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Blackmagic Goes 4K with S35 Global Shutter Sensor for $4K, and a Pocket Cinema Camera for $1K!

We’ve all been speculating that this year’s NAB show would be a major one in terms of new cinema-style cameras at incredibly low price points. After Blackmagic Design shook up the cinema camera world last year, the market seemed destined for another company to swoop in an steal the BMCC’s thunder. However, a photo of two brand-spankin’ new Blackmagic Cinema Cameras has been leaked, and it’s definitely real. It appears that Blackmagic has done it again, and their thunder is locked down in a vault that would leave even Danny Ocean and his team of 13 stumped. Check out the photo below for the limited details that we have at this point.

Jim Geduldick posted this on Twitter:


Blackmagic on the takeover new cams Super 35 4k production & S16 pocket cam. #4k http://t.co/kwR71ltQfA
@Filmbot
Jim Geduldick


For those of you having a difficult time reading those fuzzy little letters on the boxes, here’s what they say:

Blackmagic Production Camera 4K

Compact 4K camera with large super-35 sensor, global shutter, Ultra HD and 4K support, built-in SSD recorder, touch LCD metadata entry, compressed CinemaDNG RAW and ProRes recording, Thunderbolt and EF lens compatibility, Includes DaVinci Resolve and UltraScopes.

Blackmagic Pocket Cinema Camera

Ultra-portable super-16 digital cinema camera with super wide 13 stops of dynamic range. Super 16 sized 1080p HD sensor, built in SD card reader, High resolution LCD, ProRes and Lossless CinemaDNG RAW recording, Active Micro Four Thirds lens compatibility, Micro HDMI monitoring with Overlays.

There are some really significant bits in this photo, the largest of which are the full-size sensor and the considerable upgrade in terms of resolution. Plus, a global shutter on a camera in this price-range is absolutely unheard of, the nearest competitor likely being the F55. I’m also highly intrigued by the phrase, “Compressed CinemaDNG RAW” recording. If Blackmagic has managed to considerably shrink the size of their DNG RAW frames, this camera will likely prove a much more affordable option for shooting RAW due to the amount saved on data storage. Overall, this camera looks to be a serious production tool with serious production features.

The Pocket Cinema Camera looks to be another interesting release. At a price that competes with low-end DSLR’s, and with cheap SD cards as a recording medium, the camera is well-positioned to be the perfect entry level cinema camera for folks who couldn’t quite afford the original BMCC. Not to mention that it has some seriously potential as a crash cam on higher end productions. Lastly, there will be an official announcement tomorrow regarding these cameras (and NFS will have awesome coverage of it, of course), so keep your eyes wide open and your ears peeled, because it’s sure to be an exciting day.

To me, it seems pretty clear now that Blackmagic means some serious business when it comes to manufacturing cinema cameras. But what do you guys think? Do these new cameras have you excited? Let us know in the comments.

Link: Blackmagic — Super 35 4K production and s16 pocket cam — Jim Geduldick — Twitter

Related Posts

  1. Hands-On With the 2.5K Blackmagic Design Cinema Camera
  2. Why is the Blackmagic Cinema Camera Such a Big Deal?
  3. Blackmagic President Dan May Talks About a Possible Super 35mm Cinema Camera

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  • The Observer on 04.8.13 @ 4:41AM

    Wow! Game-changer!

    Goodbye to my Canon 5D Mark Deux!

    Time Get Into the 4K Game

  • Insane.

    Just think what’ll come along next year at NAB…

    • Chris Lambert on 04.8.13 @ 4:54AM

      Best wait til next NAB before purchasing anything, but then it’ll only be outdated at the next NAB so I’m going to wait til next NAB NAB.

      Or I could go make stuff…

      • It won’t necessarily be outdated – but there will be something new. This has nothing to do with holding back on creative output.

        • Chris Lambert on 04.8.13 @ 5:26AM

          Oh yeah absolutely didn’t intend it as a dig at yourself. Just the mentality a lot of people have that as soon as we enter May it’s “I’m waiting till NAB” mentality

  • Whoa! Global shutter S35 4k….

    “Ultra HD and 4K support”…. Does that mean the 4k will be recorded externally? If so… I’m not quite as excited. If it is internal… Then my recent second hand scarlet purchase isn’t looking as awesome value. Global shutter would be sensational.

  • I’ts April 1st today?
    Do they learned about their faults of the first camera?
    Will these have a format and delete function? :D
    Will these can record without dropping frames?
    And I guess getting rid of moire would be too much for this money…

  • And answer from Red: they bought the Tessive Time Filter tech to “simulate” global shutter… Last price from Tessive 1950, – dollars for kit.

    Price with Red label on it 4500,- dollars…

    Shame that it still inferior to real global shutter (like in Sony F55 or new BM camera), you lose at least two stops. Not really usefull with old Epics or Scarlets.

  • Amazing I want both! This will be the ‘game changer’ from NAB 2013 forget what Vincent said about MoVI. I wonder if it is the sCMOS sensor from BAE systems. 100fps@2.5k, global shutter and 13 stops. Also wonder if the size of the production camera will increase over the current model. Blackmagic take my money!!

  • My question is:
    This camera will sell this year or in 2015 nab?

  • Dragon’s out and Red now has global shutter. This is nice for people on a budget. But at only 13 stops… its tough to take seriously these days.

    • Electrically controlled semi-transparent LCD-panel in front of sensor IS NOT a true “global shutter”. It is Red hype once again.

      Bit like Dragon DR, that was first 18 stops. Then it was 20 stops.

      Now when the Dragon cmos is finally shipping, it is “Epic MX DR + 3 stops”.

      Which in real life means about 15 stops. Very good, but nothing like “18-20 stops”.

      • You’re claiming Epic MX DR is 12 stops? What?

        Whatever; I’ve gotten so used to the DR on the Alexa and Epic that I don’t even think about it when doing stupid shit like shooting actors in shadow with intense sunlight in the exact wrong direction. I wouldn’t be able to work with a camera limited to 13 stops.

        And if you’ve ever used a tessive, while it isn’t perfect, it does get rid of a lot of the downsides, and electronically variable ND has a huge number of applications.

        My money’s already in line for a Dragon.

    • Seriously? 13 stops at this price point is great. The new $150k Phantom Flex “only” has 11.

    • Maybe for big time film makers its tough to take seriously, but for me, it’s like a step up into the bigger game. So for you red and high-end Sony users, good for you that you can afford that stuff. Not a dig at anyone by any means. But let us little guys have our moment in the sun if you will please?

  • I am as exited about the pocket S16 than to the S35 camera.

  • Wow, how pissed is anyone who just threw down money on bmcc…

    • Not at all. My guess is demand for the BM ProdCam will be immense. I’ll shoot with my original BMCC until the ProdCam becomes available. Anyway, technology moves fast (for all companies except Canon, Panasonic et al). We have to get used to it. Buyers of the original BMCC should not be expecting Blackmagic to hold back with new products.

    • Very true! I was going to buy the BMC last year but then I decided to wait, I thing the wait was worthy, hope there wont be any dalay

    • Also, it looks like the two cameras have different strengths. Production Camera: resolution and global shutter. Original Cinema Camera: dynamic range.

    • They shouldn’t be upset really. This is a different camera for people with different needs. If they bought for what they needed, they should be ok. If they bought because their eyes got big and had a sudden urge to empty their wallets, that’s their fault. Early adopter syndrome strikes again

  • Anthony Marino on 04.8.13 @ 6:41AM

    Good morning! Wow, woke up to this news (highly impressed) also got a text from my buddy saying convergent designs odyssey monitor/recorder has 2k (continuous 2k recording at 240 fps) and 4k support for the fs700. I’m excited and would like to say thanks for the great coverage this year guys. :)

  • Jaw hits floor wallet opens to no money for new equipment. Looks like I got some work to do to save up luckily I know black magic will give me enough time to save up. Hopefully we can get an external battery with this camera!

    • Chris Lambert on 04.8.13 @ 7:04AM

      battery really is a non issue my first camera the EX3′s batteries were £100+ per battery which would get you 4hr’s.

      This camera has devices already that can take Sony’s more commonly available and considerably cheaper batteries meaning for £200 could probably get a ridiculous level of running time.

  • no word on the DR of the 4K one though, which is suspicious since global shutter reduced DR.

  • Sounds good but you wont see these until 2014. They already have a camera they cant deliver on time, adding 2 more to that line is not just too realistic…

    • Rumors saying that Blackmagic learned from their production and shipping mistakes with the BMCC and camera will start shipping this summer. Let’s hope thats true.

  • CinemaDNG already has the option of lossless (roughly 2:1 to 2.5:1) — just nobody has bothered to implement it until now. It’s a shame they didn’t go with CineForm RAW, as it has more compression options: uncompressed (essentially CinemDNG), lossless, and lossy.

    • Maybe they couldn’t go with Cineform. Cineform has a license from RED for the compression scheme which is based on wavelet. I don’t think that RED would have liked it.

      Compared to the Kinefinty it may sell way more so maybe they weren’t allowed to get Cineform

      And anyway, Cineform means getting a license and that means, more expensive Cameras…

      Personally my very happy that they went with the Cinema DNG compressed, that’s going to be fine. File size should be halved, that’s great!

      • I believe CineForm RAW predates Redcode (which Red has acknowledged in its patent filings), and it’s freely licenseable from GoPro. David Newman has stated that the CF license would be cheap, and,given the volume of units that BM would be dealing in (if they could ramp up their camera manufacturing), I believe it would be a nominal additional fee.

  • 4K for $4K… s35 and global shutter? uhm cough… cough… drool… ehm… Please do elaborate… :D

    Oh, and DaVinci is still included for the 4K cam? And a s16 raw 1080p for 1K? Even cutting in on the Bolex market?

    If they continue like this (and get us some fixes to firmware), they could get a rather large part of both the Nikon and Canon HDSLR-market (the stills-crowd though wouldn’t likely notice it)

    Any word on sensor-aspect ratio? is it 16:9 or maybe even a whoopin’ 4:3 or 3:2 enabling true 2:1 anamorphics? One can only dream…

    I would say “Shut up and take my money!” but that money is non-existant right now, no fault of BMCC of course

    • “I would say ‘Shut up and take my money!’ but that money is non-existant right now, no fault of BMCC of course”

      So’s the camera, at least for purchase. It’s $4K — between now and it release, you probably will be able to save up enough cash.

    • Someone posted a link earlier in this thread about the new cinemaDNG 1.4 details. One of the interesting aspects was it seemed to infer that cinema DNG actually always records the full size of the sensor and then crops it down to 16:9 but the new version would have the option of restoring the 4:3 aspect ratio. That was my understanding anyway I might have just read it wrong. Have a look yourself there’s a link in one of the earlier comments.

      • Actually looking again I think I might have got it wrong, I think it’s referring to stills only.

  • This is amazing. ONE problem that many people aren’t talking about:

    What the hell are we going to call these things? Blackmagic need to give them some real names haha, even just some numbers or something!

  • this camera and my arri super 16mm and I’m set till next year’s NAB.

  • I always said it might need a product like this to make me interested. Nice efforts by Canon, KineRAW and Digital Bolex, but it’s only now that i can say: “I’m interested.” 4K (luxury), Super35 (very reasonable), Global shutter (obligatory!!!) and CinemaDNG RAW (ok not real RAW, which would be occasionally interesting, but even professional TV programs don’t record RAW most of the time) and all that for about 3000 €. Hello, Beauty!

    Greets,
    Matt

    • Not real RAW? what do you mean?

    • Cinema DNG is real RAW. It’s uncompressed. It’s the realest RAW there is. RED RAW is compressed RAW, arguably less raw. I’ve now said the word RAW so many times that it sounds strange.

    • “Less RAW” doesn’t mean a thing…

      A Compressed RAW is still RAW. A RAW file is just an non-debayered image, Redcode and DNG Compressed are non-debayered so they’re RAW.

      RAW has nothing to do with compression or lack of.

      • Whopps! I got a sh**load of things messed up in my previous post. ProRes was the target, but my bullet hit CinemaDNG. Sorry for that one. Of course you guys are right! All my remarks were actually referring to ProRes instead of uncompressed formats. The Alexa, for example, does record compressed ProRes and it’s used instead of RAW formats in a lot of TV productions, at least here in Germany, because of the wide use of Final Cut. On second thought, it also would have been a big surprise if Black Magic would deliver less image quality in what in all other regards is a clear upgrade to the 2.5K BMCC. Sorry, guys!

  • Industry destroyed (in a good way :))…. wow

    • Arri, RED and Sony will not see this as competition as the 4000$ price-tag aims more at semi-professionals. Then again, from a technical point of view Blackmagic offers a lot of features that most cameras even in the 20000$ area don’t have which should put a lot of pressure towards Sony and RED and maybe even towards Arri.

      If BM can deliver, a second digital revolution might be on its way – just like when the 5Dmk2 was released. If it has effect on the pro market, we might see either massive price drops or extreme improvements on dynamic range and/or low-light performance (and probably also the introduction of 8k which I’m a lot less excited about)

  • The specs on both of those cameras are incredible. Just like the original BMCC last year, these products really expose just how much the cartel of manufacturers have been exploiting their customers. This where the technology is at.

  • I have to admit that I’m especially excited for the s16 camera! So many affordable c-mount lenses to use. I do feel bad for the Digital Bolex and Ikonoskop folks.

  • mikael_bellina on 04.8.13 @ 8:16AM

    The pocket camera looks cool, the big one is still to big for me, but lot of people doing commercial and film will be interested in ! Just theses few specs tell it would be very interesting !

    About the shipment I think Blackmagic learn from his mistakes…. But the actual BMC is still not available from B&H for exemple …

    Maybe it was a strategy to do not make the actual customer disapointed !

    Waiting for the announcement ! I’m sure they will talk about a real release date this time !

  • it took me like roughly 15 minutes to get the Danny Ocean joke.

  • Wow. This is brilliant. Now, hopefully, they should deliver these, sometime soon. Everything else becomes inconsequential. The original BMCC still awaits delivery, for 99% of people, who ordered one. If these deliver within the next 1 year, R.I.P RED and Canon C Range, and also the original BMCC. Maybe, people using their DSLRs for shooting video, will throw them, into the sea, as well … :P

  • Am really excited about the s16 $995 camera!!!! Wow this are exciting news. Am gonna get it the minute is out there! :D! Congrats on BMC

    • ha ha, correction: you are going to order it the minute it is out there, and then wait 6 months.

  • Now all they have to do is deliver :) easier said than done… I am still waiting on my EF and MFT version, so I am sorry but unless they seriously overhaul their production and QC process, I cannot realistically see this camera in my hands until mid 2014

    • I highly doubt that they would consider producing 3 cameras without overhauling their production line.

  • Preordered the Pocket Cam, let’s wait some month (years?)

  • Gentlemen – the era of the DSLR camera as filmmaking tool is over. Thank god.

  • Shut up and take my money!

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