I keep seeing people blame the BMCC delays on the sensor supplier but from July to September I recall (which means at my advanced age, I could recall wrong) the delay being explained as a w8 on beta testers. IIRC, there were other excuses given as well. I didn't save the paper trail...anyone remember?
C100: blackmagic 4K is here, how does it compare to the C100.
- Thread starter Shawnvfx
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I keep seeing people blame the BMCC delays on the sensor supplier but from July to September I recall (which means at my advanced age, I could recall wrong) the delay being explained as a w8 on beta testers. IIRC, there were other excuses given as well. I didn't save the paper trail...anyone remember?
AndreeOnline
Veteran
Well, I am in no way claiming to have the most accurate version. I had no interest in the first BMCC and no interest in the next 4k version.
I just expect that a company like Black Magic should be able to turn things around with fewer snags along the line this time around.
But it probably makes sense not to plan or book anything before the camera is actually delivered.
I just expect that a company like Black Magic should be able to turn things around with fewer snags along the line this time around.
But it probably makes sense not to plan or book anything before the camera is actually delivered.
alex1
Well-known member
I was just speaking about myself and the small indie productions I have worked on. I'm sure big productions already use cams in the $15k+ range. But I work as a photographer and having RAW in post is such a treat to color grade. I can't wait for both the pocket raw and 4k raw cameras to come out. I do think the c100 is a great camera as well, looks very easy to use right out of the box.
I think few productions not most, few productions will risk aliasing and dropped frames and also 4k RAW will be 600+ gigs per hour. Red Scarlet is around 200 or less depending on your compression ratio. Depending on how long your indie is, RED is cheaper with more dynamic range 5k full frame subsampling and pl mount. Though some will make black magic cameras sing for them, in reality for most its more of a pipe dream than a workhorse.
I think this camera will rule the no budget world, but if things are at stake like investors or clients, BMC isn't worth it.
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indiawilds
Veteran
I tell people that greed leads to grief. I come from a corporate background where I have seen firms closedown due to greed of a few managers. And in the personal front, I have seen many people lose their life's savings to scamsters just because of greed. No magician can force me to part with my money for some unproven camera whose footage we haven't seen.
In the BMC Version 1 camera we didn't knew that there is bad case of moire. The comparison video of BMC Vs 5D III was created in such a manner that you can only see the strengths of BMC. So better to wait till the camera is released in sufficient numbers. Only then you will realise whether there is moire, problems with lack of focus at infinity or some new issue. None of the problems were known by watching the footage shared by the DPs championing BMC.
If 4K USD can be disposed off like popcorn, then it is an entirely different matter.
C100 is a proven camera, not only in the hands of masters but in the common men and women shooting with it in the streets. There is a difference between fact and tall claims. Till the claims turn into reality, one should run with the proven camera.
In the BMC Version 1 camera we didn't knew that there is bad case of moire. The comparison video of BMC Vs 5D III was created in such a manner that you can only see the strengths of BMC. So better to wait till the camera is released in sufficient numbers. Only then you will realise whether there is moire, problems with lack of focus at infinity or some new issue. None of the problems were known by watching the footage shared by the DPs championing BMC.
If 4K USD can be disposed off like popcorn, then it is an entirely different matter.
C100 is a proven camera, not only in the hands of masters but in the common men and women shooting with it in the streets. There is a difference between fact and tall claims. Till the claims turn into reality, one should run with the proven camera.
Here's a good link that talks about the C300 in comparison with higher spec cameras, but for C100 I would say it's basically relevant info if you are using an external recorder.
http://carousel.hu/c300/
http://carousel.hu/c300/
That doesn't seem right to me. What is the source for this claim?
The C100 is still basically relevant even if you don't use an external recorder. Unless you're consistently doing color correction like this:
then you'd be hard pressed to ever see a difference.
slidemaster
Well-known member
alex1
Well-known member
Wow great video. I haven't edited RAW video before, but this demo makes me want to.
There was also DSLR stuff there too. A good grading guy can do miracles with AVCHD.
indiawilds
Veteran
I fully agree that a good grading guy can do wonders. When I was getting my film shot in DSLR colour graded by a professional in Smoke, I was actually in awe. He told me that he can't push and pull a lot, but I was stunned to see him work. He was easily selecting either the background ie. trees etc or the subject (lion tailed macaque) and giving consistent colour to it across scenes. So when the scene rolls, the animal colour is exactly same across scenes. I have no idea if you can do such a thing in FCP X. He was also showing me that if I want, then the bright uninteresting sky can be replaced with a little bit blue sky from some other footage and can be merged. It was like green screen work. Editing and colour grading is not my domain, though I edit my stuff in FCP X for short films. So I know that when I am doing professional stuff, I will try to allocate budget for colour grading.
alex1
Well-known member
Oh, no doubt! I've seen some awesome grading even back in the dvx days!
I was commenting on the very flat RAW footage and how much fun it looked to grade. Like the increased dynamic range, the ability to choose any white balance and the far superior color space.