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Blackmagic Pocket Cinema Camera 4K

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4 hours ago, Shirozina said:

You are saying that if there is clipping at the sensor level with RAW then you can fix this in Resolve? This would be highly worthy of posted examples.  

Yes... and no. What the "Highlight Recovery" setting does with RAW is find areas where one channel (say, red) is clipped, but another (say, blue) is NOT clipped.

Resolve then fills that red channel with information from the blue channel.

In ProRes, this info would just be "clipped", and come out as white. But in RAW with Highlight Recovery, that detail appears... but with a caveat. That detail is basically black and white. Because the actual red color info is gone, the best Resolve can do is kind of guess the color, and it defaults to desaturating (it used to make that detail pink, which was pretty ugly).

So usually what this means is, instead of a window being blown-out flat white in ProRes, in RAW, you can barely see the frame of the window panels. It's not gorgeous, but it is kind of nice. More importantly, in a hot spot on someone's skin, RAW can bring back a bit of (desaturated) texture in the skin, which CAN be kind of a big deal.

It's up to you whether these subtle differences in the extreme highlights are worth the trouble or not.

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
3 hours ago, mercer said:

As far as Highlight Recovery I’m Resolve... have you ever used the Raw Panel? Bring in Raw footage that ETTR’d and you should see it completely overexposed with the Rec709 default... change it to BM Film and your waveform will drop but in many instances the highs will still be flat (slightly clipped) click Highlight Recovery and you get the top end back... it’s one of the best features in the Raw Panel.

Well if you use REC709 then yes you may have clipped highlights but who has this setting if you are shooting RAW?. Again I've not seen any hidden DR above clipping in RAW. Highlight recovery is a bodge to clean up highlights when one channel has clipped. 

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6 hours ago, webrunner5 said:

Thanks, test confirm me my one experience: difference is pretty obvious even in exposing just one snapshot. RAW has noticeable better 3d definition, more details in the ground, more DR in left part of the clouds which seems to keep same form and position through shots. Watching footage flow without web compression makes difference even more pronounce.

Prores HQ might be sufficient for somebody, not enough sufficient for someone else. For me, personally, having possibility of RAW shooting is exclusive quality and reason why to choose BM cameras instead others with better ergo, IBIS etc.

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3 hours ago, Shirozina said:

Well if you use REC709 then yes you may have clipped highlights but who has this setting if you are shooting RAW?. Again I've not seen any hidden DR above clipping in RAW. Highlight recovery is a bodge to clean up highlights when one channel has clipped. 

Re-read my comment you quoted... I didn’t say to use Rec709... Rec709 is the default in the Raw Panel... or maybe it’s SRGB... either way, I was trying to explain how Highlight Recovery can give you a little more dynamic range in Raw than you would have in ProRes. This function is particularly useful if you have a light in your frame... especially the sun.

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My pocket has finally returned from assistance (pixel burned on the monitor).

My first test .. Every criticism on the color is welcome (I'm studying).. The lasts shots are too dark and noisy.. Sorry

PW: ISOLA

BRAW 12 downconverted to HD

Metabones xl 0.64

Tamron 24-70 2.8 ef

Canon ef 100 2.8 macro usm

Canon 70-300 4-5.6 

 

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24 minutes ago, jack86 said:

My pocket has finally returned from assistance (pixel burned on the monitor).

My first test .. Every criticism on the color is welcome (I'm studying) 

PW: ISOLA

 

 

Nice job, I liked the color a lot. If this is you studying, I look forward to what you do when you graduate! What lens(es) did you use?

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10 hours ago, mercer said:

Re-read my comment you quoted... I didn’t say to use Rec709... Rec709 is the default in the Raw Panel... or maybe it’s SRGB... either way, I was trying to explain how Highlight Recovery can give you a little more dynamic range in Raw than you would have in ProRes. This function is particularly useful if you have a light in your frame... especially the sun.

and I'm saying ( from the experience of actually owning a P4k) that there is no more DR in RAW than ProRes.

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Here's a little slow mo test I recently shot with the camera for those interested. Also a good test on how to get a vintage look for the ones who miss the old bmpcc feel. The blacks are crushed on purpose obviously ! The original files are clean as a whistle !

 

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35 minutes ago, Papiskokuji said:

Also a good test on how to get a vintage look for the ones who miss the old bmpcc feel.

 

So you didn't understand....

We (old BMPCC user) don't miss this nasty look you created  😄  If you own a old pocket (Fairchild sensor) , you'll understand. 

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Yeah if you think just crushing the blacks and adding noise mimics a OG BMPCC, and think clean as a whistle is a Cine look to strive for, well... Better off with a C100 if you want a clean look. You don't have to buy any add on extra stuff for them. Just Grab and Go. Shoot for hours with one battery, and one cheap ass SD card. Really don't even need to grade it if you get the exposure right in camera.

But I guess everyone has a different idea what good or bad is, so maybe you really like that look. And yeah I guess at times even a Arri crushes the blacks, especially night shots. But no camera for as cheap as a OG is, can produce a better looking output If you want a Cine look. Now it is not going to produce a clean look like the PK4, C100 can, and probably most of the time you want that clean look, especially in this day and age. So the OG is not going to be a good choice for that.

So I guess the PK4 is a good compromise for both a modern look, and the ability to sort of look like the older one with skill. But that is the key, skill for any of the cameras. But some are just a lot easier to Look like you have skill lol. The new Fuji XT-3 comes to mind, the old C100, etc. The OG was not a point and shoot by a long shot. There is a lot more bad looking footage from them on the web than great looking footage.

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This is what a OG BMPCC Can, and does look like. Now granted it is wasn't done by just Bob down the street. But you can see what it is capable of. And it isn't all crushed Blacks and noise. Bottom picture was their rig. Mercer sent me the link to the film.

From their Facebook page.

"Our main camera throughout the shoot has been a BMPCC, with a range of C-Mount and M43 lenses (and one enormous M42 - the Pentacon 300).

That camera has been powered by an Anker Pro 2 (with a modified cable, to fit the tiny input on the BMPCC). The Anker is mounted to the rig via a 90 degree metal plate from B&Q, some 15mm plumbers clamps, and some velcro tape.

We've had a bog-standard manfrotto tripod throughout, a cheap rails/plate set from India (Cine City on Ebay I think..?) and a cheap camtree cage.

On the front we've got a Fotga mattebox (with barn doors and a swing-out front - invaluable), a set of Tiffen NDs (kindly donated), and a Hoya 82mm Polariser screwed in to a filter tray and left in one of the slots for the duration of the shoot."

 

 

 

BMPCCo.jpg

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21 minutes ago, Emanuel said:

Absolutely astonishing.

Yeah for a cheap ass camera and rig it is pretty amazing. It took them years to do according to their Facebook page, but I don't think much of it was due to the camera. Just stuff when you are trying to do a zero budget film with friends, and limited gear, and not much time more than anything.

Kind of a Mercer type film LoL. I have a bad feeling I will be dead before he finishes it. And I doubt they have cable, or internet in Hell. 😜

 

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Glenn's club standard ; ) Seems he's not alone on that one, well, I fully understand his call anyways : -) At least, you'll be sure then he won't let you down from the other side when St. Peter : P will ask you about that bald dude with the cat in in his back : D Better a pretty rare one than just another pet you can find in any store of the neighborhood ; -)

6 hours ago, webrunner5 said:

Yeah for a cheap ass camera and rig it is pretty amazing. It took them years to do according to their Facebook page, but I don't think much of it was due to the camera. Just stuff when you are trying to do a zero budget film with friends, and limited gear, and not much time more than anything.

Kind of a Mercer type film LoL. I have a bad feeling I will be dead before he finishes it. And I doubt they have cable, or internet in Hell. 😜

 

@mercer

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22 hours ago, webrunner5 said:

Yeah for a cheap ass camera and rig it is pretty amazing. It took them years to do according to their Facebook page, but I don't think much of it was due to the camera. Just stuff when you are trying to do a zero budget film with friends, and limited gear, and not much time more than anything.

Kind of a Mercer type film LoL. I have a bad feeling I will be dead before he finishes it. And I doubt they have cable, or internet in Hell. 😜

 

90% of the film was shot on the SLR Magic 12mm and Voigtlander Nokton 42.5mm, with a Kowa 8mm, Angenieux 12-120, Pentacon 300, and a Nokton 17.5mm accounting for the rest.

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Can I get some feedback on my planned P4K purchase list? This is my first camera, first lens, etc. I've tried to do as much research as I can, now I just need some learned eyes to double check I haven't made any real dumb decisions. Planned use will be no-budget narrative fiction and a bit of casual street filming.

Lenses: Meike 25mm T2.2 + Meike 16mm T2.2
Filters: Tiffen 77mm Indie Pro Infrared/ND Filter Kit
Monopod: Sirui P-326S with VH-10X head
Storage: Samsung T5 2TB

I would be planning to buy more of the Meikes as they came out, and I don't have to worry about sound for now. The other alternative would be to go for the Metabones + Sigma route. I already have the camera, a smallrig cage and a couple of batteries. Not sure if I'll need a bigger battery or not.

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