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Make BMPCC4K truely Cinematic

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  • #76
    If you are just making art, stick with the original pocket, if you have a good one it is a magical sensor. Chose lower res for artistic reasons just like 16 or super 8 film. I've seen mine projected in a theatre through same projector as much bigger movies. It more than holds its own. If I ever have a project that demands 4k I would hope it has a budget that covers more than a pocket. I do hope that the 4k starts shipping in numbers so that I can pick up some more originals for cheap. The used market is still way too high, people must still think it is worth it.


    • #77
      Here is from another forum:

      Hello! I recently made a tutorial in covering how to make film halation and grain in Resolve!

      I used two methods. One using the GHAlex LUTs for the GH5 and another way using Color Space Transform.

      This is my first ever video tutorial so I apologize if it's a little boring and long.

      If you like this, feel free to download the Power Grades I've provided on my website and experiment with them.


      Here's some examples using this method:

      All my custom made accessories for BMMCC/BMMSC now available here


      • #78
        Here is also nice example how even perfect clean film may look warmer and less clinical than Arri footage matched to same film. Film emulsion magical highlights glow, gran structure and motion look makes things very different. Also even in highest quality film stock WB and color always have some variety. Same time color digital always looks exact the same.
        All my custom made accessories for BMMCC/BMMSC now available here


        • #79
          Originally posted by aliochaaliocha View Post

          sorry if that topics have been already discuss tons of times, but i really don't find a perfect solution to my question.

          If i'm refering to maybe footage I saw (on vimeo/youtube but also in Film Festival and everywhere), i can really say i feel:
          - these cameras are really cinematic: RED/ALEXA/ AJA CION /URSA / BMCC/ BMPC4K (blackmagic production camera)/ / Sony F5 / Sony Venice / Digital bolex
          - these camera feel always like video: all DSLRs / Sony FS5 / Canon C100/C200/ EVA Panasonic and even the BMPCC4K

          I don't really understand why !
          I mean, i don't talk about global shutter, colors (which can be matched even if never as good as the good cinematic sensor) and neither about DOF (i have the same feeling with a high DOF on a cinema camera). I think the main thing is about sharpness.

          My question is: is that possible to get a truely cinematic feeling with the BMPCC4K ?
          Bmpcc4K is just a super GH5 (with good codecs) or is that an Ursa with a small sensor?

          The best footage i saw are with vintage lenses + diffusion filter such as Blackpromist, but that's not enough, i can say: that's a super video, but not cinematic. I don't know why. Please help me to get that feeling on a BMPCC4K, do i have to invest in a better diffusion filter like the Schneider TRUE-NET for instance? can you advice me ?

          thanks !!!!

          Absolutly BS post. Please google "Steve Yedlin" and watch all his videos. The word "Cinematic" is just BS in itself. Ive seen Hi8 films (Dogma95 and others)
          that are "cinematic". And Ive seen film shot with RED or Alexa that looks like shit. It is NOT the camera. It is the framing, lighning, the movement, the acting.


          • #80
            I had to create an account just to get in on te action here. OP I totally understand you 100%. I had the same queston when the official first footage of the BMCCP4K was released. It is this question that led me to this thread after recieving my Pocket 4k last week. I have owned the BMPCC4k (Production) which I sold to buy this. I own the URSA MINI PRO 4.6 as well. I have even used the original poket & micro. All these cameras have something the pocket 4k is lacking. They all look FILMIC.. I have shot things on the URSA and graded it to look indistingushable from film. The pocket on the other hand, I cant put a finger on it. It can't be the dynamic range because I have made terrific stuff using ony a T3i that shoots at 7 stops. Also vimeo Kendyty and watch his old content T3i as well.

            I think it definitly has to do with the sensor, sharpness and something about the motion. The Pocket 4K has a similar feel to the GH4, FS7 and FS5. Very documentary feel. It has great colours, but I won't really call it a cinema camera. I'd probaby have to expiriment more in post with it.

            I get it. OP. It must be frustrating seeing all these people talking about "its not the camera its the user", or "that would have to do with production setup". In essence, what OP is asking is, what are the best settings or how can one grade a native footage to match an URSA. I'm still searching for this.

            I did buy a metabones adapter. I might switch to the Viltrox as it is considered less sharp. Watching some of the comparisons between both speed boosters, i tend to prefer the defects of the Viltrox with its imperfect sharpness around the edges. It does make the footage look a bit less videoy. I'd also eperiment with clamping the highlights in post. Something that was done in the french movie "Blue is the warmest color", which was shot on the C300. Example;
            Check this video to see organic can be achived if highlights are clamped (3rd footage)

            Also OP, Mad Max might not be to your taste, but if you also think the cinematography is bad, then i'm not sure what good cinematography is. Oh and fun fact; A lot of shots on Mad Max were shot using the Blackmagic Production 4K.
            Last edited by Jasper90s; 05-19-2019, 10:45 AM.


            • #81
              As has been discussed many times, the camera on that mad max rig is the original Bmcc 2.5k, same class of sensor as original pocket.


              • #82
                Originally posted by GeranSimpson View Post
                I spent some time with stills from the two cameras. The color science and gamma curve on the Pocket is much different than the UMP. It suffers from the same kind of greenish tint that the previous pocket sensor did. I roughly matched the two cameras, but it was actually pretty moderate in difficulty and the typical consumer will not be able to do it.

                I predict this is why the Pocket looks more video-ish to you. Straight out of camera the UMP needs much less correction to balance the image and apply a cinematic grade. The UMP is far superior in color science and this would be a no-brainer for me in picking it over the Pocket.
                How did you compare the color science of two not identical and non-normalized log clips? After downloading your stills and doing some very basic cc, you can see plainly that the light in the UMP shot is quite different. If that were eliminated, I doubt anyone could tell them apart.


                Attached Files
                Last edited by jrd; 05-27-2019, 05:57 AM.