[Matthew Sonnenfeld]

Are you intending on recording raw inside the camera and you want ProRes to use as well?

The problem in general with these types of workflows is that there is no actual link between the recorded raw media from the camera itself, to the files created by the Samurai. What this means is that your NLE may not actually recognize them. To give a super basic explanation, you would at least need the file names to be identical for the NLE to reconnect. The BMCC and Samurai have completely different naming conventions. After that you really need matching source timecode.

Direct proxy recording is not really what the BMCC was made to do. While you are correct in that you should be using proxies, honestly you are much better off generating them out of DaVinci Resolve or even After Effects. I know it’s extra time on the transcode, but it’s the only way really that you know it will work.

As per a monitor, you can get a better monitor if you don’t need to spend on the extra cost of having a recorder attached to it.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
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2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

The firmware is similar on the cameras though it is not the same. There is the ultimate goal of having a unified firmware though in the current cameras the pocket has a different firmware. Keep in mind that the pocket does not have raw or DNx recording. If firmware were the same, so would be the recording features. Additionally, note how the pocket had the “blooming” effect which was fixed in firmware and that the black spot in highlights was fixed on the pocket though not in the original BMCC. These are all firmware differences of which there are many.

It is my understanding that when there is an external power source plugged in, the camera uses the external power as priority of the internal while simultaneously charging the internal. Because of this I don’t think that the low power of the internal battery would have made a difference as the only time it would have actually switched power is swapping external batteries.

I can’t say that I’ve seen this before personally. Is there a problem at all when recording? Issues with footage? Or was it only when on standby and at random times during the day?

I would run some tests using the same power setup you were using on set along with the included power adapter just into a regular outlet. Also try running entirely on internal camera power. Try to recreate the problem using both scenarios as close to what you were doing that day on set and see if you can zero in on the problem.

Post back and let me know your findings.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

As in it would play it continuously on the camera in an NLE it would come up as one clip with markers?

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

This doesn’t sound like an SSD issues to me though it is certainly possible. On this forum we typically recommend the SanDisk Extreme 240 and 480 SSD’s,

Have you updated firmware at all? Possibly something could have gone wrong there. I would honestly call BMD. It sounds like a software glitch and the camera might need to be taken in and repaired. Could try a firmware update as well and see if that fixes it.

I wouldn’t take it on any other shoots until you are confident that it is working 100%.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

Spot on Ray.

David, all that you need to know is the crop factor is a reference point that refers to the FIELD OF VIEW relative to a 35mm film or digital frame (“full frame”).

Whether or not a lens is designed for a given format such as APS-C or Micro 4/3, the lenses FOCAL LENGTH remains constant. The old saying goes, “a 50 is a 50 is a 50.” Basically this means that a 50 for any camera, is still a 50. Even though you may “crop” the center and have a tighter field of view.

Camera and lens manufactures do not make lenses that account for this crop numerically. The Rokinon 16mm lens is still a 16mm lens. But by saying it is for the APS-C format, all that means is that image circle is smaller and it will vignette on a full frame sensor. Mathematically though, it’s equivalent field of view is that of a 26mm lens full frame, in Micro 4/3 format it would look like a 32, and a 36 on BMCC.

This is because focal length is a physical thing. It is the distance of the rear element of the lens to the focal plane (the sensor) when the lens is at infinity focus. This cannot be affected by format and as such, the field of view of all lenses of equal focal length, on any format, is measured relative to full frame.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

Twixtor is supposed to be very good. I haven’t experimented with these myself though I think that would be the first thing that you would need to try.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
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2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

The Rokinons are very sharp lenses. If you are looking for sharpness then I would go for the Rokinons. But the flexibility of the zooms may be good for you. It all depends on your needs.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
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2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

The Rokinon/Samyang/Bower lenses are all full frame. Keep in mind too that the focal length is not measured relative the the sensor crop that a lens may be designed for. The image circle though covers full frame across the line.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

Glad you enjoyed the article! Yeah it really does give a lot of insight on the concept of “perceived” and relative darkness.

You’re correct about your Tokina. As the aperture is constant, you will have constant exposure throughout your zoom range. In addition to the obvious light advantage, this is one of the reasons why constant aperture zooms are so important and helpful. When you switch to the Canon, you will only have to relight if you intend to shoot wider that 2.8. If you do want the closeups wide open at 1.4 then yes, you will need to relight.

As per your workflow, try to map out your shots and see physically where you will be moving on set, what directions you will be shooting in, and if you have to flip at all. As I said, I would try and settle on a light plot that you can adjust by using light modification other than switching out lights etc. Scrims and flags could help you a lot here. Don’t use dimmers as they will turn your lights towards an amber color. Always go brighter and knock it down than trying to push the levels in camera. If you can do that easily, then switch lenses when you are in the best angle for that shot with that lens so that you need to completely do everything twice.

I would seriously sit down and draw out your space and your light plot. Then make a shot list and map out where the camera will be for each shot and find where things may overlap then make the best order based on that. This will also give you the most consistency in your lighting as it will be essentially the same lighting setup with a few modifications from all similar angles.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
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[Matthew Sonnenfeld]

That’s correct. Something that you will see the more you shoot this way is that you will find yourself using light and shadow to create darkness instead of using little or no light at all. It really is a different way of thinking but it completely opens up cinematography once you do. Remember that darkness is relative. Something does not need to be actually dark to give the illusion of darkness.

I think that you will find this article enlightening (pun intended);
https://library.creativecow.net/nakamura_stephen/Prometheus-DI-IMAX/1

But yes, when you change your lens and the f stop, it will change your exposure so you will need to relight. But instead of NDing the camera, which may cause problems with regards to IR or even image quality depending on the quality of your ND filter, look into the use of scrims and other light modifiers before changing your camera setup. You also may find that you want to relight entirely for the new focal length or give a certain highlight/shadow in the closeup, etc.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
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