The biggest benefit to this camera is of course the global shutter, which differs from a rolling shutter in the way it captures the images and effectively can eliminate those micro jitters and skew associated with BMCC, DSLR, RED, and other cameras that suffer from rolling shutter artifacts. Once again this is just speculation though as I haven’t shot with the camera myself. Grant’s statement leads me to believe that this camera probably doesn’t even perform as well as the original BMCC in low light, which may mean that you 800 ASA is where you should always be shooting if you want really clean footage. The BMCC (2.5K) is still one of my favorite cameras out there but it really isn’t a low light camera either and takes some getting used to if you’re coming from a camera that is great in low light. Number 2 is something to really take into consideration especially for those of you that still haven’t upgraded from your 5D or other DSLR and are considering an upgrade. The two things I take away from this are: 1 – The footage is likely going to improve to some degree from this test footage, and 2 – It isn’t a great low light camera. Some of the shots have different shutter angles and I used standard still camera lenses. I did notice that later when the guys did some more tests on the camera and lens that it was not shimmed correctly so I think the results could be better than this. All the shots are ProRes as I did not shoot RAW. One shot of the jetty has some clipping in the sky to see the affect of clipping. I spent a few weeks wandering around with the camera taking some different types of shots. This camera is not a low light camera, however I have included some clips at night so you can see that. This quote from Grant Petty is also worth noting:
Regardless I think it’s safe to say that the original BMCC will outperform the 4K camera as far as dynamic range which shouldn’t be a shock to anyone. And it’s also worth noting that the shots may be clipping in the sky because the exposure wasn’t set perfectly. In fairness to the 4K camera though, it is tough to judge these shots when not compared directly beside a 2.5K camera to measure the difference. That was to be expected as the 4K sensor is rated at 12 stops which is 1 stop lower than the 2.5K camera. In some shots is more noticeable than others, but particularly I don’t feel that it’s holding detail in the shots of the sky/clouds as well as the BMCC can. Based on these clips, there’s definitely still a very nice amount of dynamic range, but it does seem to be noticeably less than the original BMCC. What attracted me to the original BMCC was the dynamic range and Alexa-like quality of the images. I would have to say though that I personally still have a preference for the original BMCC footage, and even the Pocket Camera footage over the new 4K material. Judging the footage based on these clips alone, the look is closer to the original BMCC than I thought it might be considering they are using two different sensors. Even so, I do believe it gives us an accurate representation of what we can expect with the camera as it’s unlikely to change drastically from here. So how does it stack up to the original BMCC? At this point it’s tough to draw comparisons as the camera is not yet finalized and this was shot by the CEO of the company, not a dedicated DP.
I’ve included both the ungraded footage and a lightly graded version of the shots as well:
#Best 2015 mac for bmcc 1080p#
If you don’t want to download the 4K package yourself, I’ve uploaded a 1080p video file of the shots to Vimeo for you to check out. It includes all of the 4K files that were shot by him personally as a test.
#Best 2015 mac for bmcc zip file#
In terms of the footage itself, Grant Petty (CEO of Blackmagic Design) just released a 10GB zip file that is downloadable here. The issue seems to have now been solved, but I would still speculate that it will be some time before we actually see these hitting the shelves as they will likely start to roll out in small numbers initially as we saw with the original BMCC. Much like the delays associated with Blackmagic’s first camera, the culprit that was causing this cameras delay was also a sensor issue.
Unfortunately it’s been a very long wait for those who have been waiting on the camera since it was announced last April, but thankfully there is now a light at the end of the tunnel. This means we are getting much closer to actually seeing these cameras getting shipped and into the hands of DP’s, Directors and Producers that have been patiently waiting for quite a while now. It’s a great day for anyone waiting on their 4K Blackmagic Production Camera as the first footage from the camera has finally been released.
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