The Sigma 20mm F/1.4 Art Lens is one of the fastest wide angle full-frame lenses available today, and certainly the most affordable in its class. I took the new lens for a spin at night and shot in near total darkness with a Sony a7S II. I was really excited when the Sigma 20mm F/1.4 Art Lens was announced last month and released just a few days ago. It is easily one of the most intriguing lenses I have seen. Why? Because for me 20mm is a stunning extreme wide angle focal length and this lens brings us great image quality, worthy of 4K video and at the same time it is exceptionally fast. With an open aperture of F/1.4 and with great performance the seemingly high price of $899 is surprisingly low and for me competes with the most professional lenses available. Right click, open this image in new window to see it in full 3840pixel resolution. With the introduction of the new Sony a7S II, we can now shoot brilliant 4K video in extreme lowlight conditions. As we found out just recently, this new Sony mirrorless camera is even more powerful in lowlight than its predecessor, the original a7S. So there was no question when this lens arrived at our office I went out and shot the whole evening just with this lens and entirely at F/1.4. You can observe the result in the video above which I hope you will enjoy. For me it was a pure enjoyment I can tell you, to realize that I needed to get far out of the city in order to push this camera/lens combination to its lowlight limits. I walked through forests, empty parking lots and ended up at a castle and many times the only light source was the moon. I could not see what the camera saw, it was my “night vision device” and the sky was not (!) blue, as it appears to be in the video. Coming back to the editing table I was very happy to find out that the Sigma 20mm F/1.4 Art Lens indeed performed very well at its lowest aperture. I pushed the camera to 25,600 and 51,200 ISO max, as in my tests I felt those were the breaking points when it comes to noise for an HD result. In terms of exposure I tried to expose “bright”. In lowlight it is important not to use the dark side of the spectrum too much, because this is where the noise is and it has to be cut off. I shot everything in the Slog2 Gamma and graded the film with a “lowlight” LUT I created for this project, that retained most of the spectrum, lowered the dark areas and accented the highlights only slightl. I wanted to go for a low contrast look and I’m pretty happy with the result. I’ve heard otherwise, but personally I do recommend shooting lowlight in Slog2 as this for me is the perfect starting point for a balanced grade. One thing I did notice about the Sony a7S II in lowlight is that there’s apparently some kind of “trick” going on in extreme lowlight. When I filmed my feet walking on grass I realized that there’s some ghosting introduced at ISO 51,200. In the shot below you can see multiple frames in one frame. Ghosting effect at high ISO speeds on the sony a7S II Either this is a result of some kind of internal “temporal noise reduction” (this is how it looks to me) that appears on fast moving objects and patterns OR it might also be a result of the low temperature I filmed at (-1 C°). I did not notice the effect in any other shots but this one. How Good is the Lens? Sigma 20mm F/1.4 Art Lens For this Sigma 20mm F/1.4 Art Lens Review I used the EF version of the lens together with a Metabones Adapter on the Sony a7S II in both 4K video and stills mode. This is not a scientific lens test, because of the lack of reference lenses, but there are a few important things I could observe and want to show you about this lens. While this lens / adapter / camera combination is really not ideal for stills photography I took photos with our high resolution test chart in order to see how good the lens performs on a quality 4K photo / video image. Left: Sigma 20mm Lens @ F/1.4 | Right: Sigma 20mm Lens @ F/8.0 The image above is a shot of our test chart in two different F stops. We can see quite a strong vignetting at F/1.4 in comparison to F/8.0. Personally I like vignetting and I often apply it to my shots in post, but it certainly also darkens your image further than you would like. This means that when you shoot wide open you must know that you are losing about half a stop of light due to vignetting. Here we can also observe distortion, which, for a 20mm lens seems very low. These two attributes (vignetting and distortion) can be corrected in post, but sharpness and chromatic aberration is something that cannot be fixed with plugins, so these for me are the most important factors when it comes to lens quality. Top-Left corner of the test chart to observe chromatic aberration and sharpness Here’s a crop of the top left corner of the test chart shot at F/1.4 with the Sigma 20mm F/1.4 Art Lens. We can see of course that the leftmost edges of the shot are softer, yet at the same time the kind of sharpness to me is unlike other lenses I’ve seen shot wide open. Certainly a kind of sharpness absolutely pleasing and mostly sufficient for 4K. If you want a totally clean image, the softness goes away gradually when the lens is stopped down until about F/5.6. In terms of chromatic aberration there is very little of that. Again absolutely stunning performance from this lens in comparison to other lenses I’ve seen. In my video I did not notice any chromatic aberration in any of the shots. Build Quality One thing you should know: This lens is not lightweight. With 960 grams it is lighter than your full fledged cine lens, but it is double or triple the weight of other mirrorless prime photo lenses you might use for video. That said, the build quality is very nice. The lens feels solid and well made with no flimsy parts. The focus can be set to manual and the lens has an analogue focus ring (unlike most Sony photo lenses). Unfortunately there are no hard stops making it hard to use the lens with any focus gears or focusing tools. Also the focus throw is very narrow and considering the lens has a thin depth of field it can be hard to focus manually at times. The lens is clearly design for the photographer in mind. This is a drawback we’re already used to as mirrorless and DSLR video shooters, but it’s not ideal for some applications and doesn’t provide the best ergonomics. Conclusion This lens kept its promise offering superb quality and while it is made for photography with some ergonomic drawbacks for video it is still among my favourite lenses of all time. The kind of shots I could achieve with this lens, without any noticeable quality loss is amazing and opens up new possibilities for people who like lowlight shooting. Furthermore this lens opens up your path to shallow depth of field at wide angles, which is rarely seen outside of high end professional productions. The biggest highlight about the Sigma 20mm F/1.4 Art Lens for me is its price though. At $899 the value for money you get is very high and makes it an affordable option for shooters working with a Sony a7S II. I hope you enjoyed this review. You can download the source video from Vimeo to take a closer look at the shots in HD. Let us know your own observations and thoughts about the lens in the comments.Read more
The Canon EOS 7D mkII was announced a week ago. For a long time the old Canon 7D was one of the best video shooting DSLR’s. Now the new addition to the Canon DSLR family offers many improvements in video mode. At cinema5D we took the camera into the field and tested it thoroughly to give you an impression of what it offers Note: This review and footage were shot on a beta camera. There may be improvements in the final production version of the camera. I got into a nostalgic mood when I sat down to write this article, as the original Canon 7D served me very well despite its limitations. Be it a BBC news pieces or a National Geographic Video, that camera was truly a working horse for me. 5 years to the date, and its successor landed on our desk raising modest expectations when it comes to the video side, as this camera according to its specifications isn’t offering all the features we would wish for and that other large sensor cameras already offer. Watching Canon’s 7D mkII promotional video led us to believe that an extensive amount of sharpening was used in post and indeed our own findings support the assumption that the 7D mark II footage is a bit soft. We can tell you the video quality of the Canon 7D mark II is comparable to that of the Canon 5D mark III. Soft but very clean. In the above video, 25% sharpening was used in post in order to make the clean picture “alive”. Besides the nice looking clean video mode it seems that Canon for the first time added audio output via HDMI. For a long time this feature was requested by professionals who worked with Canon DSLR’s on news assignments or when using external recorders. Another enhancement from the original model is the headphone jack. Now it is possible to monitor your audio while recording video, but mind you that on this “beta camera” the preamps were rather noisy. Also audio and video were not in perfect sync as you can see in the video. Probably this issue will be resolved in the production version. Other than that the added full HD in 50p and 60p mode is a very nice addition, but limited to IBP compression only. Normal video is recorded in ALL-i coding like on the 5D mark III. Other “basic video features” like peaking or magnifying video while recording did not make it into this camera. Another noticable improvement is the brighter and larger LCD screen, dedicated video overlays, better lowlight capabilities, Dual-Pixel CMOS AF (as on 70D) and the ability to use both CF and SD cards. All in all the Canon 7D mark II offers surprisingly nice looking and clean video with lovely and accurate colors and no aliasing or moiré. We will go into detail in our upcoming lab test where we will compare sharpness, colors, dynamic range and lowlight to other cameras including the old 7D. One or two years ago this camera would probably have sold like hot cakes. 5D mark III video in a much more affordable APS-C body and slow motion in full HD. But now that 4K is here for many the video might be too soft. Many thanks to Sonja Völker from herzilein-wien.at Music by themusicbed.com The Light the Heat – Autumn Eyes Johnnie Behiri is a freelance documentary cameraman/editor/producer working mostly for the BBC and other respected broadcasters. He is also co-owner of cinema5d.comRead more
Last week we took a close look at the AMIRA, the newest camera by Arri that is aimed at serious “documentary style” shooters, with a focus on ergonomics and incorporating the famous sensor from the more expensive and more heavy ALEXA camera. This week I’d like to share my experience shooting the live music video for Sophie Abraham we recently created with the Arri AMIRA. This production was executed very spontaneously, without pre-production and a crew consisting of myself and 1-2 assistants, all quite literally in the “documentary style” spirit which the AMIRA is promoted for. A little more time and planning would have helped to make the shots more consistent, but we couldn’t afford that as there was no budget for this test video. A great chance to put the camera into a stressful shooting situation. Note that not only video, but also audio was recorded directly in camera. We used minimal lighting (1x Arri 1200W HMI, 2 Dedolights with 1 gobo projection lens (background stripes)). The video was shot in 2 (half) shooting days. Weight vs. Ergonomics As mentioned in our video review (part 1) weight can be an issue as the AMIRA with its 5kg weighs a lot more than other super35mm sensor cameras like the FS700 or the C300. This also forces you to use heavier accessories. For the music video I used 4 V-mount batteries and a charger which got me through the (half) day, 4 Zeiss CP2 lenses 21mm, 35mm, 50mm macro and 135mm, a dolly (Camdolly) and the Sachtler Cine 7+7 tripod. These were all great accessories, but they are all a class more expensive and more heavy than the basic stuff you can use with the alternative cameras mentioned. For example I could not use a basic slider or a small tripod as they would both collapse underneath the camera. Working with more advanced and more heavy tools however also adds steadiness and smoothness to the shots as you may know. The Camdolly we used is a very modular and comparably lightweight and affordable (about $4000) dollying tool that you can even setup to sit on with your camera as it carries up to 200kg. For our purpose sliding the camera was enough and setup time was very quick. It took about 3 minutes to move from one shot to the next. Still, the Camdolly box and all the other boxes cannot be carried by one person. You should keep in mind you need a crew of at least 2 or 3 people to shoot with the AMIRA plus accessories. On the shoulder Of course, when you only plan on using the camera on your shoulder then all you need is the single box the camera comes in, sufficient V-mount batteries and your lens(es). This can ideally all go into two normal flight cases and can be carried by a single person. Also handheld is where the Arri AMIRA really shines. I complemented the ergonomic design in the video review and I must say again, that having the Arri AMIRA on the shoulder is wonderful. The sliding adjustments, no setup time, the nice OLED EVF and the convenient user buttons and switches on the side make for an experience a cameraman like myself won’t forget. I could have carried it on my shoulder all day and I’m looking forward to working with the camera again on a shoulder-only project. I hear Arri is already working on additional accessories and upgrades to make the camera even more perfect for shoulder work. As a handheld setup I used the Vocas handgrips on a pair of fibre rods and an MFF-1 follow focus. Lenses for Handheld I only used CP2 primes and I especially felt the Zeiss CP2 50mm macro lens added a lot to this shoot as the look, sharpness and macro possibilities are really convincing. I worked on a second project with the Amira and took the chance to try working with bigger lenses (PL zooms) on the shoulder and I must note that for me they made the camera too heavy and out of balance. This is why I’m very much looking forward to the interchangeable EF-mount option Arri is working on (no release date yet). I imagine having the option to use EF zoom lenses will make the camera even more easy to use for my purposes and provide sufficient quality. The assistant’s LCD I was very happy to have a smallHD field monitor at hand, because for me the flip-out LCD was not a good option for controlling my shots. It just felt I “didn’t see everything”. The LCD as mentioned in the video review is prone to ghosting and thus contrast is lost during motion. This is why I call this LCD the “assistant’s LCD” as I think its main purpose is not for shooting, but rather to observe your framing and control the menu. The smallHD DP6 was sitting on a solid camera EVF support that works very well also with bigger field monitors. The only thing missing was a longer SDI cable that I didn’t have at hand. Sound We recorded sound directly from the two high quality Schoeps CMC 5 we had, into the phantom powered XLR’s of the camera. The AMIRA has a normal headphone jack and the controls for sound are on the other side. Each of the 4 channels can be adjusted individually and there are audio level indications on the side and inside the EVF so I could always keep an eye on them. Workflow Basically the workflow was as simple as the rest of the camera, similar to the Alexa workflow as it is described here. When a card is full the camera switches to the second slot. There’s no finalizing footage, ejecting or any of the hassle. You just take out the card and offload the ProRes to your computer and backup. I could easily get through the day with two 120GB cards without ever offloading. I shot everything in Apple ProRes 4444 with the Log C curve. Editing Back on my editing machine (Still using good old Final Cut 7) editing ProRes 4444 natively is a breeze on most current computers and very straight forward to work with. After locking my editing I went into DaVinci Resolve 10 for color correction, which I can only recommend to anyone who hasn’t yet started to use this great app. Exporting from Final Cut via XML gives me my whole timeline and even zoom adjustments right within DaVinci. I love using filmconvert as a starting point for my grades, and DaVinci is the perfect host application for that. The filmconvert OpenFX plugin (10% off with code “cinema5D”) unlike the standalone is very stable and in connection with the crisp and organic AMIRA footage produces stunning results that I only need to tweak lightly. This is how grading is fun. ISO and noise For this project I mostly (about 95%) shot ISO 3200 on the AMIRA as I used a lot of natural light in the location and also wanted to see how far the sensor can be pushed. There were a few shots where the noise, even though it looks very filmic, was too much for my tastes. Luckily I could easily remove that noise within Davinci, but of course it did water down the quality of my shots a little. Concluding I must say the AMIRA seems like it does quite ok under low lighting conditions. There are other cameras though where sensor technology is already more advanced in terms of lowlight though. What I really liked about the AMIRA was that the sensor produces a very very even level of noise. Many other cameras have extremely bad noise in the blacks, so once you underexpose you can forget your shots. The AMIRA really records your shots reliably and you’re able to push them a little without worrying. Final words Working with the Arri AMIRA was quite a good experience. There have been numerous cameras I was not so fond of, but this one had a lot for me. Maybe it’s my personal shooting style and maybe it’s not the right tool for you, but if the price is not an obstacle then it seems this camera does attract the attention of shooters from quite a diverse range of fields. The camera isn’t flawless, especially the weight is the biggest point to consider on every shoot as it can define your whole production size. For me the (still) lacking EF mount option is something that would hold me off on working with the camera again right away and the flip-out LCD could be improved, which Arri will surely do on the next iteration of the Arri AMIRA camera. In terms of an overall shooting experience the ergonomics of the Arri AMIRA had me totally convinced and it was just a pleasure to work with from start to finish. Now I’ve said enough good things and if you have the chance it’s up to you to go out and try this camera yourself. Note that the video compression of vimeo really doesn’t do justice to this camera. See the above still frame (graded) in full to observe the nice quality of the sensor. The difference between the original file and the compressed video online unfortunately is like night and day… You might want to download the compressed source file for a better experience here: vimeo.com/96921772 Thanks again to the very talented young cello artist Sophie Abraham who participated in this camera test and contributed her musical genius. You can find more of her music on her website: www.sophie-abraham.com Where to buy? In the US area you can get the Arri AMIRA at Abel Cine Tech: Basic version: $35,468 US BUY LINK ProRes 422, rec709, 100fps, HD Advanced Version: $39,499 US BUY LINK ProRes 422 (HQ), Log C, 200fps Premium Version: $45,025 US BUY LINK ProRes 4444 and 2K In Europe you can get the Arri AMIRA at AF Marcotec: Basic version: 25,980€ EU BUY LINK ProRes 422, rec709, 100fps, HD Advanced Version: 28,980€ EU BUY LINK ProRes 422 (HQ), Log C, 200fps Premium Version: 32,980€ EU BUY LINK ProRes 4444 and 2K Availablity? The Arri AMIRA is shipping now. More about the Arri AMIRA on the official website. CREDITS Musical performance – SOPHIE ABRAHAM filmmaking – SEBASTIAN WÖBER special thanks to MAX HOFSTÄTTER CAMILLO CIBULKA GERHARD WEINER ROBI FAUSTMANN CAROLINA STEINBRECHER JOHNNIE BEHIRI NINO LEITNER JULIA WESELY JULIA LÖSCHLRead more
Download the full 4K source file at vimeo: www.vimeo.com/95030149 Panasonic raised many eyebrows when they announced the new iteration of its highly popular interchangeable lens camera series, the Panasonic GH4. A small form factor camera that not only shoots 4K with an MFT mount, but even sports a 10bit signal via an optional XLR/SDI unit. (or give 10-bit 4:2:2 4K and 10-bit 4:2:2 1080p from the HDMI port on the camera).We took the GH4 for a spin and tested it in the field together with an hexacopter team. I don’t know how many of you had the chance to work with the legendary Panasonic DVX-100 and remember the joy when we finally used an affordable progressive camera with a “cine-gamma” preset that helped produce a unique image that was very special and cinematic at that time. Fast forwarding to the present time that same feeling is here again! With the GH4 Panasonic managed to create a very unique and extremely affordable working tool. It’s not that the camera doesn’t have its limitations (low light capability) and irritating tidbits, but all in all, I’m sure this camera will capture an honorable place in the arsenal of documentary style film makers and drone operators. In the above GH4 field test, the sole purpose was to imitate a “documentary style” shooting day and boost up the production value with some aerial shots in order to see how the Panasonic GH4 performs on a mid size drone. (pay load up to 5 kilos, caring a camera/lens/gimbal) When I write “imitate a documentary style shooting day” I mean having the camera, up to 2 relatively fast zoom lenses, a tripod, a very small light kit and a single wireless mic set. The full equipment list can be found at the end of the article. FYI: The YAGH XLR/SDI unit was not used for this test as I felt it was not relevant for this type of run & gun shooting. It will be used in a different test. So, how is it to work with the GH4? Let me start with the things that could be issues for some shooters as myself: • Lowlight capability. Somehow I felt that the camera produces very nice images when it set it not higher than 400 ISO. When you move to 800 ISO and above the footage becomes blocky (noisy + codec), especially on flat single surface elements. • No 25p in true 4K mode (not UltraHD). This is a serious limitation for the “PAL” countries’ broadcast market. I’m not sure why companies like Panasonic (and Canon before with their 1DC) choose to ship “half backed” products and exclude 25P from their first release. • One camera, multiple identities. I am sure that every professional person that will start working with the camera will have troubles with the camera menu and would love to skip the photo and, to say it more precisely, the consumer part of it. Panasonic, take a free advice from cinema5D and make a “video only version” of your GH4 camera. • Low data-rate when shooting 4K (100 Mbps) • Soft full HD picture quality • The input pre-amps for on-camera audio are a bit noisy • Average quality LCD and EVF • Hard to see the whole frame when looking through the tiny EVF • Wifi has very limited range • Another quirk that should be noted is the location of the headphone jack. As the use of headphones doesn’t allow the articulation of the camera LCD screen for low angle shots. The strengths of this camera comes in picture quality and of course its price point. High quality 4K shooting just became extremely affordable… • Moire and aliasing have been greatly reduced. • The extensive “video menu” helps adjusting many parameters for your preferred picture style (Photo style, Highlight Shadow, Luminance Level, Master Pedestal Level) • Unlike other (Canon or Nikon) cameras, when using the GH4’s EVF, you can stay very compact for documentary style shooting. No urgent need for an external EVF if you need to be quick. • Kinotehnik’s LCDVFBM LCD Viewfinder for Blackmagic Pocket Camera will perfectly fit the GH4 LCD screen if a loupe is needed for easier focusing. • The “lock button” prevents accidental rotation of the “mode dial”. • Focusing is made easy with automatic zoom of a portion of the frame • Zebra • Audio monitoring levels and manual adjustment • “Syncro scan”- for fine shutter adjustments • Panasonic recommends SD U3 cards for sustaining 200 Mbps (ALL-Intra) at 1080p for best results. While this is true, If you are after 4K shooting, the Transcend SD HC U1 are just fine! When it comes to flying the Pansonic GH4, I used the help of two colleagues whom I consider to be the best in Austria to preform such a task, DOP Thomas Kirschner and pilot Raoul Gorka from copterunit.com. Their experience in building custom made drones and their ability to perform amazingly in such a short time, opened the room for some extra creativity. Thomas and Raoul are used to flying the Panasonic GH3 and were very curious to see how the GH4 performs as they are currently looking for a 4K camera solution which does not exceed 5 kilos together with lens. For those who are familiar with flying the GH3, there is a little surprise. The mini HDMI port was replaced with a micro one… This unexpected little surprise gave us the chance to test the “wifi mode” of the camera. At the beginning we were relived to see that downloading and installing the app is very straight forward (look for “Panasonic image app” in the search box of your smartphone), but later when trying to view and control the camera from the app we were disappointed to see that the wifi connection is very weak and unreliable. By the way, Austria became one of the first countries to regulate flying drones. Outdoor flying is not permitted anymore unless you have a specific permission which takes time to acquire. This is the reason for the lack of shots taken with the GH4 outside. Camera settings used in this video: • Photo style: Cinelike D (all set to 0) • Rec format: MOV • Rec quality: C4k (4096×2160) • Exposure: M • Highlight Shadow: Brighten shadows • Luminance Level: 0-255 Edited on Adobe Premiere CC. and treated with “filmconvert”. Music: themusicbed.com Dexter Britain – From Truth A special thanks to: -Bernadette Kerschbaummayr, DDr. Karl Rehberger and Sacristan Wolfgang Hammer from St.Florian’s monastery -Thomas Kirschner and Raoul Gorka from copterunit.comRead more
Camera manufacturer Pentax (now Ricoh Imaging) has been rather quiet in terms of video functionality on their DSLR’s. With the new Pentax K-3 that brings a lot of innovation to the stills side the movie recording side has received some promising improvements as well. cinema5D took the Pentax K-3 for a spin and has some insights on its video capabilities.Read more
Important notes concerning the video above: • After some concerns with our Blackmagic Production Camera 4K review unit we were holding publication of this article until we received a replacement unit from Blackmagic today. • Now that we have a replacement camera in our hands we can confirm that the initial concerns are correct and seem to be consistent. • The footage the camera produces IS sharp. It is not only important to shoot with quality lenses but to also use a good ND filter when shooting outdoors. Unfortunately the “Light Craft Fader ND mark II” I’ve used when shooting this video is not up to the task and significantly softens the image beyond a focal length of 85mm. • At the end of this article you can find an ungraded version of the video for your assessment. • If you are interested in this camera it is recommend that you download the 4K source from Vimeo: LINK After the first part of our Blackmagic Production Camera 4K review (from now on referred to as “BMPC4K”) I went out into the field for a more thorough and practical look, especially stressing the documentary abilities of the highly anticipated new “4K budget wonder”. Blackmagic was kind enough to send us an early sample of their new Production Camera 4K which we took a very close at. One of the first things you notice is the name: The first Blackmagic camera was named “Cinema Camera” while this new version is identified as a “Production Camera”. Blackmagic Design emphasises not only by its name that this camera is aimed at the production market, meaning studio and television productions, documentaries and small scale live event shoots. I took the camera out for a short “documentary style” work and I’m happy to share my experience as I think there’s quite a bit to consider. Anyone who previously used the original BM cinema camera will feel at home immediately as the camera body and menu structure are very much identical. I haven’t changed my mind that in terms of ergonomics there is much left to be desired BUT the market has moved forward and today you’ll have the benefit that you can find lots and lots of accessories to make your life easier when working with this design. (external batteries and dedicated rigs and more dedicated rigs, etc). In terms of overall picture quality I certainly got mixed results: When there is sufficient light the camera will produce wonderful images as long as you record at no more than 400 ISO. When changing the ISO value to 800, you are risking recording unusable footage (unconfirmed). My advice is to avoid ISO 800 on the BMPC4K at the moment. To be fair we have to note that Blackmagic’s CEO Grant Petty already wrote back in August of 2013 that “This camera is not a low light camera”. A concern is Blackmagic’s quality control. The camera we originally got had a strip of black dots at the bottom left/center side of the image (right-click open images below in new window for 4K resolution). The second one did not have it. A second issue we ran into were hundreds of white (dead?) pixels that were visible when shooting in dimmed/dark places and also dark areas of well lit images. In the screenshot below we show you footage taken in total darkness as this is where these white pixels on all parts of the sensor are best visible. We have circled some of them in red. Note that certainly we do not recommend shooting in a lowlight situation like that. the concern is however that the pixels also show up in dark areas on well lit scenes and also the image below has not been graded or boosted in post. In part 3 of our review we discuss this issue further as these white pixels seem to appear and disappear without explanation. We are further investigating this issue. There was no post processing done to these images and the dead pixels were also visible after applying the dedicated Blackmagic Cinema Camera LUT in DaVinci resolve 10.1.1. On the positive side: No Moiré or aliasing were detected, the audio got improved and of course recording right to pro-res is a time-saver. Concerning audio: I must admit I forgot to bring an SD card for my Tascam DR-60D so the mic was connected to the Tascam WITHOUT recording on it. I sent the audio signal to the BMPC4K and recorded internally. As you can hear the audio quality is good enough for “normal” usage or when you don’t have a soundman working with you. It is unfortunate that after such a long time there are still NO audio meters on the Blackmagic Cameras to judge in camera audio levels. All in all. If some of the concerns raised here can be addressed in some way, the camera can become good value for the money. Camera settings used in this short review: • ISO: 400-800 • Shutter: 180° • Recording format: ProRes (HQ) 4K • Frame Rate: 25 • Dynamic range: Film • Graded with: film convert Music kindly provided by www.themusicbed.com Music title: “Willow Be” by “Live footage” A big thank you to Thomas Strini who was up to the task of helping with this review in zero time. You can find out more about Thomas and his work at www.strini.at Ungraded version of the video: vimeo link (to download 4K file) Johnnie Behiri is a freelance documentary cameraman/editor/producer working mostly for the BBC and other respected broadcasters. He is also co-owner of cinema5d.comRead more
I decided to join my better half Katharina at the Vienna Rainbow Parade some weeks ago to shoot this little test video of the new Canon T5i / 700D. I only used the kit lens 18-55mm f/3.5-5.6 and only shot handheld with the lens’s built-in stabilizer. This is a very weak lens but I wanted to try shooting with it as many people in this price range will end up buying the T5i/700D with this very inexpensive lens. This is the ungraded version of the video – no alterations whatsoever have been made with the image apart from this: The slow-motion shots are mostly shot at 720p50 and played back at 25p, upscaled to 1080p to match the rest of the video.Read more
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