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  • BMPCC New Discoveries

    So, I keep tweaking the setup for this little camera, always trying to walk that fine line between keeping it small as it was intended and keeping the quality as high as it is capable of. Here are a few things I have discovered recently that have been helpful, some have been pointed out by fellow bmcusers.

    Tascam DR-10CS
    http://tascam.com/product/dr-10c/
    This little micro recorder can be placed on camera with minimal footprint and records 24bit 48K audio for hours and hours. I typically use this when I need to put a recorder on a person with a lav mic. But then thought, wow this might be better than trying to record an onboard camera mic into the BMPCC terrible audio circuitry. And so far, it seems to work with Rode VideoMic Pro. Only downside, you can't get them state side. Have to order them overseas.

    Juicebox
    http://juicebox.direct
    This is a killer solution. Great capacity and a nice form factor. I'm going to pick up a second one for backup.

    Metabones BMPCC Speedbooster
    http://www.metabones.com/products/de...PNFG-BMPCC-BM1
    I have owned the regular M4/3 version for a while and have rented the BMPCC specific one when needed. Finally gave in and bought one because basically, you'll almost always need it. Now I have essentially three crop factors between the two speedsters and normal mounting which makes lens options very interesting.

    Hollywood Blackmagic Filters
    https://vimeo.com/119851146
    Another one I have rented in the past but decided to purchase recently. I got the 1/4 and will need to pick up 1/8 for this times when need to back off a bit but this does seem to help with moire and aliasing a bit. Not entirely but I do feel it takes the edge off with sharp lenses/speedbooster combos.

    I'm still on the fence about the anti-moire filters. Mostly because the price is enough to have to think about how much to pour into an older, 1080P camera. But it has been tempting.

    This little camera still packing a lot of bang for the buck and nothing in its price range offers ProRes and RAW. It has a lot of quirks, but I keep trying to find solutions to ones that are solvable. If anyone else has found some cool things making their BMPCC even better than when they first got it, feel free to add to this thread.
    Last edited by stevesherrick; 10-16-2016, 07:37 PM.

  • #2
    This might also be a viable on camera solution for those times when you are doing doc projects and need an onboard to pick up natural sound without audio circuitry making it practically useless.
    https://www.bhphotovideo.com/c/produ...otgun_mic.html

    Also, adding a 256GB SD card has made life much easier too. When I know I'm going to be needing to roll a lot in a short amount of time, I go with this one. The 64s tend to be okay for everything else and a I have a few of those.

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    • #3
      Hey Steve...great tips man. Those Hollywood Blackmagic filters are essential for Bmd cameras. I have the Classic Soft,, Black pro mist, as well as the Hollywood blackmagics...and they are magic for the non olpf bmd sensors. The pocket is only 1080p but it is a SHARP sensor....especially Raw.

      As I rent all the Big name cameras, the pocket is the only camera I own...and that little camera is Still tickin.....I'm going to check out that Tascam you listed....appreciate it man..

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      • #4
        Great thread Steve. A question on the Tascam recorder. Do you line-out to the camera to make sync easier? If so what's your set-up and workflow?

        The only thing I might add to this list is the Mosaic OLPF filter. It's certainly small. More important the reduction in moire and aliasing is for the most part taken it out of play with minimal loss in sharpness or detail.

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        • #5
          The Pocket is still a very relevant camera: http://www.setlifeisgood.com/blog/to...a-even-in-2016

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          • #6
            Originally posted by Marshall Harrington View Post
            Great thread Steve. A question on the Tascam recorder. Do you line-out to the camera to make sync easier? If so what's your set-up and workflow?

            The only thing I might add to this list is the Mosaic OLPF filter. It's certainly small. More important the reduction in moire and aliasing is for the most part taken it out of play with minimal loss in sharpness or detail.
            I have not tested the line out to camera yet, but in theory it should work fine. What I'll have to see is if there are any gain staging issues. This recorder is built to work in tandem with a wireless transmitter so that you can record to the Tascam while simultaneously sending a wireless signal somewhere else (Camera, recorder, etc).

            I've been very torn about which OLPF filter to get. Hans filter has both OLPF and IR and I'm leaning towards going that route. If anyone has more feedback about this, I'd love to hear it.

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            • #7
              The one thing about Hans filter is that you'll need to adjust back focus with speedbooster or shim lens mount.

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              • #8
                this applies to any lens BTW - not just speed-boosters

                I believe Hans is looking into ways of shimming the mount itself - its the only thing putting me off as I use m43 glass

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                • #9
                  Originally posted by Stelvis View Post
                  this applies to any lens BTW - not just speed-boosters

                  I believe Hans is looking into ways of shimming the mount itself - its the only thing putting me off as I use m43 glass
                  Although I primarily use Nikon and Sigma glass on the BMPCC, I have been known to throw on an Oly 12mm or Pany 12-35, so yes a shimmable mount solution would be cool.

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                  • #10
                    Just confirmed that the output from Tascam to BMPCC works just fine but still noticeable hiss in the BMPCC audio compared to Tascam. But certainly makes syncing tracks very easy.

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                    • #11
                      You make this very tempting, Steve!

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                      • #12
                        Originally posted by stevesherrick View Post
                        Just confirmed that the output from Tascam to BMPCC works just fine but still noticeable hiss in the BMPCC audio compared to Tascam. But certainly makes syncing tracks very easy.
                        Did you turn down the output in the Pocket? If not, a preamp will just make the existing sound louder. But if you turn down the Pocket, hopefully the signal will clean up and the preamp will give it strength.

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                        • #13
                          I use both types of glass. Veydras and the dedicated Metabones SB with EF glass. Also use the BMCC and the BMMCC quite a lot. Since I usually use a small monitor I'm kinda favoring the Micro right now.

                          David at Mosaic did come up with a set of shims to offset backfocus. Here's a URL that show's how to do it: https://vimeo.com/145174744. I asked with him about adding the UV to the OLPF. He told me there were contamination issues and that for now we were still better off using a filter in front of our lens. I have not spoken with him in a few months now.

                          Another piece of gear that looks to be pretty nice is the Aputure DC VariND. URL is https://www.cinema5d.com/aputure-dec...-mount-camera/ If I understand it right it's a Variable ND that is also a Speedbooster that you can use to set the aperture and pull focus. If it works this would be huge. Apparently only for use with with Canon EF glass though I don't know that for sure. In fact there's little I do know other than if it works it would be a great thing.

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                          • #14
                            Originally posted by stevesherrick View Post
                            Just confirmed that the output from Tascam to BMPCC works just fine but still noticeable hiss in the BMPCC audio compared to Tascam. But certainly makes syncing tracks very easy.
                            That's what I wanted to know. Never really thought the camera audio would work. Figured I'd sync later like I do now. Currently I use Pluraleyes though I must say I'm not in love with my workflow. Ingest with Resolve for initial color then output ProRes to Premiere where I prior to cutting, sync the audio using PluralEyes. Then back to Resolve for revisions to color. I'd much rather sync in Resolve at the first stage but do not know if it'll work. Thoughts?

                            What's your workflow with the Tascam?

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                            • #15
                              I have two Pockets that I've used extensively, and just added a Micro. I tried using a JuicedLink with the Pockets and finally gave up and settled on double system, with another model Tascam.. I'm discovering that the audio quality on the Micro is noticeably better, so I may try the JuicedLink again...

                              As for the OLPF, I have the Mosaic and because I use a variety of lenses from legacy S16 to native MFT zooms to EF zooms to Rokinon primes, I almost never use it (I need to use most of those lenses on another non-BM camera). If you use a Speedbooster exclusively and dial it in, great, but I'm not about to dick with all those other lenses.

                              I have used some sort of diffusion since my s16 days, even with SD (mostly to open up shadows). I still have a bunch, and do still use the Tiffen 1/2 SoftFX occasionally if I suspect the possibility of moire - however, moire isn't that easy to defeat! And with entities like Netflix now requiring 4K acquisition - images that LOOK like 4K - audiences are beginning to expect a non-diffusssion look. Tack sharp is in and it's harder to sell even a small client job that doesn't have that almost "gamer" contemporary look. So, I use it only on women now.

                              Moire and IR are the major drawbacks of these little cameras, although - so far - the Micro seems more immune to moire even though its a noticeably sharper sensor.

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