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You've some good points. I have a high-spec laptop I tend to bring along for longer shoots for backups, so the transition would only require getting more space and an SSD dock. Luckily those don't seem too expensive. Storage space in general might be a problem, though. Even the DSLR H.264 seems to be filling up my drives faster than I'd like (my latest feature film takes about 600gb out of my primary drive - plus backups etc). I guess I'll have to look into getting a whole bundle of hard drives. I'd wager I'm going to need about 6-8 terabytes of space for shooting a feature on BMCC with my current raw footage/finished film ratio... How reliable are the Sandisk SSD:s/recording on SSD with the blackmagic? My previous experiences with SSD-hyperdeck combos have been negative at best, with overheating issues, dropped frames, drive corruption etc. This was a year ago, however, have things gotten better?
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Aug 10, 2013 22:15
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A smug sociopath posted:
The sandisk extreme 240s and 480s are the only bullet proof SSDs with the BMCC that I've seen, even when comparing to the rest of the "approved" list. The Kingstons will sometimes drop frames. I've heard shakey things about the Crucials too. BMCUser.com is a good forum to start checking. If you think H264 is filling up your drives fast just wait until you shoot ProRes HQ, let alone raw.
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Aug 10, 2013 22:31
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powderific posted:What do you do for backups with that big of array? Have a full second one? Or maybe just backups for individual projects? I have no clue. If anyone has any suggestions I'd love to hear them. It looks like the LTO6 drives can write to tapes that are 2.5/6.25TB each, but the drive is around $2,000. But I think in the end just another array is the way to go. In a few years we'll probably have 10TB hard drives so it won't matter too much.
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Aug 10, 2013 23:19
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A smug sociopath posted:Now that the Blackmagic Cinema camera had a price drop, I'm seriously starting to consider getting it. It seems pretty much perfect for me as I'd use it mostly on indie filmmaking. Someone here mentioned you'd essentially need more like 4000-5000 bucks to actually get it up and running, but I'm guessing that includes lenses etc. I'm thinking of replacing my 550D with an EF mount BMCC, since I have about 20 EF lenses with filters etc, covering focal lenghts from 10mm to 400mm and all the shoulder mounts, tripods, gliders etc. I need. What are the essentials I'd need to pick up along with the camera body in my case? I'd wager at least a couple of SSD:s and an external battery, anything else? Don't forget how you're going to power it since it doesn't have swappable batteries.
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Aug 11, 2013 02:13
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The 5D3 can shoot raws with Magic Lantern, but the workflow is a pain and 1000x CF cards are more expensive than SSD's. Also the dynamic range is worse.
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Aug 11, 2013 02:29
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SquareDog posted:Don't forget how you're going to power it since it doesn't have swappable batteries. That's what beavisnuke's second-to-last post was about. I've also seen setups where an adapter runs anton bauer batteries to the camera(but brilliantly blocks the rear screen) edit: this one: http://www.bhphotovideo.com/c/product/906375-REG/anton_bauer_qrc_bmd_gold_mount_for_black.html And the mounting 'solution':   It looks like it tilts, at least. But if you're not already invested in the batteries, might as well go with what beavis posted. Slim Pickens fucked around with this message at 03:02 on Aug 11, 2013 |
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Aug 11, 2013 02:46
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Don't forget sound either on the BMCC. You won't want to use the internal mic. So either you can do onboard sound which will require a decent mic and mic preamp/mixer like a SoundDevices MixPre-D or Juicedlink BMC366 or you'll need to record separately. You also may want a separate monitor. The screen can wash out in bright light so outdoors you'll either use a hood or get a separate monitor. Yuns fucked around with this message at 16:47 on Aug 11, 2013 |
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Aug 11, 2013 16:45
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Sound won't be a problem. That's something I already had to tackle when using 550D, so I have a good setup with a mic, recorder and a separate mixer+preamp. I haven't invested in any batteries, so I'm probably going to shell out for either of the ones Beavisnuke posted. I'm guessing the screen is about on par with the ones on Canon DSLR's? I've yet to have problems with them even in bright light, in fact I actually prefer them over Zacuto viewfinders or lilliput monitors. Those things are a pain in the rear end imho. Good to hear about the Sandisk SSD:s. That was one of my biggest fears concerning BMCC (along with storage usage in general).
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Aug 11, 2013 19:45
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The screen on a BMCC is much larger and higher resolution than a DSLR, and it has focus peaking built-in. It also comes with a soft rubber hood that you can fit over the screen.
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Aug 11, 2013 20:29
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The BMCC screen is nice and large so it's easier to pull focus than canon DSLRs, but it is very very reflective. If you have any light on your face at all when staring into it the glare is huge. I put an iPad anti-reflective touchscreen sticker on mine and it helped a lot.
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Aug 11, 2013 23:51
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Wow, what kind of rig (EVF and rail system) is that? I might put some money to a system like that.
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Aug 19, 2013 21:41
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VoodooXT posted:Wow, what kind of rig (EVF and rail system) is that? I might put some money to a system like that. I think that's an Alphatron EVF (there are only 2 SDI EVFs...Alphatron and Cineroid). Otherwise you need an SDI-HDMI adapter.
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Aug 19, 2013 21:57
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I'm 2nd AC on an ALEXA set on Monday, I won't have time to go have a play at a rental house beforehand. While I'm doubtful I'll encounter any issues is there anything I should be wary of with this camera? I'm not the first (normally I am) so I'm not that bothered, but it'd be nice to be able to pre-empt any major hassles like the image frying itself when exposed to pure white or whatever.
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Sep 19, 2013 01:12
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XTimmy posted:is there anything I should be wary of with this camera? You're going to gain 3 lbs tomorrow at crafty when the camera performs and behaves itself, so you'll have lots of spare time. Get phone numbers instead.
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Sep 20, 2013 22:43
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I have friends who swear by this camera, so I bought one. It's Bolex H16 Reflex and it just came today: Lens is Computar TV Zoom Lens 12.5-75mm. The whole thing came with a set, including the carrying case, gelatin filters, and an unexposed roll of film...that expired in 1971. I haven't shot anything yet, but the camera's functional. The motor runs fine with no issue. Can't wait to try it out 
Mister Beeg fucked around with this message at 03:02 on Sep 21, 2013 |
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Sep 21, 2013 02:59
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Saw, and had a play with, the new ARRI Amira at IBC last week and ARRI have blown me away again! Just a great piece of kit. It's basically an ENG style version of the Alexa, really designed for run and gun shooting but should also work perfectly fine as a B-cam on features (or even A-cam if you like). The design and i/o layout has been very well thought out for single man operation too so documentary makers are going to love this thing. It shoots 4444 ProRes now, though the guy hinted at RAW in the future too but this was very much a prototype. It comes with your choice of lens mount from EF to PL to 2/3" with a spreader to use the full sensor. Has easily accessible XLR inputs with phantom/mic/line switches and a flip out monitor on the viewfinder that shows the image or the Alexa menu system. Admittedly the viewfinder was a little disappointing compared to the Alexa's but still perfectly good to shoot with. It is narrower and lighter than the Alexa (though not as light as it could be, but it wouldn't be ARRI if it wasn't heavy) and it's also (finally) a 12v camera! Another really cool, very simple but easily overlooked, feature is that both the handle and the shoulder mount can slide quite a lot for balance, which is a neat little thing to quickly adjust the balance on your shoulder or in your hands. It can also do 200fps at 2K thanks to the new cards they're using to record on. All in all just a great camera for a market that's been slightly forgotten/ignored by the big manufacturers. They said it should be available for field testing around January so I'm hoping to convince them to give me one to play with :-). Also ARRI were showing a system that would allow the Alexa to record Z-depth information realtime. This would be amazing for VFX work as you're basically getting realtime 3d-scans of whatever you are shooting. This way you could, for instance, key off distance instead of green screens. This tech has been around for a while but it wasn't very good (very low res) but this could kick it into high gear. Imagine just telling your computer to just key away everything beyond 16 feet! I love stuff like that, it's like magic
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Sep 21, 2013 13:14
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Cinema cameras that shoot their own loving depth passes? Holy poo poo that's such an awesome idea. Is it some sort of high speed LIDAR setup set up through a mirror rig? How does it shoot the same frame as the camera?
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Sep 21, 2013 19:31
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Steadiman posted:Imagine just telling your computer to just key away everything beyond 16 feet! Oh my god, the implications!
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Sep 21, 2013 20:27
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I'm very very interested in this camera, I've always preferred ARRIs image to Reds. And the fact that it takes EF lenses is amazing. Any mention of interchangeable lens mounts? That'd more or less seal the deal for me.
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Sep 22, 2013 11:47
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XTimmy posted:I'm very very interested in this camera, I've always preferred ARRIs image to Reds. And the fact that it takes EF lenses is amazing. Any mention of interchangeable lens mounts? That'd more or less seal the deal for me. As far as the depth buffer thing, it was very much prototype/tech testbed sort of thing and they were being very hush-hush about it. Can't really tell you any more than I already did, that's pretty much all I know 
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Sep 22, 2013 13:30
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Got some new toys this week. Not to be used together, but still fun. Angenieux HR 25-250, used to be the defacto aerial lens, still used a bit but the newer systems can all take the big 24-290, which is longer and faster, but its huge. and this bad boy, Sony SRW-9000 with the 444 board.   2/3s chip with a eng lens to get massive zoom so we can replicate the zoom range of our Cineflex on our other system.
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Sep 27, 2013 07:40
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D C posted:Got some new toys this week. Not to be used together, but still fun. Mine used to breathe like a motherfucker on zoom pulls but otherwise nice lens
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Sep 29, 2013 05:16
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EnsGDT posted:Mine used to breathe like a motherfucker on zoom pulls but otherwise nice lens We try not to zoom in a shot.
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Sep 29, 2013 13:17
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D C posted:We try not to zoom in a shot. Oh I couldn't agree more. But, you know, directors.
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Sep 30, 2013 07:41
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Way to write off the great directors of the 70s I guess guys?
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Oct 1, 2013 12:17
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BeavisNuke posted:Way to write off the great directors of the 70s I guess guys? How does one rental company's preferred way to use a lens write off film history?
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Oct 1, 2013 19:16
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It doesn't because he was making a joke?
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Oct 1, 2013 22:32
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I just bought a Blackmagic Pocket (first new personal cam since I bought my HVX 7 years ago!) and I'm trying to figure out what to do about lenses. Vintage 16mm glass seems pretty alluring, but I'm not feeling super confident buying on eBay since it's hard to tell if a given lens will cover a S16 sensor, not to mention what the lens actually looks like. Does anyone based in NYC know of a place that sells used/vintage cine glass? I'm hoping to find somewhere that'll let me test the lens in shop before buying. Thanks!
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Oct 3, 2013 02:20
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Also check out manual Nikon glass from the 70s and 80s. I have a whole set and for like sixty bucks a pop they're sharp, smooth, and breathe shockingly little. At the very least the 50mm 1.4 AIS is perhaps the best bang for your buck you're likely to encounter.
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Oct 4, 2013 01:31
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Chitin posted:Also check out manual Nikon glass from the 70s and 80s. I have a whole set and for like sixty bucks a pop they're sharp, smooth, and breathe shockingly little. At the very least the 50mm 1.4 AIS is perhaps the best bang for your buck you're likely to encounter. The Pocket Cam's crop factor is 3x so a 50 1.4 would be awesome for a telephoto and not much else.
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Oct 4, 2013 01:35
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1st AD posted:The Pocket Cam's crop factor is 3x so a 50 1.4 would be awesome for a telephoto and not much else. Yikes, 3x? I thought it was m43 equivalent, my bad (which is still long, but not THAT long). Still a mighty fast tele for 60 bucks!
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Oct 4, 2013 16:16
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bear named tators posted:I just bought a Blackmagic Pocket (first new personal cam since I bought my HVX 7 years ago!) and I'm trying to figure out what to do about lenses. Vintage 16mm glass seems pretty alluring, but I'm not feeling super confident buying on eBay since it's hard to tell if a given lens will cover a S16 sensor, not to mention what the lens actually looks like. Does anyone based in NYC know of a place that sells used/vintage cine glass? I'm hoping to find somewhere that'll let me test the lens in shop before buying. Thanks! I'm hearing good things about the vintage Schneider cinegon 10mm on the pocket. If you can't find that the SLR Magic 12mm 1.6 is a great lens to start with.
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Oct 4, 2013 22:44
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bear named tators posted:I just bought a Blackmagic Pocket (first new personal cam since I bought my HVX 7 years ago!) and I'm trying to figure out what to do about lenses. Vintage 16mm glass seems pretty alluring, but I'm not feeling super confident buying on eBay since it's hard to tell if a given lens will cover a S16 sensor, not to mention what the lens actually looks like. Does anyone based in NYC know of a place that sells used/vintage cine glass? I'm hoping to find somewhere that'll let me test the lens in shop before buying. Thanks! EOSHD put together a pretty good list a while back. http://www.eoshd.com/content/10683/how-to-get-bargain-16mm-cine-lenses-for-the-upcoming-blackmagic-pocket-cinema-camera-and-digital-bolex
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Oct 5, 2013 00:06
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Just caught this on the old Facebook feed and I'm just disgusted! Some soccer player decided it'd be funny to trip up the Steadicam operator as a prank after they won and then just walks away laughing. I got furious watching this footage and had to vent, this overpaid bully will probably get away with it too (he even tweeted the video himself, like he was proud of his comedic genius) while the operator could've sustained a career ending injury, or worse, and has probably now got a lot of broken (expensive) gear. At least it made me remember why I stopped doing sports with a Steadicam and has given me yet another reason to hate soccer. Didn't know where else to share this so here you go. http://www.mirror.co.uk/sport/football/news/watch-ezequiel-lavezzi-play-classic-2346627
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Oct 7, 2013 20:02
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If it makes you feel any better, some of those comments are actually pretty  " Donovan, the irony is, Lavezzi could've caused the Steadicam operator injury, but the operator barely protests. If the tables were turned, Lavezzi, like every coward on that pitch, would've faked an injury and then hammed it up like a petulant child" " Just a shame it didn't come down on the players head and cause serious damage" My favorite, " the mother of idiots is always pregnant!" which is such an obvious Google Translate fail but awesome nonetheless.
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Oct 7, 2013 21:06
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Hey so I don't know if this is the best thread for this question, but here goes: I need to shoot some documentary footage, but I lack any sort of audio gear. I'll be shooting on a 5D Mark II, run and gun all the way, and need some sort of really simple but effective way of getting decent audio. I have looked into the various portable recorders like the Zoom and Tascam, as well as small mics like the Rode Videomic Pro and preamps like the Juicedlink. So my question is what would be the best solution in terms of quality vs ease of use? I'll be running around alone (both indoors and outdoors, with all the lovely windy weather that comes with this season in my country) and won't even have the luxury of putting a lav on the subject either.
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Oct 7, 2013 22:02
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Overdoze posted:Hey so I don't know if this is the best thread for this question, but here goes: Is it just you with no other operators? If so, you're probably best getting a hot shoe mounting bracket and a Zoom (your choice of flavor, the smaller one might work for you) and one of the Røde videomics you mentioned. The Zoom and mic will both mount to the shoe bracket, and there's usually leftover space for a small LED light. This is a pretty typical DSLR run/gun setup. If you want to save some cash, you can of course skip the Zoom and instead videomic directly into the camera at a loss of quality and file separation. Either way you have a setup you can operate and carry all by yourself right in front of you.
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Oct 7, 2013 22:41
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Did you guys know Roger Deakins has a forum he actually posts on? A lot? Wow. http://www.rogerdeakins.com/forum2/
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Oct 8, 2013 12:08
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Those translations by 1st AD make me happy.
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Oct 8, 2013 19:22
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after 5 months of waiting I got my pocket black magic this week... took it out for a small hike...so many things I hate about this camera, but the sensor is not one of them. here's a quick minute edit... http://www.youtube.com/watch?v=eWBhzEijC_Q and the tech details: 24p/172.8 shutter lumix 20mm 1.7 + uv + circle polarizer (useless on such an overcast day) 200asa, shot ranging t/8-t/16..still waiting on a screw on ND tripod and handheld, no IS for handheld all i did for this grade was take saturation from 50% native to 100% so this should be pretty much what the color rendering should be workflow..prores to cs6, export to resolve, round trip back, then export to highest quality 2 pass h.264 possible for youtube, then whatever compression youtube throws on (not too bad compared to the original export from cs6 though) annnd, if you'd like to see what it looks like straight out of the camera, here's that version http://www.youtube.com/watch?v=E40rm0p_HJ4
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Oct 17, 2013 23:28
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