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2K BlackMagic Pocket Cinema Camera, active m43, $995
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  • @Oedipax, Just got mine today and spent a good 45 minute trying to get that little bastard through the loop. Finally got it using a staple to pull it through the other side. Nice and safe around my wrist now.

  • Any thought on how to use a proper shoulder strap with the BMPCC? This has always been a great way for me to get stable shots in a pinch, and I'd really like to figure out a way to get one to work with it for on the fly stability. The Zacuto Marauder is over $700 and not very conspicuous.

  • @kholi Nup, don't see the usual brown in that shot that I would normally see. If anything, maybe ever so slightly in the lower green foliage but that could just be an optical illusion with exposure and camo pattern. It's a good test shot with the greens actually looking green. I think thats the easiest way to spot it. This is a good example of a better corrected pocket footage. Thanks for posting it up.

    @Oedipax I gave up threading that darn strap after a minute of trying. No patience for something so simple ha.

  • @SuperSet, I'm using it as a starting point but really, anytime there are speculars it's kind of useless. That's why a more finessed setting would be cool, to allow some headroom for highlights to blow out if wanted. It's fine though, it's easy enough to set the aperture manually. And most of my lenses are manual anyway.

    The stuff I shot today was mostly ISO 200, I forgot about the base being 800 until later on. I've got NDs so it's no big deal either way. FWIW, I was plenty happy with the 200 stuff I've looked at so far, but I guess it's clipping the dynamic range artificially?

    One more thing, I really wish there was an option to assign the Slate functionality to another button (or just - sorry, Blackmagic - disable it completely). It kinda breaks my flow up to tap twice for focus enhance rather than just once (and if you forget you have to back out of the slate menu).

  • @digger if you want a sholder strap your probably going to have to buy a wooden cage and add a threaded strap loop to the other side to clip your strap on. or a blackrapid strap

  • @MRfanny

    Okay, I was going to say something about the shadows, as it's a warmer shot that's actually me moving away from blue or pure black shadows. Although I need to learn how to do that while finding gradation to pure black.

    On ISO: Because you're shooting ProRes, each ISO remaps DR, so the lower you go the more it's clamped. I've always shot 800, did test with 400 and it seemed okay, but I stick to 800 for the most part.

  • Okay, playing around with it some today and found setting the exposure is going to be challenging in dusk and low light. For Daytime, I had been using the Zebras at 90% and that seems to be working okay but without highlights, I've been using the LCD to judge exposure and that's hard to say the least.

  • Wow! I'm looking through the stuff I shot on my walk this evening. True to its name, I literally took the BMPCC paired with the 20mm pancake in my pocket, which fit, although not comfortably.

    I don't know how else to say it, but those of you who've been around for a while will know what I mean - I haven't felt this excited about the way my footage is coming out since I first got my DVX100A back in the day. I suppose that means this camera has the same level of mojo as the old Panasonics. Something about the color, the pleasing quality of the noise, the way things pop and have contrast but aren't overly sharp or synthetic feeling; it's organic.

    To me it's a more humble image than what I've gotten used to from the DSLR world, which I've been a big proponent of for sure, but always found the results just vaguely unsatisfying. Always a little too much sharpening, or compression, or banding, or whatever - something to remind you that while you were getting a great image out of the camera, that it wasn't quite up to the demands you were placing on it.

    Anyway, this is probably just rambling to everyone else, but maybe someone can relate to what I'm getting at. Basically I'm just super happy with the image from this camera, it's compelling to me in a way that makes me want to tell stories with it, create images, and that can only be a good thing!

  • @SuperSet

    Here's something I've noticed... when you set the camera's display mode to Video and you shoot film...

    Even running with the Zebras off, the actual display sort of mirrors what's heading into clipped territory and what's not. As in, if it looks yellowish and is on its way to being blown out, it's pretty close to what's in the LOG ProRes after you de_LOG it.

    It's not the same way with the 2.5K, and I can't figure out why (or I just haven't touched the 2.5K in so long, only letting people borrow them for now.)

    But, it's pretty close to WYSIWYG even when shooting LOG, just with a bit of extended range on either end.

  • @kholi

    Maybe they've updated the Video display mode LUT?

  • @kholi

    I've noticed the same thing.


    I believe this is true. I think in many ways the BMPCC has a further evolved firmware than the BMCC. I hope the next firmware update will be mostly BMCC updates.

  • @Oedipax Great to hear that. That's the feeling I've been getting about this cam. I'll def be getting this cam for my next project. Now its really about lens choices and post-pro workflow and grading to see what type of image types are possible. Same feeling here - the camera's possibilities get you pumped up to create great content. Very cool!

  • @Oedipax You got me all excited because I know that's how I'll feel when I get mine. I had a DVX too and I agree with you 100% about the "not fully satisfied" feeling with DSLR's. Looking forward to see what you captured.

  • In regards to the brown cast, I posted a still from the first thing I shot with this camera on the Voight 17.5 on page 112. Used the BlueJacket Lut after a couple initial adjustments and a couple more after and I thought that looked damn good in terms of color, skintone and organic feel. Much better than anything I was able to pull from my GH2 from available light. I'll admit, I was using golden hour light so that is a bit of a cheat :) I'm not sure hot to post a link like others do that take you right to the prior post. You'd think after a year and a half I'd have that figured out!

  • Re: line input

    Unity gain = 65% setting, with every tick up or down equal to about 0.75dB. So if you only have one source mic (i.e. boom) I'd recommend setting channel 1 to 65% and channel 2 to 5% as a ~8dB safety track. Set your (external) preamp gain so that your getting an average reading of 0 (-20dB) on the VU and all should be good.

  • NEW Power Supply from Switronix

    $155 (same cost as 9-10) batteries, and it's kind of ugly - not sure if this is worth it.

  • @Oedipax I had the same experience today shooting footage at lunch. The 25mm Pana-Leica is like magic on this camera. Nice colorful lens flaring and very filmic looking. It got me thinking about writing up a script to do a personal project for a change.

  • @Tron @Oedipax, yeah, I had the same experience. Here's something (warts and all) I did in a few minutes at Ai Weiwei's forever bicycles at nuit blanche a few days ago. Vimeo compression don't do justice to the detail in the shots, but I think the tonality and feel and range of the imagine is just wonderful. More professional tests to come....

  • @JDN

    Post your test footage, man. SOmeone might learn from it, you'll learn from it. We're all still learning. Camera's new.

    I'm completely fine with being in the trees and flowers club. =3

  • @kholi I'm off for Canadian Thanksgiving but will try to get some raw files from the camera up after. Also this: "I'm completely fine with being in the trees and flowers club" = very funny!

    If nothing else, I'm pretty sure I'll be the first person to film deep frying a turkey on the bmpc.

  • At ISO 800, video mode clips to white 3 stops below where film mode clips. At ISO 1600, video mode clips to white 4 stops below where film mode clips.

    There's almost no reason to use ISO 400 or ISO 200 with ProRes, because they just shift the output down and compress the shadows more while giving you no more highlight range.

    In ISO 800 film mode, it clips to white at Y=940 in the output, which is the normal top end of the Y-channel range for 10-bit by most every standard, including rec.709.

    In ISO 1600 film mode, it clips to white at Y=992, which is above the top of the Y-channel range for 10-bit standards, which means your highlights are into the superwhite range. Check your workflow to see if your software can recover superwhites from ProRes. If it can't, set the zebras to 95% instead of 100% to avoid further clipping your highlights.

  • @balazer

    I've been using 85% just to be on the safe side but I'll check. I seem to remember having a hard time pulling stuff back from 90% or 95%. I might be wrong though as I'm so mixed up learning both cameras.

  • Anyone know why vimeo squashes videos on upload? This thing turned into 5:2. Anyway, here's another test, graded (amateurly) and run through film convert (perhaps a little too aggressively), but this camera does have potential, thats's forsure.

  • Oh god it's making me hungry.

  • Thanks for the info, balazer, and confirmation about shooting at ASA 800.