This allows you to use Super 35mm Cinema lenses with optional adapters, which. Anyway I enjoy using this camera because the video quality is really superb. And covered myself with double system audio and a second camera, a BMD. What color spaces besides REC709 are available on this camera (like LOG)?
Blackmagic Production Camera 4K Footage Blackmagic Production Camera 4k. The Blackmagic Production Camera 4K footage is finally here! This is a short sample of some of the first footage I’ve captured with it.
The camera offers some wonderful potential for beautiful imagery. My first tests were shot in the BMD Film log profile to ProRes. Although the camera will be capable of shooting RAW after the next firmware update, BMD Film log to ProRes is a proven workflow for master quality final output. However, I certainly AM eagerly awaiting the firmware update. Everything in this sample has been graded in Final Cut Pro X using custom LUTs developed in DaVici Resolve via the LUT Utility from Color Grading Central.
A variety were used, however, I mostly wanted to get the footage close to the rec 709 color space rather than explore specific looks. The camera is speced out at 12 stops of dynamic range, which is one less than the 13 the other three Blackmagic cameras have. However, it’s still quite a bit of latitude. In particular, I was impressed with the ability to crank the luma all over the place.
The Roanoke Valley overlook at:32, was shot just after sunset. I had missed magic hour and the sun was completely behind the mountains, however, I was so excited to finally have the camera that I headed up Mill Mountain to the Star anyway. After bringing the footage into the edit, I started pushing it around and found a luminance level I liked. From there I started adding back in the color from the sun coming from behind the mountains. I was satisfied with what I ended up with when I noticed some graininess.
I was a little disappointed. I then realized I had pushed the luminance levels to where I thought I was working on a clip shot in full daylight! I actually tricked myself! The dynamic range is so forgiving that I inadvertently created a “night for day” shot. What’s in the final sample here has been backed down to represent the actual time of day though, which effectively dealt with the grain. Another aspect of the camera I’m so pleased with is the global shutter.
A global shutter exposes the entire sensor at the same time, whereas a rolling shutter exposes the sensor from top to bottom. CCD sensor cameras of years past have a global shutter. Most current CMOS sensor cameras, including RED and Arri Alexa, use a rolling shutter. (RED has recently developed a new lens mount called the “Motion Mount” which effectively turns their cameras into global shutter cameras and Arri has developed a sensor that fires fast enough to significantly reduce the effect). In most situations this is not always a problem but when the camera pans somewhat fast, or there is fast action, the effect of a rolling shutter is to skew the image from side to side.
This becomes a problem for compositing in post production when an object needs to be tracked. CMOS sensor cameras, like all Blackmagic cameras, typically have a rolling shutter. I’ve shot with CMOS cameras so long that the rolling shutter artifacts and “jello” image have become things I’ve learned to shoot around and deal with in post. I immediately noticed the difference when shooting with the BMPC 4K (which is the only Blackmagic camera using a global shutter).
Quick pans don’t produce the side to side wiggle that most CMOS cameras produce. Hand held shots feel more steady with a global shutter, even though they aren’t. These two features, high dynamic range and global shutter, go a long way in creating an image that recaptures the familiar temporal aspects of plastic film. Digital acquisition and data management enables us to call what we do digital film production. Expect more samples soon and Cinema DNG tests when it becomes available. I’ll also be using the camera on its first commercial gig next week and I’ll post the final results and impressions ASAP!
Got a problem with Davinci Resolve 12.3.2.008 Win7 I shoot RAW with my Canon 50D and convert to DNG using ML MlRawViewer143. In Davinci Resolve i set the White Balance to Costum Color Space = BMD Gamma = BMD Film 4.6K With the new DNG Files. I cannot select 'BMD Film 4.6K' anymore. And with the old files. If i switch to Rec709 and than set the color space to 'BMD' again.
I also cannot choose BMD Film 4.6K anymore. Only 'BMD Film'. I graded all the footage using 'BMD Film 4.6K'. So i have to use it. EDIT: maybe it has something to do with an update from and older Resolve 12 Version.
In the old Version i could select BMD Film 4.6k. And in the new version not. (but the program is so smart to keep the 4.6k files in that 4.6K 'Gamma' space mode) It would be helpfull if someone can tell me if he can use 'Gamma = BMD Film 4.6K' in Resolve 12.3.2.008. I came across a similar issue pre-12.5 and according to BMD it's to do with 'valid' gamma settings Ref:. (not my post but the OP had the same issue) You can see all gammas when you first import the DNG files for legacy reasons but once you change the settings and save the project it will remove the other options (probably a flag in the database!?) - I'm still unsure why that happened but then 12.5 came out with enhanced RCM and OFX. You have 2 options: 1) Update to 12.5 and use the OFX colorspace plugin on every clip (add a node for the plugin before your grade nodes). 2) Stick to 2.3.2.008 and, with BMD Film debayer selected for each clip, add nodes with the 'BMDFilm to Linear' and 'Linear to BMDFilm4.6k' luts before every grade for every shot.
This should work because you selected BMD Film gamut previously even though actual BMDFilm 4.6k has different primaries. @GutterPump - Cinelog-C is really for use with DaVinci YRGB colorscience as it was developed before RCM was added to Resolve. If you want to continue using the Cinelog luts you should use YRGB color science (in the main settings panel) and check that the workspace is set to BMD Film, then just work as before. RCM and the OFX colorspace plugin can perform the same function as the BMDFilm4k to Cinelog-C colorspace lut but you need to setup the workspace, however, as the poster of this topic pointed out, his raw settings became inaccessible so for safety reasons I would suggest only using BMD Film gamma, not 4k or 4.6k - the other options are there specifically for use with the BM Production 4K and URSA cameras and could disappear.