#Cinema grade review 1080p#

My main lens was a Canon 16-35mm, and then I supplemented that on the long end with a Canon 75-300mm zoom that, with the crop, was extended to a 720mm. Furthermore, because I was often shooting myself without anybody behind the camera, having the extra depth of field made maintaining focus easier on many occasions.Д«ecause of the 2.4x crop, I was forced to rely primarily on a wider lens. Most d.p.s donвЂ™t shoot wide open - they like to stop down a bit to get a cleaner image - and I found shooting wide open with the BMDCC to be roughly equivalent to that look. I honestly think that aesthetic fad is starting to wear thin (no pun intended). Regarding the Super-16 sensor, thereвЂ™s been some concern voiced that it doesnвЂ™t have the same post-5D super-thin focus some digital shooters have become accustomed to. For instance, if IвЂ™d had a MFT, I couldвЂ™ve used a Speed Booster to give me an extra stop in low-light situations, and also, it wouldвЂ™ve opened up the crop from roughly 2.4x to a more standard 1.6x, better approximating the field of view from a Super-35 sensor, as opposed to the cameraвЂ™sВ 15.81mm x 8.88mm sensor. The mount difference created several good and bad aspects. I wouldвЂ™ve greatly preferred a MFT mount, however, that was unavailable to me. But here, it smoothly clicked right into place. A lot of cameras have had me jiggling the lens around a little bit to get it set. I also really liked the lens mount, which had a beautiful, clean action to it.

Want to zoom focus? Just double-tap the screen, and youвЂ™re there. Want to change the color temperature? No problem.

All of the controls are pragmatically accessible through a touch screen. Working with the camera was as easy as any IвЂ™ve used. Another major difference is that Rec.709 is over-saturated, so in grading with it, I found myself desaturating the image - whereas with BMD Film, the color levels were so low that I had to greatly add saturation, including, sometimes, adding multiple nodes to get the levels up. Even if you choose enhanced gamma settings on Rec.709, the highlights are still always blown out, just as they are on a standard digital video camera. Doing it this way, as opposed to shooting ProRes from the start, gave me a much higher-quality image.ДЄlthough Rec.709 is the HDTV picture standard, it doesnвЂ™t take a great deal of comparison to see that the dynamic range it offers versus the BMD Film setting is like night and day. Since the RAW files were too dense for me to manage on my MacBook Pro, I settled on shooting RAW, then converting the files to 2.5k ProRes 422 for the remainder of post-production. Not only was the resolution and dynamic range superior in RAW, but I could detect some fringing in the ProRes image.

#Cinema grade review 1080p#

The first thing I did was to compare its two recording formats: 2.5k RAW and 1080p ProRes HQ. When I received the camera, I did a bunch of tests before getting started on the main project. After the Nebraska press conference, it even caught Alexander PayneвЂ™s eye, and he asked if he could check it out.

Everywhere I went with it, people either knew what it was and wanted to ask me about it, or they didnвЂ™t know what it was and wanted to ask me about it. The BMDCC is a camera that introduces itself from a distance. And I liked the DaVinci Resolve 10 workflow. I liked the size and the touch screen functionality. I spent a month with it, shooting a short film around the New York Film Festival, running around guerrilla-style, putting it through its paces, and I had a lot of fun. The Blackmagic Design Cinema Camera is pretty much the perfect post-DSLR camera. In Cinematography, Filmmaking, Post-Production, ProductionДЄdobe Premiere, Blackmagic Cinema Camera, Blackmagic Design, DaVinci Resolve