I decided to head out and shoot some test footage with the Lomo 10-100mm 2.5 and was a bit unprepared since I used a monopod which made some shots more difficult. Note to self: use a tripod next time!
Anywho, the footage came out amazing and a FULL REVIEW SOON!
Gear: BMPCC4k, PL to mft adapter, Kinor16 to PL adapter, Lomo 10-100mm 2.5, Vari ND, BRAW 8:1, S16 1080 mode. All edited in Davinci Resolve, slight color and correction.
I had a few moments after a productive day of shooting and snagged the DP with a Red Gemini 5k to quickly capture some footage to compare against the BMPCC4k and the codecs from the past CDNG and present BRAW and Prores. How would this $1295 camera handle against a $19, 500 brain? At the end of the day shoot whatever codec works best for you but I must admit that Red color science and DR is extremely enticing.
Should I make the files available for download? Maybe a follow up video?
Please read the details on the video for specs and equipment used for the test. Subscribe to this blog for the lates tests, reviews, news and articles. Leave a comment and let me know your thoughts.
Keep the magic alive,
MT
editor/founder
Apparently when BRAW was released to UMP users late last year the softness and other issues were noted. Here is a great review that notices the inferior performance and there wasn’t an uproar because CinemaDNG was not removed from the camera at that point. The issues that many BMPCC4k users have noted is NOT NEW. Let that sink in for a minute. What is new to BMPCC4k users is the removal of CinemaDNG in exchange for BRAW. This doesn’t affect UMP users because they have both codecs as long as they don’t upgrade. That is the reason UMP users are not negatively reacting because they have both codecs.
This particular review was published October 2018 and if you skip to 8:18 min mark the softness is noted and he even defends himself that he didn’t change the focus! That’s how noticeable it was.
I have received a few comments stating that my tests were flawed because Davinci Resolve default settings were to blame for the sharper CinemaDNG image so I decided to change the settings and here are the results. Only on CinemaDNG files have the sharpness reduced to 0.
Even dropping the CinemaDNG files sharpness to 0 it still outperforms BRAW 3:1 and Q0. The extent of how much it outperforms BRAW can be concluded by each user. But to deny that BRAW is less sharp is complete and utter denial. Moreover, BRAW also has more aliasing/moire which is noticeable in the lines. The reviewer also noted color noise which has yet to be tested. Keep in mind these issues may not affect Youtube videos or online content due to high compression ratios. The debate of whether it is cinematic or whatever else is a moot point since personal preference should be the deciding factor on what codec to use.
Some may argue zooming in 200%-300% reveals details that viewing audiences will never notice which I agree with. But when testing lenses and codecs it is routine to zoom in 200%-300% to discover quality, flaws, strengths, weaknesses, and latitude in detail. It is completely responsible to thoroughly test equipment and then decide whatever works best for you.
The point of these articles and videos is to inform users of the quality and changes to their equipment with this new codec and arbitrary removal of CinemaDNG. I have said it over and over BRAW is equal, in quality, to Prores HQ and many people enjoy and solely shooting Prores which is fine. But we must not mistake BRAW as an equal of CinemaDNG because that is unrealistic and contrary to the facts. Using the argument that Prores was used in “….place blockbuster movie title here….” so it’s good enough for me is a defense from the absurd.
The debate over the codecs has become heated and even some users have used vulgarity and threats on both sides which is completely uncalled for. Differences and preferences are a human right but negatively attacking or bullying people online is wrong. I have seen a surge in forums and groups and we should take a stand against that behavior. We can agree to disagree. Filmmaking is a creative art and should not venture into destructive acts, words or behaviors.
Keep the magic alive,
MT
editor/founder
My initial impression of BRAW was negative because it came at the cost of CinemaDNG and coupled with a “raw” codec that is softer/less detail/less sharp resulted in my reaction as an epic fail. I know many people want to argue a softer image is more cinematic and blah blah blah but the point is the image quality HAS changed and whether it can be improved in post is a whole other can of worms. Some are swearing they will not update their firmware which demonstrates the real concern for users who want the best performance from their equipment. It’s equivalent to having a car with 200 hp and you take it to the shop and it now has 195 hp would that really make you happy? Oh but there is now more room in the back seat?! HAHA, same difference.
Many others on forums and groups spouted the same frustration that was directed to another camera company for pressuring through litigation or the threat of litigation to remove CinemaDNG from our beloved BMPCC4k. What a strange reason to finally receive BRAW.
Did BMD really create a camera that was so damn good that one of the “big boys” who sell their camera box alone for $30k was threatened? Did BMD blink and quickly release BRAW and remove CinemaDNG to avoid or stop litigation?
Needless to say, I was frustrated that CinemaDNG was gone with firmware update 6.2 and all I had left was Prores and BRAW (I never use Prores!).
So on a rainy day in Southern California and a canceled shoot I decided to do further testing and here are the results. Please let me know your thoughts on the new codec. Keep in mind the focus was on the center of the chart.
I may upload the files for download…
MT
editor/founder
In this world of filmmaking lenses are believed to contain some of the magic of what is commonly referred to as “look”. But can you really tell different lenses apart by simply looking at the end result? Can you tell the difference between primes, cinema primes, and zooms? Sometimes the difference can be a couple hundred or thousands of dollars.
A quick note about what was used on the short film. Since the filming would take place at night in various lighting conditions and distances different focal lengths were used. This was extremely challenging considering all the other factors outside of my control in a live performance.
Here are some of the lenses that I use and each have been renowned for their “looks” but not all of them were used for this short film. I have the legendary photography prime Voigtlander 17.5mm f.95. The cinema prime SLR Magic 25mm f.95. And now enter the EF APS-C zooms: Tokina 10-20mm f2.8, Sigma 18-35mm f1.8, and finally the big guns Sigma 50-100mm f.18. The EF lenses are paired with the Viltrox EF-M2 .71x focal reducer.
The short was recorded in film, 24fps and 60 fps, 4k dci, raw 4:1 and fully edited in Davinci Resolve 15. The Moza Air 2 gimbal was used with handheld and a majority on a monopod.
So now let’s look at some stills and see if you can decipher which lens was used. Please comment below.
We are happy to have teamed up with Nopalero Studios to direct and edit this short film about East LA singer Frank Barajas. The performance and interview were filmed at Turnbull’s Tavern in Whittier, CA. Only natural available light was used. Camera was used on a gimbal, handheld and monopod.
Thank you Frank, Turnbull’s Tavern, patrons and my lovely wife. What a great time.
Tech specs
camera: Blackmagic Pocket Cinema Camera 4k
gimbal: Moza Air 2
microphone: Rode Videomic Pro
codec: CinemaDNG Raw 4:1
edited on Davinci Resolve 15 and rendered with Handbrake
Here is a brief look at how cinematic the BMPCC4k can be utilizing the Voigtlander 17.5mm .95 and SLR Magic 25mm .95. This was the first time shooting a live sports event with these legendary lenses and I learned a tremendous amount. I typically only shoot in the studio with these lenses. The DOF was extremely shallow. ALL HANDHELD and monopod!!
details:
Please post a comment and let me know your thoughts. Make sure to like and subscribe to this blog for the latest news and updates.
Keep the magic alive,
MT
founder/editor
I decided to take a closer look at how the BMPCC4k dual iso can handle lowlight and the results are truly amazing! Not only did I test iso 400, 3200, but also 6400 and 12800. I performed light noise reduction and the results must be seen to believe.
Specs: 4k dci, Raw 4:1, 24 FPS
Lens: Sigma 18-35mm @18mm 1.2
Keep the magic alive,
MT
editor/founder
I got an email from BMD this morning and wanted to pass on the great news that Davinci Resolve has been updated and could be signal that Blackmagic Raw will soon come to the BMPCC4k. Let’s keep our fingers crossed and until then update Resolve for additional features.
Keep the magic alive,
MT
editor/founder
From BMD
Blackmagic Design Announces DaVinci Resolve 15.2
Major new release adds over 30 features customers have asked for including even faster editing, visual keyboard customization, new beauty correction tools, audio mastering plugins and more!
Fremont, CA – November 14, 2018 – Blackmagic Design today announced DaVinci Resolve 15.2, a major update to its editing, color correction, visual effects and professional audio post production software. DaVinci Resolve 15.2 has been designed based on feedback from professional customers around the world. It includes over 30 new features that simplify and streamline everyday tasks so editors, colorists and sound engineers can work even faster.
DaVinci Resolve 15.2 is available today for immediate download from the Blackmagic Design website. DaVinci Resolve 15.2 will also be demonstrated on the Blackmagic Design InterBEE 2018 booth at #8216. A video showing these new features can be viewed on the Blackmagic Design website at www.blackmagicdesign.com
The editing timeline in DaVinci Resolve 15.2 draws at a higher frame rate which makes editing and trimming feel faster, more responsive and more fluid than ever. In addition, new animations have been added so clips slide in and out of position, making it easier to see exactly how different edits affect other clips in the timeline.
Visual dup detection lets customers see when the same clip has been used more than once. In addition, clips displayed in the bin now display usage indicators for the current active timeline. White vertical lines highlight the currently marked portion of a clip, while red horizontal lines show which frames are used. The timeline can also be cleaned up by flattening down unused clips, and timecode entry has been simplified throughout the application.
DaVinci Resolve 15.2 also adds features that make pancake editing, which is the editing of clips between multiple timelines, much easier and faster than before. Timelines or compound clips can now be loaded into the source viewer and edited into the current timeline in their decomposed state. Most importantly, editors can tap the X key to instantly mark a clip in the source timeline and edit that clip directly into the active program timeline.
The inspector, on-screen controls and metadata viewer on the Edit page now automatically update to show the relevant information for the highest visible clip under the playhead. That means customers no longer have to manually select a clip to change a parameter.
Keyboard customization has been completely redesigned in DaVinci Resolve 15.2. The new visual interface lets editors quickly see which keys are in use and assign shortcuts. The included keyboard sets emulate other popular editing applications, making it easier for editors switching to DaVinci Resolve. Keyboard sets can be shared between systems and shortcuts can now be assigned to different pages and user interface panels within the application. Shortcuts can even be assigned to commands in contextual pop-up menus. New highlights make it easier to see which portion of the interface is active so customers know which keyboard shortcuts they can use.
DaVinci Resolve 15.2 also includes new ResolveFX plugins. The Blanking Fill plugin automatically fills black letterbox or pillar box areas of the screen with defocused video. This makes it easier to use vertical video or photos in standard widescreen timelines because customers no longer have to manually create a background. The new Beauty plugin is designed to gently and realistically smooth textures and blemishes on skin and other surfaces. Colorists will also find new plugins for ACES transformations and limiting gamut. In addition, colorists can now bypass mixer node inputs by turning off connected nodes and can export gallery stills with custom label names.
The Fairlight page includes dozens of refinements along with new FairlightFX plugins that make fixing common problems and mastering final audio faster and easier than before. The new Stereo Fix plugin features presets for the most common channel mapping operations so clips can be fixed with a single click. This lets customers quickly fix problems such as dual-channel mono dialogue that was edited in stereo tracks.
The new Multi-band compressor features realtime spectral analysis and four different independently adjustable frequency bands. This lets customers achieve the desired overall volume without creating artifacts when mastering sound. The Fairlight page also adds new VCA groups for ganging channel strips together. This makes it possible to adjust the gain on multiple tracks simultaneously.
Since it was announced at NAB last April, Blackmagic Design engineers have been listening to feedback from professional customers around the world and have been working hard to add the features they need. Over 110 new features have been added to DaVinci Resolve since April.
“The momentum of DaVinci Resolve and the speed at which it’s being adopted is incredible,” said Grant Petty, CEO, Blackmagic Design. “It’s exciting because many of the new features in DaVinci Resolve 15.2 are things that will make a difference to artists that use it each and every day. This is a massive release that customers are going to love!”
New features added since the release of DaVinci Resolve 15
Edit
Fusion
Color
Fairlight Audio
Deliver
Collaboration
General
Availability and Price
DaVinci Resolve and DaVinci Resolve Studio 15.2 are now available for download from the Blackmagic Design website free of charge for all current DaVinci Resolve customers.
Press Photography
Product photos of DaVinci Resolve 15, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com
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