Marco Solorio
Forum Replies Created
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They do share the same sensor. I cover their parallels in great detail in my book. Cheers!
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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The URSA isn’t shipping just yet.
The URSA can shoot in 23.976, 24, 25, 29.97, 30, 50, and 60 FPS.
It doesn’t use SSD but rather dual slot Cfast2 cards.
If you want a extreme breakdown of details about this camera, check out my new 86-page eBook, “Ultimate Comparison Guide to the URSA & CION” at onerivermedia.com/ebooks.Thanks!
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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Thanks for saying so, Tim! Glad to help!
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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Yeah, with a 82mm filter thread and running at 16mm wide, choices get slim. Our screw-on filters are 77mm so anything larger we use our Panavision sized filters and put them in the mattebox (which is usually the case anyway for any of our lenses). With that said, I’ve enjoyed using the Singh Ray Vari-ND filters over the years. They do have them in 82mm.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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I can’t comment on the Cabrio in this configuration, but the CA you’re seeing in the B4 lens is all due to the quality of the lens itself. This becomes less apparent with high quality $10-$20k HD ENG lenses, especially in relation to the quality of it internal 2X extender.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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The Canon 16-35mm 2.8L works like a charm on all EF mount BMD cameras. We’ve used that lens from our collection since day 1 of the BMCC. Works great on the 4K too.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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I agree with everything Matthew and Richard already said. Just to add, the Schneider filters are the best IMO, with Tiffen a close second (some Tiffen filters seems to have a very slight green shift, almost unrecognizable). The Schneider filters use some of the best glass manufacturing methods available and are thus extremely clean and transparent with very little shift. And yeah, as Matthew said, if these filters are out of your budget (namely the Schneider filters) then look into a variable ND filter that screws onto your largest lens and use step-up rings for your smaller lenses (we’ve enjoyed the Singh-Ray Vari-N-Duo over the years as it’s both a circular polarizer and variable ND in one).
BUT DON’T FORGET…
If you use heavy ND filtration, you’ll need to accompany it with an IR CUT filter as well or you well get major brown/magenta shift in the blacks. Every CMOS camera is susceptible to this and depending on the camera/sensor (even the ARRI Alexa), you need the right IR CUT. For the Blackmagic Cinema Camera, the Schneider IR CUT 680 is the best.
Get ready to pay some coin!
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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Just for the record, the BMCC at 2.5K RAW is always true lossless/uncompressed at a consistent 5 MB per frame but can do it since it’s going to SSD. Alternatively, the Pocket Cinema Camera at 1080 RAW is mathematically lossless, but with file compression with file sizes that cut the size by around half depending on the image. In short, both the BMCC and BMPCC have no image compression, but the BMPC 4K will in fact have some, again, not foreign to any 4K/5K/6K RAW camera.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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[pekin azer] “will the 4K raw be uncompressed? i remember 4K raw not to be 1:1”
12-bit RAW has not been released for the 4K yet. It will however have lossy compression to deal with the large bandwidth requirements. As it is, 10-bit ProRes HQ 4K is 880 Mbps. Most 4K/5K/6K capable cameras that offer RAW are also compressed in one or several manners. A lossless/uncompressed 12-bit 4K RAW file would just be too large under current technology.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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[Albin Neupert] “So with a Blackmagic 4K and a low budget for lenses, you have to live with zoom lenses that have a short range, are not very fast, are not ideal for follow focus and most of all, you have to adjust aperture manually over a touch screen, which is hopeless in many situations. “
Just to clarify to those that are new to this stuff, this is true for anyone that has limited budget for ANY video camera. Photo lenses are the means to affordable glass when true cinema lenses are not a viable option. This isn’t a case about the 4K camera itself. I see people all the time shooting with $50k RED cameras with Nikon F photo lenses and Canon EF lenses. Again, this isn’t a case about the cameras themselves.
[Albin Neupert] “One suggestion: Use Nikon lenses with an Novoflex EOS EF/Nikon NT adaptor, which allows you to at least have manual aperture control via aperture ring .”
Or better yet, use fully manual Nikon F mount lenses, using any low-cost EF-to-F adapter. The cost is low enough that you can buy an adapter for each Nikon lens and always keep it with each lens.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter