» Posts Tagged ‘cinemacamera’
When it comes to wireless HD monitoring solutions, companies like Teradek have some impressive offerings. That company’s Bolt, however, isn’t the only airwave-bound HD-SDI transmission system around. Switronix’s Recon is another such offering, with models including HDMI support and HDMI to HD-SDI conversion. Switronix has just announced a new addition to the Wi-SDI family in the shape of lighter-form factor Recon Micro, made more compatible with the smaller scale of cameras like the Blackmagic (pair pictured left). Switronix has also released details for a new modular battery power solution, geared towards anything from BMCC to Sony HD camcorders. If you’re looking into powerful, off-the-grid, untethered field shooting solutions, check the details below. More »
As we all know by now, Blackmagic has shocked again with their announcement of not one, but two new cameras at this year’s NAB. Get more intimate details in this video from our coverage partners over at FreshDV: More »
Official word has just dropped from last night’s exciting announcement leak of two new cameras from Blackmagic Design: The 4k Production Camera and the Pocket Cinema Camera. Any skepticism on its legitimacy is now put to rest — it’s real alright. Read on for the full details and more info about the cameras from John Brawley. More »
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. More »
When news of the Blackmagic Cinema Camera dropped, I got that warm, giddy feeling. Everything I need in a camera and nothing I don’t! A few months of research later, I decided: this will be the camera I will shoot my feature film with. The quality of images this camera produces is superb. I love the dynamic range, the sharpness, the texture, and the richness in the blacks. I feel closer to shooting on film than I ever have. However, when it comes to peace of mind on set, it can leave a lot to be desired. There’s plenty of praises to sing, but I want to talk about some of the issues I’ve had with it, hidden expenses, and quirks to be aware of that are pertinent to the independent filmmaker. Click through for a list I’ve compiled after shooting two indie features with it, along with some comments from Dan May, the president of Blackmagic Design. More »
The Micro 4/3 mount Blackmagic Cinema Camera was announced back in September 2012, and just recently we saw that beta cameras were starting to ship to people around the world. Many have asked which camera they should be ordering (since they both sell for $3K and you can switch your pre-order to EF), and while we’ve done our best to answer that question (and more), it’s always good to hear the perspective of someone who has used both models. Philip Bloom reviewed the camera back in September, but he finally got an MFT camera to try out, and he’s posted his review online. Check it out below. More »
The Blackmagic Cinema Camera is still steadily shipping out, but so far they’ve only been sending out the EF mount cameras. The issue of infinity focus with those cameras was confirmed to not be affecting the shipping speed, so there is hope we have seen the last of the delays and shortages. If, however, you’re one of those who switched your order to the Micro 4/3 BMCC (or ordered separately), it looks like shipment could be just around the corner. More »
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. More »
This is a guest post by Cinematographer Ryan E. Walters.
Welcome to Part 03 of Some Like It RAW, where I am comparing the Arri Alexa, Blackmagic Cinema Camera, and the RED EPIC. My goal for these tests is to explore how each of these cameras handle real world shooting environments. Part 01 explored how these cameras handle IR pollution. In Part 02, I tested underexposure. And here in Part 03, I’m exploring the world of overexposure and diffusion filtration. Continue on to watch the 10 minute video, read my summary, and get the downloadable RAW frames from each camera. More »
There have been a number of reports regarding the Blackmagic Cinema Camera and getting proper infinity focus with quite a few lenses. Earlier in the month we showed you a few videos documenting the issue, and Blackmagic so far has been very responsive, telling us at that point that they were looking into the issue. We now have a solution straight from the company, and it looks like it’s going to be a hardware fix if your camera has already been delivered. More »
This is a guest post by Cinematographer Ryan E. Walters.
Welcome to Part 02 of Some Like It RAW, where I am comparing the Arri Alexa, Blackmagic Cinema Camera, and the RED EPIC. My goal for these tests is to explore how each of these cameras handles real world shooting environments. Part 01 explored how these cameras handle IR pollution. In Part 02, I test the limits of low light levels, or underexposure. Continue on to watch the 11 minute video, read my summary, and get the downloadable RAW frames from each camera. More »
If you’ve been using a newer large sensor digital cinema camera, you may have noticed that your image takes on more reddish tones when using increased neutral density filtration. This is related to the way many of these ND filters block visible light, but let in more infrared light which can pollute the image. We’ve seen a few examples showing what IR pollution can do, and today, we have a video comparing RAW cameras, specifically the Blackmagic Cinema Camera, Arri Alexa, and RED EPIC, and how each of them handles black cloth when using IR cut filters of different strengths along with increased ND filtration.
Some conversations have been appearing recently talking about infinity focus issues with specific lenses and the Blackmagic Cinema Camera. One of the biggest offenders so far has been the Tokina 11-16mm f/2.8 lens, which is one of the few faster wide options for the EF mount BMCC. Unfortunately, it seems that many people have replicated these issues, and a recent video posted online shows just how bad the situation can be. More »
While we got a sort of non-update a few weeks ago about shipping improving but not quite in full volume yet, it’s clear that more and more people are getting their cameras every day, especially those who pre-ordered very early. We knew this firmware update was coming, but now version 1.2 for the Blackmagic Cinema Camera has arrived without much fanfare — though anyone that has used the camera knows some of these features are incredibly important. Click through for more on the update. More »
Ever asked yourself, “What in the f#$% is a LUT?!” Or what a LUT’s relationship is with color space? Or what a color space is? If “yes,” not to worry — these concepts can be fairly confusing. Fortunately, engineering can and will work for you as an artist, so long as your understanding of it covers the fundamentals. And even if you answered “no” to all the above, you should still check out some of outstanding basic-breakdowns of these concepts below — including how to convert CinemaDNG footage into the Academy Color Encoding Spec color space (ACES) in Davinci Resolve, plus how to use that very program to generate dailies (like a boss). More »
Just a few short months ago, it was announced that the Blackmagic Cinema Camera would be receiving a Micro 4/3 lens mount option alternative to its original Canon EF mount. Granted, for those of us still waiting on the BMCC to ship, a few short months is no stretch of time to merely shrug off — particularly when the mount announced was to be a “passive” or “dumb” one, meaning electronic control would not be supported for smart MFT lenses. There’s been speculation that this would change — and given Blackmagic’s recent addition to the consortium of companies aligned with the official Micro 4/3 standard, this speculation seems less outlandish than ever. More »
Blackmagic’s DaVinci Resolve 9 has seen a number of updates since its release over the summer, and even though many have been waiting for the full version that comes with their Blackmagic Cinema Camera, the free version, DaVinci Resolve Lite, is almost exactly the same , with just a few limitations in terms of nodes and resolutions. We’ve featured a few tutorials on the software so far, so if you’re unfamiliar with it, be sure to check them out. Click through for all of the additions in the new Resolve version 9.1. More »
Color is just about the most subjective aspect of any visual creation. Everyone sees color a little differently, so it’s no surprise that we talk endlessly about color science and about which cameras we prefer. Certain looks are too much for some people, and others are not enough. Blackmagic spent a great deal of time developing their color science with Australian Director of Photography John Brawley, and I think working with an actual shooter in developing their camera has made a significant difference in the visuals of the final product. Adam Roberts got a hold of the BMCC and performed a thorough test to compare the camera’s skin tones to that of the FS100 and the Mark II. Click through to check it out. More »
We are still waiting on the official word about whether we’ll start seeing volume shipping in the next few weeks on the EF version of the Blackmagic Cinema Camera, but John Brawley has been busy putting the Micro 4/3 version through its paces. That version, which has a passive (non-electronic) mount, may actually be more suited for the camera considering the sensor is about the same size as MFT. There may not be a tremendous amount of lens support at the moment, but Brawley has tested a few that MFT BMCC users might think about purchasing, the Voigtlander Nokton 17.5mm f/0.95 and the SLR Magic 12mm T/1.6. On a pre-shoot for a feature film he is working on, he busted out the BMCC and grabbed these shots: More »
At this point, solid state image sensors have matched or exceeded film in a lot of ways, including light sensitivity, responsiveness to shadow detail, and overall dynamic range — but that doesn’t mean our chips aren’t susceptible to certain problems previously avoided by the nature of emulsion. Indeed, ‘sensitivity’ nowadays means something different altogether — and with the virtual necessity of neutral density filters as a result, this often means vulnerability to infrared pollution. Unless you like shooting at f/22 or you’re already using the Aaton Penelope Delta, you may also require an IR filter with your ND. AbelCine has recently shared a great rundown of which cameras suffer the most from IR pollution — and what filters work best to correct each. More »