Other: BlackMagic Cinema camera!!!! 2.5k for 3k...

A couple couple concerns for me right now are:

1) The resolution (softness) of the initial footage (no offense to the original shooter) seams to soft for me at the moment. I understand that there are many factors that could contribute: Vimeo, compression, debayering algorithm, pre-production model, etc. But I find myself hoping that it will be sharper when we see more footage. If

2) Will the sensor crop increase any chromatic aberrations due to the magnification? Can EF lenses handle this kind of "scrutiny"? Could this be why some of the footage looks soft?

Besides that I am so freaking excited for this camera!
 
bruceallen said:
Well, you want shutter sync - which is more than just timecode. Hey, I want that too!

Yes, definitely interested in doing a mirror rig setup if it can be hacked together (Blackmagic may be friendly to this?). Maybe some combination of clever power cycling / LANC triggers / etc.

But man I would much rather have genlock or some sort of USB link... even GoPros have it!


Bruce Allen
www.boacinema.com
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Yes, genlock is what we want - but I don't want to seem churlish when this amazing thing is less than $3k :) Don't like power-cycling bodges though.

What's been going round my head is the idea that BMD may be able to provide a sync function for stereo 3D by tying two cameras together via their Thunderbolt ports and writing some cunning firmware...

Cheers

Neil
 
Ryan-Guy said:
A couple couple concerns for me right now are:

1) The resolution (softness) of the initial footage (no offense to the original shooter) seams to soft for me at the moment. I understand that there are many factors that could contribute: Vimeo, compression, debayering algorithm, pre-production model, etc. But I find myself hoping that it will be sharper when we see more footage. If
Click to expand...

Res seems fine...

http://johnbrawley.files.wordpress.com/2012/04/untitled_1-23-1.jpg
 
Ryan-Guy said:
A couple couple concerns for me right now are:

1) The resolution (softness) of the initial footage (no offense to the original shooter) seams to soft for me at the moment. I understand that there are many factors that could contribute: Vimeo, compression, debayering algorithm, pre-production model, etc. But I find myself hoping that it will be sharper when we see more footage.
Click to expand...

This is a constant issue for people with RAW footage. RED is soft too out of the box.

You have to apply sharpening to stuff that started out RAW, period. Otherwise, it'll look soft.

The DSLRs are sharpening the footage coming off the sensor in-camera, as are the video cameras (F3, etc.).
 
about rolling shutter ...
what i see they put canon 70-200 zoom on their camera ...that is extreme zoom for that sensor and of course u will see jello...
but i dont see it much in demo shot and it uses 35 mm leica (about 80 mm on FF) ...and about low light BMD sensor has 6.5 micron pixels that huge and same as 1dx ...and dont forget when u shoot h264 codec become noise reduction because it eliminates fine details ....raw files are always nosier than jpeg (shoot 5d2 in 1600 raw and see) ...and BMD has more than two stops advantage for same DOF (2.8f for BMD is about 6f on 5dm2)...just go and read Shane Hurlbut blog he constantly uses 5.6f...
thats is a reason why many people need 3200iso on FF ...and anybody who say that he can shoot with 5d2 at f2 must have zen master powers...and i dont understand what is all this fus with wide angle lens ...even Terry Gilliam king of wide shots use 14mm on s35 (Kubrick used 18 mm on academy ratio as his widest lens)...do we really need 14mm wide lens on FF...
and pores and DNxHD 422 is fine because u need 8MP sensor to get 2K 444
 
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Erich Ocean said:
This is a constant issue for people with RAW footage. RED is soft too out of the box.

You have to apply sharpening to stuff that started out RAW, period. Otherwise, it'll look soft.

The DSLRs are sharpening the footage coming off the sensor in-camera, as are the video cameras (F3, etc.).
Click to expand...


Ahh that makes sense. Well in that case it is good news in that we have control... I hope BM release some DNG files for us to play with before July.

Also, I had a crazy idea. Could it be possible to use a b4 lens with a b4-to-EF mount adaptor with moderate extender? I know that you can mount a b4 to a t2i/7d/etc. as long as the lens has a 2x range extender, but you lose ~2.5 stops. But since the sensor is smaller you wouldn't need as drastic magnification. I'm not sure if there are 1.4x or 1.2x range extender out there, but it might be kinda cool to have this as an option...

Sources:
http://www.dslrnewsshooter.com/category/canon-eos-1d-mk-iv/
http://www.mtfservices.com/home.htm...page=flypage.tpl&product_id=110&category_id=2
 
brunerww said:
This has probably already been covered in one of the thousands of posts in this thread, but a Thunderbolt to HDMI adapter is 10 bucks. Which goes to show you what a great company BlackMagic Design is. They could have left Thunderbolt out and forced you to buy one of their $300 SDI to HDMI converters!

If you have $10 extra to spend after you fork over $3000 for the camera, your EVF should work just fine.

Bill
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Has it been confirmed that you can get a video signal out of the thunderbolt port on this? - I was under the impression that their implementation of the TB port on the camera was for data backup only. Maybe the fact that you use Ultrascope with the TB port is an indication that you can send video out to an HDMI evf via an adaptor?

Adam
 
Ryan-Guy said:
A couple couple concerns for me right now are:

1) The resolution (softness) of the initial footage (no offense to the original shooter) seams to soft for me at the moment. I understand that there are many factors that could contribute: Vimeo, compression, debayering algorithm, pre-production model, etc. But I find myself hoping that it will be sharper when we see more footage. If

2) Will the sensor crop increase any chromatic aberrations due to the magnification? Can EF lenses handle this kind of "scrutiny"? Could this be why some of the footage looks soft?

Besides that I am so freaking excited for this camera!
Click to expand...

Do you mean the inherent crop on the sensor? It doesn't crop when in prores mode it downscales the whole sensor.

Yes EF lenses can handle this - they work fine on 20+megapixel stills cameras.

I have seen references to the resolution of lenses before and some ask if they can handle 1080 or 4k or whatever..it's ridiculous. 4K is only 8 megapixel.. it's not that high res really..
 
Erich Ocean said:
This is a constant issue for people with RAW footage. RED is soft too out of the box.

You have to apply sharpening to stuff that started out RAW, period. Otherwise, it'll look soft.

The DSLRs are sharpening the footage coming off the sensor in-camera, as are the video cameras (F3, etc.).
Click to expand...


The RAW files look like they have plenty of RES to me. No sharpening was applied to these files at all. Just CC.

I'll be putting some more clips up soon. ;-)

jb
 
Neil Johnson said:
Probably already been mentioned, though I can't go through the full 90 odd pages of thread...again.

When is the ETA on the PL Mount - It's a Cinema Camera - I want to put Cinema Lenses on it.

Hopefully some third party likely to be able to make an adapter for the meantime, if it's a while off.


Neil.
Click to expand...

It will definitley be later, not sooner.....

jb
 
Cosimo Bullo said:
Lowlight: I don't need a camera that does all things. If this thing is released as a 320iso camera, so be it. I have other choices for lowlight. What I really need is a small camera that can deal with highlights and shadows and has re you can hang your hat on at 1080.
Click to expand...

ISO is up to 1600 right now. Probably higher still to come.

jb
 
PopcornFlix said:
John mentioned that BMD is fine-tuning the sensor calibration to get a better image. I think BMD doesn't want to release a "sample" image until it's a representative sample of what the release unit will produce.
Click to expand...

BMD are very aware of the scrutiny they will have and have some careful plans for the release of footage.

Right now the sensor calibration hasn't been done, so there are dead pixels and some fixed pattern noise. The ISO scales are still not all mapped out and they are still fine tuning the curves. They don't want to give anyone the wrong impression.

jb
 
i mean when u did color correction did u use sharpness ...
because is standard procedure with RAW images...
 
Letzring said:
#1: Quit copying my posts:engel017:

#2: Be careful! You will get chewed out by someone for being so negative.

I actually like almost everything about this camera, if I could find a spot to preorder I would even get in line. I would, however, like to know how to set exposure with a manual-iris lens other than tethering to a thunderbolt compatible pad or laptop. I trust the answer will be revealed in the fullness of time.
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Manual iris ? Wouldn't you just manually pull the iris on the lens ?

jb
 
PopcornFlix said:
Re RAW vs compressed: BMD CEO gave a couple of on-camera interview/demos and said RAW is 2.5k DNG, and compressed formats are 1080 and can be dropped right into FCP, Premiere and Avid. In one interview he was asked about the ProRes flavor, and he was taken off-guard. He answered 4:2:2 HQ, but didn't seem sure. Naturally, I'd prefer 4:4:4.
Click to expand...

Pretty sure it's 4:2:2 HQ

jb
 
vladszp said:
i mean when u did color correction did u use sharpness ...
because is standard procedure with RAW images...
Click to expand...


I used NO sharpness. Just a colour correction. And even that was more a balancing than giving it a *grade* as such.

No Sharpness applied. no NR applied.

jb
 
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