has a range that blows away my 7D, for someone who does the kind of work I do, this camera seems like a perfect high-end low cost alternative to DSLR

  • Guess it’s learning time for people… RAW = Noisey

    That’s just how it’s gonna be. If you want it to look soft and muddy like MKIII footage just turn the Noise reduction on full blast.

    • John Brawley on 08.22.12 @ 6:05PM

      Exactly Kholi. Noise is there because an RAW camera gives you everything. It’s been described as a very HONEST camera. Noise is there with ALL cameras at higher ISO,s it’s just that any non raw workflow will mean the camera is doing a lot of in-camera noise reduction.

      You can use the NR function in Resolve if you want to emulate this, but itsn’t it nice to have the option ?

      I think too, a lot of people find the noise less objectionable and describe it as being film like for one reason. No compression. I think you get concatenation when you take noise and add high compression. Noise with no compression looks quite different to me.


      • Indeed, indeed. This noise is nothing like the noise we’ve been seeing in prosumer cameras, and honestly has a very different print than that of Epic. And, it’s a heck of a lot less noisier than Scarlet in my experience.

        Mildly denoising, getting rid of chroma noise and only leaving luminance, turns this into something that really REALLY smacks of super16. It’s hard not to get fooled into think that’s exactly what it is.

        Anyway, good thing Resolve comes with what’s supposed to be an updated Noise Reduction setup! Choose your battles.

        How bout that lack of banding? =]

      • Neill Jones on 08.24.12 @ 5:05AM

        John. Where is the noise reduction in the new Resolve, I can’t find it anywhere.

  • Simply amazing. Coming from an editing standpoint, this camera is a DREAM. I’m still hesitant to drop the “A word” – but man… this is just spectacular.

    Hey Black Magic, thank you. I knew it was going to take an outside competitor to break the “we can’t cannibalize our own products” mantra the big guys were stuck to.

  • Resolve has an easy roundtrip function for Cinema DNG, you can view a quick tutorial here

    This workflow is applicable with Final Cut 7, Avid, and Premiere Pro. Cineform is another valid workflow as well but many will prefer to offline with Pro Res LT with FCP 7. Not sure about FCP X but I’m assuming the function will be there shortly if it isn’t already.

  • I’m not great at coloring, but this was easier than anything else I graded. So I’m sure I can get better using something like this rather than a DSLR.

  • I’m downloading the raw footage as we speak! Takes a little long (around 20 mins). Had a question for people who colored the footage. How did your process go for editing this footage raw, and what are your computer specs?

  • Thanks man! Ill give it a shot.

  • Surprisely CS6 doesnt support Cinema DNG any longer.

  • Awesome !

  • Want to share a still. What is the way to do this?

  • Hello,
    is there a good offline online workflow for fcp7 and collor? I dont have davinchi resolve.
    But in photoshop it does look pretty good.

  • Has anyone been able to successfully import any of these DNG sequences into Premiere Pro CS5.5 or CS6? I am not able to with CS5.5. I get a “the importer reported a generic error” message. Is it because of these are 12-bit? I think for Premiere the importer only supports 8-bit frames..? I can import them into AE CS5.5 no problem though.

  • Cool, I sent a request to Adobe. Will be great if more people do so also.

  • I’ve grade the shots here a sample of what we can do with it.



    • I had never played with raw before till this. I was absolutely amazed. I used Apple’s Aperture on this footage and I could just move almost any slider all the way back and forth and there was a real purpose and result from most every control. It really makes me sad to work on .jpg’s now. I had heard so much about raw, but till now I never had a chance to work with it.

  • Wow, finally someone graded with color in mind. Color, color, color! Photography is all about light, COLOR and composition. I would rather have 4:4:4 or something similar than all this discussion about resolution, low light capabilities, moire etc. I’ve played with the footage now (with DaVinci) and can now say it not all hype. Thank you Mr. Brawley and BMC…when are you shipping? Filmmakers, what an incredible time for us to have this choice of tools, and its getting better every quarter with camera oneupmanship. Rejoice!!!

    • I was really please with what I could do with the color in these images. There’s are very pretty images and so easy to work with, once you figure out the workflow for CinemaDNG.

  • I read some of the earlier posts about low light shooting and I want to put this discussion to rest. In the pro world, there is no such thing as low light shooting, only LESS light shooting. When you see a scene in any movie that is a night seen, on set there is more light than daytime. We’re shooting at t5.6 or higher. A clue is look at any movie night scene, if the background has some clarity and detail, that film set has more lighting than you can imagine. Almost daylight. Cheers

  • hey

    i just downladed resolve but on opening the app it craches.any ideas.i have windows7 64 i core i 5 8 gig ram 8600gtx card’

    Problem signature:
    Problem Event Name: APPCRASH
    Application Name: Resolve.exe
    Application Version:
    Application Timestamp: 5017b462
    Fault Module Name: Resolve.exe
    Fault Module Version:
    Fault Module Timestamp: 5017b462
    Exception Code: c0000005
    Exception Offset: 000000000061a9bb
    OS Version: 6.1.7600.
    Locale ID: 1033
    Additional Information 1: 34fd
    Additional Information 2: 34fd2c99928c4e5a4b059be3ecfedd86
    Additional Information 3: fdc3
    Additional Information 4: fdc34fdc5fdc7a34a75f7d1099394b26

  • I graded mine in lightroom. Then exported Jpegs which I put into a sequence in Premiere.

  • very nice image quality.
    but i still dont get it
    how is it that most camera making companies (big or small) get away with rolling shutter.
    how do they do that?

    i wish black magic next camera has global shutter.

  • Caleb Moseley on 09.19.12 @ 9:25PM
    Here is my little test with this footage. I didn’t have the right hardware to use DaVinci Resolve so I used my own little process that I made up along the way.

    My grading process:

    1. Imported the dng files into After Effects as a Camera RAW Image Sequence.
    2. Balanced color levels in Adobe Camera RAW
    3. Exported footage out of After Effects as a 1920x1080p Apple ProRes 422 Clip
    4. Imported the footage into Final Cut 7 and sent to Color
    5. Touched up the color grades with Color and sent back to Final Cut.
    6. Exported out of Final Cut

    Just impoted in Resolve
    and exported in H264 shit…kind of magic.
    Forgot to set up a correct framerate))))
    Thanks for the footage…

  • LaMarmotaInsomne on 08.29.13 @ 4:55AM

    This is my grade, I hope you like it.

  • Love the footage.
    I grade as follows.
    Import into Lightroom 5 as Copy ( do not import as DNG) and grade as required.
    Export as dng as Lossy 720p sized files.
    These are the proxy files for editing in premier elements 11. The dng’s drop straight onto the timeline.
    When the edit is done and final grade info is provided.
    Re grade in lightroom and export as original dng un sized.
    Drop these files into the lossy dng locations and overwrite originals.
    Then output from premier in whatever format you like.
    Job done with no format changes and original frames can be re inserted if required.

    Hope this makes sense.

  • Hello! this is my work in lightroom and after effects

  • look in hd 1440 =)