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Battery life test, more than 2 hours 4k 25 fps continuous.

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions. “This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.” “I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” Blackmagic Pocket Cinema Camera 4K Apple ProRes 422 HQ ISO1000 and 3200 Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses

He makes a good point in the video. If you compare it to other cameras delivering FF 10-bit 4K, then the Z6 is cheap. Very cheap. (Meaning, inexpensive, not poor quality). My hope / dream / fantasy is that it will have all the dynamic range and color science the D750 had when shooting flat and nice 4K and great 1080p when shooting 8-bit internal.

THANK YOU - @CaptainHook @John Brawley Mark Wyatt and Andreas Neumann for all those footages. I truly believe is right up there with the Ursa and the BMD team really worked hard in providing the tools for independent filmmakers, videographers, and cinematographers. My hats off to you guys. I see my Xmas dreams be coming true.

Up until a couple of weeks ago the cheapest option was US$33K! (Canon C700 FF) Then the Kinefinity Mavo LF came out for "only" US$12K And shortly after the Nikon Z6 for only US$2K!!!

For a comparison from a Nikkor lens from the same era... here's a screengrab from a shot taken with the Nikkor 50mm f/2... also a $25 lens...

The first stills are the ungraded Cine-D - here's a frame with LogC and also Main routes (no WB tweak): Cine-D Original Cine-D to VLog + GHa LogC Cine-D to VLog + GHa Main Cine-D to VLog + GHa Main + Basic Luma Placement

Captain Hook: "Thank you" for the video releases. It's nice to see some footage from the camera and based on the samples, DR appears to excellent for a camera in this price range .

Sony sort of have to go 10-bit on A7S3 or I just don't see what that model has to bring to the table vs A73. Keep in mind though, it will probably still cost +$3K and have very low MP count. It's a speciality camera, not really an all-rounder. Nikon Z6 is still packing a lot of heat for 2 grand. Absolutely awesome to see confirmation the battery life way exceeds what was initially announced! 1000 shots / 2h10mn 4K ..with LCD on all the time! what was CIPA smoking when they rated it?!

The lenses are the ones we had available when the photography was done. As @jonpais says, we try to be as agnostic as we can practically be and we often recommend Panasonic lenses and others to people at trade shows etc when they ask.

But what do you really think about it?

Colorgraded the Models-footage from vimeo done by @John Brawley in ACES colorspace (Rec709 Idt) just using curves and log tools. Got rid of the harshness using blur and nodes qualifying brighter skintones with even more filtering. Used curves to compress highlights. Even added NR and grain. Looks way smoother now - download the ProRes 4K file to see for yourselves. Wonder what you guys think Looks good to me at least lol BTW, I think the Balloon clip looks very much shows the Blackmagic signature look. Reminds me a lot of my old BMCC 2.5k, just with more detail and way less aliasing and moire. Stunning!

Ive found an Ursa Major (does anyone even remember it ), asking price is bellow a Fuji X-H1 A lot of camera for the money, both in size and performance.

Yeah, I guess the original produced somewhat footage that I'd call 'flat with character'. That gave it a very organic and filmic look, which people took to heart and embraced even further in post. This new one seems to have more bite, more contrast and seems to lend itself nicely for a natural clean look. Would be interesting to see something more in the blockbuster direction. How things look when you give it more of a mood and look. I'm sure it will handle that like a champ as well. This puppy is probably very well-rounded and versatile.

So, beyond all the Chicken Little reactions and a subpar press release from Nikon (creating a crazy echo chamber of negativity), what I'm seeing is: -A well respected manufacturer with good qc and customer service -Small mirrorless body with adaptable mount -Full frame 24mp with clean 4K -10-bit HDMI out -Flat and Log profiles (basically the Nikon equivalent of CLog1 and CLog 3) -A few essential lenses, with every logical core option already roadmapped -IBIS that, by all accounts, bests Sony's -Great battery life (more than 2 hours of straight 4K) -Solid ergos, on par with other mirrorless manufacturers -Natural color science without any major problems (blue channel clipping, greenish skin, greens shifting towards blue, magenta cast, etc) -Integration with Atomos recorders for easy on set workflow All baggage, brand politics, and bad press strategy aside, it ticks a LOT of boxes for me. Gonna be looking hard at the Z6 when it drops.

Actually, for me camera- and post- color manipulation goes totally to the second plan... it seems to me that you dispose with truly high level of object composing, subject positioning and colors-harmonization intuitiveness. Many used angles and tonal compositions are so nicely chosen to provide brilliant accompaniment for according psychological aim... So, if it in general has a sense and if it is necessary at all, I encourage you to invest deeper in drama-shooting treatment, having great talent, feeling and eye, capable to - at favorable circumstances - result in something like, say, Enter the Void (Lets say I have some aesthetic background to dare to notice something like this :)

I will take a great looking image with great skin tones any day over good spec sheet. As far as I am concerned, Sony can put the best tech in the A7S III but if it's still classic color science and skin tones, then my search for a new camera hybrid camera will continue. I pre-ordered the Z6 and I look forward to first trying out the Z7 to see how I will like or not the Z6. I am keeping my eyes opened on the up coming Fuji XT-3. Canon, I am not holding my breath!

It even has a little swirly bokeh that is popular with some vintage lenses...

So is it the same sensor as the GH5S. I won't lie, the GH5S can be chanllenging to CG. More so than the C200. The codec is less forgiving. This has me wondering about the new P4k. Where is some footage I can download to butcher... erh color grade?Here is some GH5S footage for sake of comparison on a sunny day.

I quite like Main - it was made to be an ideal 'grade space' Smooth skin handling, filmic saturation envelope, and cinematic placement by default (just requiring black level). The core principle behind it was that all hues must remain identical in relative saturation and hue to LogC+709 (i.e. no color science change) You've gotten to gold both ways though, bravo

WOOOW https://www.sonyalpharumors.com/sr3-a7siii-to-be-announced-at-ibc-2018-on-sept-14/ We all know this site is BS but please make this real. "Very likely: – New 5.6 million dot EVF – 4k60p – 10 bit 4:2:2 external (not internal!) – new color science – dual SD card slot, Z-battery, chunkier grip Unconfirmed: – New 24 Megapixel Quad pixel sensor" Again, WOOW. 24mpx 4K60P with FS5II color science +5.6M dot EVF + all A7RIII improvements (including AF, battery...) + 10 bit external (well nice to have but not for me this one) is a dream come true.... The 24mpx means I do not need a A7III for stills, and it means 1.5x crop video mode with 1 button. MAKE THIS REAL. It will be 3000/3200 like the previous one for sure but fuck that, happily paying 1K more for an A7III with better color, 4K60P, 10bit external, and better EVF. Hopefully 240fps FHD too... Come on Sony do not disappoint.

Here, I just tried this... It´s graded using the "Main" lut. CineD-to-Vlog-to-GHa daylight "main". This below is the original.

The beautiful city of Stockholm, capital of Sweden where the day never ends in summer (the Sun sets at 11pm and rises again at 1:30am, there is always light on the horizon). Shot with the Mavic Air and 6D for the timelapse.

Yeah, I know I am... it’s the end of summer GAS... I go through it every year. I really just need a point and shoot camera that I can carry around with me for casual stills and video.

Nope!

I sold my 1DC to go back to ML Raw in the 5Dmkiii. So imo you are already set @mercer

Im with you. It will be unpopular, adapters are annoying and c-log is boss. I imported some old xc10 footage into final cut yesterday, just to see how it is since it got supported. Ten minutes later I was browsing 5Dmkiv adds

Glad it helped. Btw, uploaded a new version with fixed highlights and brighter lights and less highlight compression (not trying to recreate a necessarily cinematic but more commercial type of look). Don't forget to download the original ProRes file.

I guess I was caught off guard and forgot how some people will reach for just about anything in an attempt to troll, and play gear detective. LOL As they zoomed in on the shades, I spotted the tally in the exact location that it sits on the 4k pocket. Me either, shrugs... For a small company, Blackmagic shows a magical ability to bring the WORST out of some people during the build up to one of the camera releases.

And to help create space and hide a cut under some B-roll. In an interview setting, cutting out the taletn's 'Umms' and 'ahhs' is quite important, but you still have to have a small gap otherwise the cut can sound unnatural. Room tone is like audio cutaways in that sense.

They have a patent for a mount that takes both EF and M mount lenses. Whether this is it remains to be seen as they and others obviously have tons of patents that don't end up in actual products such as Sigma's patent for foveon video and my slightly less far fetched one for an autopilot system for unicorns.

Very important there is a little gap between when you last clap (or call "action") and when the take starts. For instance if in an echoey room it might take a few moments for everything to completely die down. And you don't want the remnants of echos to overlap with the actor's dialogue. Also, you want a bit of quiet at each end of the take of room tone to give you some room to play with in the edit rather than having to carefully slice it down to the frame.

Can you see the clap? If so then it is easy! Just line up the spike of the audio with the moment you see the two hands meet. But guessing that is what didn't happen.

It's fairly easy to sync up to mouth movements. The hardest part is getting the audio in roughly the right place. that said, you can just find the very first word the talent spoke. You'll have that as visual and as audio. If you get that word or sentance close, just nudge the audio by 1 frame left or right until it matches. It's about 5 or 10 minutes work, depending on when you started the audio rolling. In all honesty, you could have got it synced perfectly in the same amount of time it took to make the post and wait for a reply. ?

Yeah, I think there was just so much pressure / expectation that Nikon would make a camera that would be a grand slam and record 10-bit 4K 60p internally, that maybe the fact that it is the most affordable full frame 4K 10-bit camera was lost on people (like me).

OMFG, that looks like hammered Dog Shit! You can Not be serious!

Don't forget the G7 to G9, which are two products with totally different markets. Wish Panasonic had stayed more consistent in what their lines represented.

Hello! It's me again, last time I made a lighting breakdown and it was really cool to hear your thoughts and to get a discussion going. This time it's a much shorter post about gripping for low budget film. I made a short post about creating a car rig to mount the camera on a car hood with minimal setup and cost. Hopefully it's helpful for somebody, or at least you can draw some inspiration from this to do something similar! Here's the blog post, feel free to ask any questions!

I bet! My girlfriend is an artist and she can get pretty hardcore into the different kinds of various brushes she uses (has LOTS! & expensive too) and types of paint.

Is the 18-135 the stm version? when the lighting conditions are good its my favorite handheld run and gun lens for the c100 due its light weight and stabilization. It also can use the face tracking autofocus. see 1min mark below.

Hi everybody! It´s been a long time since the last time i pass on this forum. Now i wanna share my last work, a fashion/music film. Shot with GH5 and using @Sage Alexa color for starting point in the grading. Using 2,21 aspect ratio. Mastered in 2.3k (2386x1080) Hope anyone can enjoy it. PS: Soon I'll share some stills for comparison.

I'd say that's part of it, probably. MJPEG is basically the JPEG engine from Canon DSLRs as video @ 24/25/30fps. So it has that look, but adds C-Log to compress the DR in. I'd say though, that the 1DC is also one of the last of the Canon 'old colour' that they are most known for. SOOC colour is better on the 1DC than the 5D IV IMO. The 1DC therefore represents the best video they do with that old Canon colour and in that way it's rather special / unique. 5D IV has a much more green colour tint to it. I think the 1DC will go down as one of those very special and collectable cameras. I've been enjoying the features (PDAF) of the 5D IV and M50, but going back to the 1DC is just something else.

Speaking as someone who’s a long time user of the Olympus 4/3 (anyone remember that format??) and then micro 4/3 format. I own many 4/3 and m4/3 lenses from Olympus, Panasonic and others (Veydra, SLR Magic, Voigtlander) Generally speaking Olympus m4/3 lenses are better corrected optically. Panny tend to rely more heavily on in-camera / post correction. Olympus also OEM many lenses for others. You’d be surprised what major brands have lenses that are made by Olympus. Optics have always been their primary strength. (They are absolute leaders in other fields like medical where they have near monolopoly market share of endoscopes etc). Olympus are a really interesting company, very innovative. They were the first to do live view in a stills camera. First to have an ultrasonic cleaning of the sensor. And of course their IBIS has always been the best along with weatherproofing. In the past few years I have been consulting with Olympus on improving their product and features to appeal to more cinematographers. These things typically take time to filter though their product development cycle. The Pro primes are actually beautiful lenses. And they’re great for cinematography. Hard stops on focus for example. BMD asked me to shoot with the Olympus primes to show what could be done with inexpensive native 4/3 lenses and they do not disappoint. JB

Picked up one for $2400 from a production company. Totally still the top of my budget at the moment, but it will hang on the credit card for a month till I can make it up with an extra job. I have seen some great footage online from the mark 2's. I am a pretty good editor and know my way around the canon DSLR's so I hope the learning curve isn't that steep. I also am going to try out the 24-105 Mark II. I know the original 24-105 is a workhorse but the world is sort of split on it's results. Half say it works, half say it's to dark. So I picked up a 24-105 Mark ii yesterday during eBays %15 off sale ($100 off) I'll either keep to replace my 24-70 f/4, or resell if it doesn't work. I have used my 18-135 a lot, but I know the quality is just not that great. I did a test a while ago on 80d of the 18-135, my current 24-70 f/4 and at the time, a Canon Refurb Purchased 24-105 Mark ii. The L's were so much sharper, even at iso 100 that it was hard to even justify having the 18-135, but before my 6d2, I really needed something for the range, so returned the 24-105 and kept switching between the 35 f/2 and 18-135 when I needed it. Now, with a 6d2, and the c100ii I have use for a 24-105. I'm hoping that the new 24-105mkii, while not "blow you away good" will be much closer to f/4 and with the better low light on c100 compared to my 80d tests, won't make it suffer. I know the IS is much better than the original. Of course I'll use 35 f/2 for a lot of B-roll, but I'm hoping the 24-105 will cover way better than the 18-135. Also, c100 is only 1.5 crop instead of 1.6, so that might help the wide end of the 24 a little bit. I have my 16-35 f/4 or even 10-18 stm if I need wider. I've also seen a lot of people using 24 primes on c100's so it can't be that bad of a focal length. No matter what my desire for primes or my 70-200 f/2.8 offers me, I still need that run and gun zoom lens so I'm not missing shots in and out of classrooms and other places in my school. Can't wait to start using it! Thanks for all the advice.

You say that but I bet you somewhere out there there is a knitting forum where people are lambasting each other over their choice of needle, getting into seething rages about people not using the same wool as they do and referencing influencer YouTube channels like Mo Knows Mohair.

Their new 50mm F1.8 Z is far from being a simple design,even compared to the 2011 release G which was a significant step forward from the old film era AFD lens.

I think people have a very skewed idea of what 'dominating' means. 28-75mm is amazing (but imperfect). It is light and not intended to be 'rugged', but is built to a very good standard. 50mm f/1.8 is way better than the Canon 50mm STM and somewhat better than the Nikon 50mm AF-S. 85mm f/1.8 is the best of it's ilk by anyone as far as I can tell. I'm not sure how the bokeh really plays into your argument. Canon don't make lenses in that range because by the time you are bolting on a massive 200mm f/2 IS lens, you might as well use the one they already make, with adapter. This is something Canon actively promote as a benefit of the EF-M system. So in effect they are already making those lenses (and many more expensive ones too). That's because that is where the money is. Nobody but fanboys cares one iota about volume when there is no profit in it. Lower tiers are being relentlessly dumped because those markets are moving to smartphones. Canon also had a bewildering array of Powershots when that market was disappearing. Doesn't mean they are doing well out of it. Incorrect. People who are buying these cameras are much more likely to buy lenses and yes at those prices and (much) higher. This is called attachment rate and this is what manufacturers are aiming for. People who buy a base model DSLR and kit lens don't ever buy lenses. When they buy a new one, they buy again with kit lens (so could buy any brand). High end mirrorless is where all the attachment rate happens. Nobody is (completely) ignoring the lower end (except Nikon), Sony release new RX100's every year (really popular with the DSLR + kit lens crowd) and they have plenty of APS-C models to choose from and the kinds of lenses entry level users buy (if any). They don't need to release a new camera every week to have something comparable in this segment. Heck the A6000 is still getting compared to the M50. What Sony don't bother with is an array of expensive APS-C specific lenses, but for entry level there are plentiful options. Fujifilm are the same. So are Panasonic. So are Olympus. Canon have only played in that area to date, because yes there is volume and because they weren't wanting to cannibalise sales of 6Ds and 5Ds etc. Sony had 'affordable' lenses from day dot for the market they were aiming. Those lenses might be getting headlines, because they are new. They won't be volume movers, but are halo products that help move lower tier products, including the ones you think make up the majority of the market. People buy Canons because the person they know who is a 'camera person' said they can't go wrong with one. Or the spotty store clerk sold them one because that's the one they heard of. But in the top end of town things are very different. Thus Sony selling more FF cameras than anyone in the 1st 6 months this year. Canon are selling lots of 1500Ds (in volume), but in the markets we are interested in thats not the case. Considering they have these uninspiring models in the FF sector at the moment (one of which I own over the 'inspiring' models) and can't beat Sony in FF sales, what makes you think they are suddenly going to with a FF mirrorless? They haven't been able to do that with mirrorless APS-C and I don't see that changing if they keep being 'uninspiring'. And now FF. Canon ran away from the US mirrorless market with their tails between their legs with the joke that was the EOS M1 (I owned like 6 over the years). People overestimate Canon's abilities and market power by a factor of about 10 I reckon. Yep. That lens is phenomenal! Too bad it isn't coming to the Nikon Z any time soon, that lens alone would sell me on a Z6.

I'm sure you can't go wrong with any of the options you've listed! I read through this thread as I am always comparing these low-cost cinema cameras. As a fs700/odessey user I sometimes long for the simplicity of the fs7: internal recording, cine EI, only one unit to worry about. The weight of the external recording setup adds up quickly. At least with the odessey a single NP battery isn't enough for more than an hour of recording, so I usually use V-mount batteries and can run all day with them. I don't know for sure but I bet if you include v-mount power with the fs5 you're pretty close to the fs7 in terms of weight. Granted the fs5 can be rigged down to work on a small gimbal. So while the fs7 is simpler, it is hard for me to consider giving up 4k 120p burst. Its just so much fun, even for 3.5 seconds. Something else to consider is that S-log (or whatever gamma you pick) from the external recorder is based 12bit linear raw. Thus it has less bits in the lowest stops then internal S-log. This means that in some situations the internal Xavc from the Fs7 is better in terms of color and noise in those stops. I end up treating the FS700+odessey as a 12-13 stop camera instead of 14 to make sure skin tones get enough bits. I haven't compared internal and external on the Fs7 but Alister Chapman has a good article about it. I wonder if the 12bit output from the Mavo suffers the same problem. Sonys own F5/55 don't have that problem because 16bit linear has so much more color info in the lowest stops. Arri uses 12bit raw, but its logrithmic so it has more bits in the lower stops then linear and doesn't suffer the same problems. I skeptical that 12bit linear can be in the same league as 16bit, or even if it offers much of an improvement over 10-bit log. This is a bit of an extream example: FS700 HFR 240FPS raw to pro-res on Odessey Pushed a lot more then it should. There's just not much in the shadows, granted 240fps is sort of worse case scenario as far as noise. I would hope that 16bit from the f5/55 would be better in terms of noise and color in the shadows. I would very interested if the Kine 12bit can hold up any better? My gut says no, there's a reason high-end cinema cameras don't throw away those bits, but I can't help hoping for a miracle in my price range :) This all has me wishing the fs7 had 4k burst. It would be a no-brainer upgrade for me, but alas it does not. The F55 with R7 recorder looks amazing (4k 120p continuos 16bit X-ocn w/ 30seconds of pre-record) but is in a totally different league/ price range. Still, the limits of 12bit are totally workable. Don't let it freeze your decision. Get a camera, make stuff! Good luck! I'll be watching how it goes.

More M mount stuff with the rather cosmetically battered but still optically very much not battered Leica 90mm f2 that I picked up recently. Stills again for now but I'll definitely do some grabs of it and the other M mounts I've picked up on a the A6500 and X-T2 in a few days.

The low light of the C100mkII is amazing. 4f is great. I enjoy the 18-135 as a cheap run n gun in some jobs. The 24-105 is ok. In works we either prefer the L series (ultra wide, 24-70 and 70-200) or the 18-135. The 24-105 is lost in between those, rarely used. I would love an C100mkIII (yes, the next one with touch DPAF) coupled with the 18-80 and 70-200 cheap CN-E lenses. Again, in a market full of specs and imaginery uses of them (that never occur), I admire your pragmatistic and realistic thought process.