SR

A lot of complaints of the latest episode being too dark for a lot of viewers. Hopefully not for this crowd. Watching it on my monitor in a darkened room, It wasn't much of a problem. But I can't remember the last time a color grade became the news. I do love the often painterly quality of the light in this show (although I do wish there was a bit more punch with the contrast).
 
 

"If you're recording in 32bit, you don't need to set gain at all." - Watch from 3:00 to 4:00.
Okay, I didn't even know this was possible. The rep compares it to a raw photo.
 
 
 

There's a thread about it here: https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=88961
Make sure you're updated to the latest drivers.

They also changed it to using floating point instead of integer values. For those not familiar with computer science, a floating point is a number which is divided into 2 parts. The one part has a certain amount of bits to represent "how many zeros" there is in the number (or the exponent), while the rest of the bits are used to represent a certain number of decimals.
An example: The number 1234567890 would usually be represented just as it is. In floating point it could be represented by 1.23456*10^9 by only storing the 7 first digit and the exponent 9.
If they use 24 bits to represent the precision and 8 bits to represent the exponent, they will get the same precision as with normal 24 bit recording, but they would get the same precision whether the number was small or large and they would get a much larger value range.
For more info: https://en.wikipedia.org/wiki/Single-precision_floating-point_format
How well using floating point numbers works in reality is a whole other matter, and the only way to find out is to test it.

@SR It's absolutely a big deal, but primarily for non-pros. I believe what @kye is saying is that Zoom didn't do anything particularly difficult--it's not like they completely redesigned how the circuitry works. It's similar to the dual channel recording feature many recorders have had for years, except that it merges the two files automatically into a 32 bit file, instead of giving you two 24 bit files that you can manually splice if you so desire.
But it's absolutely a useful feature, especially for one man bands who don't have enough eyes to watch the camera and the audio meters at the same time, or for ultra low budget projects (like mine) who employ non-pros without much experience.
The dynamic range of the audio file should increase dramatically.
 
32 bit 48kHz is exactly twice the file size of 16 bit 48kHz, not including the negligibly small amount for metadata.

Why haven't you made the jump to Resolve yet?

"If you're recording in 32bit, you don't need to set gain at all." - Watch from 3:00 to 4:00.
Okay, I didn't even know this was possible. The rep compares it to a raw photo.
 
 
 

"If you're recording in 32bit, you don't need to set gain at all." - Watch from 3:00 to 4:00.
Okay, I didn't even know this was possible. The rep compares it to a raw photo.
 
 
 

AE has content aware now. Possibilities with AI are endless. Hope Resolve has something in store.
 
 

Whenever I'm low on work, I step back and spend that time thinking up bigger, bolder projects to up my game, and suddenly I find myself working with higher-paying clients. Frustration is good. A lot of what we do is equal parts business and creative. If the numbers aren't supporting it, you have to make changes for the better---or worse.

I'm a photographer by trade, so nodes seemed intimidating at first, but nothing you can't get over with an hour of mucking around and tutorials. In fact, I find Resolve much more logical and just plain wonderful when color grading, even if Premiere does seem simpler at first. There's a reason why so many Hollywood films are graded in Resolve.

Good thread. Here are some from https://www.instagram.com/cinematography/
https://www.instagram.com/p/BvE46qBnJDH/
 
And the Cruise. ?
 

Man I wish the S1R would output to ProRes raw. That's the camera I need for photography and would love to have as a B-cam to my Pocket 4K.

Good thread. Here are some from https://www.instagram.com/cinematography/
https://www.instagram.com/p/BvE46qBnJDH/
 
And the Cruise. ?
 

Good thread. Here are some from https://www.instagram.com/cinematography/
https://www.instagram.com/p/BvE46qBnJDH/
 
And the Cruise. ?
 

I'm a photographer by trade, so nodes seemed intimidating at first, but nothing you can't get over with an hour of mucking around and tutorials. In fact, I find Resolve much more logical and just plain wonderful when color grading, even if Premiere does seem simpler at first. There's a reason why so many Hollywood films are graded in Resolve.

This is a complete suite of applications that a professional content creator can use, and is given to us for free when buying some of their product's.
How amazing is this??!!
In my opinion, this fact gives so much value to products like the P4K, that is both unprecedented and even unbelievable!

The company that keeps giving.

The company that keeps giving.

Stop being a wuss and just buy the BMPCC4K.

what is WUSS? No bmpcc for me, first beacuse it is complicated to use with all the addons it needs and last bat not least i don t want wait endllessy before getting it!

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!
 

Wooohooo! NX1 mention (fanboy here). 

Why wouldn't you? Then you have access to Helios 40, Jupiter 9, etc.. I have them adapted to Nikon and then added filter step rings to them for NDs and ProMist. Softens up and adds character to 4k image. Just be careful of flaring. It can get cray in ways that you may not want.