Leaderboard

Bit really just saw that in the final cut video and was impressed. It could save me a couple of minutes per project, as I dont need to play the track to see where its clipping. I would just import the track and everything thats clipped is already marked. Im all about workflow, I loose focus fast, so when I am doing these little things, its focus I can spend better on actual clip editing.

I took a quick look on my S1 Yes, you can do manual exposure adjustments. Please also note: If shooting at 180fps, it is conformed IN CAMERA to 30fps, so the file you get on the card is a 30fps file, not a 180fps file. No autofocus available (as far as I can tell). No audio recording available (as far as I can tell). Did not see any info about the bit-depth or the chroma sub-sampling. My understanding though is that for anything above 60fps, the S1H gives superior codec options.

There are a lot of people who think that the pocket or micro with the small super16 means retro look. But that is not true. What makes the old blackmagic cameras special is the sensor. The sensor is equipped with large photosite and a dual-gain architecture (the same as ALEV sensor).The development of such sensors took place at that time for arri. The goal at that time was to keep the analog Arri look, with the digtal sensor. And the fairchild sensor is the same, only in small (pocket and micro, super16), large photosite with 6.5microns, dual gain and strangely the image is also very close to the arri.

Asked my buddy that makes docs and his response: Yes, it falls under fair use.

In Europe, you could use that. Since its a public article, that anyone can look up it's free to use as long as it's not taken out of context. To be extra safe, put a watermark on it to credit the source as it appears.

I own the 0.5 and 1, and they do their job. I haven’t done a complete test of any image degradation but from seeing how they perform through a viewfinder they do just fine. I agree that their other products aren’t great but these filters seem to be good ones. It just stinks that they seem to be the only ones making 95mm diopters at less than +1 strength.

Wonderful! I think there's a few interesting points here. Firstly, I disagree when you say the OG isn't more gorgeous than the 4K. There's a view that because they all shoot RAW that they're the same because you can make RAW look like anything, but that's simply not true. For example, even in colourist circles the ability for Steve Yedlin to emulate film is often viewed as practically impossible, and Steve even says in his blog that it's not possible with the limited tools available (referring to Resolve and Baselight) and he had to write his own custom software to do it. But setting aside professional colourists for a second and getting to the people who would realistically buy a BM pocket cinema camera (P2K, P4K, P6K, or P6KP), these people aren't likely to be able to grade the P4K to look like the P2K, or vice versa (and let's be honest - a great proportion of them only go as far as applying a LUT). So while in theory the P2K isn't more gorgeous than the P4K, it is in practice when the average user has next to no ability to colour grade. Moving into the comments about resolution and sharpness, I think this is something that relates to marketing and to ability to colour grade as well. It relates to marketing in a couple of ways. Firstly, people often pick up the P2K for a retro look, because they're been brainwashed by TV companies to think that more resolution is more modern, when in reality most cinemas still project in 2K. In addition to this they often pair the P2K with vintage lenses, which of course give a vintage look, which lacks sharpness. However, in fact the P2K and BMMCC can just as easily be paired with modern cinema glass, and is by people who aren't after a vintage look. Secondly, as people watch more and more content from YouTube rather than content shot on Alexas and graded by professional colourists, people get used to a sharper look as the default look. Once again, this is marketing because the default look is over sharpened because the TV manufacturer who made your camera is baking that look into the camera in order to manipulate you into wanting a HD FHD 4K 8K TV. Sharpness also comes down to colour grading, and this is something that I am experimenting with at the moment. The P2K and BMMCC are very soft straight out of camera, which is fine if you know what you're doing, but alas, these files aren't being graded by professional colourists, they're being graded by people who don't even understand how LUTs work. On top of this, sharpening is a whole art form but is almost never discussed and there are basically no tutorials. Why? Because your TV manufacturer camera oversharpens rather than under sharpens, and instead of learning to sharpen in post you learned to use vintage lenses and diffusion filters to get a sensible level of sharpness.

https://www.youtube.com/watch?v=2WF1C7Kagjs

Naughty 🙂

I shot a short film with a BMMCC and three Kern Switar primes in 2019. This was when the cards needed to record raw were simply not available, so we shot in ProRes. I enjoyed working with the camera and generally like the soft, retro look we were able to achieve. Some shots looked better than others. I ultimately decided to sell it and put the money towards a Red One MX, which I think is much more in line with my personal aesthetic. But I do sometimes miss the small size and softness of the BMMCC. Hoping to get back to short films once the pandemic has eased up a little more. I can't share the whole film yet because it's still in its festival run, but here's a teaser.

I was about to sell mine, but this thread brought me back to the reality that the BMPCC and BMMCC footage is simply so much more gorgeous than the 4k. I would sell the 4k, but need it for work since we use the URSA Mini Pro and it marries well there. Like everyone, I wish BM would bring some of this old mojo back!