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

[Harry Lime]

http://www.lumatechinc.com/16.html

Here is some interesting information regarding the coverage of Illumina S16 prime lenses.

 

[Kholi]

Predator mode or histogram - whatever is easier to implement, or both. Fine with me. Definitely don't like Zebras as the only option.

I wouldn't mind predator mode, only use it to light green screens and white cycs personally but I'll take it.

 

[philiplipetz]

I'm still trying to figure out why a waveform is necessary... it's a RAW camera... if anything, Predator Mode would be more welcome than a waveform, and even that only reports back what the viewing LUT displays. You'd have to switch to RAW, then monitor scopes, whatever, then back to the LUT.

The learning curve, it will be too big for some.

It s a RAW camera that also shoots compressed formats like ProRes where exposure and WB are more critical.

 

[Rick Burnett]

I'm still trying to figure out why a waveform is necessary... it's a RAW camera... if anything, Predator Mode would be more welcome than a waveform, and even that only reports back what the viewing LUT displays. You'd have to switch to RAW, then monitor scopes, whatever, then back to the LUT.

The learning curve, it will be too big for some.

Give me a waveform like on the AF100 ANYDAY!! After having that and going to the histogram on the FS100, I really miss it. I'd have it on the internal LCD and use an external LCD for monitoring. The beauty is, with the waveform, you don't have to guess how far you are in your exposure, you see it and it's WONDERFUL.



Did I mention I miss waveforms?!?

(Although I'd prefer both, having the histogram in the bottom of the FS100 is nice as well and better than nothing).

 

[bufo55]

It s a RAW camera that also shoots compressed formats like ProRes where exposure and WB are more critical.

I'm so excited about RAW capability I forgot about that - though come to think of it, if WB really is baked in (and I still don't buy that 100% - one more reason I want a to see a DNG) waveforms would help. And you don't need an AF100, the HMC150 has them, and maybe even some cheaper camcorders by now. Another capability that it seems should not be too hard to add. Certainly not as difficult as 60 fps.

 

[vincent thomas]

True. Very nice footage really, but i will also be curious to see the same scene with just window sun lighting and that all. Or maybe just a single reflector, but excepted for few occasions like green screen, i don't see the point to go for a cheap cam in my backback if
have to carry a 1.2k HMI in my truck

Totally agree Kholi.

If this camera can survive real world environments, it will most definitely survive a controlled set. Almost any camera on a controlled set can be made to look good, because you can adjust the lighting etc to make the best image the camera can do. In the real world your at the mercy of nature and all the variables that come with it.

Pappas
http://PAPPASARTS.WORDPRESS.COM
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BlackMagic Digital Camera Info Thread: http://www.dvxuser.com/V6/showthrea...mera-Technology-Announcements-amp-Latest-Info

 

[plasmasmp]

White Balance in a RAW camera is only metadata if its truly fully RAW. Sure you need the regular exposure tools for baked in prores/dnxhd, but for shooting like a Red you just need a RGB Histogram. I guess this thread is hundreds of pages, so I don't really sound like a broken record yet.

 

[Chaos123x]

Too bad they are just as expensive as the Zeiss full frame lenses.

 

[adkimery]

1 - Will the battery be high enough quality to handle the potential abuse that kind of charging/discharging? My (limited) understanding of battery tech tells me it's better to let your batteries discharge fully before recharging them.

Lithium-ion batteries (which most consumer electronic devices switched over to years ago) shouldn't be totally drained as this could destroy the battery. Most devices will actually put themselves into a hibernate-type mode when the battery gets extremely low as an act of self-preservation until they can get charged again. These batteries also like to be 'topped off' frequently. The days of totally draining a battery, then totally charging it, the totally draining it, etc., are long gone.

You should always read the product manual though and follow what the manufacture recommends.

 

[trez]

there was something 70's about the girl in hair curlers... maybe its the colors. Skin looked a bit flat and ... yellowish

Noticed it, too. Quite pronounced. To me all videos posted so far have this yellowish cast... reminds me the colors I was getting with GH2 when I started using it. However, since it's raw, it should be much easier to get rid of, compared to baked-in GH2 color cast. I think it's just matter of how raw is 'developed' (debayering) - all in all there's no real color in RAW footage, just the values of color-filtered photocells. It's up to the software to interpret them right - I'm sure the debayering/color matrix can be tweaked to produce better colors.

 

[Neil Richards]

Speaking of a 1970's look, I'm struck by the similarity:





He he :thumbsup:

 

[Danielvilliers]

Just wanted to clear this up before any info gets twisted: the extra battery charges the internal battery. You will never have a dead battery if you have another battery or two. That means you can hop off of the rig, do whatever you want, return to the battery powered rig.

It's like the Bebob RED battery plate: endless power as long as you keep the batteries going.

Definitely not dead weight. But, I get what you were saying. Didn't want people to think the battery was useless.

Do you think it could work with a dead internal battery. I am saying that because of the hassel of internal battery changing.

 

[skital]

I've read of some people concerned about the low light, but isn't it possible and maybe likely this camera could perform as good or better than say a GH2, which uses a 12mp sensor scaled down to 1080p. The pixels should be quite a bit larger than on the Gh2, so couldn't low light be as good or better with the BMC?

 

[PopcornFlix]

If you want BMD to offer a M4/3 mount soon, send them a tweet at @Blackmagic_News

and get the word out to other interested shooters to do the same. It's more direct, and doesn't require them to read 130+ forum pages.

 

[yoclay]

If you want BMD to offer a M4/3 mount soon, send them a tweet at @Blackmagic_News

and get the word out to other interested shooters to do the same. It's more direct, and doesn't require them to read 130+ forum pages.

Believe me they already know.

On another similar note, I am really struck by the nature of the strategic partnership between Blackmagic and Zeiss. It extends to the point that none of their company spokespeople in any interview I saw, could pronounce the name "Nikon" instead they had to say ZF mount. Pretty ridiculous and definitely part of the terms of a corporate disclosure agreement.

If what so many here want comes to pass, that camera will almost certainly be known as a Zeiss MFT mount.

 

[cpc]

I've read of some people concerned about the low light, but isn't it possible and maybe likely this camera could perform as good or better than say a GH2, which uses a 12mp sensor scaled down to 1080p. The pixels should be quite a bit larger than on the Gh2, so couldn't low light be as good or better with the BMC?

Yes it could. More pixels can technically collect (nearly) as much light as a single large pixel. But more pixels mean more readout/infrastructure noise.

 

[daveswan]

That was the result of a typo. What they were meaning was ZE (ie Canon mount Zeiss) nothing to do with Nikon at all.

 

[mandrean]

It's laughable that some people, including Mike Curtis at Pro Video Coalition, is calling it a "supermodel with ninja claws" great for reality and documentary.


The sensor is LARGER than s16 mm film. There are numerous great films shot on super 16mm film:


1) Babel. Nominated for 7 Academy Awards, including Best Picture, 7 BAFTA's, including Best Cinematography and Best Film, 7 Golden Globes, including Best Film (Winner) and the Technical Grand Prize (Winner) at the Cannes Film Festival.


2) Black Swan. Nominated for 5 Academy Awards, including Best Picture and Best Cinematography, 12 (!) BAFTA's, including Best Cinematography and Best Film, and many many other smaller prizes for Best Cinematography.


3) The Hurt Locker. Nominated for 9 (!) Academy Awards, including Best Picture (Winner) and Best Cinematography, 8 BAFTA's, including Best Film (Winner) and Best Cinematography (Winner) and 3 Golden Globes, including Best Motion Picture - Drama.


4) City of God. Nominated for 4 Academy Awards, including Best Cinematography, 2 BAFTA's and 1 Golden Globe.


5) March of the Penguins. Most beautiful and beautifully shot documentary I've ever seen. Won Academy Award for Best Documentary Feature. Nominated for 2 BAFTA's, including Best Cinematography. Second highest grossing documentary film of all time.


5) The Wrestler. Nominated for 2 Academy Awards, 2 BAFTA's and 3 Golden Globes.


6) The Squid and the Whale. Nominated for 1 Academy Award, 3 Golden Globes, including Best Motion Picture - Comedy, and it won awards for best dramatic direction and screenwriting at Sundance.


7) Gaspar Noé's Irréversible.




So don't come and bullsh*t me about s16mm not being cinematic enough.

 

[Brian@202020]

Nikon F/G lenses can easily be adapted to Canon EF mount, they will just all be manual. I have an arsenal of Nikon lenses and I plan to adapt all the F lenses with an adapter with an AF confirmation chip like this, and my G lenses with an adapter with an AF confirmation chip like this. There are plenty dumb adapters as well without the AF conformation chip, the camera just won't be able to tell if it is in focus.

 

[cpc]

It's laughable that some people, including Mike Curtis at Pro Video Coalition, is calling it a "supermodel with ninja claws" great for reality and documentary.


The sensor is LARGER than s16 mm film. There are numerous great films shot on super 16mm film:


1) Babel. Nominated for 7 Academy Awards, including Best Picture, 7 BAFTA's, including Best Cinematography and Best Film, 7 Golden Globes, including Best Film (Winner) and the Technical Grand Prize (Winner) at the Cannes Film Festival.


2) Black Swan. Nominated for 5 Academy Awards, including Best Picture and Best Cinematography, 12 (!) BAFTA's, including Best Cinematography and Best Film, and many many other smaller prizes for Best Cinematography.


3) The Hurt Locker. Nominated for 9 (!) Academy Awards, including Best Picture (Winner) and Best Cinematography, 8 BAFTA's, including Best Film (Winner) and Best Cinematography (Winner) and 3 Golden Globes, including Best Motion Picture - Drama.


4) City of God. Nominated for 4 Academy Awards, including Best Cinematography, 2 BAFTA's and 1 Golden Globe.


5) March of the Penguins. Most beautiful and beautifully shot documentary I've ever seen. Won Academy Award for Best Documentary Feature. Nominated for 2 BAFTA's, including Best Cinematography. Second highest grossing documentary film of all time.


5) The Wrestler. Nominated for 2 Academy Awards, 2 BAFTA's and 3 Golden Globes.


6) The Squid and the Whale. Nominated for 1 Academy Award, 3 Golden Globes, including Best Motion Picture - Comedy, and it won awards for best dramatic direction and screenwriting at Sundance.


7) Gaspar Noé's Irréversible.




So don't come and bullsh*t me about s16mm not being cinematic enough.

Babel and City of God do mix 35mm with 16mm.
But you are, of course, right. People tend to confuse "exteremely shallow DOF" with "selective focus" with "filmic look".