BLACKMAGIC CINEMA CAMERAS

Raw shooting cameras - URSA Mini 4.6K, BMCC, BMPCC and more

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    • A7SIII (and why you should wait before buying GH5)
      I prefer not to use AF for video like many other people, does that mean I am "living in the 60s" ? You know what...this is not even worth the back and forth. Good luck man
    • Variable ND filters for video?
      Thank you for the advice joema, I will keep those points in mind. 


      I found this one on ebay which seems like it might be decent, seems to tick all the boxes. I think its probably the same as the one ntblowz mentioned. 

      http://www.ebay.com/itm/ZOMEI-HD-Slim-Fader-72mm-MC-Adjustable-Neutral-Density-ND2-ND4-to-ND400-Filter-/171299935275?hash=item27e245942b:g:6sAAAOxyeZNTSp9c    
    • The Thread for Good Deals and Discounts
      Now that the GH5 with 4K60p is here... anyone with a need for that resolution/rate in an action cam? It's the AliExpress Anniversary with a world premiere sale* of the new YI cam: https://sale.aliexpress.com/__pc/new_xiaoyi.htm https://www.yitechnology.com/yi-4k-plus-action-camera * a lot of prices end up even cheaper when using the AliExpress app on your mobile device!
    • My Review of the Zhiyun Crane 3-Axis Gimbal
      I can now see exactly why the camera in this video is not properly balanced: It's too far at the front, which could only be the "center of gravity" if the lens was a styrofoam dummy.  The tilt axis (where the problem exists - the Crane doesn't tilt, resp. stops tilting at a certain angle and falls back) needs two things to adjust: The position of the camera and the thumbscrew on the right side. The free dropbox unfortunately does not support image links any longer, but you can see it here. To make things easier, I copy my description from two pages earlier here: If the camera can only be balanced by shoving it completely to the front AND by going beyond zero cm, the tilt won't work = it's too light for this particular gimbal or has the wrong form ( ie. smartphones). It doesn't help much to put on more weight, which I tried as well, here. If at all, you had to make the lens heavier (lead sunshield ), not the camera (cage, QR-plate) or the gimbal (my example) ... EDIT: Your 120g lens probably is not a pancake and will allow you to balance it perfectly without adding weight.    
    • Variable ND filters for video?
      You generally need some type of ND when shooting outdoors at wide aperture. For scripted shooting, a matte box and drop-in fixed filters may work, but for documentary, news, run-and-gun, etc. a variable ND is handy. This is why upper-end camcorders have long had built-in selectable ND filters. However with the move to large sensors, the entire optical path gets larger. It becomes much harder both mechanically and optically to fit multiple precision fixed ND filters inside. The surface area of an optical element increases as the square of the radius, so it becomes much harder (and more expensive) to make a perfectly flat multicoated filter. The Sony FS5 has an electronic variable ND, showing how important this is for video. It doesn't make sense to put a $20 filter on a $2500 lens. However filter price and quality are not necessarily directly related. In documentary video I've used many different variable ND filters, and here are a few things to look for: (1) If at all possible get one that fits inside a lens hood. This is the most difficult requirement since there are no specs or standards for this. You use a variable ND outside under bright (often sunny) conditions -- the very conditions where you need a lens hood. However most variable ND filters and most lenses are incompatible. The ideal case would be certain Sony A or E-mount lenses with a cutout in the lens hood which allows turning the variable ND filter without removing the hood. However it's very difficult to find one which fits. (2) Get one with hard stops at the end of each range. Otherwise it's difficult to tell where you are on the attenuation scale, and this adds a few seconds which can make you miss a shot. (3) Get one which does not exhibit "X" patterns or other artifacts at high attenuation. This typically happens with filters having more than 6 stops attenuation. (4) Get one which has the least attenuation on the low end, ideally 1 stop or less. This reduces the times you have to remove the filter when shooting inside. A filter which goes from 1-6 stops is likely more useful and less likely to have artifacts at high attenuation than one which goes from 2-8 stops.
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