Re: Introducing Blackmagic Pocket Cinema Camera
Posted: Fri Jul 26, 2013 2:26 pm
Congratulations!
Gan Eden wrote:Are you an employee of BMD? Just asking.
LMACKREATH wrote:Official statement from Blackmagic on new camera shipping:
Simon Westland of Blackmagic Design EMEA
"Blackmagic Design is making significant progress in production of the new Blackmagic Pocket Cinema Camera and Blackmagic Production Camera 4K. Full production manufacturing is underway on the Pocket Cinema Camera with first production units in final testing. This is inline with our initial expectations of the end of July and means the camera will start to ship in quantity during August. There are several weeks of work to do on Production Camera 4K before this will enter full production manufacturing, however we expect to ship the first quantities of this model before the end of August."
Mac Jaeger wrote:Gan Eden wrote:Are you an employee of BMD? Just asking.
No, why would you think that? If i was, i'd either give out facts (instead of educated guesswork) or keep silent. But since i'm not, i'm just reciting what was said and written elsewhere, and what i deducted from it.
Anthony Vescio wrote:Mac Jaeger wrote:Gan Eden wrote:Are you an employee of BMD? Just asking.
No, why would you think that? If i was, i'd either give out facts (instead of educated guesswork) or keep silent. But since i'm not, i'm just reciting what was said and written elsewhere, and what i deducted from it.
I think its because you said "we" in one of your responses. That might have been misinterpreted.
thorthefifth wrote:A quick question about lenses. I have a few canon lenses I'd like to be able to use on the pocket cam. Does anyone know if the EOS lenses that focus by wire will work with a non active adapter? I keep trying to find info for this and can't seem to have any success.
Mac Jaeger wrote:thorthefifth wrote:A quick question about lenses. I have a few canon lenses I'd like to be able to use on the pocket cam. Does anyone know if the EOS lenses that focus by wire will work with a non active adapter? I keep trying to find info for this and can't seem to have any success.
The Pocket CC has an active mft mount, but that's of no help when using a passive adapter. So the answer is "no".
Benjamin Pearce wrote:Not to some people apparently! Judging on what has been said over the past few weeks the world is going to end if these cameras aren't shipped by the end of the month.
thorthefifth wrote:A quick question about lenses. I have a few canon lenses I'd like to be able to use on the pocket cam. Does anyone know if the EOS lenses that focus by wire will work with a non active adapter? I keep trying to find info for this and can't seem to have any success.
I can't wait to get my pocket cam, even if it takes a couple months.
Jace Ross wrote:I'm hoping that Australia gets some priority on the BMPCC. Not too fussed though, I make do with what I have. Still pondering on what lenses to get, I have an FD to MFT adapter and some nice FD glass already. I'm very tempted by the Zeiss CP.2's.
hpmoon wrote:Jace Ross wrote:I'm hoping that Australia gets some priority on the BMPCC. Not too fussed though, I make do with what I have. Still pondering on what lenses to get, I have an FD to MFT adapter and some nice FD glass already. I'm very tempted by the Zeiss CP.2's.
Of course, we're all waiting on baited breath for a Speed Booster adapter to get more out of our FD lenses on an MFT mount. Ironically, the Lens Turbo might beat Metabones to market, as it's promised in the next few weeks.
Jace Ross wrote:hpmoon wrote:Jace Ross wrote:I'm hoping that Australia gets some priority on the BMPCC. Not too fussed though, I make do with what I have. Still pondering on what lenses to get, I have an FD to MFT adapter and some nice FD glass already. I'm very tempted by the Zeiss CP.2's.
Of course, we're all waiting on baited breath for a Speed Booster adapter to get more out of our FD lenses on an MFT mount. Ironically, the Lens Turbo might beat Metabones to market, as it's promised in the next few weeks.
What benefits will the Speedbooster give? The image the FD gives me on my GF2 is pretty impressive with the cheap ebay adapter I have.
hpmoon wrote:
The two major flaws of the Blackmagic Cinema Cameras are poor low-light sensitivity, and an excessive crop factor of almost 3x. A Lens Turbo/Speed Booster dramatically reduces these problems.
hpmoon wrote:The two major flaws of the Blackmagic Cinema Cameras are poor low-light sensitivity, and an excessive crop factor of almost 3x. A Lens Turbo/Speed Booster dramatically reduces these problems.
photostrobist wrote:In the bmd webpage still shipping for bmpcc in July Why?
Tellme the truth pleeeeease.
adamroberts wrote:photostrobist wrote:In the bmd webpage still shipping for bmpcc in July Why?
Tellme the truth pleeeeease.
Because the BMPCC is ready to ship. The final tests on production models are being done. Probably ship early next week if they have not already.
So expect to start seeing them (in limited numbers) in users hands in the next 2 weeks.
Tamerlin wrote:hpmoon wrote:
The two major flaws of the Blackmagic Cinema Cameras are poor low-light sensitivity, and an excessive crop factor of almost 3x. A Lens Turbo/Speed Booster dramatically reduces these problems.
In light of the fact that the BMCC's low light performance is actually quite good and that its sensor format is a commonly used standard format, describing these as flaws is nonsensical.
hpmoon wrote:You should take a look around at the high-level performers in this area: the Super 35mm sensors on the Canon C100/C300 and Sony NEX-FS100/PMW-F5. Sure, they have flaws of their own, but in terms of crop factor and low-light performance, they kill the Blackmagic cameras (obviously).
My point was that the Speed Booster/Lens Turbo adapters help to alleviate those major flaws.
Mac Jaeger wrote:I think its because you said "we" in one of your responses. That might have been misinterpreted.
Jace Ross wrote:I'm hoping that Australia gets some priority on the BMPCC. Not too fussed though, I make do with what I have. Still pondering on what lenses to get, I have an FD to MFT adapter and some nice FD glass already. I'm very tempted by the Zeiss CP.2's.
Gan Eden wrote:Jace Ross wrote:I'm hoping that Australia gets some priority on the BMPCC. Not too fussed though, I make do with what I have. Still pondering on what lenses to get, I have an FD to MFT adapter and some nice FD glass already. I'm very tempted by the Zeiss CP.2's.
I hope so too. We tend to often be the last place for distribution. Would be nice if an Australian company would include it's very nation 'up there' too.
woodybrando wrote:someone just posted this link to bmpcc footage on the personal-view thread. looks like someone got one
Marcel Beck wrote:woodybrando wrote:someone just posted this link to bmpcc footage on the personal-view thread. looks like someone got one
smells fishy to me...
user claims "bought on ebay used from international seller, used so no box. Footage looks good lots of detail and latitude when color correctin"
Tamerlin wrote:hpmoon wrote:You should take a look around at the high-level performers in this area: the Super 35mm sensors on the Canon C100/C300 and Sony NEX-FS100/PMW-F5. Sure, they have flaws of their own, but in terms of crop factor and low-light performance, they kill the Blackmagic cameras (obviously).
You're basically claiming that no one can make movies with super 16 cameras, which is pure BS.My point was that the Speed Booster/Lens Turbo adapters help to alleviate those major flaws.
Your point is still bogus, because they're not flaws in the camera. They're design parameters.
The speed booster and its ilk aren't there to correct flaws in the camera, they exist to allow people with lens sets geared toward super 35 formats to work with super 16 formats without investing in new glass.
I wasn't bothered by the size of the sensor, and neither has anyone else I've been working with lately, because we planned for the sensor size, so we have the lenses we need. We ran two BMCCs on a short film shoot this week, and we had no issues resulting from the format, and the low light performance on the cameras ended up being an asset for a lot of it.
If you still think that they're flaws, you should probably just go hang out on another forum where people are more interested in specs than in cinematography.
focuspulling wrote:Jace Ross wrote:hpmoon wrote:Of course, we're all waiting on baited breath for a Speed Booster adapter to get more out of our FD lenses on an MFT mount. Ironically, the Lens Turbo might beat Metabones to market, as it's promised in the next few weeks.
What benefits will the Speedbooster give? The image the FD gives me on my GF2 is pretty impressive with the cheap ebay adapter I have.
The two major flaws of the Blackmagic Cinema Cameras are poor low-light sensitivity, and an excessive crop factor of almost 3x. A Lens Turbo/Speed Booster dramatically reduces these problems.
focuspulling wrote:Tamerlin wrote:hpmoon wrote:You should take a look around at the high-level performers in this area: the Super 35mm sensors on the Canon C100/C300 and Sony NEX-FS100/PMW-F5. Sure, they have flaws of their own, but in terms of crop factor and low-light performance, they kill the Blackmagic cameras (obviously).
You're basically claiming that no one can make movies with super 16 cameras, which is pure BS.My point was that the Speed Booster/Lens Turbo adapters help to alleviate those major flaws.
Your point is still bogus, because they're not flaws in the camera. They're design parameters.
The speed booster and its ilk aren't there to correct flaws in the camera, they exist to allow people with lens sets geared toward super 35 formats to work with super 16 formats without investing in new glass.
I wasn't bothered by the size of the sensor, and neither has anyone else I've been working with lately, because we planned for the sensor size, so we have the lenses we need. We ran two BMCCs on a short film shoot this week, and we had no issues resulting from the format, and the low light performance on the cameras ended up being an asset for a lot of it.
If you still think that they're flaws, you should probably just go hang out on another forum where people are more interested in specs than in cinematography.
Your ego has gotten ahead of your logic -- a typical geek behavior, of staunchly defending toys owned, dogmatically -- but when reading between the lines, the fact is you compromised on quality -- just as surely as I'll compromise in certain areas when adding this camera to my kit, downgrading from my Super 35mm sensor but gaining more stops of dynamic range and a better codec. Different cameras for different purposes. Heard of the notion?
You evince a fundamental misunderstanding of lens optics, shrugging off the compromise of using ultra-wide lenses to compensate for the crop factor, while still being stubborn about the virtues of photosites being spread out over a larger sensor. Go read up on these fundamental concepts before posting, please. And good luck.
To everyone else, I promise this is my last response to his slapping match. Back on-topic...
StephenH wrote:
I find it incredible that you can actually buy from stock at this point in time!
focuspulling wrote:
Your ego has gotten ahead of your logic -- a typical geek behavior, of staunchly defending toys owned,
StephenH wrote:
I find it incredible that you can actually buy from stock at this point in time!
F.K. wrote:To go back to the original post I think that there is a point you actually missed about what you call crop Factor.
In traditional Cinematography a Super 35 kit would e.G. consist of a 32mm, 50mm and 75mm Lens. (there are of course some Variations as a 28 or 35 instead of a 32 and a 85 instead of a 75 e.G.).
If you compare that to a typical set of S16 Lenses you will find that a kit of those would be a 12mm 16mm and 25mm Lens. Given the fact that you have a approximate Cropfactor of 2x from S16 to S35 these would have the same angle of view as a 24mm, 32mm and 50mm lens on a S35 sensor. However as the image circle of these lenses can be smaller it is easier to make them faster without a massive increase in size and or weight.
So while a 50mm S35 Lens could typically be something from T2-T2.2 a S16 25mm Lens could be T1.6 or even faster. As result of this the the depth of field from those lenses might actually be closer together then thought.
Regarding the quality of the Image outputted by the Sensor you will also have to understand that resolution is fixed on the sensor so while shooting on film a S35 Frame contains more physical information then a S16 Frame this wont apply for all digital Sensors.
For example a Frame of a BMPCC would contain the same amount of Pixels as that of a PMW-F3 for the simple reason that the Pixles are bigger on the F3.
The initial problem with people complaining about the missing option of wide lenses came from people joining with a pure Photography background being used to odd lenses as a 14mm F2.8 FF lens e.g. .
Whilst this might be seen as an usual wide lens on a stills camera this is an crazily wide lens to the standards of cinematography.
In conclusion the problem you seem to have with S16 is that you want to use pointless lenses with it.
To put it photographic terms, you would neither use your 210 F5.6 Large formate standard lens on your full frame body as a replacement for a FF 50mm Prime.
And considering lowlight, even though this is quite a different topic... .
If you are all about lowlight you should rather lean towards The FS700 with an S-Log2 option having a base ISO of 2000. However bare in mind that ISO 2000 will be troublesome when shooting in bright light even considering that the FS700 has built in ND filters.
focuspulling wrote:Thanks for the mature critique. The short of it is, I just don't like the look of moving images through ultra-wide lenses, even at the center where the crop factor solely reveals things. There's inherent distortion in any ultrawide as a matter of physics (not just at the corners, on a slippery slope) that simply is not preferable to a larger sensor using lenses where the focal length gets closer to the reference spec. This is a subjective preference as well as an objective regarding lens physics (and wasted glass!).
plegilink wrote:CreativeVideo - large European A/V reseller is now showing BMDPCC "Expected: 14/08/2013" .
It was showing "Expected: 31/07/2013"
thorthefifth wrote:Thanks. I hate to buy mft lenses since I already have some L lenses. That redrock adapter looks pretty sweet. May need to look into that.