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NAB 2015, mes conclusions et la suite du programme …

Après un salon très très intense cette année je m’en vais vous livrer quelques conclusions.

Je tiens à féliciter les amis de www.newsshooter.com and www.cinema5d.com qui ont assuré grave la couverture du salon, quand on voit les équipes de Dan Chung (they are 13 là ou on est parti à 2) c’est énorme ! Bravo les gars ! Je dois remercier ma partenaire de choc et de charme, Eve Dufaud à qui j’ai fait subir une semaine intense. Parce que oui on a l’air de montrer qu’on se la coule douce, on est dans un cadre assez cool mais on a dormi entre 2 et 3h maximum par nuit pour vous concenter toutes ces petites vidéos.

Les annonces qui m’ont le plus intéressé cette année côté caméra c’est surtout la C300 MkII de chez Canon meme si elle affiche un tarif un poil prétentieux, ce sera une franche réussite, on peut leur faire confiance et les premières images sont vraiment très belles.

La URSA Mini semble confirmer que Blackmagic a enfin décidé d’écouter les utilisateur et de se pencher sérieusement sur l’ergonomie de ses caméras, les spécifications et le prix vont forcément faire douter beaucoup de monde, moi le premier, je suis vraiment très très tenté.

La DVX200 Panasonic semble un concept très intéressant, il faudra néanmoins attendre IBC pour avoir les spécifications définitives, je reste sur ma faim côté codec notamment et l’ouverture glissante du zoom est un poil décevante.

Côté accessoires gros coup de coeur sur le Letus Helix Jr qui est sans aucun doute le stabilisateur le plus malin qui ait été créé depuis le Movi. J’en ai ramené un dans mes valises pour le tester plus en détails et je vous ferais un vrai compte rendu d’utilisation prochainement.

Le Mimic de chez Freefly system est aussi une vraie bonne idée, j’adore le concept et on peut compter sur eux pour que le produit soit au top.

Panasonic a aussi annoncé le nouveau firmware pour le GH4 qui propose enfin une véritable option anamorphique ! on attend toujours le V-Log mais ce sera pour plus tard …

C’était la foire du drone à Vegas, ça m’a gonflé, yen avait partout ils étaient tous plus mieux les uns que les autres, mais force est de constater que le DJI Phantom 3 est un joli jouet, toujours plus performant et toujours aussi peu cher un drone avec une caméra 4K intégrée à environ 1200€ ça calme !

Un des trucs que j’ai loupé c’est le système incroyable de chez RedRock système d’assistance à la mise au point baptisé HALO ça déboite sa mémé.

Toutes les vidéos sont sur ma chaine Youtube et ce qui serait cool c’est que tu t’abonnes, toi le geek lumineux qui lit ses lignes. Clique donc ici

Dans quelques jours vous aurez donc des nouvelles du Letus Helix JRet je vous annonce enfin un compte rendu d’utilisation sur la fameuse Digital Bolex D16 dont nous allons tester prochainement les 2 version Monochrome et Couleur avec Eve.

Eve et Manu et la D16

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NAB 2015, journée 1 résumé et premières impressions.

Hello geeks light.

Nous nous sommes balladés hier Eve et moi dans les allées du convention center, vous dire que tout y est disproportionné ne changera rien mais il faut garder en tête que le NAB c’est 100x plus grand que le Satis par exemple, difficile donc de tout faire, on se doit d’être sélectif et ça se fait par le biais du web. Une fois un premier tri sur les différentes annonces des constructeur on décide de ce qu’on va traiter ou pas.

intro@2x

This year, bien entendu Blackmagic a encore des milliards de nouveauté, 17 a priori, toutes ne m’intéressent pas mais cette URSA Mini est la première caméra signée Blackmagic que je trouve excitante, le form factor ressemble à s’y méprendre à celui de la Sony FS7 et je suis heureux de constater que Blackmagic soit à l’écoute des critiques que peuvent leur faire les utilisateur, vieux motard … les caractéristiques sur la fiche technique sont alléchantes. On attendra les premiers tests réels avant de dire quoi que ce soit d’autre pour le moment 😉

La Micro Cinema Caméra semble aussi être très intéressante au niveau de ses spécifications, j’ai hate de pouvoir jouer avec en tout les cas.
Blackmagic Micro Cinema Camera drone

C’est chez Panasonic que j’ai eu envie d’aller en premier hier matin, cette DVX 200 est à mon avis une très belle idée pour qui a envie de basculer dans le 4K sans se farcir l’achat d’une panoplie d’objectifs. Une bonne vieille caméra monobloc avec un viseur, un LCD et un zoom fixe ça devrait plaire à pas mal d’entre vous. Après je dois avouer que les choix techniques me laissent un peu sur ma faim mais Panasonic m’a affirmé que rien n’était définitif de ce coté là.

En attendant une visite plus poussée chez Blackmagic je vous laisse déguster les 2 videos d’hier tournées chez Small HD qui présente son petit LCD / EVF Malin comme j’aime et un petit tour chez Film Power pour découvrir le Nebula 6000.

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NAB 2015, Blackmagic rétrécie l’URSA

Extrait du communiqué officiel signé Grant Petty, le grand manitou de chez Blackmagic :

“Lorsque nous avons dévoilé la première Blackmagic Cinema Camera, nous l’avions conçue pour une utilisation au poing, comme pour les DLSR, mais il s’agissait tout de même d’une véritable caméra numérique avec une large plage dynamique. Bien entendu, nombreux étaient ceux qui voulaient pouvoir l’utiliser à l’épaule et sur trépied, et à ce niveau-là, elle n’était pas parfaite.

La caméra URSA a résolu ce problème, however, elle a été conçue pour les grosses équipes de tournage, car elle dispose notamment de nombreux écrans, des scopes, ainsi que de fréquences d’images élevées et performantes. Elle est donc plus grande et n’est pas aussi portable que la Blackmagic Cinema Camera.

La combinaison de ces deux caméras a donné naissance à la URSA Mini. Bien que cette caméra URSA numérique portative ne dispose pas de toutes les fonctionnalités de la URSA, elle en comporte un grand nombre et est équipée des mêmes capteurs et du même processeur d’image que la URSA. Son boîtier en alliage de magnésium en fait une caméra compacte et légère qui peut être transportée et utilisée au poing.

URSA Mini comprend le même choix de capteurs 4K et 4.6K que la URSA et elle est également compatible avec le Blackmagic URSA Viewfinder. Elle dispose de fréquences d’images pouvant atteindre 60i/s, d’un écran tactile lumineux Full HD de 5″ pliable et orientable. Tout comme la URSA, la URSA Mini est équipée de deux fentes d’enregistrement pour cartes CFast pour garantir un enregistrement en continu et dispose aussi du même choix de batteries… “

J’ai presque envie de pleurer tellement c’est beau, ils on du voir cette photo là : 

 

Et du coup ils sortent ça :

 

 

Je suis curieux et assez excité, ils réagissent dans le bon sens enfin cette URSA Mini à l’air d’une camera avec une ergonomie intéressante ! Merci Sony pour la poignée télescopique 😉

Plus d’infos very soon ! 

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La Blackmagic URSA n’est pas une caméra d’épaule !

Je n’aime pas forcément dire du mal d’un produit, en général j’essaye de fermer ma bouche. Je pense que ce qui ne me plait pas peut plaire à d’autres et que je n’ai pas forcément le monopole du bon gout, mais là … oui, je suis un peu remonté contre Blackmagic et contre cette URSA en particulier, pas sur tous leur produits (Je reste grand fan de DaVinci Resolve et de bon nombre de trucs de postprod) mais sur les caméras et sur l’URSA en particulier, j’avoue que je botte en touche, je ne comprend pas la logique du produit !?
Il y a un peu plus de 2 ans maintenant que BMD est entré dans la danse en tant que constructeur de caméras. J’ai eu la chance à l’époque de faire partie des premiers Beta testeurs … Les premières Blackmagic Cinema Camera proposaient un design en rupture avec les conventions, ils ont foutu un peu le bordel, c’était pas très pratique mais plutôt visionnaire. Le concept 1 grand écran, un capteur 1 objectif décliné de l’ergonomie des tablettes me paraissait assez prometteur et je malgré mes premieres râleries, je me suis mis à espérer une évolution du concept qui pourrait séduire plus de monde en partant du principe que ça allait évoluer dans le bon sens. Je crois que j’ai été naïf !
blackmagiccinemacamera

BMCC 2,5K

URSA

URSA

Quand au mois d’Avril au NAB ils annoncent cette URSA, j’avoue que je suis resté bouche bée ?! A quoi bon ? c’est quoi le délire ? non mais Allo quoi ?! C’est Nabila qui l’a conçu cette caméra ?
Imaginez le concept, l’URSA a un form-factor de bonne vieille caméra d’épaule, ce qui n’est pas pour me déplaire mais en lieu et place du viseur, on mets un écran de 10 pouces orientable et la plupart des touches de commande de la camera sont derrière cet écran et deviennent inaccessible quand il est refermé !? On peut aussi accéder à un écran tactile de l’autre côté de la caméra ce qui est impossible quand elle est à l’épaule. En plus de cet écran il y a un 2eme écran tactile qui se retrouve enfermé derrière le grand écran 10 pouces quand il est replié.
Alors oui coté design et finition c’est joliment usiné, on dirait presque du Apple. Mais par contre a l’heure ou tout le monde sort des cameras compactes et légères l’URSA pèse un peu plus de 7kg sur la balance sans optique et sans batterie ! Vous comprendrez donc que cette caméra ne me donne pas envie, et l’attitude de BMD ne me donne pas plus envie, je n’oublie pas les 2 années à attendre la mise à jour du firmware permettant le simple formatage des SSD ou des cartes SD, je n’oublie pas l’absence totale de communication sur les soucis de “soleil noir” ou les autres trames de capteurs vilain sur la Production 4K. Bref si tu veux qu’on cause Grant, je suis ton homme !
Les autres bémols en vrac et dans le désordre :
  • Ce n’est pas une camera 4K DCI mais une Ultra HD uniquement donc 16/9
  • Pas de ProRes 4444
  • Sensibilité moyenne
  • Pas de support V-Mount pour la batterie
  • Pas de viseur meme en option il faudra passer par un Zacuto / Cineroïd / Alphatron / Small HD etc.

Les points positifs, car oui il y en a :

  • pour le prix c’est assez incroyable d’avoir ce type d’outil
  • La qualité d’image est assez impressionnante pour le prix
  • URSA

    La Blackmagic URSA n’est pas une caméra d’épaule !

 

So yes, je troll un peu, je me fais l’avocat du diable je râle, je provoque … je sais que certains d’entre vous vont la trouver formidable cette camera. Moi je trouve ça tellement dommage de gâcher tout le talent des ingénieurs de BMD dans un produit aux erreurs de conception aussi bizarroïdes ! Sans déconner y’a tous ce qu’il faut pour pondre un truc qui mette tout le monde d’accord, y’a du talent à revendre dans cette société, vous avez fait des choses extraordinaires, pourquoi sortir un truc aussi bâclé ?
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4C, Ultra HD, the large sensor is it necessary and appropriate for the broadcast ?

It's been quite some time that I thought about this problem, a few hours of the opening of the largest global mass that is the NAB in Las Vegas I think I'm not the only one asking me questions about it. What do manufacturers, eg why Sony has not released cameras 2/3 en 4K ? You can you imagine the world of television will switch to larger sensor ? As the arrival of the Canon EOS C300 and 5DmkII / C100 has changed the switch and we see from 5 years most of the TV productions larger sensor. Autant pour les émissions de flux réalisées en direct ou dans les conditions du direct ce genre d’outils n’est pour le moment pas vraiment adapté.

Pour rappel voici un célèbre graphique permettant de comparer la taille des capteurs des caméras qu’elles soient Video / Cinema / movies / Télé etc.


C’est vrai que pour le moment le 4K est principalement réservé a des “grands capteurs” ce qui est logique pour les applications cinema mais pour la télévision c’est assez handicapant. Why ? parce qu’en Télévision on a l’habitude d’avoir des zooms à l’amplitude monstrueuse, Canon and Fujinon engage battles without thank you report on exceeding X 100 … au Cinéma Angénieux et son 24/290 or 28/340 sont pour l’instant les maîtres du genre mais ces optiques meme si elle sont magnifique en terme de rendu sont très délicates à utiliser dans une application TV a cause de leur encombrement et de leur système de commandes pensées pour l’assitant caméra cinéma. Television cameraman made his point alone and he also manages its zoom mostly via remote controls that form a sort of handlebar, on appelle ça la « mobylette » avec un report pour le point et un report pour le zoom sur les bras de guidage de la tête fluide du trépied.
angénieux avait il y a quelques temps annoncé une poignée comme on en trouve sur les caméras d’épaule avec une commende de zoom électrique. Finalement le projet a été mis de côté et c’est Fuji qui a dégainé le premier avec 2 super zooms called the Cabrio 19/90 and 75/300mm these lenses are very powerful, le piqué est exceptionnel et en terme d’ergonomie c’est un plaisir.

Canon emboite le pas et annonce quelques jours avant l’ouverture du NAB 2014 un Zoom doté d’une poignée et donc d’un report de commande électrique ainsi que d’un rapport assez important. Il s’agit donc du 17/120 which has a sliding aperture which runs from 2,95 a 3,9

canon-600x384
Fuji annonce aussi un zoom de grande amplitude pour grand capteur S35 au meme moment un cabrio 25/300 t:3,5 (voir les articles de Sylvain sur le Fujinon ici and sur le Canon ici )

fujinon_01-e1396453188789
Seulement voilà pour faire des matchs de foot c’est loin d’être suffisant imaginez que le rapport souvent utilisé en TV est un 80x qui commence à 7,5mm soit un équivalent 20mm sur un capteur Super 35 et qui va jusqu’a 600mm en 2/3 soit 1500mm environ en S35 … ce zoom pèserai donc 200kg et il faudrait un système complexe et couteux pour le supporter au niveau trépied et tête … impossible ou presque …
La solution passe par des convertisseurs, Sony l’a bien compris en proposant pour sa F55 un convertisseur optique qui fonctionne comme pour le speedbooster de nos petits photocam (but that costs much more expensive ) it keeps the large zoom range but you lose against the benefits of the large sensor with regard to the low depth of field that will fix the cameraman still struggling a bit like when we went from SD to HD there a few years.

Sony-F55-B4-adapter Sony-F55-B4-Lens
Then the solution might be to leave the cameras 2/3 avec des petits capteurs 4K … Quand on tape 4K 2/3″ broadcast camera on ne trouve rien ou pas grand chose dans google. Sony would be sufficiently influenced to nothing out in 2/3 ? Et Panasonic ? Grass Valey ? Hitachi ? Ikegami a annoncé en 2011 a 4K camera with a sensor at Aptima ARRI but it's still Super 35, Hitachi speaks 8K for some time but it is also the Super 35 … Vous allez me parler de la Blackmagic mais est-ce réellement une solution viable pour une utilisation en car régie ? Are there no any alternative ? Broadcast is he going to have to migrate to the large sensor also ? Why Sony offers only F55 and dock for use in OB ? It's beautiful, it's magic if you go back to the great Peter Gabriel concert directed by Hamish Hamilton and presented recently in Berlin, but is it the death of a sensor cameras 2/3 inch ?

NAB 2014 it will bring you answers to these questions ? Je vois mal les grands broadcasters du monde basculer en S35 … Je pense aussi que le 4K va mettre du temps à s’installer dans la diffusion TV … pour l’instant à part Youtube et les contenus dématérialisés il n’y a pas grand chose à se mettre sous la dent des télés 4K et pourtant ces mêmes constructeurs vont devoir en vendre et pour vendre des télés 4K, il faut du contenu 4K… ce qui ne veut pas dire qu’il ne faut pas produire en 4K. Nombre de producteurs se mordent les doigts aujourd’hui de ne pas avoir fait certains documentaires en HD a il y a un peu moins d’une dizaine d’années et du coup leurs films sont aujourd’hui quasiment invendable.

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Focus on “rings” Metabones Speedbooster / Novoflex / DEO TEC etc (edit)

Hello geeks light,

I realize following the various messages I have received lately that there were many who were lost in this small world rings and other optical converters.

The main advantage of hybrid boxes without mirror like Sony A7/A7R/NEX Fuji X and other Panasonic G / Olympus en Micro 4/3 this is their low optical printing that can adapt to mount rings to be about anything you want as an optical.

This sometimes is not possible to make such casings with the FX and Nikon DX, Optical printing is the distance between the lens ass (pardon the expression) the sensor or film plane. The English call it “flange distance”

here is what is said in Wikipediatirage optique - frange distance

The problem with Nikon is that their optical printing is higher than the other boxes with 46.67 mm against such 44 mm on Canon.

On a case Micro 4/3 c’est à peine 19,25 mm et là tout à coup vous voyez la lumière non ? Vous vous dites mais oui mais bien sur c’est pour ça qu’on ne trouve pas de bague pour mettre des optiques Canon sur les boitier Nikon. By against the reverse is possible.

Here is a list of these optical prints based on frames :

 

PENTAX 6X7 = 84,95mm

PENTAX 645 = 70,87mm

MAMYA 645 = 63,30mm

PANAVISION PV = 57.15 mm

ARRI PL = 52mm

SONY B4 = 48mm

LEICA R = 47mm

NIKON F = 46,67mm

OLYMPUS OM = 46mm

PENTAX K = 45,46mm

M42 = 45,46mm

SONY / MINOLTA A = 44,50mm

MINOLTA SR = 43,50mm

CANON EF = 44mm

CANON FD = 42mm

OLYMPUS 4/3 = 38,67mm

CONTAX / YASHIKA RF = 34,85mm

CONTAX G = 29mm

LEICA M = 27,80mm

SAMSUNG NX = 25,50mm

Micro 4/3 = 19,25mm

SONY E mount = 18mm

CANON EF-M = 18mm

FUJIFILM X = 17,7mm

C Mount = 17,52mm

NIKON 1 = 17mm

PENTAX Q = 9,2mm

 

More your case is at the bottom of the list you have more opportunity. Wholesale, all that is above the list of your mount will be consistent theory but beware, must also rely on what the English call “crop factor” thus, must keep in mind that if we take as the reference base is 24×36 (called a full frame twists or full format, but it means nothing) Next you type APS-C case (equivalent to a 35mm cinema hair ready) or Micro 4/3 ou encore une camera type Blackmagic, pocket or 2.5 k there are conversions that are not very happy and it is not marked anywhere in the instructions or on the boxes of these devices. Last thing we need is the ring, I do not think for example that there is any interest in trying to mount a Pentax 6×7 a housing on NIKON 1 for example …

And Blackmagic's specialty does not stipulate that if mounting a Canon EF 50mm on the BMCC in EF mount is as if we had mounted a 125mm multiplier is 2.39 x, it is 2x for Micro 4/3 and 3x for Pocket Cinema Camera !

So if you put a 50mm on BMPCC (BlackMagic Pocket Cinema Camera) you end up with a 150mm which will be a problem to find great angles.

Returning to our rings there are 3 kinds, purely mechanical, mechanical and electronic and mechanical + optical converter.

Novoflex is a German manufacturer who makes rings in every way but without optical conversion. This is particularly at home with their small online tool you know it is possible to marry or not. In the left column you choose your frame right optics you want to adapt … it is simple and effective. In 95% cases, if it is not on the Novoflex website is that the optical wedding / frame is against nature and it does not work. They are more expensive than some rings “No Name” you find on the bay but it's precision engineering and you will not cause you to end up with a jammed in a loose ring optics which can further cut your fingers ! Another thing they are often equipped with a manual ring diaph de-toothed which is quite significant in video shoot. Bref depuis le début de ce blog je préconise NOVOFLEX et je sais pourquoi 😉

novoflex-adaptateur-fuji-x-pro-1-nikon-f

In NOVOFLEX point optical converter, this is big news since last year, METABONES and SpeedBooster comes as a miracle solution. They also make good quality rings, it is well finished and accurate.

mb_spnfg-bmcc-bm1_01s

But they bring something to them, is the addition of a lens in the middle of the ring that reduces or completely destroy this famous “crop factor” so if you have a case of the family X FUJI SONY NEX or you can mount via a SpeedBooster optical NIKON, CONTAX, LEICA and I pass by finding the focal origin and in most cases winning 1 diaph see, it is quite magical ! The conversion factors are explained in this table you will find on their site internet

 

BMCC Matrix S-1

 

A noter aussi que Metabones propose aussi des bagues avec des lentilles spéciales pour les capteurs de la 2,5k (BMCC) et la pocket (BMPCC) qui ont des drop factors différents.

Newcomer to this little family is offering MX Camera rings WD TEC dedicated to SONY ALPHA NEX or 7 offering more steering autofocus objectives such as to drive the optical Carl Zeiss Contax G on the SONY A7 and also exist for CANON EF.

contax-g-v2

With these rings can be out of the closet old Grandad objectives and there are nuggets cheap on the net and flea photo. Caution prices rise at an incredible pace, there are still bargains to be found but some goals become rare to find.

Last but these objectives for video use / cinema have rings developed with a much larger than their modern counterparts who have been specified to be used in autofocus race.

https://vine.co/v/hYT1zWeXJrY

My favorite :

Contax series / Yashica signé Zeiss, it's fabulous and it not cost too too expensive and a special mention for the G series NEX and Afa 7

LEICA R, largest world wants, but it is fabulous lenses that are starting to become hard to find in good condition.

Leica M are often unaffordable

PENTAX K et M42 a Super Takumar à vis le 50mm f:1,4, it's just magical flair for they are not treated against it !!!

CANON FD, optical really not expensive and yet there are nuggets including 85 f:1,2 that has little to envy to its declination EF

NIKON AI and AIS also trade cheaply and it's just great even on a RED Epic !

 

SpeedBooster-NOVOFLEX-DEOTEC metabones Speedbooster deotec

J’ai gardé le meilleur pour la fin la grosse problématique aujourd’hui c’est aussi le pilotage des optiques modernes et en particulier les CANON EF. A l’heure ou le M43 rencontre un certain succès suite à la sortie des GH3/GH4 et des nouveautés Blackmagic bon nombre de ceux qui se sont rués sur les boitiers CANON 5D MKII 7D et consorts se demandent comment utiliser leurs objectifs sur un GH4 par exemple. Vous trouverez pléthore de montures qui fonctionnent très bien d’un point de vue mécanique et si vous acceptez de vous assoir sur l’autofocus, il reste un problème de taille c’est celui du pilotage du diaph car contrairement à NIKON ou de nombreux autres fabricants CANON a supprimé le pilotage mécanique du diaph par le boitier, sur les optiques EF ça se fait de façon électronique. Hors pour le moment il semble que ce soit un peu compliqué à gérer. Metabones est sur le coup et on rêve tous d’un speedbooster CANON EF vers Micro 4/3 qui piloterai le diaph et pourquoi pas le point ?

Pour le moment la seule solution très fastidieuse est de conserver un boitier canon, en effet une fois que le diaph est fixé par le boitier quand vous démontez l’objectif il reste à sa position … j’ai vu faire ça par de nombreuses personnes, c’est chiant, mais ça marche !

Pending 2 solutions existent elle sont un peu onéreuses mais totalement fonctionnelles :

MTF systems propose une bague avec une télécommande séparée qui fonctionne très bien, c’est un peu cher mais très efficace.

Front lensadaptor_0 EF to E - website_0

 

 

 

 

 

 

 

 

L’autre solution est proposée par Red Rock Micro c’est un peu le meme principe, on pilote le diaph via un petit boitier mais là il est fixé sur la bague.

3-090-0001_med

 

Il existe une bague de chez Kipon qui a rajouté un diaph dans la bague, mais je ne suis pas super satifait du résultat, beaucoup de diffraction, ça fait des trucs bizarres dans l’image.

un dernier truc qui lui semble intéressant mais pas 100% satisfaisant car il ne propose pas de lentille de conversion comme les speedbooster c’est le système holymanta … le principe est simple on cherche souvent à utiliser son objectif à pleine ouverture (ce qui est assez simpliste comme approche mais c’est la mode) pour obtenir des arrières plans flous. Holymanta cumule une bague adaptatrice mécanique avec un filtre neutre à densité variable. C’est plutôt malin et assez efficace d’après l’ami Sylvain du Laboscope.

A noter que ces 2 solutions ne proposent pas de convertisseurs optique, il faudra donc faire avec le “crop factor” du Micro 4/3 qui est de X2 je le rappelle à part pour quelques bizarreries comme la Pocket de chez Blackmagic et le GH4 qui en mode 4K est plus proche de 2,2 …

 

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Metabones Speedbooster, the solution for Pocket Blackmagic Cinema Camera

Vines on the first # BMPCC the famous cinema pocket camera from Blackmagic

Those who follow the primary concern of this camera is its “crop factor”

https://vine.co/v/hYun62ZTULA

Here the difference between the super sensor 16 the BMPCC and said full frame sensor as found on the Canon EOS 1DX / 1DC / 56D and D as well as Nikon D800 and D4 and Sony Alpha 7 / Alpha 7R et Alpha 99.

https://vine.co/v/hYuvLYlFDT1

If the team BMPCC a 35mm focal length 100mm equivalent obtained a (about) then multiply that with this little X3 sensor, this is where it gets tricky because it is difficult to find large angles

https://vine.co/v/hYuXKDzqXHK

Metabones designed a dedicated Speedbooster this camera adapter is now available in Canon mount

https://vine.co/v/hYuH9BFHpX3

And here's the opening difference field, Note also that the SpeedBooster increases the brightness.

https://vine.co/v/hYupQP3Du1p

to complete the following “Rig” Day with the Pocket Cinema Camera, cage in Shape, a SpeedBooster Metabones dedicated to this camera, NIKON optics and micro RODE. Note that the diaph is controlled by the ring without “click”

The camera is well equipped not really pocket but we can begin to consider working with, it remains to add a few example.

 

 

 

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Black Magic Pocket Cinema Caméra, the paradox !

When Blackmagic Design announced its first camera in April 2012 everyone thought it was a joke or almost, despite some difficult beginning it would appear that now rely on Blackmagic to continue to shake the camera market.

Launched in late July 2013 this camera is now available at retailers is not too early you tell me, it seems that Blackmagic is not yet great point on the part of the industrialization of these products as the 4K camera production, another model announced at NAB in April it is still in the queue. Less 2 years after the first announcement at NAB 2012 Blackmagic a donc 4 cameras to its catalog. Black Magic Cinema Camera with Canon EF or Micro Version 4/3 (passive mount) Pocket Camera and Film Production 4K Camera.

La BMPCC, that's why they call it is a tiny camera has incredible image quality. Its concept is a camera close to the dimensions of a compact camera with professional ambitions in terms of dynamic sensor and codecs. Imagine having a 1080p HD camera with a sensor Banking 13 Stops, latitude and a high-quality recording.

For the choice of the frame Blackmagic seems to have understood it was not enough to be compatible with Canon EF lenses for back customers. The frame selection Micro 4/3 which Olympus and Panasonic are the creator is a good choice because it allows through the small distance between the mount and the sensor (17mm) mount almost all existing optical or almost. Blackmagic Design has chosen a smaller sensor than the average, and thus position the camera as a Super Pocket Camera 16. This is one of the concerns of this camera, As in the first edition the correlation between the mount and the sensor is a bit strange because unless you have the dedicated optical Super 16 it can be really problematic. Must consider a multiplier of X3 so if you mount a 50 mm that transform the angle of view equivalent to a 150mm. This is quite a handicap, because in order to find less than 10mm optical and have the true wide angle it will not be easy. Micro consortium 4/3 has already attracted several optical manufacturers, either Carl Zeiss, Leica, Panasonic, Olympus Zuiko, Sigma, Voigtlander etc. The existing park is quite large but wide-angle zoom exist including 7/14mm f:4 Panasonic deform much on the edges.

BMPCC04

The good news just in Metabones with its “SpeedBooster” who became interested in the case of BMPCC and now offers an adapter to convert the focal length of your original optical format sensor without losing brightness even see winning !

It is therefore possible via optical adapters to old camera silver Super 16 but they are more rare to find and their value on the used market has increased tenfold.

Regarding the "form factor" of the camera is somewhat paradoxical, propose a pocket camera ambitious is good but if you take one consideration to use it you will have to accessorize generously makes it immediately less "pocket"

The camera has a screen that is large enough and has a good image quality, but it lacks a viewfinder, which will require the addition of a viewfinder kind Zacuto or Cineroid which already poses a logical problem, these accessories and this is the case all that is required to run well this camera, have a price higher sales to the camera itself, it's somewhere not very logical.

BMPCC03

The usability is entirely similar to the big sister with sensor 2.5k, menus are identical except that the screen is not touch, it will settle for a classic clover 4 direction and a central button validation. We note in passing that some particular feature direct access to the sensitivity would have been preferable, rather than having to go into menus, ditto for the management of shutter. AF is currently totally ineffective, compensated by the presence of an assistance to the development which highlights the location of the image or the development function is good (peaking) and a configurable zebra to manage its exposure. The cell is currently completely unusable, she always hold on the highlights and there is no system bargraph. Another negative, there is no function for magnification to check point as is the case on most current cameras. The zoom in the picture is convenient yet, hoping Blackmagic correct these small errors through next software update.

This camera can now record Quicktime Apple ProRes 4:2:2 HQ on an SD card or Cinema DNG RAW, care that must be very powerful because the rate supported is quite muscular. After testing several cards and only SanDisk Extreme Pro 95MB / s is working properly and does not drop frames. To go tease the superior quality of the market leaders Blackmagic Design as the model offers 2.5 k to record ProRes HQ in "Cinema mode", it is simply called a "log" image is very neutral, completely desaturated and very low contrast which will have more latitude correction calibration of this side is a real success. The manufacturer announced a coming update internal software that will use a compressed version of Cinema DNG, universal RAW format and open source ADOBE launched by and chosen by other manufacturers as AATON or Digital Bolex. Beware though it should be noted that the weight of the images is very high, SDXC card 64 go save a little less 40 min HD 1080p25 RAW whereas it should be 15 about min . Why did not they put the ProRes 4:2:2 see the same basic ProRes LT would have been quite suitable and much more coherent. The other complaint is correctable via software update, this story is not accessible shutter, no audio VU meters, and still not be able to format your card in the camera or delete clips ?!

This camera is for me somewhat paradoxical, one side was a picture of a pretty amazing quality, a very muscular compared to what codec is being done on a DSLR but ergonomics and small teething problems that make it difficult to use. Sacrificing ergonomics hotel quality image is not necessarily the best direction to take, this camera is ultimately not so pocket it and its most obvious use would rather be on a foot studio. It prevents that unless 800 € HT is pretty amazing, the recorded image is actually quite close to what we can get on a Canon C300 and Sony F3 and the cost of some contortions the younger generation who did not like the standard mêtre shoulder camera and comfort will find certainly his account.

I invite you to go on tour in New York Photo by Thomas Garret friend who made us his review.

 

 

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The Pocket Cinema Camera shelled by Thomas Garret

I met Thomas Garret through the large canvas, Photo talented director based in New York and we sympathized as I enjoyed doing it a few times so here's an article that 2 objectives, 1 do you know a talent, 2 talk about a camera that is a little center of attention the moment.

Because Blackmagic totally forgotten me, maybe because I did not say enough good things about the WB Film Camera on my blog and social networks, I thought that this trust “review” a friend who is more than enough fan of the Micro mount 4/3 was a good idea …

here is the little film he made in New York with BMPC

 

Let the pen mister Thomas

 

P9240002

 

Enfin je reçois ma black magic pocket cinema camera !

With its promise of mini alexa in the case barely bigger than a smartphone with a superb mount m43 active, tien t it promises ?

My test to determine the capabilities of the camera in

real shooting condition.

Short in real life and not just in the studio.

promising incredible quality with al use the Apple ProRes codec and during a future update directly from RAW

S The recording made on SD card in full HD with 10bit rate of picture 23.99 24 25 30

and also to a timelapse function.

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Getting Started

As long as a iphone 5 a little higher and almost twice as thick ( excluding the grip )

the camera and rather compact, it deserves its name pretty well "pocket" has pancake mostly associated optical.

Weight level, it still weighs his 355grammes without optical.

The quality is good with a metal chassis and plastic key veloute.

The grip is well proportioned which ensures a good grip.

J did note, however, a very light bleeding of the LCD backlight on the various models that I could have on hand ...

nothing serious but a good use..

 

We regret the SD slot in the battery compartment and not on the side of the camera.

the connectors positioned on the left side are relatively complete with :

a Lanc socket

a headphone jack

 

a microphone jack

du mini hdmi to

an outlet 12v external power

 

the back of the camera is a large screen is of 3.5 inches ( when on a dslr ...) and 9 Buttons with conventional directional pad with an OK button and four function buttons :

un power button,

un menu button,

an iris button that activates the automatic exposure adjustment of the camera

a focus button which can either trigger activates the autofocus or focus peaking.

_DSC5956 _DSC5957

 

Not being a big fan of peaking I didn t expect much of this function, which I have always been for me one more gadget creating mostly more confusion than precision.

Well I have been very pleasantly surprised by the implementation that black magic has succeeded in making

It is simply excellent and provides more real in the use of manual optical.

 

 

on top the record button and a play button both next and previous buttons

 

or is the iso button ?

 

If black magic hand of a good intention : minimize buttons to simplify use, a little way apple.

In fact some very annoying things stand, most of which fortunately can and I hope will be corrected by updating the firmware.

The most annoying is the isos tote settings at the bottom of a menu ... it takes at least 5 steps to change this setting

 

Menus

_DSC5945 _DSC5944 _DSC5943 _DSC5942

 

level autonomy after 1am on the internal battery will need to buy a package but they are not expensive

the issue of "small" and optical sensor is on with a report of X2.8 crop compared to the full-frame 35mm

the question arises optical especially for large angles.

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I have at my disposal optical level :

 

 

some modern classics and enjoying the AF

panasonic 14mm f2.5

panasonic 7-14mm f4.0

panasonic 14-140mm OIS f4.5-5.6

 

optical C-mount

compute 12.5mm F1.3

navitar 25mm f0.95

 

and my nikon optical significantly heavier..

peleng 8mm f3.5

rokinon 14mm f2.8

nikkor 28mm f2.8

nikkor 35mm f2.0

nikkor 55mm f1.2

nikkor 105mm f2.5

_DSC5935

and also a monstrous zoom canon 9.5-143 f1.8en B4 mount unfortunately vignette wide angle

_DSC5937

ca vignette….

 

for this test I used mainly me two optical c-mount the 14mm pancake and to a lesser extent the two zooms pana.

 

it is true that it lacks a bright optical around 6mm or 7mm in order to have a truly great compact angle..

_A070061

if some Panasonic offers an optical zoom stabilizer when a stabilizing effect on the sensor !!

Shooting :

 

The camera and compact and very easy to use.

relatively well balanced and very compact it is very convenient to carry around.

As against the lack of ND filter or lower sensitivity than 200iso is disadvantageous in daylight.

especially in the use of optical super16 watches or c mount to find a nd filter which has good size remains rather complicated.

The lack of optical or electronic viewfinder accessory fits, is sorely lacking in the sun even if the screen is reflective rest almost visible.

so there is no procedure for cleaning the sensor incorporates what may be a problem or at least ask for a more maintenance grows.

Finally, because of the report of crop 2.8 it would have been more useful to have a sensor stabilizes .

 

 

image quality

 

Move to more interesting.

This camera is it up to all the buzz that it has created ?

after the small frustrations of ergonomics I started to shoot and I note immediately on the same screen of the camera a very soft image.

watching the rushes on my computer c is the shock !

the pictures are beautiful !

the rendering of movement, color, grain ...

even expanded 4K on my screen 50pouces take good pictures

 

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For me after going to regret S16mm 35mmc movie and the video was particularly on the HVX200 which is grafted a 35mm mini kit to give a report “film "and in this Dslr with shallow depth of field but it always made video.

or a RED and clinical precision.

C is finally as Super16mm shooter with the advantages of digital.

 

and though many are decrying the camera in low light

I do not know how the templates are isos but it seems that the native of 800iso bmpcc is closer to a 1600isos on dslr

has 800iso noise is very reasonable and feels more like a grain

meme 1600iso noise is present but still very grainy.

it is far from the blue colored patches appearing on dslr

the goods ProRes

 

al direction I have the impression that even lowering the sensitivity 200isos it remains around what would be a 400isos

suddenly in broad daylight with a very present sun ND filters are needed ...

he'll have to find filters for my mount optical c ....

 

 

and even say ProRes

the possibility of catching a particular stage underexposed or missing light

so that al the perfect very dark screen image up the expo post we discover that all is well the colors details !!

incredible !!

 

To conclude

Even if I really like a hybrid device camera / video camera as the series of GH pana or 5D, d800 and consort

I must say that I completely fell in love with this camera.

with its cinematic, his native ProRes recording and m43 mount a 1000$ it's really an excellent choice

 

at the default it should be noted

the absence of physical nd filter or even digital ( big 50 ?)

absence sensor cleaning

the lack of viewfinder or even an accessory viewfinder type zacuto.

 

is the attitude a bit at the limit of amateurism blackmagic who announced with great fanfare a product available in May for July

and provides a product Dropper still early October ....

Strongly put a firmware update and V2 4k with viewfinder, stabilisateur et nd intègre 😉 ( one can dream ...)

Thomas Garret

 

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Feedback using the Blackmagic Cinema Camera by Marc Linnhoff

Tournage clip Broad Rush - Don't stop
It happens from time to time to give a voice to others, Marc has produced turned, made a nice clip and post production, and I asked him to cause us the BMCC his hands for some time.

here's the clip :

 

here's what Marc Linnhoff and

I realize, turned and climbed my films in recent years with occasional peaks of motivation-, the arrival of the GH1 in my legs was a great moment, I appreciate the way Emmanuel Pampuri for his film “RSS” qui impulsa l’achat de mon premier boitier 🙂

Tournage clip Broad Rush - Don't stop

With the announcement of the BMCC at NAB 2012 and that of the Bolex Digital via Kickstarter shortly before, I saw the future in a new light! Finally the arrival of tools “affordable” that do not compromise the quality of our images..

As winter in Alsace, delivery of my BMCC has been widely felt.. It was an opportunity for me to educate myself on Resolve and understand a new workflow. J'ai reçu ma caméra, do some tests and then got involved in writing and directing the clip “Don’t Stop” the music of my friend Broad Rush. This shoot was an opportunity for me to tame the beast..

Here are my impressions and comments on its use :

First, la BMCC : bare ergonomics is really not ideal, with a rig, an external battery and a monitor or EVF, all rolls, this is not the configuration options are missing.. It is therefore essential to equip a minimum the camera still has some drawbacks (possible to update the firmware…?) : no display audio meters seen, no option to format the disk or erase our clips via the camera itself.

Without the display on an external monitor oscilloscopes, the zebras to manage exposure, otherwise it is quickly lost on shooting outdoors. The BMCC is not equipped with built-in filters, my variable ND filter (Genustech Eclipse) I have more than once saved the ...
Tournage clip Broad Rush - Don't stop

The choice DNG / ProRes with license Resolve bonus for me are undeniable advantages.

For the video shoot “Don’t Stop”, I shot everything in RAW, about 750GB.. Our great team spent two days at the scene of shooting (The ancient baths Soultzbach-les-Bains), with all the accessories you could possibly need for this clip, the lever to the convertible car without license. I brought lemon. The script was in my head, technical cutting half and the rest is done on the spot. The camera was equipped with its Rig Bebob, we had a small batch of optical CP.2 (21, 35, 50), une Tokina 11-16, un-55mm Micro-Nikkor AI-S, a cineslider, un travelling, une Kino, some tangerines, fresnels, reflectors ... The weather was on our side, il a fait Moche, cold and it rained for two days !!

Le clip ‘Don’t Stop’ was my first experience of workflow with RAW files, je dis le haut a fort : j'aime Resolve !! There are many tutorials on the net, comprehensive training in French, English.. and of course training centers for those who can. I opted for a series of tutorials with exercises for the key, I must admit that it has opened my eyes.

Knowing the potential of a calibration in the treatment of DNG software affect our shooting, our light… The announcement in Resolve 10 the calibration option “Online” we will go further, I can not wait to test this function.

 

Here is the workflow that I applied to the post-production of the clip “Don’t Stop” :

1- I imported my rushes in Resolve, slightly increased the contrast and saturation of all my clips and then exported my Proxies

2- I imported these proxies in my event FCPX, dérushé, mounted and exported my XML

3- Resolve back on, I imported the XML, calibrated the while exploiting the high latitude of my DNGs then exported the clip ProRes 4444 2,5C

4- I finalized in After Effects with a passage by Mocha Pro for the first disappearance of the protagonist, added my effects then resized in my composition 1920/816px (report 2:35) and exported my Master

The Blackmagic Cinema Camera is a tool that pushes me to go further in the writing of my films and in the treatment of my images, it stimulates me and covers most of my needs are mostly clip, of fiction and corporate movie.

After the experiment “Don’t Stop”, I did not just want it to do it again and soon. While camera models are increasing at high speed making them obsolete earlier and earlier, greater accessibility to tools like BMCC and democratization of practices such as benchmarking in Resolve are very beneficial for me.
Tournage clip Broad Rush - Don't stop

The announcement of new versions Blackmagic Pocket Camera Production and hit her hard. I see the BMCC associated with several pockets camera for effective multi-cam and discreet, regarding the Blackmagic Camera Production, I rejoice at the idea of ​​having hands..

Marc Linnhoff

 

Marc summarizes everything there that I think this camera, it produces an image of an amazing quality, but it was designed with the feet. So we can welcome Blackmagic for successfully democratize RAW video but also for all the work from the first card Decklink ago 10 years, as ergonomics is really bleak.

But when we get the images in a calibration system as muscular Resolve, indeed, it is a treat !

dynamics, resolution are of exceptional quality considering the price, All these elements make an amazing product for just one accepts his disabilities. The colors are very good too. Brief, pending D16 Digital Bolex which seems to be a bit better designed on paper, it semblerai BMCC and that these future versions M43, 4C (Production caméra) a 1080p (Pocket) will sell like hotcakes. If ADOBE actually released a DNG Cinema Lossless compression is gained ! Because it is inconsistent in the chain resulting from these cameras is the price of storage required for each project when you turn RAW. With rates from 8,5 to 10,5 go / min depending on the framerate that complicates the situation.

RED today reigns supreme in this war codecs because it is alone in a compressed RAW file a weight ratio / incomparable image quality. The question ” therefore expected by other ?” the answer is probably on the side of a patent filed by RED does compress the RAW. The alternative Cineform seems to fall by the wayside, This is unfortunate because this codec is very good but since the takeover by GoPro is not clear that it will become …

Wet & see

// DON’T STOP//

Production and direction : Marc Linnhoff – marclinnhoff.com

Music BROAD RUSH, download the full version : hook-up.fr/broad-rush-dont-stop/

Stills by P-mod : flickriver.com/photos/p-mod/sets/72157633312056426/

With : Joffrey Schmidt – Clarisse Hagenmuller – Denis Jelly – Nina Schouler – Pierre Riff

Framework and post-production : Marc Linnhoff

Light : Ludovic Haas – I Pichard / P-mod

Hair and Makeup : Anne-K Lejeal – Elsa Parmentier

Un grand merci à Yoko Tsuji, Jacques Roth, Tsaki, Arnaud Masson, Jessi & Michel.

Filming locations : Elders Baths Soultzbach-les-Bains https://sites.google.com/site/lesanciensthermes/