BenEricson

6 hours ago, Yannick Willox said:

That is strange. I used the GH5 once, and skin tones did not look any better than on my GX85. I used 2 bmpcc4K cams once (together with the GX85), and the skin tones looked dramatically better. Both conditions indoor, on a big (classical) concert stage.

Still waiting for the p4k to become available ... Luckily rental is quite cheap (but you do not get the Resolve license of course)

Adorama has them. I ordered mine last week and it looks like they are still in stock.

interesting. That is very reassuring. I haven’t used the GH5 extensively but it looked nice in CineD with the contrast down. 

Finally picked up one of these cameras. The menus and touch screen interface are really nice. 4k 60p output is really impressive. I am also really blown away by the sharpness.

Using the P4K, really shows special the colors and skin tone out of the original bmpcc and bmmcc were. The P4K looks really nice, but doesn’t seem that far off from the GH5.

I am also a bit shocked to discover they managed to release another camera with poor battery life. I used it for a day before I ordered an external battery solution.

Does anyone know if the battery life is better when running CFast vs SSD?

1 hour ago, Leica50mm said:

I was thinking about this the other day.  . I have the canon 1DX mkii and canon zooms . It seems like the auto focus would keep focus through out the zoom .  I tried it and it works .

Why wouldn’t it? 

Works great with the C300ii and a 70-200 as well. 

You could say it performs as if it is parfocal, but there are situations where it won’t work 

XC10 or XC15 is great if you're shooting outdoors and need a compact camera. 

I would shoot C-log or Wide DR. If you're shooting over 1250/1600 ISO, I would just shoot a baked in profile, avoid log. 

Working on a new project currently in post. This was a few stops over and shot at 15000k! It was my first day using the camera and something happened with the settings. 

I am having a colorist grade it. Here is what he was able to get this out of the frame. 

19 hours ago, kye said:

In my searches for vintage lenses to make my GH5 more organic looking I came upon the Contax Zeiss lenses, and then yesterday I found this video...

It's basically the dream team of organic classic aesthetic - Contax Zeiss primes, BMPCC, Metabones SB, Tiffen Variable ND.

Personally I think one of the lenses is a bit soft for my tastes, but overall it isn't bad.  [Edit: actually I think the softness is a combination of missing focus and stopping down too much, so not the lenses].

I've seen better BMPCC videos (lots of talented people used that camera) but overall it should be positively dripping with the look we're chasing.  

Thoughts?

Really beautiful images with the worst song possible. I thought a window had popped up in the background somewhere. 

The original bmpcc can be made to look like a Arri or Red at 1080p. 

6 hours ago, mercer said:

Canon’s IS Lenses are pretty damn good handheld... the 35mm f/2 hasn’t failed me yet. 

Same here. 35mm F2 and the 24-105 or 100mm Macro IS if you’re indoors. 

12 hours ago, zerocool22 said:

Problems:
- Only internal battery that cannot be removed/replaced which will die out over the years. Best case scenario only runs for 5 hours.

More importantly, you’re completely screwed on location if you don’t charge the only battery available. Do they have an auto shutoff like the updated rode vmp did? 5 hours is also super limiting if you have a full day of shooting...

24 minutes ago, heart0less said:

Here is one of them:

Jelly and jitter all over the place.

Yikes. That color too. ?

Looks nice. I love a compact setup.

Do you shoot mostly at night or in low luminance areas? It can be a struggle to compete with natural light in a bright space, having a few 5/1s can a life saver to create a nice look. 

On 12/13/2018 at 3:08 PM, TurboRat said:

He graded this beautifully! But I think he can achieve the same images with the P4k, just not the same workflow with what he usually does with his micro

This has been said over and over but is not true. None of the BMP4K images come close. They're not even in the same realm in my opinion. 

Would this work? 

https://www.ebay.com/i/312231238771?chn=ps&ul_ref=https%3A%2F%2Frover.ebay.com%2Frover%2F1%2F711-117182-37290-0%2F2%3Fmpre%3Dhttps%253A%252F%252Fwww.ebay.com%252Fi%252F312231238771%253Fchn%253Dps%26itemid%3D312231238771%26targetid%3D477926080956%26device%3Dm%26adtype%3Dpla%26googleloc%3D9032824%26poi%3D%26campaignid%3D1488062876%26adgroupid%3D57569192076%26rlsatarget%3Dpla-477926080956%26abcId%3D1139326%26merchantid%3D7994914%26gclid%3DCjwKCAiAjNjgBRAgEiwAGLlf2iWcELFEIa__CoKPc6sAnFVvdcFJTv0tmW19p_unqOxHvyIgdN1QmhoCJI4QAvD_BwE%26srcrot%3D711-117182-37290-0%26rvr_id%3D1785912243437%26rvr_ts%3Dba943caf1670ab14e963b67afffb24f7

6 hours ago, zerocool22 said:

Too bad it only records raw externally and too bad they crippled the c200. Maybe the next versions will be where its at. 

Realistically you don’t need RAW when the colors look that good. It does do  1080/12 bit internal. 

Gotta be one of the easiest cameras to get an amazing image out of with very little effort. 

3 hours ago, Jadesroom said:

That said, it's what my work provides and now I've got a problem. I've edited a three minute video shot on a Sony X70, 422 XAVC.  However, the encoding dialogue box says that export time is estimated at one hour and forty minutes.  I don't recall this problem before the most recent update.  What can I do--knowing that I have to use Premiere--to speed up the process?

I would assume something with the sequence settings. Can you switch to the camera's native? Are you able to check your settings on an old project file and mirror those. 

3 hours ago, henricus said:

You also used that c300 log lut for the standard profile? 

 

Nah, I don’t think I really touched those files. Maybe used the three way color to ease off the black level a tiny bit or shift the WB. 

17 hours ago, henricus said:

yep

 

not possible

 

Yes I have seen it already. This is one of the great examples what the XC10 can do! And I thought that was all done in C-log..

Can you elaborate a bit on what your grading process was like with the XC10? I like the natural look of your footage. 

When you say standard, do you mean profile 1 or 2?

I am testing 4k c-log 500 iso now, looks much better already! It seems like it is best to ETTR just a bit from reading of the camera's meter.

I was using the C300 Log 2 or 3 LUT? Probably not the proper way to do it, but I am happy with the results.

Sorry, I can't remember which profile it was. Early on people were recommending it as the best profile with the least amount of NR.

21 hours ago, henricus said:

Thanks! I guess it’s time to tryout the 4K ?

I got mine for $700 ?

So it’s best to keep the aperture above F3.5? ? I did shoot a lot of test footage at F2.8..

You may have seen this, but I shot this when I first bought the camera. Looking at this footage reminds of how crazy easy the camera is to shoot with and how good the stabilizer on the long end is crazy good. 

The shots at :09 were shot on the "standard" profile I believe, with the NR and Sharpening all the way down. They seem to have a thicker color than the other clips I shot. You could easily cut shots like that with a C300 and not notice. 

The indoor shots are all ETTR (expose to the right, kept the clouds jammed to the right on the histogram.) The highlights are so soft I don't think it would matter if they clipped anyway. 

8 hours ago, henricus said:

Thanks! I guess it’s time to tryout the 4K ?

I got mine for $700 ?

So it’s best to keep the aperture above F3.5? ? I did shoot a lot of test footage at F2.8..

I forgot it went to 2.8 on the wide end. 2.8 is great. I just notice the image gets noticeably mushy if you’re all the way closed down. 

1 hour ago, @yan_berthemy_photography said:

Hi there,

I would like to get a smooth slow motion with motion blur when rendering 60fps slow motion footage to 24fps. Can I shoot with the 180 shutter degree rule with 60fps ? Looks good in post production.

It depends how fast your subject is moving and if you are following motion or not. I would suggest running tests. You're not going to be able to do any crazy twixtor or optical flow with 180 degree shutter. 

41 minutes ago, webrunner5 said:

You are not going to get C100 sharp output from it, especially 1080p.

You will, but it needs to be F3.5 - F8 and it needs to be 4K. I had my best luck with CLOG @ ISO500. Some of the built in profiles are nice if you turn the noise reduction all the way down. 

Talking about this camera makes me want this camera again. The colors it produces are just really so nice. Perfect camera to bring on trips, as long as you’re only shooting in the day. The range on the lens is incredible. 

On 10/18/2018 at 2:49 PM, Rob Bannister said:

It's quite expensive but I'm hoping it rents enough to justify it.

The RED cameras in general have to be one of the easiest cameras to find for.a rental. It all depends on your market, but in Seattle there are so many. Harder to find a Canon C300ii... Which I use a lot more.

3 hours ago, mirekti said:

 

I have some footage in 24fps and 60fps, and my timeline is set to 24 fps. 
When I add media and drop it on the timeline both play at 100% speed. I was under impression my 60fps footage would be in slow motion i.e. Resolve will automatically make 60fps slow motion and 24fps would play at regular speed as the latter matches timeline settings.

What would be the proper way to have my 60fps footage play at 24fps timeline in slow motion? At the moment it plays in 24fps at regular speed (I assume Resolve automatically drops extra frames)?

You need to conform to 24p. Don’t slow it down with slow motions tools, conform the media. I don’t use revolve but in premiere you right click on the clip in the media window. I am sure it is done similarly. 

28 minutes ago, TheRenaissanceMan said:

Just did my first shoot with the C200. A few observations:

-It's a small, weird little body. Taller, and maybe even fatter, than it is long. Strange ergonomic choice if you want to get it on the shoulder. Still, the dedicated buttons cover all the essential tools/controls and are easy to find...except the strangely placed operator-side record button, which is hard to find by feel. Comes into play when you're jammed in a little closet.

-With Wide DR gamma and Production Camera matrix, the tones and color palette are lovely straight out of the camera. Particularly in mixed lighting, the Canon pumps out predictably pretty results. Can't speak to their accuracy, but for a sentimental narrative it was just what the doctor ordered.

-The new 2K XF-AVC is a weak codec. Looks nice with no corrections or grading, but falls apart quickly if you biff your white balance or start to mess around in Resolve/Lumetri. Still, it's nice to have the extra metadata, and they make good dailies/proxies to use until we circle back and link up the RAW Lite files (which we haven't touched yet).

-The viewfinder is nice and usable. Not nearly as good as the incomparable C700 EVF, but that costs about as much as the C200. ? For a built in, it does exactly what I need--show an accurate enough, sharp enough picture to operate and review with. The tilt was nice too, especially since I LOVE low angles.

-RAW Lite chews through CFast cards like nothing. 128GB cards gave us 15mins each. Now I know how film shooters feel with their limited mag sizes. It didn't hold us back too much this time, but our future days will have longer, more complex takes, and I don't relish the idea of nervously watching our card time tick down.

-It's a nice light camera, and moves around easily. In my case, I really prefer more mass to keep things uber steady. Might have to rig her up a bit more for our next go around.

-I was fighting the fading sunlight in our last scene of the day (these damn, short Wisconsin days...), but I didn't seem to suffer too much penalty for bumping up to ISO 1600/2000 for our last couple shots. A little NR should take care of it. Ultimately, I think it'll actually be less noticable than the blue shift in the window light. Hopefully I can color it out convincingly.

I'll end with a few stills for your perusal, but...for the price, it really is an easy, simple little camera. If the RAW punches as hard as I've heard, then the ease of use vs strength of results ratio is very impressive. I have mixed feelings on the body, but as a nice cheap rental, it delivered exactly what I needed.

 

Looks good. If you’re renting, why not the C300 mk2? I’m assuming for narrative the high but rate would be more valuable than the 60p in 4K. 

12 minutes ago, TheRenaissanceMan said:

You want the look of a heavier camera, you need to make the camera heavier. Period. The extra weight/mass is what makes bigger cameras look better handheld. Either you're willing to do it for the look or you're not. There's no way to "fake" inertia.

Gimbals and steadicams will give you steadier footage with a light camera and eliminate micro-jitter, but it's not the same aesthetic at all.

On a recent short, all it took was popping the F3 on a simple shoulder pad, and suddenly beautiful handheld was effortless. I can PM you a link if you're interested.

Agreed. I was using the F3 with the 7Q for a while. You get really nice heavy and smooth movements with that setup. The way the camera settles is different than a camera with no weight. 

Surprised so many people would recommend steady cams and Ronins? There’s no need to complicate things. You need a well balanced rig that weights 7/8 pounds. 

3 hours ago, Shirozina said:

You don't 'need' an IR filter but it just may help in certain situations.

I guess if you’re only shooting overcrank at high shutter speeds. Once you’re shooting at ISO400/24p in the sun, you will definitely need one. From my experience with the OG pocket, the color was just better with an IR cut filter on all the time, not just when using NDs.

1 hour ago, graphicnatured said:

Luckily most of us buying this cam already owned the OG pocket, which was much worse with IR pollution so we can solve it easily.  

Was it really worse? I mean the Iphone was producing more accurate color. 

If Black Magic or anyone for that matter would have addressed this with the original pocket, you wouldn’t have seen brown footage for the first year and half.