Andrew Reid

I believe with raw the image is de-bayered in post - i.e. in Resolve. You have ALL the colour data stored in the codec. Needless to say - very happy with the BMCC colour and skin tones so far!

Nice article. "Blackmagic company philosophy is to make cameras for the masses". Unlike Canon, who will eventually lose their share of the mass market if they keep up the current form.

Well here's a thing... Raw doesn't need as much processing as compressed footage. Yet GoPro have the processing power in their $400 camera to deal with 4K and 2.5K. The reason the Digital Bolex project has the affordable price tag it does (was it $2500 or so?) is because they're keeping it simple on the image processing side. I.e. raw. I see no reason why someone cannot buy this sensor in quantity, around $1200 per part like you say, add $200 worth of processors to the back of it and build a camera. $5000 retail on $2400 is a nice margin. To grab market share you need to be less comfortable and more aggressive, take a bit of a hit. I can honestly see this sensor in a 4K camera for $3500 in less than 1 year.

[quote name='FilmMan' timestamp='1353514109' post='22070'] Right on. You're having a lot of fun with these different cameras. By the way, check if any moire on some bikinis. My wife will hate me for that one. Cheers. :) [/quote] Bikinis in November in Berlin? Erm I will try my best :) We're going to do more studio based tests with proper actors. I'm bored of scenery.

The painful thing is the 1D C is a great artistic tool. A dream camera for me. Canon seem to be able to charge what they like and pros will not see it as a problem. Most of them rent any way. Now let's talk about the non-pro market. This is the one I am most interested in because of the philosophy that being a cinematographer should be like being a musician. You pick up the instrument and if you are talented you go far. A shame none of this talent will be picking up a 1D C. A shame Canon continue to look at professional niche markets with huge margins rather than changing the world. Changing the world seemed to work well for Apple's bank balance. I guess Canon just lack the imagination. Their profits are down. All I can say is... Good luck from now on.

Prices of 4K cameras will drop dramatically in the coming years. Canon better make the most of it! It really angers me that after democratising filmmaking with DSLRs, they stopped for 3 years before introducing this ridiculous upgrade path - $3000 5D Mark III ---> $6000 1D X ---> $12,000 1D C Which is not an upgrade path for us at all. Tired of the Rebels and 5D Mk II as a result my upgrade path went like this... Canon in the bin ---> $700 GH2 ----> $4000 FS100 ---> $3000 Blackmagic Cinema Camera They have completely forgotten about the enthusiast and consumer creative video market, indie filmmakers, convergence, owner-operators, the lot of 'em.

[quote name='cameraboy' timestamp='1353496557' post='22058'] bmc sensor is much better than CMV12000... it uses same Dual Gain Architecture technology as arri alexa sensor ([url="http://www.arri.com/camera/digital_cameras/technology/arri_imaging_technology/alexas_sensor.html"]http://www.arri.com/...xas_sensor.html[/url] ) and even in global shutter mode beats CMV12000 in DR ... [url="http://www.cmosis.com/products/standard_products/cmv12000"]http://www.cmosis.co...oducts/cmv12000[/url] [url="https://docs.google.com/viewer?a=v&q=cache:JRC73fiWFzcJ:www.pco.de/fileadmin/user_upload/db/products/datasheet/BR_pco_edge_104.pdf+&hl=en&pid=bl&srcid=ADGEESgqsjYmQdEfJnoyMTl-pLFu3dKvun56_EcxuZ26yKeCXVA_mrLsmbWGHlQXmTkPnm4HC-en85D5DN0U045fTm6tmDi1PTqR_yAKkLtZPKbJ7ezi31BbiZPu5r-wmIKMt59Db8lV&sig=AHIEtbQmi1jpDhZfnqPfcHpGpQFhB6bgnQ"]https://docs.google....fcHpGpQFhB6bgnQ[/url] [/quote] Interesting stuff about dual gain architecture (DGA). The Blackmagic Cinema Camera's scientific sensor shares this - how do we know? They should put it on the marketing material, that is a big thing. No wonder the highlights are so good. I think the industrial sensor industry has so much to offer cinema. Their main market is scientific because that is where the money is. Cinema cameras would be a smaller niche but they wouldn't stay niche for long with image quality and pricing like this.

I'm testing the Ikonoskop tomorrow :)

Got a reply back from the nice people at CMOSIS. [color=#000000][font=Helvetica][size=3]"As you can read in the our press release is the CMV12000 mainly targeting industrial vision alike application. This is mainly due to the presence of the global shutter architecture which is a requirement when capturing moving objects (like in production lines, traffic cameras…). The sensor has a global shutter only, not a rolling shutter. There's indeed an image quality trade-off when choosing for global shutter and this is mostly a penalty in dark noise and dynamic range compared to rolling shutter only sensors. [/size][/font][/color] [color=#000000][font=Helvetica][size=3]However we see indeed that a lot of interest is coming from the broadcast industry as well because of it's resolution and reasonable pricing. I would rather not provide the full price list but can tell that the sensor sells for less than $1700. The exact reasons why the CMV12000 is so attractive is probably because there are not tot much alternatives but I guess that people like Blackmagic Cinema Camera can probably elaborate more on this."[/size][/font][/color]

[quote name='galenb' timestamp='1353471122' post='22039'] It couldn't be that one because as stated here: [url="http://www.eoshd.com/content/9060/the-new-leica-m-as-a-filmmakers-tool-an-interview-with-leicas-jesko-von-oeynhausen"]http://www.eoshd.com...-von-oeynhausen[/url] The sensor in the new M is a CCD. [/quote] It isn't a CCD. It is a CMOS. Interview clearly states that in first half. Are there any typos you are spotting?

[quote name='TC' timestamp='1353458535' post='22027']There is Convergent Design, Atomos, and AJA who all make hardware recorders - basically a camera without a sensor. They clearly all have the right expertise in high-speed signal processing. There is also Matrox, who don't make a recorder, but have a large range of video encoding hardware. Perhaps there is also another rich enthusiast like Jim Jannard, who realises that the parts you need to build a high-end video camera are largely commoditised and are available to order right now. All you need is to put them together in a box with a lens mount. [/quote] Very good point. If there is to be a challenge to the status quo it will be from exactly these kind of people.

I have bookmarked his forum. Great stuff thanks for sharing.

[url="http://www.eoshd.com/wp-content/uploads/2012/11/cmosis-CMV-12000.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/11/cmosis-CMV-12000.jpg[/img][/url] Above is a new scientific sensor by European company CMOSIS which has amazing potential in a cinema camera. [list=1] [*]Super 35mm / APS-C sized [*]4K raw at 12bit (90fps) and 10bit (150fps) [*]4:3 anamorphic 4,096 x 3,072 [*]Global shutter [/list] This part is ready to be mass produced and is available off the shelf.

I plan to do a 2nd version with the 2.5K scaled down to 1080p and everything full screen.

Most modern movies are shot at T5.6 for focus as well. It isn't about what era of filmmaking, it is about the practical realities of shooting.

Hero 3 at 4K is 15fps with a fish eye! Totally different kettle of, erm, fish. JVC... Not as cinematic and the 4K res when you view it at 1:1 level is smudgy. The sweet spot of glass is the centre crop. I don't see how the VG-900 has anything to offer from the full frame sensor over the 5D Mark III. The image is just not up to it.

Well said!

We were testing wide angle shots for how well the cameras resolve detail. Close-ups don't give you this. We could do a separate test with a model for skin tones, etc.

Shooting 4K stock material which is highly in demand is a good way to make the 1D C pay for you. £150/month is very affordable in light of what you can do with it. It is the $12,999 up front that is more of a problem. Will camera stores in the UK even stock a cinema camera? CVP are a better bet and they do finance deals as well, check them out.

If you don't get a b-cam that uses the same lenses as your A-cam that could be a additional cost I'd say. NEX 5N is a cheap body but not sure what lenses you're using on the 60D. If EF then you need the Metabones adapter and it is not cheap. Why not just pick up a used 550D / T2i as the B-cam? It is the same as the 60D when it comes to the image.

You can have razor thin DOF on the Blackmagic. That is what the interchangeable lens mount is there for.

I kind of lost interest in shallow depth of field when I shot Zen on anamorphic and realised that at F5.6 on a 1.86x crop sensor (GH2) it wasn't giving me much shallow depth of field but that the character of the blur was what mattered most, not how much of it there was. Here is the relative size of the Blackmagic's sensor to the GH2 and others.

You can still isolate the subject from the background. It is not small chip. Who wants a completely creamed out background any way? No major motion picture I can think of off the top of my head is shot entirely at F1.4 on S35mm.

It isn't approx S16, it is approx Micro Four Thirds. Big difference. You try a S16 lens on the Blackmagic Cinema Camera, likely will vignette by quite a margin. Sensor size is one aspect of the image, try not to get too hung up on it. Worthwhile endeavour? Don't be silly.

Samyang 24mm wide angle isn't wide on the Blackmagic, you need a 10,11,12 or 14. I prefer the Samyang 35mm F1.4 it is sharper.