BMPCC4k Anamorphic Review Hypergonar 16 STOP, Kowa 16s & Sankor 16d + Carl Zeiss Jena 50mm f1.4

As many of us had our lifestyles changed due to the dangerous Corona Virus outbreak worldwide I hope this video can inspire and take your mind off of it for a little while. My prayers, thoughts and concern are for your wellbeing. Stay safe and healthy.

I am officially addicted to anamorphic but unfortunately cannot afford the $3,000-$100,000 to purchase a modern anamorphic lenses such as Vazen, Atlas Orion or Arri Master Anamorphics so I am on the path of using and adapting vintage anamorphic scopes that were originally designed for projectors.

This review is the behind the scenes of the testing that I do to select the proper scope and taking lens combinations. The footage at the end was not sharpened and there was no noise reduction applied just basic curves, contrast and saturation to give you an idea of how the setup works in real life, also it was all shot handheld. and some shots are not in total focus LOL.

Gear used: BMPCC4k Passive adapter Carl Zeiss Jena 50mm f1.4 Rapido technology & RAF Camera adapters Hypergonar 16 STOP anamorphic scope Kowa 16s anamorphic scope Sankor 16d anamorphic scope shot at 4k dci, CinemaDNG Raw, cropped 2.76:1

Coming Soon: Shocking Truth BMPCC4k v Red Gemini 5k plus CDNG v BRAW v Redcode

I had a busy weekend shooting and took a few minutes to shoot this for my own education and I am truly shocked at the results and decided to share it with you. This post is a heads up and hope to get around to making a video review this week but my plate is full shooting and editing. I may possibly have the clips available to download if I get enough interest.

Before you ask where are the human models, sunsets, and blown out/underexposed backgrounds sets I did not have time and quickly popped into the studio after a shoot for a controlled setting test. A few quick props with color and definition work fine but if anyone out there wants to sponsor a test with models then you can contact me and I will make it happen : )

Keep the magic alive,

MT
editor/founder

Old News! BRAW Is Soft With Aliasing vs CinemaDNG. Proof! Poof!

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.

click photo to enlarge
click photo to enlarge
click photo to enlarge
click photo to enlarge

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

Quick Look: CinemaDNG vs Braw! Firmware 6.2

Today BMD just released firmware 6.2 with great applause then shocking news that CinemaDNG would be removed in exchange for Blackmagic Raw. I decided to conduct a quick test in the studio with a more in-depth video coming soon but the results are the results. At this time there is many rumors that you cannot downgrade back to 6.1 to retain CinemaDNG in place of BRAW but nothing is confirmed.

Apparently there is some sort of patent case pending and BMD believed it would be easier or beneficial to remove and replace CinemaDNG from the camera to avoid litigation. But how good is BRAW? How much space is gained on your hard drives? Let’s take a quick look.

test specs: Viltrox ef-m2, Sigma 18-35 @24mm 1.8 f, iso 400, 4k dci, film, 24 fps. Gamma changed to extended video and zoomed in about 100% no other changes or corrections in Davinci Resolve. Superman is slightly underexposed and another part of the shot is overexposed but is cropped out with the zoom. There is also a color chart but not visible once again with the zoom.

click to view full photo
click to view full photo
click to view full photo

As you can see the BRAW codec is softer and further testing will be done to demonstrate how far it can be pushed in the highlights and shadows. One major change has been the media space with BRAW!

Make sure to subscribe to this blog to receive notifications on all articles and tests!

Keep the magic alive,

MT
editor/founder

Cinematic AF! Voigtlander 17.5mm .95 & SLR Magic 25mm .95 BMPCC4k

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:

  • both lenses shot wide open .95
  • iso 3,200
  • codec Raw 4:1, 60 FPS
  • film
  • 4k dci
  • edited in Davinci Resolve 15, correction and slight grading.

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

Iso & Noise!!! Let’s test the BMPCC4k in LOWLIGHT!

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

Resolve 15.2 Update!

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

  • High frame rate timeline refresh with animations.
  • Visual keyboard customization.
  • Support for custom shortcuts in different parts of the UI and contextual menus.
  • Highlight indicators showing active portion of interface.
  • Live save and backup support for new, unsaved projects.
  • Import and export dialog boxes now remember last used location.
  • Undo history available in edit menu.
  • Keyword dictionary management tool.
  • Duplicate frame detection with visual indicators on clips in the timeline.
  • Clean up timeline feature to remove and flatten unused clips.
  • Simplified timecode entry.
  • Clip usage and marked range indicators in media pool icon view.
  • Split dual pane media pool option on edit page.
  • Shortcut for editing compound or nested timeline source clips into current timeline.
  • Inspector, overlays and metadata view now update based on highest clip under playhead.
  • Dynamic zoom automatically turns on when on screen controls are moved.
  • Temporary snapping toggle while dragging.
  • Maximum number of characters per second setting for subtitles.
  • Subframe audio transition editing.
  • Blanking fill ResolveFX plug-in automatically fills frame for clips with different aspect ratio.
  • Match frame for the selected clip in the timeline (for a stack of two clips that intersect the playhead).
  • Create subclass from media pool markers.
  • Add flags to clips in media pool.
  • Show source timecode overlays for audio and video tracks in the timeline viewer.
  • Keyframing for OpenFX dropdown and checkbox based parameters.
  • Show clip marker annotations on the timeline viewer.
  • Create clip annotations for a selected clip on the timeline from the timeline viewer.
  • Display marker annotations and overlays for the selected clip marker under the playhead.
  • Delete transitions across clips when one of the clips is deleted.
  • Swap clips in the edit timeline using cmd/ctrl+shift and dragging.
  • Perform insert and swap edits by holding cmd/ctrl+shift while dragging clips from the media pool or source viewer.
  • Custom clip colors for subtitle elements.
  • Insert nested and compound clips in decomposed state during edit operations.
  • Keyword support added to clip and timeline markers.
  • Marker keywords column on the edit index.
  • Display multi-cam angle name in the timeline and source viewer.
  • Clip level panning in the edit and Fairlight inspectors.
  • Export subtitles from timeline track context menus.
  • Export the current subtitle track in the timeline from the file menu.
  • Constrain motion with shift key while modifying title, transform and dynamic zoom viewer overlays.

Fusion

  • Create new Fusion compositions independent of the edit timeline.
  • Saver nodes and loader nodes.
  • ResolveFX plugins on the Fusion page.
  • GPU accelerated OpenFX plugin support.
  • Temporal OpenFX plugins.
  • Frame range sliders automatically scale to render range.
  • Console dialog now accessible from all pages.

Color

  • ResolveFX ACES transform plug-in.
  • ResolveFX gamut limiter plug-in.
  • ResolveFX beauty smoothing plug-in.
  • Bypass mixer node input by turning off connected nodes.
  • Support for exporting gallery stills with custom label names.
  • Tool usage badges.
  • LUTs can be applied on compound nodes.
  • Shared nodes can be converted to a corrector node.
  • Change clip color from the thumbnail context menu on the color page.
  • Display multi-cam angle name on color page clip information.
  • Support for ResolveFX and OpenFX static keyframes in the color page.
  • Hard clip option in the tone and gamut mapping sections of color space transform ResolveFX.
  • Access and select between multiple inputs for OpenFX nodes.

Fairlight Audio

  • FairlightFX multi-band compressor.
  • FairlightFX stereo fixer.
  • Support for modifying transitions created on edit page.
  • Navigate timeline by typing timecode.
  • Darker clip colors for modified clips.
  • Support for adding FairlightFX to multiple select clips at the same time.
  • VCA grouping for ganging channel faders together.
  • Audio ducking using side chain compression in track dynamics.
  • Search field in the Fairlight page track and marker index.
  • Default audio crossfades changed to 0dB.
  • Reset command for edited audio samples in a clip.
  • Round trip audio clips to third party audio processing applications.
  • Cache clips with FairlightFX and AudioFX.
  • Bounce clips with FairlightFX and AudioFX to a new layer.
  • Paste attributes for audio tracks.
  • Remove attributes for audio tracks.
  • Solo-safe for audio tracks and buses by cmd/ctrl-alt-clicking solo buttons in the mixer.
  • Fairlight FX soft clipper.
  • Sub-bus and aux-bus routing in nested timelines.
  • Automatically disable source audio clips after bouncing audio effects.
  • Show source timecode overlays for audio and video tracks in the timeline viewer.

Deliver

  • Added support for exporting alpha when rendering TIFF files.
  • Added support for encoding at maximum bit rate for Kakadu JPEG 2000 when rendering DCP and IMF in DaVinci Resolve Studio.
  • Added support for Kakadu based lossless JPEG 2000 encoding in DaVinci Resolve Studio.
  • Improved performance when rendering H.264 clips on Windows.
  • Added support for rendering with Dolby Vision/HDR10+ tone mapping applied.
  • Added support for modifying the filename field in the deliver page.
  • Added support for delivering supplemental IMF packages with versioning metadata for frame replacement and shot replacement workflows.
  • Added support for importing IMF packages and supplemental compositions as timelines.
  • Added support for encoding per frame timecode metadata in Grass Valley HQ and HQX clips.
  • Added support for Photon validation of IMF packages in the media pool and in the render settings in the deliver page.

Collaboration

  • Support for collaboration across different network subnets.
  • Support for Fusion in collaborative projects.
  • Adding or modify markers without locking a bin.
  • Indicator for clips with color grading and Fusion comp updates on edit page.
  • Command to refresh single clip or all clips on edit page.

General

  • Supports hardware accelerated decode of long GOPonic AVC clips on NVIDIA hardware.
  • Supports stereoscopic 3D multi-view EXR files.
  • Improved scripting with ability to add and query markers, flags and clip color metadata.
  • Support for storing alpha channel when caching to uncompressed 16-bit float – HDR.
  • Support for storing alpha channel when caching to uncompressed 10-bit float formats.
  • Support for caching compound clips, Fusion clips and nested timelines.
  • Support for tetrahedral 3D interpolation in DCTLs.
  • Support for ACES 1.1.
  • Processing Fusion compositions in linear gamma in color managed and ACES workflows.
  • Copy and paste actions for Dolby Vision trim data in the application menu.
  • Alt/option + middle click to copy Dolby Vision trim metadata for the current target display.
  • Alt/option + shift + middle click to copy Dolby Vision trim metadata for all target displays.
  • Clip thumbnail indicator can show clips analyzed for Dolby Vision and HDR10+.
  • Support for importing clip markers from a Final Cut Pro 7 XML file.
  • Support for preserving bin hierarchy when importing media and metadata from a Final Cut Pro 7 XML file.
  • Support for importing marker colors and duration markers on clips when importing media using FCP7 XML files.
  • Support for exporting subtitle files in project archives.
  • Support for automatic generation of MD5 media hash lists from clone tool operations.
  • Display audio channel names in clip attributes.
  • Show clip color indicator on media pool thumbnails.
  • Change clip color from the application menu on the media, edit and color pages.
  • See bin name in the title bar of a floating media pool bin.
  • Add information about synced audio name option, audio channel metadata.

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

What’s new in Blackmagic Camera Setup 6.0

Improvements for URSA Mini Pro

  • Improved ISO range on URSA Mini Pro.
  • Improved in camera playback.
  • Improved status display info for off-speed.
  • Improved responsiveness of color corrector.
  • Improved timecode support.
  • Improved metadata support.
  • Improved shutter metadata.
  • Add HDR metadata support in SDI stream.
  • Add 2:1 monitoring frame guides.
  • Add ability to lock timecode from SDI Input.
  • Add frame guide options in SDI Camera Control Protocol.
  • Fixed LCD clean feed record indicator bug.
  • Fixed stills bug.
  • Updated URSA Mini and SDK manual.

New features for URSA Viewfinder

  • Add Generation 4 Color Science.
  • Add 4.6K Film to Extended Video LUT.
  • Add support for 2:1 frame guides.
  • Improved anamorphic frame guides.
  • Improved false color.
  • Fixed Extended Video 6.0 Beta LUT bug.
  • General performance improvements.

New features for URSA Studio Viewfinder

  • Add Generation 4 Color Science.
  • Add 4.6K Film to Extended Video LUT.
  • Add support for 2:1 frame guides.
  • Improved anamorphic frame guides.
  • General performance improvements.

A Couple Dollars A Month Keeps BMPCC4k User Tech Blog Going!

I need your donations to continue writing, filming, and creating content focused on the Blackmagic Pocket Cinema Camera 4k. I am a one man crew that dedicates many hours to create content for users looking for knowledge and information for this innovative camera. Only with your support can I continue to create the tests, reviews and in-depth articles about the BMPCC4k. 

I have owned the BMPCC4k since October 15, 2018 and immediately starting doing in-depth tests to discover the potential and performance of this amazing camera. Hence, the blog was born so I could share my user knowledge of the camera. 

www.BMPCC4k.tech
 is the first user tech blog dedicated to the Blackmagic Design Pocket Cinema Camera 4k. I publish articles, videos, how-to’s, news and reviews of anything and everything relating to the innovative BMPCC4k. 

Donate safely on Patreon Today!

Keep the magic alive, 

MT
editor/founder

A Surprising Cage For The BMPCC4k! SmallRig cage and handle

I took a look at the SmallRig BMPCC4k cage 2203 and handle 1638. I was very surprised by the results with the cage and handle at an astonishingly low price of $88! Currently the cage is on sale for $69 (regular price $99) and the handle is $19. You get a total of 89 potential screw mounts on the cage and handle combined! 

You must watch the video! 

Keep the magic alive,

MT
editor/founder

Which Cage Is Best For BMPCC4k?

Once you have the BMPCC4k you either want to protect your investment with a cage or have a cage system that will allow modular options for a full and complete setup. Currently most cages are available for preorder and a few are on the market but I am sure they  will fill your needs.

Not only will it boost the functionality by allowing battery, microphone, SSD, and other accessory mounting options but will give you a full on “professional” setup. The BMPCC4k transforms from a photography form factor to a cage system that can be rigged up for indie and Hollywood sets!

Here are a few of the cages that offer many options for the BMPCC4k.

http://www.8sinn.com/index.php/8sinn-bm-pocket-cinema-camera-4k-cage.html
http://seercam.com/shop/preorder-cube-p4k/
 estimated ship date 11/8/18 /https://www.smallrig.com/

By far the most comprehensive modular cage system, to date, is available from Tilta. They have not started to take preorders yet but once they do I believe they will be the go to cage for beginners and experienced BMPCC4k users.

https://tilta.com/2018/10/29/first-look-at-the-camera-cage-for-bmpcc-4k/

Whatever option you choose, plan for the future and not just “right now”. There are plenty of other smaller cages and half cages but these are the ones that have great options.

Keep the magic alive, 

MT
editor/founder

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