Blackmagic Design's Cinema Camera Now Available for Pre-order - What Will the Barebones Cost You?

It seems like it was just yesterday that Blackmagic Design's Cinema Camera was announced -- and now it is available for pre-order!  As expected, the camera body will run you $2,995, and the projected availability is July 30.  So how much will you have to spend to get this thing bare-bones hand-held shoot-ready?  And what effect will the Super16-ish sized sensor have on your existing lenses?  Let's see:

Lenses  and Crop Factor / Focal Length Magnifier

The nice thing about this camera, as previously detailed, is that it will accept EF/ZE mount lenses -- so if you have that Canon-EF and Zeiss-ZE glass, or EF mount adapters, you'll be able to save yourself some money.  Otherwise, you can approach it just like shopping for DSLR lenses.

Using a Super16-ish (or Micro 4/3rd-ish) active sensor area of 15.6mm x 8.8mm, you'll have to re-calibrate your perceptions with regards to different focal lengths (i.e the 35mm lens you've used on your 7D will have a smaller viewing angle on the Blackmagic).  By my calculations, the "crop factor" or "focal length magnifier" for the Blackmagic Digital Cinema camera's active sensor area will be 2.4 relative to a full frame sensor camera like the 5D (or 1.5 relative to the APS-C sensor on a 7D/t2i).

So, lets say you want the viewing angle you get from a 50-55mm lens on a full frame camera like the Canon 5DmkIII.  On the Canon 7D/t2i, you would need a 30-35mm lens.  On the BlackMagic, you would need a 20-25mm lens.  Something to consider if you are using existing lenses or thinking of buying new ones.  With a 2.4 crop factor/FLM, folks are going to need to some very wide lenses to achieve wider angles, at which point some of those wide Tokina lenses start looking pretty attractive.  Just how wide can you get before distortion becomes an issue?  I'm sure it will depend on the quality of the glass, and the area of the image.  It'll be interesting to see just what folks find out once they start shooting.

Storage

Unless you're outputting to an external recorder, you'll need to buy a compatible SSD (solid state drive) for on-board recording.  B&H has a few suggestions (when you click on "Accessories" and "Media"), just remember it will need to be in a Mac OS Extended format (you can do the formatting on a Mac or through software like Mediafour MacDrive on a PC).  Looking at the prices, it looks like you'll have to put down between $280 and $965 for something between 256GB and 480GB.  You can go for smaller drives, but considering that shooting in RAW at 24fps will get you 30 minutes on a 256 GB drive, I don't see why you would.

Hand holding...

Wondering about that nifty handle thing-a-majig?  You can get it for $181 dollars.  I could see that being helpful, although I'd probably go for something shoulder mounted if I was really needing to do something handheld.

Barebones Price

So, assuming you buy one prime lens, a basic 256 GB drive, and (what the heck) the handles.  You'll have something you can shoot with for between $4500 and $5000.  Not bad!  But what's even nicer, is that for folks who already have DSLR rigs and lenses, they should be able to knock that down to the price of the body and SSD (so around $3300-$4000 depending on how much storage you get).  Who would have thought we'd have a ready to shoot 2.5K raw shooting camera in that range?

Are you planning on buying it?  What do you consider a barebones rig?  What would it cost you?  Are you debating between this camera and a 5dMkIII or D800?

[*Update*:  I decided to simplify and clarify the section on lenses/crop factors -- some folks were getting lost in the jumps from the 7D to 5D, back down to BMD CC.  Understandably so!  (It makes more sense to go from largest to smallest.)  Also -- updated the sensor comparison image.  As Marco points out in the comments, one could easily call it "4/3"-ish!  But I like Super16-ish :) ]

Your Comment

178 Comments

I'm sticking with my Digital Bolex

April 20, 2012 at 5:40PM, Edited September 4, 7:54AM

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Javed

joke?

April 20, 2012 at 10:46PM, Edited September 4, 7:54AM

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Jordan Carr

Yes: the Digital Bolex IS a joke.

April 21, 2012 at 3:41PM, Edited September 4, 7:54AM

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FabDex

Still have not seen any original files for download straight from the camera (and I'm not talking about youtube or vimeo web recompressed footage). Why the fuck would you buy a camera you've never seen the footage from. No one is talking about the IQ from the sensor. If it's shit, none of the file formats will make a difference. Would be nice if they gave DxO optics a pre-production unit to test.

April 20, 2012 at 5:42PM, Edited September 4, 7:54AM

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Look how many people put down great money on the Bolex - a camera not even in production yet!

April 23, 2012 at 10:43AM, Edited September 4, 7:54AM

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You probably will also have to upgrade your hard drives to have enough space to store and edit all that raw data.

April 20, 2012 at 5:45PM, Edited September 4, 7:54AM

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john jeffreys

Only if you shoot RAW. ProRes (Apple) or DNxHD (AVID) are great formats to shoot if you want compressed footage.

April 20, 2012 at 10:47PM, Edited September 4, 7:54AM

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Jordan Carr

for me at least, even a prores 422 workflow will require massive hard drive changes :/ I have 20GB left on my main internal and 200GB left on my external

April 21, 2012 at 10:11AM, Edited September 4, 7:54AM

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john jeffreys

I think this will take EF-S lenses, so the Canon 10-22 (which has remarkably low distortion and quite good optics overall) will be akin to the 24-70 range on FF. 17-50 EF-S zooms will be like 50-150 tele zooms. 24mm primes will be your "normal" eye-view lens. And all of these are faster lenses for the price than you could get for FF formats, although the sensor will harvest far less light and have not as narrow a DoF.

I am tempted to pre-order one of these, but am not in a particular rush since there will apparently be several fine cameras released this year. The SSD-based storage and direct-to-ProRes is awesome. The whole system is very well thought out though I want to know more about powering the unit (Battery grips? The 2 hour internal battery is not removable?). I think Blackmagic have established a watermark here in price/features and when they come out with a larger sensor version and everything starts working well I think the industry will have to follow with massive price reductions and elimination of proprietary nonsense like the RED SSDs.

April 20, 2012 at 5:49PM, Edited September 4, 7:54AM

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Peter

It would make sense for the camera to take EF-S lenses with the smaller sensor, but everything points to it being an EF mount...

April 20, 2012 at 11:23PM, Edited September 4, 7:54AM

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MRH

EF and EFS are the same mount different field of view in lens so that the EFS doesn't cover FF completely. Same mount different glass.

April 27, 2012 at 9:17AM, Edited September 4, 7:54AM

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Dietrich

Not yet entirely convinced that "everything" is well thought out until it gets some usage in the field. Also, what's the go with the lens mount? Doesn't look like you can bolt a different one on (like a PL mount or MFT mount). No reason they couldn't have finished a generic mount place closer to the sensor so that we can choose our own. I hope I'm wrong.

April 21, 2012 at 2:52AM, Edited September 4, 7:54AM

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I've seen rumors regarding a 4/3 lens adapter. I'll be sitting on the sidelines with my GH2 until that happens.

April 20, 2012 at 5:53PM, Edited September 4, 7:54AM

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Eddy

you can't adapt EF to M43... You need to hope they have different lens mount options or swappable mounts.

April 20, 2012 at 9:08PM, Edited September 4, 7:54AM

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Markertek has it for cheaper...

April 20, 2012 at 5:55PM, Edited September 4, 7:54AM

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I can't afford it, but if I could there is still one thing I have mixed feelings about - how it looks. It just looks like a toy, and if you were to show up to a shoot with that it honestly doesn't look all that impressive.

You can't attach any monitors to it (touch screen) and overall to the ignorant client it looks like something you could pick up for $200 off of Ebay.

April 20, 2012 at 5:56PM, Edited September 4, 7:54AM

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Tyler

Bury it inside a huge mattebox (those are cheap nowadays) and it will instantly look dressed for success. The SDI out will drive a monitor, you have to control the camera on its own body isn't unusual and touchscreen interfaces are nice and quiet.

April 20, 2012 at 6:03PM, Edited September 4, 7:54AM

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Peter

I may be wrong, but from what I heard it couldn't have an external monitor.

Or I just mis-understood, it was a quick video from NAB so yeah.

Also, that crop factor annoys me. I hate crop factors. Argh. Oh well.

April 20, 2012 at 7:14PM, Edited September 4, 7:54AM

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Tyler

Yes, you can use the SDI out for an external monitor

April 20, 2012 at 7:28PM, Edited September 4, 7:54AM

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Ryan

HD-SDI out and Thunderbolt will both be capable of monitoring. (Though thunderbolt exact functionality remains to be seen)

April 20, 2012 at 9:09PM, Edited September 4, 7:54AM

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Thunderbolt will power BlackMagic Ultrascope and Media express software.

April 20, 2012 at 10:48PM, Edited September 4, 7:54AM

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Jordan Carr

*Sigh* So what!? Are you shooting to impress colleagues/clients on set or to produce great images? I do have a matte box, but the only time I've used it was when I rented it out to someone in dire need of impressing a client, just like you. He didn't need the filters (indoors), just to make the package look more impressive... IMHO, it's just plain silly...

April 21, 2012 at 3:11AM, Edited September 4, 7:54AM

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Oh, I forgot...while everyone has been picking apart/judging/questioning/critiquing all the other features of the camera DR, flexibility in post, codecs, resolution, inputs/outputs, color space...you're the first person I've seen worry about the important factor of how cool it may or may not make you look.

I think you've taken the old Canon/Agassi slogan, "image is everything" and totally misinterpreted it.

April 29, 2012 at 9:43PM, Edited September 4, 7:54AM

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Daniel Mimura

Oops! Grr...I don't get where these comments get posted, sometimes. That was not for Richard, like it looks. It's for Tyler.

April 29, 2012 at 9:45PM, Edited September 4, 7:54AM

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Daniel Mimura

& remember you can shoot to ProRes or DNxHD on this puppy. I would only shoot Raw when I'm looking for something major in post.

April 20, 2012 at 6:02PM, Edited September 4, 7:54AM

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Tyler, attach a monitor via the HDMI out. Put a matte box on it, and rails. You'll need a follow focus anyway. Presto, big time look.

Or just put it in a cage.

As a RED owner, I prefer the aesthetic BMD is going for with this cam.

April 20, 2012 at 6:03PM, Edited September 4, 7:54AM

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There is NO HDMI out. But you can use the SDI for a monitor. They also make EVFs with a SDI loop-through so that you can have both..

April 20, 2012 at 9:39PM, Edited September 4, 7:54AM

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c.d.embrey

Sorry, SDI out.

April 20, 2012 at 6:09PM, Edited September 4, 7:54AM

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I'm really intrigued by this camera, but I'm cautious because it still seems too good to be true, as if there has to be something they aren't talking about that is bad. I really hope this is as good as it looks. I'm going to wait until the reviews and test shorts start rolling in this summer, and if it proves itself as a good camera, I'll almost definitely be getting one.

April 20, 2012 at 6:28PM, Edited September 4, 7:54AM

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Anton

My point exactly. If BMD wants to make sure people don't hesitate pre-ordering, they should release some raw footage for us to play with and give some blogs the opportunity to play with the camera. If it is THAT good, they have nothing to hide...

April 21, 2012 at 3:16AM, Edited September 4, 7:54AM

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I'm digging the raw capabilities, DSLR have no range and suffer for it.

Only think I don't care for is the touch screen, looks like a giant Iphone.

April 20, 2012 at 6:29PM, Edited September 4, 7:54AM

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But the ability to add metadata during the shoot is plain revolutionary and a huge timesaver in post!

April 21, 2012 at 3:18AM, Edited September 4, 7:54AM

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I had this very question about the crop factor and lenses and then bam, an article answers my question. Damn, this sites good.

April 20, 2012 at 6:49PM, Edited September 4, 7:54AM

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Jason

The article says that the "Cinema Camera features a Super16-ish sized sensor" which in reality, the sensor fits right in the middle of Super 16mm and Micro 4/3rd. So larger than Super 16mm, but smaller than 4/3rd. For a larger comparison of all sensor formats, from 1/3" to Full Frame 35mm, I created one for my article on Creative Cow: http://magazine.creativecow.net/article/is-the-new-blackmagic-cinema-cam...

April 20, 2012 at 7:07PM, Edited September 4, 7:54AM

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Marco, you are absolutely correct! Which is why I threw in the all important "-ish" ;) I think folks use Super16 as a shorthand to describe the sensor because they are comparing it to other larger sensor formats like APS-C, or Super 35mm, giving folks a rough sense of how large the sensor is. I threw that image in just for relative scale, but you are right, the sensor should be somewhere in between the Super16 rectangle and the Micro 4/3"(since Super16 is 12.5mm x 7.4mm, compared to the BmD CC's 15.6mm x 8.8mm). Great article, btw!

April 20, 2012 at 8:46PM, Edited September 4, 7:54AM

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Ah yes, the "-ish"! On that token, I'll say 4/3rds-ish, LOL! ;-) No worries.

Just another note if you don't mind me saying: As you referred to, if you wanted to shoot around, say, a 50mm lens equivalent in 35mm world, I'd use a 20mm or 24mm lens (preferably my 24mm f/1.4L). But I'd be shooting in the center sweet spot of the lens, without the wide distortion you mentioned (especially using EF as opposed to EFS lenses). Also no edge softness or vignetting. Realistically, I think the 24mm f/1.4L will probably look rather nice on it as my 50mm f/1.2L replacement. And my 35mm f/1.4L will then be my 85mm f/1.2L replacement! Of course, I wont know until I get my Cinema Camera to start testing on. But from what I've been seeing, I think my Canon L set is going to be very juicy on this camera. Can't wait!

And thanks for the kudos on my article. Much appreciated!

April 20, 2012 at 9:46PM, Edited September 4, 7:54AM

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In considering this purchase, it's the Resolve/Ultrascope addition that pushed me over to the "buy" side of the fence.

April 20, 2012 at 8:16PM, Edited September 4, 7:54AM

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Eric Emerick

http://vimeopro.com/johnbrawleytests/blackmagic-cinema-camera/video/4058...

Thats pretty darn good skin tone - even Vimeo compressed and at 720p

DSLRs don't look like that.

I preordered - it can only look better at RAW 1080 and with future upgrades.

April 20, 2012 at 8:21PM, Edited September 4, 7:54AM

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Jordan Carr

Wrong. The blackmagic's sensor is somewhere in between super 16 and m43.

April 20, 2012 at 8:22PM, Edited September 4, 7:54AM

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Chet

And for everyone complaining about hard drive space, or any trouble they may encounter with the raw workflow...DON'T BUY ONE. For some of us it doesn't even cross our mind and we're ready for it. It's nothing.

April 20, 2012 at 8:25PM, Edited September 4, 7:54AM

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Chet

Or just use DNX compression.

April 20, 2012 at 9:08PM, Edited September 4, 7:54AM

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Jordan Carr

Yeah. Just buy a raw capable camera and opt to use compression.

April 21, 2012 at 12:10AM, Edited September 4, 7:54AM

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Chet

DNX or ProRes is nothing like avchd or the canon crap people are used to - those files hold up well.

April 21, 2012 at 12:18PM, Edited September 4, 7:54AM

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Jordan Carr

Yeah that crop factor makes me a little apprehensive. I've dealt with the GH2's, and that's as small as I can go really with my existing lenses. If you need a wide shot but can't pull back far enough, its already much needed for m43, so good luck with that.
The other thing that bothers me is the ergo, and the fact that I can't swap batteries and it internal lasts about 2 hrs only? Don't forget to add to that number a battery belt that can power the thing handheld/shoulder mounted.

April 20, 2012 at 9:00PM, Edited September 4, 7:54AM

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Joseph

Sigma makes 8-16mm zoom and there are tons of 10mm and 11mm and 12mm options - no "very" wide but enough for establishing shots.

April 20, 2012 at 9:10PM, Edited September 4, 7:54AM

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Jordan Carr

You forgot battery.
how about this
http://www.bhphotovideo.com/c/product/503090-REG/Tekkeon_MP3450_MP3450_m...
it's 8.3 x 2.3 x 17.3 cm and the camera is 16.6cm by 11.cm x 12.6cm
and this to hold it
http://www.bhphotovideo.com/c/product/598008-REG/BEC_BEC_TEK_BEC_TEK_Mou...

April 20, 2012 at 9:02PM, Edited September 4, 7:54AM

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Andres

I think you need to look a bit left field, this takes ANY battery in a large range of voltages.
12v lithium 6.8ah off ebay are only $25 AUD so prob cheaper if you are in the states. Have an old cordless drill? connect it up! doing a shot out the back of your car? straight into the cig lighter. In an emergency you could run it of 10 AA batteries for crying out loud. I am super impressed!

I think the best thing about this is the openness of the design, Standard voltages, Standard lens, Standard SSD even standard workflow and file formats.

If I had $3k I would get this over a 5Dmk 3 and stay with my 5dmk2 for stills.

April 20, 2012 at 9:56PM, Edited September 4, 7:54AM

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Unfortunately, it's closer to a M43 sensor, not S16.

I say unfortunately because if you could adapt S16 lenses (which can be gorgeous AND cheap), you would have severe vignetting. If it were closer to S16 you could get away with it and have some very nice glass for cheap.

April 20, 2012 at 9:18PM, Edited September 4, 7:54AM

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ISO - Why aren't we talking about this?

Good stuff:
I'm super excited about this camera. I feel like I have already been benefited by it before anyone's even bought one. Why? simply because of the big ass hole this created in the fence of the existing marketing paradigms of companies who seek to sell video cameras to people like me. Black Magic Design fired a shot... and they hit something big. The innovation and competition of the market is going to a new level, like it did with the 5D. This camera has game-changer potential.

Bad Stuff:
Now that we see the potential here, why on earth would this game-changer have ONLY THREE steps of ISO???

Is there something to understand here that I don't get? Is there another type of gain control or something?

It seems rather odd and debilitating to me. And I'm not even talking about wanting to go HIGHER than 1600 ISO. I use the range of ISO selections on my 60D heavily to manage the noise/depth of field of my images. I've been told that the BMD camera has been finalized and that the ISO settings might change. In my mind, the ISO range currently available on the camera seems terribly out of step with the rest of camera.

Someone clear this up for me and explain how this isn't as much of an issue, please.

April 20, 2012 at 9:25PM, Edited September 4, 7:54AM

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You obviously have never shot Red / Alexa / Phantom etc that you shoot almost exclusively at a native ISO.

Same goes for this cam and because it shoots RAW you push/pull ISO in post production. And since they claim (seems true) around 13 stops of DR - you will have plenty of latitude to work with.

Remember that it is really only the cheezy DSLR folks that shoot one scene at ISO 200, another at ISO 1600 then back again to ISO800. Then when someone watches the footage they see different amounts of grain, sharpness, contrast, color, dynamic range....nothing matches and everything is a mess.

The idea behind a lot of Cinema Cameras is that you LIGHT and LENS your shots. Not tweak with ISO and wonder why NOTHING matches when you get your footage on your timeline.

(journalism and available light nature shoots are different - just rent a C300 for those)

Make sense?

Even when shooting film RARELY would a director use more than a few different film stocks - consistency is very important. You never want to take your audience out of the film and make them think..."yuck someone changed a camera setting."

April 20, 2012 at 10:33PM, Edited September 4, 7:54AM

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Jordan Carr

One interesting fact about the Cheezy 5D3 is there is only one stop of delievered DR difference between ISO 100 and ISO1600, instead of the 4 one would expect. This is due to readout noise making ISO100 worse than it should be, rather than ISO1600 being so special. But the 5D3 does offer terrific low-light and shallow DoF vs. most anything else, should you be willing to suffer the soft resolution.

The 5D3 and this BMD camera would make a nice combination in some ways, but this camera and a FF variant of it (one has to imagine they are just looking for a proper sensor at this point) would be a better duo, DSLRs be damned.

April 20, 2012 at 10:55PM, Edited September 4, 7:54AM

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Peter

True about the 1 stop of DR - but NOT true about sharpness or color. So it still doesn't look good.

As for a compliment - yup you are on to something ! But getting the 2 to match in post? Tricky. You might have better skills than I. I doubt I could do it.

I once owned both the Ikonoskop a-cam D2 (similar to this BMCC) and a Canon 5DMK2. Hated the Canon look and could never get it to rival the film look of the CCD from the Ikonoskop.

:)

April 20, 2012 at 11:04PM, Edited September 4, 7:54AM

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Jordan Carr

Excellent point! Thank you.

April 21, 2012 at 3:36AM, Edited September 4, 7:54AM

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Just a difference in workflow between raw and demosaiced formats. For most cameras ISO is just selecting which portion of its sensors dynamic range to keep and what to discard. In other cases it's apply a combination of digital gain and noise reduction. Raw allows for all that to be done post-shoot. That is why it makes sense to find a cameras native ISO, so that you can use the maximum dynamic range of the sensor thereby giving you the most data In the raw stream.

The infusion of any ISO setting on a raw cam is for only for preview purposes on the monitor, if going out to prores etc, or for later reference in the metadata.

You are probably more concerned about low light capabilities than ISO since that is how it translates in nonRaw cams. Check out the sample videos linked to above on Vimeo. That are some great examples of low light shooting.

April 27, 2012 at 10:16AM, Edited September 4, 7:54AM

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Dietrich

SSD drives, just like Sony SxS cards, Panasonic P2 cards and RED's overpriced CF cards,are just a cost of doing business. If you can't afford to play in that market, buy an FS-100 (SD cards) or a C300 (normal CF cards).

April 20, 2012 at 10:02PM, Edited September 4, 7:54AM

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c.d.embrey

You're suggesting people to buy a $16k C300 if they can't afford the SSD market? LOL.

April 21, 2012 at 12:16AM, Edited September 4, 7:54AM

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Chet

hahahahahahahahaha

April 21, 2012 at 1:02AM, Edited September 4, 7:54AM

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kevin

Your math makes no sense.

(You forgot to mention the Sony F65...)

April 21, 2012 at 3:52PM, Edited September 4, 7:54AM

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FabDex

You seem to lack a sense of humor or a sense of the absurd (ridiculously incongruous).

April 21, 2012 at 5:43PM, Edited September 4, 7:54AM

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c.d.embrey

Pre-ordering the hell out of this little sweetie.

April 20, 2012 at 10:31PM, Edited September 4, 7:54AM

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Natt

Sure you could use a Canon 10-22mm f/3.5-4.5 for some things, but where do you find 7mm to 25mm T/1.8 primes in EF/EF-S mount ???

April 20, 2012 at 10:36PM, Edited September 4, 7:54AM

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c.d.embrey

Sigma has 8mm-16mm
Sigma has 10-20mm
Tokina has 11-16mm F2.8
Canon has 10-22mm
Tokina has 12-24mm
and lots of fish eye options if you don't mind distortion

The small sensor will limit "extreme" wide shots - ie those under 24mm but users of this camera will just have to buy lighting equipment to compensate for the slower f-stops.

Remember though that in cinema, wide shots are "establishing" shots and are 99% tripod and bright light anyway.

The "advantage" of this camera is that users will be able to shoot "normal" 50mmish FOV shots of actors with enough DOF to not have to rack focus much - big bonus.

Cheers!

April 20, 2012 at 10:55PM, Edited September 4, 7:54AM

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Jordan Carr

And you can always rent one of these guys from borrowlenses or lensrentals.com

http://www.bhphotovideo.com/c/product/721926-REG/Zeiss_1839_792_LWZ_2_Li...

YUM!

April 20, 2012 at 11:10PM, Edited September 4, 7:54AM

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Jordan Carr

Does Raw automatically suggest 444 color space? Is this true raw? meaning you can change everything in post like iso, wb, etc (like on red) or is it just a 12 bit file you can adjust the thresholds on? Also a plus, many lenses will become macro lenses :D

i use premier pro on a PC, how well (if at all) do the compressed formats edit on that platform?

April 21, 2012 at 1:07AM, Edited September 4, 7:54AM

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mike

RAW is RAW. It's what the sensor gets (more or less, since WB since to be embedded). The 444 terminology does not apply exactly here.

You'll get all the data the 2,5K single chip gets. If you NEED to translate it to x:x:x terms, with proper debayering it would yield a true 1,75K 4:4:4 resolution.

April 21, 2012 at 1:23AM, Edited September 4, 7:54AM

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Álex Montoya

I read somewhere that the WB is baked/set into raw, meaning it's not flexible in post, a little strange I thought, can anyone shed light on this
thanks

April 21, 2012 at 6:52AM, Edited September 4, 7:54AM

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kuban

Damn, so guys on here are spoiled. Either stick with a dslr, but the BMD camera, or buy an expensive camera. Be happy that you have that middle option now. Some of these comments are like saying I would date Beyonce, but only if she had Angelina's lips, and J Lo's butt, then I might date her.

April 21, 2012 at 7:49AM, Edited September 4, 7:54AM

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Ryan

Posted in the wrong place

April 21, 2012 at 7:49AM, Edited September 4, 7:54AM

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Ryan

I like Beyonce and J lo.. Don't know about Angelina J

April 21, 2012 at 10:29AM, Edited September 4, 7:54AM

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canon

Spot on Ryan

April 22, 2012 at 9:13AM, Edited September 4, 7:54AM

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Lliam Worthington

No it is the opposite.
White balance is not baked into True Raw like Black magic.

Compressed versions of Raw like RED and others are different from True Raw.

April 26, 2012 at 1:09PM, Edited September 4, 7:54AM

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sammy

I'm getting a different sum on the debayer. You should definitely be able to get over 2k after debayer with this camera...unless I am completely wrong.

April 21, 2012 at 10:36AM, Edited September 4, 7:54AM

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Jared Caldwell

Depends on the demosaicing algorithm. I calculate based on 70%, at 75% the raw 2.5k debayers to a resolution of exactly 1920 pixels while 80% would get you exactly 2k.

2k isn't realistic (if even theoretically possible?) and as far as I'm prepared to argue, debayered resolution from this camera is likely to be just below HD.

April 21, 2012 at 12:58PM, Edited September 4, 7:54AM

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nobody

The math is wrong. You have to multiply 2.5k by the vertical resolution (1300+ something I think). THEN you take about 75% of THAT number. Then compare that to 1929x1080, and you will see the resolution is much higher than 1080p/2k.

April 23, 2012 at 4:50PM, Edited September 4, 7:54AM

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Jared Caldwell

I'm sure it'll look great whatever but if I've been calculating it wrong can you show your math? RED are on record as saying that their 4k demosaics to 3.2k (chroma), they claim around 78% effective resolution.

http://www.google.com/search?q=(4+%2F+100+*+78)

For the BMD.

http://www.google.com/search?q=(2560+%2F+100)+*+78

April 24, 2012 at 4:51PM, Edited September 4, 7:54AM

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nobody

Hi Alexi
I just listened to fcxguide's nab podcast, I think this is what they said referring to Black Magic Cam, it records RAW Log, or Log RAW which isn't raw as we know it, that might explain why WB is baked into the image.
check it out, I may have got this wrong

April 21, 2012 at 12:10PM, Edited September 4, 7:54AM

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kuban

Hi Alexi
I just listened to fxguide’s nab podcast, I think this is what they said referring to Black Magic Cam, it records RAW Log, or Log RAW which isn’t raw as we know it, that might explain why WB is baked into the image.
check it out, I may have got this wrong

April 21, 2012 at 12:16PM, Edited September 4, 7:54AM

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kuban

The sensor data is passed through log circuit. ProRes and DNxHD are pulled from an appropriate segment of the curve while RAW uses the full curve. Despite all the questions -- it's RAW.

As I remember, Color Balance isn't defined. Of course, a LUT may generates the monitor image and so there may be a WB switch that becomes metadata.

Works just like other CinemaDNG cameras. Just import into AE (export as ProRes 12-bit RGB 4444) or import into Premiere.

"The shallow DoF is still in there with the right lens combo, friends." At the correct aperture. Yes, all this "I can't make a movie without a BIG chip camera" is just plain silly.

April 27, 2012 at 12:11AM, Edited September 4, 7:54AM

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Steve

Also, given that this camera is touch screen driven and heavy on meta data entry, it would be nice if they also produced an app for mobile and tablet devices to enter this in without having to go through menus on the camera. it would be even nicer if there was built in wifi and you could do wireless video to an ipad like the cube....but thats just being greedy :P

April 21, 2012 at 1:10AM, Edited September 4, 7:54AM