Ed Andrews

It's a personal choice. I won't bore you with all the details but the EVA1 is a head choice - pure business - but it would mean using EF stills glass whereas this would let me use my s16 superspeeds (heart choice) and still get tasty 4k - and hopefully 12bit instead of 10.

Thanks! That's rather exciting. I had decided to get an EVA1 but that combined with BMPCC 4k could be far more magical!

Any more info of 'that new atomos'?? I think I spoke to an Atomos rep at BVE in 2017 and they hinted that they were going to release smaller recorders that year. Obviously didn't happen!

I certainly see chromatic aberration on some of my old s16 - zeiss 12-120(10-110) and Angenieux 150-150 - but I'm not fussed by it. I shoot with them to get a particular 'classic' look, not to get a super clean and pristine image.

I'd hazard a guess at super16 film and vintage lenses and then some sort of camcorder for a few of the digital looking shots - or could be post trickery seeing as they look to be pretty much the same angle. Could also be shot s16 cropped on Amira/Alexa or Red, Soy F5, etc and clever grading. It's directed by fashion photographer Alasdair McLellan, couldn't find DP credits on promo news. Either way, I love this look.

This looks amazing. Really gets that super16 feel. I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass

Regardless of your lighting, other factors will affect skintones. You can have an LED with 100 CRI but if the person is sitting at a large orangey wood table, the light is going to be bouncing off that and giving a slight orangey cast to the face. Same with red carpets, snotty green sofas, big blue walls, etc. Sometimes you will have to tweak in post. I'm no expert but I always key the skintones in resolve, tweak hue vs hue and desaturate a bit, always helps.

I'm considering getting the Ursa Mini Pro but do a lot of two camera interviews so planning on usibng my BMMCC as a B cam. Anyone had any experience running the two together on a shoot, and any matching issues, colour, look, etc? Any example footage would be great to see. Cheers

There is some truth to this that perception is reality. You turn up to shoot with big camera and some clients will think 'they must be really good' but equipment is not just a camera - it's lighting, lenses, grip, etc - and ultimately you'll be judged on the work you deliver. I've occasionally had clients mention about camera when I've been shooting stuff on A7s and I explain why it is the most suitable for that particular shoot. And also offer that I can shoot it on an Amira if they want to shell out the extra £400 a day!

This is great. Is that a HD2000 or 4000?

Nah, I turned nasty office strip lights off and only used the natural light from big windows behind them. It was today in London. Bright winter sun around midday but windows were all north facing. There was some bounce coming from windows in the building opposite so all rather blue. Camera set to 7000k

I haven't got/used the EOSHD ProColour - tbh what's putting me off is the lack of explanation as to what you actually get for your money?! However, on a7smk2 I just made the switch from using s.gamut to 'pro' colour space in slog 2 and it's a massive improvement. No 'scientific' tests but it's lost (most of) that horrible yellow/green cast that s.gamut seemed to give everything. And it handles mixed lighting on skin tones so much better. One shot stood out - this was shot at 7000k with a desk lamp giving most of the light on their faces. Obviously not perfect rendering but so much better than before...

Anyone had experience of shooting with the wing? It looks very handy for the size, etc. The price however is pretty hefty so would be good to hear people's experiences of it. I am always rather sceptical about something that looks too good to be true...

Careful is using Prelude for offload. It has wiped all the renaming presets, you know, that awkward clunky process of entering and saving them which is a pain in the arse. Well, you've got to do it all over again!

I feel I've incrementally thrown way too much money at the BMMCC to get it functioning - vintage super16 lenses, SmallHD 502, Small Rig cage, rods, Mattebox, IRND - and now looking at shouldermount/lanc trigger options. Still most of this stuff can/will be used for other rigs in future so if you look at it as brain only, it still works out to be good value..

In the form of Small HD 502 and Sidefinder option would be brilliant. I couple an Assassin with a caged A7smk2 and am starting to really tire of the awkward, top heavy form factor. Especially using the chunky Sony batteries for longer life than the Atomos ones.

Its shape reminds me of a xenomorph's head, but not in a good way. I'm sure this will be a great camera to work with, shoot great images, do the job in many ways, etc, but as with all Canon cameras, the pricing and specs vs. that of its competitors just seem very underwhelming. If I had that sort of money ready to spend, I would choose an Amira

Great work! Very fresh

This is brilliant! You just have been packing some long lens, or did the sensor crop do all the work?

Shot this new music video/short film in a day on BMMCC w/ Angenieux 15-150 f1.9. I love the feel this combo gives the image. Pure nostalgia!

Finally got a shoot in with BMMCC for a new passion project and coupled with it old Angenieux super 16 glass. I absolutely love the image and all this 12bit raw colour business. It's going to be go to for all arty projects. A few grabs...

Finally got mine through. I've done a few blind test shots with some old Angeniuex glass and the picture quality is superb. It's going to be a shitter to rig properly though...

Nice one, thanks Chris! I ended up getting a second hand ex-rental Chrosziel one from AimImage for about £400. Could be worth checking out if you are looking for odds and ends of kit. http://www.aimimage.com/category/kit-for-sale/ Shoot35 looks great though. I need a rig so investigating now

Another option is to get something like an Atomos for the waveforms. Expose skin tones at around 60/70 IRE with a grey card (about 2 stops over). Also, create your own LUTS which have a minus two exposure compensation in them as well as the desired look on - I use Arri log to rec709 as a great starting point - and load 'em on the Atomos. This will give you a great starting point on exposing and hiding all that noise. When it comes to post, crush the blacks in post to get rid of shadow noise. I shot these at 125000 ISO or thereabouts...

It looks like I need to get myself a matte box to go with a BMMCC and an monster Angenieux 15-150mm f1.9. Anybody got some recommendations as to a good, reliable set up? I'm willing to sink a bit of money into it as a long term, adaptable set up so not necessarily a budget option. Also, advantages of getting 4 x 5.65 over a 4x4? The diameter of the lens is 110mm so 4 x 4 could just squeeze in. Any any thoughts of advantages of 19mm over 15mm rods? Just can take a greater load out? Any pointers would be really appreciated. Cheers.