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Finally! A thread for the new Blackmagic camera, where we can discuss facts and review's about the camera. Oh wait...

On the lens debate - 'crappy', 'different strokes for different folks', 'opinion vs facts': There are a lot of optically superb native M43 lenses. For example the Olympus 12mm f2.0 (Zuiko Digital or so). Had better reviews than SLRM 12mm f1.6 (less distortion, sharper at wide open, less lens flare). But was not a manual lens. And (my opinion) you should prefer a lens with a good and big focus ring. A 12mm was a 35mm equivalent on the old Pocket, the 'reporter wide'. Now a 16mm (Sigma 16mm f1.4) would be a 30mm. 420 €. Easy choice. I own the 18-35mm Sigma (once for Nikon, now Canon, swore to never sell it again). Had it with the Pocket MB speedbooster then, made it a 30-58 @ f1.0 (!!!). Practically never changed the lens from then on. Speed booster Viltrox is just 160 €, will make it effectively a 24-47 @ f1.3: Easy choice. Don't need to go wider, but obviously need a longer lens. Adapter without speedbooster? Didn't look into that, but why not? Opinion on adapted vintage lenses: good, but you need to become an expert. Don't expect good old lenses to be bargains anymore. People became smart. Opinion on slow lenses: no. Anything below 2.8 should be considered 'crap' for this kind of camera. This is no Sony.

I made this so so long ago on the Canon 50D with ML raw and I remember it had a very cinematic look to it. Also...I know some of you guys saw I was selling my 1DC....well the eBay buyer flaked on me and now I still have it. Im never doing that again. I almost had a heart attack thinking about saying goodbye to it

I own the camera. I’ve used it for about 3 weeks now and love it! I mainly do vlogs but I’ve also done some cinematic test with it and it rocked! It’s not an Alexa but it’s still a powerful tool. here is my film test: and here is my latest vlog:

AF can cause many spoiled gimbal shots, even canon DPAF can mess up your shot at just the crucial moment. You can pre focus and maintain subject distance and get great shots, even with shallow DOF. If you need more leeway, stop down a bit.

I bit sarcastic view of Miami

There is a nine page thread on BMCUser about firmware requests that people want. Nine pages. Six months before its even come out. We're positively like a Zen Buddhist commune in here by comparison

i wanted x-h1 because of ibis (95% of my lenses is manual) and that was the first reason to buy x-h1 but ends up ETERNA is on pair with it in terms of improvement over x-t2. IBIS is good, but have major issue when moving diagonal - ibis making some jerky vertical-horizontal steps instead of diagonal movement. im really hoping fuji gonna fix/optimise this, but for now im just gonna master the way im moving the camera, its capable of doing great smooth shots with it current state. Still there's nothing you can do when rolling shutter showing his ugly face even if ibis is working properly. Battery life doesnt worried me for now and im already bought an original dummy adapter for using with external power bank ( will see how its work ) The only downside i strongly dislike its a moire/antialiasing. x-h1 losing here to every competitors starting from 24fps to 120. You surely dont expect that from 2018 year flagman. its true. it sucks. But still i prefere x-t2/x-h1 faaar more for video in hybrid package for what fuji doing with color in 8bit codec. its just unbeatable ( expecting Canon to deliever something in this category is the same as expecting Kodak to revive : )

No Chris, not my craft. I am not upset as I could tell you answering your friendly PM. As written, no worries. I also think I can disclose a bit the content of your message which clearly hints you've actually recommended that same lens, so not exactly a divergence unites us on that one : ) My point is to clear up the topic, no other : ) I am usually one of the jokers over here so why shouldn't I be second your mood there, isn't it? : D We come to these boards for making friends among the members not to fight on topics, no matter we may diverge or not (E :-)

So two ergonomic complaints, a complaint about the buffer and a complaint about low light performance. Yes, the dedicated ISO button is on the far left shoulder of the camera. But as he points out himself in the video, you can change ISO directly with the jog dial on the right - easy as pie. Or you can press Fn and use the thumb dials, if you're scared of accidentally moving the jog dial at some point. So the whole criticism is moot and he makes it moot himself. It's more of a handling tip than a complaint, then? But in the clickbait headline it's a PROBLEM. The other complaint is that the screen flips out, rather than be fully articulated like on the GH5. But the Sony screens do that as well, don't they, and he raves about them. The buffer section of the video I skipped... Can't comment. Not related to video whatsoever. The 4K video performance in low light... Well, this was before the high bitrate hack and NX-L adapter So I'll give him that. No, it isn't an A7S and never will be, but ISO 800 is cleaner than the GH4... Virtually noiseless... And that, at F1.0 on the NX-L, is not what I call "bad low light performance"

What works with GH5S probably also works with P4k.

Yeah, I've watched a loooot between Blurays and Remuxes. Its a big difference between native (not upscaled) 4K and 1080p. But definitely the best feature it's HDR. I have a high end Sony 4K HDR TV and some material looks stunning... Amazing! It's hard to go back to SDR after a few hours of HDR. At least for me HDR it's a big deal, maybe the most impressive technology implementation after the 1080p standard. And by far more important than 4K.

I see 'professional' and 'closed' system as an oxymoron. Who in their right mind uses a computer whose lifespan is determined by the shortest lifespan of any given component. I gave up using Macs for desktops when Apple stopped making desktops (which is a while ago.)

I tried my G7 this weekend, which I bought a year ago and have never used ever since due to my purchase of the GX85 a few weeks later. Guess what, that form factor is hard to beat when it comes to DSLMs. Didnt miss the IBIS, as the G7 must have a much faster sensor readout than the older G6. I was able to do some steady walks with it. I think it is the prettiest of the Lumix cams, just the buttons are a step backwards from the G6. Color mojo after grading. Love it. My recommendation! Woulndt call it an old camera just yet though. Sensor and pipeline are pretty sweet.

@Mark Romero 2 Sure, bud My only short to get into a couple of big festivals. Also a no budget project with a few friends, shot on a hacked GH2 (Flowmotion) with vintage Nikon AI/AIS lenses.

My best guess is that he was smoking something while making assertions like this: "IMO, The Gh5 (even before the "s" model, SMOKES the C500."

The pics are not even from the test. They are from a corporate videographers gh5, who claims the gh5 "smokes" the C500. And for him it probably does. Less weight, hassle ect... If you are interested in facts here you are. www.alfonsoparra.com/images/articulos/investigacion/digital_nohd/pdf/c500_en.pdf. For those that don't read: 12 stops for the c500 @ 10 bit. 11.68 for the gh5s "test" We won't mention bit depth, actual resolution, raw, etc...

Savannah, Dbounce is not focusing on the leaked footage in his quote. It's not "hate" to be cautious, realistic in terms of deliverable product...ESPECIALLY with a new sensor implementation and manufacturing issues in flux. But maybe using a sensor already used by competitors will make for a solid roll-out. Petty himself seemed to feel the announcement might be premature. We shall see.

No worries, mate : ) LOL I love to play with the concept... there are fanboys and fayboys hehe Thanks anyway to rule me out of there : )) Nice from you, buddy :-) We can't love cameras anymore without label them as our mistresses, isn't it? ;-)

What kinds of projects will you be doing with it: Narrative or documentary? Studio or run'n'gun? Will you be filming in low light? Do you plan to do a lot of color grading? Green screen or VFX? Do you also want to take photos? If you're set on ff, I don't really know of any options that would be better in the price range you've set. You can make great stuff on a 5d2--or any other camera from the past ~6 years. If it were me, though, I'd get a used APS-C camera, especially if you already plan to upgrade in a year or two. You could get a cheaper Canon for a few hundred dollars, or, if you can find a good deal, get an NX1. It's a fantastic all-rounder. I got mine used a year ago for $850 (700€) with lens and accessories included. If you plan on using Magic Lantern for raw video, be aware that it will be a mild PITA. Totally worth it, but not easy. Do you have an external microphone or any other audio gear? I'm not a fan of the H4 myself.

The Panny 14-42mm...?! WTH How dare you...?! What a crappy lens!! LOL : ) Sorry, couldn't resist... :-)

Here is a post on DVXUSER that shows the GH5S beating the C500 in highlight roll-off. Very interesting! http://www.dvxuser.com/V6/showthread.php?359026-GH5s-dynamic-range-tests/page3

I posted a GH5 vs UM46K sample last year. I prefer the Ursa color, but GH5 and 5s are great. password: test

Discuss it here Cheers

If you happen to stupid enough, like me, to buy into kickstarter projects, you would realize that a company's ability to realize a project is inversely proportional to the attractiveness of the price, specs and timing of the product they promise.

Here's a little update Andrew from SLR Magic has allowed me to share. I want to share as much as I can remember from my phone call with Andrew so hopefully it's relevant to those of you who are interested in these lenses. For anyone going to NAB, Andrew will have a booth and will be there. I invite anyone interested in these lenses to go see them. Andrew is a very knowledgeable and open guy and he really love to talk lenses. He cares about his products and making them the best they can be. They have some pretty cool announcements for NAB, whcih I won't share, but he's what I can... Here's a picture of a pre-production 32mm lens. www.flickr.com/photos/johnbrawley/40047075535 I haven't shot with this copy yet, but this means SLR Magic are very close to going into production with this lens. I imagine he'll announce shipping at NAB. After this they're working on the 18mm and the 135mm to fill out the set. I also received an updated version of the 25mm to replace my copy. It developed an issue with the focus bumping sometimes at close focus and Andrew tells me he's totally updated the helicoil design and has already updated a few customers copies. Anyone who sees this issue should be able to arrange to have it fixed. I didn't want to let go of my 25mm as I was in the middle of a job so he's sent me a second one and I'm now sending mine back. What's cool is that SLR Magic went and immediately addressed the issue and have re-designed the lens to make sure it doesn't happen again. I've just finished a 6 month TV series using them day in and day out and this has been the only issue with them, even though they've been on prestons / motors with clamp on's all this time. I recently did a blind comparison between Zeiss CP2's, Panavision Primos and SLR Magic APO primes. See if you can see which is which here. Don't read the description if you want to try and guess which you like most. After that are some clips from a series I did which are all SLR Magic APO prime shots. https://youtu.be/s6fFUCSZzOg (everything except super macro shots which were Cp2 50mm macro) www.flickr.com/photos/johnbrawley/40047076045 Andrew also sent me copies of their new E mount, MFT and EF adaptors. www.flickr.com/photos/johnbrawley/40941422171 www.flickr.com/photos/johnbrawley/40047075035 This means you can use your APO primes on any of the above mounts and with the SLR Magic adaptors they've kept the tolerances very tight so the witness marks should line up perfectly without having to actually re-shim the mounts / lenses, though you can do that if you need to. As a bit of a surprise, Andrew also sent me some brand new ND filters that he's been working on. Many would already be familiar with the Variable ND's they make, which many rate as one of the best made and offering very good IR protection as well. Some of you may know I shoot a lot of MFT lenses on Olympus, DJI and Blackmagic MFT cameras so I use a lot of smaller lenses with screw in ND's. Lately I've mostly been using the Hoya / Kenko PRO screw in ND's as they seem the most neutral. Andrew tells me he decided to make these after he decided to buy some Hoya Pros for his own work and was firstly forced to buy them from three different countries because no one stocked the full set and he THEN found that the deeper stop copies had more than 2/3 of a stop variation in exposure from where they should be. Well SLR Magic have done their own take on ND filters. They've aimed to be less than 1/3 of a stop variation and to sell them together as full sets. They make a set of N3, N6, N9, N1.2 and N1.5 (1-5 stops) and a second box of N1.8, N2.1, N2.4, N2.7 and N3.0 (6-10 stops) and each set is only $399. Pretty decent deal. I don't want to come off as a shrill, but I really like what these guys are doing and I especially like how responsive they are to feedback from us that use these lenses. In lieu of them having better marketing I'll try to let as many know as I can about what they're up to. JB

Yeah i can safely say the most epic cinematic project i've directed (art video shown in national museums around the globe) was shot on a BMCC 2.5K! if the upcoming BMPCC4K is anything like it, we'll be in for a treat! I can see how C100 IQ can seem 'meh'.. it doesn't stand out in a wow factor way today.. it's 1080p.. tiny 8-bit internal codec etc. Hell IQ can seem dated. But to me it just nails that Super35 look for peanuts (compared to other cine cams) with the Canon skintones. especially when shooting ProRes with an atomos. of course it comes with other benefits such as dual pixel AF, waveform display etc.. I've never used an NX1 but doesn't it suffer from in-cam oversharpening? i got a problem with cameras that do this (cough *GH5*). others may appreciate it. i guess this is where personal preference may crall into play..

Yeah I agree when I compare it side by side, the differences are more noticable. It looked pretty close to me when I was watching the video. Curious how dramatic the colour science 4 update will be

I can't remember where I saw it, but I remember one of the BM reps at NAB said the 0.71x Metabones will work on the P4K. Which leads me to believe the Viltrox will as well, since in theory at least, it will give you the same result as the Metabones one. (Quality may differ, but effect on field of view etc. lens should be the same) I'll try and find that video of the rep if I can.

I remember watching this back when it was a fresh staff pick, absolutely love the end scene with the digital slate. Nothing better than a really well made short doc. So much great stuff in here.

Digital Bolex has an incredible analogue look and fantastic CCD skin tones. 1D C produced amazing thick files, chunky 500Mbit 4:2:2 4K, with Canon's trademark clean low light and great colour in a small body with a massive sensor. I recently saw one go for under £2000 for first time. It's a steal. C100... Meh BMCC 2.5K is a cinematic beast, I am still amazed by the dynamic range in 2.5K raw it produces even today. The huge touch screen was nice too. Rest of the camera not so much Special shout out to the Samsung NX1. Canon colour in a high-end mirrorless camera, with an image that completely floors whatever the C100 can do.

That would be a veritable treat. In my opinion that type of programme is precisely where the higher resolution formats excel.

Did you design this lens? You seem to be so upset by someone calling it crappy. Maybe go for a walk.

I’m in the middle of some projects, so I am going to wait until the spring or summer of 2019 to get one. I think this camera is pretty ambitious for BM, so it may not be ready by September anyway. So between my projects and my cautious nature, I’d rather wait to see what kinks the camera has before I throw down the money for one. Those Panasonic kit lenses, although slow, are pretty sharp even wide open. I had the 14-42mm, first version, last year during the second time I briefly had a Pocket cam. At the time I was looking for a get up and go alternative to my 5D3 when I wanted to be incognito, and shoot in ProRes for a quick turnaround in post. I did a test or two and decided to just roll with my 5D3... long story short... I had too much expendable income at the time... wish I had expendable income now. And although I could afford both cameras, my color grading skill set was better suited for the 5D3 and the few little things I would have used the Pocket for didn’t really justify the cost to keep it. Anyway here’s a short and dumb little, handheld test I did with that lens, a Hoya IR filter and a Bower variable ND. Surprisingly, the OIS was pretty decent. And even with the small sensor, on the long end, wide open, I could get some shallow depth of field. Turn down the audio... I should have in post. Lol.

This was the OG OIS Pocket lens some people recommended due to its power zoom through LANC. I never owned the lens but I’ve seen some videos of it on a BMPCC and it seemed pretty sharp.

Why it matters what happened and how it got broken?! Are people not allowed to broke Apple's machines? Are not the buyer the owner of his/hers machine?

The repair center where going to repair it(since they said they already ordered the parts from Apple), but where forced to deny repair since Apple refused to send any parts for it. This is Apple denying there own service center parts and making it so that noone can fix it, anywhere, ever. No matter how you dress that up the smell still going to come through.

It is highly unlikely for the A7sIII to have any form of 10bit. At least internal. They would need to use a different wrapper other than the XAVC-S for that. Also it would undercut the FS5ii. XAVC-S can support 4K 60p though so I am confident we will see that. If they manage to get the fast readout times of their stacked CMOS sensor with video and offer near global shutter performance, coupled with 4K 60p, excellent low light, battery performance and very good AF that would still be an excellent camera and a worthy update from the A7sII. If the use the 24MP sensor of A9 then that would make it even better since hybrid shooters will appreciate the extra resolution for photos. While I would like 10bit as much as any other member of this forum, Sony does not have that much competition yet in order to potentially sacrifice sales of their professional line. Someone could argue that GH5/s is a good alternative but once you have the 60p with near global shutter and very good AF with a 24mp FF sensor it would distance itself by quite a bit. And I really doubt Nikon/Canon would come up with a FF mirrorless camera and internal 10bit anytime soon. That brings me back to the FS5II. A reason that Sony only updated a firmware might be because the competition is still slow. All C200/EVA1/FS5II have some form of RAW, 4K 60p, low light that is not that different. C200 offers a vastly better AF than the other two, EVA1 has the highest resolution sensor and FS5II has the electronic ND. Maybe color was the only thing Sony needed to address in order to match the competition...

Yeah apparantly color science 4 is the closest color science to the alexa. I wish they would release it for the UMP already. Its already very close right now though as you can see in the following comparison video.

@tomsemiterrific BM's colour science is really good, especially on the P1 & I assume that they will have gone the route of their URSA set of cams for the P2. When recording in their Film Mode (or Log if you prefer) you could pretty much do what you wanted, you don't have to be a genius at grading - just add some contrast & saturation, or whatever your taste is. After numerous firmware updates, their Video Mode was really good if you were in a hurry & just wanted their baked in look (you could push it). One thing I will say is that after shooting loads with the P1, I didn't bother filming in RAW beyond a few tests & some tricky lighting setups. This is because the ProRes HQ coming from the P1 was absolutely stunning - if you didn't have enough latitude in ProRes HQ you simply weren't filming properly, as all you had to do was nail the exposure & in post you could push it by 3 stops either way. The other reason for not shooting RAW was that it produced more noise, M&A, took up way too much HD space & grading took longer. I hope that answers your question & you don't need to be a genius at grading, just shoot/capture your subject properly and the rest is child's play.

Com'on Jon, use the Vehydra 12mm at f/5.6 and and anything that you can follow will be in focus

I had SLR Magic 12, 25 and 50mm, unfortunately not 17mm - now I have/I kept Voigts 17.5 and 42.5 and SLRM 10mm. SLRM 10mm is significantly better than SLRM 12mm and actually quite match with image qualities of Voigts - just little bit warmer in rendition, but that's instantly corrigible in post. There's no known optic aberrations of its 12mm sibling, construction is higher level even in, say, comparison with SLRM 25mm. Focus and aperture rings are not so smooth (i.e. they are calibrated with harder tense, although perfectly even) as those in Voigt's - but, it has to be admitted that I didn't yet meet any other set of lenses with such perfect smoothness as Voigt Noktons, but maybe some Leica R's in excellent conserved shape. I'd say that I'm very, or even extremely/brutally strict in selecting/keeping lenses - but I settled with SLRM 10mm as UW choice. It is wonderful lens and its in fact macro focus distance opens so much creative possibilities. What I found especially nice is very low distortion in focusing subject when using such close distance (5cm!). In other words, SLRM 10mm can be used as very interesting and quite real portrait lens! Being picky, I'd just like that focus ring smoothness also match that of Voigts... Contstruction vise, SLRM 10mm shows mature pick level in evolution of Hyperprime line - in hand it makes impression as being made from one piece of hard iron, so it seems that extreme "unibody" robustness is nice word to describe its construction logic. However, it is little bit or two less refine in mechanic operations than m43 Voigts... but, modern Zeiss lenses are even lesser refine than these Noctons. Later I could extract some snapshots from last clips shot with 10mm... Yes, of course. Zooms are sometimes indispensable, especially with clumsy rigs. I'd just add that it highly depends of director's pre-chosen concept of directing mood - for perpetually flowing camera movements as choice, actually primes are more practical. As famous examples - Lubetzki in all last movies, being these of Inarritu or Malick. For more static oriented works, where giant dimensions of good zooms are tolerable, they are more convenient. Problem with m43 (subject of thread) is that there's just no enough fast native zoom lenses, as also with OOC "cinematic" quality. All of them are extremely oversharpened . From adapted lenses I had the most pleasing results (of course, for my criteria) with Leica R 28-70 and Zeiss Contax 28-85. But I had no chance to try that new Fuji...

So just because the sensor is capable of Dual ISO, if they don’t implement a circuit, there would be no trace of it embedded in the hardware of the sensor? Which leads me to ask... is the implementation of Dual ISO hardware or software related?

But it's a strange situation. It's almost like having 13 or 12.75 Stops at ISO 400 and ISO 3200, or, 13.5 Stops at ISO 100. The low light would be hit big time. I won't be surprised if it may then be unusable at ISO 1600.

This is the statement everyone of us should print out and paste on our bedroom ceiling to go to sleep to and wake up to every day. If you're run-and-gun listen to the following tentatively, or not at all. The best looking films curate the living joy out of every scene. Nothing is left to chance or served up the "we'll fix it in post" line. That's lazy. Great, critically acclaimed images take considerable work, even with a full crew. The mentality of getting the shot as quickly as possible, as in checking off a shot list only serves business objectives, not creativity. If you care about your storytelling, care about and get passionate and intelligent with the tools you use to tell it. Get your hands dirty. Don't rely on your camera or editor. Scrutinize what every element in your scene is speaking to your audience. It all matters. You get out what you put in.

I shoot a big variety of things but I tend to most enjoy doing dark stuff. I think this is, while not necessarily my favourite work due to the issues we had in the production, the most visually accomplished; And on the flipside, this one was shot in one day, had a ton of fun and I'm extremely happy with it, even though it's not technically as accomplished: Both are NSFW and contain violence.

Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig. And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it) Cheerios!

This was such a simple shoot, but the story really just fell into place and came together. This is a little piece on my Great Uncle that I shot several years ago on my 7D and a 24mm L Prime lens. This video changed my career...

Here is my entry, amateur shooter: