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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.
Awesome list and great points! Although I'm grateful the update addresses the problem with shooting at 23.98 and 24 fps (I've been digging for a solution for the past 2 days), I think it's sad to hear the updates are being neglected for the BMCC; I don't own one the BMCC. I also agree with shooting dual audio- it's just better control that way.