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Davide Roveri

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Everything posted by Davide Roveri

  1. The body layout is from the previous generation of cameras so it can either be an a7 III or a7r III (the only different thing would be the badge on the top left hand side of tha camera which is unfortunately covered in the shot). The lens is 100% a Sony G FE 90mm f2.8 Macro, you can tell by the big focus ring with clutch mechanism and the double distance scale in different colours (you can just about see the red marking is feet above the white one in meters) 😊
  2. I gave it a go but, as i feared, the results are awful, even worse than perspective stabilisation alone 😅 I think it's just too complex to process some movements and geometries for warping stabilisation algorithms. I haven't tried with the other options to be fair but i don't expect great results either..
  3. Absolutely! And this is on top of regular and impressive updates for Resolve which is becoming a phenomenal piece of software (and one you never have to pay updates for once you have a licence, which makes it very unique and absolutely commendable in my opinion)
  4. Because with a gimbal you can do more extreme movements (like running) and you can shoot with a normal 180º shutter speed. But this is a great feature to have nonetheless! 😊
  5. Ok, i did more testing today with a wider lens (10mm so 15ish mm equivalent) and i tried some more complex moves as well.. Few more notes: -45º shutter angle is pretty much a necessity so all the clips have been recorded with that setting (i tried to introduce some motion blur back in in a couple of clips as well and it might even work, i just need to understand how much of it to use) - The camera doesn't seem to record any Gyro data if the lens stabilisation is ON (i'm not entirely sure about this but certainly the option to select the Gyro stabilisation doesn't appear inside Resolve on the clips shot with OIS) so you have to remember switching off the lens stabilisation if you plan to use the gyro. I reckon it kind of make sense though because without knowing the data from the lens gyro the result would probably be a bit messy 😅 - I have noticed some strange sharpening artifacts in high details area when a clip has been stabilised using gyro but thankfully it seems to only affect the GUI and not the monitor output nor the final render (I'm on Windows 10) - The results are overall very good, in shots with simple moves there isn't a great deal of difference between the gyro and the algorithm based stabilisation (the building tilt shot and the cushions shot for istance) but in other shots where there are more complex movements and lots of geometric elements that can (and did) wreak havoc on the traditional stabilisation methods the difference is day and night. I would not suggest this is a gimbal replacement by any means because is not but it's definitely a feature that will enable camera movents that are most probably not possible in any other way when you don't have or want to use a gimbal so it's quite exciting! ps. on the clips where there is severe warping from the perspective stabilisation i tried to use the clips without OIS as well to see if it would fare any better but it made very little difference, it was unusable anyway.
  6. Made a quick and dirty test today with my BMPCC6K and the new 7.9 software. First clip is shot on a Canon EF 50mm 1.8 (so no OIS and 75mm equivalent) Second clip is shot on a Canon EF 24-105 f4 @ 24mm (36mm equivalent) Overall the new stabilisation works very well especially in situations where the traditional point based stabilisation can create visible warping (i included samples of that as well for comparison) Things to note: - The workflow is fantastic and probably the real advantage of this over any other gyro stabilisation solution.. it's just a new option in the stabilisation panel in Resolve, no extra software and rendering needed! - Like any other gyro stabilisation system nothing can be done to reduce motion blur so, unless you have a miniscule quantity of motion in your shot, you need to shoot with faster shutter speed. I found 45º to work the best (apart from the weird look due to the lack of motion blur, i'm experimenting in dialling that back in afterwards and see how it looks) - Another potential issue with gyro stabilisation is rolling shutter but, according to blackmagic, it's automatically compensated in the algorithm and it doesn't seem to be a big issue (even if the 6K is not the fastest camera around rolling shutter wise). Much more experiments needed but i wanted to share with you my first findings, this is a very exciting development!
  7. This is exactly what I was thinking! I mean.. pretty much every camera that I've ever used equipped with IBIS has a sensor cleaning mode that does just that.. it locks the sensor in a neutral position so you can clean it easily without it moving all over the place. Surely it'll never be as strong as a sensor which is permanently held in place but those magnets are a lot stronger than I thought so I'm wondering why one couldn't shoot with the sensor in that mode. Of course I'm saying this purely as an end user without any knowledge of the engineering behind it so it's entirely possible there are very good reasons why this can't work 😅
  8. Yesterday Gerald Undone was doing some testing on the 4K HQ mode recorded externally on a Ninja and the camera shut down due to overheating around the 1h15 mark so I think that estimate is very realistic 🙂 https://instagram.com/stories/geraldundone/2359898914668645546?igshid=ukiotjsceety
  9. I've seen the video and the high gain situation it's interesting but I'm pretty sure on a static scene it's pretty impossible to have the encoder drop to 2:1 compression. In my tests on static subjects the average datarate i got out of Q0 is never more than 3:1 so around 540Mb/s which is close to the limit of the best CFast cards and SSD but still doable so my question about the lowest compression ratio Q0 is capable of still stands.. Probably the camera will never go lower than that in 50fps otherwise dropped frames are inevitable...
  10. I was doing some research into which media to buy for my BMPCC6K and during the intense spreadsheet action something caught my attention.. How do you record Q0 in 6K at 50fps? According to my calculations in the worst case scenario (so less amount of compression which amounts to roughly 2:1 in Q0) the camera generates data in excess of 800MB/s which is way beyond the capabilities of any of the supported media, am i missing something? (not that I have any intention of recording slowmo in Q0 at 6K anytime soon, it was more of a curiosity really) ?
  11. Complete madness! ? I just spent the weekend filming with the BMPCC6K and like many other have already said there's simply nothing that comes even closer to the IQ that camera produces for the price, nothing! I think the other companies seriously need to step up their video game and this is definitely NOT the way to do that... ?‍♂️
  12. Finally after 10 days or so some proper awesome footage, looove the anamorphic mode! ? https://www.youtube.com/watch?v=52Pto5QImes Quick question re anamorphic modes.. does anybody know why the windowed 3.7k mode on the 6K rather than a straight 6:5 crop from full (i think that would be around 4.1K)? Could it be a limitation of the sensor? Also.. on the BMPCC4K Grant talked about a 4:3 mode, being the sensor not in a 4:3 aspect ratio like the GH5S i guess it's just gonna be a straight crop from full (so around 2.8K), does this make sense? ?
  13. I might be wrong but as far as i can see in the specs on BM's website i don't see any windowed 4K mode, only ProRes (downscaled from full resolution i suppose) so if you want to shoot BRAW it looks like 4K is not an option...
  14. The reason why 1080p is not windowed on the P6K is because it only records that mode in ProRes (along with both 4K flavours as well) therefore it captures the full sensor and then downscales it whereas the P4K can do both, BRAW windowed or ProRes downscaled.
  15. This is interesting.. the overall dynamic range is pretty much unchanged but it looks like the 6K sensor has more headroom in the highlights...
  16. The anamorphic mode is coming to the 4K as well in the next camera update ?
  17. I'm very torn about this update because on one hand I think the m4/3 mount is the most flexible option in terms of lensing plus with the different flavours of speedbosters available you can get much closer to full frame than Super35 if needed. On the other hand 6K for 4K delivery has the potential to deliver a great image and will probably completely solve the only issue I have with the camera which is the presence of aliasing/moirè in highly detailed scenes. (it's got substantially better with BRAW but it's still there unfortunately). Decisions, decisions! ?
  18. Magnificent still camera (and as a timelapse photographer I can only be jubilant!) Unfortunately it's official that video specs are unchanged from the a7rIII (apart from the inclusion of eye tracking AF which is nice) I guess we'll have to keep waiting for the new A7S then ? https://www.sony.co.uk/electronics/interchangeable-lens-cameras/ilce-7rm4/specifications
  19. @majoraxis you're very welcome and yes, hopefully it'll be soon! ? Hmm.. they showed us some farly detailed technical slides but i don't recall hearing anything about an increase in dynamic range, sorry!
  20. Hello everybody! So, I've attended the Blackmagic Raw seminar held at CVP here in London yesterday and I thought I'd share some impressions: Let's start with the bad news first: unfortunately there is no official release date for BRAW on the PCC4K yet.. They confirmed it is coming to the camera 100% but they want to make absolutely sure that the update is safe and won't brick the camera (which sounds like a sensible plan indeed!) ? That been said I can't wait to have the option to use BRAW, it's such a clever and well implemented solution and i reckon it will be the best choice on the PCC4K for 90% of the occasions. What really impressed me is how good the performance is in Resolve compared to CNDG, it is entirely possile to edit BRAW on a laptop without creating optimised media and/or dropping the resolution. To drive the point home even more they worked on a grading project that was hosted on a USB 3.0 spinning drive and it worked flawlessly, i was quite shocked when I saw a clip with a speed ramp set in optical flow playing at 24fps at full quality on an entry level MBP! Another super clever feature of BRAW is the ability to shoot with any dynamic range preset and being able to revert back to film mode afterwards, that is pretty awesome for dailies or things like that. I also very appreciated the fact that they were totally sincere in showing us the difference in visual quality between BRAW and CDNG and, although there is a slight difference in quality with CDNG being a bit sharper, said difference is only visible in extreme magnification (pixel peeping basically) so in real life BRAW is perfectly adequate especially considering the many advantages it offers in terms of workflow. The Blackmagic guys reckoned that CDNG would be the best choice only in very specific situations where having the best quality possible is paramount (like VFX for istance). Overall it's been a very interesting demonstration and i think BRAW will make the PCC4K even better value for money, exciting times ahead!
  21. A very interesting video about how to optimise exposure on the BMPCC4K from one of the best channels about filmmaking and cameras on YT (IMHO), hope you guys will find it useful! ? https://www.youtube.com/watch?v=g8hHFt3ChZ8
  22. hmm.. unfortunately it doesn't look like that's case right now. Was it like that on the original pocket as well? I don't remember but it would be good to have the WB change dynamically indeed or at least have an option for it.. I shot almost exclusively raw so far so i wasn't too bothered about wb as long as it was in the right ballpark but it would definitely be important when shooting ProRes.. Shall we compile a list of suggestion to send Blackmagic for the next software versions? Here's mine: - Playback mode to reflect clip metadata (both on the display and on the menu bar) - Thumbnail page in playback mode to quickly move between files - Better power management so the camera won't die on you suddenly - Possibility of using the iris and focus button as extra function keys when using manual lenses
  23. So glad you finally have the BMPCC4K in your hand, looking forward to hear your impressions! :-) Quick tip re the WB, if you hold the WB button for a couple of seconds it will automatically adjust the white balance using the center portion of the frame, a wonderful timesaver (and just one of the many amazing features of the software in the camera!) To be fair the only thing that really puzzles me so far software-wise is the playback function.. I just don't understand why the clips are displayed according to how the camera is set in that particular moment rather than how the camera was set when you captured the clip, it makes very little sense to me but hopefully it will be changed on a software update soon. Have fun with the little beast mate!
  24. Hello everyone! I received my BMPCC4K almost a week ago and unfortunately I haven’t had much time to play with it so far but I wanted to give you my first impression and observation in the hope these might be helpful! BUILD QUALITY / ERGONOMICS: The camera is pretty big (and wide especially) but it’s surprisingly light. I’m not a huge fan of the exterior plastic material as it feels a bit cheap and quite prone to scratches but at the end of the day this a professional tool so as long as it’s able to withstand normal use I’m not too bothered about it. I haven’t found any spots that are cause for concern, yes the battery cover it’s a bit flimsy like other people reported but it never came open on me (and even if it did the battery is safely hold in place with a spring loaded clip so it won’t fall over anyway). The lens mount seems pretty robust, I tried mounting some heavy lens and haven’t experienced any flex so it seems all good. The mounting points looks very sturdy as they’re surrounded my a metal plate so if you plan to mount something heavy without a cage it looks like is not gonna be a problem. The camera feels quite good in the hand the only reservation I have is that is fairly easy to obstruct the bottom exhaust while shooting handheld as it’s the natural resting point for the hand that operate the lens. The screen is pretty awesome I should say, it’s detailed, responsive has good colours and it’s surprisingly bright when needed. Is it usable under direct sunlight without a hood? In my experience barely but so is the vast majority of built-in screens out there, for that you need something very bright like a smallHD 1500nits or something similar. USABILITY/OPERATION: Like many other people said before this camera is an absolute joy to operate, the menu system is one of the best in the industry, it’s logically laid out and super intuitive. Overall the experience is much more akin to a RED or an Alexa rather than a hybrid camera and this is good given the this is a cinema camera after all ? I like how everything can be controlled so easily via the touchscreen but I like even more the fact that you don’t have to rely on it if you prefer not to or you’re in a shooting situation in which is not practical. All the main functions have dedicated buttons (and a dial in the front just under the record button) plus the three functions buttons are completely programmable either as toggles for specific functions or you can assign a precise value to a parameter that you wish to quickly recall (say you want to go to iso 3200 with a touch of a button you can do that) The Preset menu is another gem of the OS, you can save camera configurations with totally different settings and recall them in a moment, it’s a massive timesaver! The screen, other than being of great quality, offers an impressive range of tools for a built-in screen the highlight of which (for me) is definitely the inclusion of false colours which is such a great tool to expose and is something that is never present in hybrid cameras. Battery life is not amazing but again it’s quite normal for a cinema camera with an actively cooled sensor I think. I would say you can expect 35-40 minutes recording time quite consistently. Like other users reported already original Canon batteries seems to give the best and most consistent results and are the only one providing a percentage to the camera so I might swallow the hefty price and buy a couple extra of them. I haven’t had any problems with stuck batteries so far and I hope it stays this way! I’ve recorded mainly on SD cards and I’m glad to report that my Sony G ones can reliably record 4K RAW 60fps 4:1 with no issues (although they’re not in the official list provided by BM but I suppose they’re very similar to the new “Tough” series just released which are approved instead). I also used SanDisk Extreme Pro UHS-I and although they’re not fast enough for 60fps they can record 4K 25 RAW 4:1 with no issues. I’ve also made a test with a random SSD mounted in a usb-c caddy and it worked perfectly so I’m probably gonna purchase a couple of Samsung T5 as soon as I find a nice holder that I can use without a cage. IMAGE QUALITY: This is where the camera really shines (and it’s kind of important I reckon, right?) ? The images are detailed and rich, the colour science is very very good out of the box and coupled with the ease of use and the big screen is easy and fast to acquire great footage. The dynamic range is not greater than other cameras like the GH5s or the A7III but the numbers on papers often don’t tell the full story.. The camera produces files that have not been processed in any way (if you shoot raw of course) so it’s actually easier to squeeze every bit of information from them compared to a heavily compressed codec. As other users already noted I found the highlights rolloff to be a bit on the harsh side so I’d say it’s a good idea to protect the highlights with this camera as a priority. The dual native ISO values of 400 and 3200 are a very good choice in my opinion, particularly in daylight when you don’t have to use a ton of ND filtration to get the correct exposure. Noise levels are pretty good although I have to say there is more chroma noise that I would like (particularly compared to the kind of monochrome noise Sony has accustomed us to with their sensors) but again, with files this good it’s quite trivial to use your denoiser of choice and get rid of it without murdering the image. I also noticed in a couple of shots some moire/aliasing and unfortunately this is quite inevitable since this is not an oversampled sensor readout and there is no OLPF… This is it for now, hope I haven’t bored you to death and that you’ve found useful information and I promise to follow soon with more details and some hopefully nice images too! Have a great weekend everybody!
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