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Blackmagic Pocket Cinema Camera | Hands On


flavio filho

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I've been wanting to see how the camera performs in a more relaxed documentary setting. Armed with extra batteries, 14mm cinema prime, Rhode shotgun mic and viewfinder, I went out to the local trolley museum and shot some material over christmas vacation with my parents. I didn't want to add music or fancy editing, simple cuts to tell a story was all I wanted to do.

 

200 ASA

45 degree shutter

Video dynamic range

Rode shotgun mic (1/4" input), with gain turned way down to avoid distorting

100% hand-held with no aids

Rokinon 14mm cinema prime Canon mount with MTF adaptor

 

 

This is the first time I've used video mode and I didn't like it at all. The dynamic range was limited and simple exposure mistakes turned into big problems in post. I think the camera's strength lies in its film dynamic range, take that away and the camera does wind up looking more like a video camera with decent glass then a cinema camera.

 

Twas a fun shoot, more to come!

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Hey guys, new to the forum here. I was wondering if you'd think an upgrade to the BMPCC from a beginner-level SLR like the T2i would be substantial. I'm a 17 year old film maker and would eventually like to upgrade as I'm shooting with a 35mm lens which was almost the cost of the camera body itself. I feel like I'm getting good images but I don't like the crop nor the high noise this camera can produce, especially when I get up and close to the footage in the cut. I know that the sensor on the Black Magic is super 16mm, is this the digital equivalent to the size on film?

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S16mm is a size of a film-- and the T2i with it's APS-C sized sensor is about the size of 35mm film used for motion pictures.

As for it (the BMPCC) being a substantial jump from a t2i, think it depends what you mean. It certainly records a much higher quality and "deeper" (as in more information in it) image-- but it also requires more work in, or at least an understanding of, post color correction.

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S16mm is a size of a film-- and the T2i with it's APS-C sized sensor is about the size of 35mm film used for motion pictures.

As for it (the BMPCC) being a substantial jump from a t2i, think it depends what you mean. It certainly records a much higher quality and "deeper" (as in more information in it) image-- but it also requires more work in, or at least an understanding of, post color correction.

Ah okay, thanks a lot Adrian. I still have some learning to do. Where exactly would the Black Magic be on the resolution scale then? Because I know the sensor is called a 'Super 16mm sensor'. Is this smaller then the T2i's? I'm concerned about crop factor too.

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Joshua,

 

Its funny you ask this question because on the very day of that recent shoot above, my dad was shooting with his brand new T3i using one of my primes. I haven't assembled the footage because it was hand-held like mine and my dad doesn't have a rock steady hand like mine. Still, just looking at similar shots and comparing them, the difference between the two cameras was very dramatic. Its not just things like latitude and color dynamic range, but more simple things like motion blur. The Canon simply looked like crap in comparison, like some Sony $400 handycam. I'm sure with some setup work, I can make the T3i look closer, but it will never look the same.

 

The BMPCC is a 1920x1080 resolution, identical to the output resolution of the T3i. The BMPCC I believe has a 2k sensor, which is all you really need anyway. The zoom factor is about 2x on the BMPCC. This isn't a big deal with longer glass, but it can become a problem when selecting wide angle lenses. My 8mm prime lens has some focus issues, due to it being a piece of junk. But it does deliver a very wide image for those moments you need one. Otherwise, having a camera that doubles the focal length is awesome because you can by shorter lenses (cheaper) which go longer. ;)

 

As Adrian said, the BMPCC needs some TLC in post, more so then the Canon. But then again, there is more data there to mess with. You won't get the graining issues you see on the Canon because even if you underexpose, there is still plenty of clean material to work with. Its so much fun in post because you can color things properly, which is a blessing! Reminds me of film! :)

Edited by Tyler Purcell
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The BMPCC is a 1080p camera, as mentioned, and i'm not sure if the sensor is actually 2K or not (though really you're talking such small differences in resolution, 1920 v 2048).

I hate saying "crop factor" but it is a smaller sensor than the vDSLRs, so wide lenses can be more problematic. However with it's active M43rds mount you can use the myriad wide lenses for that format, or a speed booster. Something like a SIgma 8-16mm zoom will do you well.

 

I'm also sure you can probably find a camera somewhere near you in canada to play with for a day or two.

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Thanks a lot guys, I appreciate it. I'm shooting with a Rokinon 35mm cine, you think that would cause problems? The image on the Black Magic is gorgeous for the price point, and I'd like to upgrade to something a little more tailored towards film making. And Tyler, the film look/feel thing is exactly what I want. I love the personality of the color, the grain, I would love a digital camera that could mimic that.

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Thanks a lot guys, I appreciate it. I'm shooting with a Rokinon 35mm cine, you think that would cause problems? The image on the Black Magic is gorgeous for the price point, and I'd like to upgrade to something a little more tailored towards film making. And Tyler, the film look/feel thing is exactly what I want. I love the personality of the color, the grain, I would love a digital camera that could mimic that.

Yea, I'm all Rokinon lenses, nothing else. I want manual everything, none of this in-camera iris nonsense. Its hard to find cheap "primes" anymore, glass which is simply made for the cinematographer instead of the still shooter. I find the Rokinon lenses to be soft and have a very "filmic" look to them. I just received my filters so I'm finally using LOTS of filtration (2 stop ND's) in order to combat the fact the camera is so sensitive, I'm usually stopped all the way down outdoors, even at 200ASA. The lenses look great all the way open. Every time I shoot with this thing, I get more and more impressed with its ability to copy the look of Super 16.

Edited by Tyler Purcell
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