Philip Bloom: Can you TRUST the FUJI X-T4 video AUTOFOCUS? – Commentary

“This isn’t a review of the excellent Fujifilm X-T4 but a detailed look at whether the improved autofocus abilities over the X-T3 get close to the superb AF of the Sony and Canon mirrorless cameras.”

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Fujifilm X-T4 with Fujifilm VG-XT4 Vertical Battery grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens. The battery grip is essential if you need a headphone port for monitoring audio while shooting. Image courtesy of Fujifilm Australia.

Commentary

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The “best camera ever made” according to Philip Bloom. ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera with ALPA Switar 140mm cinema prime lens. Image courtesy of ALPA.

I came across this video by Philip Bloom while researching recently-released Super 35 video-capable cameras.

Autofocus capabilities of current affordable Super 35 hybrid cameras are a constant subject of discussion online, with different manufacturers achieving various degrees of success with it.

Theoretically all makers of such cameras should be able to achieve near-parity in autofocusing given time and R&D dollars, but there is a question of when and whether all current makers will stay in business until they do.

Having grown up as a photographer and videographer during the analog era before autofocusing cameras and lenses even existed, I have always seen autofocus as something of a luxury and fall back on manual focus and back-button focusing anyway.

Philip Bloom has an obsession with autofocus in video and speaks about it well and in detail.

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More substantial grip and better hardware design. Fujifilm X-H1 with VPB-XH1 battery grip and Fujinon XF 16-55mm f/2.8 R LM WR professional zoom lens. Image courtesy of Fujifilm Australia.

Meanwhile I believe it is a good idea to keep an eye on developments in affordable manual-focus Super 35 prime and zoom lenses that are native to Fujifilm X-mount or that can be adapted.

Keep an eye also on the coming Fujifilm X-H2 professional hybrid camera, successor to the under-rated X-H1, though its arrival may be some time off.

I found the X-H1 much easier to use handheld all day long than the X-T3 and its more hand-friendly design ranks alongside the X-Pro2 for ease of use and of carrying.

As for autofocus on Fujifilm cameras, perhaps the X-H2 may see it come to fruition and match if not beat that in Sony and Canon’s mirrorless cameras, along with new and redesigned Fujinon prime and zoom lenses made for video as much as stills photography.

We can only live in hope.

A “phenomenal” manual focus lens and adapter combo for Fujifilm video

Links

Meike Global: Meike 35mm T2.1 Super 35 Cinema Lens – Commentary

https://meikeglobal.com/products/meike-35mm-t2-1-super-35-frame-cine-lens

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Meike 35mm T2.1 Super 35 Cinema Prime with EF or PL mount, on Blackmagic Pocket Cinema Camera 6K. Image courtesy of Meike.

Commentary

Panasonic’s recent announcement of the amazing Lumix DC-S5 had me wondering where Meike and other makers of manual focus cinema prime lenses might be in their offerings for Super 35 hybrid and cinema cameras.

I was pleased to see that Meike, currently offering an attractive range of cinema primes for Micro Four Thirds cameras, has just announced the first of its range of cinema primes for Super 35 cameras with EF and PL mounts.

Investing in Meike lenses with Canon EF mounts gives owners of non-EF cameras the most options when adapting to L-mount cameras such as Panasonic’s 35mm sensor-equipped S-Series Lumix S5, S1H and S1, Micro Four Thirds cameras like the Lumix GH5 and GH5S, Blackmagic Design’s cinema cameras and Fujifilm’s X-mount and G-mount Super 35/APS-C and medium format cameras.

A good first cab off the rank

Meike’s 35mm T2.1 Super 35 prime is a good choice of first cab off the rank given its equivalence to 52.5mm in the 35mm sensor format, with 50mm and equivalent focal length lenses often being first choice when investing in new lens systems.

I look forward to seeing more examples of stills and video shot with this lens, given I currently don’t have a cinema lens at this focal length and that Meike is offering a decent prerelease discount right now.

I would choose the EF-mount version and then adapt it for L-mount, Micro Four Thirds mount, Fujifilm X-mount and G-mount hybrid cameras.

Meike states that its coming “Super35-Prime Cine Lens Series with industry-standard 0.8mm pitch gears on the focus and aperture ring” includes “18mmT2.1, 25mmT2.1, 35mmT2.1, 50mmT2.1, 75mmT2.1, 105mmT2.1” focal lengths.

I would love it if Meike added 14mm, 21mm and 40mm lenses as they are three of my favourite Super 35 video and stills focal lengths.

Meike 35mm T2.1 Super 35 Cinema Lens

Images courtesy of Meike.

Links

Meike Cinema Prime Lenses for Micro Four Thirds & Super 35 Fill the Chasm Left by the Demise of Veydra Mini Primes

The sudden closure of Ryan Avery’s Veydra cinema prime lens design and manufacturing enterprise several years ago created a huge gap in the affordable ciné lens market and many self-funded independent moviemakers were dismayed if not devastated by the ending of the line. 

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Meike Cinema Prime Set in 12mm, 16mm, 25mm, 35mm and 50mm T2.2 lenses with Micro Four Thirds mounts. Meike Cinema Primes in 65mm and 85mm focal lengths are coming later this year, 2020. Image courtesy of Duclos Lenses.

Luckily, HongKong Meike Digital Technology Co., Ltd has ramped up its lens division to the point where the company appears to be rivalling if not outstripping Mr Avery’s noble efforts.

Veydra, thwarted

Duclos Lenses came up with a Fujifilm X-Mount option for Veydra’s Mini Primes that can cover the APS-C format. Image courtesy of Veydra LLC.

I had been planning on obtaining my own set of Veydra Mini Prime lenses for native use in documentary production on Panasonic and Blackmagic Design cameras, spurred on by Duclos Lens’ creation of its interchangeable mount to enable using a subset of the Veydra lenses on Fujifilm X-mount Super 35mm/APS-C cameras.

Two things dampened my enthusiasm, however.

First was the sheer cost of a complete set of Veydra lenses in M43 mount along with the Duclos X-mount kits needed when adapting them for Fujifilm X-mount cameras.

Compare the cost of the Meike primes with the now discontinued Veydra primes by looking at the Duclos Lens product pages for proof of the radical price differences between lens lines.

Compare the Meike lenses’ USD400.00 average price and reported superior quality to the Veydra lenses’ USD1200.00 average price and the conclusion is clear – consider investing in a set of Meike cinema primes.

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Meike 4 Lens Cinema Prime Set 12mm, 16mm, 25mm, 35mm T2.2 for Micro4/3 MFT at Revar Cine website. Image courtesy of Revar Cine.

The current price of the four-lens set for Micro Four Thirds as above at Ryan Avery’s Revar Cine website is USD1595.00, about one Meike lens above the cost of just one Veydra lens.

At time of writing, seven focal lengths are available as Meike Cinema Primes in M43 mount :

  • 12mm = 24mm in the 35mm sensor format
  • 16mm = 32mm
  • 25mm = 50mm
  • 35mm = 70mm
  • 50mm = 100mm
  • 65mm = 130mm
  • 85mm = 170mm

A subset of the Meike Cinema Primes is available for Super 35/APS-C cameras in Sony E-mount and Fujifilm X-mount:

  • 25mm = 37.5mm in the APS-C/Super35 sensor format
  • 35mm = 52.5mm
  • 50mm = 75mm
  • 65mm = 97.5mm
  • 85mm = 127.5mm
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Meike 65mm and 85mm T2.2 Cinema Primes, listed by Meike as coming later in 2020. Image courtesy of Meike.

Whether for  M43 or Super 35 cameras, the Meike Cinema Primes provide a well-spaced and feature-matched set of focal lengths that should meet most cinematographers’ daily needs.

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The Voigtlaender Nokton f/0.95 Micro Four Thirds lens set, minus the matching and more recently released Voigtlaender Nokton 60mm f/0.95 M43 lens. Left to right: 10.5mm, 17.5mm, 25mm and 42.5mm focal lengths. Duclos Lenses offers ciné-modded versions of these stills lenses, making them more suitable for video production. Meike needs to offer a wider lens than its current 12mm.

I would very much like to see Meike release a super wide angle in the 10mm to 10.5mm range, and an 18mm moderate wide angle lens with coverage enough for M43 and Super 35.

I have written before about the need for a professional-quality 18mm lens for stills photography with Fujifilm X-mount cameras, as an alternative to Fujifilm’s quirky and semi-pancake Fujinon XF 18mm f/2.0 R.

Meike’s current cinema prime lens offering for Super 35 goes no wider than 25mm and a complete lens set needs, nay, demands, a medium wide and an ultra wide lens in the equivalent of 28mm and 21mm.

That is, an 18mm and a 14mm.

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Veydra 50mm and 25mm Mini Prime Cinema manual focus lenses with imperial or metric markings, made by Veydra LLC.

Ryan Avery had been pursuing an 8.5mm ultra wide-angle Veydra M43 lens design but eventually ruled it out due to cost and size considerations.

And then disaster struck with a break-in at the company’s lens storage facility, followed by a court case with Mr Avery’s Veydra business partner.

Matthew Duclos of Duclos Lenses recently shared all he knows about Veydra’s demise at his personal blog.

Meike Cinema Lenses with Ryan Avery

Meanwhile, Ryan Avery is retailing Meike Cinema Primes at his Revar Cine website.

“Meike Cinema Prime lenses are designed specifically for mirrorless cameras. Available for MFT, Sony E, and Fuji X Mount cameras from Micro4/3 to APS-C size sensors. Compact, lightweight and perfect for a true cinematography experience on most mirrorless cameras.”

Meike Cinema Primes on Fujifilm and Panasonic hybrid and Blackmagic Design cinema cameras

Meike’s cinema lens lineup for Micro Four Thirds, Sony E-mount and Fujifilm X-mount are welcome indeed given their affordability and the absence of OEM cinema prime lenses by brands such as Fujifilm, Olympus, Panasonic and Sony.

After the end of Veydra, I was contemplating the direction to take with video-capable prime lenses for Super 35/APS-C and Super 16/M43.

I grew up relying on prime lenses for filmmaking and still feel most comfortable with cinema primes for video production over the reportedly excellent zoom lenses in several lens mounts made by Fujifilm in its Fujinon MK pairing for X-mount, E-mount and M43.

With Olympus’ recent announcement that it had sold its camera and lens division, and the possible outcome of its excellent M.Zuiko Pro zoom and prime lenses going the way of Veydra, I have been wondering if my beloved Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro should plan on welcoming some M.Zuiko Pro siblings if there was a sudden sell-off of the lineup.

But the M.Zuiko Pro lineup does not answer the need for X-mount cinema lenses whereas Meike appears to be on the right track not only with its current Meike Cinema Prime offerings and possible additional focal lengths but also its coming so-called “full frame” aka 35mm sensor format cinema prime lenses.

More power to Meike’s arm, though I do hope the company will see fit to loaning cinema primes to a range of well-qualified stills photography and video production reviewers so we can get the full measure of these exciting new lenses.

Now to find out if there is a way of converting their M43 mounts to Fujifilm X-mounts when needed.

Links

News Shooter: Blackmagic Design Pocket Cinema Camera 6K Review (lite)

https://www.newsshooter.com/2019/08/22/blackmagic-design-pocket-cinema-camera-6k-review-lite/

“This is a ‘lite’ review of the Blackmagic Design Pocket Cinema Camera (BMPCC) 6K. I say lite because there is no way anyone can do a proper, in-depth review of a camera in a few days or even a few weeks. To properly review a camera you need to spend a lot more time with the camera than I have so far….”

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Heavily-rigged Blackmagic Pocket Cinema Camera 6K (EF).

Commentary

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Paul Leeming of Leeming LUT Pro’s Blackmagic Pocket Cinema Camera 6K rig ready for shooing a feature movie. Paul says that “
The new Blackmagic Pocket 6K is a game changer. This truly is the realisation of 6K for $6K 😮 Lens aside, this setup cost less than $6K, and for that you have a full Super35, RAW 6K shooting package with batteries, rigging, timecode sync, follow focus, monitor/recorder and more. Just nuts!”

Australian cinematographer Matthew Allard ACS of video industry bible News Shooter has just published a lengthy, in-depth though “lite” hands-on practical review of the Blackmagic Pocket Cinema Camera 6K and it makes for useful reading especially for those who own a Blackmagic Pocket Cinema Camera 4K and are considering replacing it with its Super 35 sibling.

Blackmagic Design has pulled one out of the hat with both cameras, making them the currently most affordable cinema cameras, but not without a number of compromises.

Mr Allard has the longterm experience as an on-location news and documentary cinematographer working around the globe to write well-qualified reviews like this one and I look forward to the non-lite version of this review for even more invaluable insights.

Meanwhile Australian cinematographer/director Paul Leeming has obtained his own BMPCC 6K and as a seasoned BMPCC 4K owner is even better qualified to opine on both cameras.

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Australian cinematographer/director Paul Leeming of Leeming LUT Pro in footage from his Blackmagic Pocket Cinema Camera 6K. NOTE: this is an uncompressed still frame from the BMPCC 6K and so will take a little while to download on some Internet connections.

These are some of Paul’s initial thoughts on the BMPCC 6K:

Let me say right off the bat, this camera is going to be my A cam simply for the fact that there’s no Speed Booster glass to degrade your lens!!! No matter how good the Speed Boosters are from Metabones (and the new BMPCC4K one is quite good), it just can’t hold a candle to the quality of the lens on a native mount. Not to mention that the 6K is smooth and sharp across the entire frame, and downscaling that to 4K is going to give incredibly clean images. Look into the very corners of this frame and you can clearly see the benefits.

This still only has my Blackmagic V4 1.5 LUT applied, plus a small amount (25%) chroma noise reduction done in Resolve to get rid of some of the tiny BRAW fringe issues that that format seems to have. Hopefully, being their own format, they will eventually figure out how to do that better without NR being required. The clip was shot 6K at Q5 quality.

Some out of the box things I like – the screen is more neutral (second gen I’m guessing, same as the later 4K’s) and I like the locking body cap which I haven’t seen anyone mention before anywhere.

Paul shared some notes on the rig illustrated above:

  • [Blackmagic] Pocket [Cinema Camera] 6K
  • 8Sinn Pocket 4K cage, rod riser and handle
  • Shoot35 Cine Follow Focus
  • Ultrasync One timecode generator/receiver
  • Atomos Ninja V 4K monitor/recorder
  • Smallrig arm for Ninja V
  • Hawk-Woods Mini V-Lok 98Whr battery and plate
  • Sigma FF Cine 50mm T1.5 prime lens (EF mount)
  • Samsung T5 SSD 1TB

Links

  • Leeming LUT Pro – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”
  • News ShooterBlackmagic Design Pocket Cinema Camera 6K Review (lite)

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  • Blackmagic Design Pocket Cinema Camera 6K (Canon EF) B&H

Blackmagic Design Shares Downloadable Movies and Camera Original Files from Blackmagic Pocket Cinema Camera 6K and 4K

Blackmagic Design CEO Grant Petty continues to make good on his promise for professional-quality moviemaking to become accessible and affordable for all who want it and has raised the bar even higher with his surprise announcement of the Blackmagic Pocket Cinema Camera 6K and its Super 35 sensor and even more firmware and hardware features than its older sibling the Super 16 sensor-equipped Blackmagic Pocket Cinema Camera 4K. 

The affordability and cinematic feature-film quality achievable with the raw-shooting BMPCC 6K and BMPCC 4K and their associated editing and colour grading software package DaVinci Resolve have bumped high-quality moviemaking out of the longtime death-grip of the rich WASP boys’ club into the hands of self-funded independent documentarians like myself and I am beyond chuffed at this excellent development. 

The Blackmagic Pocket Cinema Camera 6K comes with Canon EF-mount for the vast array of Canon and other brand cinema and stills photography lenses out there and supplements the Blackmagic Pocket Cinema Camera 4K’s Micro Four Thirds mount that accepts M43 and adapted larger sensor format lenses.

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Blackmagic Design’s Blackmagic Pocket Cinema Camera 6K with Canon EF 85mm f/1.2L II USM lens.
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Blackmagic Pocket Cinema Camera rigged for heavy-duty moviemaking.

In order to demonstrate the high quality, similarities and differences between the two cameras’ output, Blackmagic Design is sharing a number of movies in various genres at its Workflow and Gallery pages, with the files viewable in-page or downloadable as camera original files and finished products.

Blackmagic Design’s absence from the recent SMPTE Australia METexpo conference and trade show in Sydney was disappointing but the announcement and imminent release of the Blackmagic Pocket Cinema Camera 6K takes some of the edge off that.

Priced at US$2,495.00 compared to the Blackmagic Pocket Cinema Camera 4K’s US$1,295.00, the BMPCC 6K is the most affordable cinema camera in its class with both BMPCC models usable stripped-down and handheld as well as heavily rigged and tripod or gimbal-mounted for Hollywood quality feature film production of documentary and narrative movies.

What next for Blackmagic Design and its noble quest to make high-end moviemaking accessible to the rest of us?

Perhaps Grant Petty might consider creating a second version of the BMPCC 6K with a shorter lens flange depth and a set of adapters permitting attaching a broader range of lenses such as those made by Fujifilm, Nikon and more.

Fujifilm’s Fujinon lenses are of particular interest given that Fujifilm’s X-mount cameras use APS-C/Super 35 sensors, the same size as the one in the BMPCC 6K.

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Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon MKX 18-55mm T2.9 cinema zoom lens. Imagine a possible variable-mount adapter version of the BMPCC 6K allowing for use of other mount lenses such as X-mount cinema lenses like this and the very affordable X-mount MicroPrime cinema lenses made by SLR Magic.

Fujifilm’s Fujinon MK 18-55mm T2.9 and MK 50-135mm T2.9 cinema zoom lenses would be terrific to use natively with the BMPCC 6K as would SLR Magic’s X-mount MicroPrimes which now come in 12mm, 15mm, 25mm, 35mm, 50mm and 75mm focal lengths.

Imagine ever-increasing numbers of hybrid photography and video shooters relying on Fujifilm XF cameras and X-mount lenses for stills work then being able to use the same lenses on a possible future variable-mount BMPCC 6K camera.

It seems unlikely that Fujifilm would provide raw video capability on its cameras any time soon, whether via Apple ProRes Raw or Blackmagic Design’s BRAW, but Fujifilm and Blackmagic Design cameras would complement each other nicely if the latter takes up this suggestion.

Adapted lenses have their pros and cons given the variable feature sets and quality of currently available third-party adapters, but the BMPCC 6K now makes Sigma’s Canon EF-mount 18-55mm and 50-100mm zoom lenses even more appealing in their stills and cinema versions.

Pity Metabones has not seen fit to make an EF-to-X-mount Smart Adapter and a Speed Booster given the proven quality of their other adapter offerings, and the reason remains a mystery given the high potential market for them.

The same thoughts above apply to the short flange distance L-mount lenses made by Sigma, Panasonic and Leica – imagine being able to use them on a possible BMPCC 6K variant as well as L-mount cameras.

Links

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Sigma 18-35mm f/1.8 DC HSM Art zoom lens for APS-C sensors and for adapting to M43 with Metabones SpeedBoosters, lens available in Canon EF or Nikon mounts. This Super 35 lens may be a great choice for the Super 35 BMPCC 6K unadapted, and for use on the BMPCC 4K adapted with the recently-released Metabones SpeedBooster for BMPCC 4K.

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  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • Blackmagic Design Pocket Cinema Camera 6K (Canon EF) B&H
  • Canon EF mount lensesB&H
  • Fujinon MK18-55mm T2.9 cinema zoom lensB&H
  • Fujinon MK50-135mm T2.9 cinema zoom lensB&H
  • L-mount lensesB&H
  • Metabones lens adaptersB&H
  • Micro Four Thirds mount lensesB&H
  • Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon EFB&H
  • Sigma 50-100mm f/1.8 DC HSM Art Lens for Canon EFB&H
  • SLR Magic MicroPrime ciné lensesB&H

James Miller’s DELUTS Releases DELUTS Blackmagic Pocket Cinema Camera 4K Creative Looks

https://sellfy.com/p/gg0m/

“DELUTS BMPCC4K Creative Looks, Base transforms for use with Blackmagic ‘Film’ profile for use with BRAW and ProRes.

75 Luts designed for the Blackmagic Pocket Cinema Camera 4K (This set is also compatable with Blackmagic Ursa Mini 4.6k & Blackmagic Ursa Mini 4.6k Pro using ‘Film’ profile)

• 4 Base Tranforms when working with the Blackmagic Film profile.
• 9 Monotone Creative Looks
• 62 Colour Creative Looks

Davinci Resolve Legacy .cube format Luts. For use in FCPx (Version 4 or Higher), Adobe Premiere Pro CC, Adobe Photoshop, Davinci Resolve and many more supporting applications.

Luts supplied in x64, x33 and x17 resolution. Use x64 for Davinci Resolve, x33 for FCPx and limited adjustment layers with Adobe Premiere CC, x17 for Adobe Premiere CC general use….”

James Miller’s DELUTS Blackmagic Pocket Cinema Camera 4K Creative LUTs for use with Blackmagic raw aka BRAW and Blackmagic camera film profiles.

Commentary

Director/cinematographer James Miller creates and sells creative looks LUTs under the DELUTS brand, and supplies to moviemakers looking for fast, efficient ways of adding strong, emotive looks to their footage.

Mr Miller’s latest DELUTS release is aimed at users of Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K, as well as other cameras using Blackmagic Design’s Blackmagic RAW raw video codec such as the Blackmagic URSA Mini Pro.

Links

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Sony 128GB M-Series UHS-II SDXC Memory Cards 2-Pack, R: 260 MB/s, W: 100 MB/s

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Blackmagic Design: Blackmagic Pocket Cinema Camera 4K ‘Balloons’ [Extreme outdoors lighting test, by Andreas Neumann]

“Andreas Neumann talks about using the new Blackmagic Pocket Cinema Camera 4K for the first time. ‘Balloons’ is Andreas’ extreme lighting test as he constantly shoots directly into the sun, wide open. ‘Balloons’ documents the camera’s performance from 5am in the morning into the height of the midday sun.

“I shot this test at Temecula in California, shooting from dawn until midday. This was a challenging environment for any camera, because I was constantly shooting into the light, or with the sun directly behind people’s faces. The detail I got was incredible. You can see everything reflecting in my wife’s Chanel glasses. You can actually see reflections off the ground, the balloon above, and the sky in the background. The camera really did capture everything I was seeing. I love shooting directly into the light wide open, and with this camera you could safely do that. I was totally amazed at what the micro four thirds sensor could handle. It seemed like the same quality as the URSA Mini Pro with the full sensor. I was also very surprised at how well the back-screen performed in bright sunlight, where I could truly see every detail.”

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Blackmagic Pocket Cinema Camera 4K with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens and mini-XLR-to-XLR audio cable for attaching XLR microphones, mounted on Benro Aero 4 Video Travel Angel Tripod Kit. Mini-XLR cable is made by Blackmagic Design for their Video Assist monitor/recorder but is also great for connecting XLR microphones to the BMPCC 4K, product code HYPERD/AXLRMINI2.

Commentary

The footage keeps on coming as US moviemaker Andreas Neumann shows off the low-angle, low-level lighting capability of the Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K with this video shot with Rokinon 24, 50 and 80mm cinema prime lenses.

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

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Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro professional prime lenses with manual clutch focusing, brilliant for shooting video or stills where accurate focus is absolutely critical.

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  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H
  • Rokinon Cinema Prime LensesB&H

Blackmagic Pocket Cinema Camera 4K ‘Models Walking at Night’ [Second clip from the BMPCC 4K with skin tones, by John Brawley]

“John Brawley shares his experiences with the Blackmagic Pocket Cinema Camera 4K. ‘Models Walking at Night’ is his second camera test where he was checking out the camera’s higher dynamic range and color accuracy.

“What I wanted to achieve was to test the dynamic range, but to still come up with some really great looking images. Having that higher dynamic range and a high bit depth file, means you have a lot of wriggle-room to correct anything that needs to be balanced. This extra range lets you manage and massage the image to get you into a really nice place. You’re not fighting the codec or the dynamic range of the camera.”

“The Blackmagic Pocket Cinema Camera 4K gives you a ton of options. If you want to take it warmer, darker or cooler, you now have so much latitude in terms of dynamic range and depth of color. With this camera you just have so much extra choice, because you can take the image whereever you want. And that’s the truly great thing about having such a vibrant and high precision image!”

blackmagic_pocket_cinema_camera_4k_bmpcc4k_04_1024px_60pc
Blackmagic Pocket Cinema Camera 4K with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens and mini-XLR-to-XLR audio cable for attaching XLR microphones, mounted on Benro Aero 4 Video Travel Angel Tripod Kit. Mini-XLR cable is made by Blackmagic Design for their Video Assist monitor/recorder but is also great for connecting XLR microphones to the BMPCC 4K, product code HYPERD/AXLRMINI2.

Commentary

This is the second in a series of three videos by Australian Director of Photography John Brawley that explore some of the capabilities of Australian-based Blackmagic Design’s Blackmagic Pockets Cinema Camera 4K, due for release sometime later this year.

Mr Brawley is an exponent of the benefits of shooting video in Micro Four Thirds, and has an extensive collection of Olympus M43 lenses.

In this series of videos, he is using various lenses from the Olympus M.Zuiko Pro collection to great effect, not so hard to do given the manual clutch focus mechanism on these lenses for easier focus pulling and pinpoint manual focus accuracy.

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro professional prime lenses with manual clutch focusing, brilliant for shooting video or stills where accurate focus is absolutely critical.

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • Blackmagic Design Mini XLR Cable for Video Assist/4K (Set of 2, 19.5″)B&H
  • Breakthrough PhotographyB&H – the finest brass traction-framed ND, UV and CPL filters as well as the best step-up rings (sadly only sold direct on the company’s own website at present).
  • Chiaro Premium UV Protection FiltersB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H

Blackmagic Design: Blackmagic Pocket Cinema Camera 4K ‘Models Walking in Daylight’ [First footage from the BMPCC 4K with skin tones, by John Brawley]

“John Brawley talks about the Blackmagic Pocket Cinema Camera 4K for the first time. ‘Models Walking in Daylight’ is his first camera test where he checked out the camera’s ability to handle different skin tones.

“The whole point to this daylight test was to see how the camera handled skin tones. We were shooting these scenes later in the afternoon, so I was at ISO1000 or 1250, so it was at the lower ISO for this camera. I understand this gives more in dynamic range, so you have a little bit more highlight-headroom there. When I look at those shots now, I am really impressed at how good the dynamic range is. It is great to see all of that detail I was seeing was actually captured in those shots.”

“I don’t think people realize how easy it is to make things look cinematic with Micro Four Thirds! I know that there are a lot of people who like that 35mm full frame look, but it’s still very easy to get images with an out of focus background with the Micro Four Thirds sensor. I found it a great 4K sensor and really good compromise for a small camera that still gets really, really good looking pictures.”

blackmagic_pocket_cinema_camera_4k_bmpcc4k_04_1024px_60pc
Blackmagic Pocket Cinema Camera 4K with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens and mini-XLR-to-XLR audio cable for attaching XLR microphones, mounted on Benro Aero 4 Video Travel Angel Tripod Kit. Mini-XLR cable is made by Blackmagic Design for their Video Assist monitor/recorder but is also great for connecting XLR microphones to the BMPCC 4K, product code HYPERD/AXLRMINI2.

Commentary

This is the first in a series of three videos by Australian Director of Photography John Brawley that explore some of the capabilities of Australian-based Blackmagic Design’s Blackmagic Pockets Cinema Camera 4K, due for release sometime later this year.

Mr Brawley is an exponent of the benefits of shooting video in Micro Four Thirds, and has an extensive collection of Olympus M43 lenses.

In this series of videos, he is using various lenses from the Olympus M.Zuiko Pro collection to great effect, not so hard to do given the manual clutch focus mechanism on these lenses for easier focus pulling and pinpoint manual focus accuracy.

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

olympus_m.zuiko_pro_17mm_25mm_45mm_f1.2_primes_hero_1024px_60%
Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro professional prime lenses with manual clutch focusing, brilliant for shooting video or stills where accurate focus is absolutely critical.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • Blackmagic Design Mini XLR Cable for Video Assist/4K (Set of 2, 19.5″)B&H
  • Breakthrough PhotographyB&H – the finest brass traction-framed ND, UV and CPL filters as well as the best step-up rings (sadly only sold direct on the company’s own website at present).
  • Chiaro Premium UV Protection FiltersB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H