BenEricson

If don't mind the Sony look, the FS700/7Q is an absolutely killer bargain. The body is around 2500-3000 and the recorders are around 1500-2000. You get 4K/60p continuous, 4k/120fps in bursts, etc. It has great practical use, (interviews, long recording times,) but also is a cool toy with lots of features like 120fps and RAW recording. 

The sharpness and detail are amazing, the colors are pretty terrible. You can get a nice looking image, but you won't get that beautiful saturated look that a canon can produce in almost any situation. There's a guy on vimeo that does pretty beautiful stylized fashion stuff with the setup. Anyone who does corporate work with lots of talking head is so much better off with a c100mkii or even the original c100. 

2 minutes ago, viranikenya said:

A7s in slog2 & sgamut is a nightmare to grade is exposure is not right (ETTR). 

Also even know I don't see too many BMCC sample footage online am getting suspicious how come?

The Sony stuff is the worst. I agree about the lack of BMMCC footage, although the pocket was the same way. I imagine we see a ton in the next few weeks. I hope to have one by the end of next week. I am really wanting that 60p. 

c100 mk1. This was probably shot with like 4 charged batteries and a 64gb SD card. Haha. I would never bring stacks of CF cards/hard drives, etc… 

I would probably shoot it on something small and light, with minimal support needed. I think a GH4 with a nice microphone and some stabilized glass would probably do really well. I guess it all depends on the situation, but having to worry about offloading raw files sounds like it would kill the vibe a little...

1 hour ago, bluefonia said:

@Brian Caldwell

Thanks, - in fact I'm already aware that Metabones SB¨s can be adjusted if needed. I have one in CY/MFT mount, but have had none of these backfocus issues so far. I just made the final zoom/focus test without SB to exclude all possible error sources.

You sure all of your lenses properly focus to infinity? I adjusted for the sigma and everything was perfect after that, this includes fisheye lenses and non native zoom lenses with adapters.

22 minutes ago, bluefonia said:

I just discovered that my copy of the Sigma 18-35mm F1.8 ART does not keep focus when zooming. Slowly zooming out from 35 to 18mm the lens gradually looses focus. The same happens the other way around, - focus at 18mm gets lost at 35mm. I can't remember the last time I have zoomed during recording, but anyways - I suppose a lens in this price range should not suffer from such an issue.

Has anybody else had the same problem? As I guess this not supposed to be so, how/where do I get the problem fixed?

Are you using the Black Magic Pocket or a camera with the metabones? if so, you need to make sure the infinity focus is set properly on the speed booster.

I have owned canon and Nikon versions, both held focus through the zoom range, however the Nikon version with speed booster flickered when zooming on any aperture but f1.8... The canon version was fine at any f stop. 

On March 14, 2016 at 1:33 PM, fuzzynormal said:

Insane run 'n gun?  I don't know about that.  Looks like it's less demanding than what most, documentary, news, corporate, and wedding shooters have been doing for decades.

Haha. 

6 hours ago, Adebowale said:

Kind of fell in love with this guys BMPCC footage and just wanted to post one. I almost dont believe he shot it with the pocket

 

 

Looks real good. Once you have the proper setup, (Metabones/Sigma 18-35,) it's all in the grade. That really is the winning combo. The camera looks really good shallow, which is hard to do without the 18-35. I love the handheld look on wides with all that DR

Another guy doing cool stuff with the Digital Bolex. I love the handheld stuff with the global shutter… You can really get that saturated caked on color look. 

31 minutes ago, Bioskop.Inc said:

Man, its the same sensor as the Ikonoskop A-Cam DII?!

How did that pass me buy? Because that was one of the images that i really loved, coupled with the shape of its body. It just seemed to be the perfect camera for just picking up & shooting with - no rigging or evf/monitor needed! Such as shame it got discontinued - now if BM or someone does a camera with that form factor again, I'd jump...

 

Lovely. This is actually close to film. "Philm convert" with milky blacks is not the film look.

4 hours ago, DBounce said:

In any case, I caved and purchased the Canon 1DX Mkii so I will have something to fall back on that delivers that magic straight out of the camera. 

Yup. I shot a bunch of quick turn around stuff on the C300mkii with the baked in color. It looks amazing right out the camera. I would love to own that camera, but the size is a bit much and of course the price... I think the 1DXmkii is going to be awesome.

4 hours ago, Ed David said:

Man that is gorgeous!!!

The original pocket is great as well. This guy's work is really nice. 

https://vimeo.com/101441424

6 minutes ago, DBounce said:

I really want to hate this camera, but it looks great, will be rock solid and will record 4k @ 60 fps... Someone save my wallet!!!

Yup. This looks like hands down the best DSLR. 

15 hours ago, tellure said:

I notice the colors on my Sony / Zeiss 24mm 1.8 look much more Canon L-like than on my other non-Zeiss Sony lenses.  Here's a framegrab straight from camera with that lens, 1080p from the A6000 (pre-XAVCS update).  Dynamic range doesn't look great to me but I think the colors are pretty decent.. not quite what I used to get with L lenses on my old Canon 5D but not bad.  Definitely better than I get with my Sony 10-18mm F/4 or the Sony 50mm 1.8 OSS.

It is hard to get skin to not look kind of dead on the Sony cameras. It has this white look, and if you warm up the scene, all of the other colors go crazy.

The Black Magic Pocket has a tough learning curve, but I can't pull colors like these from any Sony cameras I have used, this includes FS700/7Q 10bit/4k files. It's ridiculous to get better color with a camera setup that is about 1/4 the size and price. I will admit the weaknesses of the pocket. Battery life, ergonomics, IR contamination, why does everyone defend the color so much on them. They offer so many features, but the color is definitely a problem. 

8 minutes ago, DPStewart said:

Yup. VIMEO BLEW IT.

I agree. I have the same problem. I select HD and sometimes it will bounce back or just stop playing all together. NICE WORK VIMEO.

I don't see the point in renewing my pro account at this point.

7 hours ago, richg101 said:

Without being a colorist or an expert working with the said camera a negative opinion about any aspect of the image is worthless.

User generated feedback is about the best you can get. If a colorist told me the Sony image was great, how would that help me? 

18 minutes ago, IronFilm said:

Rather have the BMD 4.6K

You'll be waiting a while for that one. 

10 minutes ago, Volker Schmidt said:

Hey Andrew,
in terms of videoquality it´s hard to judge, because these are stills. 
But: first one seems to have the best dynamic range: Sony FS5
2. Best overall look, in case of colors: 1DC
3. terrible videolook: NX1 (just a feeling:), but probably the GH4.

 

Tricky. 1 and 3 both go towards a teal look on the bottles, but 3 is completely red and 1 is completely orange. The exposure seems different on all of them.

8 hours ago, Ed David said:

What is everyones now that cameras are so light sensative?

Mine is a joker 800 hmi, kino 2x4, 2 litepanel astra lights,  some rifa lights and some dedolights and a literibbon.

This with a bunch of grip and a 4x8 beadboard gets me through quite a few setups.

Let me know what everyone elses is.

I use the Light Panel 1x1 at work, I have heard the Astras are a huge step up in luminance output. Do you find this to be the case?

I shoot a ton of daylight balanced stuff, I find the Kinos harder to match and the kit is so much larger. 

6 hours ago, richg101 said:

Very rarely do the colours in hollywood films represent exactly how the scene looked.  Unless you have been to that exact forest, at the exact time he shot the film you can't make judgement on the accuracy of the colour.  I simply posted that sample to show that both pleasing colours and motion can be achieved by a skilled camera person and careful grading.  Most dslrs would fall apart if you tried to pull images around as much as he has done to get this look.

This is all subjective, but I live in the Northwest, and forests don't look like that... The issue isn't getting some Osiris LUT look, the issue is getting a nice professional looking image, with no weird skin tints or off looking color. You shouldn't have to use curves and HLS tools to achieve this. 

I have access to the FS700/7Q and the 5D3/Raw. I'll do some side by sides this weekend and post the flat Pro Res files. The FS700 is a hell of a deal, but I am working on a project right now and I am having difficulty with the Sony footage. The other project I am editing is C300mkii looks pretty great with only minimal adjustments to the C-LOG files. I used 5D3 for the pick up shots in public areas and it cut very well. The canon is punchy and saturated, the Sony feels life less, even when grading 10bit/422/4K files.

I'm wondering if the Sony suffers from IR contamination like the Black Magic Pocket... 

6 hours ago, araucaria said:

I remember when I was a child in the 90s when seeing rehersals or takes on a movie set in a making off I always asked myself why everything looked so crap compared to how it looks later in the movie.

Nope. The guy can't take criticism. His image is all based on his reputation online, so he holds his opinion on everything.

47 minutes ago, DayRaven said:

Are you sure that wasn't one of the ones he did trying to push his mates LUT pack, that honestly looks LUTTed to me, in fact, it looks worse, it looks like a film emulation LUT.

I think so. The way he responds to any small critique is amazing. 

2 hours ago, richg101 said:

 

 

The a7rii doesnt have bad colour science.  it's just different to canon and nikon, which are different to red which is different to arri, black magic, etc.  subjective.  There is nothing that careful rgb curves can't sort out.

perfect example of a piece of work by someone who got to grips with how to get the most from the a7rii.  lots of hand held stuff..  no motion issues.  lots of colours, no colour issues.

 

 

You're telling everyone color science is "subjective" but this just looks like an instagram VSCO photo. I have trouble believing that anyone who shoots interviews a lot, thinks Sony color is fine and can be fixed with curves. Sony seems to do pretty nice in natural light, but so do a lot of cameras. The canon cameras handle mixed lighting really well.

Here is Philip Bloom's - Shot S-LOG 4K, Graded in film convert. It looks terrible. 

The price of the 1DXii is high, but the footage is going to look nice.

2 hours ago, Liam said:

all subjective of course, but I liked this a lot. it is a lot about the grade with a camera in this range. and "filmic" might still be up for debate

How often do you film ducks at the pond? I agree the footage looks nice, but this is just camera tests... Are there any actual pieces out there?

15 hours ago, DBounce said:

I think you have this backwards. It's not that sony cameras can look artificial. Quite the opposite... they tend to look too real. 

Ghostly looking skin tones, greens that shift in a weird way, sky becomes a cotton candy blue when it clips. Canon has been beating Sony in color for years on the prosumer/consumer level.

13 hours ago, richg101 said:

adds to the fun.  13stops of dr gives you an awful lot of headroom!  grab a cheap analog lightmeter, get an exposure on the highlights and work from there.  The amazing thing is that for each clip you can push or pull the footage in raw individually.  with a roll of film if you are underexposed on one shot out of 20 you can;t just push process that one shot otherwise the rest will be over.  even with prores Lt and film dr the lumetri adjustments for exposure give almost as much control as with raw.  

RAW is closer to the telecine process than a push pull. You can easily can be 4/5 stops over and still recover highlights with 16mm. You meter correctly and your footage will always look nice. 

What are you talking about with highlight metering? Zebras will do that for sure and exposing for highlights is great for wides but you can't always do that. 

4 hours ago, Gpanazio said:

I've got the same "problem" with A7r II, but it's not difficult to fix it in Davinci Resolve. 

That's not a real "solution." Sony still struggles so hard in mixed lighting. The canon looks amazing every time.