When HD 24P was first introduced in the form of an ENG broadcast camera (e.g. Sony HDW-900), one of its main drawbacks (as compared to film) was that the 2/3" sensor size made it difficult to achieve the shallow depth-of-field which was and still is used extensively (and occasionally overused) in feature films.
In response, Zeiss and others produced fast lenses designed specifically to address that deficiency (e.g., Digiprimes http://www.zeiss.com/c125756900453232/C ... 6f0044961f).
Even so, the problem remained. As an example, a 7mm Zeiss Digiprime at T1.6 provides roughly the same depth-of-field and angle-of-view as a 24mm would in a Full Frame camera at T5.6!
When the next generation of cameras arrived with larger sensors (Super 35), a large selection of traditional film (and DSLR) lenses could be used to provide the "filmic" look, and the need for specialized lenses waned. In fact, the recent success of the Canon 5D and other DSLR's was due in large part to their large sensor size, and, fortunately, ample supply of new and used fast high quality lenses.
Now, history repeats, and with the BMCC we're in a similar fix, if not quite as bad, as was the case in those early digital days.
The BMCC sensor size lies between 2/3" and Super 35. It is too large for 2/3" or most Super 16 lenses to cover. The Tokina 11-16mm f2.8 seems an obvious match. It is approximately equivalent to a 24-35mm on a full frame camera (still not that wide). However, to achieve roughly the same shallow depth-of-field as the Tokina wide open at f2.8, the 24-35mm would need to be stopped down to around f6.7. So the Tokina won't really fit the bill.
Hopefully, Zeiss or other lens makers can re-purpose some of their existing lenses, or make lenses targeted for the BMCC. A Digiprime T1.6 would certainly help (~f2.8 in Full Frame).
Barring that, wide angle and shallow depth-of-field shots will be difficult with the BMCC. Wide angles are particularly important for low-budget independent features which rely heavily on existing (often cramped) locations, and low-budget features would seem to be a good fit for the camera.
No doubt, there are a number of features I would like to see added to the camera. But this is a case where there really is no competition. First and foremost, I am hopeful that the next version of the camera will sport a larger sensor and different mount (I have never felt the Canon mount is the best choice for cinema).
In the mean time, I would simply encourage Blackmagic (if they haven't already done so) to put someone on a plane with a box of chocolates, and visit a few lens makers.
Please note, this is not a criticism of the camera. I've been on the BMCC preorder list since NAB, and hope to be opening the box soon. It is truly a groundbreaking camera, and I understand the enormous challenge and difficulty of producing any camera, much less one at this price point with great dynamic range and 12 bit open format RAW uncompressed recording. And in the package is a full copy of Resolve!
If I'm dreaming, don't wake me up.
Great company, historic camera.
Cheers.
In response, Zeiss and others produced fast lenses designed specifically to address that deficiency (e.g., Digiprimes http://www.zeiss.com/c125756900453232/C ... 6f0044961f).
Even so, the problem remained. As an example, a 7mm Zeiss Digiprime at T1.6 provides roughly the same depth-of-field and angle-of-view as a 24mm would in a Full Frame camera at T5.6!
When the next generation of cameras arrived with larger sensors (Super 35), a large selection of traditional film (and DSLR) lenses could be used to provide the "filmic" look, and the need for specialized lenses waned. In fact, the recent success of the Canon 5D and other DSLR's was due in large part to their large sensor size, and, fortunately, ample supply of new and used fast high quality lenses.
Now, history repeats, and with the BMCC we're in a similar fix, if not quite as bad, as was the case in those early digital days.
The BMCC sensor size lies between 2/3" and Super 35. It is too large for 2/3" or most Super 16 lenses to cover. The Tokina 11-16mm f2.8 seems an obvious match. It is approximately equivalent to a 24-35mm on a full frame camera (still not that wide). However, to achieve roughly the same shallow depth-of-field as the Tokina wide open at f2.8, the 24-35mm would need to be stopped down to around f6.7. So the Tokina won't really fit the bill.
Hopefully, Zeiss or other lens makers can re-purpose some of their existing lenses, or make lenses targeted for the BMCC. A Digiprime T1.6 would certainly help (~f2.8 in Full Frame).
Barring that, wide angle and shallow depth-of-field shots will be difficult with the BMCC. Wide angles are particularly important for low-budget independent features which rely heavily on existing (often cramped) locations, and low-budget features would seem to be a good fit for the camera.
No doubt, there are a number of features I would like to see added to the camera. But this is a case where there really is no competition. First and foremost, I am hopeful that the next version of the camera will sport a larger sensor and different mount (I have never felt the Canon mount is the best choice for cinema).
In the mean time, I would simply encourage Blackmagic (if they haven't already done so) to put someone on a plane with a box of chocolates, and visit a few lens makers.
Please note, this is not a criticism of the camera. I've been on the BMCC preorder list since NAB, and hope to be opening the box soon. It is truly a groundbreaking camera, and I understand the enormous challenge and difficulty of producing any camera, much less one at this price point with great dynamic range and 12 bit open format RAW uncompressed recording. And in the package is a full copy of Resolve!
If I'm dreaming, don't wake me up.
Great company, historic camera.
Cheers.
Admit One Pictures
Resolve Studio 18 | Linux Lint 21 | Nvidia 515 | Xeon | iCore | Ryzen
Resolve Studio 18 | Linux Lint 21 | Nvidia 515 | Xeon | iCore | Ryzen