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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

COMMENT POLICY

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 244 COMMENTS

  • The standard BMCC is far from perfect with its lack of clip management and dropped frames not to mention a host of other issues. So, why doesn’t BM concentrate on making a great 1080p or 2K camera rather than moving onto 4K? How often are you going to drop frames at 4K if you cant keep up with 2K?

    Don’t push what is going to be a relatively cheap camera to the limit as you will get reliability issues like we have seen. The $4000 price target is not a place to be trying 4K. It will lead to compromises.

    Make a kick arse and RELIABLE Global Shutter S35 chip @ 2k with RAW and 1080p ProRes/DNxHD options………please.

    • Get an SSD that’s on the supported list and you shouldn’t drop frames. If you buy something that’s not on the list and have a problem, it’s not Blackmagic’s fault. I mostly shoot ProRes but I have shot RAW too; I’ve never had a dropped frame on my Kingston 240GB drive.

      • Robert Thorpe on 04.8.13 @ 11:08AM

        PLUS ONE.

      • Although I’m loathe to get into a debate about SSD brands, I want to point out that even the ‘recommended’ drives have had issues (and yes, with dropped frames too) as reported by multiple users including John Brawley and the recent NoFilmSchool post on making features with the BMDCC.

        The point is that picking the right SSD is only half of the battle – the other half is how the camera processes and offloads it’s footage – the Epic basically runs on SSDs (albeit in shiny box with Red printed on it) at 5k with no dropped frames.

        (Not that I’m dissing the BMDCC! Just pointing out that the SSD brand is not the sole cause of errors).

        • I was under the impression that RED cameras regularly have issues, including dropped frames. And they cost much much more..

  • Where to order in the United States or in Europe? And which would be faster…???

  • OK, so im assuming the 4K will have to be recorded externally via the 6G SDI output?

  • I posted a question to the well-known pro cinematographer community at Cinematography.net — “Should I get the BMCC or 5D Mark III if I’m serious about making films?” — and the consensus response surprised me (I also talked to Shane Hurlbut’s assistant — same answer): “Beware the BMCC. Too many problems, too much risk. The 5D is absolutely proven. Go with it.” BM has now just screwed everybody who bought the original and waited all this time (or longer) to get a camera now rendered somewhat obsolete over a measly $1,000 difference for 4K — IF they ever really deliver on anything. And customer service will remain an issue until BM is “proven.” I wanted an original, but have decided not to take the risk based on the pro advice I just got.

    • Blackmagic guys are not stupid.
      They’ll probably give and option to turn an original BMCC pre-order into a new 4k BMCC pre-order for $1000 more, and put all those pre-orders in front on the delivery queue.
      But if those pros want to continue buying in the Canon crippled BS, more power to them.

      As of now, Blackmagic is the only company in the camera industry pushing the envelope. It it was easy, I would be doing it. Have some faith in the guys. They are doing a great job. No revolution happened fast/easy.

    • Even “professionals” don’t always know what they are talking about. Many of them carry a ton of emotional baggage when it comes to manufacturer loyalty, and it influences their opinions negatively.

      Anyone who suggests that the 5D Mk III is the better choice on the market today is completely out of his or her mind. And this comes from having used one extensively.

      • Agreed, I shoot lots of video on two Mark III’s. Even just the very limited DR kills it. The BMCC performs better but yes, is not as easy.

      • There is always a right camera for the right job, sometimes the 5d mk 3 is the right choice over a BMCC, but it depends on what your doing. Use the right tool for the right job.

      • “Many of them carry a ton of emotional baggage when it comes to manufacturer loyalty.” So true. I have noticed on the interwebs that Canon, Red and Leica have the most fervent, loyal fanboys. Sony, Nikon, Arri, Panasonic barely have a cheering section of note.

    • 5D is not a “professional camera”. As far as BMD, they provide a very good product at a great price point. As a first generation cameras, one could only expect some issues- the same was with RED. BMDCC provides truly cinema quality for a fraction of the price. For bigger budget productions Alexa is still a proven workhorse, but this is fairly close.

      • Or you could opt out for all toghether and go with a more proven workhouse than even the ALEXA for less than half the price of an Alexa.

        IM talking about a SONY F35 AKA PANASONIC GENESIS, an old camera that still till this day is still a workhouse on several tv productions around the world and even recent movies within a year ago were still shot on it.

        IT has no rolling shutter, can shoot raw or top notch 1080p from a 5k sensor with no weird highlight effects found a equally new priced sony f3

        EBAY has several SONY F35′s on sale with batteries and EVF included ,some for under 13k, The only factors would be WT and PL mount only options but hey its still cheaper and more proven than any other current digital cinema camera on the market, yes even the mighty ALEXA

    • If you always play it safe, you’ll always be behind the curve. I can’t recommend that anyone shoots a serious project on a DSLR with the BMCC available. And I don’t feel short-changed by my BMCC at all. There’s nothing sad, wrong or annoying about the march of technology — would you rather wait another 5 years for the same thing?

    • Well, then these professionals should buy what they need. If they needed 4K to begin with, then they shouldn’t have purchased a 2.5K camera. The last one was a 2.5K, clearly not intended for those that need 4K, this newer one is a big improvement for not much more money, this is true, but the professional who buys gear they don’t need isn’t wise. That’s their fault for being an early adopter. By now they’ve had time to figure out their manufacturing and get things just in order.
      Trust me, there is a reason we aren’t all camera manufacturers. Manufacturing is not an easy job, especially for a company that hadn’t ever made a camera before. There was a small chance things would go wrong with the first batch to iron out the bugs, and these guys pulled the short end of the stick. I’m personally keeping my eye on this pocket cinema camera now myself.

    • Even on a “pro advice” website, these are all opinions. Maybe it’s better if you formed your own opinion, not rely on everyone to tell you what to do. Only you can really know what you need, and while myself or anyone on here can offer help, and are happy too, it’s better to build your own tastes and preferences and opinions than it is to rely on these forums for everything. I apologize if I am sounding critical, I’m genuinely meaning to be helpful.
      I’ll even consent that I could be wrong, cause its just my opinion. If a 5D suits your needs, go for it. But if you feel a BMCC fits your needs, then go for that. But let everyone be convinced in their own mind and form a mind of their own, not let others lead us around on a forum when we have no idea who here people are, or even if they are working in Hollywood, if they are any good at what they do or not

    • Dave Mueller on 04.8.13 @ 11:10AM

      And I wouldn’t go with the 5D. If you’re going to shoot a feature and wanted to stick with Canon, use the 1D-X (which Phillip Bloom said had the picture quality that he’d wanted the 5D Mk. III to have) or the 1D-C. They’re not that much more to rent than the Mk. III (I mean, yeah, they are, but in terms of the total costs of shooting a movie, this is a pretty incremental jump for a big difference in picture quality).

      I liked the 1D-C because it shot Canon Log, and that…I can’t remember the name of the software at the moment but it could take your footage and match several different film stocks. It worked with Canon’s C500 and C300, but they speculated that the Canon Log was the same in the 100 as well and that it was likely that it would work with that camera as well. I’m thinking/theorizing it’ll work with the 1D-C also. Being that I probably won’t be able to afford a digital color technician on our budget (and thus it will be me) having a plug and play solution is a good option.

      • Software you’re thinking of is Filmconvert.

      • Not too be rude, but why go with a 1DX based soley off the words of phillip bloom, not to down BLOOM , but getting or renting a c100 would make better sense than a 1dx, its a better video camera with proper xlr options and better image quality, not too mention the opiton to get uncompressed footage via an inexpensive exteranal recorder like hyper deck or atomos

  • This is simply amazing and unexpected!
    The S35 was in everyone’s imaginary wish list and now it’s a reality (and somehow people still bitch about it).
    And the mini came out of the blue!

    I’m sure they learned from past mistakes (production, delivery…) otherwise they wouldn’t be presenting another camera that soon.

  • Ok didn’t they learn anything from the first go round? What is their obsession with Canon EF Mount.

    • You already know the answer to this I hope. Easy they’re trying to grab the HDSLR crowd. Most are Canon 5D and 7D owners. They invested in Canon and other EF glass. Providing them an upgrade while allowing them to keep their lenses is attractive.

    • EF mount makes sense on an s35 sized sensor.

    • They’re trying to capture the disgruntled Canon owners that are looking for a new camera without having to get new glass. I’m just glad to see they’re making an m4/3 alternative as well.

    • Because a micro 4/3 lens doesn’t fit a S35 sensor. It’s your only option at this size when the demo they shoot for it canon 5D/ 7D users

      • Oh no I wasn’t suggesting they do a m4/3 mount, what I’m suggesting is at this point do an interchangeable mount. Not JUSt EF mount. No this information was not published on their site YET. some guy took a photo earlier than the announcement which has yet to happen. I’m curious to know how many stops of dynamic range. Either way RED and Canon must be crapping their pants because they’ve been so cocky with their expensive ass stuff. Sony’s F55 is global shutter and $28k. So this means that Canon better do something about RAW and CHEAPER. Sorry I’m so mad at everyone’s orgasm over the 1DC. What a waste of money. It’s like that’s all Philip Bloom shoots with now. Yes I can drop $12,000 on a 1DC no problem. Pocket change. Please!!

        Now to see if Panasonic will have RAW up their sleeve as well.

  • Does anybody know where to place a pre-order? Has anyone tried yet?

  • The Pocket Cinema Camera looks like a sweet option for aerial shooting with a multi-rotor remote-controlled helicopter.

  • Casey Orion on 04.8.13 @ 10:08AM

    There have been a lot f comments about how BM has just trashed people who orderred the BMCC. Ladies and gentlemen, this is the time in which we live. Technology is hurtling forward. BM could intentionally slow down its release cycle but that is what people have complained about regarding canon. This announcement is incredible in that it democratizes technology that was previously reserved for the elite.

  • I didnt see if anyone posted this, but I talked to the guys there and both cameras release in July. They have a new sensor that will supposedly eliminate the shipping problem, and they are not going to worry about waiting to ship the 2Ks before they ship these new ones. The actual interface is basically the same as the 2K except it now has 4K. The model I used only has 400ASA available in the dark club, so no visible image on the screen, it is unknown (to them) what the top ASA will be. Also, the dynamic range went down a stop with the sensor change. The size of the camera is basically no different than the 2K as well and I asked about a PL mount and he said “we will see what people ask for, you never know”.

    • Hopefully all this comes to light soon. And if it takes as long as last time I’m gonna cry. I didn’t get a BMCC last time I got a canon 6D instead. Now this pocket model really has my insides all in a lather. If you’re there and can get more details out of them please, try for us?

      • I got to test out a pocket cinema camera and I am thoroughly disappointed. One had a cinema lens on it and the other a Voightlander and it looked out of focus even when the focus was peaked out on screen. The lcd is very low quality and has a lot of posterization. One was attached to a panasonic external monitor and it still had the focus problem. So, I would need to see footage from he camera to be convinced, otherwise RAW 1080p would be awesome.

        Also, it seemed from the menu (I may be wrong) that the 4K camera actually shoot 4K Prores 422 in addition to RAW. They did not have the raw enabled on the cameras there.

    • Excellent news@anonymous.

  • So when did $4000 bucks become professional to some of you? The 5D led the Dslr revolution and it was only $500 bucks less than this.
    Side question: Why on the poster does it say 6G SD!?

    • When did price point become the deciding factor on professional or not? Last I checked it was quality and feature set that made something professional.

  • This is great news, shoot 1080p raw as an Alexa for 1k, is awesome.
    It would be even greater news if BM announce a change in its chain of production.
    They need to speed up things.

  • Charlie Doom on 04.8.13 @ 10:24AM

    This is AMAZING news! I almost can’t believe it. For those of you wondering, it seems ordering from US distributors is faster than European Distributors. That seemed to be the case with the original BMCC, I think it comes down to the regional organization of distribution. The US is one country in a region, while Europe has many countries in the region so the orders for Europe get split among the various countries. While both regions probably get the same amount of cameras, they’re divided more in Europe. Just my guess from past experiences. Could be totally wrong, but I noticed US orders seemed to come in more consistently compared to, say, Finnish orders.

  • wow!! I was talking about compressed raw on the other thread and now this! S35, global shutter, EF mount and compressed Raw!

    Now we’re talking!

    But they need to deliver cameras faster, a lot faster.

  • 13 stops in my pocket. holy crap.

  • Hey Charlie

    thanks for that update on pre ordering…also which place in the United States is faster?

    thanks
    dio

  • David J. Fulde on 04.8.13 @ 10:55AM

    They still need to fix a host of issues:
    Ergonomics on the 4K (I am astounded that they did not fix this! The ergonomics on the 2K version was my biggest gripe with it. Why release a 2K camera when you need to have 4K of support gear to shoot with it?)
    The screen is impossible to see in daylight* (Maybe the 4K version is built with a matte screen?)
    You can’t see how much space you have left
    Dropped frames
    You can’t see, precisely, how much battery you have left

    I am FAR more excited for the Pocket Cinema Camera. Though I wonder how fast the SD cards need to be.

    Lastly: A “production” camera without SDI? What?

  • The Pocket comes into being JUST when I was finally decided to go to the GH3 from my old and suffering T2i… I cannot WAIT to see the presentation tomorrow. I want footage! The 4k for 4k is pretty great, but for web series work, a 13 stop tiny camera for that price is unreal!

    • Plus One. I JUST sold my T2i and all of my EF lenses, ordered 3 active MFT primes (14, 25, 45mm) and an 85mm manual lens. I’ve backordered GH3 I’m waiting for now. But you know what? I don’t trust BMD to get the mini out in a reasonable time, and I have clients now. I’m thinking I’ll hold on to the GH3, which has things like 60 frame 1080p and auto focus during recording, for client work, and pick up a BMD mini when it actually comes fully to market for my narrative work. And by comes fully to market, I mean when I can place an order for it and expect to receive it within 2 weeks.

  • I’m genuinely curious how the Digital Bolex team is responding to this announcement. I feel like they could have got a foothold if they just got their product to market faster, but now? Can the nostalgia of the Bolex brand retain relavence in the face of such a forward thinking company like Blackmagic?

    • DIGITAL BOLEX will probably respond the same as they have done in the past, usually with more blown out depth of field shots along with a non production/prototype. SXSW just recently past and still to this date they still do not have a working prototype of this camera, i understand the boards and production problems, but still no working prototype, they seem to be more interested in the asthetics of novalty add ons like a leather brief case strap or irrelevant hand crank. Even if they do manage to ship only a few batch of cameras like they said they would, what if all of the 15 cameras in the wild they released stop working , then what? it takes them 2 years to release 15 cams, so how long do you think it would take to replace it, Miss me with the digital Bolex

  • yessss I have been waiting for this.. I was expecting in 2016 due to shippping problem of 2.5k BMCC but BM u r amazing .. I will order both of them .. Can’t wait to see them in my hand

    • this is a thread about bmcc – there will be plenty of articles for RED. Ease off, homie – it’s unbecoming.

      • I was just giving Nab reports that werent being posted. I’m no red fanboy I don’t have one. I do however use a blackmagic which I am really looking forward to upgrading to a 4k Blackmagic whenever that comes out.

    • Fake global shutter? RED FTW!

  • Hope for Red Scarlet and dragon sensor? Epic owners can pre-order right now for $8,500
    http://www.engadget.com/2013/04/08/red-epic-dragon-sensor-updates-start-tomorrow-for-8-500/

    • Uh, take your RED spam out of this thread. Couldn’t be less relevant here.

      • I tend to disagree. I don’t really consider the BlackMagic announcements serious/relevant. I think the big piece of news today will be upgrade path from Scarlet to Epic Dragon pricing.

        • yes really more then 170 comments & you think it isn’t relevant :D..

          If i have invested money in scarlet/epic i would think same as you

        • Haha, nice try RED marketing team. It has to be a depressing day for you. Stealing your thunder, and all.

      • I think it is pretty relevant. We’re talking about the best raw sensor you can get with a few bucks that just got upgraded to 4k 35mm. I just posted this because Red announcing the sensor they have been talking about for years. Don’t attack me for bringing another camera maker in the mix. This is NAB and we are being thrown a ton of information. I’m as excited to be a film maker you should be too.

  • Does anyone know yet if the lossless CinemaDNG RAW on the Pocket Cinema Camera is done internally without the need for an external recorder?

  • Juanky Alvarez on 04.8.13 @ 11:45AM

    Lol, BM website went down just after publishing the info of this cameras.

  • gimme that pocket cam and a metabones speed booster with a Nikon mount.

  • Holy shit – in the demo BMPC model it looks like it has a Panny lens on it, which can only mean one thing – ACTIVE m43 mount. This thing is glorious.

  • And Resolve 10 have editing built in to it ??? i hope it will save money from fcpx i am going to invest

  • I can’t get on bmd’s site but is this just a 24,25,30 fps camera?

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