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Is BlackMagic Going To Forever Change the HD DSLR video World?
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Star Wars was a low budget film? I did not know that. They used S16. If you want your movie to have no production value, I suppose you could go with the basic handheld shots using the Arri cams right out of the box.
The Digital Bolex is like a gun. You hold it via one pistol grip, which is super awkward. I would prefer buying handle extensions for the BM Cine Camera rather than hold a Digital Bolex. Keep in mind, too, that the Digital Bolex is being made by a very small, un-established company that is getting their funding on KickStarter. Blackmagic is experienced and quite large. Also, the RED Epic and Arri cams are MUCH much larger than the BM Cine Cam in terms of size and weight from what I can see, so you also have the advantage of a compact camera.
But honestly, you seem to have a lot of knowledge. You see how well the Arri works with its included shoulder rig. The RED Epic, Panavison cams, all REDs as a matter of fact, need some sort of after-market rig. As a cinematographer, you don’t see this new cam as being completely revolutionary?
Also, you need to arrange your shoots so that you do have time to spend a few minutes setting up your camera rig and set so that it will meet high expectations. This camera could save you $77k potentially. Wow.
Zacuto is doing a video shootout with a variety of cameras, such as the RED Epic, Arri Alexa, all the way down to the 7D and the GH2 (hacked). I suggest you partake in one of the screenings. It’s basically to show that if you have the right cinematographer, any camera can look excellent. I think you’ll be surprised.
You’ve seen what talented DPs/Cinematographers have done with a GH2 and 5D — Imagine what they could do with a fully-featured cinema cam (even though its awkward shape). Think about it.
Member of iFrosh
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[Phil Balsdon] “The 60D has a rotatable flip out LCD, why was it the only one?”
Don’t forget the GH2 🙂
Jason Jenkins
Flowmotion Media
Video production… with style!Check out my Mormon.org profile.
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Flip out/rotatable lcd screens are nice but they don’t add much value for me since I need to use a LCD “loupe” to see the screen when filming outdoors and, of course, the extra magnification provided by the loupe is nice too.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
Flip out/rotatable lcd screens are nice but they don’t add much value for me since I need to use a LCD “loupe” to see the screen when filming outdoors and, of course, the extra magnification provided by the loupe is nice too.
Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com -
A flip out screen is very useful when trying to frame a shot from an unusual angle, extremely low angle for instance.
Sorry Jason you are of course correct, I often forget some of the great features of the GH2.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I use a GH2!
Member of iFrosh
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Here is some sample footage form the BM Cinema Camera I found earlier today.
https://vimeopro.com/johnbrawleytests/blackmagic-cinema-camera/video/40381671
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The BmD Cinema Camera sensor is slightly larger than S16 film, and slightly smaller than the GH2’s m43 16:9 mode.
Some recent examples of successful films shot with sensors/formats smaller than the BmDCC include “Slumdog Millionaire”, “The Hurt Locker”, and “Avatar”. For example, Avatar was shot with 2/3″ 1080p cameras (very nice 2/3″ 1080p cameras!), and so far has earned >$2.5 billion and counting.
I agree with you that a larger sensor/format would be nice, but sensor/format size is not necessarily a significant barrier to successful filmmaking — at any level.
The BmDCC sensor has approx. 2.5K pixels. Given the sensor size, and compared to the mega-mega pixel sensors in popular DSLRs, the BmDCC sensor has big, fat pixels. Generally speaking that bodes well for the BmDCC’s potential sensitivity and S/N. Of course, the proof will be in the pudding when the final production version of the cam starts shipping.
In the meantime, pre-release BmDCC sample footage and frame grabs are available on John Brawley’s blog:
https://johnbrawley.wordpress.com/IMHO there’s a lot to like about this new camera. Cheers.
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[Phil Balsdon] “I have some major reservations with this camera.
1) It’s not a Super35 sensor, it’s only approximately Super16 size which is about half the size. Anyone introducing a camera that doesn’t have a Super35 sensor today is way behind the pack.”See:
https://forums.creativecow.net/readpost/280/8731[Phil Balsdon] “2) It looks like a box designed by a post production technician and with no consideration for the cinematographer using it. No grips or handles to hold it, not even shaping of the body to grip it comfortably and securely. An LCD screen shoved on the back which can’t be angled for the user to see it and if hand holding needs to be held way out in front of your face.”
Since the BmDCC was designed by a company which specializes in high-tech devices for post-production & production, its design appears to closely follow its primary purpose: To shoot 12-bit RAW 2.5K CinemaDNG (and ProRes 422 HQ & DNxHD) onto an internal SSD drive, to have a modern 5″ touch-screen interface, and include modern pro I/O such as 2 balanced analog & digital audio inputs, HD-SDI out, Thunderbolt, ext. 12-30VDC power input, a headphone jack, a LANC port, and an uninterruptible power supply (built-in battery) — and do all this for <$3K US. I think BmD has done an admirable job of fitting all that into a small, hand-holdable package -- especially given its relatively low list price. I agree with you that a BmDCC will probably not be anywhere near as comfortable to hold as a modern DSLR or classic ARRI 16mm film cam. But I challenge anyone to design a "more comfortable" camera with the BmDCC's exact same specs & features for the same price. I suspect the BmDCC's ergonomics are form following function within a target price. [Phil Balsdon] “There’s a whole lot more to a camera than tech specs, usability and being able to get the camera set up quickly and easily for the best angle for a shot is a major one,”
The BmDCC is a cinema camera, not a ENG, event, or documentary camcorder. I bet with some practice the BmDCC can & will be used for all those purposes (wisely or not), but in a typical cinema-style production — even a low-budget one — there’s time enough to set up and correctly capture a scene.
[Phil Balsdon] “It’s not very price competitive with traditional HDSLRs from Canon, Nikon, Panasonic and Sony and the BlackMagic has no track record in camera technology.”
True, the BmDCC is not a digital still camera; it doesn’t take stills, so it can’t compete with HDSLRs. But there exists no HDSLR on earth (except perhaps the vastly more expensive Canon’s new 4K Cinema DSLR) that has motion video capture features even remotely comparable to the BmDCC. The BmDCC and HDSLRs are completely different; apples & oranges.
One of the most remarkable things about the BmDCC is that in spite of BmD having no track record in camera design, in one fell swoop they knocked NAB 2012 on its ear. Given BmD’s excellent reputation I’d be surprised if they’re not able to follow through on the promise of their new Cinema Camera. YMMV.
Like every piece of gear, there are different tools for different shooters, projects & budgets. I think the BmDCC will find good use with all three, but of course it can never be the right tool for every situation.
Cheers.
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[Peter Burger] “… So a camera with great tech-specs that produces footage which is more flexible in post at a significantly higher price range and the necessity to get bunch of new gear will hold back many people. In particular if they have invested in other technology before. …”
Certainly most folks don’t own or have access to state-of-the-art computers and storage systems, and those things will be required if working intensively or exclusively with the 12-bit RAW CinemaDNG files captured by the BmDCC.
John Brawley says he’s able to work with the CinemaDNG files on his Thunderbolt-equipped PowerBook 17″ i7 laptop, within the limitations noted on BmD’s Davinci Resolve tech support website. But from what I understand, having a more powerful system is recommended for a fast, efficient workflow.
It’s important to note that the BmDCC can also record ProRes 422 HQ or DNxHD with either a “Film” (log) or “Video” (Rec. 709) gamma. Both these codecs are well known for their excellent quality and flexibility in post, and are far superior to the codecs native to most traditional camcorders — especially in camcorders that cost anywhere near the BmDCC’s <$3K US list price.
Cheers.
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