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Savannah Miller

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  1. Like
    Savannah Miller got a reaction from webrunner5 in What Do Y'all Think of The Kinefinity Mavo LF?   
    I disagree.  Kinefinity released the Terra 4K for $4000+ and then Blackmagic turned around and released a BETTER camera (Pocket 4K) for $1295 with more features and better codecs/color science (Blackmagic RAW future update).  I wouldn't be surprised once the MAVO LF comes out that Blackmagic is already making a better camera with the same sensor for half the cost.  The new BRAW codec makes it possible for Blackmagic to now do higher resolutions such as 6K without the need for heavy storage.  The new sensor profiling they do siginificantly reduces Aliasing/Moire as well as Fixed Pattern noise so they can get a significant dynamic range increase over competitors using the same sensor.  Kinefinity cameras are too expensive for a small manufacturer, because at that price point you can now buy other well-established camera brands like RED, CANON, and even Blackmagic.
    On top of that, Ursa Mini Pro is practically a more usable camera for professional production because it matches much closer to the industry standard Arri Alexa and has a very good color science.  
    MAVO LF looks like a really good camera but they need to drop their price to around $8000 to be competitive with other mid-range priced cameras because Kinefinity is not a well-established brand yet.  I would be very worried if Blackmagic is also designing a camera with this sensor.  Since the Ursa Mini Pro used a custom-designed sensor t hat cost millions of dollars to develop, the camera was priced at $6000.  Since this Sony sensor would be "off the shelf," Blackmagic could easily price the camera at $4000 in an UMP body since they don't care about market segmentation. 
  2. Like
    Savannah Miller got a reaction from maxmizer in What Do Y'all Think of The Kinefinity Mavo LF?   
    I disagree.  Kinefinity released the Terra 4K for $4000+ and then Blackmagic turned around and released a BETTER camera (Pocket 4K) for $1295 with more features and better codecs/color science (Blackmagic RAW future update).  I wouldn't be surprised once the MAVO LF comes out that Blackmagic is already making a better camera with the same sensor for half the cost.  The new BRAW codec makes it possible for Blackmagic to now do higher resolutions such as 6K without the need for heavy storage.  The new sensor profiling they do siginificantly reduces Aliasing/Moire as well as Fixed Pattern noise so they can get a significant dynamic range increase over competitors using the same sensor.  Kinefinity cameras are too expensive for a small manufacturer, because at that price point you can now buy other well-established camera brands like RED, CANON, and even Blackmagic.
    On top of that, Ursa Mini Pro is practically a more usable camera for professional production because it matches much closer to the industry standard Arri Alexa and has a very good color science.  
    MAVO LF looks like a really good camera but they need to drop their price to around $8000 to be competitive with other mid-range priced cameras because Kinefinity is not a well-established brand yet.  I would be very worried if Blackmagic is also designing a camera with this sensor.  Since the Ursa Mini Pro used a custom-designed sensor t hat cost millions of dollars to develop, the camera was priced at $6000.  Since this Sony sensor would be "off the shelf," Blackmagic could easily price the camera at $4000 in an UMP body since they don't care about market segmentation. 
  3. Like
    Savannah Miller got a reaction from MattH in Blackmagic Pocket Cinema Camera 4K   
    I don't think that's true.   A lot of blackmagic cameras have exposed holes, but all of the stuff that is vital to the camera (FGPA, Sensor, etc.) are sealed from dust/weather, etc.
     
    I do think that the Pocket 4K is a better option for professional cinema use, but for everyday users I don't think Blackmagic cameras are ideal.  Autofocus, IBIS, rotating screen, etc. are huge features that will greatly benefit the average user more than raw will.
     
    If another brand of mirrorless camera would incorporate the BRAW codec then there would be very little reason to buy a Blackmagic cam anymore.
  4. Like
    Savannah Miller got a reaction from Chrad in Blackmagic Pocket Cinema Camera 4K   
    I don't think that's true.   A lot of blackmagic cameras have exposed holes, but all of the stuff that is vital to the camera (FGPA, Sensor, etc.) are sealed from dust/weather, etc.
     
    I do think that the Pocket 4K is a better option for professional cinema use, but for everyday users I don't think Blackmagic cameras are ideal.  Autofocus, IBIS, rotating screen, etc. are huge features that will greatly benefit the average user more than raw will.
     
    If another brand of mirrorless camera would incorporate the BRAW codec then there would be very little reason to buy a Blackmagic cam anymore.
  5. Like
    Savannah Miller got a reaction from webrunner5 in Blackmagic Pocket Cinema Camera 4K   
    I don't think that's true.   A lot of blackmagic cameras have exposed holes, but all of the stuff that is vital to the camera (FGPA, Sensor, etc.) are sealed from dust/weather, etc.
     
    I do think that the Pocket 4K is a better option for professional cinema use, but for everyday users I don't think Blackmagic cameras are ideal.  Autofocus, IBIS, rotating screen, etc. are huge features that will greatly benefit the average user more than raw will.
     
    If another brand of mirrorless camera would incorporate the BRAW codec then there would be very little reason to buy a Blackmagic cam anymore.
  6. Thanks
    Savannah Miller got a reaction from IronFilm in Blackmagic Pocket Cinema Camera 4K   
    That logic is wrong.  It's more like you expected a synth but you are getting a synth with more controls.  You can still make the familiar sounds of the old synth but it's a better starting place if you don't want a specifically defined "sound."
  7. Like
    Savannah Miller got a reaction from jpfilmz in Blackmagic Pocket Cinema Camera 4K   
    I think the color is just more accurate with the new Pocket 4K.  In the past the footage had more of a look to it, and now the color is better so you have to do that yourself.  Putting a heavy "look" on something makes it hard to judge the performance of the camera, so Blackmagic chose the route of grading it themselves and making sure it accurately represented the camera.
     
    A lot of the Kinefinity Terra footage (especially Phillip Bloom's stuff) is hard to judge the color science of the camera due to haphazard and heavy grading.  I have no idea if Kinefinity cameras produce nice images because all of the graded material is very artistic.
  8. Like
    Savannah Miller reacted to jonpais in Blackmagic Pocket Cinema Camera 4K   
    Love those Olympus Pros, too!
  9. Like
    Savannah Miller got a reaction from Jn- in Blackmagic Pocket Cinema Camera 4K   
    LP-E6 canon battery is almost the same size as Panasonic batteries, but not sure if it has the same juice.  

    Blackmagic cameras use FGPA which is a less optimized board compared to an ASIC and requires more power.  It has an advantage of shorter production cycles especially in lower volume cameras because you can easily make last-minute adjustments if you want to add more features.  ASICs is very locked in as they are expensive to manufacture.
    They use solid state peltier cooling to handle the heat distribution and that uses a lot of power.  I don't know if other cameras use that but it does make a difference.
    I don't think type of compression plays a big part in heat, it's mainly the sensor.
     
     
    Blackmagic is not very experienced in building DSLR form-factor cameras yet, in what is only their second attempt they produced a camera at half the price of the GH5s that will likely be a serious rival in image quality.  I think Blackmagic made the right compromises to get it at the price it is.
  10. Like
    Savannah Miller got a reaction from IronFilm in Blackmagic Pocket Cinema Camera 4K   
    LP-E6 canon battery is almost the same size as Panasonic batteries, but not sure if it has the same juice.  

    Blackmagic cameras use FGPA which is a less optimized board compared to an ASIC and requires more power.  It has an advantage of shorter production cycles especially in lower volume cameras because you can easily make last-minute adjustments if you want to add more features.  ASICs is very locked in as they are expensive to manufacture.
    They use solid state peltier cooling to handle the heat distribution and that uses a lot of power.  I don't know if other cameras use that but it does make a difference.
    I don't think type of compression plays a big part in heat, it's mainly the sensor.
     
     
    Blackmagic is not very experienced in building DSLR form-factor cameras yet, in what is only their second attempt they produced a camera at half the price of the GH5s that will likely be a serious rival in image quality.  I think Blackmagic made the right compromises to get it at the price it is.
  11. Like
    Savannah Miller got a reaction from jonpais in Blackmagic Pocket Cinema Camera 4K   
    LP-E6 canon battery is almost the same size as Panasonic batteries, but not sure if it has the same juice.  

    Blackmagic cameras use FGPA which is a less optimized board compared to an ASIC and requires more power.  It has an advantage of shorter production cycles especially in lower volume cameras because you can easily make last-minute adjustments if you want to add more features.  ASICs is very locked in as they are expensive to manufacture.
    They use solid state peltier cooling to handle the heat distribution and that uses a lot of power.  I don't know if other cameras use that but it does make a difference.
    I don't think type of compression plays a big part in heat, it's mainly the sensor.
     
     
    Blackmagic is not very experienced in building DSLR form-factor cameras yet, in what is only their second attempt they produced a camera at half the price of the GH5s that will likely be a serious rival in image quality.  I think Blackmagic made the right compromises to get it at the price it is.
  12. Like
    Savannah Miller got a reaction from webrunner5 in Blackmagic Pocket Cinema Camera 4K   
    LP-E6 canon battery is almost the same size as Panasonic batteries, but not sure if it has the same juice.  

    Blackmagic cameras use FGPA which is a less optimized board compared to an ASIC and requires more power.  It has an advantage of shorter production cycles especially in lower volume cameras because you can easily make last-minute adjustments if you want to add more features.  ASICs is very locked in as they are expensive to manufacture.
    They use solid state peltier cooling to handle the heat distribution and that uses a lot of power.  I don't know if other cameras use that but it does make a difference.
    I don't think type of compression plays a big part in heat, it's mainly the sensor.
     
     
    Blackmagic is not very experienced in building DSLR form-factor cameras yet, in what is only their second attempt they produced a camera at half the price of the GH5s that will likely be a serious rival in image quality.  I think Blackmagic made the right compromises to get it at the price it is.
  13. Like
    Savannah Miller reacted to CaptainHook in Blackmagic Pocket Cinema Camera 4K   
    Thanks for the "welcomes".
    I (and others at BMD) have been following this thread (and threads elsewhere) so we're aware of what people are discussing and asking but in general we don't/can't comment on a lot of things before release sorry.
    We appreciate the support and are working hard to deliver the best we can offer you all.
  14. Like
    Savannah Miller got a reaction from kye in Blackmagic Pocket Cinema Camera 4K   
    Yeah but the idea that they will match completely just because they're gen4 is probably not true.  RED cameras cost 10x more than Blackmagic and have higher sensor rejection rates, yet their cameras do not match.
  15. Like
    Savannah Miller got a reaction from IronFilm in Blackmagic Pocket Cinema Camera 4K   
    Yeah but the idea that they will match completely just because they're gen4 is probably not true.  RED cameras cost 10x more than Blackmagic and have higher sensor rejection rates, yet their cameras do not match.
  16. Like
    Savannah Miller got a reaction from webrunner5 in Blackmagic Pocket Cinema Camera 4K   
    What I'm saying is there's a reason people shoot everything on the Alexa.  It really is a better camera.
  17. Like
    Savannah Miller got a reaction from jonpais in Blackmagic Pocket Cinema Camera 4K   
    To be fair if you emailed kinefinity and told them you were interested in shooting a major network TV on their cameras they would give you 8 bodies and all the support in the world.
  18. Like
    Savannah Miller got a reaction from IronFilm in Blackmagic Pocket Cinema Camera 4K   
    C200 has "15 stops" of dynamic range but that's a manufacturer claim.  Blackmagic at least in my view is a bit more realistic with their dynamic range claims and Ursa Mini has about a 1 stop advantage over the c200.
    Like JB mentioned.  No prores, no timecode, etc.  It's like canon knew exactly what to do to make this camera not useful to professional shooters and crews so that you'll buy their better cameras..
    Ursa Mini Pro has minor compromises, but it clearly shows the difference between an affordable camera built with market-segmentation in mind and a camera that is built with no limitations.
  19. Like
    Savannah Miller got a reaction from IronFilm in Blackmagic Pocket Cinema Camera 4K   
    C200 is a crippled camera.  No timecode, no Prores, only a "Raw Lite" codec that varies between 12 and 10-bit depending on framerates.  Canon again did their sneaky business to remove any features that would prevent higher-end clients from ever wanting to use the camera.  For single shooters it's not a bad camera.
    Dynamic range of the C200 is less than the Blackmagic too.
  20. Like
    Savannah Miller got a reaction from Anaconda_ in Blackmagic Pocket Cinema Camera 4K   
    So that guy claiming to shoot at 400 ISO gives you a cleaner more malleable image.  Yes, although he doesn't do a good job of explaining WHY it gives you a cleaner and more malleable image.

    The Ursa Mini Pro is always running at 800 ISO and that's the only real ISO setting.  Period.  All of the other ISO settings are "fake" similar to the extended ISO ranges found on a lot of dslr cameras.  So, when you expose for 400 ISO it's the equivalent of overexposing by 1 stop at 800 ISO and pushing it down in the grade.  If you convert your prores film gamut into xyz linear (bypassing the bias of the log curve) and gain the image, you get the same result as changing exposure/iso in the raw controls.  When you do that, you get 1 extra stop of shadow detail due to overexposing and you lose one in the highlights.  Also one of the side effects of exposing for 400 ISO is that you can push the image up to 1 stop in post and still get the no significant increase in noise level because you would now be back at the native ISO of 800.  So in run/gun scenarios, 400ISO gives you a safety net to accidentally underexpose by up to 1 stop with no consequences.  It's a lot harder to tell if an image is underexposed rather than overexposed and clearly clipped.
  21. Like
    Savannah Miller got a reaction from webrunner5 in Blackmagic Pocket Cinema Camera 4K   
    Firstly, the Alexa only does uncompressed raw.  Nothing else.
    Secondly, there's no internal pixel binning, so you have to record full sensor resolution to get the full sensor size.  Not the same as 1080p prores.
    Thirdly, and a big problem is RAW is not as simple as prores.  So at least at the VFX studio I work, we recieve the prores reels directly from editorial.  Then we get the EDL, and we generate the plates necessary for the shots, directly from the EDL and original camera prores with the necessary handles. This would likely be DPX format.  This is a 100% automated process.  We then composite with the necessary changes.  Any intermediate "precomps" would then be rendered as 32-bit linear EXR, and finals are exported back out as Arri-log DPX which are then converted back to Prores and delivered to the editorial/color.

    With RAW it's not as nice because we can no longer deliver back in the same format that we recieve.  AND there are so many settings, especially with something like REDCODE that it's likely someone else now has to generate the dpx plates for us as we can no longer do that.  The ISSUE is they're not a VFX house and they likely do not have automated tools that do this, so that means extra time and money.  And then you might run into other problems slowdowns on the post side of things.  RAW is nice but it's not so simple just to use it as it causes extra hassle.  Prores 4:4:4 on the Arri Alexa makes everything work like a well-oiled machine.
    Lastly, a lot of people believe that you have to have 4:4:4 in order to get accurate green screen keys, but what if I let you in on a secret.  I don't always KEY greenscreens.  You'll never hear this from anyone else, but if you take a greenscreen shot and despill it to where it's just a person over a now grey background, you can then difference the despill and the greenscreen to get a sort of fake alpha channel.  Multiply your background image over your despilled greenscreen plate and mask it by the result of that "fake" alpha channel and you get 100% perfect edges with no compositing.  And then you just adjust the white and black point of your bg image until it has the right level of contrast and color.
  22. Like
    Savannah Miller got a reaction from kye in Blackmagic Pocket Cinema Camera 4K   
    Firstly, the Alexa only does uncompressed raw.  Nothing else.
    Secondly, there's no internal pixel binning, so you have to record full sensor resolution to get the full sensor size.  Not the same as 1080p prores.
    Thirdly, and a big problem is RAW is not as simple as prores.  So at least at the VFX studio I work, we recieve the prores reels directly from editorial.  Then we get the EDL, and we generate the plates necessary for the shots, directly from the EDL and original camera prores with the necessary handles. This would likely be DPX format.  This is a 100% automated process.  We then composite with the necessary changes.  Any intermediate "precomps" would then be rendered as 32-bit linear EXR, and finals are exported back out as Arri-log DPX which are then converted back to Prores and delivered to the editorial/color.

    With RAW it's not as nice because we can no longer deliver back in the same format that we recieve.  AND there are so many settings, especially with something like REDCODE that it's likely someone else now has to generate the dpx plates for us as we can no longer do that.  The ISSUE is they're not a VFX house and they likely do not have automated tools that do this, so that means extra time and money.  And then you might run into other problems slowdowns on the post side of things.  RAW is nice but it's not so simple just to use it as it causes extra hassle.  Prores 4:4:4 on the Arri Alexa makes everything work like a well-oiled machine.
    Lastly, a lot of people believe that you have to have 4:4:4 in order to get accurate green screen keys, but what if I let you in on a secret.  I don't always KEY greenscreens.  You'll never hear this from anyone else, but if you take a greenscreen shot and despill it to where it's just a person over a now grey background, you can then difference the despill and the greenscreen to get a sort of fake alpha channel.  Multiply your background image over your despilled greenscreen plate and mask it by the result of that "fake" alpha channel and you get 100% perfect edges with no compositing.  And then you just adjust the white and black point of your bg image until it has the right level of contrast and color.
  23. Like
    Savannah Miller got a reaction from kye in Blackmagic Pocket Cinema Camera 4K   
    John Brawley said that and it's true. 90% of American TV shows seem to be shot on the Alexa in 1080p Prores 4:4:4.  Very few people do RAW or 4K, and if they do 4K it's usually Sony cameras shooting XAVC.  Only times you see raw are very high-end TV shows and RED shows for Netflix.  With now the Alexa LF, I'm sure a lot of shows will switch back to Arri.
    It's not because of storage either because a lot of productions are fine with shooting even prores XQ, it's the extra costs of shooting RAW which people don't like.
    I work in VFX where you occasionally will have shots where you push the Prores files harder than you ever would in grading and I generally see no issues.
    Even when I do greenscreen stuff, the Alexa does 4:2:2 HQ during slow motion shots, and even then, those files are pretty robust too.
  24. Like
    Savannah Miller got a reaction from Adept in Blackmagic Pocket Cinema Camera 4K   
    John Brawley said that and it's true. 90% of American TV shows seem to be shot on the Alexa in 1080p Prores 4:4:4.  Very few people do RAW or 4K, and if they do 4K it's usually Sony cameras shooting XAVC.  Only times you see raw are very high-end TV shows and RED shows for Netflix.  With now the Alexa LF, I'm sure a lot of shows will switch back to Arri.
    It's not because of storage either because a lot of productions are fine with shooting even prores XQ, it's the extra costs of shooting RAW which people don't like.
    I work in VFX where you occasionally will have shots where you push the Prores files harder than you ever would in grading and I generally see no issues.
    Even when I do greenscreen stuff, the Alexa does 4:2:2 HQ during slow motion shots, and even then, those files are pretty robust too.
  25. Like
    Savannah Miller got a reaction from webrunner5 in Blackmagic Pocket Cinema Camera 4K   
    Rx100 doesn't have more tech, but it has a lot packed into a tiny body.  Look at the zoom range of that lens.  The internal ND filters, that pop up viewfinder.  Crazy stuff for a tiny camera.
    There's a few things Blackmagic does not have that the Panny cameras do have, but largely I feel if Blackmagic had more experience building a smaller dslr/mirrorless form factor camera, then the Pocket would cost exactly the same AND have more features.  Blackmagic didn't add a waveform monitor because they said it's very computationally expensive, and probably not worth the tradeoff when they can add other features.  They probably also felt that anamorphic is seems pretty niche and if you really need it, they have other cams that can do it.
    Rotating screen they do not have, but not sure how easy it is to build a 5" rotating screen.  They did take the easy route and use a display they know that people are happy with.
    Autofocus is the main thing that Blackmagic doesn't have.  If they were able to add phase detect autofocus and used some of the newer Sony sensors, allowing higher ISO performance, they would steal more business from other manufacturers.  In many ways this cam at least fixes some of the gripes that people have about blackmagic's being either too big and heavy or poor ISO range.  The aggressive pricing of this camera and better ISO performance is a huge step in converting a lot of new people to Blackmagic.
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