Re: Camera v1.5.1 available
Posted: Thu Nov 28, 2013 9:38 pm
Should be fine now I heard, can't confirm myself as I have the BMCC not the BMPC.
https://forum.blackmagicdesign.com/
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=15689
streetlightmedia wrote:A lot of people bitch about the audio issues with the camera but professionally I've always ran dual sound which isn't even my department. I think that it being a "Digital Cinema Camera" they should focus on features that cinematographers need but are just too polite to constantly bitch about. But seeing all this complaining about a Cinema Camera's audio issues I'll ask for the professional features that this camera could use. Feel free to add...
1.) SMPTE BARS!!! - only seen like two people ask for this but it is on EVER professional digital cinema camera.
2.) Formatting in Camera - not entirely a pain the ass but useful
3.) Time Remaining on Card or Card Percentage Full - this is just unbelievable that it's not on there my iphone does this
4.) 4:3 readout of sensor for Anamorphic. - This would be killer and put blackmagic into a whole other demographic. It has a 4:3 sensor which few cinema cameras have so might as well use it! Make DPs reach for it because of that feature.
5.) Option to output interlaced when in 23.98p mode - a lot of monitors that aren't new can't handle it. (The panasonic monitor everyone uses on set can't handle 1080 and won't display the waveform, but it is old )
6.) Waveform!!! - Histogram is for still cameras and the zebras aren't great. Would be so amazing if I could see what the sensor is seeing before it applies the Rec. 709 or LOG lut to the monitor.
7.) 2k/2.5k ProRes 4444 - This would be awesome and save some space. Alot of project don't need RAW but 4:2:2 HD doesn't quite cut it.
8.) Framing guides - useful for 2.35 masking and if you don't do a sensor readout in 4:3 then at least a framing mask for it.
9.) Rec. 709 down the pipe - it's kind of dumb that I can choose Rec. 709 but the footage that goes to the directors monitor is still in LOG space. it's annoying and unprofessional having to explain to the director why it looks so flat and desaturated.
10.) FIX THE HIGHLIGHT BLACK HOLES - this is soooooooooo stupid and their is no excuse as the pocket has had it fixed for a month.
11.) 60p/120p - If it's possible you guys would steal the market away from the fs-700 which couldn't be bad for business. Even if it's like 8bit H.264 it's the same the fs-700 shoots which looks decent enough and the only thing under $50k that can do it.
I picked the 2.5k over the 4k because I value dynamic range and color range over resolution which is why I didn't buy a RED Scarlet. It is currently the professional camera in your line up and you should treat it as such. You don't see (as stupid as they are) RED updating the scarlet constantly but leaving the epic in the dark for months and years. Or sony updating their fs700 and ignoring their f55 and f65. Blackmagic is a company that sits up there with the big boys proudly in the post world and is found in every major post house somewhere. I don't know what's going on but there is no reason you couldn't do the same thing with your cameras. Stop focusing on your children's toys and focus on what will make your company successful in the industry, doing it better for cheap.
MetaVeritasFilms wrote:So far, the update has made filming at 23.98 and 24 fps at 180-degree shutter angle much better than before. However, I still experience some dropped frames at the beginning of the clip (sometimes up to 10 seconds) before righting itself, but is usually more prominent and prolonged on the first shots as if the camera is "warming up" to shoot. This is also true of the strange motion blur on these settings as well. Overall, it's much more useable than before, so good job on that, but I hope it is still worked on to fix the discrepancies and possibly find a way for us to use other SD cards for RAW (I can't use my 128GB 90MB/s SD card because it is not a Sandisk).
Denny wrote:
With film cameras, and early video cameras, you had to "pre-roll" the camera to get film/tape up to speed, then call for "action!". Doing this would eliminate dropped frames issue at start, as you would not use pre-roll footage anyway.
I still always pre-roll a camera by 15-30 seconds, old habits die hard!
streetlightmedia wrote:A lot of people bitch about the audio issues with the camera but professionally I've always ran dual sound which isn't even my department. I think that it being a "Digital Cinema Camera" they should focus on features that cinematographers need but are just too polite to constantly bitch about. But seeing all this complaining about a Cinema Camera's audio issues I'll ask for the professional features that this camera could use. Feel free to add...
1.) SMPTE BARS!!! - only seen like two people ask for this but it is on EVER professional digital cinema camera.
2.) Formatting in Camera - not entirely a pain the ass but useful
3.) Time Remaining on Card or Card Percentage Full - this is just unbelievable that it's not on there my iphone does this
4.) 4:3 readout of sensor for Anamorphic. - This would be killer and put blackmagic into a whole other demographic. It has a 4:3 sensor which few cinema cameras have so might as well use it! Make DPs reach for it because of that feature.
5.) Option to output interlaced when in 23.98p mode - a lot of monitors that aren't new can't handle it. (The panasonic monitor everyone uses on set can't handle 1080 and won't display the waveform, but it is old )
6.) Waveform!!! - Histogram is for still cameras and the zebras aren't great. Would be so amazing if I could see what the sensor is seeing before it applies the Rec. 709 or LOG lut to the monitor.
7.) 2k/2.5k ProRes 4444 - This would be awesome and save some space. Alot of project don't need RAW but 4:2:2 HD doesn't quite cut it.
8.) Framing guides - useful for 2.35 masking and if you don't do a sensor readout in 4:3 then at least a framing mask for it.
9.) Rec. 709 down the pipe - it's kind of dumb that I can choose Rec. 709 but the footage that goes to the directors monitor is still in LOG space. it's annoying and unprofessional having to explain to the director why it looks so flat and desaturated.
10.) FIX THE HIGHLIGHT BLACK HOLES - this is soooooooooo stupid and their is no excuse as the pocket has had it fixed for a month.
11.) 60p/120p - If it's possible you guys would steal the market away from the fs-700 which couldn't be bad for business. Even if it's like 8bit H.264 it's the same the fs-700 shoots which looks decent enough and the only thing under $50k that can do it.
I picked the 2.5k over the 4k because I value dynamic range and color range over resolution which is why I didn't buy a RED Scarlet. It is currently the professional camera in your line up and you should treat it as such. You don't see (as stupid as they are) RED updating the scarlet constantly but leaving the epic in the dark for months and years. Or sony updating their fs700 and ignoring their f55 and f65. Blackmagic is a company that sits up there with the big boys proudly in the post world and is found in every major post house somewhere. I don't know what's going on but there is no reason you couldn't do the same thing with your cameras. Stop focusing on your children's toys and focus on what will make your company successful in the industry, doing it better for cheap.
streetlightmedia wrote:A lot of people bitch about the audio issues with the camera but professionally I've always ran dual sound which isn't even my department. I think that it being a "Digital Cinema Camera" they should focus on features that cinematographers need but are just too polite to constantly bitch about. But seeing all this complaining about a Cinema Camera's audio issues I'll ask for the professional features that this camera could use. Feel free to add...
1.) SMPTE BARS!!! - only seen like two people ask for this but it is on EVER professional digital cinema camera.
2.) Formatting in Camera - not entirely a pain the ass but useful
3.) Time Remaining on Card or Card Percentage Full - this is just unbelievable that it's not on there my iphone does this
4.) 4:3 readout of sensor for Anamorphic. - This would be killer and put blackmagic into a whole other demographic. It has a 4:3 sensor which few cinema cameras have so might as well use it! Make DPs reach for it because of that feature.
5.) Option to output interlaced when in 23.98p mode - a lot of monitors that aren't new can't handle it. (The panasonic monitor everyone uses on set can't handle 1080 and won't display the waveform, but it is old )
6.) Waveform!!! - Histogram is for still cameras and the zebras aren't great. Would be so amazing if I could see what the sensor is seeing before it applies the Rec. 709 or LOG lut to the monitor.
7.) 2k/2.5k ProRes 4444 - This would be awesome and save some space. Alot of project don't need RAW but 4:2:2 HD doesn't quite cut it.
8.) Framing guides - useful for 2.35 masking and if you don't do a sensor readout in 4:3 then at least a framing mask for it.
9.) Rec. 709 down the pipe - it's kind of dumb that I can choose Rec. 709 but the footage that goes to the directors monitor is still in LOG space. it's annoying and unprofessional having to explain to the director why it looks so flat and desaturated.
10.) FIX THE HIGHLIGHT BLACK HOLES - this is soooooooooo stupid and their is no excuse as the pocket has had it fixed for a month.
11.) 60p/120p - If it's possible you guys would steal the market away from the fs-700 which couldn't be bad for business. Even if it's like 8bit H.264 it's the same the fs-700 shoots which looks decent enough and the only thing under $50k that can do it.
I picked the 2.5k over the 4k because I value dynamic range and color range over resolution which is why I didn't buy a RED Scarlet. It is currently the professional camera in your line up and you should treat it as such. You don't see (as stupid as they are) RED updating the scarlet constantly but leaving the epic in the dark for months and years. Or sony updating their fs700 and ignoring their f55 and f65. Blackmagic is a company that sits up there with the big boys proudly in the post world and is found in every major post house somewhere. I don't know what's going on but there is no reason you couldn't do the same thing with your cameras. Stop focusing on your children's toys and focus on what will make your company successful in the industry, doing it better for cheap.
c131frdave wrote:Denny wrote:
With film cameras, and early video cameras, you had to "pre-roll" the camera to get film/tape up to speed, then call for "action!". Doing this would eliminate dropped frames issue at start, as you would not use pre-roll footage anyway.
I still always pre-roll a camera by 15-30 seconds, old habits die hard!
I had a film crew come in and do a safety video for one of my power plants a few years ago. They were using a nice camera with a solid state drive (can't remember what one). Every time the "director" shot a scene, he'd say "roll..... speed? (the cameraman would nod and roll his eyes).... action!"
The second day I asked him, "Don't you have a solid state drive? Why the 'roll/speed' stuff?"
"Habit" he replied. so you're not alone. lol
vasillio wrote:i can go back to shooting 180 now , do you guys still recommend 178 at 23.98? or is 180/24p fine now?
Nikolay Smirnov wrote:Am I colorblind, or did the red became red in the new firmware at BMCC?
Mac Jaeger wrote:You could even say "Kowalski!", as long as all personell understood that signal - but as it is, film crews are used to other signals...
streetlightmedia wrote:Nikolay Smirnov wrote:Am I colorblind, or did the red became red in the new firmware at BMCC?
What new firmware....
Mac Jaeger wrote:I think he's referring to the fact that this firmware didn't (officially) adress the BMCC 2k5 at all...
Terry Frechette wrote:Morning all:
We are definitely hard at work on updates to the Blackmagic Cinema Cameras.
When updates are ready, we post them on the support page and will let people know here on the forum.
Thanks.
Terry
Terry Frechette wrote:Morning all:
We are definitely hard at work on updates to the Blackmagic Cinema Cameras.
When updates are ready, we post them on the support page and will let people know here on the forum.
Thanks.
Terry
Grzegorz Styczen wrote:Encumbered forever by desire and ambition
There's a hunger still unsatisfied
Our weary eyes still stray to the horizon
Though down this road we've been so many times
(can't wait, too of course curious..)
rick.lang wrote:Grzegorz Styczen wrote:Encumbered forever by desire and ambition
There's a hunger still unsatisfied
Our weary eyes still stray to the horizon
Though down this road we've been so many times
(can't wait, too of course curious..)
Grzegorz, nice touch. I was wondering, if you offer beautiful poetry for just a firmware update, what would you offer for those awaiting the BMPC4K camera?
Rick Lang
Sent from my iPad using Tapatalk HD
Kristian Lam wrote:Hi guys,
Blackmagic Camera v1.5.1 has just been released.
This is just a quick update to address an issue with the weird motion blur observed when shooting at 180º shutter angle in 23.98 and 24 fps on the Pocket Cinema Camera.
There are NO changes to the Blackmagic Cinema Camera in this release.
I strongly recommend running the uninstaller first before installing the new software.
Thanks
Oscar Romero wrote:Terry Frechette wrote:Morning all:
We are definitely hard at work on updates to the Blackmagic Cinema Cameras.
When updates are ready, we post them on the support page and will let people know here on the forum.
Thanks.
Terry
OMG!!! OMG!!! Can't wait
muratcangokce wrote:Hello to so called "hardworking" people at Blackmagic!
Are planning to bring compressed raw recording and other features to original, 2,5k, forgotten, who gives a f*ck about it blackmagic cinema camera or shall we throw our cameras to streets and smash them?
we didn't pay those cameras only to having them. there should be some support not only for bad cameras and also to add new features which should be added with firmwares but there is nobody seem care about it.
otherwise you make all of your customers feeling cheated. please let's do something about 2,5 Cinema Camera. There is still some people buying (they shouldn't know anything about your policies because they are still buying them) and using it!
Do not ignore us! We didn't buy those cameras to be ignored!
gr8pics wrote:muratcangokce wrote:Hello to so called "hardworking" people at Blackmagic!
Are planning to bring compressed raw recording and other features to original, 2,5k, forgotten, who gives a f*ck about it blackmagic cinema camera or shall we throw our cameras to streets and smash them?
we didn't pay those cameras only to having them. there should be some support not only for bad cameras and also to add new features which should be added with firmwares but there is nobody seem care about it.
otherwise you make all of your customers feeling cheated. please let's do something about 2,5 Cinema Camera. There is still some people buying (they shouldn't know anything about your policies because they are still buying them) and using it!
Do not ignore us! We didn't buy those cameras to be ignored!
You are referring to it, as its not using its fully potential?
joechiazza wrote:They've stated many times that they are working on an update for the 2.5k cam. I'm really looking forward to it. I'm thinking since it's taking so long that it will be a really major update. I hope so anyways. Otherwise I love the camera regardless.
Sent from my iPhone using Tapatalk
muratcangokce wrote:they stated it since when camera started to shipping properly. they are not able to do anything just in the time that they gave people. there are very few people left who believes these lies.
otherwise I also love my camera too but it is not performing like it should because of bmd.
they produced a camera and they left it how it is like...
muratcangokce wrote:Hello to so called "hardworking" people at Blackmagic!
Are planning to bring compressed raw recording and other features to original, 2,5k, forgotten, who gives a f*ck about it blackmagic cinema camera or shall we throw our cameras to streets and smash them?
we didn't pay those cameras only to having them. there should be some support not only for bad cameras and also to add new features which should be added with firmwares but there is nobody seem care about it.
otherwise you make all of your customers feeling cheated. please let's do something about 2,5 Cinema Camera. There is still some people buying (they shouldn't know anything about your policies because they are still buying them) and using it!
Do not ignore us! We didn't buy those cameras to be ignored!
Nick.Ingram wrote:muratcangokce wrote:they stated it since when camera started to shipping properly. they are not able to do anything just in the time that they gave people. there are very few people left who believes these lies.
otherwise I also love my camera too but it is not performing like it should because of bmd.
they produced a camera and they left it how it is like...
If the camera, as it stands now, doesn't work well for the productions that you are doing then sell it and buy something that better suits you. No one is stopping you. Either sit around and wait like everyone else or move on to another camera.
Tony Rivera wrote:Terry, Kristian and myself have made comments about there being firmware updates in the works on this and previous threads. I'm not sure what those are because I'm not part of the development team, but I do know there are things being worked on. When we have more information for you, we will definitely let you folks know.
muratcangokce wrote:
I do not intend to move to another camera, I want my rights.
Rob Ford wrote:muratcangokce wrote:
I do not intend to move to another camera, I want my rights.
What is missing from your camera that was promised before delivery?