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Pav

That all aside, I've been looking at the up and coming Blackmagic Pyxis 12K to shoot this feature with (since Im very low budget), and it seems to fit the bill. Im aware of the reliability of Black Magic cameras while in use on productions, but Im not sure the company has made strides to improve this area today? I will be using the 12K mode, as the final file will be in 8K for delivery. Im aware 8K is not a well used standard, but at least Youtube has accepted its use. If the film ever did well enough to bring in some money, I'd consider getting a film out print in either 35mm or even 65mm.

I know there really is no lens that will resolve 12K, and may even struggle for 8K. Someone suggested 160 lines per mm for 12K in what the lenses would need to resolve. But they also said the softer look you'd get in 12K with most lenses (it sharpens up downrezzing to 8K), gives a film like look. The Pyxis 12K uses the same full frame sensor as the Cine 12K. This sensor claims to have 16 stops of dynamic range, and the color off these sensors is very good as well. I think most lenses resolve around 50 lines per mm. Im thinking to get the L mount version for auto focus at times when I need that, especially when its just me shooting and Im in the shot. I dont know if there are any recommended L mount lenses anyone would suggest? I have read to really make use of the sensor I'd have to use expensive CINE lenses. I could also shoot in anamorphic to use the full sensor for better resolution, but Im not sure what is not too expensive to get for this camera? I'd probably have to get the PL mount if I went that route. Is there such a thing as PL mount autofocus lenses? Im not aware if there is. I dont think PL uses any contacts either. Has Adobe Premiere Pro improved its RAW conversion for BM, or is it still worse then Resolve? What lenses, whether spherical or anamorphic, would be recommended for the 12K? Which lenses give a cinematic look (I know these two questions are not the same result). I might use a Fuji XH-2 for secondary camera work (in 8K), since I own this camera.

Any comments on Blackmagic 12K cameras for their use or output? I'll probably get a few 4TB CF Express B cards for daily shooting.

So let's start there, can you actually zoom the viewfinder?

USE CASE: I'm trying to improve focus on C mount lenses.

Website: https://blackmagic-luts.yolasite.com/

Quantum blends rich, cool shadows and luminous golden highlights for split toning precision

Website: https://blackmagic-luts.yolasite.com/

Quick 3 minute DaVinci Resolve video showing the application of the 2383 LUT byBoz™ onto Blackmagic Cinema Camera 6K Full Frame BRAW footage (BMCC 6K FF Gen 5). The 2383 LUT is available for ALL Blackmagic Design Color Sciences - BRAW to Rec709 LUTs also available in BMD or Arri Alexa flavours 😊

Website: https://blackmagic-luts.yolasite.com/ 

I would had hoped more dynamic range (15 stops would be standard nowadays for stuff which tries to give an impression of being even remotely 'professional'), higher fps capabilities (the 60fps-ish is just very very basic. any camera in the price range can do that and one generally would need 100fps in 4k on shoots where this kind of camera would be useful) and a display which could be flipped over and secured so that it is not exposed to damages when one actually rigs this thing to something or tries to handheld operate it (no one could operate the camera using a display fixed on the side of the camera and it will absolutely get damaged in use and when transporting it). A separate viewfinder or monitor is a must for the onboard display being completely useless for shooting. could be handy for playback of course which is probably how they intended it being used

I've been hearing of more and more people having their HDMI ports fried, so just wanted to check I was following the right protocol when powering everything from a single battery source.

(I recently upgraded from an Atomos Shinobi to a SmallHD Indie so doesn't hurt to be extra cautious ?)

Currently I do this to power on:

Connect power cables -> Connect HDMI to monitor and camera -> Turn on

Currently I do this to power off/ swap batteries:

Turn off -> disconnect HDMI from monitor/camera -> disconnect power cables

Is this correct?

With SDI, I was aware that the protocol was mostly Last In First Out, meaning to connect power, turn on and THEN connect SDI cables. I've seen many videos recommending this and even from RED:

But it also seems Arri recommends to connect power, then sdi, THEN power ON. https://www.arri.com/resource/blob/194752/d3093e6af632150787ec95d176a39958/download-technical-information-data.pdf

Is it the same for HDMI? When to turn on/off the camera?

Blackmagic LUTs byBoz™ are available to download here: https://blackmagic-luts.yolasite.com/

There's a specific "imperfect" anamorphic look that I'm going for. Haven't quite found it yet, but overall I think the combo works really well. 

Thoughts?

I've been looking at much older camera systems for a good few years now. Recently picked up a Blackmagic Production Camera 4K and started with this first test. 

Is it me or does the image feel a lot more organic/analogue like compared to newer cameras?

Be great to hear your thoughts.

Blackmagic LUTs byBoz: https://blackmagic-luts.yolasite.com/

IG: https://www.instagram.com/bulent0z/

My lens is a Lumix G Vario 14-42mm f/3,5-5,6 II ASPH Mega O.I.S, and the settings used in this shot were:

Camera Type: Blackmagic Pocket Cinema Camera 4K
Firmware Version: 7.3
Braw Compression Ratio: Q5
Braw Codec Bitrate: 470320320
Crop Size: 4096 x 2160
Shutter Type: Speed
Shutter Value: 1/192
Sensor Rate: 60.00
Internal Nd: 0
Aperture: f15.0
Exposure: 0
Focal Length: 12mm
Distance: 466mm
White Balance Kelvin: 4750
White Balance Tint: 15
Iso: 400
Clip Number: A006_08311310_C001
Reel Name: 6
Scene: 1
Take: 99
Good Take: false
Environment: interior
Day Night: day
Lens Type: LUMIX G VARIO 12-60/F3.5-5.6
Camera Number: A
Viewing Gamma: Blackmagic Design Video
Viewing Gamut: Blackmagic Design
Viewing Bmdgen: 5

Is there any way to make a shot like this better on the BMPCC 4K (without breaking the bank?)

Any help would be very much appreciated!

LUT Features

• unified Arri Rec709 neutral image conversion
• accurate contrast curve
• softer highlight roll off
• balanced saturation

Works in DaVinci Resolve, Adobe Premiere Pro, Final Cut Pro X and any other software that accepts .Cube LUT files.

Download Page: https://blackmagic-luts.yolasite.com/

This is a brand new Natural Rec709 conversion LUT that I've created specifically for the Gen 5 Color Science as requested by fellow filmmakers. Humbled that so many put in a request after the success of the original P4K LUT and BMD OG Rec709 LUT.

Thank you.

LUT Features

• ALL NEW Kodak Vision 2 Cine Curve *
• softer highlight roll-off
• preserved shadow detail
• balanced saturation
• organic (camera) colors

*Not a mathematically accurate film response curve. More an obsessive compulsive interpretation on my part based on analysis of numerous film chart data.

Download Page: https://bulentfilms.yolasite.com/ (Scroll down to Blackmagic Camera LUTs)

Along the same lines, is there  particular MFT to PL adapter that's generally regarded as being superior to others?  I see that there are a number of adapters available, but as with anything else, my assumption is that you get what you pay for.  Without any prior knowledge, I would probably be inclined to go with Wooden Camera's adapter, as I've been pretty impressed with WC gear that I've bought for my SR3 rig.  Also, is shimming usually a necessary process when it comes to using this kind of adapter?  I notice that Wooden Camera sells an "all purpose" MFT to PL adapter that includes a set of shims, however they also have a MFT to PL adapter advertised as being specifically for the BMPCC that doesn't appear to include shims.  That said, I'm curious if these adapters are, in fact, a little different, and if the BMPCC version has been tweaked to ensure optimal compatibility with the BMPCC.

Thanks!

I mostly direct low budget music videos & short films at the moment (maybe low commercials soon) and usually worki with a crew of 1 to 5 people max.

I often do some cinematography work when I'm not directing. Recently I started to invest in 16mm because I really the feel and like working around the limitations of the medium but I need a cheap & good digital package to shoot on the side.

I previoulsy owned a Sony F3,A7SII and have worked with GH5,FS7...Really liked the F3 but I wanted to move away from it's bulk and quirks.

I have a set of canon FD lenses & a wide Tokina & i'd like to rent bigger PL lenses for specials projects.

I already have V mount batteries,Atomos,SSD/SD cards of all sorts & all the things to rig up cameras a bit.

I mostly shoot handheld, on a tripod or with a slider, not a fan of gimbals.

On the used market I can scoop a BMPCC4K+metabones or a Panasonic S5/S1 for roughtly 1300€

I do like the blackmagic image more but I fear the low build quality and don't want something that could easily break.
On the other hand the S5 seems more sturdy but the image seems more video-like but I guess one could achieve great things with some filtration & more work in the grade.

What are your suggestions ?

I’m interested in hearing your thoughts on this new camera https://www.blackmagicdesign.com/products/blackmagicursaminipro. I am a previous owner of the Ursa Mini Pro which was a decent camera however a little unreliable. The timing on this for me couldn’t be more perfect for me as I just finished rewatching Yedlin’s resolution Demo when they announced it. Would such high resolution at this point make any difference other than compromising the latitude and quality of said pixels? Their latitude going from 15 stops (already through my tests some pretty generous advertising) to advertised 14 stops. But still 12k resolution 12,228 x 6480. The numbers impressive at least. 

Gabe

Color Grade based on my Blackmagic Pocket 4K LUT. Download Available HERE: https://bulentozdemirfilms.wordpress.com/bozbmdfilm_p4k-to-rec709-lut/

im thinking about getting one of these 6k pros for easier travel/camping b roll videos. Am wondering if there’s a top handle that can screw into the top mounting point or if there’s a way to make the viewfinder slot on the top of the camera into some type of hot shoe without the need for a full cage. 
 

ive found the below from tilta but not sure this would really work without the cage. Any advice would be appreciated!

https://www.amazon.com/Tilta-Release-Top-Handle-BMPCC4K/dp/B07T2TCZG9/ref=asc_df_B07T2TCZG9/?tag=hyprod-20&linkCode=df0&hvadid=475752117837&hvpos=&hvnetw=g&hvrand=15003224371023420717&hvpone=&hvptwo=&hvqmt=&hvdev=m&hvdvcmdl=&hvlocint=&hvlocphy=9067609&hvtargid=pla-926029466629&psc=1

I'm shooting a music video in Australia soon and plan on some 48fps slow mo shots.  I usually shoot 172.8 shutter at 24p because it's 50hz here.  But disregarding lighting fixtures for now: Would it make sense to keep the 172.8 shutter angle at 48 fps or is a 180 shutter angle going to be a more natural/smoother look?  Maybe a better question: Is there a significant difference in motion between these two shutter angles at 48fps, or is it almost imperceivable like it is at 24 fps?  Any help appreciated!

I really want to get as much footage as possible and don't really need 6K or anything.

Thank you.

Also looking for any tech tips from users of this camera. Any known gotchas? Glitches? Insanely annoying quirks?

Thanks all.