Thread: Blackmagic Camera Update July 2020

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  1. #71  
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    Quote Originally Posted by John Brawley View Post
    Hard for me to say really. I only today got the final hardware version, I’ve been on early builds of hardware where those things are more....aspirational targets.

    I think 14 is a smidge conservative, but it’s decent. Not as good as others, but no slouch. I think it’s kind of the same as a G2, even though the G2 is dual gain and should be more. I think with the smaller pixels and better noise, it feels like it’s pretty close to the G2.

    I’ve still got to walk the more final version I only just got today to rearly find out...

    JB
    Anecdotally, does it seem to have an even over/under at ISO800?
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    Senior Member Zakaree Sandberg's Avatar
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    I might start a company that makes custom housings for blackmagic cameras.. this is my next camera for sure, but I need a a more robust body.. I might gut it and put those guys in a machined body
    Zakaree Sandberg
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  3. #73  
    Senior Member Blair S. Paulsen's Avatar
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    Quote Originally Posted by John Brawley View Post
    https://vimeo.com/436209544 (snip) Well, maybe it was the lenses. Supremes in this case. JB
    I'll be curious to see if the 2.2 micron pixel pitch makes the taking lens essentially it's own low pass filter. What about a lens that can resolve >180 lp/mm in the center, but closer to 90 lp/mm near the edges? Assuming no OLPF, could that generate differential moire characteristics? If so, would that show up in a pan/tilt across a repeating pattern like a brick wall?

    Going to more, smaller photo sites and abandoning the standard Bayer mosaic arrangement presents some interesting issues. Will be fun to see test results from the usual suspects...

    Cheers - #19
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    This sounds great but I’m so spoiled by Monstro’s Color and full frame look that I am 100% waiting for DSMC3 and a way to put my monstro sensor in that body.
    Sťrgio Perez

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  5. #75  
    Senior Member Dean Butler's Avatar
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    I was not expecting this. Anyone expecting this?
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  6. #76  
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    Fuuuuuuuuuuuuuuuuuuuuu...... ck.

    And people were thinking that Canon would leapfrog everyone else. They did no such thing. You want disruption? This is it.

    Quote Originally Posted by John Brawley View Post
    Itís only because of Blackmagic RAW that the sensor can work in these modes. BRAW was developed for this sensor, and itís been three years in the making....

    JB
    That's very Apple-like. They work behind the scenes on something to get it right, and then, bam, it all comes together. They didn't just think, "Hey, maybe we should make a tablet version of the iPhone." No, it was actually conceived first. Very smart planning.

    Quote Originally Posted by Mike P. View Post

    Personally would've preferred FF35, but how can you not appreciate sub-$10k 12K/60fps!
    For the sake of sensitivity, I would have to concede. Sony's A7sIII is going to be amazing in low light levels. But otherwise, VV is a PITA. I much prefer the smaller formats.

    Quote Originally Posted by Mike S. M. View Post
    Could it have had better ISO if it was a FF 12K sensor instead of S35? ISO800 is so 2010.
    One would assume so. But it would be more expensive, probably. I'm not a fan of sensors that are bigger than they need to be.

    Quote Originally Posted by John Brawley View Post
    I thought more resolution would be unflattering on a face, but itís the opposite. Itís actually incredibly beautiful.

    JB
    I recall Michael Goi discussing this. More resolution is better because you don't need to sharpen. Sharpened HD was terrible for skin. But unsharpened 4K+ is great. Mind you, there is more to it than what I'm presenting.

    Quote Originally Posted by Audy Erel View Post
    The best design from them IMO was the original pocketable pocket cinema camera.
    A couple of years ago I wanted to buy a secondhand BMPCC just to play with. I held back. Then after a while I went to see what the prices were, and the price had gone up in the meantime. Now I wouldn't buy one unless it was super duper cheap. Nothing wrong with it per se. It's a pretty good DSMC, conceptually.
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  7. #77  
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    Quote Originally Posted by Sergio Perez View Post
    This sounds great but I’m so spoiled by Monstro’s Color and full frame look that I am 100% waiting for DSMC3 and a way to put my monstro sensor in that body.
    Kinefinity was also exciting but I'm in the same boat, despite whatever happens in the next year I'm not buying anything until I hear what DSMC3 comes out with. I'm more than happy with Dragon-x and these new cameras just get me more excited about what DSMC3 holds.
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  8. #78  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by Dean Butler View Post
    I was not expecting this. Anyone expecting this?
    I think perhaps the general usual audience of BMD was expecting maybe a 6K to 8K camera, but it was pretty clear when BRAW was designed something bigger was "planned" because of the things they designed the codec to do.

    I've been out here on an island producing 12K, 16K, and higher array work occasionally. Specifically the 12K and 16K is squarely targeted for larger screens as well as scaled down to 8K finishes. I've written about all this for years, did trade show interviews, etc.

    The industry as a whole is progressing to 4K delivery for narrative and eventually commercial work, some 4K commercials out there already btw. As to what you capture a delivered to 4K production with, well frankly anything 4K and up.

    8K is still the emerging tech, but in about 2-3 years that picture, pardon the pun, becomes clearer. Same deal, you want 8K and up.

    And yes, I downsample mostly from 5K-8K for my 4K work with our current sensor technologies. 8K is a bit dfferent, but not too different.

    Personally I'm happy that we are just finally moving to 4K and 8K delivery overall. Don't even care which people prefer or not or whatever. Audiences deserve better than HD. The industry has plans for 10K, 12K, 14K, and 16K delivery, but the looking glass is very foggy on how that actually will manifest and if consumers will go for it in home.

    I'll echo Jim's long ago statement regarding the importance of pixel design however.

    The next stuff being worked on for the delivery front is producing higher quality material at more efficient bandwidths, which are the purpose of AM1 and H266. We got about 2-3 years of that coming to market. If you visit my home I can show uncompressed 8K playback, how I deliver 8K for my television clients, and the typical streaming data rates for web delivered 8K. At 4K and 8K you can see a difference and that's the problem that is slowly being tackled. Then we have the evolution of 10 through 12-bit panels and what will eventually be considered generation 3 of HDR coming to market. I've only seen tests of 12-bit display stuff, but there's chatter about 14-bit display technology for the last 3 years.

    One day, when cars fly, the Cybertruck II or III has been released, and probably a 30/70 split of electric/gas vehicles on the road we'll be looking at 16-bit displays and about 2-5X current internet speeds, in which case we'll also be looking beyond 10, 12, 14, and 16-bit digital cinema image acquisition. That's really, really far away, but closer than most think especially if you're surprised by stuff like this camera being released. At that point, hardware will be powerful enough to drive vector and other types of imaging, but it seems like the 8-ball's screen gets fuzzy again.

    And yes, this is coming at a time when the vast majority of the industry hasn't mastered in HDR nor 8K and many will say not much 4K, though there's gallons of it out there now.

    The technology advancements in the motion picture industry are out pacing mass adoption, though there are some who have been working in 8K for years and some of those people are here. It's causing rifts among creatives. You should see the conversations I'm having with heavy hitters today about all three and soon to be 5 camera announcements.

    I had an industry professional tell me in late 2019 they didn't think 4K was going to catch on. Me. Somebody who has produced 16K content to be experienced on <70 8K screens and higher resolution exhibition work. Me who was working with 4K film scans in the 1990s and higher than that throughout the 2000s. I'm just not part of the crowd who ignores the water rising.

    I can assure you, the industry is moving towards more and more 4K delivery is real for productions of all types. And eventually more 8K delivery. If I haven't been saying this for two decades and zero progress on this front occurred you could claim me to be a madman. Perhaps you still can, but I'm a madman who understands what's happening and where things are going. Today, tomorrow, and a bit further down the line. I just can't figure out exactly what's happening around 2028-2032, perhaps a distanced read to 2044-ish. It's static in my mind's eye mainly because so much is actually going to be going on in too many directions.
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  9. #79  
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    Quote Originally Posted by Mike P. View Post
    Anecdotally, does it seem to have an even over/under at ISO800?
    I haven't really gotten much into that...they have been pretty even in the past so I assume it's similar this time, but I've not had final hardware so I haven't been doing those kinds of tests....

    JB
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  10. #80  
    Senior Member rand thompson's Avatar
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    Unfortunately I don't have a Mac so that I could try out the 12K Braw files from the Ursa Mini 12K. So if John Brawley doesn't mind, I took a couple of .PNG frame grabs from the video he posted to try out. Even with grading the .PNG files, I think the 12k will be very easy to get the look you want from it. I can only image how well the actual .Braw files would grade.








































    Last edited by rand thompson; 07-18-2020 at 01:01 PM.
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