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Found 24 results

  1. Hey all, I'm looking to shoot a narrative short film with controlled lighting early next year and am thinking about shooting it on my original BMPCC... I know, I know. No 4K, terrible low-light, and horrible battery life. But if 1080p was fine, controlled lighting throughout, and an external battery solution, is it better for me to use the original and cancel my 4K pre-order? I could use the money saved to pay for an additional cine prime/actually pay actors a decent wage... What would be the advantages in this case of using the 4K over the original?
  2. Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing. I will only add lenses to the lists when you have proof, in other words: images. How? Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC. In Photoshop: Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm! To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it. List terms explained: Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera No = doesn't cover the sensor Needs modification = Doesn't fit on C-mount to M43-adapter without modifications Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example) Blackmagic Pocket Cinema Camera Compatibility list Primes Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof] Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof] Century 9mm f/1.8 - YES (poor quality) [link to proof] Computar 8mm f/1.3 - NO [link to proof] Computar 16mm f/1.4 - NO [link to proof] Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof] Cosmicar 8,5mm f/1.5 - NO [link to proof] Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof] Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof] Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof] Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof] Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof] Fujinon TV 16mm f/1.4 - NO [link to proof] Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof] Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof] Nikon Cine Nikkor 13mm f/1.8 - Yes = 37,5mm f/5.2 [link to proof] Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof] Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof] Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof] Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof] Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)] Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof] Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof] SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD) Tokina TV Lens 8mm f/1.3 - NO [link to proof] Tokina TV Lens 16mm f/1.6 - NO [link to proof] Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof] Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof] Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof] Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof] Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof] $ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof] Zooms Ernitec 6-12mm f/1.4 - NO [link to proof] Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]
  3. Hey all, I developed an Android app that serves you as director's viewfinder. Having your Android device with you, you can see exact framing of your Pocket camera on location, applying your lenses and boosters. Planning your lens setup has never been easier! Please check out the app: Play Market The app has ads in it, though not too nasty. You can always switch to a paid Magic Universal Viewfinder that has no ads, no limits and lots of cameras supported -- like BMCC, BMPC4K, 5D Mark III and 4/3 sensored-cameras. Enjoy and feel free to give your feedback! Thanks!
  4. I received my BM Pocket last week (after buying it in the summer sale and waiting aaaagggges for it). Anyway, I haven't had much time to play with it so this is my first attempt (RAW and ProRes 422 mix): Graded in FCPX (Resolve to convert the RAW) I love the camera already. The image is just so rich and full and happy to be pushed around. The moire bothers me a fair bit, but it's not a deal breaker.
  5. I received my BM Pocket last week (after buying it in the summer sale and waiting aaaagggges for it). Anyway, I haven't had much time to play with it so this is my first attempt (RAW and ProRes 422 mix): Graded in FCPX (Resolve to convert the RAW) I love the camera already. The image is just so rich and full and happy to be pushed around. The moire bothers me a fair bit, but it's not a deal breaker.
  6. No official prices announced. Estimated between 300 - 400 $.
  7. Black Magic Pocket Cinema Camera users now have audio level metering, time remaining indicator and histograms, bringing the cameras’ display functions, into line with 4K and newest URSA models. http://www.newsshooter.com/2014/08/21/blackmagic-design-firmware-1-9-3-finally-offers-audio-level-meters-time-remaining-indicator-and-histograms-to-the-pocket-cinema-camera-and-bmcc/
  8. As many of you will have noticed, our little precious is prone to moire, not only in raw. I have gone a long way to overcome all problems with this beast, but moire makes me sick to a point where I just want to sell the whole bundle and just stick to my G6. However, the more I compare my most felicitous test shots to what I knew before, I know I would regret it forever. It's time to address the issue. When I bought the Pocket, I reckoned the Sigma 18-35 with the Metabones BMPCC Speedbooster could substitute all my MFT lenses, and I sold them all (now only own the 14-42mm G6 kit lens). So there is little to compare with, mainly apertures. At open aperture, moire becomes so rare, it ceases to be an issue for me. But: As was proven to me >here, the Speedbooster in this combination results in a DoF of an f1.8 in APS-C. As soon as I want a deeper field by closing the aperture two stops, the image obviously gets too sharp for the sensor, thereby introducing moire. The concept of an OLPF (used i.e. with Canons 5D) seemed like a possible solution. But how? Apparently Mosaic Engineering is developing a special filter for the BMCC. Has anyone heard about efforts to create one for the Pocket? The theory behind this says that moire is a sign for reduced resolution and that if you cut off high frequencies at the right values, you optimize the resolution, even though the image looks a little softer. Some say the native resolution of the Pocket is near 1920 minus 15% (for bayerfiltering or sth.l.t.). With the right lenses (not too sharp ones) or with, well, actually a moderate soft-focus-filter (?) it should be possible to get rid of the annoyance once and for all. Is this correct? The very same topic in BlackMagicForum resulted in recommendations for ProMist filters, here. I used to own one myself, for weddings, but since I never actually bothered to use it, I sold it. Has anyone tried to use such a filter against moire?
  9. I shot this after my BMPCC Speed Booster finally arrived. When I mount the Tokina 11-16 f2.8 DX2 to it, I can notice a big problem with sharpness in the center, especially when wide open. The corners, ironically, seem to be way better. Even when stepped down, the sharpness is not really good. Does anyone else have that problem and/or a solution for it?
  10. This is my fifth attempt to find an affordable stabilization solution for the BMPCC, particularly for the heavy setup with Speedbooster and Sigma 18-35. It works perfectly, and the only two things that are missing are 1. Pistol grip to be clicked underneath the cage with a quick release plate and 2. Lanc-controller with button on top of the grip for START/STOP. It consists of an old, self-built shoulder pad with counterweight (aluminum rack, ~$ 5,- , bent in a vice and padded with foam rubber, ~ $ 2,-), a micro goose neck with 3/8" connections, ~ $ 7,- , filled with a steel rod, ~ $1,-) and a ball head (~$ 30,-). The ball head allows for fast height- and angle-adjustments. I found this to be the most crucial aspect of all shoulder supports. You both stress your neck with only half an inch of unergonomic proportions and run the risk of unintentionally rotating your frame. Not with this ball head. If you loosen the ball, you can screw it on or off the cage within 10 seconds. The counterweight could be substituted with a battery pack, and the rod that helds the goose neck stiff could also be a steel tube (well, perhaps, it could turn out to be too weak then) to hide the cable. The shoulder pad doesn't look particularly elegant, I'm sure you can do better.
  11. While filming in Brazil in April (not over 30°C) I noticed that the colour on my BMPCC's buttons was "washing" away while I touched them. I'm NOT using my finger nail here. Does anyone else have that problem or has heared of it?
  12. Have been seriously considering this lens for my GH3 and (eventually) the BMPCC - though I can't seem to find any non-nature/event footage to get an idea of how it performs when shooting narrative work... The focus-by-wire and electronic aperture will be a pain for video shooting also... But the 12-35 range is really appealing (esp for the BMPCC). Anyone have any experience with this lens beyond test videos and home movies? Is it possible to create cinematic images with it under the right conditions, or are primes the only way to go? And if so, what would be an ideal prime lens set for the BMPCC (regarding focal length, not brand/model)?
  13. Hi friends, sorry if this was posted already, I just need a place to express my disappointment. I am on the verge of cancelling my BMPCC-order. What could be seen of 'test shots' of the Pocket's raw so far didn't convince me at all, whereas the Miii's raw just shines. Am I missing something? If not for the different price tag, what other reason should I have to look forward to the final arrival of that camera? Please share your thoughts.
  14. Hey everybody, I put together a Christmas lights compilation video set to the theme song of Pan's Labyrinth. The entire video was shot on the Black Magic Pocket Camera along with a 10mm 1.6 Kern Switar and a 75mm 1.8 Olympus. I hope you all like it:) Trey
  15. Good evening guys, I'm searching for a very fast or the fastest lens for the BMPCC. Then fastest I can think of is the Nikon AI 50mm / 55mm f/1.2 in combination with the BMPCC-Speedboster. Do you have another (better) advice? BTW: It's mostly for concert and nighttime shooting and perhaps to get a nice DOP. Thanks a lot! Moe
  16. Hey Guys. I'm absolutely new in anamorphic shooting and I'm just getting a BMPCC (Which means it will be present in about 5 months or so :D) I'm thinking about getting a bit into anamorphic shooting. I like the "look" of it very much, because it simply creates a whole different feeling than a "normal" 16*9 image. So I have a few questions: How should/can I start shooting anamorphic with the BMPCC? What lens / adapter+lens can be used with the Pocket? It should not be too expensive as I'm just beginning and want to get a bit in touch with it. What do I have to think of in terms of workflow? -> During Production and of course especially in Postproduction? I hope these questions do not sound to stupid or naive :D Greetings from germany.
  17. Hello Guys! I have good news! My BMPCC as arrived :)   I just received my firts C-mount for it:   The "Rodriguez" Lens (El Marichi): Kinoptik Tegea 5.7mm T2 (f/1.8)               First test (read the description on vimeo): http://vimeo.com/77128640     Best, JDS      
  18. Hello guys, introducing myself with a short shot of the BMC Pocket, just using the 14.140mm Lumix zoom (hard used and few scratched) and a polarizer filter. Ungraded/Graded shots.  Resut was pretty pleasant, despite of few few time to make it. Questions and comments wellcomed, I am not DOP but director/writer, but well, always learning (camera and better english :-)   https://vimeo.com/76969600   Cheers, JF Calero.   
  19. Here, used lens: SLR magic 12mm. Funny colors in parc sky are CA. Or what?
  20. Hi.    I am looking for advice on a project. As I have limited green screen expereince, I want to make sure i get it right. I'm much more an 'on-location' kind of guy!   I've just been assigned a music video project using green screen and the Blackmagic Pocket Camera. Its a mickey take on Japanese infomercials.   The screen is painted 18FT wide, and we will be shooting around 8FT before the wall.   I have in my ownership 3 Dedolights and 2 Kino Flo Divas 401s. I know I will require more lights to light the screen (as my owned lights will be mostly lighting the actors), and I was thinking of mounting some Kino Flo 4 banks on C-stands high. The studio location has no lighting grid at the top.    The Pocket will always be on a tripod, filming wides, mids and close-ups of the products/adverts the Japanese people are 'selling.' Got the Panny 12-35mm and 35-100mm, the SLR Magic 12mm and loads of Canon FDs.   Does anybody want to give me any advice about this and the use of the Pocket camera? It would be much appreciated. I'm certain I'm doing everything right, just want to make sure I have everything in tow.    Thanks. 
  21. BM Pocket Camera  ProRes 422 files. Ungraded. Shot with using Slrmagic 35mm 1.4, 7-14 Olympus 4/3, 14-35 Olympus F2 http://fil.io/FL5kh/Footage%20from%20Blackmagic%20Pocket%20Cinema%20Camera    
  22. As far as I know, 5D Mark III can only record RAW on a fastest CF card. I read a spec of Blackmagic Pocket, it records RAW on a SD card. How is it even possible?
  23. Hi!   I´m planning on buying a new lens to my GH2. I was planning on buying the 25mm Vöigthlander 0.95 prime, but now I'm not sure anymore. When the BMPCC is released this summer I'm planing to upgrade.   So the question is (with the 3x crop factor on the BMPCC) should I buy another lens? I´m open for suggestions. Maybe some c-mount lenses instead?    Please i need your advise on this decision. 
  24. In this interview: http://vimeo.com/63892665#at=0   ... Petty says, that due to debayering the image of the Pocket BMCC was 'not so sharp as that of the 2,5k camera, but close'. He also talks about the idea to wrap DNGs as Quicktime files in order to facilitate playback (okay, I see Andrew wrote about this a week ago, I lost that then).   The interviewer made a short film with the BMCC and compared the camera to the 5D, this is his channel.
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