kye Posted July 28, 2020 Share Posted July 28, 2020 I just watched this video by Of Two Lands, where he talks about why he bought an OG BMPCC / P2K in 2020. Some of his reasons were sentimental, as he owned one early in his career and it worked well for him, but he also mentioned that a lot of people are going back to shooting S16, or are getting sick of a super-clear image, or don't want to have the 'crutches' of AF or slow-motion or the challenges and limitations of an older fully-manual camera. We also had the P4K firmware update that added a S16 crop mode, the Ursa 12K camera has a S16 crop mode, and @JimJones argued that the new Ursa might attract purchasers purely for its S16 mode: @crevice Argued that the BMMCC still matters, and received much agreement. When the P4K first came out there was a lot of anticipation of getting a 4K BMPCC but then disappointment that the image wasn't the same, and that it looked too modern and too clean and too high resolution. After all this I wondered what it was about the image from these cameras that attracted so much praise. I even heard that the BMMCC was a "baby Alexa" due partially to its colour science, but also in other ways too, such as motion cadence, resolution and codec support. I bought one and tried emulating its image with my GH5 (a project which is still ongoing): I had a theory that this interest in lower-sharpness (and to some extent low resolution) cinema was a nostalgic thing amongst those who grew up with cinema being celluloid rather than digital acquisition and distribution, but the " cinematic / film / organic / LUT / hipster " crowd is getting younger and more interested rather than less, so I wonder - is this a thing? Are people feeling a pull to go back? ....to go back to S16? ....to go back to MF? ....to shooting slower and more deliberately? Tim Sewell, Emanuel, mercer and 2 others 4 1 Quote Link to comment Share on other sites More sharing options...
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