mercer

Thanks. Yeah, I'm loving my Pocket cam.
I might have posted this on the board somewhere, but this is the alternate Super 8 footage to my short film "The Ballad of Crazy Pete". It was conceived as a Super 8 short, but one roll didn't turn out, and I couldn't get the digital backup footage to match, so I went with an all-digital version. This is telecine I did at home by taping a Lowel frost gel to a cardboard box, projecting the film onto the gel and recording it with a GH1. It ended up having kind of an interestingly shitty look:
 

I'm always trying to get the Super 8 look, and this thread motivated me to try again. This is my bmpcc treated to look like Super 8. I want to post footage, but for some reason, a lot of my gorilla grain files cause red flash frames when composited over the footage. Fine grain works, but anything heavier has this problem. I'm pretty satisfied with this look. It's the closest I've gotten I think.

I've done something similar.
 
Had an old Sony Handycam Hi8 camera from my childhood lying around at the back of my shelf, and one day decided to see if it still works. Much to my surprise, it did, and even the batteries were functional. Those things were built like tanks, I abused the hell out of it in my teen years shooting backyard movies, and over a decade later it works like a charm.
So I fitted it with a cheap 35mm adapter, ran a few tests and then went out to shoot a small art short. Since the 35mm filter was mirrorless, I was practically shooting blind - the loop displayed a mirrored, upside down image, which really messes with your brain when you're trying to operate.
Nevertheless, I'm happy with what we got. We dubbed it our punk movie, because it has that look of cheap, grainy 16mm film from old underground stuff.
 

Nice video, buy why don't you get the real thing (a 16mm camera) and do a piece on that. I mean, you are in NY, you're at the source.
This is 16mm and looks really nice:
 

Ricardo is always posting such gorgeous framegrabs in this thread, so I wanted to give his settings a try for myself on my latest project... I'm really liking the way these are looking. (Graded with DeLuts and filmconvert) 

I would send it to http://ekoecamera.com/lens-service/ , he is the guru when it comes to C-mount.

Yes. It's a decent lens and has quirky triangle aperture. 
That seller is notorious for giving wrong/misleading information though. Also that price is fairly high.

Shot this film in Botswana and I have to say that the BM cinema camera works perfectly for wildlife filming. You will need an external monitor because the screen on the back acts more as a mirror than as a display but other than that it has been great. It eats a lot of hard drive space so a few extra ssd's are needed.
 
 
Let me know what you guys think.

Hi, I´m Javier and I´m the autor of this video, sorry my English is so bad!!. I am very grateful for the nice comments. I love this forum, I have learnt a lot about filmmaking for years as a follower of EOSHD. Talking about the video, in camera setting was Natural Profile all parameters -3 noises reduction -2, i-dynamic and i-resolution OFF. A few shots in 4k and the rest of them 1080 50p for slow motion. Everything was shot hand-held. It was edited in Final Cut Pro X, I applied post-stabilization in a couple of shots, I don't remember which of them. The primary color correction of each shot was made in this program too with color correction tool and finally I applied film convert plugin in a adjustment layer to all the video.
Greetings to all you, and thanks again, nice to be here!

Honestly. That's probably the nicest footage I have seen from the camera.

Honestly. That's probably the nicest footage I have seen from the camera.

Honestly. That's probably the nicest footage I have seen from the camera.

Gotcha. It is an expensive holiday... I guess I just figured with the traffic you get on your YouTube channel, that it paid for your toys.
I would love to see a feature film of yours made with that D16 though... Am a big fan of your work. 

Honestly. That's probably the nicest footage I have seen from the camera.

I have a tiny personal anecdote about the importance of 4K. I do a lot of food cinematography for a company that does video recipes, cookbooks etc. Their output is mainly online, on social media and the home pages of food companies.
We've been shooting 90% on BMCC in prores 1080p. On one production we had to knock out a large amount of videos in a short time, so I rigged an RX10 MK2 to the ceiling of the studio to get us an overhead look of the process, giving me two angles simultaneously. I suggested the producer I'd shoot in 4k to give him room to crop the image in post. He laughed and told me even 1080p gives plenty leeway for what they do - they delivered in 720p, and in the case of instagram, 640xsomething.
I've yet to have a client ask for 4K. I figure it'll be at least a few years before it'll be the norm or a requirement.
And if you're talking about a fixed price point, the choice often comes between 4K or other attributes like raw/Dynamic range. I'll take the raw and DR over 4K anytime.

Its like the Leica Monochrom I had. It cost more than my M9, still worth it.

not tied any of them - but I should do as the sigma 30mm f1.4 is very good - I do use it alot of night time exteriors shoots -  alot of the night stuff on Pandora Movie was the Sigma - its is very very good on a Metabones XL speedbooster in EF mount - micro 4/3

Yeah, this is kinda sad.
The D16 had a major influence on my decision to strive for higher DR and a more robust codec and color space.
Unfortunately, I couldn't afford the D16, so I went with the BMMCC, but I had hoped that in a few years time I could be shooting on my own shiny and new D16.
I imagine similar choices like mine eventually was too much for the small firm to compete. I wonder if an H8 version of their D16, at a price point similar to the pocket cam could have saved them?
Who knows.
On another note, has anyone used their software? It looks like a nice program... and I wonder if that will still be available?

Voigtlander 40mm with the A7r 2 FF mode.

All good! Happy to help anyone with tips if needed, just PM me.

Another lens test, this time with the Angenieux 15mm c-mount and the BMMCC...

Look like toys in the frame? No idea what that means. Recently did a test with all kinds of different lenses--native, speed boosted, vintage, modern--on both the G7 and BMPCC. All gave very different looks in regards to skintone, detail, contrast, 3D seperation, bokeh, and color. Where does this "toy" thing come into play, and what makes it a result of sensor size and not lens choice or camera processing or color grading? 

To your actual question, I have no problem dealing with crop factor as the price of great image quality. Micro Four Thirds lenses are good, cheap, and plentiful, and you can easily get an APS-C field of view of your full frame lenses with a simple $150 focal reducer. 

In terms of 4K? Like any tool, it depends on the project. Kind of a moot point if the studio/client asks for it; you need to have it. And I think we'd all rather have a badass high-DR awesome color RAW 1080p image than crummy compressed 4K. That's a silly argument because there's no possible way anyone could disagree. For broadcast and documentary, 1080p makes a lot of sense for file size reasons and delivery. But for high-end TV and narrative work, all else being equal, would I personally want 4K or 2K? Probably 2K for most things, as it's kinder to faces and I don't shoot a lot of wides. But it really depends on the project and your style. 

The biggest problem with 4K right now is delivery. We have the cameras, we have the displays, we have the content, but the pipes to get it there aren't up to snuff. 4K streaming is far too compressed at average American bitrates to beat a good 1080p Blu-Ray for quality. That Sony box that lets you download 4K digital copies works well and doesn't compromise quality, but you have to have all your movies downloaded far in advance and the library is very limited. They make 4K Blu-Rays now, but the library is small, they're expensive, and the players cost about $300. 

TLDR: There are more important IQ factors to consider first. It makes sense for certain projects, styles, and shots, but isn't quite there in terms of delivery yet.

The screenplay for this short film was written by an Artificial Intelligence neural network bot. The results are hilarious.
 
Not even screenwriters will be safe from the coming robot invasion.
PS. also the soundtrack is meaningless, the lyrics was generated by AI (although the music composed was done by humans, next step for the AI? No reason why it couldn't be):
 
Screenplay can be read here:
https://www.docdroid.net/lCZ2fPA/sunspring-final.pdf.html
 
I'd love to shoot an AI written screenplay myself! Maybe I could feed it horror film scripts instead of Sci-Fi?

Why suffer when you can have fun instead;) If you need 4K you can get a used bmpc which is going very cheap, or upscale 2.5k from the old blackmagic (nobody will tell the difference).