docmoore
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Posts posted by docmoore
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I just ran a series of clips with a 2Tb T5 at 5.7K ... nothing dropped at 59.97 nor 23.976 .... since that is a 17:9 aspect and matches 4K DCI and 2K DCI
I am relieved ... been acquiring CFast 2 cards but have 5Tb of Samsung T5 and EVO msata 860 SSDs that I used with the P4K. Need to run tests on the EVOs.
The problem may not be the drives so much as the USB 3.1 Generation 1 port .... should have moved it to a Gen 2 but I assume that would have added time and complexity
to the P6K rollout.
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The site for the kickstarter shows eu vat and non-eu prices ....
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Here is the best description of the advantage of 5.7 to 4K DCI Raw to Prores on the BMPCC6K ... matches the aspect ratio of the P4K better and
is sharper.
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=96689
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23 minutes ago, Kisaha said:
Any comments on the hot topic of P4K vs P6K?
Pros - Cons? Are you missing something from your P4K when using the P6K, or the opposite?
Both are very good ... disruptive for the above $10K camera manufacturers if over time they function without major issue,
and only time will tell on that front. My experience has satisfied my concerns ... and at these prices replacing a camera is not
a dealbreaker.
I prefer not adding elements behind a lens ... which was designed to perform at a specific flange depth in a specific way. So
the ability to use better EF mount lenses on a native mount is my preference. Spatial rolloff is characteristic of sensor size and
I just prefer larger sensors ... MF and FF for stills ... so many other elements affect video one has to look at everything. Arri has
used a small sensor to great ends as they engineered the imaging pipeline so well. Most others are playing catchup.
The loss of BM Raw at certain resolutions on the P6K is not an issue for me as I am not bound by production time constraints ...
hence the 5.7K capture to a 4K or 2K DCI Prores render. I did not use Prores on the P4K ... again BM Raw to Prores in Davinci Resolve
Studio.
Realistically, almost any new camera can produce compelling footage if one stays within the limits of its design envelope and respects
its limitations.
Just need to decide what tradeoffs are worth it to you.
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Thank you!
No specific look ... grading was to test DR and color fidelity.
Canon 50 F 1.2 for one and Zeiss 100 F2 Makro for the other ... listed in the opening credits.
Really looking at highlights and how natural the overall feel could be ...
My bias is from the perspective of a landscape and portrait photography background ... so I tend to pick times for the appropriate
light and convey what it imparts to a scene.
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Thought I would share a couple of explorations I have done with the P6K ...
After considerable time with the P4K I began looking for something a bit bigger ... yet most of the cameras out there have an element that
represents a compromise ... and it can be a struggle to decide what you really need in a camera. All about the image quality and sound that
you can capture ... and lens mount sensor preamps and ergonomics play a big part in how we can capture what we see.
I was pleased to see the announcement of the P6K as the P4K has worked well for my needs.
So this week ... heat index outside was 108F ... I captured a bunch of things inside to look at light and color. Also played with the XLR inputs to insure that
this camera works as well as the P4K.
Here are a couple of short-lived videos ... cannot leave them up for long due to music I added for myself ... hate looking at video without a background of sound.
Not cinema ... no drama ... just moving pictures ... video if it suites you. Capture at 5.7K BM Raw Quality 0 to the CFast card in 24p without and difficulty and
rendered on a 4K DCI timeline with a 2K DCI output. Output as ProRes 422 ...
https://www.youtube.com/watch?v=VOTQWfI0YPY&feature=youtu.be
I love the extra resolution and great color science that was in the P4K (v4).
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I use the BM mini to XLR cable with phantom powered boom mic ...
Signal is very strong ... if you adjust levels without hiss and no appreciable noise.
Adequate for the weekly blog that I record ... I no longer use an external recorder.
The camera continues to address a wide variety of needs ... it is very well designed and implemented.
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On 7/25/2019 at 11:13 PM, User said:
C100MkII
No muss, no fuss.https://www.lensrentals.com/rent/canon-eos-c100-mark-ii-w-dual-pixel-cmos-af
Any camera is a compromise but the EOS Cinema cameras are wonderful for this type of shooting. Add a monopod
and a lens with IS ....
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The new firmware (2.01) for the Z6 and Z7 addresses a couple of bugs in the previous eye AF firmware upgrade (2.0)
This is not the highly anticipated Raw upgrade ....
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1 hour ago, Kisaha said:
Have you heard about this "sensor thickness" before? It is the first time that I heard about it.
It is referred to as sensor stack ...
https://petapixel.com/2014/06/10/sensor-stack-thickness-matter/
It is why many Leica M wide angle lenses perform so poorly on Sony A7 cameras ...
Here is a link to a video by Filippo Chiesa ... BMPCC4K and Speedbooster
... read his comments on AC and glow .... may be related to the stack thickness.
I assume that if you use a SB it should be designed for the camera in question ... otherwise you lose the benefits of the great glass you
have mounted ... the Metabones smart adapter without glass avoids the problem but you lose speed and boost in angle of view.
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I assume that the mustard yellows in the greens throws off the overall balance of the look. Skin tones are great but many of the Film
Convert emulsions end up doing this ... do not remember that from any of the film I used. Do not think it is the Panasonic but more
the Film Convert look. But it beats teal and orange.
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Now that I see what you are after ..... Suguru .... no residue when removed.
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My favorite stand ... just add holder and mic:
https://www.sweetwater.com/store/detail/OrbitalPlate--triad-orbit-io-with-wallplate-desktop-mount
Fast disconnect and very robust ... looks good enough that does not need to be hidden.
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According to the manual that was linked above you need the HXR-IFR5 linked via SDI ... at which point the menu should change in camera
to reflect Raw recording. I assume the the HXR converts the signal so that the recorder can read it ... same as F5, F55 and FS7. So I assume that a compatible recorder when connected to the camera and enabled would bring up the menu settings:
Here is a video describing how to do this .....
https://nofilmschool.com/2014/04/sony-fs700-4k-raw-prores-convergent-odyssey-7q
Setup for Shogun:
http://107.182.239.236/media/Shogun_record_raw_Sony_FS700.pdf
AtomOS Raw:\\
Hope this helps.
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No LCD monitor .... no body cap .... no warranty .... such a deal!
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Resolve is well worth the price ... indeed I bought it twice ... once from the Mac App store then again when I discovered I was hostage to Apple with regards to upgrades as they locked one out of all the beta improvements ...
And once purchased from BM it avails one of multiple upgrades without charge.
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I would not dissuade anyone from the camera ... with a little planning it gives a drop dead gorgeous image ...
The quality of the Q 0 braw is worth the effort and file size. Down sizing and going from png snaps to compressed jpgs here do the files a disservice.
Regards,
Bob
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I tend to shoot at 400/640 and then jump to 1250 to minimize noise .... so I have not explored 800 ... but I am very conservative in exposing
to protect highlights. But overall the camera delivers more than I expected ... but I may move to a S35 camera ... as I am used to the Z7 and Leica
SL ... as my two previous cameras.
Mainly looking for a less build it yourself package ... and internal ND filters are high on my list ... as is TC in and out. I miss waveforms on the BM
although false color works ... a bit more finicky than a decent waveform in my hands.
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You are correct ... the video is prior to the braw update. I assume that highlight recovery would be as effective as that of the Cinema DNG but that would
need to be demonstrated. Working with the raw files takes a bit of experience to find a decent balance that appears natural in high contrast landscapes.
Controlled lighting yields wonderful files ... great color and beautiful range of tones.
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The ProAV Closer Look at Overexposure video ... linked above ... looks at both braw and Prores and they assume there is almost a stop of improvement
with the braw over the Prores ... but that was at +4 overexposure ... in the ability to claw back highlights.
In spite of the DR of the camera ... one really needs to expose so that nothing gets blown in the highlights ... when it goes it is ugly. Not the most gentle of
rolloffs. Zebras at 90 and watch false color for anything you want to be usable.
It is much better than first look would suggest ... but you have to rigorously control exposure.
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10 hours ago, HockeyFan12 said:
Is that accurate? Where'd you find it?
That's a huge improvement. Really really good numbers, competitive (in practice, at least–shadows might be a little worse muddier) with the better cinema cameras available.
Maybe that explains the difference. Those numbers indicate excellent highlight dynamic range. The early ones don't.
Download PDF on this support page middle column fourth choice:
https://www.blackmagicdesign.com/support/
Page 42
Regards,
Bob
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That is an old chart ... here is a screen capture of the updated DR with BRAW ....
ISO 640 may be a sweet spot for +6.1 stops ... and you have highlight recovery available if you do not blow the highlights.
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On 6/15/2019 at 8:47 AM, Jonesy Jones said:
Was there an official update that addressed highlight roll off? I hadn’t seen that. I’ve been waiting all this time for @Sage to help me with that. ?
Not from BM but a fairly interesting look at iso DR and overexposure with recovery of highlights.
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film grain
In: Cameras
DR Studio has OFX film grain as part of the software ... it is good ... I also have FilmConvert and Red Giant Looks as OFX ... but
FC takes twice as long to render ... so I usually use the bundled film grain ... as 35mm grain but I adjust size density and color of the grain.
It allows for a bit more realistic look without being simu-film in character. Increases perceived sharpness due to edge effect, masks noise,
.... covers a multitude of flaws.
Just add as a node ... and vary the intensity to personal preference.
Blackmagic Pocket Cinema Camera 6K
In: Cameras
Posted
Focus with native Canon EF lenses is typically slow contrast based acquisition stepping past focus and then locking on ... very accurate but depends on the lens and ambient light.
Canon 17 - 40 L is much slower than the 50 F1.2 in any light. Indoors in lower light the focus times are marginal and the camera occasionally hunts to acquire the best focus.
I only have Canon AF glass and Zeiss MF so cannot compare but while it may take a second it doesn’t seem to be as long as three seconds.
Good for setting up a shot ... double tap for magnification and the adjust manually.