Marco Solorio
Forum Replies Created
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Every shot is different, but generally, if the shot truly needs it, I perform de-noise at the very end of the process, especially after the grade. As you push levels to balance exposure (especially on severely under exposed shots with limited bit depth) you increase the noise floor. So there’s no sense in de-noising, then grading, and then only having to de-noise over again. Save the de-noise at the end of the chain and you’ll typically get the best results. But again, every shot is different!
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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Hey Matt, sorry for the tardy reply. Been crazy busy! The V-lock adapter you saw on my rig was a somewhat generic part that’s actually made for the AJA mini converters:
It’s not perfect, but it does work. Other solutions coming soon, so stay tuned.
The other mount that John linked to also works well for other applications (I have/use both).
Cheers!
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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We use Red Giant De-Noiser and Neat Video. Resolve 10’s de-noiser is much better than 9’s, although you can get somewhat similar results in 9 by doing split nodes (10 just makes it easier and faster for the most part). Adobe RAW reader has a decent de-noiser for basic stuff if you’re shooting RAW as another option.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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Are you running in REC709 or LOG mode? LOG will look flat and desaturated by default.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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You can definitely use B4 mount ENG lenses with the BMCC, preferably the BMCC MFT model as opposed to the EF model. I explain why here: https://www.onerivermedia.com/blog/?p=984
For live a B4 lens would work well, but only with high quality HD optics and a 2X extender.
I’ve used the BMCC in live event production, in fact the very first ever live event over 100 meter fiber Thunderbolt from the BMCC, over a year ago. I did use photo zoom lenses at the time, so the disadvantage of non-parfocal optics was an issue at the time.
One thing to keep in mind, the BMCC has no genlock output, so if your switcher requires your cameras to have it, you’ll have to use extra gear to make it work, or look into the ATEM switchers/sync boxes by BMD that can sync cameras that do not have genlock output.
The clean HD-SDI output is true full raster 1080 at 10-bit 4:2:2 Uncompressed REC709 or LOG (preferably the former as Matt suggested for this type of implementation). Personally, I totally prefer the BMCC over DSLR for this application in a heartbeat.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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With a 2X B4 lens, it will definitely work, depending on variables you can get excellent results as I’ve extensively shown here:
https://www.onerivermedia.com/blog/?p=984
Don’t bother with 1/2″ lenses.
Enjoy!
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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Yup, all good points, Matthew. There’s definitely just a tiny portion in the industry that would invest in E lenses. I don’t own any myself, nor would I ever invest in them. And true again, Canon will sell lenses as a longterm investment, but not 100%. Sigma, Rokinon, Tamron, Zeiss, Nikon, etc… there’s a slew of lenses that happily work on the EF mount, so it’s not a totally monopoly for Canon, but it definitely does add Canon lens sales to the scenario that wouldn’t have happened there before. All good points.
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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I think you’re on target with all the right answers, Matthew. But I have thought about this before myself… why not use Sony E mount on the 4K Production Camera instead of EF? Or even on the BMCC for that matter? There wouldn’t be any PL adapter flange issues and such with the EF mount models. Using Canon lenses on the likes of a Sony FS700 with a Metabones adapter (with full electronic communication) is a breeze, as are PL lenses. Then like you, I thought, “probably a Sony licensing issue.”
But it’s the same with the EF mount. The biggest camera competitor to BMD is Canon (with regards to DSLR users and in many cases, “C” users). Why would Canon license their EF mount to BMD?
So then I wonder, is a mount actually licensable? This I do not know. If a mount IS licensable, then why would Canon license it to BMD? If a mount isn’t licensable, then why didn’t BMD go with the Sony E mount for the 4K? My guess comes down to an alignment with your answer and the answer I’ve had since day 1… more people in the world have Canon EF and EF-S lenses and I’m assuming BMD wanted to have direct compatibility to those established lenses to the camera without the use of buying an additional adapter.
Still though, an E mount would have been nice. A swappable bayonet would have been even better! But in the end we make due and make pretty pictures anyway!
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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Shooting with the BMCC in RAW for chromakey work will definitely give you a huge edge (no pun intended) against any other camera that uses a plethora of compression algorithms to record its footage to media. I’ve often said that’s it’s a valid decision to buy a BMCC solely as a visual effects camera for chromakey work. Not many cameras can key individual hair fibers like the BMCC can. That’s impressive.
If you want some of the sharpest lenses available, then using Canon L primes is a good solution. Because they’re photo still lenses, they do lack in the mechanical functionality department as compared to a true cinema prime lens, but if you’re mostly locked on a chromakey set with static talking heads, then having the mechanical benefits of a cine lens may be a moot point for you, where the cost of photo lenses are much cheaper without losing image quality.
If you want IS for street use, then the Canon/Sigma mount EF/EF-S lenses are a good option as you suggest, but his is where a mechanical cine style lens does show its benefits as well, especially in regards to changing the aperture. For that, you might want to look at the Rokinon fully manual cine primes, which can be used on all four BMD cameras. Unfortunately they don’t have any manual cine zooms yet. For zooms, either a manual Nikon F mount can work (on all four BMD cameras), or the original Canon/Sigma mount idea is a good option (works only on EF mount BMD cameras).
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
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[Ali Quintana] “I read that there have been problems with certain type of SSD cards for example: Vertex 3’s
Please any one with experience advice me as to which brand to buy?”
We’ve been using the SanDisk Extreme 480 GB on the BMCC since before its public release over a year ago and to this day have never dropped a single frame with them in either RAW or ProRes HQ. We have continually recommended this specific SSD to the BMCC community since day 1. We had issues using other SSDs, but none with this specific SanDisk model, and we have about a half dozen of them. Because of its reliability, we don’t bother messing around with anything else.
As per your EF vs. MFT question, I answered that in your other thread here: https://forums.creativecow.net/readpost/367/770
Thanks,
Marco Solorio | CreativeCow Host | OneRiver Media | ORM Blog | Facebook | Twitter | BMCC Newsletter
PLEASE VOTE FOR ME TO PRESENT AT SXSW 2014!