Germy1979

HDMI is 10bit on the $999 Blackmagic Pocket Cinema Camera so no excuses Sony!

This is a good book to start with:
 
Cinematography: Theory & Practice by Blain Brown
 
Used to be on the reading list when i lectured at University, it also includes a DVD.
 
If you'd prefer a blog then take a look at the mass of useful info here (a Hollywood DP):
 
http://www.hurlbutvisuals.com/blog/

It is only that extreme when you open the footage in camera raw.
Camera raw does not interpret the footage correctly.
 
But when shooting you are heavily over exposing till you hit zebras and you are discovering what your footage actually looks like when you open it on the computer.
Which is a bad workflow imo and I have not experienced this with any other camera.
 
Maybe this video is to extreme to illustrate my point.

Yeah, you know what man, sorry for being a dick. Seriously. That was pretty immature to defend the
Project when it was presented like a redneck with a camera & some explosives.. So my apologies
For blasting off over it. I like over the top humor. I see every cut in my head and think "how could anyone
Not laugh their asses off at this scene?" But, nobody's seen anything yet.

To follow up however, I found a squadron of rebuilt Huey Hogs about 45 minutes away that will begin memberships and event
Flying next year. Oddly enough the PR lady was very sweet and down to earth on the concept of working with me, and
The negotiation is pretty awesome considering they need a videographer to get the word out there. Double whammy

Camera threads always seem to get hostile..  It is a mathematical fact.  :rolleyes:
 
I will say this:  (and not to get off topic) ...I've been through - "3" - bmcc 2.5k cams in 4 months... Each replaced by BMD support.. each an acknowledged legitimate problem with the cam.  My ego doesn't have enough in the bank to stand off if someone tells me the problem is operator error, so I'm all about a solution considering the shipping is $50 every time I send it to California..  But 3 in a row is either an issue in the Q.A. area, ...or really shitty luck.  The first one had noise in the green channel so bad, all you could do is barely push it, much less add any post sharpening.  The second had the back focus issue.  My last one produced what looked like bad web compression on the rear display with blocky shadows and smeared details, & "rolling noise" waves that would roll up the scene in dark areas.  (Truly a weird problem to have, but others had it also: http://forum.blackmagicdesign.com/viewtopic.php?f=2&t=12588)
 
Yes the pocket cam is a different camera altogether of course, & I'm not bad mouthing BMD.  Plenty of people have perfectly functional cameras from them.  (just not me, lol.) In these early days of release however, I'm just saying if you get a Blackmagic camera, put it through its paces before your return window expires..  Make sure you get a good one while you can!... Even if it starts feeling like harassment.  They're cheap, everybody wants one, and BMD have a delivery reputation to mend.   

The low light on the Mark 3 raw is a step up from the BMCC, plus the highlights are really pleasant.  All of these cameras come with an armada of adjectives that can't really evoke what "exactly" they are doing & no one can put their finger on.... but in the Raw Mark 3 / ScarletX comparison video, I will say the Scarlet looks more like.....  film.  (There it is.  lol.)  -  (Though it is a miniscule and probably opinionated preference in the video)  It looks like it's more in the mid tones between the Mark 3 raw and everyone else. 
 
but man....  this looks incredibly sexy:
 
http://vimeo.com/71692234
 
Mark 3 raw... 
 
The only gripe I'd say is the $700 Lexar 128gb 1000x card that's actually rated dependable, but gets you only about 30 minutes of footage.  To me, the Komputer Bay cards seem way too hit and miss with all of the horror stories I've heard...  Then again many people have them and they're fine... but I'd rather not be "crossing my fingers" when I spent my $$$$. 

Milan -- what is it that you really need in a camera? ML RAW or even BMCC RAW isn't the end-all, be-all. If you are shooting a documentary, you likely aren't shooting RAW. You can get a lot more RAW on a SSD drive than a CF card.
 
Do you have a budget for rigging, batteries and SSDs for the BMCC? Do you have a computer that can handle RAW editing?
 
It isn't clear what you really want and need -- so you may have a hard time getting a solid answer from folks here. Are you going to shoot RAW 100% of the time?
 
From what I've seen, RAW images on both BMCC and 5D3 are very similar. However, if you are shooting ProRes from the BMCC versus H.264 from the 5D3, the BMCC wins. 

I prefer the image on the BMCC, but not enough that it overwhelms other considerations. If you like to shoot a lot of handheld and or really make use of it as a stills camera, I'd probably go with the 5D3. If you are going to be using tripods or other forms of stabilization I'd go with the BMCC.
 
The ability to shoot to SSD is a huge plus for me. I can store and edit a bunch of footage directly off it, without having to dump a bunch of footage between shoots.
 
I recommend spending a lot of time watching the best clips both systems have offer, focusing on the types of shots you envision yourself using.

Bmcc is just as easily a one man crew as a 5D. Pulling out a 5" ssd isnt any more work than pulling out a 2" CF card. You wouldnt be swapping out as often either.

I noticed the presence -albeit slightly- of aliasing in the corners of the blocks.
Oh well, I guess we can't have everything...

But he did push it in post, and that contributed to the noise. Even though it wasn't much, when you expose to the bottom part of the range in raw mode the camera is really sensitive (that's why its DR is better than other cameras in it's price range).  It's also why exposing to the right within reason (95% clipping on brightest spot), gets you the most control over your image.  
 
ETTR and clipping are two different things.  You should never clip.
 
JG, the most sensible point in the DR (as you said) for the BMCC is always going to be the least sensitive region (the right), such that you do not clip.

If ever somebody had good intentions, it's Blackmagic. 
 
B&H has an arrival date in bold red:  "Expected availability July 25, 2013"...  <_<
Though I'm sure that number could be anything from 1 to whatever...  Blackmagic is doing an event that day as well however, where they'll have all the cameras, actual "footage"  (4k footage anyone?), various cinematographers, etc.  on display... 
 
Sounds like CVP are nipping negativity in the bud now and who can blame them.

Ok for 18k I can buy four 4K BlackMagic cameras and still I can save $2,000 for alcohol and slutz..... 

So, until i purchased a C100, i'd never known the love i would find in focus peaking. But raw is raw.

I'll be snagging a 5D3 shortly. To my understanding, you can't playback any of the raw video normally just yet in cam? Can you use something like a Ninja 2 to do a pro res backup reference for playback of what you have...? Or will it not let you do it?

It's got peaking, and a lot of other stuff too. I dunno. It references the 4:2:0 clean out crap, not the 14 bit raw stuff.. This is where i see it defeating the purpose.

Bloom has a wicked sense of humor and blunt delivery whether talking about RED's or BMCC's faults and I respect that. He wouldn't appreciate RAW because he is a broadcast guy who shoots long docs that have to be edited and delivered fast.

I do have one beef with the man, - Philip, if you're reading this, - stop picking on "RAW" spellers because spelling this format as "raw" simply doesn't communicate the epicness of being able to manipulate your footage to death. :lol:

I am blown away by the quality. Moving raw photos. Full frame at that. It hasn't been done before. Now here it is for free.
 
Canon charge you $12,000 for a moving JPEG photo.
 
Bloom gets excited about that.
 
Moving raw photo for free? OUUUHH noo thats rubbish. Not shooting with that!
 
Logic has died a death there.
 
The mighty dollar and mighty ego rule supreme.

I enjoyed Phil when he was genuinely putting out useful regular posts. Super 35mm adapters, DSLRs, all workarounds he endorsed. Built his name on DSLRs in fact, wouldn't have a well known blog without them. Now all I see is extreme self love and a formidable self obsession. Pics of Bloom on a plane. Pics of his cats. Instagram self portraits. Fooling about at NAB, Looping Vine videos. Posing here, posing there, posing doing this, posing doing that. It's enough to make you go insane. HAD ENOUGH
 
The cult of personality has overtaken the filmmaker for me. Hate all the moral posturing too. Philip uses the moral high ground and his sense of humour as defence mechanisms against those he doesn't agree with. His ego HATES any form of criticism however constructive. Sad really, as in doing so one is left with just Bloomies and groupies around you. Say you don't like so many ads on his blog and you are met with standard response THIS BLOG COSTS SO MUCH TO RUN, and he tries to claim the high ground. I know how much blogs cost to run. Very little. In the past I did EOSHD one-handed on a shoestring for years. So make no mistake, the blog is to promote Philip Bloom. It is not only a selfless act of sharing he makes it out to be.
 
Met Phil quite a few times, each time has been odd. Charming and coldly indifferent at the same time. At Photokina, he belittled me and basically humiliated me in front of two strangers in the name of humour knowing it was inappropriate in the circumstances - very barbed passive aggressive exchanges disguised as humour, really uncomfortable to be subjected to. On other occasions he was fine. I think he has issues.

"C Series and other cameras are what people should be focusing on"
 
I'm shocked, SHOCKED, that a man sponsored by Canon who's main focus in the last 6 months has been to convince the public that the C series is where it's at would speak against the mother of all hacks that completely undercuts the value of the C series of cameras. 

Put together a reel of material from the C100 - Ninja 2 combo.
 
https://vimeo.com/66351764
 

The other day i put down a preorder on a Mexican wrap at a food stand in Soho.
 
If enough people put down a preorder I might get the wrap next year, so everyone do it!
 
I had my preorder on the one with the sour cream but then they announced sourcream and chilli so I changed my order.
 
All this time I've not been eating because I've been chasing sauces.
 
I think I might just go and buy a sandwich and actually have lunch, at least then I can spend my time enjoying food not worrying about a potential wrap.

Which craze about the MoVi? There was anticipation when we didn't know what it was. Laforet announced it. Most people said 'Meh'. I haven't heard anyone about it since.
 
Funny though. Short after this 'next big thing' from Laforet, there have been a few REALLY big next things! Pocket Cinema Camera, BMPCC 4K, Canon dslr's shooting RAW...

So it's basically safety: if you get it really wrong with an even higher dynamic range sensor and have to push four stops, the Nikon is better.
 
I suppose it's best not to get it four stops wrong!

These guys have the DR down at 12.5 stops.
http://www.imaging-resource.com/PRODS/canon-5d-mkiii/canon-5d-mkiiiA5.HTM
 
My eyes tell me this is about right.
 
DXOmark works solely on signal to noise ratio, iirc, which doesn't tell the full story.
 
Regardless,,, anyone who has ever used a Canon for still shots know that the DR is very good and all sorts of things can be boosted and pulled back, in post. Time to stop worrying about numbers and remember we have great, built in testing tools, OUR EYES!

Shot on the C100 with a Ninja 2. Prores HQ with a Canon 100mm f2.8 and a Rokinon 35mm T1.5 on C-Log. Graded with Color Finesse and Filmconvert. RGrain ultrafine:)

Just trying to see how filmic i can get this bastard:

https://vimeo.com/65086996

Lmao. I wonder what the might of their legal team thinks of this one.

"Alright assholes. We'll leave your 1DX alone."