After some delay, I’m finally posting links to the spots we produced for the law office of Thomas J Henry that aired during the Super Bowl. This was a fun shoot, for which yours truly was the director of photography and also colorist.
Principal photography lasted four days, and we shot on two Blackmagic Pocket Cinema Cameras, which were awesome. I love the small form factor of the BMPCC, which makes it superb for hand-held and run-and-gun work, especially when mated with my Zeiss MkI Super Speeds, a small Vocas matte box, and the superb wood/metal grips from iKan. The camera feels like a natural extension of my hand, and I can shoot all day without any noticeable fatigue in my arms or hands. I can’t say that when shooting with a RED rig or a big ENG camera.
In addition to handling great, the BMPCC also puts out superior 12-bit CinemaDNG RAW color, and I adore the Super-16 size imager. It’s a great format; large enough to afford shallow depth-of-field when you want it (especially with the T1.3 Super Speeds, which are nice and sharp wide-open), but small enough to maintain critical focus while on the run.
Speaking of the imager, it is sharp. Seriously sharp. Like 1000 TV lines sharp. When shooting RAW with good glass, it seems like you could actually cut yourself on the footage. Unfortunately, this extreme sharpness also means that moire is an issue occasionally, but I have to have it be a problem after the footage has been graded and exported to ProRes. When all is said and done, the BMPCC moires less than any DSLR I’ve ever used, so there’s that.