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

D5200 ProRes test

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

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

Epic - Iscorama

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

The EOSHD Blackmagic Cinema Camera Shootout

In a joint shootout with Slashcam in Berlin, EOSHD put the Blackmagic Cinema Camera into a bear pit against all rivalling cameras between $500 and $4000.

It was a clear day and the results are just as stark. Download the full 2.5K shootout video. Here’s my verdict on which camera you should buy – based purely on image quality.

The following cameras are in this test:

  • Blackmagic Cinema Camera (retail)
  • Panasonic GH3 (pre-production v0.5)
  • Panasonic GH2 (hacked)
  • Sony FS100
  • Canon 5D Mark III
  • Sony NEX VG-900 (full frame E-mount camcorder)

Read moreThe EOSHD Blackmagic Cinema Camera Shootout

Is raw on the Blackmagic Cinema Camera worth it? Dispelling the myths

BMCC

There’s some debate at the moment around the Blackmagic Cinema Camera and how useful the raw recording mode is. For me it is ground-breaking at this price point but it seems not everyone sees it with the same enthusiasm because of the workflow and storage requirements. Some say raw is time consuming, not practical, or clients don’t need it.

There is no single answer to this which suits everyone, or every shoot. If someone says that their current clients don’t need raw and they don’t see an advantage to working with raw video – then they are absolutely right to believe that. If someone tries to tell you that their opinion on this is the ultimate and final voice on the matter, they are wrong. Personally I am in favour of raw for what I do (this opinion is based on my own needs).

But part of the reason I am coming down so heavily in favour of raw myself is not just because of me – it is because I can see some less obvious benefits to work that many would be dead-set on shooting with ProRes in-camera.

Read moreIs raw on the Blackmagic Cinema Camera worth it? Dispelling the myths

Most significant clue so far about Blackmagic Cinema Camera performance

New Blackmagic Cinema Camera footage is in the wild, and this one is downloadable in glorious high bitrate 1080p.

Although it isn’t the original DNG or ProRes rushes it is the closest we’ve come to a representative video yet.

Read moreMost significant clue so far about Blackmagic Cinema Camera performance

John Brawley posts new Blackmagic Cinema Camera footage

Blackmagic Cinema Camera - Pool Shark by John Brawley

Please note the compression and noise is from Vimeo not the camera

John Brawley has some new Blackmagic footage for us. Unfortunately Vimeo streams 1080p at something like 7Mbit and John has no download option on this clip, so watching Blackmagic footage when it is so heavily compressed rather defeats the object of such a lovely 12bit raw camera.

Nevertheless dynamic range and resolution are looking pretty good.

Read moreJohn Brawley posts new Blackmagic Cinema Camera footage

How Blackmagic can add anamorphic recording mode to their Cinema Camera the easy way

Blackmagic Cinema Camera

Above: the BMD Cinema Camera pictured in a photo from PhotoCineRent in France. I have pre-ordered mine.

The Blackmagic Cinema Camera is nearing release and final sensor calibration / firmware adjustments are taking place. When I last spoke to beta shooter John Brawley about his involvement with the camera, he had this to say on an anamorphic mode…

“We have discussed the possibility of doing anamorphic. They’re aware that it’s a potential market. I don’t think you’ll see it on this version.”

This feature would increase vertical resolution by nearly 800 lines and allow for the wider, more cinematic aspect ratios of 2.39:1 and 2.66:1 aspect ratios when used with an anamorphic lens.

Read moreHow Blackmagic can add anamorphic recording mode to their Cinema Camera the easy way