jbCinC_12

A little short film I've literally just released online! Shot on a BMCC and graded with my BozBMDFilm to Rec709 LUT. Download HERE: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/. Hope you like 
 

DR14 doesn't work properly on any other Windows version before Windows 10 either...

Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing.
 
I will only add lenses to the lists when you have proof, in other words: images.
 
How?

Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC.
 


In Photoshop:
Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm!

To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it.

List terms explained:

Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera
No = doesn't cover the sensor
Needs modification = Doesn't fit on C-mount to M43-adapter without modifications
Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example)

Blackmagic Pocket Cinema Camera Compatibility list

Primes
 
Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof]
 
Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info]
 
Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info]
Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof]
 
Century 9mm f/1.8 - YES (poor quality) [link to proof]
 
Computar 8mm f/1.3 - NO [link to proof]
Computar 16mm f/1.4 - NO [link to proof]
Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof]
 
Cosmicar 8,5mm f/1.5 - NO [link to proof]
Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof]
Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof]

Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof]
Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof]
 
Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof]
Fujinon TV 16mm f/1.4 - NO [link to proof]
Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof]
 
Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof]
 
Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof]
 
Nikon Cine Nikkor 13mm f/1.8 - Yes =  37,5mm f/5.2 [link to proof]
Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof]
 
Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof]
 
Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof]
Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof]
Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)]
Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof]
Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof]
 
SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD)
 
Tokina TV Lens  8mm f/1.3 - NO [link to proof]
Tokina TV Lens 16mm f/1.6 - NO [link to proof]
 
Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof]
Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof]
 
Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof]
 
Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof]
Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof]

$ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof]

Zooms
 
Ernitec 6-12mm f/1.4 - NO [link to proof]
 
Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]

Interesting... would love to see a screengrab if you have one?

Nah, but I think that arguably the difference between the two is not that great.  
Especially if you want to save on the data storage and the extra cost for a recorder. 

Heck, with my BMPCC I almost never recorder raw, and ProRes444 doesn't even exist as an option, so ProResHQ is my usual choice (or even ProResLT! :-P If it is just to be uploaded immediately to my vlog).
So in a way, I'm approaching my BMPCC and F3 in the same way here. 

It's a very impressive little camera.  Even though I haven't done anything yet, I'm happy with it.

It's a very impressive little camera.  Even though I haven't done anything yet, I'm happy with it.

I switched from the Pocket and BM 2.5 cinema to 2 Micros. Really happy with the setup (smallHD and BMVA for monitors mounted on smallrig cages).
Olympus 12-100, Panasonic 15, Olympus 9mm (the body cap lens).
But hobby use only!

I was Born in Bosnia former Yugoslavia i was 14 when civil war erupted in my country this video reminds me of Serbian Cetnik and Croatian Ustase religious hate group that collaborators with the Nazi in WW2 that rounded up Jews, Roma, gays ect for the Nazi to be send to concentration camps. And that one night in 92 they come for my family just because we happen to be Muslims they rounded up every man of the age of 17 and they wore never seen again they did this all over my town i remember it like it was yesterday. Don't tell me bullshit that you are here to save your self from jihadis terrorist. You have hate and are paranoid and think that every Muslim is after you just like cetnik and ustasa thinks, they think that they have to protect the mother the land from the current threat. You will not fight Jihadis face to face like in Syria, but as always will sooner or latter will target innocent Muslims, Jews, gays ect or who ever you disagree with. Who volunteered to come to Bosnia to kill it was Serbian soccer hooligans, Russian hooligans, Greek religious nut bags and they did exactly the same as you preparing training for some Muslims apocalypse by training with guns like a Rambo, sooner or later when you live in that world of hate and fear you will end up regretting it whens something tragic happens. I lived in a war zone for over 3 years almost lost my life for being Muslim lost family members and friends seen them being taken away in to local hills and never seen them again who did it it was my Serbian neighbors 4 houses down who come at night with guns took my brother and father away but it was my Serbian neighbor who saved my life it was Serbian farmer who brought us milk and bread at night under sniper fire so us kids can eat. When i see this video it sacred the shit out of me because i know where it leads i seen same rag tag military uniforms with some military emblems and religious crosses home made staff like Gregory in this video marching and walking at night through my town when the opportunity come. 25 years its been since the war and to this day I have PTSD not as bad and guns is not the way to regain control of your life after traumatic experience you need help from a professional. And if you think oh shit he is Muslim let me blow your mind my wife is Polish and she is Catholic we have 3 kids with Catholic names been around guns, tanks, artillery seen dead bodies it does not make you a man it just gives you PTSD 2 years down the road thanks god for my wife and family without them i am nothing . Peace and love people for one another that is what we need not more guns and fear
 
 

Thats one of the internet problems nowadays. Everyone has always something to say...something to add to a certain topic but the reality is that thats not true at all. Society as brought us here and keep forcing us to do that (to post something, to write an opinion, to share your own life and so on). And in most cases that results in posts and dialogues with insults and etc. Thats why i rarely post on facebook and although i visit eoshd everyday i dont respond or post a lot simply because i dont have anything to add in terms of knowledge.

Frankly at this point anything you read from the motivation guru industry on social marketing isn't worth much at all. Books on how to become "known" and the like. The authors know damn well that the way things worked for them won't work for you (technically they will, but nowhere near as well) which is why they're willing to tell you all they know for a $9.99 ebook. Also the internet is the great haven for survivorship bias as for every Andrew Kramer making huge money with the internet and social media there are tens of thousands doing the same things and seeing zip
So basically, if everyone else is instagramming their way to great gigs, then don't expect anywhere near their success starting from scratch. Learn to manipulate Google and Youtube because I'd bet 99 out of 100 filmmakers don't know jack shit about search engine optimization and you can sweep up a nice audience there (and then make real money selling "seo for filmmakers" books and seminars five years later)
Personally, you won't find me on any social media, because I don't have time to do it halfway, and unless you're willing to go all out (and become the aforementioned D list celeb instead of a filmmaker) your time is better off face to face networking and building referrals from that.
I've built a creative career with zero percent social media presence, 20% web presence, and 80% face to face presence 

I can weigh in on this. 
About 18 months ago I was frustrated because I'd get a lot of very flattering positive comments and reviews about my work, but not really seeing the benefit of this financially. 
Unfortunately these days, if you're able to give yourself a great social media presence but you're work is mediocre (as compared to a poor social media presence with incredible work) - it's more likely the former will be more successful. 
I've been studying the "business" and "social media" side of things on a course, and although it would take me far too long to say everything here, the overall conclusion is that marketing does come before your art. Social media is the No.1 distribution platform, so if you're not bothering with it, it could be very difficult to get anywhere. 
I've only just now, this week, picked up my social media strategy. I'm not being false, I'm not doing monetised reviews or any of that crap, I'll just be documenting what I do in bite sizes, and what value I'm able to deliver and help out (in a very non-salesy, authentic, organic, real way). I'm just going to be myself. I'll show what I'm doing as it is. 
I'm also camera shy. So there's that too. 
The difficulty I've had is my creative side feeling starved. The benefit is, I'm hungry to create and the artistic side is about to receive a mighty, mighty push. 
I advise anybody to use social media to show your work and value. But be real and authentic, or the audience will see the "fakeness" a mile off. 

Even the Micro Cinema Camera has 60p in 1080p form, and that was unveiled, what, 2 years ago.  I agree with the others, impossible for a 4K Pocket to out in the woodwork, but one can dream ::wink, wink::

Yeah, but I'm unsure why they believe it needs to be 4K? 2.5k in 24 as 60p would be a fine upgrade for the Pocket and would quench most people's needs for the next couple of years. 

Available from June
http://avid.force.com/pkb/articles/en_US/FAQ/Media-Composer-First-FAQ

Bummed?! This is amazing news for us poor people. My adobe student version I got together with a friend who was in college a year ago ended and she does not want to continue sharing as she has gone into script supervising. So me saving 600 a year on a suite plan. Great time to head into a fully DaVinci workflow!

Check out Affinity Designer to replace Illustrator: https://affinity.serif.com/en-us/designer/

Bought a book for Affinity. Found, that almost everything is covered. No one should subscribe to PS if he doesn't already know it, he should start with Affinity. Some things work better (for me) like refining masks. However, there is one thing I don't like: updating changes is slow. I mainly use PS for raw stills. ACR has a page with HSL sliders (don't know the name off the cuff) where I practically "grade" my whole image. Didn't find that particular tool in Affinity Develop. But who knows, perhaps this is just the famous quest for the blue button ...

@Axel how do you like Affinity Photo? Why do you still use Photoshop and not just Affinity Photo? I also use Illustrator and Acrobat from time to time... Two more apps to replace (Affinity has Designer to replace Illustrator?).

I subscribe to Photoshop (13 €) although I have Affinity. And I have After Effects (24 €) although I also have Motion. Both Adobe applications I know since almost 20 years. AAE is ridiculously old-fashioned and has a terrible UI, but the thing is: I know this UI like I know the back of my hand. What about integration, dynamic link? Not a big issue. I can pre-compose everything in FCP X as compounds as part of the sequence. Since a compound is also a project of it's own, I can XML it over to AAE (I use X2CC for that, 50 € once, not sure if this was even necessary), render there, re-import it (name of the compound) and connect the finished result over the compound. Should anything change later on in the edit, I alter the compound, asf.
I guess the same thing could be done with Resolve, since Resolve also knows compounds. The NLE has to be about performance and stability, not about a thousand features. Adobe has maneuvered Premiere to a dead end in this respect. In 2009, 2010 they had been very successful with the mercury engine. 
Other NLEs, like Edius and FCP X, used - and continue to use - every dirty trick to improve performance. Premieres 2015's proxy workflow was awkwardly and half-heartedly integrated. As if editing non-natively was a shame. Even the free Resolve had that thought out waaay better:
I fully understand the frustration. GH5 10-bit footage not supported and such things. I also understand that people like to use the NLE they know best. So go the Rocky Mountains route or wrap to MXF. But nobody is forced to pay monthly for a product he feels is becoming a PITA.

Appreciate it 

Ah, that Sigma is really epic, photography and video-wise.  I enjoyed it.

That's really cool.  Mind my asking, what lens did you use?

I concur with everyone here.  It's not worth quitting over it.  I don't post much here, but I enjoy coming here and other sites dedicated to indy and enthusiasts in video/filmmaking.  The Panny GHx years intrigued me in the early 2010s and it was you that made it possible for me to try out videography.  Opinions are just that... opinions; everybody has them.  Creativity trumps all of that.

@Andrew Reid I registered here in 2012, and was lurking around here since before that. I used to read a lot of the other people & sites like Nofilmschool, Philip Bloom's & Dave Dugdale's blogs. Been reading most of them for years and have since abandoned them, but I've stayed on this site not just because of the excellent forum, but also because I've loved reading your articles.
I get that it takes motivation, time and effort to write your articles. But I for one would be happy if you didn't stop!
My own favourite articles and what gets me really interested is when you review cameras in the 500-3000 euro range. I've learnt a lot about the video quality from those cameras from your articles. 
I visit the other video related sites max once a month these days. EosHD is the only weekly video-related site I can bother with (no click-baity headlines, proper articles instead of the copy-paste type of content that exists on nofilmschool today...).