Sony has some really nice presentations at NAB this year. I enjoyed the presentation by Dave Stump, ASC, about futureproofing your film and the new workflow for upcoming color standards in cinematography, specifically, working in ACES, color space comparisons, and more. Very cool stuff.
The big eye-catcher for the Sony booth was their huge 4K HDR LED display, which was, in a word, gorgeous. The photo doesn’t do it justice.
And of course, Sony had all of their goodies on display for our enjoyment and envy. There was a lot of opportunity to handle the gear and get familiar with it.
I have to admit, I’m rather excited about the new Panasonic DVX200 4K 4/3″ sensor camera. Meant to be the “successor” to the legendary DVX100, the DVX200 is designed and priced to make big waves. Since it’s designed/intended to be a companion camera to the new Panasonic Varicam 35 4K, I would also expect it to have damned impressive image quality. Panasonic claims 12 stops of latitude. It does not have in interchangeable lens mount, but the built-in 13X Leica Dicomar 4K lens should be just fine for almost any shooting situation that this camera is intended for.
It’s definitely designed as a hand-held run-and-gun camera; lightweight and easy to handle. I can’t wait to try one in the field. Here’s what we know about it so far:
12 stops of latitude
4K/60p max frame rate
Leica Dicomar 4K 13X zoom lens with f/2.8 aperture
I’m pissed off. Say that in your head like Eric Cartman would, because that’s how I’m saying it over here…
I’m pissed off at Panasonic for letting the AF100 line just die. It hasn’t been discontinued, but it hasn’t been updated. It looks like they’re just not thinking about it at all, and to me, that’s a damned shame, because the AF100 is still one of the best workhorse run-and-gun cameras I’ve ever used. If Panasonic had continued to innovate and update the camera, then by now it could very well have been Panasonic’s “Sony FS7” and I think that’s why I’m choosing now to get riled up about it.
Sony released the FS7, and on paper, it looks pretty bad-ass. And in pictures, it strongly reminds me of the AF100 in size and form, which got me to remembering how much it sucks that the AF100 hasn’t been updated since the fake-10-bit “A” variant. The FS7 looks really, really good, but I’m a Panasonic guy. I love the way Panasonics shoot, and I love their picture quality. They look so much more organic and filmic to me than the Sonys do. Dammit, Panasonic, don’t make me buy a Sony!!!
That’s the reason why I’m so upset; I’ve admitted to myself that I really want the FS7, but if the AF100 hadn’t been forgotten, it could easily have evolved by now to what the FS7 is: a sub-$10K large-sensor, interchangeable-lens 4K camera with flexible ergonomics and overcranking abilities. I keep looking at the specs of the FS7 and I can’t find anything wrong with it, even though I really want to. The only thing that made me scrunch my face up was that ProRes recording requires an extra module and a “future upgrade.” Sounds fishy to me. And expensive. But hey! 4K DCI 12-bit RAW external recording? I’d buy a Shogun for that. For sure.
There really is no other point to this post than me blowing off steam, and begging Panasonic to surprise me with something awesome before I pay off my AJ-PX270 and start saving for the FS7. Maybe by Christmas? I’ve been a very good boy, after all.
Last week, I scored. I scored big. I came across a nice copy of the revered Canon 8-64 T2.4 PL Super 16 zoom lens, for an amazing price, so I snapped it up. I’ve had my eye on this lens since I first started shooting with the Blackmagic Pocket Cinema Camera, but when one does pop up for sale, the price was always out of my reach. Not only is it one of the smallest S16 zooms available, but it’s also one of the widest – maybe even the widest available. Shooting in tight spaces is no problem for this zoom, with 8mm affording an equivalent field of view that is just a hair wider than a 24mm on a full-frame DSLR.
My desire for the Canon 8-64 was cemented during the NBA Playoffs this year. I was covering all of the San Antonio games for The Sporting News/Omnisport, and before one of the games, the NBA TV Phantom shooter struck up a conversation with me when he noticed that I was shooting with my old Mk I Zeiss Super Speeds on the BMPCC. Being a 16mm shooter, he wanted to check out my rig. As it turned out, he had a Canon 8-64 on his Phantom, and we spent some time talking glass. That was the first time I’d seen the 8-64 in the wild, and I immediately recognized that it was the perfect size for the BMPCC rig. It rocketed to the top of my wish list, but it wasn’t until recently I found one for sale that was actually affordable.
I ordered the lens and a cheap PL adapter the same day (not ready to spend 800.00 on the Hotrod Cameras PL mount for the View Factor Contineo cage yet), and they both arrived on Friday. I was pleasantly surprised to find that the PL mount came with a set of shims, so I spent some time collimating the mount, MacGyver-style. The difference between “not good” & “good enough” was 0.03mm. I may revisit it later on if I can find some 0.01mm shims for the Hawk’s Factory mount.
Immediately after unpacking the lens and mounting it to the camera, I called my friend Nico and made him go with me to shoot some sunset clips. We went up to the roof of an abandoned high rise and rolled on the San Antonio skyline, with great results. The Canon 8-64 might just be my new favorite lens. It’s definitely the most “filmic” lens I’ve used on the BMPCC. Color and contrast are awesome, and it’s beautifully sharp, with a nice organic looking picture. Flare and bokeh (I still hate that word) are both wonderful, with lots of character. It’s a beautiful look, especially if you love film.
The next day, I was to provide the camera package, DIT, & color services for director Kevin Sloan’s new short, “I Love You More.” I was very excited that the 8-64 had arrived before the weekend, as I would get to put it through its paces on set immediately. After looking at dailies, I’ve decided that it is indeed my new favorite lens. It yields the perfect look for me. Tack sharp, yet organically smooth, if that makes any sense. Coupled with the 12-bit raw color of the BMPCC, we have a winner.
Here is a quick test video I cobbled together to show off the characteristics of the lens, including breathing, bokeh, zoom, sharpness, color, contrast, etc. Unfortunately, the camera I was using suffered from the BMPCC “highlight blooming” problem, and it’s evident in some of the shots. I need to send it in for that…
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.
Blackmagic has yet again thrown a wrench in the budget cinema pricing machine. BMD announced that their 4K, 12-stop, RAW-recording, production camera (complete with global shutter) is now shipping, at US $2995, a price that is a thousand dollars less than it was previously.
BMD will be selling these things literally by the truckload. I personally own the BMPCC, and adore it. It’s the sharpest sensor of any camera I’ve ever used, and the 12-bit raw color is to die for. Now, with this news of the even cheaper 4K camera shipping, I think I know what my plan for the future will be. I simply can’t wait to get my hands on one.Here is BMD’s product page.
Thanks to a super fast eBay seller, my BMPCC got here in a flash, and I was able to start tinkering with it today. The first thing I did was make an utterly ridiculous contraption out of it by mounting the BMPCC to my Canon 18X HD ENG lens, then Instagramming photos of it to all my camera nerd friends. Then I took it out into the yard and starting shooting clips of my trees and other junk (by the time UPS got here, the light was already fading, so there wasn’t time for anything else). The other accessories I have on order are still in transit, so I wasn’t able to build the real kit, so I simply sandwiched my ciecio7 B4/M43 adapter between the lens and camera, and stuck it on a tripod.
Actually, I tried two ENG lenses on the BMPCC today. One was a Fujinon SD 10X Super-wide, which looked like complete garbage on the Blackmagic’s sensor. Completely discouraging. The HD Canon lens however, looked absolutely gorgeous. It was sharp! Not only is the lens of a very high quality, but the sensor in the BMPCC is the sharpest of any video camera I’ve ever owned or used. I’ve read that it resolves 1000 TV lines, and after seeing my test footage, I certainly believe it. The picture is wonderfully-detailed, and the dynamic range is indeed all it’s cracked up to be. I haven’t seen much evidence of moire or chromatic aberration, but I also haven’t shot any brick buildings yet. I’ll test that tomorrow. The rolling shutter is evident, however, but it didn’t look like it was any worse than what you would see with a 5D Mark III or D800. The sharpness and dynamic range of the BMPCC more than makes up for the rolling shutter. I can shoot around it.
So, about that dynamic range… I shot a clip of a white brick in my yard, which had the evening sun shining directly on it. Most of the rest of the scene was in dark shade. The BMPCC held detail in the highlights of the brick and also in the darkest of shadow areas, with room to spare. I was really impressed by this. Any non-RAW DSLR would have blown the brick right out.
So, let’s briefly go over what we all know already: The build quality is very good; The screen is very dim in sunlight — get an EVF; the battery is dead before you know it; unless all your pockets are filled with juiced batts, turn the camera off as soon as you stop your roll, if you have the time; you can’t format the SD card in-camera (I’m still trying to figure out why this is the case, and it simply defies all logic – format all your cards for the day as ExFAT before you leave the studio).
I never planned on trying to keep my BMPCC rig small just because the camera itself is. I wanted the Blackmagic Pocket Camera for two reasons: 1). The 13 stops of dynamic range, and 2). The Super-16 sized sensor. I have a lot of legacy glass that can take advantage of that sensor, and as I’ve shown already, it has breathed new life into a VERY expensive B4 HD lens that had been sitting around on a shelf until today (since discovering that my big Panny HD cam has a big fat dead pixel right in the center of the picture).
Since my rig is not required to maintain its dainty curb weight, I’ve already negated a couple of the BMPCC’s shortcomings with some additional gear. Instead of rolling to SD cards, I will be rolling to my Atomos Samurai via the Atomos Connect HDMI/SDI converter. I’ve ordered a pair of Ikan tilta wooden grips with LANC S/S button, which should trigger the Samurai directly. The lack of audio meters in the camera should be taken care of by simply using the new and improved – thanks to the recently-released AtomOS 4.2 – audio meters in the Samurai, which are much more accurate now, and can also be set to display horozontally. BTW, you can now manually dial in audio delay in the Samurai, whereas before it could only be done with Ninja2. The weak battery life will be dealt with via a 1.5-meter D-Tap 12V cable, running from a Beillen 95WH battery either mounted to the rails or held in my pocket. The dim screen will be remedied via my Cineroid Metal EVF, which will make use of the second HD-SDI output of the Atomos Connect converter. All this will be mounted to the View Factor Contineo BMPC cage basic kit.
I’ve heard a lot of people complain that the BMPCC is missing a lot of options and that the menu is very, very basic in what you can do with the camera. This is absolutely true. However, it’s one of the things I like about the camera. I’m drawn to the fact that I only have to worry about a couple of settings before I can concentrate on shooting. I actually felt a sense of relief when I realized I didn’t have to worry about the mental checklist of technicalities that normally must be dealt with before shooting. The BMPCC is EASY to use; which leaves more time and energy for concentrating on composition.
I’ve also heard complaints about the relatively few increments for ºK options when choosing color temp. True, you can’t do a custom white balance in the BMPCC like you can with a DSLR, but considering how good the white balance of the BMPCC looks, that has yet to bother me. Even under the flourescent lights in my kitchen, the picture looked very good. The tonality of the picture is really nice. Also, considering that the BMPCC is very much a camera that is designed to shoot for the grade, this isn’t as big of a deal to me as it seems to be with others; each clip is going to be timed to hell and back anyway; the occasional off-color cast won’t bother me, especially when the camera gains the ability to shoot in RAW.
I think that’s about it for now. I will post some footage in the next day or two, after I’ve had a chance to shoot some more material.
After much anticipation, my new Flare Factory (FF) 58 lens from Dog Schidt Optiks, aka Rich Gale, arrived today. I was on a photo assignment when the lens arrived via FedEx (ahead of schedule, I might add – bonus), and when my girlfriend told me over the phone that she had just signed for the delivery, I rushed home and tore open the box (which looked like an elephant had stepped on it — thanks FedEx). Luckily, the lens was very well encased in bubble wrap, and was in great shape. If you don’t know what the FF 58 is, it’s pretty simple. Dog Schidt takes old Russian Helios -44 58mm f/2 lenses, and “reworks” them to have certain characteristics, which you can specify for your custom-built lens. It’s pretty cool. Check out Dog Schidt’s Facebook page to see all the cool stuff you can order up on a FF 58. I ordered mine with cleaning marks (for extra rainbow flares), a normal-prominence blue tint, and a fixed f/2.8 elliptical aperture, to simulate the elliptical bokeh of an anamorphic lens.
After walking in the door after my assignment, I immediately slapped the FF 58 on my D800 and stepped into the yard to bother my dogs and shoot the sun in the trees. One specific reason I bought the FF 58 is to help simulate a film look, because that’s how I like to shoot. In accordance with that desired workflow, the following clips have been lightly-graded and grained up with FilmConvert. Here’s a two-minute sample of the characteristics of my particular Flare Factory lens:
On July 8, Joe Rubinstein & Elle Schneider, creators of the Digital Bolex, posted the first Cinema DNG files from the camera on their blog, so people could have a look at the current state of the image. I’ve been pretty slammed with work lately, so I was only just tonight able to take a few minutes to download the files and look at them myself. I chose my favorite frame and brought it into Resolve to play with a couple of grades, and this is what I came up with after a couple minutes’ worth fidgeting (click on the image to view full-size).
The top frame is the raw Cinema DNG file as it was opened in Photoshop. The second frame was graded in Resolve for a natural-looking warm tone, and the third was graded in Resolve for some scary-movie extreme cool tones, obviously. I was impressed with how little noise I saw in the image, and also how well it handled sharpening in Resolve. I put a pretty serious sharpen on it just to see how much it could take, and the edge integrity stayed superior. It was a very smooth image indeed, and it could also take a really heavy grade without breaking up. Skin tones adjusted well, and overall, the image looked very organic; I love that about the D16. Since it makes use of a CCD imager instead of CMOS, the image has a more natural, organic, film-like quality to it. I can’t wait to get my hands on one of these cameras to really put it to the test. I have a ton of old 16mm glass waiting for new life in my gear cabinet.
As if any of us needed any more proof of how vital a good VFX team is, not only for modern big-budget filmmaking in general, but also for the modern period piece, check out this video posted by The Great Gatsby VFX supervisor Chris Godfrey on Vimeo.
I’m a lover of VFX, having some close friends who are in the business, but I’m also quick to complain when filmmakers rely too heavily on CG in their movies. I’m looking at you, Mr. Lucas. However, concerning a period film like The Great Gatsby, I feel that it perfectly illustrates the right way to use VFX in a “conventional” film. There would be no way to physically recreate the grand and expansive period settings seen in this film otherwise. Bravo to Mr. Godfrey’s team; they did a bang-up job.