Difference b/w BMPC4K & BMCC EF 2.5K for theatrical release

Can someone detail the difference between shooting in BMPC4K and in BMCC EF 2.5K for theatrical release?

2K projection is going good in big screens.

I think it's more about your timeframe. Are you shooting a feature soon? If so, the 2.5k BMCC is your only option.

The only real difference to me is the global shutter. From what I hear, the sensor isn't as sensitive and perhaps a stop darker? I also haven't seen or played with the new compressed raw.

A lot of films are still shot at 1080p and upscaled to 2k. I don't know that it matters as much as it seems for projection. I saw a 4k film last year that had no story. It was still a 4k film with no story.

Can someone detail the difference between shooting in BMPC4K and in BMCC EF 2.5K for theatrical release?

2K projection is going good in big screens.

As David indicates, you may need to supply your scene with more light using the BMPC4K versus the BMCC. At this point, we don't know the native ISO of the sensor but it way be 400ASA or perhaps 640ASA versus 800ASA on the BMCC.

The global shutter should make your film free of the effects that a rolling shutter can induce and that clearly will be an improvement at times.

There is one stop difference in the dynamic range which may also affect how you shoot and/or light, 12 versus 13.

The BMPC4K will have greater resolution but in a digital film, depending upon the subject, you may want to soften the image when that can be too revealing. Don't know how aliasing and moiré will compare. But downscaling your deliverables from 4K to 2K you should see an improved image resolution versus the BMCC.

The 'crop factor' of the BMPC4K is 1.7x versus the BMCC 2.28x. So your angle of view will be close to a 35mm cinema format. That means it is easier to get a wide angle and your depth of field will be more shallow, without being crazy shallow, when you want that.

The improvements remain to be seen since there is no footage, especially raw footage, released yet for the pixel peepers. Image quality in terms of colour is the big thing we are waiting to see. The BMCC can produce a beautiful image with its colour science (BMD's secret sauce) and the high dynamic range. With the lower dynamic range and a sensor from a different supplier, will BMD pull off a stunning image that can dare to compare with other digital cinema cameras like the ARRI Alexa and Red Epic?

Rick Lang
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you may need to supply your scene with more light using the BMPC4K versus the BMCC. At this point, we don't know the native ISO of the sensor but it way be 400ASA or perhaps 640ASA versus 800ASA on the BMCC.

There is one stop difference in the dynamic range which may also affect how you shoot and/or light, 12 versus 13.

you mean BMPC4K needs more light?

you may need to supply your scene with more light using the BMPC4K versus the BMCC. At this point, we don't know the native ISO of the sensor but it way be 400ASA or perhaps 640ASA versus 800ASA on the BMCC.

There is one stop difference in the dynamic range which may also affect how you shoot and/or light, 12 versus 13.

you mean BMPC4K needs more light?

Yes. The BMPC4K may require more light since the sensor is not considered to be as sensitive as the sensor on the BMCC and BMPCC cameras. Additionally having likely one stop less dynamic range may mean you need more light to raise the shadows. That is the theory but we need to wait to see the characteristics of the camera when released. The BMCC/BMPCC cameras can have more stops of dynamic range in the lower register so that it sees into the shadows better. The BMPC4K could have more stops of dynamic range in the upper range since it is less sensitive so the highlights look better. But the raw video uses a log curve so it is not a simple linear range as is 'seen' by the sensor. We shall see how BMD tunes the sensor data.

Rick Lang
Sent from my iPad using Tapatalk HD