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Blackmagic Cinema Camera (2,5 k y Raw por 3.000$)


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Y ahorá qué:

 

Esto sí que es una bomba. Viva la competencia!!!!

 

Feature highlights include:

 

•13 stops of dynamic range

•Large 2.5k sensor

•Integrated solid state drive recorder (SSD)

•Ability to capture CinemaDNG, RAW, ProRes and DNxHD files

•Touchscreen for metadata entry

•Compatibility with EF and F mount

•SDI and Thunderbolt connectors

•Includes a FULL copy of DaVinci Resolve and UltraScope software

 

Fuente:

 

http://johnbrawley.w...t-from-the-top/

 

Fijaos qué preciosidad de bicho: http://www.blackmagi...iccinemacamera/

Edited by Birux
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Yo sigo esperando el Cinexin 4K, tiempo al tiempo :D

 

 

Un poco más de info del proyecto de BlackMagic: Blackmagic Cinema Camera – Let’s take it from the top

 

1.jpg?w=640&h=480

 

It’s a once in a lifetime chance to be involved with something as big as this. I was approached in late 2011 to be a part of something that every cinematographer dreams of…building a new camera.

 

I’ve known the guys and owners of Blackmagic since they started the company (and also the company before that)

 

BMD Engineering Test Shoot. Camera has a Zacuto Rails setup, Arri FF and Mattebox.

 

BMD have always been a post company. And they’ve been incredibly successful, literally revolutionising and enabling a whole new generation of filmmakers and producers of media. Their model of really high quality and incredible low cost meant they quickly became leaders in the field. They have alway gone for uncompressed and high end for ridiculously low cost. I’d hate to be in competition with them !

 

I was actually at the service of my great mentor John Bowring when I bumped into them. They’d recently acquired DaVinci and adapted their model to it. As a cinematographer, it was great to see a tool I’m so familiar with, the awesome colour correction tool that DaVinci is, get a new life, thanks to BMD.

 

I joked with the guys that they should look at doing a camera, now that they had all the post pathways to do a RAW based camera. Just before Xmas I was summoned to the BMD offices for a special presentation. I’d have to sign the usual NDA’s. At the time, I’d actually been pestering them to do an Arri RAW recorder for the Alexa. I assumed that’s what they were going to show me.

 

I couldn’t have been more wrong. What they showed me totally blew me away….

 

BMD aren’t just a company that does post production gear anymore. They are very firmly in the business of doing production gear.

 

Starting with the Blackmagic Cinema Camera, BMD are now a camera company.

 

I was handed a prototype of the camera and I saw a powerpoint presentation detailing it’s very impressive specs. The real jaw dropper was the price. It was kind of ludicrous. I didn’t know where to start. The body shape of the camera took me a while to come at. It was fairly unconventional and radical.

 

BMD Engineering Shoot

 

After a while, I started to think of it as being ultra cool, something between modernist and retro. It felt pretty good in my hands. It was certainly solid and hefty. I wondered about it’s ergonomics, but in a way, it’s simple shape and elegance are it’s strength. It could easily be pimped up if you want extra handles, mounting brackets shoulder rigs etc.

 

In fact, it really was a simple as a camera could be. A box, with a screen, a sensor and a lens mount. It doesn’t get more basic than that does it ?

 

Everything else can be added…if you want…or you can go simple and naked.

 

It’s worth mentioning who I think will love this camera. In a way, this is not a camera for DOP’s and working cinematographers like me. This is a camera for the masses. This is a camera for everyone that’s bought a canon 5Dmk2 or a GH2 and wanted more than what a “consumer” camera can do. This is a camera for those that can’t afford a scarlet or EPIC or a C300.

 

The main sticking point for these dSLR consumer cameras is their data-rate limiting bottleneck of compression.

 

Compression and bit depth is the natural enemy of awesomely grade-able pictures. As anyone who’s tried to grade .264 originated material knows…it’s great if you’re happy with what comes out of the camera, but as soon as you want to “do” anything with it, then you’re really screwed.

 

“do” anything could mean, simple or complex grading. Pulling a secondary, doing a key, or any kind of layered VFX work. It’s a compromise….big time.

 

So now there’s even a big market for data based external recorders that can record either the HDMI or SDI if it has it out of the camera and to try and have less compression. In fact, even BMD do one of these recorders, the Hyperdeck Shuttle.

 

BMD Engineering Test Shoot.

 

The camera itself has a 2.5K sensor. Now I can feel a bunch of you rolling your eyes at the camera being a “mere” 2.5K. The truth is, and this has been borne out by some recent tests I did in preproduction for a film I just shot, resolution counts, but dynamic range and compression count more.

 

I’d done a shootout between an EPIC @ 5K and an Arri Alexa, in both RAW@2.6K and ProRes (1.9K), and none in the cinema could pick the graded ProRes from the EPIC on the first viewing. After multiple viewings, you could start to see very small differences in resolution.

 

Let’s not forget that the benchmark drama camera right now is the Arri Alexa. A camera which has a sensor resolution that’s about the same as this camera.

 

And most of the work it’s doing in my part of the work is lowly HD 1920×1080. The truth is, Alexa is a camera with a slightly oversized sensor size gives you a really nice downscale to 1920. And that’s just what this the Blackmagic camera does. It’s an oversampled 1920 and this gives still puts a lot of resolution in your hands. Just take a look at the “Bondi” clip below. Notice, even when replaying from vimeo, there’s a lot of fine detail in the sand and in the buildings in the background.

 

Having shot extensively with the EPIC and RED in drama and episodic TV, the 4K files are nice if you want to blow or crop a frame, but usually they don’t really make very much difference to the end result. Dynamic range counts for more than pixels for most of the work I do.

 

BMD Engineering Shoot.

 

The same thing happened with the megapixel race in photographic cameras. Marketers chase numbers because consumers think it’s an easy way to compare. Just let your eyes be the judge. Yes 4K and beyond will sometimes make a difference, but rarely for a TV, broadcast or computer screen. The only time it makes a difference is on the really big screen, and even then, it’s only a slight improvement.

 

WORKFLOW – What is RAW ?

 

OK, so there are two ways to shoot with this camera. RAW, or ProRes.

 

Now before we go on, I want you to realise how significant this is. We’re talking about a camera that does RAW and uncompressed. For just $3000 bucks. Insane.

 

Having an uncompressed and RAW workflow is really amazing because it gives you back the power to finesse your images with a lot more control. You have so much more working range because a RAW workflow basically captures the images from the sensor and doesn’t really “do” anything to them. You can choose how they look. You as the user get to decide how far to push the look along.

 

Cameras like the 5Dmk2 or the C300 can be loaded with “logish” picture profiles, but you’re still limited by how much data there is for each frame. This camera doesn’t throw any of that information away to try and compress it into a smaller file size. It’s all there for you to use if you want it.

 

DaVinci Frame Grab

 

If you don’t want that extra step of grading and transcoding your RAW images, that’s fine too. You can “shoot to edit” by simply shooting ProRes. You can even choose a LOG or 709 version of prores. If you really want to be able to take the files straight from the camera and use them straight away, you can !

 

The camera produces really nice ProRes files that look pretty damn good straight out of the camera (and I promise I’ll show some soon!), without grading. In this way, the camera is definitely faster to use than a h.264 style camera, because you’re shooting native ProRes and the files can be used right away without the messy transcoding steps.

 

Not only that, but you can enter metadata right from the camera interface that flows though to FCPX. You can basically log in the field, and they are embedded in the camera’s files and available to FCP.

 

If you want really fast to work with ProRes files that retain the extra dynamic range of the camera, then you can choose to shoot LOG ProRes. You’ll get mild compression and a lot more files saved on your SSD’s. You get to still “shoot to grade” with the ProRes advantage of smaller files.

 

Then of course, you can choose RAW. RAW simply means you get everything the camera produces. The only thing that’s baked into this file is the white balance point. Everything else is up for grabs. There is no reducing image resolution or colour compression. You get all that information and you can choose how you want it to look with the greatest range and flexibility.

 

It’s a wonderful new workflow that’s actually been around for a while…it’s just few used it !

 

DNG. A standard developed by ADOBE for stills, and then broadened to encompass moving images as well, DNG, or CinemaDNG for the cinema version of this, is an open standard for using, storing and accessing images. Initially owned by Adobe, it’s now a freely available image standard.

 

When you’re shooting RAW, every frame is a DNG image file. That means you can open them in Photoshop, and presumably everything else ADOBE like After Effects.

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Unos videos en Vimeo

 

Blackmagic Cinema Camera - John Brawley

 

Hello and welcome to the page I've created for some early tests I've done with the new super awesome Blackmagic Cinema Camera.

 

First off, these are some of the initial tests I've been able to shoot. I will hopefully be uploading some more footage soon from the more organised tests I've been doing with BMD. Remember, these clips were shot with fairly early builds of the camera.

 

DUSK

I wanted to see how the camera would perform in low light. Again, using the EF mount "R" series Leica lenses, I went for a walk down my local street just as it went towards dusk.

It was hand held, and I only had the 35mm F2 prime. I was still able to get some pretty amazing results. A lot of people think you need super high ISO for low light, and to some degree that's true, but you still also want high dynamic range. At night time, you still want things to actually feel like it's dark, and you also often have lights on in shot. This means you have very high contrast.

 

There are also some IRIS pulls done in camera. I was trying to get my head around the exposure range of the camera. I chose an exposure that gave me the best setting in terms of DR, and then applied that grade to the entire clip so you can see how it performs as you over or under-expose the camera.

 

BEACH

On the beach, I shot these clips watching the sun go down and into night. There are a lot of colour changes and the clips are in and out of order here. It was a beautiful sunset and the colours were changing very quickly. Night here was 1600 ISO with a 360 deg shutter. Lighting by LCD screen and tally light !

 

BONDI

Taken just this weekend, I shot a few clips as it went dark over Bondi Beach. I was hoping for sunshine, but it wasn't to be. Still some lovely stuff. I was really impressed but the fine detail in the sand, and also in the background on the houses.

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Y ahorá qué:

 

Esto sí que es una bomba. Viva la competencia!!!!

 

Feature highlights include:

 

•13 stops of dynamic range

•Large 2.5k sensor

•Integrated solid state drive recorder (SSD)

•Ability to capture CinemaDNG, RAW, ProRes and DNxHD files

•Touchscreen for metadata entry

•Compatibility with EF and F mount

•SDI and Thunderbolt connectors

•Includes a FULL copy of DaVinci Resolve and UltraScope software

 

Fuente:

 

http://johnbrawley.wordpress.com/2012/04/17/blackmagic-cinema-camera-lets-take-it-from-the-top/

 

Fijaos qué preciosidad de bicho: http://www.blackmagic-design.com/products/blackmagiccinemacamera/

WTF!! :o

 

blackmagiccinemacamera.png

 

timeless.jpg

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He cambiado el orden del título, ya que el subtítulo no se lee en las versiones móvil, ni en los avisos al mail.

 

Respecto a la Camara... soy todo babas.

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Ok, Birux. Desde luego, habrá que ver pruebas, pero esto se parece mucho a la oferta inicial de Jim Janard en Red: 3K por 3.000$.

Por ahora, el único pero, es que se queda en 30P. Si llegara a 50P sería la leche!!. No obstante, sigo diciendo que parece una broma del April's Fool.

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http://www.blackmagi...mera/techspecs/

 

 

 

 

 

 

Blackmagic Cinema Camera Tech Specs

Blackmagic Cinema Camera

 

Camera Features

 

Sensor Resolution

2592 x 2192

 

Raw Resolution

12-bit RAW files recorded at 2432 x 1366

 

Shooting Resolutions

2.5K RAW at 2432 x 1366, compressed at 1920 x 1080

 

Frame Rates

23.98p, 24p, 25p, 29.97p, 30p

 

Sensor Size

16.64 mm x 14.04 mm

 

Sensor Size - Active

15.6 mm x 8.8 mm

 

Dynamic Range

13 stops

 

Focus

Focus button turns on peaking

 

Iris Control

Iris button automatically adjusts the lens iris settings so no pixel is clipped

 

Lens Mount

EF and ZF mount compatible with electronic iris control

 

Screen Dimensions

5" and 800 x 480 resolution

 

Screen Type

Integrated LCD capacitive touchscreen

 

Metadata Support

Automatic camera data and user data such as shot number, filenames and keywords

 

Controls

Onscreen touch menus and physical buttons for recording and transport control

 

Microphone

Integrated mono microphone

 

Speaker

Integrated mono speaker

 

Mounting Options

3 x 1/4" thread mounting points on top of camera.

1 x 1/4" thread tripod mount with locator pin.

 

Power

Integrated Lithium-ion Polymer rechargeable battery.

12V-30V DC port for external battery power or use included 12V AC adapter.

 

Battery Life

Approximately 90 minutes

 

Battery Charge Time

Approximately 2 hours when not in use.

 

Camera Dimensions

166.2mm by 113.51mm x 126.49mm excluding detachable sunshade and turret dust cap

 

Camera Weight

1.7 kg / 3.75 lb

 

Storage Features

 

Storage Type

Removable 2.5" SSD

 

Storage Format

Mac OS Extended format. SSDs can be formatted on any Mac or use Mediafour MacDrive (not included) on a Windows PC.

 

Storage Rates

5 MB/frame in RAW 2.5K fits about 30 minutes of 24p video on a 256 GB solid state disk. Compressed HD formats fit more than 5 times the amount of RAW video.

 

Uncompressed Recording Formats

RAW 2.5K CinemaDNG

 

Compressed Recording Formats

Apple ProRes and Avid DNxHD. All compressed recording in 1920x1080 10-bit YUV with choice of Film or Video Dynamic Range.

 

Connections

SDI Video Output

1 x 10-bit HD-SDI 4:2:2 with choice of Film or Video Dynamic Range

Analog Audio Input

2 x 1/4" jacks for professional balanced analog audio, switchable between mic and line levels.

Analog Audio Output

1 x 3.5mm stereo headphone output

SDI Audio Output

4 channels in HD-SDI

Remote Control

1 x 2.5mm LANC for Rec Start/Stop, Iris Control and Focus Control

Computer Interface

Thunderbolt port for capture of RAW video and audio.

USB 2.0 mini B port for software updates and configuration.

 

External Power

12V-30V DC port for external battery power or use included 12V AC adapter.

 

Standards

SDI Compliance

SMPTE 292M.

SDI Audio Sampling

48 kHz and 24 bit.

 

Extras

Software Included

DaVinci Resolve grading software including Resolve USB dongle for Mac OS X and Windows.

Media Express software for video capture from the camera's Thunderbolt port.

Blackmagic UltraScope software for waveform monitoring from the camera's Thunderbolt port.

 

Accessories

Detachable sun shield, camera strap, turret dust cap and 12V AC adapter.

 

Product Warranty

12 Month Limited Manufacturer's Warranty.

 

Optional Accessories

Camera Handles

Blackmagic Cinema Camera Handles

Edited by Birux
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Definitivamente si esto es verdad y el trasto cumple acaba de saltar la banca.... parece demasiado bonito para ser verdad.

¿alguien puede conseguir fotos de los cuarteles generales de canon, sony, jvc, nikon o panasonic? :D

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Blackmagic es una empresa seria y tengo la abosluta certeza de que van en serio. Algunas veces han incumplido los plazos de comercialización, pero nada más. Siempre se han caracterizado por sacar productos con una relación calidad precio rompedora. Cuando las tarjetas capturadoras en HD estaban un rango de 10.000/15.000 dólares, rompieron el mercado sacando sus tarjetas por 1.000 dólares. Creo que en el sector de cámaras de cine digital van por el mismo camino.

Así que nada, a ahorrar 3.000 euritos de nada (porque, eso sí, la política de precios del distribuidor o de quien sea es siempre la misma: 1 dólar=1 euro)

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Con el software que incluyen la cámara casi va de regalo :o

 

Extras

 

Software Included

 

DaVinci Resolve grading software including Resolve USB dongle for Mac OS X and Windows.

Media Express software for video capture from the camera’s Thunderbolt port.

Blackmagic UltraScope software for waveform monitoring from the camera’s Thunderbolt port.

 

 

Es el bombazo del NAB 2012 B)

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¡¡¡Dios, quiero 5¡¡¡ cuando sale?:lol:

 

 

Edito:

Me autorespondo, en el mail me dicen que en Julio¡¡ Brutal, van a aparecer mil videos de Hitler subtitulado (la version de Red, de Canon, de Sony etc)

Edited by MacGun
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Los de Canon deben tener la misma cara que cuando presentaron la C300 y Red presentó la Scarlet :lol:

 

 

 

Merecido se lo tienen. Como ya comenté en su día, los tres mosqueteros (Canon, Sony y -no tanto- Panasonic) viven sentados en sus tronos y sacando productos a medias y a precios escandalosos (¿Alguien se ha fijado en lo que vale un coche económoco con todos sus extras?), ahora con tanta competencia no les va a quedar más remedio que sacar grandes cámaras y a grandes precios. Menuda estupidez una Mark III por 3000 $.

 

Creo que en cuanto a captación de imagen está siendo una de los mejores NABs.

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Esperemos que la pantalla esté a la altura. Porque no veo que tenga una salida para conectarle el Zacuto u otro monitor.

Y tampoco saca fotos ¿No?

 

 

 

 

 

 

 

 

 

 

 

Si es que le tengo que buscar alguna pega que algo tan bonito no puede existir

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Llevo tres horas babeando sin cesar desde que vi el hilo con el anuncio de la cámara en dvxuser...

 

El tamaño del sensor es algo menor que un Micro4/3. Supongo que esto puede desanimar a algunos. Para mí está más que sobradamente bien. Esos 13 stops a 2.5K en formato RAW lo compensan sobradamente.

 

Si esta cámara tiene el éxito que no parece descabellado augurarle veremos otras similares de otros fabricantes.

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Estaba esperando la opinión del gurú Pol. Si el, habitualmente la voz critica -y autorizada- de este foro le da su bendición, a por ella. Realmente es la bomba. Que pena de que me coja tieso. Ahorrar toca

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Esperemos que la pantalla esté a la altura. Porque no veo que tenga una salida para conectarle el Zacuto u otro monitor.

Y tampoco saca fotos ¿No?

 

 

Supongo que puedes utilizar uno de los mini conversores SDI/HDMI de la propia Blackmagic para conectarle un Zacuto. También podrías conectarle un SmallHD DP6 con SDI directamente sin irte de presupuesto en exceso.

 

La pantalla son 800x480... Está ahí ligeramente justita pero no como para lamentarse o echar en falta desesperadamente más resolución.

 

Las fotos las haces con el iPhone, hombre.

 

 

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yo me pregunto cuanto tardará Apple en sacar una camara como esta, si un Iphone o Ipad edita video, acoplado a una camara como esta seria un locura¡¡

 

Yo tambien estaba esperando la bendicion del Pol, bueno, de todos vosotros :D ahora toca probarla y ver si no hay truco.

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