blackmagic cinema camera

Metabones Speed Booster for Micro Four Thirds – First Look and GH3 images

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The Micro Four Thirds Speed Booster for Leica R is now in stock at Metabones!

The Speed Booster for Micro Four Thirds gives cameras like the Panasonic GH2, GH3 and Blackmagic Cinema Camera a Super 35mm / APS-C sized sensor using clever optics, in the same way that the E-mount version turned cameras like the Sony FS100 and NEX 7 into valid alternatives to full frame.

As well as shrinking the image circle of a full frame lens to fit a smaller sensor, the Speed Booster lives up to its name by giving you a 1 stop increase in brightness so that F2.8 effectively becomes F2.0.

I’ve been testing the Leica R mount version of the new Micro Four Thirds Speed Booster on the Panasonic GH3 and here are some of my early observations.

Read moreMetabones Speed Booster for Micro Four Thirds – First Look and GH3 images

Blackmagic Production Camera 4K shocks NAB – 4K for $4k, Compressed Raw, Super 35mm AND global shutter

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MOUNT UPDATE: E-mount makes the most sense for this camera. Earlier today CVP had pre-orders up for a Micro Four Thirds version. That has now been taken down and CVP have confirmed to me there’s only the EF mount camera available to pre-order here.

This is just…. insane. Blackmagic are set to announce the Blackmagic Production Camera with 4K Super 35mm global shutter sensor and a Pocket Cinema Camera with Super 16mm sensor, raw and active Micro Four Thirds mount.

Apart from the form factor remaining the same, Blackmagic have done everything we could ever have hoped (dreamed?) for with the V2.0 camera. I have to say the pricing is completely bonkers. Just $1000 more for 4K AND a larger sensor AND a global shutter AND compressed Cinema DNG!

Read moreBlackmagic Production Camera 4K shocks NAB – 4K for $4k, Compressed Raw, Super 35mm AND global shutter

ProRes vs ProRes – A first look at uncompressed HDMI with the Nikon D5200 vs the Blackmagic Cinema Camera

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In the early days of DSLR video the codec was probably the weakest part of the camera. With the advent of uncompressed HDMI out – the codec is no longer a weak point but sensor sampling becomes an Achilles Heel.

Can the Nikon D5200 benefit from a hike in image quality from using an external recorder?

Read moreProRes vs ProRes – A first look at uncompressed HDMI with the Nikon D5200 vs the Blackmagic Cinema Camera

Shooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera

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The Lens

Whilst Canon L lenses are like a fleet of company Lexus cars. This isn’t really what I want in my films. I need something different. Something with character.

For this reason I’ve long been using anamorphic lenses. I recently shot some test footage with the Iscorama 54 anamorphic. This is essentially an Iscorama 36 but instead of a 36mm rear element it is 54mm. Even though the whole lens is double the weight, not as sharp and almost triple the size I like it because it has character.

Read moreShooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera

RED Epic versus Blackmagic Cinema Camera – Part 2 – Resolution and conclusion

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Above: the Epic with anamorphic lens

In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.

Read moreRED Epic versus Blackmagic Cinema Camera – Part 2 – Resolution and conclusion

RED Epic versus Blackmagic Cinema Camera – Part 1 – Grain, workflow and form factor

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How does the Blackmagic Cinema Camera compare to an established film industry standard, the Red Epic?

Along with ReWo and MBF Filmtechnik in Berlin we decided to find out.

Read moreRED Epic versus Blackmagic Cinema Camera – Part 1 – Grain, workflow and form factor

Blackmagic Cinema Camera tips – ‘overexpose’ it for best results – and interview with John Brawley

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Above: my Blackmagic Cinema camera with ReWo cage – a shootout with the Red Epic is coming soon

BlackmagicUser.net recently did an interview with John Brawley, the cinematographer close to Blackmagic Design and main tester for the cinema camera.

His experience exposing the camera goes along with what I am finding, that the Blackmagic Cinema Camera works best when you ‘expose to the right’.

Read moreBlackmagic Cinema Camera tips – ‘overexpose’ it for best results – and interview with John Brawley