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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Its official - Black Magic 4k Cinema Camera

If they could have pushed 60fps out of it, even if just in the 1080P mode, I would already have my order in. That camera is extremely enticing in my eyes.
 
KETCH ROSSi said:
Once people will have actually shot with it, then I am sure some could determine that do to cost and also to form factor, they would indeed use it as an A cam.
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For that matter if have the right material/people involved you could take that little 2K pocket cinema camera and use it as your A camera.
 
Steve Das said:
For that matter if have the right material/people involved you could take that little 2K pocket cinema camera and use it as your A camera.
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WOuldn't that be a trip?

Can't wait for the day when the iphone has usable 4K video!
 
Klas Persson said:
So then there will be no effect on the Red market you mean? Are you suggesting that they are aimed at such niche markets that there will be no cross over between the camera systems what so ever?
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Not exactly. That is what you are suggesting that I am suggesting.

There simply will be minimal impact on Dragon sales with this camera, especially at the high end.

On the low end, of course this will be a winner. Occasionally in the mid level there may be some scuffling I guess.

Does that clear it up sunshine?

EDIT: Add to the fact that there is no PL mount option, most high end productions wouldnt even consider this an option...
 
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(redit: their distributor support claims it does have p25 mode on the Pocket, but did not find it on the spec page I looked at). This camera is a 1080p s16 camera and no p50 mode is killing it. The 4k camera is also the same, I think I'm going to email them and ask about hdmi p50 modes at least..

It says active sensor area, any chance this is near the near 4/3rds sensor in the original bmc, just with the sensor windowed down to fullhd?

(re-edit, from the talk maybe this is a smaller sensir from the same company, maybe it does have a bit more than fullhd width, and much more depth, both are desirable for reducing flicker and aliasing from no olpf, but p50 is essential, and useable on US TV's.).
 
Ivan Kovax said:
Not exactly. That is what you are suggesting that I am suggesting.

There simply will be minimal impact on Dragon sales with this camera, especially at the high end.

On the low end, of course this will be a winner. Occasionally in the mid level there may be some scuffling I guess.

Does that clear it up sunshine?

EDIT: Add to the fact that there is no PL mount option, most high end productions wouldnt even consider this an option...
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Well, if you actually read what the poster I responded to suggested it might clear something up for you too, sweetie pie. ;)
Besides, I think it will have(already having) a larger effect in the middle level than you believe, but that is another discussion.
 
This is small, really.
 
Klas Persson said:
Well, if you actually read what the poster I responded to suggested it might clear something up for you too, sweetie pie. ;)
Besides, I think it will have(already having) a larger effect in the middle level than you believe, but that is another discussion.
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Well, that is purely speculation at this point regarding the mid level either from your or my end. Time will tell. I am sure this camera will produce a very nice image, so I really don't see the argument here.
 
Kemalettin Sert said:
lol you think BMC S35 will effect RED market? hahahhaha
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I have follwed this evolution long enough to remember when similar sentiments were expressed about Red One in relation to established players Panavision and Arri. There was no shortage of people pointing out the million shortcomings of the Red system, and how it would amount to nothing more than a "video" camera. A cheap toy for indie hacks who were not good enough to be a part of Hollywood elite.

None of that mattered, of course, because Red One offered a level of performance for a price that attracted enough consumers and changed the market. The limitations of the Red camera and system were accepted, tolerated and overlooked because the performance to price ratio was golden. This is what wins you the consumers and marketshare, not absolute technological domiance otherwise all content would be shot on 65mm film.

So here we are in 2013 and history repeats itself. Now Red is at the receiving end. 4K for $4K is as big a revolution as Red One was just a few years ago. We can all point out the faults and limitations of this Black Magic Camera, but what else is available at this price point that offers more than it does?
 
I dont see why this wont be used in narrative film...

ive seen 5ds used in narrative films.. on the big screen..

its foolish to think these wont.. cameras these days are all really really good, and i bet i could shoot with alexa, epic, and the pocket cam and fool most people..

gear has pretty much reached a peek.. now its down to gimmicks to sell the products.. image quality is there in most of these new cameras..

DR might be better on some cameras.. and worst on others.. but that is easy to compensate for..

now.. go out and shoot
 
Liana said:
I have follwed this evolution long enough to remember when similar sentiments were expressed about Red One in relation to established players Panavision and Arri. There was no shortage of people pointing out the million shortcomings of the Red system, and how it would amount to nothing more than a "video" camera. A cheap toy for indie hacks who were not good enough to be a part of Hollywood elite.

None of that mattered, of course, because Red One offered a level of performance for a price that attracted enough consumers and changed the market. The limitations of the Red camera and system were accepted, tolerated and overlooked because the performance to price ratio was golden. This is what wins you the consumers and marketshare, not absolute technological domiance otherwise all content would be shot on 65mm film.

So here we are in 2013 and history repeats itself. Now Red is at the receiving end. 4K for $4K is as big a revolution as Red One was just a few years ago. We can all point out the faults and limitations of this Black Magic Camera, but what else is available at this price point that offers more than it does?
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There is a huge difference though. The difference is that the Red One offered a level of image quality that no other camera on the market offered, not even the much more expensive ones.
 
Liana said:
I have follwed this evolution long enough to remember when similar sentiments were expressed about Red One in relation to established players Panavision and Arri. There was no shortage of people pointing out the million shortcomings of the Red system, and how it would amount to nothing more than a "video" camera. A cheap toy for indie hacks who were not good enough to be a part of Hollywood elite.
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True. This BMCC camera will democratize image quality for many people. But at the same time lets not push the analogy too far.

The difference being, Red delivered the first ever purchasable 4K camera to the world. Sure it was "affordable" too. The Red was clearly far superior in many way to the d21 and the Genesis. It was not just cheaper. It was a better system.

The new Blackmagic didn't deliver the first of any new kind of technology. Is not really better than the Red, Alexa, F55 or c500. It is simply cheaper and democratising 4K technology on a wider scale. Which is a great thing to occur. Now nobody has an excuse not to shoot a movie if they think they can.

But lets not get too poetic here :)
 
Zakaree Sandberg said:
... gear has pretty much reached a peek [peak].. now its down to gimmicks to sell the products.. image quality is there in most of these new cameras.. DR might be better on some cameras.. and worse on others.. but that is easy to compensate for.. now.. go out and shoot
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Amen, Zak!
 
Zakaree Sandberg said:
I dont see why this wont be used in narrative film...

ive seen 5ds used in narrative films.. on the big screen..

its foolish to think these wont.. cameras these days are all really really good, and i bet i could shoot with alexa, epic, and the pocket cam and fool most people..

gear has pretty much reached a peek.. now its down to gimmicks to sell the products.. image quality is there in most of these new cameras..

DR might be better on some cameras.. and worst on others.. but that is easy to compensate for..

now.. go out and shoot
Click to expand...

I agree, many movies have been shot in part in 16mm, I don't see why this wont either..
 
Pablo Moreno said:
Originally Posted by Zakaree Sandberg
I dont see why this wont be used in narrative film...

ive seen 5ds used in narrative films.. on the big screen..

its foolish to think these wont.. cameras these days are all really really good, and i bet i could shoot with alexa, epic, and the pocket cam and fool most people..

gear has pretty much reached a peek.. now its down to gimmicks to sell the products.. image quality is there in most of these new cameras..

DR might be better on some cameras.. and worst on others.. but that is easy to compensate for..

now.. go out and shoot
I agree, many movies have been shot in part in 16mm, I don't see why this wont either..
I agree, many movies have been shot in part in 16mm, I don't see why this wont either..
Click to expand...


I actually disagree, As of now when there is cheap cameras out there that does 2000 iso native (the epic dragon is cheap and there wil be so many out there that the price to rent will be shit low) then you save so much on lights and other things so using anything else for shooting the average feature would probably be dumb move even economically, as you save so much on lights, rigging etc from just having the extra DR and ISO alone...

Think of it.

It's like the silly pictures of the nice optimo zoom strapped infront the 16mm lowress BM mini camera. It's like putting a formula one engine into a beetle. Then it's better to spread the wealth more evenly, at least thats what I think.
 
If the images deliver it gives me what I need, 4K, RAW, global shutter, 12 stops... yes, I would have loved higher frame rates, but a production package of Scarlet is around 15 000, I mean, it's so much more that it really makes a huge difference.
With this camera I'll be able to do those things I want to do low budget, I already rent Epics when I need something bigger and have a budget to cover it.

If the images deliver, this is what I've been waiting for. Sorry Red, but Scarlet is still out of range if I want to cover everything from pre production, production, post production and final delivery.
 
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