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MFT BMCC and John Brawley Capture More Beautiful Footage, and SLR Magic 25mm T/0.95 is Shipping

03.17.13 @ 3:14PM Tags : , , , , , ,

It may be a few months away from getting into the hands of us regular folks, but the Micro 4/3 mount version of the Blackmagic Cinema Camera has gotten plenty of work in a number of real-world situations thanks to John Brawley. While he’s been testing plenty of PL mount lenses on the camera (we’ve got some brand new footage below), he’s also been trying out of all of the manual MFT lenses that are currently out there, including those from Voightlander, and a brand new lens from SLR Magic, the new T/0.95 lens, which just may be a perfect go-to option for the MFT BMCC.

Here is Brawley shooting a bit with the Angenieux 16-42mm and the 45-120mm PL lenses:

We’ve also seen that the new SLR Magic HyperPrime CINE 25mm T/0.95 lens has been shipping, here is Brawley’s on the BMCC:

A few people have gotten their hands on it, and have tested it against the slightly more expensive Voigtlander 25mm f/0.95, and the SLR Magic seems to be just as good, if not better in terms of sharpness. Here is a great example of what kind of images the lens can produce from Seb Farges on the GH3:

Another one from Seb briefly comparing the Voigtlander 25mm and the SLR Magic 25mm:

I think this is going to be another great option for the BMCC. With the SLR Magic 12mm T/1.6 and 25mm T/0.95, you’ve got lenses that are both very fast and take care of many of your wide and medium to medium-close shots. These lenses also have the benefit of de-clicked apertures, so you can smoothly do an aperture pull during a scene if needed. I know some are partial to having someone like Duclos doing the gears, but it’s great that the lens gears are already built-in, very similar to the Samyang/Rokinon cine lenses.

Right now according to the website these lenses will ship about two weeks after you order, and if you buy them now, you may still be able to qualify for a $150 rebate, which takes the normally $800 SLR Magic lens down to $650. That’s quite a bargain considering the Voigtlander currently runs over $1,000.

Links:

Related Posts

  1. Voigtlander 17.5mm and SLR Magic 12mm on the Blackmagic Cinema Camera MFT with John Brawley
  2. SLR Magic Developing Budget Anamorphic Lenses and Canceling Development on Others
  3. A History and Complete Overview of Blackmagic and the Cinema Camera with John Brawley

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Description image 34 COMMENTS

  • Hubert Hotte on 03.17.13 @ 3:35PM

    I’m throwing my credit card at the screen and nothing is happening.
    Ohwait I’m broke.
    Definitely goes on my Christmas list.

  • We wait almost a year and still no camera nor a Micro 4/3 mount.
    We are now looking for something different…. better.

    • There are plenty of BMCC’s in the market now from people who preordered. I personally know 3 people and 5 rental houses here in NYC. Looking forward to the MFT, though.

  • Andrey Valentsov on 03.17.13 @ 4:04PM

    What cage is John using on his BMCC? Does anyone recognize it?

  • god i love the images that come out of this camera. the colour and light representation is just fantastic. having worked on enough reality TV over the years, the DoF is the equivalent to the old 2/3″ digibeta and newer XD CAMs (F800), but there’s something that really sets these images apart. i think detail plays into it a bit, but mostly i think the colour and DR are what clinches it.

  • john jeffreys on 03.17.13 @ 5:11PM

    time to eat my words and be a super hypocrite but i guess my next film is being made with a BMCC, we needed a small sensor look and couldn’t afford the telecine for super 16mm, and the digital bolex is still in development i guess. we’ll be using schneider lenses mostly, with the occasional leica-r from my personal bag for closeups and shit. to be honest, im kinda excited. and humbled.

  • WANT. NOW.

    Although the ultimate dream would be an active m4/3′s…

  • Whats a better solution a black magic canon mount with metabone speedboosters nikon to canon with manual old nikon glass i think the widest would be a 20mm and with speedbooster it would make it the equivalent of a 35 mm or MFT mount black magic

    • Well, first you should get the one that suits your needs the most.
      But, second: there is no Nikon to Canon Speedbooster, nor most likely will there be due to the Speedbooster adapting a lens with a larger image circle to a mount made for a sensor optimized for a smaller image circle. Since both F and EF mounts accommodate the same size of sensor, you wouldn’t see any benefit. That said, adapting Nikon to Canon is what many do anyway — just not via a speed booster.
      Since you seem to be aiming for entirely manual lenses, I’d say that the MFT version might make more sense, since it’ll be able to adapt to a wider range of manual lenses including the same Nikons you might use on the EF mount. Also, there will eventually be an MFT Speedbooster, so you’ll have that to look forward to.

  • Those few ones living in a parallel universes in which BMCCs do exist are very lucky.

  • Beautiful images… just a shame it’s taken so long for people. If they release an active M43 at somepoint, equiped with speed booster, I wonder how that will fare as a B cam to a RED or Alexa. (Probably matches an Alexa better but I own a Scarlet)

    • Probably would match a Scarlet better most likely based on equal usable DR. Color disparity on a Raw 16 and 12 bit camera will have less impact than luminance distribution. I’ve seen some nasty moire on BMC also, don’t think it will make the cut on Alexa shoots.

      • John Brawley on 03.18.13 @ 6:57AM

        Actually the opposite.

        The “look” from the BMCC in FILM mode very closely matches the Alexa, especially if you shoot ProRes. It’s much closer to the Alexa than the RED / EPIC.

        The extra Resolution of the EPIC also makes the cuts more obvious.

        jb

      • yeah. The tests posed here by Ryan E Walters a few weeks ago showed that the color and image more closely matched the Alexa than the Epic. This is a sweet little camera.

  • On another note, the GH3 actually looks pretty damn nice with the Voigt too. Makes a perfect B-cam to the BMCC…which is my plan.

  • Must say I love the camera details…..but the more I look at footages from the BMC I can’t help but to think “VIDEO LOOK” kind of make me miss the soft look of the canon DSLR….we are going to see lots of crap video from this camera in the wrong hands….just saying.

    • Uh wrong. The video look is in the canon camp…not the bmcc. Watch philip blooms ponte tower or dungenous vids.

      • video look is not in any camp, its in the grade. Alexa looks super video in Scandal, but looks filmic in Zero Dark Thirty, its bad when the tricks of filmmaking trick filmmakers. Understand the perception of contrast and you will recognize that the variables controlling the “filmic” feel rarely lies with the camera, at least nowadays.

        • Can’t agree more…

        • Agreed as well. ‘Avengers’ looked like a made for TV Power Rangers movie from 1995… ‘Skyfall’ looked better than any s35mm production I’ve ever seen.

          • Agreed again! But i feel the look of Skyfall is down to Deakins more than anything. Amazing camera made to sing by a master craftsman. That shot when he pulls out of the garage in the vintage Aston at dusk is sublime! As for the BMCC… Wow. What stunning images.

          • Yeah, right…show me a “a made for TV Power Rangers movie from 1995″ that had the resolution, lighting, clarity, dynamic range, technical expertise, etc. of ‘The Avengers’ That film was the perfect of example how to NOT OVERDO the “grade” in post. Digital will never look like film. Because it’s video. Stop trying to “grunge it up” in post to do so.

  • The GH3 footage looks incredible! Very sharp and decent highlight roll off. I’d love to play with the camera, atleast the camera actually exists.

  • Thanks for sharing ! :)

  • I think the image looks great, with an aesthetic / color rendition somewhat similar to Canon. Most of the BMC videos I’ve seen have this look. My thing is, I like to shoot a bit flatter / more neutral and do the grade in post. Since I don’t have a BMC I can only speak with my experience from Canon, which has the Canon look baked into the video. If you like it, that’s great but it’s hard to get away from that look since it’s so baked in.

    Do they have different picture profiles in the BMC if you don’t want that saturated, pre-graded look that I keep seeing from the camera? Can you shoot flatter?

    • John Brawley on 03.19.13 @ 7:34AM

      The RAW image from the BMCC is incredibly flat. You put your own “grade” onto it. A lot of people like putting a lot of saturation into BMCC grades because the codec can “take” it and it doesn’t fall apart, plus it’s skin tones are very pleasing.

      jb

  • Sorry guys, but do you really think this are great images? I am not so sure.

  • Gary Simmons on 03.25.13 @ 11:52PM

    I Liked the look of the SLR Magic lens more than the Voigtlander. The skin tones were more natural to me.

  • Looks fantastic.

    I am well over the conversations on how this stacks up to film. I don’t think digital cinema ever needs to stack up to anything, considering it has come along in leaps and bounds in a very short time.

    I love the look of the BMCC and a friend of mine shot commercials recently with one of them and an Alexa, and he was blown away by how well they matched.

    It’s funny how nobody said Eastman Color stock could never stack up to that amazing black and white look