[Richard Martz]

Ditto. Value means a lot.

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

Yes…It was the same delivery schedule with the Blackmagic Cinema Camera. Promises Promises and a bit of “engineering in the field” with respect to still not having usable audio. I generally love Blackmagic products but their promises are beginning to sound like deja vu.

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

The actual sensor sizes are listed below:

Blackmagic Pocket Camera: Sensor Size 12.48mm x 7.02mm
Blackmagic Cinema Camera: Sensor Size 15.81mm x 8.88mm
Blackmagic Production Camera 4K Sensor Size 21.12mm x 11.88mm (Super 35)

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

I guess you meant the BMPC, Blackmagic Pocket Cinema Camera (versus Production Camera 4K). And yes… I understand the pocket camera has a very similar sensor to the Cinema Camera.

We shot the video in PRO RES HQ. That was a matter of storage space and budget. We record on San Disk Extreme 480GB cards. Edit in Final Cut Pro 7

And it was pretty amazing. The video had a look much like RAW but we brought out the color by adding color using apple’s built in three way color corrector.

I have done some work with Resolve and that program is amazing but I’m just not proficient enough yet to be fast enough to depend on it to meet deadlines.

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

The BMCC and the BMPCC are very different sensors and will require very different lenses. BMPCC is a large format sensor similar to a “Full Frame Sensor in a DSLR like a Canon 5D or a Nikon D800. The BMCC sensor is an APS-C sensor similar to what is found in a 7D, 60D, T3i, Etc.

As I understand it the BMPCC needs no math since there is no multiplication factor for the lens system. And good luck finding one as they are in VERY SHORT SUPPLY.

The BMCC is a different matter entirely. Take the lens and multiply by 2.4 and you should have the effective composition multiple. If I were you I would find a similar size room and just mark it off. Rent a T3i at a camera store (cheap) with a zoom lens in the 17-300 range. Then try it out in that space or one that is similar making note of the zoom settings at places where you will normally be shooting.

Remember that since the BMCC has a smaller sensor the image comes from the sweet spot in the lens where aberrations are minimal. You can get by without having to use very expensive lenses and you will still have razor sharp images.

Here is a link to a music video we shot using a 17-70 Sigma lens. https://youtu.be/NVz4d3PAfu4

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

I have the same problem.

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

Based on my experience with the BMCC you can only use CANON EF series (or compatible) lenses on the camera. IRIS control is not necessary since the camera will communicate with iris control inside the lenses. There are a few ways to adjust the iris. If you push the iris button you will get instantaneous “AUTO IRIS” adjustment. and from there you can fine tune the iris by using the <> controls to get the desired exposure.

The L series (EF) lenses should work just fine. I’m not even sure what kind of iris control they might be referring to. Maybe someone more knowledgeable could contribute to the discussion.

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

Well said. The comment on being sure your matte box is sealed (side light) on your filters was a great idea as well. I was priviledged to take a cinematography course a few years ago with a guy who was an old experienced cinematographer. He showed us how to get an intentional effect – kind of like fog filtration – by using what he termed a “bias light” set a little less than 90 degrees and shining directly into the lens. Like a controlled flare. But I can imagine that the same thing would happen if a strong side light made it’s way through the matte box directly to the filters as well.

And Marco, Thanks for all time you put into evaluations of the BMCC. I can honestly say it is the best purchase I ever made and your evaluations helped me make an informed purchase decision.

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

Well said. The comment on being sure your matte box is sealed (side light) on your filters was a great idea as well. I was priviledged to take a cinematography course a few years ago with a guy who was an old experienced cinematographer. He showed us how to get an intentional effect – kind of like fog filtration – by using what he termed a “bias light” set a little less than 90 degrees and shining directly into the lens. Like a controlled flare. But I can imagine that the same thing would happen if a strong side light made it’s way through the matte box directly to the filters as well.

Onward!

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!

[Richard Martz]

YEP. I had already deployed HDMI monitors as my on-site monitoring. They are cheaper and work well for me. SO I was not eager to replace this with another combo SDI monitor. Also I don’t worry about the safety of the monitor nearly as much as a $5000 monitor sitting next to the grip kit. Those guys have destroyed a lot of my gear over the last 5+ years. I took an economic short cut here. I mounted a Blackmagic SDI to HDMI mini converter on my rig and I power it from my camera battery so that I can monitor HDMI right at the camera or loop to other client monitors. The BMCC viewfinder is large enough to work well for me in portable situations so I’m only using the monitors when I park the camera for awhile. In a “run and gun” situation I want to be as light as possible and this approach lets me achieve that. But whenever it is practical I do use a monitor. All of our monitors mount on C stands or a light stand with a 5/8 stud. That way we can set up and strike gear with ruthless effectiveness.

Sincerely,
Richard Martz

MagicMartz Media
Atlanta, GA

FCP 7
FCP X
Blackmagic Cinema Camera
ADOBE CREATIVE SUITE CC
Premiere Pro
DaVinci Resolve 9.0
MAC 8 core
After Effects
PhotoShop
Illustrator
Sony HD Cameras
24′ Camera Crane with Motorhead
8′ jib arm
20K watts of lighting
Multitrack audio
Teleprompters
Grip Truck/trailer
Location video monitoring
Door and hood mounts
Lots of other Fun Stuff!