BlackMagic Cinema Camera Technology Announcements & Latest Info'

An HDMI output would be nice so that one can use the Zacuto EVF and phantom power to the balanced audio inputs would make it compatible with all types of microphones. Some sort of exposure tool on the built in monitor is a must I think. If neither of these things will make its way into this camera there will be solutions to them but not as sleek as having them built in. I don't count on the HDMI output because that would change the physical of this camera but the other things could be doable.

I see this camera as something that complements my AF101 and 5Dmk3 and it's something easily affordable.
 
Chaos123x said:
Red Scarlet 3K for 3K. I'm waiting on that.
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RED is no longer doing that camera. Their market is in a different segment of the industry. It's always possible RED might step back in this
market, and if they do, that would be awesome. However as of now, they are not officially.

Pappas
http://PAPPASARTS.WORDPRESS.COM
http://TWITTER.COM/PAPPASARTS
BlackMagic Digital Camera Info Thread: http://www.dvxuser.com/V6/showthrea...mera-Technology-Announcements-amp-Latest-Info
 
PappasArts said:
I was just talking to a friend that had some concerns with the choice of the internal battery only on the BlackMagic camera. ...
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I like the way John Brawley describes the battery situation here:
http://www.personal-view.com/talks/discussion/comment/57170#Comment_57170

"Look at it like this. It's a camera that doesn't have a battery. You use an external battery like you would on an Alexa or a RED that can be any of the various options out there...i've been using a Vlock with a Dtap. But it also has an internal battery if you really need one that lasts in my experience, 2 hours."
 
Peter J. DeCrescenzo said:
I like the way John Brawley describes the battery situation here:
http://www.personal-view.com/talks/discussion/comment/57170#Comment_57170

"Look at it like this. It's a camera that doesn't have a battery. You use an external battery like you would on an Alexa or a RED that can be any of the various options out there...i've been using a Vlock with a Dtap. But it also has an internal battery if you really need one that lasts in my experience, 2 hours."
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That's a great way to look at it. There are so may power options to choose. BlackMagic has designed it to be flexible allowing the user to choose different paths.

Pappas
http://PAPPASARTS.WORDPRESS.COM
http://TWITTER.COM/PAPPASARTS
BlackMagic Digital Camera Info Thread: http://www.dvxuser.com/V6/showthrea...mera-Technology-Announcements-amp-Latest-Info
 
This article covers the audio aspect quite well I think and puts it in perspective..
http://magazine.creativecow.net/article/is-the-new-blackmagic-cinema-camera-the-hdslr-killer

Not sure if the lack of metering is final.

On the battery front, I'm now seeing the internal solution as a bonus rather than a negative. As long as it works as advertised, having a back up supply on board can only be a good thing. It will limit the amount you can use the camera naked, not that I shoot in the nude that often.
 
Kholi said:
Edit: Also, if anyone's curious about the purple fringing in the beach stills, gonna also assume it's the lens being used wide open and the sensor shooting through a smaller area of it. I see this a lot when using ETC mode on the GH2 and it's much worse than this. It exaggerates what's already there but not as noticeable when the lens being used for what it's intended to be; a larger sensor area. Using faster glass and getting down to this same stop (3.5~4 perhaps), shouldn't even be noticeable.
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It's the Leica R Lenses...you mean the night shots pointing at the lights ?


jb
 
squig said:
Ahh it's a small world, me and my producer have our production meetings at a cafe 50m from where John shot the dusk footage. It's great to see a company producing a 4k camera for a reasonable price. Looking at the Bondi footage it's certainly no low light king but for 3k you can't really complain can you? It could make a great partner for my 5D MKIII. I just wish it had an APS-C sensor.
Click to expand...

Which means I live 50meters from your cafe....

jb
 
John Brawley said:
It's the Leica R Lenses...you mean the night shots pointing at the lights ?


jb
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Beach shots during the day and city shots around lights. Bondi video.

Ice only seen it witch cheap glass personally doesn't bother me but I saw someone askig about It elsewhere and wanted to offer some insight so people don't freak.
 
NewBlackMagic.jpg

Don´t get it.

Why is it "creative" to shoot without a monior hood?
And why "studio" to have a hood?

Would´nt you need a hood outside and less in a studio?

And yeah, handgips make it waterproof.

Bah, marketing blabber. :violin:
 
I don't get why people are hung up on "Full Frame" cameras. Correct me if I'm wrong, but for years just about all films were shot with S35 film stock. So that would mean all of those movies were a 1.6 crop when compared to full frame DSLRs correct?

Therefore, to a seasoned film DP wouldn't their world be a native 1.6 crop, meaning the standard 25, 50, and 80 primes that served them well over the years are what most of the films were shot with (or something close to that). If you went to film school to be a DP wouldn't you have used S16 or S35 to learn on? Meaning all the lenses you were used to for framing were based of the 1.6 crop. Therefore jumping to a 2.0 would really be a .4 crop from what you're used to right?

Again I could be wrong, but I remember working on union film sets and watching the AC's pull out mid range primes or 22-250 zooms and they worked just fine. I never once heard them complaining that they needed full frame to get more out of the lenses.
 
until 1990 film were shoot on academy ratio (21mm) ...lens were slower than what we have now ...
and i dont think that they didnt look cinematic enough...
 
'I don't get why people are hung up on "Full Frame" cameras."

Because most of us can't afford cinema glass (for an owned camera), we are shooting on still camera glass, designed for a full frame sensor. On a 2X crop camera my fastest and highest quality glass is turned into a telephoto lens. The 1.6 crop of S35, I can deal with that, it's workable. 2X crop just comes with too many lens issues unless you can afford cinema glass designed for it.

S16 was always kind of a fringe format mostly used in the low budget world.
 
Yes but whether it's cinema or consumer glass it shouldn't make a difference when it comes to field of view. A 50mm Prime's field of view should be roughly the same on S35 Film or an ASP-C size (1.6 crop) sensor. At least that's my understand, but correct me if I'm wrong.

There is no debating a $20k Cinema PL zoom is going to be faster and nicer then a $2k Canon L zoom. But regardless if I took the 24-70 2.8L Canon Zoom and with a proper mount, hooked it up to a S35 film camera, the field of view would be the same as a Canon 60D.

I guess my question is, why is everyone hung up on their cameras needing to be "full frame" when the only difference would be Field of View and a shallower depth of field. Sure that's great and all, but lenses used on film cameras were around a 1.6 crop and they've got great depth of field at mostly a 2.8T stop.

So again, wouldn't a jump to 2.0 crop really just be a .4 crop if you're coming from the film world?
 
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