Blackmagic Forum

Posted: **Mon Aug 19, 2013 7:02 am**

Hey all!
I'm a current dslr user looking for filming a first feature narrative very soon in a few weeks. I originally wanted to film it with a Nikon D7000, but after the project went ahead I'm thinking of something better. I was thinking of getting a better dslr (it's still a last option), but I found that the BMPCC is just getting shipped. I also found that the BMCC 2.5K has a price reduction...

So please help me to make my decision! As I understand the BMPCC as of now records Prores, no RAW. The BMCC records both. However after some calculations I found that filming in RAW with the BMCC would put ahuge pressure on this small production.
So my question is: how good is the Prores video that comes out of these cameras?
Does that have the 13 stop dynamic range?
Is it insane to get a BMCC and shoot only in Prores?

How good is the Prores from BMPCC compared to BMCC?

Am I really better of with a Prores from BMCC/BMPCC than shooting H264 with my dslr and convert it to Prores?

Thanks very much!

Posted: **Mon Aug 19, 2013 7:06 am**

+
I have Nikon lenses, so I heard that MFT would be my goto choice, right?
I have a SmallHD DP4 monitor I would like to use with my camera of choice.

Posted: **Mon Aug 19, 2013 7:10 am**

The DSLR is shooting to a compressed 8bit 4:2:0 codec.

Even converting that to ProRes won't recover the lost colour info or repair the compression artefacts.

Many feature films, high end TV dramas and commercials are shot in ProRes on the Arri Alexa. ProRes is a professional codec intended for the postproduction workflow.

.h264 is a consumer codec intended for delivery rather than postproduction.

So even shooting ProRes would be a huge step up from a DSLRs internal codec.

Posted: **Mon Aug 19, 2013 7:11 am**

You can use your Nikon glass on the EF mount just as you can on the MFT mount.

Posted: **Mon Aug 19, 2013 7:22 am**

Don't forget there's a backlog of orders for the BMPCC, and it also uses an active M4/3 lens mount (but you could get an adapter for your Nikon lenses).

I'm in a similar position - shooting a doc later this year. Luckily there's isn't a deadline so I'm waiting for my pre-ordered BMPCC to arrive. As mentioned above, the ProRes 422 HQ is miles better that h.264, so I'd rather wait and have much better source material than rush ahead now with my Canons. Whilst waiting for the camera to arrive I've invested in extra batteries, chargers, fast SD cards (look at the Sony 64GB - good reviews and captures ProRes fine) and lenses.

There are quite a few clips from the BMPCC you can download and experiment with in AE, PPro etc- the results should convince you that ProRes is the way to go.

Good luck!

Rob

Posted: **Mon Aug 19, 2013 7:35 am**

hi,

While only having used my BMCC for about a week now, you'll have to think about a lot of different things before going all in with one of these cameras. Even prores is around five times as data consuming as any DSLR. My BMCC is an excellent camera, but you'll need to accessorize before even thinking of going into production with it. And learn how to expose for highligts.

Shooting outdoors without a very efficient hood is next to impossible due to a highly reflective screen. I bought an Alphatron EVF which works great but is an additional $1500. It's too heavy to handhold easily without a shoulder rig. You might get away with some handles for quick shots.

If you rig it up, you'll also need a sturdy tripod. My BMCC is 2,5 kgs with a DSLR lens and a SSD and no other accessories. Adding a follow focus, matte box, cage, battery system, cables, wireless receivers, flash recorder, monitors and so fourth adds up to quite a lot.

The Pocket Cinema camera has interchangable batteries but the BMCC doesn't, so for longer shoots you'll definitely need a battery solution. Audio wise (I'm an audio engineer primarily), I don't think it holds up for pro use, so a separate system for that is mandatory. It's not as light sensitive as some DSLRs, while certainly on par with the Canon cameras, so you'll definitely need good lighting.

All these things add up, so do consider all "hidden costs" in this investment. I am thrilled about the performance of my BMCC, but I'm still learning how to use it in the most efficient manner.

Best of luck!

Posted: **Mon Aug 19, 2013 7:50 am**

Thanks all!

But does BMCC/BMPCC Prores also gives me the 13 stops of dynamic range, the texture, and the ability to color grade it very well?

I'm aware of the hidden costs...
I think for the BMCC I would need for a minimum setup:
-BMCC
-Kingston 240GB SSD
-MFT-Nikon adapter
-Battery (Switronix... expensive..)

For the BMPCC
-BMPCC
-64GB SD cards (Sony or Sandisk Extreme Pro)
-MFT-Nikon adapter
-Batteries (EN-EL20, Nikons... I have one, plus I have a charger too, so it doesn't require a huge investment).

+ I have a SmallHD DP4+EVF which I would like to use.

The BMCC route costs more of course, but I'm not sure whether it's worth it or not, compared to the BMPCC. I cannot shoot RAW right now, it would put a huge strain on me and the production, so Prores is the way to go then.

I have Nikon lenses, and I purchased a Zeiss ZF.2 25mm 2.8 lens to be used on this film (when it was a D7000 project in mind...). I have a 85mm 1.8 also. So I'm stuck on the wide end... I have to invest in at least wide angle lens if I choose to go with these cameras.

Posted: **Mon Aug 19, 2013 8:03 am**

In simple terms... When shooting Film mode the camera takes the 13 stops of dynamic range in the 16bit sensor data and applies a LOG curve to it and then encodes it at ProRes 422 HQ.

This gives you a fairly flat image with a lot of info in it. In post you can then bring contrast and saturation back into the image as you see fit.

So you get most of those 13 stops in the ProRes file.

If you go the MFT mount route you could add the Metabones SpeedBooster. That would help a bit on the wide end.

Posted: **Mon Aug 19, 2013 8:08 am**

There are many examples of ProRes footage from the BMCC and the BMPCC.

The BMCC should be a little sharper than the BMPCC as its down sampling from a higher resolution.

Here are 2 of my own ProRes samples:
This shows you before and after using the Antler plugin:
http://www.adamroberts.net/blog/blackma ... tler-post/

And a girl in swimsuits graded in Resolve:
http://www.adamroberts.net/films/tropical-heat/

Posted: **Mon Aug 19, 2013 8:14 am**

Hey Adam,
Thanks!

Do I have to calculate the Metabones Speed booster's 0.71 factor with my lens original focal length, or the focal length (field of view) with the BMCC or BMPCC camera? So how would my 25mm Zeiss look on these cameras with the Speed Booster?
If I use Speed Booster, then I don't need an MFT to Nikon Adaptor, like Novoflex, right?

How would the Prores from BMPCC compare to the Prores of BMCC?

Do you think the BMPCC is capable of as good results as a D800 or 5D in terms of overall quality? I mean, with those cameras they already shot many high-end television stuff, and some feature films too. Is the BMPCC is capable of shooting a feature film with the possibility of theatrical showings?

P.s.: I read many of your posts at other forums like Philip Bloom's forum. You are a great guy!

Posted: **Mon Aug 19, 2013 8:25 am**

The 0.71 is applied to the original focal length.

You would then apply a crop factor based on your point of reference.

Eg: 25mm x 0.71 = 17.75mm

On the BMCC this would look similar to a 40mm lens on the 5D/D800 or similar to a 25mm lens on the 7D/D7000.

On the BMPCC this would look similar to a 51mm lens on the 5D/D800 or similar to a 32mm lens on the 7D/D7000.

The ProRes footage from the BMCC will blow the compressed footage from any DSLR away. It's sharper, has more colour info, can be pushed much further in the grade, has no macro blocking from the compression.

Posted: **Mon Aug 19, 2013 8:28 am**

I shot some interior tests with the same Nikon lens (24-70 f/2.8) on D800, FS100 and BMCC.

I'll share it later.

Moire was an issue in both the BMCC and D800 footage. But the BMCC footage was so much sharper and cleaner than the other 2 cameras.

Posted: **Mon Aug 19, 2013 8:36 am**

Captain Hook posted some side to side BMCC vs BMPCC test footage on vimeo.

Posted: **Mon Aug 19, 2013 8:43 am**

Thanks Adam!

I'm pretty sold on the Prores format. Simply, I don't see a reason why invest in another DSLR for shooting fiction, why for the same amount I could get a Prores camera.

I originally intended to use Prores for my editing, proxy, and later 422 for grading. I purchased a 3TB G-drive usb3 for this reason. Going with a Blackmagic camera and Prores doesn't push my boundaries as RAW would.

However I'm still really interested in the BMPCC and BMCC comparison in Prores....

Can I use my SmallHD DP4 monitor with the BMPCC for monitoring?

Posted: **Mon Aug 19, 2013 8:48 am**

Martijn. wrote:Captain Hook posted some side to side BMCC vs BMPCC test footage on vimeo.

They are pretty close!

It would be good to know where could I get this camera ASAP....

Posted: **Mon Aug 19, 2013 9:02 am**

therussian2 wrote:
Martijn. wrote:Captain Hook posted some side to side BMCC vs BMPCC test footage on vimeo.

They are pretty close!

It would be good to know where could I get this camera ASAP....

Considering how long it took with the BMCC, it may be another few months before the BMPCC hits the retail shelves.

Posted: **Mon Aug 19, 2013 10:36 am**

Do I need a Novoflex MTF-Nikon adapter when I have a Speedbooster?

Posted: **Mon Aug 19, 2013 10:53 am**

therussian2 wrote:Do I need a Novoflex MTF-Nikon adapter when I have a Speedbooster?

The Nikon G to MFT speed booster is the adapter and you connect any Nikon mount lenses to it , barring a couple of exceptions.

And definitely get the BMCC MFT. Won't your actors just laugh at you if take out the tiny BMPCC and think you're not taking things seriously?

And why would you give up a $1000 worth of Resolve that you get with a BMCC and not BMPCC?

Jules

Posted: **Mon Aug 19, 2013 11:26 am**

Jules Bushell wrote:
therussian2 wrote:Do I need a Novoflex MTF-Nikon adapter when I have a Speedbooster?

The Nikon G to MFT speed booster is the adapter and you connect any Nikon mount lenses to it , barring a couple of exceptions.

And definitely get the BMCC MFT. Won't your actors just laugh at you if take out the tiny BMPCC and think you're not taking things seriously?

And why would you give up a $1000 worth of Resolve that you get with a BMCC and not BMPCC?

Jules

Thanks! The least I care are what the actors think about my gear

I found this option for external battery:
http://www.creativevideo.co.uk/index.ph ... _pb70-bmcc

Isn't there a cheaper option?

Posted: **Mon Aug 19, 2013 11:50 am**

therussian2 wrote:Isn't there a cheaper option?

Sure there are plenty! Any external battery solution between 12 V and 20 / 30 V (Pocket CC / CC 2K5) will officially do, in the worst case you'll have to get a fitting cable. As far as i remember other users report lower voltages (from 8 V up) to work as well, as the camera generates all needed voltages internally.

Posted: **Mon Aug 19, 2013 12:18 pm**

If I use Metabones Speed Booster, then do I need MFT to Nikon Adaptor?

Is the BMPCC is capable of shooting a feature film with the possibility of theatrical showings?

Posted: **Mon Aug 19, 2013 12:46 pm**

Luctantem wrote:Is the BMPCC is capable of shooting a feature film with the possibility of theatrical showings?

The film '28 Days Later' was shot on a DV camera. Compared to that, this camera is mana from heaven.

Posted: **Mon Aug 19, 2013 1:05 pm**

Luctantem wrote:If I use Metabones Speed Booster, then do I need MFT to Nikon Adaptor?

The Metabones SpeedBooster is an adaptor. It's an adaptor that has a lens in it that reduces the focal length by 0.71.

So you might not NEED an additional Nikon to MFT adaptor but it might be useful. Why?

Because, for example, if you connect a 24mm Nikon lens to the camera with a Speedbooster the lens focal length is effectively reduced to 17mm (similar to a 39mm on a Canon 5D with used on the BMCC).

If you use the same 24mm lens with a normal Nikon to MTF adaptor it remains 24mm (similar to a 55mm on a Canon 5D with used on the BMCC).

The 2 adaptors both connect a Nikon lens to a MTF mount the result is different.

Posted: **Mon Aug 19, 2013 1:35 pm**

Here is that quick and dirty interior test comparing the D800, FS100 and BMCC:

Posted: **Mon Aug 19, 2013 3:19 pm**

adamroberts wrote:Here is that quick and dirty interior test comparing the D800, FS100 and BMCC:

Thanks! I've sent you a pm.

Posted: **Mon Aug 19, 2013 3:55 pm**

What about this cheap battery option:
http://nofilmschool.com/2012/06/catclaw ... a-or-dslr/
???

or this Hawk DV-F battery adaptor:
http://www.creativevideo.co.uk/index.ph ... ods_dv-bms

What kind of sony batteries can I use with this?

Posted: **Mon Aug 19, 2013 4:45 pm**

I very recently decided to cancel my preorder for a BMPCC and get a BMCC EF in stead. I"m not going to tell you that you should get a BMCC in stead of the BMPCC; both are awesome cameras; I'm simply going to tell you why I made my choice and you can decide if those reasons match what you are interested in.

A little background first:
I am primarily a VFX artist/supervisor and I find that having the ability to shoot test footage for proof-of-concept work is an incredible advantage when it comes to securing bids and even saves me time figuring out methodology/workflow during pre-production in stead of after principal photography has wrapped. My Canon is pretty nice, but it shoots at h.264, and the compression artifacting(even with ML) just isn't good, especially if I have to pull keys, meanwhile the additional crop factor imposed by shooting at lower resolution in raw turns even my 28mm wide angle lens into an almost telephoto lens.

At first the Pocket Cam seemed to give me exactly what I need, it is very affordable, it is versatile, it has an interchangeable battery which is pretty cheap, and it runs off of cheap SD cards, and(biggest of all) it shoots at 1080p prores with hopefully raw capability down the road.

Unfortunately, after considerable thought I realized that the BMCC is more advantageous to me, and fits my needs much better, despite the added expense.

-unlike the BMPCC which has limited "experience" and a lot of unanswered questions about its performance in the field, the BMCC is a known quantity. I won't be buying the camera only to find out that it has some unexpected quirk or flaw that really hurts its usefulness to me. The BMPCC also doesn't have raw capability yet, and despite promises from BMD, there are no guarantees, as far as I'm concerned, the BMPCC doesn't have the capability until it has the capability.

-the BMCC is capable of shooting at 2.5K resolution. Now, I don't know the reasons why the engineers at BMD decided to pick this in stead of standard 1080p, but I know the reason why it is something I want. Since nearly all the displays out there only show up to a 2K resolution, that extra bit of image size is actually not for show. Rather it gives me the ability to crop or stabilize footage in post while still being able to show at 2K without losing any resolution.

-The storage media that the BMCC uses is actually cheaper per byte than a camera that uses a SD or CF card. Sure, you have to get more memory at a time, but when shooting raw or even prores, you are going to need it. Also, the number of SD cards you'd have to carry around for any kind of extensive shooting would be ridiculous, there is a big risk of losing some of them or getting them mixed up.

Posted: **Mon Aug 19, 2013 6:15 pm**

Pfeiffer,
Thanks for the thoughts! I think in a very similar way. Also I'm not an effects guy, but rather a filmmaker. Starting this project originally with the thought of a DSLR, I think both cameras (BMPCC and BMCC) can be considered an upgrade.

I'm not really concerned about what a lot of people seems to be talking about, that the BMCC 2.5K is old technology which soon will be discontinued as the 4K is coming. If it is a good camera now in terms of picture quality, it will be tomorrow also. I'm not a pixel counter. I still remember the day the Sony F900 appeared. It was high-tech and everything. Not even 10 years later it's considered an old technology an out of date one. But hey, if it was good enough for Lucas to shoot Star Wars on it, maybe we should give it a second thought.

I think a BMCC with it's RAW and ProRes is a really capable camera. Right now I could use ProRes HQ, and later if I want to upgrade I could upgrade my storage and editing system, thus enabling my old BMCC to become a fresh beast with its CinemaDNG.

But right now price wise according to my calculations a basic setup for me in BMCC (appx 3600 usd) almost twice the price as the BMPCC (appx 2000usd). And I put nothing fancy in there, just the camera, recording media (1 SD card/1 SSD drive), Speed Booster and battery option.

So I have to consider does it really worth it? To shoot in Prores HQ instead of H264, and get that beautiful filmic and organic quality from Blackmagic rather than shooting plasticky HDSLR?

Unfortunately in Europe, the prices are a little bit steeper than in the US. So I understand that 340USD for a Switronix battery solution for BMCC is not that much, but here in Europe it starts around 450 USD + Charger... The BMCC prices are steeper too... In the US the BMCC is 2000 USD, here it's 2500. Ok, not that much, but you add a little here, a little there and your whole budget moved into a whole new territory.

Posted: **Mon Aug 19, 2013 7:38 pm**

In Sweden:
BMPCC cost $1400
BMCC cost $2700
BMPC-4K cost $5400

(25%vat)

Canon C300 cost $14.000 in US, in Sweden it cost $19.200
($5200 in tax and extra cost)

Market is not always fair

Posted: **Mon Aug 19, 2013 7:58 pm**

Blipblop:
These are the same prices that I have too....
But I found that it's Europe vs. US problem, not country specific....

Blipblop75 wrote:In Sweden:
BMPCC cost $1400
BMCC cost $2700
BMPC-4K cost $5400

(25%vat)

Canon C300 cost $14.000 in US, in Sweden it cost $19.200
($5200 in tax and extra cost)

Market is not always fair

Posted: **Mon Aug 19, 2013 8:05 pm**

Blipblop75 wrote:In Sweden:
BMPCC cost $1400
BMCC cost $2700
BMPC-4K cost $5400

(25%vat)

Canon C300 cost $14.000 in US, in Sweden it cost $19.200
($5200 in tax and extra cost)

Market is not always fair

The US price excludes sales TAX. Depending on what state you are in you will add additional TAX to that cost. Granted it's not as high at the 19-25% in most EU countries.

Posted: **Mon Aug 19, 2013 8:08 pm**

Yeah, I haven't bought into the 4K craze myself. The only displays that are even affordable to the non-super rich aren't large enough to really give any kind of tangible benefit(nobody sits close enough to their TV to see the improved resolution on a 55inch display that has 4K resolution). This is besides the fact that there just isn't any real content for 4K resolution. Color depth and good compression are far more important IMHO.

Even if it did have a future as the next resolution format, it would take at least another five to ten years to get the kind of market saturation that 2K has. If that is the case, the only advantage of trying to set up a 4k workflow is that you have somewhat futureproofed yourself against the need to upgrade for longer than usual, the problem is that you would wind up spending more money because 4k capable hardware is going to be much cheaper by then. Personally, I think that you would just bog down your post production pipeline with an overly heady format.

Posted: **Tue Aug 20, 2013 4:52 am**

therussian2 wrote:Hey all!
I'm a current dslr user looking for filming a first feature narrative very soon in a few weeks. I originally wanted to film it with a Nikon D7000, but after the project went ahead I'm thinking of something better. I was thinking of getting a better dslr (it's still a last option), but I found that the BMPCC is just getting shipped. I also found that the BMCC...

The key information here is you want a new camera to shoot in a few weeks! It will likely take you a few weeks to learn by shooting test footage what you need to know before you shoot your first feature. Time is your enemy. The BMCC EF or BMCC MFT is available now and you may be waiting months for the BMPCC. Decide which version of the BMCC you prefer and pick one up pronto. Good luck!

By the way, you will be happy with the ProRes Film (log) footage, so go with what suits your needs now. Do not shoot ProRes Video or you will see a drop in the dynamic range of your footage. Perhaps you second feature will use raw if you feel it will benefit from it.

Rick Lang
Sent from my iPad using Tapatalk HD

Posted: **Tue Aug 20, 2013 7:42 am**

Thanks Rick!

Yessss... I know, this is why I want to deal with this question ASAP, then go back for prep while the camera arrives, then have intensive tests. I think a couple of intensive days have to do it.

As I know Philip Bloom just testes the BMPCC this week, and he continuously updates his page, so I'm checking that also. At this point what I'm most interested in is the comparison between the BMCC and BMPCC. I won't buy another DSLR, because I see no point in that. BMPCC costs as much as a Nikon D7100. The BMCC costs as much as the Nikon D600. But am I right that neither of these DSLRs come close to the Prores quality of Blackmagic cameras? So then, for the same amount I would rather go with a specifically cinema designed camera. The D7000 can stay on the shelf, because it's an amazing camera for stills.

One more thing.... If I go with the BMPCC, then I need to buy a new lens also. My 25mm Zeiss on the BMPCC has a FOV of 75mm. With Speed booster it's 51mm. While on the BMCC with the Speed booster it's 40mm, the perfect focal length for me. But 51mm is not really. So what can I do? Invest in a new, cheap lens. But I can't buy MFT lenses, because that way I can't use the Speed booster. And why invest in another mount? So stay with Nikon mount.... Anyway, it's a cost factor that has to be taken into account when considering the two options. Right now, between the two configs (BMCC and BMPCC), there's a 1000 USD difference.

+ one more question:
If I can use Nikon lenses on the EF mount also, why it's better to go with the MFT?

Posted: **Tue Aug 20, 2013 8:25 am**

therussian2 wrote:
+ one more question:
If I can use Nikon lenses on the EF mount also, why it's better to go with the MFT?

I would not say the MFT is a better mount. In some cases it would be the better option but in others it would not.

You can adapt many lenses to the EF mount, including Nikon, and you can use EF lenses with IS. This can be useful for handheld work.

The MFT mount can be adapted to many lenses that can't be adapted to the EF mount and you have the Speedbooster as an option. You won't be able to use Canon lenses with IS tho or any electronic lenses for that matter (on the BMCC MFT) without a costly adaptor that adds power and control to the lens.

Posted: **Tue Aug 20, 2013 8:45 am**

therussian2 wrote:Hey all!
I'm a current dslr user looking for filming a first feature narrative very soon in a few weeks. I originally wanted to film it with a Nikon D7000, but after the project went ahead I'm thinking of something better. I was thinking of getting a better dslr (it's still a last option), but I found that the BMPCC is just getting shipped. I also found that the BMCC 2.5K has a price reduction...

So please help me to make my decision! As I understand the BMPCC as of now records Prores, no RAW. The BMCC records both. However after some calculations I found that filming in RAW with the BMCC would put ahuge pressure on this small production.
So my question is: how good is the Prores video that comes out of these cameras?
Does that have the 13 stop dynamic range?
Is it insane to get a BMCC and shoot only in Prores?

How good is the Prores from BMPCC compared to BMCC?

Go for BMCC it is just more professional tool built like tank and has extra ooomph and SSD workflow wider FOV ,if you can afford both it would be ideal but if you have to choose BMCC all the way.
Mine just arrived,only placed order yesterday and got shipped overnite from Melbourne.
Highly pleasent and super fast experience from NEW-MEDIA.COM.AU.
I went for EF model cos had ton of EF glass and love it.

Cheers

Am I really better of with a Prores from BMCC/BMPCC than shooting H264 with my dslr and convert it to Prores?

Thanks very much!

Posted: **Tue Aug 20, 2013 9:46 am**

Thanks Darko!

The only thing that bothers me with BMCC... is the battery... carrying external battery makes the whole thing bulky....

In case of shooting RAW.... It's 2.5k originally, right? So is it possible to get a final deliverable result in 2k?
Prores shooting is just 1080p, right?

Posted: **Tue Aug 20, 2013 11:28 am**

How about this power option?
http://www.ebay.com/itm/Lanparte-DSLR-R ... 56565535c6

150Wh... how much time I could run the BMCC from this?

Posted: **Tue Aug 20, 2013 12:18 pm**

therussian2 wrote:Thanks Darko!

The only thing that bothers me with BMCC... is the battery... carrying external battery makes the whole thing bulky....

In case of shooting RAW.... It's 2.5k originally, right? So is it possible to get a final deliverable result in 2k?
Prores shooting is just 1080p, right?

Sure, 2K you can deliver from both RAW and ProRes either downscale 2,5K or upscale 1080p.
I don't like power options for what I do I can get away with internal battery and charger.

Current price and capability of this camera is truly insane,I was sceptical and somewhat critical about their delays in shipment but I am eating my own words now,they gave me ability as filmmaker like no other camera company.

And all of the 3 cameras are stunning concept,it is really aimed at independent film.
No matter which one you buy out of this 3 you ll always want another 2 :idea:

Enoy!

Posted: **Tue Aug 20, 2013 12:31 pm**

Thanks!

This is what makes Blackmagic a wonderful and desirable company for me: it creates products for independent filmmakers. And they don't just say it, they mean it as their products prove.

But isn't upscaling the 1080p would be an inferior solution rather than downscaling the 2.5k?

Posted: **Tue Aug 20, 2013 7:39 pm**

Could anyone tell me how these batteries compare to each other, in terms of quality and running time with the BMCC ?

Switronix PB70 for BMCC
http://www.photocineshop.com/en/sales/p ... mcc-RGCBOO

Swit S-8082s 95WH
http://www.proav.co.uk/Swit-Shop/SWIT-S ... 18008.aspx

Lanparte 150WH
http://www.ebay.com/itm/Lanparte-DSLR-R ... 56565535c6

Posted: **Wed Aug 21, 2013 4:50 pm**

I'm ready to buy the Metabones Speed booster, but... I became somewhat hesitant... How does it affect image quality of the BMCC? I read that it adds 1 stops to exposure and gives somewhat sharpness, but it's just another piece of glass in front of the sensor, right?

Do I have to worry?

Posted: **Wed Aug 21, 2013 6:11 pm**

therussian2 wrote:I'm ready to buy the Metabones Speed booster, but... I became somewhat hesitant... How does it affect image quality of the BMCC? I read that it adds 1 stops to exposure and gives somewhat sharpness, but it's just another piece of glass in front of the sensor, right?

Do I have to worry?

It's a focal reducer. It works kind of like a magnifying glass focusing the sun on a piece of paper. :-)

It takes the image circle from a lens and reduces it. In the process that light become more intense (gaining a stop in brightness) and the image become sharper.

This is why it will only work with lenses designed for larger sensors than the sensor it is used on. So EF (full frame) and EF-S (ASP-C) lenses can be used as the image circle when reduced by 0.71 still covers the BMCC sensor.

Based on the samples I've seen the image quality is the same or better than the lens used. So I would not worry about using it. The benefits are worth it.

Posted: **Thu Aug 22, 2013 4:00 am**

therussian2 wrote:How about this power option?
http://www.ebay.com/itm/Lanparte-DSLR-R ... 56565535c6

150Wh... how much time I could run the BMCC from this?

The BMCC camera draws about 18 watts of current. If you had nothing else connected to the 150WH battery, you could power the camera about 7-8 hours, plus use the internal battery for another hour or more. In practice you may have other devices drawing power from the same battery so your runtime would be reduced.

Rick Lang
Sent from my iPad using Tapatalk HD

Posted: **Thu Aug 22, 2013 4:03 am**

rick.lang wrote:
therussian2 wrote:How about this power option?
http://www.ebay.com/itm/Lanparte-DSLR-R ... 56565535c6

150Wh... how much time I could run the BMCC from this?

The BMCC camera draws about 18 watts of current. If you had nothing else connected to the 150WH battery, you could power the camera about 7-8 hours, plus use the internal battery for another hour or more. In practice you may have other devices drawing power from the same battery so your runtime would be reduced.

Rick Lang
Sent from my iPad using Tapatalk HD

PS. Please allow several days or week to test the camera and verify the results.

Rick Lang
Sent from my iPad using Tapatalk HD

Posted: **Thu Aug 22, 2013 6:20 am**

Thanks both of you!

My Speed booster is on the way.... I hope my camera will be so.... I'm so excited!

Rick, I'm going to test it. But as I'm not a scientific guy, but a practical one, I'm going to shoot small 1-2-3 minutes long pieces with it, where I can test my whole workflow, the real world situations etc...

What's interesting is that as I decided to go with the BMCC, I became so much interested in shooting 2-5 minute long pieces, portraits, nature, anything. I even have bigger projects in mind, and already in my schedule.

Posted: **Thu Aug 22, 2013 1:36 pm**

therussian2 wrote:Thanks both of you!

My Speed booster is on the way.... I hope my camera will be so.... I'm so excited!

Rick, I'm going to test it. But as I'm not a scientific guy, but a practical one, I'm going to shoot small 1-2-3 minutes long pieces with it, where I can test my whole workflow, the real world situations etc...

What's interesting is that as I decided to go with the BMCC, I became so much interested in shooting 2-5 minute long pieces, portraits, nature, anything. I even have bigger projects in mind, and already in my schedule.

That's what I meant by testing, doing a whole workflow shooting a variety of shots including people in different conditions so you quickly see how the camera and the footage behaves before beginning your feature project. Best of luck!

Rick Lang
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