rick.lang wrote:Darko, have you Superscaled 2x using ProRes rather than CinemaDNG? I’ve come to conclusion that my next theatrical recording in December should be done with my Fujinon 7.8x20 BRM B4 mount. I can record 2048x1152 preparing ProRes for 2K 2.39:1 client deliverables. Recording in 4K isn’t an option but I’m curious if it’s worth Superscaling to master in 4K.
Original BMCC and BMPCC cameras are just continue to amaze me 8 years later...
It is not to say others are no great cameras, I rather find 2K resolution is all I really enjoy watching.
My findings are that bmpcc OG needs sharp lenses in order to look great in 4K along the super scale 2x as well as some denoising in Resolve.
I learnt now to work with DNG files only and no longer would use anything else, of coarse ProRes is also great but I see no point.
It is processing power and proxies and work arounds what stopped me from doing lot more earlier but now
with all the affordable M1 MacBooks as well as catching up to more friendly version of Resolve and FilmConvert plugin I realise that the original BMPCC and BMCC camera were 10 years too advanced for myself and many other enthusiasts in order to take advantage of DNG files.
It was double edged sword as it actually killed my creativity in a way, most of my best work was produced with Canon 7D (2008) and Old but legendary Cannon XL1 mini DV in 2005.
Blackmagic raw got me excited when it was announced but so many work arounds and at the time lack of skills in Resolve and way it was demanding in every way (for me) kind of took its toll.
I am now feeling that I am back to where I wanted to be 8 years ago but still feel like other BMD cameras are years ahead of the time.
To answer your question, yes I do think 2x Superscale when graded and applied carefully with help of Nitrate IMO is worth the trouble and way better option.
I do however tend to render ProRes as master file from DNG timeline before I render to MP4.
For example this file was like ProRes 2.3GB and got rendered to 20MB is what you are watching here in.
When grading DNG RAW files even in HD on 4K timeline I push my system to a limit and though i wish
that BRAW was implemented in this older cameras for this reason, but understand that this is whole another game.
I also found that close up shots with fast primes create magic with bmpcc run and gun where it struggle a bit on wide shots due to limited resolution.
LEICA 12mm f1.4 DG Summilux is one lens that anyone that owns bmpcc OG should rent and try it on.
Posted: Fri Apr 23, 2021 10:22 pm
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