Film and log mode on BMCC, monitor required

When you record on the film mode with a log type of image, will you be able to see what you are recording? Or do you need an external monitor to take the log image and convert it to something you can actually see?

When you record on the film mode with a log type of image, will you be able to see what you are recording? Or do you need an external monitor to take the log image and convert it to something you can actually see?

Unless I'm mistaken, as noted in the BMCC user manual, you can set the camera's LCD and HD-SDI output gamma independent of the recording gamma setting.

As a result, you can monitor, say, "Video" (Rec.709) gamma on the camera's LCD while recording in "Film" (log) mode. Likewise with an external monitor attached to the HD-SDI output. Or record "Video" gamma in camera and monitor with "Film" gamma, or use the same gamma for both the recording and monitoring, etc.

(Likewise, an external recorder connected to the HD-SDI output can be sent either Film or Video gamma.)

It's apparently quite flexible. Cheers.

Download the BMCC user manual PDF from BMD's support page:
http://www.blackmagicdesign.com/support/

To add to Peter's response, on the BMCC's LCD, the display is a little higher contrast than their 'film' would be in the recording or SDI output so the the screen will be easier to view.

John describes it as somewhere between REC 709 and film log. Not too contrasty but enough to get by.

Trying to light with a film log display would be a bit of a nightmare unless you had monitors.

I use a spot meter.

Histograms and good, too.

not meny people can use spot meters current day anymore

not meny people can use spot meters current day anymore

Spot meters. Histograms. Pfft. That stuffs for professionals.

You CAN use a lightmeter, but I've found them less relvent to getting an overall exposure stop.

I still use a meter to read in Fc and I do this for ratios and to get absolute levels. But i don't think it's very smart to set an ISO on your meter and then religiously abide by that value.

This is because, with this camera, instead of wanting to expose for a middle tone, it seems to work better when you expose for your highlights and then let the rest fall into place from there. If you've exposed for the highlights and the *meat* of your scene is too dark, then you make the necessary adjustments using lighting or sacrifice the highlights.

I think as a *digitaL* exposure, it's more important to me to know where and what highlights are clipped and near clipping. A light meter can also tell you this, but you have to set it to a different ISO to the one you're shooting, or do the calculations yourself. NOw that's fine if you want to do it, but zebras are a far simple way to do it.

Sure a meter is useful when you turn up and don't have a camera turned on or available to get to. They're great for measuring contrast and total light. But I rarely use them to ACTUALLY set exposure, because the way digital cameras respond in the highlights and shadows is totally different (to film). There are better tools generally in the cameras for this.

jb

A light meter can also tell you this, but you have to set it to a different ISO to the one you're shooting, or do the calculations yourself

Hi John!
First post here. Will this be the case with a light meter like Sekonic L-478D? http://www.sekonic.com/Products/L-478D/Overview.aspx

I think it can be calibrated to fit your camera's dynamic range / light sensitivity. Am I wrong?

Cheers!

...Sekonic L-478D? http://www.sekonic.com/Products/L-478D/Overview.aspx

I think it can be calibrated to fit your camera's dynamic range / light sensitivity. Am I wrong?

Cheers!

Very impressive. Maybe not a necessity if you rely on the BMCC's zebras, but quite the useful accessory.

Not sure I'd trust the information I'm putting into that - a lot of DPs say that they don't believe some flavors of RED cameras have anywhere near the amount of stops claimed - what if you put 13 stops in to your meter and it only really performed at 8? Also does it take into account ISO changes and loss of DR at different ISOs?

In a similar way to John, I only use my meter for getting an evenly lit scene where I can. Its useful for regulating the amount of contract in a scene, as well as those times when you just don't quite trust what you see on the monitor.

Not sure I'd trust the information I'm putting into that - a lot of DPs say that they don't believe some flavors of RED cameras have anywhere near the amount of stops claimed - what if you put 13 stops in to your meter and it only really performed at 8? Also does it take into account ISO changes and loss of DR at different ISOs?

Hi Luke!
As far as I know, the calibration process is done with some reference cards and a PC / Mac software. It measures the response of your camera, and let's you choose the hot spot you want to use. I mean, from the useable dynamic range determined by the calibration process, you can set upper and lower limits.

I saw a video explaining the process, but I can't find it now. If I do, I'll post it here.

Greetings

OK, found it!

I think there was another one (larger) just explaining the calibration process, step by step.
Of course, using zebras is faster and cheaper (if you're already a lucky BMCC owner )

OK, found it!

I think there was another one (larger) just explaining the calibration process, step by step.
Of course, using zebras is faster and cheaper (if you're already a lucky BMCC owner )

That does look quite interesting! It could certainly be useful with cameras that are less familiar. I'm still a little uncertain as to whether the calibration process takes into account the change to DR non-base ISO's though?

I currently use the Sekonic L-398A Studio Deluxe III.

I totally wrote something and now it's gone! Ah, well. That's what I get typing on my phone.

Anyway, YES John, I agree: much better tools out there. I was going to say something about my being terrified of the Epic on the first day of shooting and afterward the workflow was more "meter the meat for a T5.6 and eyeball the rest of the setup with scopes." But the first day I metered everything like it was film with a strict 800asa, an HMI par and ND! I have no idea what LUT was setup, I never saw the camera until I got to the set...worst shoot ever. And I don't think the image was much better than a 5DmkII but then I never got to participate in the DI (if there was one) because I quit tge show after week one. My plan is to get a MacBook to run BM scopes so I can do the same thing with the BMCC: incident meter in the initial setup to figure out a roadmap, eyeball scopes as we go, spot meter where appropriate.

Nice feature i like is to measure "contrast" levels from "normal".

Think that most of on set crew fails here with that a lot.