Slothorp

I have seen users complaining about that but never had this issue with the older firmware (1.9).

You can perfectly balance it on the Zhiyun weebill S with just a counterweight. It even works with a heavy lens such as this combo : metabones speed booster + canon fd 35mm + iscorama 36.

I have shot a plenty blue sky in CDNG and Braw and didn't find any macro blocking. So, before jumping to the conclusion that it's a camera issue, everyone one should do it's own test. (As I was the first to raise the red clipping issue, months ago, and felt the sweet anger of many BM fanboys who couldn't believe that the camera could have its flaws, I know what I'm talking about...)

As a owner of an Iscorama 36, I would like to know on which glass element the multi coating was applied. Is it only the front element, or on another one ? Love my Isco but miss the flares.

New S35 or full frame camera coming from Z cam (ef mount most probably). Pre-order soon and delivery in september / october.

No, they haven't. (this is grabbed from a braw file)

Good luck with the noise with the old BMPCC, once graded.

You can find them here : https://www.dropbox.com/sh/d6p9k043vnvv08s/AABvFpaqB6zHsj8ah43D4Aw-a?dl=0

This is straight from the dng, without touching shadows, exposure or highlights recovery, and ungraded.

That's not what I have seen from my tests. Pictures shot with same lens, at same aperture, at native iso (800 for the BMPCC, 400 for the BP4K) :

I have just purchased the PDmovie remote live air. It's incredibly light, easy to use, and is free from any cable. The automatic calibration does not always work, but the manual calibration is very easy to make. For a one man shooting style, that's the best thing I have ever used as a follow focus, and even cheaper than most mechanical ones. I use it with an iscorama 36, which can be a pain in the -bip- to focus, and it has completely solved the problem. https://www.youtube.com/watch?v=rxmKcXbjz-M

From the zoom in the pictures, it seems that the BMPCC4K has actually more resolution than the GH5S. The perceptible difference that leads us to think the opposite is due to the sharpening process in the GH5S that is not applied in the BMPCC4K.

I agree with you that it's better to shoot in film log. But it's also a fact that the red clipping takes away the possibility of shooting in prores with a baked lut in certain situations, which should not be. And the only way to avoid the problem in prores, even if you shoot in film log, is to use resolve. You can't simply ingest your file in your favorite Nle, such as FCPX.

the saturation mapping works well for the RAW files. But with a prores file, it tends to slightly desaturate other parts of the image, including colors that are part of the skin tones.

Attached you can find some dng files taken from the test. And in the link below, you can download the same test but shot in prores. A002_10130258_C022_000225.dng Blue 400 iso.dng blue 3200 iso.dng red 400 iso.dng red 3200 iso.dng

You can lose information in the highlights, prores or RAW, once it is overexposed. But with the red channel, it clips without white creamy halo. The RAW post-processing allows you to bring down the saturation and give a highlight roll off. But if you do the same in prores, other parts of your image are going to be desaturated.

Later in the evening, yes. You can also download a prores file from my previous test here :

I have never used an Ursa, so I don't know, but I believe it's true, coming from Captain Hook own's words. Concerning the BMPCC4K, once you spot it one time, yo can see it in every night city scenes. Maybe you don't notice it on youtube, but on a big screen, it's very disturbing. No, the blues are much better handled.

I have already tested this method. It works very well as far as you manipulate raw files. It desaturates the reds, providing some high light roll off without touching the rest of the image. But it is more difficult with prores files, because it can slightly desaturate not only the reds but also some other parts of the image, including skin tones. And it is worse with files recorded with a baked lut.

Well, if you don't want to show the red clipping, by preventing it with your exposure, you can. It is not the purpose of this test. The purpose is to show how the camera reacts specifically in the red channel, by comparison with other colors (and the problem is still there at 3200 iso). And I find it problematic in some situations : a night street scene, with its many red car lights will cause many problems, with disturbing hyper saturated red blotches all over your image (whereas the greens, the blue and the yellow react normally). You can bypass it if you shoot in raw, but it will affect the entire image if you shoot in prores.

I dit another test with a simple domestic RGB led (hence the flickering) to show how the BMPCC4K reacts in the red channel, both in raw and prores. With other colors, when overexposed, there is a gentle roll-off, but in the red, it clips with a very harsh way, and a strange color shifting. There is also much more noise in the reds.

Don't think that it is merely a CC problem, because the reds clip even in an ungraded image where all the others colors are muted. I am glad and relieved that you can solve the problem with the solution provided by Captain Hook. It works, and it works well when you shoot in raw. But if you shoot with a baked lut in prores, it will be much more difficult to bypass it, because the saturation mapping will possibly affect all your image. If you observe it carefully, you can see that the reds clipping can be found in most of the clips in youtube, when there is a city night scene. Most of the times, it is not totally disturbing, because those scenes are rare enough. But if I have to shoot a film that takes place at night in a city, I know I can't really shoot it in prores, for now, with this camera.

Last test :

Well, i find the reds very disturbing. And I can't imagine how it is on a big screen...