Marco Solorio
Forum Replies Created
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If your delivery will only be UK and Australia, then I’d do everything in 25 FPS from start to finish. If you alternatively conform later, you’ll get a noticeable audio pitch shift (lower) and speed shift (slower). And you don’t want to interpolate to 25 either.
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There is some misinformation here. The only time you need two asynchronous CFast2 cards is if the single CFast2 card you are using is not fast enough, namely at 60p 4.6K RAW Lossless RAW. You can record 60p 4.6K 4:1 RAW for days on a proper card (I use Lexar). You can record 2K 16:9, 2K DCI, and 1080 HD @ 120 FPS RAW or ProRes (and any flavor therein). This is all thanks to the OS 4.0 update, which has brought in a ton of features and easier operation. So the answer is yes, Terry.
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Personally speaking (and using 120GB cards on the URSA), the 32GB cards aren’t a viable solution. At 4Kp24 ProRes HQ you’ll only get a little over 5 minutes of recording time. Even 1080p24 only gives you 21 minutes of recording time. 4Kp60… only 2 minutes, LOL. Forget RAW with 32GB. Even the new RAW 3:1 will only give you minutes worth of shooting.
Think of it this way… would you ever use a 32GB SSD on your BMCC or especially the BMPC 4K? No way. Just too small.
120GB is really the bare minimum the URSA should be using in my opinion. Then the camera will really shine!
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[Ali Quintana] “Hmmm, so if I want to film 4K RAW this camera is basivcally not ready as far as the available cards”
The URSA has been 4K RAW ready since the first day of its public release. The question asked was in regards to CFast 1, which may not even work correctly (I have not tested it myself). The URSA was designed from day one to use CFast 2 cards in the same manner the ARRI Amira was designed. Having used CFast 2 cards with the URSA in real world productions, I can attest that the performance of CFast 2 is spectacular. Prices have come down on CFast 2 and will continue to do so.
If you want to shoot 4K RAW on the cheap, then the Production Camera 4K using SSDs is your best best, but you will not have all of the other advantages the URSA provides including 60p now and 120p down the road.
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Pam, which exact ProRes format are you recording to in the BMPCC? The latest firmware updates allow you to change the ProRes type. Rather than shooting ProRes HQ, try doing some tests in ProRes 422 and ProRes LT to see if the visual quality is good enough for what you’re doing. If it is, then you’ll save a lot of file size space that way. I wouldn’t recommend ProRes Proxy as it’s quite compressed. I also wouldn’t suggest transcoding to H.264 to edit with, as you’ll lose a ton of image data that way while adding a lot of compression. Not to mention the performance hit you’ll suffer when editing with H.264 instead of ProRes.
Back in the day, we’d transcode our H.264 footage from our Canon 5D Mk II and III to ProRes for better editing, but we’d never go the other way around.
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I haven’t personally tested any CFast 1 cards on the URSA, but using them will be extremely limited. At about 80 MB/s write speeds on a 64GB card, you’re looking at a format cap of about 4K 25p PreRes 422 with a record duration of about 15 minutes. Conversely, 1080p60 PreRes HQ will theoretically work (about 62.2 MB/s) at a record duration of about 17 minutes. 1080p24 ProRes HQ would give you about 42 minutes.
Agreeing with Bill, the Cfast 2 cards WILL continue to drop in price and get larger in capacity. I see a lot more worth with cards that are at least 128GB.
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Yes, you must have the SDI output set to HD.
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These are universal firmware updates, so you can actually use the 1.9 or 1.9.1 update on all cameras, including the BMCC and Pocket. It will essentially install 1.8.2 for the Pocket and BMCC. It’s how I updated my Pocket actually.
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There are some additional things to also consider between the GH4 and the BMD 4K. The GH4 does shoot nice images and the HFR options is also very nice. I wouldn’t necessarily call any Micro Four Thirds sensor a large sensor format however. The Production Camera 4K uses a Super35 sensor with a global shutter, which for us, is key for the type of acquisition we need. Likewise, we can internally shoot various 10-bit ProRes formats or we can shoot 12-bit RAW for truly high latitude pushing in post. Even with the Atomos Shogun (a nice unit itself), it can “only” go up to 10-bit ProRes HQ in comparison. Like all cameras, different tools for different needs.
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The widest and straightest lens for the BMCC is the Sigma 8-16mm f/4-5.6. It’s slow, so you’ll need light or shoot outdoors. But it’s truly wide and gives a straight image (non fisheye). If you need more speed, the Tokina 11-16mm f/2.8 is a popular option.
A blog post I wrote on this topic two years ago for the BMCC:
https://www.onerivermedia.com/blog/?p=677
Cheers!
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