BMPCC: what actual latitude in post?

Pretty good - thanks!
Those red blotches (the bench support etc.) is what I wish I can get part of with my next camera purchase.

Was anything clipping onscreen when you shot that? It seems a bit underexposed, even for protecting highlights.

Was anything clipping onscreen when you shot that? It seems a bit underexposed, even for protecting highlights.

I agree. I can't recall exactly, sorry. Maybe a stop more was just clipping? I've noticed that the GH2 histogram is not indicating highs clipping soon enough (= looks fine on the histo / is clipped in NLE). So, I maybe was a bit too conservative.

One last grade from the top of the thread. That is a very small frame 800x450 and fairly compressed jpeg, but still grades ok. Was it BMDPCC original ? 30 sec job, didn't bother with the sky too much.

and the original

Hey, good question, Theodore.

Seeing as how it only does a handful of things to begin with, the easier to name are:

10- bit ProRes/DNxHD Onboard Recording (no peripherals needed)
DR 13 stops

Name more than three cameras at any price range, as a matter of fact, that can capture directly these highly requested 10-bit industry standard formats and has 13 stops, even on paper. I'll take paper specs.

We don't have to tack on doing it to SDXC cards (relatively cheap reliable media) or the future RAW update, since one I agree would be low-hanging fruit and the other isn't out just yet.

Thats 1 "thing" - i can respect your appreciation for the camera, but lets not go overboard. And what, we cant transcode anymore? We're not going to shoot film anymore, lol, come on man.

We dont have to tack on doing it to SDXC cards (because you already implied that with the "no peripherals needed") and the future RAW update ( not only because its not out yet, but it would negate part of the statement you made in the first place, (something other camereas arent doing))

Hey, good question, Theodore.

Seeing as how it only does a handful of things to begin with, the easier to name are:

10- bit ProRes/DNxHD Onboard Recording (no peripherals needed)
DR 13 stops

Name more than three cameras at any price range, as a matter of fact, that can capture directly these highly requested 10-bit industry standard formats and has 13 stops, even on paper. I'll take paper specs.

We don't have to tack on doing it to SDXC cards (relatively cheap reliable media) or the future RAW update, since one I agree would be low-hanging fruit and the other isn't out just yet.

Thats 1 "thing" - i can respect your appreciation for the camera, but lets not go overboard. And what, we cant transcode anymore? We're not going to shoot film anymore, lol, come on man.

We dont have to tack on doing it to SDXC cards (because you already implied that with the "no peripherals needed") and the future RAW update ( not only because its not out yet, but it would negate part of the statement you made in the first place, (something other camereas arent doing))

I think the mis-communiction here is that you want to find something to debate in a passive-aggressive fashion, but didn't actually take the time to read AND understand what I posted. It's a trend with your posts, here.

Let me help you:

When I said it's doing things that cameras aren't that cost thirty times the price tag I mean just that. It doesn't matter if it's ONE thing, it's still SOMETHING that people are requesting, but isn't happening. RED doesn't do it, Sony doesn't do it, Canon doesn't do it. None of their cameras. If it were just a matter of transcoding, why would anyone want a module for their RED to do just that? Why would anyone tack on a peripheral to skirt the step.

From my working experience, it's because no... there isn't any time to transcode, anymore. Clients want it right now, if they choose a camera that can deliver that, they can get it right now.

Canon doesn't have a camera that nets 13 stops, not the last I've read. RED had one that barely does 12.5 up until Dragon. F3 SLOG is just barely a usable 13 stops.

SO again, it doesn't matter if it's one or two things, I specifically said that it's doing things that cameras thirty times the price tag aren't, yet are requested to do.

There is no argument or debate.

There is an comparison between 8-bit raw and 12-bit raw how it looks when lifting shadow and details in highlights.

Same here. During the first test I did with the BMCC, it was snowing in London. I haven't dealt with RAW footage from the RED or ALEXA cameras yet, but the dynamic range of the BMCC sure is impressive.

First of all, sorry if im a bit out of the topic. I just want to make my self clear about DR & latitude.
i read some articles that explain about the difference between dynamic range & latitude. Some say dynamic range refers to the entire exposure range captured whereas latitude refers to the range of the ability to make corrections after recording. Is that a correct theory? thanks

I think the mis-communiction here is that you want to find something to debate in a passive-aggressive fashion, but didn't actually take the time to read AND understand what I posted. It's a trend with your posts, here.

Let me help

As usual, rabid condescension from the "BMD Review guy"

My question was polite, and asked in a light hearted manner, as was my response to your reply, yet, these are the types of responses usually fired back for questioning anything the "BMD Review Guy(s) say.

You SAID it does thingS that cameras 10x the cost dont, then when pushed you angrily say " so what if its only one thing" then try and lay out a list bashing other cameras.

As if a monkey couldnt understand and see through your dim witted attempt, which, of course has to turn into some type of attack on me.
All because you made an assinine statement that you couldnt dare back up with any FACTS.

As usual, you come off looking like a foolish "fanboy", which anyone using objective reasoning can clearly see.

There is no argument or debate.

I knew that before you tried your first feeble keystroke to reply in the first place, kid.

Thanks for the attack, and remember, this is a full name forum

Wow - crazy how any discussion seems to end up in some sort of fight on this forum...

[Tony Rivera]

Let's try and be civil here folks.

Thanks.

One last grade from the top of the thread. That is a very small frame 800x450 and fairly compressed jpeg, but still grades ok. Was it BMDPCC original ? 30 sec job, didn't bother with the sky too much.

Hey - cool!
Thanks for taking the time.

Would that be a fair summary?
- the Pocket cam is a good step-up from a DSLR image-quality wise
- it has a DR that allows for some high contrast scenes but won't do miracles in extremes
- it takes grading better than compressed DSLR footage but can't be pushed too much.

Still, I'd be interested to know if ProRes actually is 13 stops of if this is the sensor's output DR.

I am still waiting for my units that I hope to use as b/c cams with Alexas, so my hopes are high.
But before testing one myself I'd rather not make any claims. Raw ( even compressed) gives huge advantage in grading over any other method. That makes the cam punch well above its weight, up there with reds and alexas...The DR should hold in prores if filmlog is used. That does not mean that color will behave like in dpx, it's 422 after all, bad for keys.

Still, I'd be interested to know if ProRes actually is 13 stops of if this is the sensor's output DR.

Since the RAW output of the BMCC is supposed to provide 13 stops of dynamic range and the 13 stops of dynamic range of the BMPCC were probably advertised in relation to the compressed RAW feature which is yet to come, its safe to assume that the dynamic range using ProRes will be less than 13 stops. It makes sense considering that shooting the same thing with RAW and ProRes on the BMCC, you'll find that you have less latitude in the ProRes footage. I remember reading 11 stops somewhere, but that might have just been a "guesstimate".

EDIT: At NAB 2013:

Still, I'd be interested to know if ProRes actually is 13 stops of if this is the sensor's output DR.

Since the RAW output of the BMCC is supposed to provide 13 stops of dynamic range and the 13 stops of dynamic range of the BMPCC were probably advertised in relation to the compressed RAW feature which is yet to come, its safe to assume that the dynamic range using ProRes will be less than 13 stops. It makes sense considering that shooting the same thing with RAW and ProRes on the BMCC, you'll find that you have a little less latitude in the ProRes footage. I remember reading 11 stops somewhere, but that might have just been a "guesstimate".

Interesting - thanks.
If a BMD official could comment, that'd be great!

The idea of log recording is to transfer whatever the sensor captures into a smaller space. A poor log implementation might truncate some details but it should not happen in a good one. I have no experience with BMD filmlog though.