Turboguard

I'm thinking about doing the same as Nick. How is the battery drainage on the 70D?

i've only ever owned one external monitor from Ikan that I returned the same day. Always been good using the LCD screens to frame and pull focus/exposure but I'm starting to get more jobs now and need to start getting into a faster workflow (using false color for exposure, higher resolution screen for clients to look at while shooting etc).

As I can't really afford something extreme and I've hated most older monitors I've tried at B&H I'm not set my eyes on the BM Video Assist for 500 and the SmallHD 501 for 900. They both seems to have pros and cons compared. I never have used Luts on location but sounds really cool, BM doesn't seem to have that while SmallHD does. BM has higher resolution screen and the basic stuff I'm used to but worried there might not be false color. Anyhow, turning to you pro's on here for advice how to make my decision!

thanks Chris

So I love the image of the Pocket and have been using it since release. Now with the Micro on the horizon using the same but upgraded sensor I decided to go for it (also consider the price point).

Got some questions;

1. But when shooting RAW, rolling shutter 60fps, will he Sandisk Extreme Pro really hold up? The RAW in my Pocket is 2MB/s and the write on the Extreme Pro is 95MB/s. So 2x60=120MB/s. 

2. When shooting ProRes HQ, it's supposed to be color profile 4-2-2 correct, but looking at the file I shot the other day (first time trying ProRes in 2 years!) it says HD 1-1-1, what does that mean? (see attached image)

3. When do you guys think we get to see some test footage of the Micro used in the field?

Kind of all over the place with the question, but grateful for all replies!

Cheers

My workflow is usually match up most of my footage (RAW) in Davinci, then encode as ProRes, then color with Filmconvert, Threeway etc in PP. I've never seen this happen before, that's why I got so confused by it happening.

And thanks, I'll give your links a read!  

So I'm working on this portrait piece and have heavily graded it to my liking. 

After encoding it and converted my final grade, Premiere changes the colors for me.

Look at attached image, left side is converted Prores HQ 422 and right is my Program window in PP.

Why does this happen?

Thanks

this is shot with the Rokinon 10mm CineDS lens t3.1 and Bmpcc / Nikon speedbooster

http://www.bhphotovideo.com/c/product/1112207-REG/rokinon_ds10m_n_10mm_t3_1_cine_ds.html

Thanks for your reply. 

I'm definitely going to play around with both when my partner comes back with the LX100 this weekend. I did my first portrait with the BMPCC in RAW, and for my 2min piece I ended up with 126Gb of footage, so I'm going to go ProRes on this for now. 

Again, thanks!

So I'm shooting a portrait based mini series and I only own two cameras, the BMPCC and the LX100.

I don't have access to the LX100 at the moment because my partner brought it on a business trip but I wonder how hard it will be to match them. 

Never shot video with the LX100 yet, but I need a cut-away angle and it's my only option.

Anyone ever tried this option?

Thanks

I used the BMPCC speedbooster with the Rokinon CineDS 10mm on this;

Believe it's about 17mm in 35 equal.

Then the wide shots here are the same set up;

So the studio camera is the same camera plus it shoots 4K? I've read the tech specs for both on B&H and it seems to deliver the exact same things. Only difference I can see is there's no talk about global shutter on Studio version. Otherwise they seem the same so for 300dolllars you get a pocket 4K shooter basically.

​I bet it has zebras and peaking just like all the other menus from their earlier cameras. But yeah, Waveform, Vector and False color and more would always be extremely nice looking at form factor and pricing. I don't really have the money to buy a Shogun so 495 is an amazing starting point just to update to a small external monitor. I've tried maybe 4 so far (around 5-600dollar range, marshal, ikan and they all look and feel like shit so I returned them immediately). I'm excited.

​Well I never really understood the technology behind it. So let's say the BMPCC sensor actually can produce 1080p 60fps, but processor wouldn't allow it, doesn't that mean I could still gain those 60 from an output? I'm trying to understand all this sensor capability talk. Some people say "oh the URSA sensor can do 900fps but the processor only allows 120fps". So yeah, I might just sell my BMPCC and get the Micro then.

Okay, so basically, this thing is actually BETTER than the pocket in many ways (sans screen). It feels like if I want an upgrade this summer and still don't care for 4K and hate DSLR. Should I just try to sell my BMPCC kit and invest in this plus they Monitor? I wonder how the BMPCC/Nikon speedboster would fit with this as I wouldn't have to get anything else new really. For me Global Shutter and then 60fps (in rolling shutter mode) is things I really really want at this point.

Wait, so if this does 1080p 60fps ProRes, does that mean I could shoot 24fps RAW on my BMPCC and still get 60fps ProRes from monitor?

Okay sorry, delete this topic, I had my ND +8 on my Sigma, haha. How embarrassing!

EDIT: Added the new shots. Now it makes sense ha.

So I just picked up a Rokinon 10mm T3.1 CINE DS and wanted to compare it to my Sigma Art 18-35mm F1.8

Shot on BMPCC with Nikon to BMPCC speedboster, RAW 800ISO both lenses wide open (Sigma on 18mm). 

And this is the result. I used the same presets in Adobe Camera Raw and I'm a little confused.

Looking at the pictures, how come the Rokinon is extremely more exposed than the Sigma?

Please enlighten me.

PS. Is there a way to fix the small distortion I'm getting at the edges with the Rokinon?

AND update their codec!

I export in Premiere with 1080p VIMEO setting, and still when looking at it on vimeo it looks nothing like it. It's completely crushed with tons of artifacts, harsh gradation and blocks.

This is amazing news. I'm very excited to see what BMD will say during NAB and hopefully it will be something about some M2's for their existing lineup. I love the pocket for quick and seamless shoots and small low budget productions. BUT when it comes to use in commercial (in my experience) the FPS is a problem,  as almost 99% of all places I've worked for asks for some kind of slowmotion in their ads. 

A Pocket M2 with at least 60 would rock my world. No need to change anything else (already have a rig so don't want to sell and re-buy). Global shutter would be amazing, but I've actually just learned how to not be needing it. (only problem I've had so far was shooting a party commercial with a stroboscope and yeah, y'all know how that looks.

Anyhow, very excited about this news!

I love the idea of small gimbals and think that the Nebula and Pilotfly's look both amazing. Sadly the load weight should def go up to 2kg. I mainly use a lens that's almost 1kg by itself. Then a camera on top of that which is probably only 4-500grams. 

Hopefully we'll see some really cool stuff at NAB.

Oh my god, it worked! Thank you so much Jimmy!

One more question, about the wav file. Do I just have to add it manually after or is there some other trick to it?

Again, what a relief, thanks so much!

I've talked about this before on the forum, and have since tried multiple solutions (incl. one from Philip Bloom).

But it NEVER works.

My latest try was like this;

1. Shot a short 1min sequence on the Blackmagic Pocket in RAW.

2. Opened the sequence in Adobe Bridge and accessed the Camera Raw feature.

3. Colored one frame, selected all and synchronized. Now they all look the same in Bridge but not in preview mode on my mac nor in Premiere Pro.

4. Opened Bridge again but this time in Camera Raw saved all my frames as .TIFF (with Adobe RGB (1998)), put them in a new folder.

5. Imported first frame into Premiere Pro just like I do with DNG to get my sequence but now only the frame shows up as a single frame in Premiere Pro. 

What am I doing wrong? Why doesn't it work? The reason why I want ACR to work is because I love the fast workflow and also access to Chroma Noise reduction. I can't afford DaVinci Resolve and I think the workflow with it takes more time any way. 

Has anyone every gotten this to work? If so, how? I'm out of options and so extremely upset with nothing working out for me.

Thanks

I will check out dispcalGUI when I get home tonight! Thank you very much Axel!

This is the monitor I have http://www.bhphotovideo.com/bnh/controller/home?O=&sku=917345&Q=&is=REG&A=details

Bought it because for editing, and last year I really got into color correcting so had no real plans on doing it. I color mainly CDNG from BMPCC but am shooting a short on the F7S soon that I'm also going to color. Again, I'm still a novice colorist, but I really want to become good at it so therefor was looking for a good cheap start.

Thanks for your answers!

Here's an example, colored this a week ago and on my monitor, the blacks are crushed, extremely crushed! And the contrast of the image is good and saturation is normal, but when I played it on my ipad or tv, it looks super flat with barely any contrast.

For the past 2 years that I've been using resolve, I've been either using my MacBook retina display or my 200dollar shitty monitor from acer (it literally has 3 options for calibration and never looks anything like any other screen I play my clips on, always super contrasty saturated).

I do a lot of switching between screens, even my 2 lg 50" and 60" to look at what the colors will finally look like, and I'm so tired of it! I'm also tired of resolve not fitting my screens, so please, please tell me there's a cheap monitor I could start off with.

Maybe in the $300 range. I live 10min walk from B&H and want to pick up a screen tomorrow! Send me all your recommendations, everyone needs to start somewhere right.

Thanks

This is what I did in ACR which is what I foremost want my final grade to look more like.