Aha! You are the first one to notice or comment. Awesome work James. If you have a drone or anything that takes a micro SD card - I'll send you a Brand new one from Angelbird. Just shoot me over an email.
I think camera marketing departments just sit back and watch the internet go berserk every time they release a new machine. YT also goes crazy when they hear about 'older' cameras being used on big budget films. Yet the very reason for that cameras existence was to be put to use on the very film they've just watched. As in the photography space, it's not what you've got it's how you use it.
Cost has held so many creative people back.. Great to see the pros giving great advice and an heads up for those who have the skills, passion and desire but not the funds. It also gives confidence that in the right hands some of the more reasonably priced hardware can produce the goods. Excellent upload.
I just picked up a Sony f55. I wanted a nice big camera with everything built in. I’m sure I’ll use something smaller when I’m older, but for now I love the workflow on the big cameras
Hi cole, no way man, I have shot a stack of commercials and shorts with an F55 they are crazy good cameras and now super cheap. You made a great choice.
@@cinechimp Yep, you need a R5 or R7 recorder and the AXS cards are pricey, plus you need the reader to offload the files. The old one you can find for around $1000 the newest reader is $3000. But I love this cam and its workflow.
@@kamikaze1213 yes the images are blazing good, but man those AXS cars….you can buy working cameras for less. It would be great if someone came out with a cheaper media for them as they still get used a lot
Totally loved this video. Thought of getting URSA but didn’t bc it seemed too overpowered for my needs. Eagerly waiting on your next video on how to find these cameras so cheap. Thanks for this content.
We have an Arri Alexa Mini LF, and from a client perspective, it is a good investment. However, personally, I shoot extremely good-looking material with the C70 and C500 MKII, focusing on lighting and my preferred lenses (Leica-R). I have received a lot and more than that of positive feedback. I wouldn’t replace these cameras with the Blackmagic 4K, which I owned for half a year, as it couldn’t capture that magic.
Great points, which are all fair for your user case, but I still wouldn't recommend buying an Alexa LF for corporate client work. It's a price over kill, and you're ROI maybe lower and the investment and ongoing costs are higher. Even if you are primarily doing TV series, high end advertising or features, you're still better renting. Maybe its different in Germany, but Alexa's aren't that expensive to rent, and no camera is worth 100k. Where Arri is good, is there are super reliable under all conditions, but as for image, any camera from the last decade or so it good enough. You only need to look at the list of films that have intercut footage form these cameras into the final productions to understand that they can capture the magic when used accordingly. The ASC/ACS shot and published a test, showing when you spend money on everything else, the average person watching, can barely tell the difference between an iPhone and an Alexa. I believe I saw those tests published before 2020. And I dont know about you, but the Apple keynotes are very well made, look very good and are also shot on iPhones, which have arguably less dynamic range than these older BMD cameras. Again adjust the way you lens, light, frame, move and dress the shot.
Right on man, Ive got 3 of these for live Multicam production and am planning to get more. For the money they're unbelievable and when you play to their strengths they just make instant cinematic images. I cannot speak more highly of them, truly one of the best kept open secrets in video kit today. You said it perfectly yourself, clients don't care about the kit as long as the end product is good!
Thank you for TELLING the TRUTH. It's obvious that you're NOT GETTING KICKBACKS from camera manufacturers to promote them. Yes, to make money, we just have to meet our clients' demands, we don't need a high end, expensive camera with the latest technology. We need MORE REVIEWERS like YOU.
I bought my BMPC 4k 5 years ago, and loved it. Just has a charging port issue that came with, so have to shut off after every shot to save battery but the footage holds up for sure!
@@cinechimp It has to be at a perfect spot to charge so I have to bend the cord down to have pressure then it will charge. So cant really add a external battery due to that. The camera has been my main setup though just adapted to it. Was thinking of upgrading to something just so I can have something that runs for a couple hours!
By having that limitation though its kind of like shooting on film. Where I really know what I want to shoot before I do, because the battery is so short lived.
Hey there. Nice true and fair episode. Ya da pixel-wars again :) Even high class theatres project at max. 4k nowadays. Out of curiosity, you really own THE camera which was used on the set of Shining? Best Kim
Hi there, I own a Arri BL2 yes, but I said it was the camera used to shoot the movie the shinning, as in the camera system, not the actual camera. So for any confusion. I believe that is either owned by Garret Brown or the Kubrik family estate.
Superb video, and some greatly appreciated knowledge from your personal experience. I’m holding out and trying to work out a good setup for a 3 camera rig in studio for TH-cam. I already have an ATEM mini extreme, but my worry is handling autofocus as a beginner and one man band. Will start looking at the used market.
You can do it! You have to remember you can control focus with your atem - you should look up www.middlethings.co/ they make incredible super well built stuff that can help you bridge the tech gap you need. Tell them I sent you. I love what those guys are doing here in France. @MiddleThings
I sold my 12k as well. Haven't purchased anything yet, but I've been using the 6k FF to great success. Really like the images for the work I'm doing right now. I'll be looking out for the next thing from BMD, for sure, but knowing that there's so many products out there already that produce amazing images, is nothing short of privilege. We're spoiled today.
Adam, you are exactly right. Apart from the FRAN camera that flopped big time a few years back, are there actually any bad cameras out there? Yes that FF camera has given me seriously itchy fingers, but I do believe BMD has something coming in the next months as well.
this cam can produce in a controlled studio environment nice pictures - nice vintage colors (like OG Pocket, first Cinema Cam) but honestly, this cam was so buggy when it came out (blag spots when shooting in sun, pattern noise). People should be aware that this cam has a lot of negatives: - screen is not usable for outdoor - akward body design (big and awkward shaped, not good for shoulder use) - no xlr cable, you need an adapter - low dynamic range (even compared with first CC / OG Pocket) global shutter is cool if you need it - most of the time nobody needs a global shutter if you sacrifice a lot of dynamic range for it. my opinion: there are so many good old cheap cameras out there, selling for almost nothing (Sony FS7, FS5, F-55, PMW-F3, EVA1, Canon C100). the choice of the Production Camera is indeed driven by your subjective needs - if it works and you like it, you made the right choice :)
You make some very valid pointy both for and against buying this camera. I have a separate video coming soon, which answers a lot of your concerns and illustrates a lot f the negatives you have pointed out. And you nailed it, there are so many great cameras out there sub 2k now (mine was sub 100) like the old Sonys, Canons, even the Panasonic Varicam can be snapped up sub 5k for a full production kit….
@@cinechimp cool looking forward! and to be honest: if you know what you are doing and know the limitations of a cam, but you like working with it, you will make good pictures. easy as that. its like the debate with Leica / rangefinder users vs modern cameras. who cares about the gear as long as you are actual working with it
Sony FS7 mk ii Edit: wow I was way off lol. Good to hear the OG BMCC is still being appreciated. I’ve been giving the Sony F3 too much consideration lately lol
@@cinechimp man it’s so cheap. You can pick up a fully equipped package for under $1500 it’s wild. I’ve been leaning back to Sony. F55 F3 and FX6 have most of my attention
All of which are fantastic cameras, none will put you in debt, all should all get you work. Whats to lose? Whats the saying “marketing and the availability of products drive consumerism, it's not the other way around” and its crazy how tech companies have become fashion brands pretending to be tech companies with seasonal refreshes.
@@cinechimp wow. I’ve never heard it put like that. Camera companies have become fashionable lol I totally don’t care about any of that stuff. What excites me most about new cameras, is the last generations get cheaper. 😂 I’d be lying if I said I wasn’t curious about what Blackmagic does next.
@@gnkstudios6138 haha, yeah thats not what I meant. What I meant by that is: cameras are sold like fast fashion disposable clothing lineups. Nothing is really meant to last longer than a season. Then it's out of fashion. Then here’s this years lineup and they already have next years tech waiting in the wings. Gone are the days, like when I bought my film camera where was meant to last for 20+ years. And for people that came before us, they did. If you're an FX6 owner, after its launch came the FX3, smaller and cheaper, now its the Burano. Sony will undercut that camera within one year. If they dont you can come back and roast me in the comments. Next year it will be something else. DP’s are far better of renting and waiting for these cameras to come down in price. Like you I also am fascinated by tech, but I wish stuff was built for longevity, not obsolescence.
I own and still use the BMCC 2.5k. My boss just bought the 4k production camera. Personally I prefer the 2.5k sensor, it upscales to 4k nicely. I don't like the fixed pattern noise in the 4k.
As an owner of both, I completely agree - the 2.5k gives a lot more flexibility to get your exposure right when compared to the production 4k that must be nailed to avoid FNP
I can't belive that you just picked the BMPC4K. I own the Production 4K! I'm going to shoot my indie feature film on this camera, with vintage glass and SLR Magic Anamorphic adapter. It looks amazing! I'm still learning to get the best out of it. A bit light hungry, but with the proper lighting, it does the job very well. I love it. Bless!
Hey you should check out the www.lucadapterstore.com/ they have a fairly inexpensive internal speed booster for EF models that can really help with that. I have a video coming soon….and hey when the projects done, hit me up - I’d love to see what you create
@@cinechimp Thx for your reply. Yes, I know about that magic booster, but I don't know how good the combo is between the anamorphic adaptor and the magic booster. Now I can use 24mm lens without vignetting because of the 1.7x crop factor, the booster will give the sensor 1.3x crop, so it's a huge chance of vignetting. And it's not very quick to swap back and forth the booster because of the IR filter.
well my friend is you can hang tight for a bit, I’m waiting for a set of anamorphic lenses to arrive, they are different, but I have slated that test….but its all dependant on when they arrive
I loved that BM Production Camera back in the day. I still talk about how much I miss that global shutter and consider buying back an old one again! That being said, the one thing I keep remembering is how frustrating the black hole sun situation was. Whenever the camera would see the sun in frame or reflect it in waves or on cars, etc, it always had this awful black spot in the middle of the highlight that needed to be corrected in post. I loved the camera but that was such an unpleasant extra step. Has Resolve gotten better about dealing with it these days? I know they made a fix in Resolve at one point but I wondered if they did something to streamline that correction in post since I moved on to the 4k pocket (then to the 6k pocket, then to the 6k pro which is what I use now) or just kind of ignored it since they considered the camera obsolete.
@@cinechimp Yes, global shutter and 4k vs 1 stop more of dynamic range and m43 mount. I chose the second. But the 4k is lovely as well. Red spread the "incoming announcement" for a year, and they never delivered what they promised. I never took the brand seriously after that. Nikon was my first brand so i saw poetic justice when they bought Red. You made a great buy with the 4k. Enjoy
@@alex-bohorquez-jimenez What are you mainly shooting with your 2.5k M43? I’m trying to find some good lenses for my (im not big into the m43 world) …did you see REDs out there over the last 24hrs try to reassure customers everything is ok….usually that means they are not and they need to sell off the stock.
@@cinechimp I didn't know about red's statements, you're right, they might be getting nervous. I use the BM 2.5 when i shoot a concert with multiple cameras. But a couple of days ago i thought it would be a good idea to shoot a few shorts i have in mind with it. I've been buying several Zeiss Jena lenses through the years. 20,35,85,135. I love the image they produce. I could use any of the ef lenses i have. When i have to go very wide i use the tokina 11-16. I use them with a metabones 0.64x.ef to m43. Cheers!
@@alex-bohorquez-jimenez Oh great, getting mileage from the cameras and getting paid. Thats awesome! You're proof to my points in the videos. Ill have to check out those Jena lenses, I’ve seen a lot of them online, any I should avoid?
i agree with you. but i see the 12 as a future investment. you purchase it, and then in 10 years you still having a camera that you can use. i had for long time the 4k and dng is great! but i shoot a lot in low ligth where i cant always light it up, so for my kind of work is not the best. I have my 6k g2 and at 3200 works fantastic. also when i need one really dark scene i use my zv e1, Great video btw!
I have the black magic production camera and yes it’s good but it has an annoying green tint. What do you do in post to eliminate it. I’ve tried offset and or temp and tint but never achieved great results. Would love your input. Thanks 🙏🏾
Hi Darren, I haven’t had the experience you have. Sounds strange. Can you send me a test clip from your camera with a list of ALL camera settings and I will check it out for you.
Hi Darren, I haven’t experienced that before, but I am happy to help you out. Can you send me a test clip that really illustrates the issue you're seeing with a list of all your camera settings. That way I can better aid you.
I still don't get it but good on you for bucking the trend. I'm still getting a great image from my P4K even though I have other BMD cams on my list. Glass was the key for me - going to Zeiss Milvus lenses (and 1/8 black pro-mist) re-birthed the camera into a much more cinematic beast a couple of years ago. I think the image from the UMP 12k is incredible but I'll wait for another BMD in-house sensor offering with dual ISO before I buy. My dream would be an 8K version, dual ISO, L-mount with an updated monitor - maybe in a slightly smaller form factor. Dream on!
Hey brother are you still in Scotland? Pocket 4k is an amazing camera for the money and I highly recommend people buy them. They are super cheap, reliable and greta value for money. Totally with you, glass is your paintbrush, light is you paint, sensor is the canvas…dreaming with you...
@@cinechimpI live in Wales but have a holiday home on Skye. Planning to move to France next year though °¬) I've wanted more detail that the P4K can deliver for some projects but budget it's there right now so I just keep on using it and the more I do, the more I continue to be blown away by it's image. Just drove around France for three weeks and for once took the P4K as a tourist - totally stripped down (which can be a challenge to film with!) The footage I got out of it was so good and would hold it's ground against just about any camera a couple of classes up. I shot on the Milvus 25mm f1.4 with and without a metabones .64xl, internal batteries and cheap internal SD. When I started running out of internal batteries I would stick a big NPF battery on which would charge my last internal battery whilst filming. Bit heavy but totally doable...
Oh wow Jonas, we will have to go shoot something together we you move over. Yeah man, I love the pocket 4k, its an awesome camera. France is awesome. You coming for work? There’s no bad BMD design camera, the Ursa 12k was just to heavy on data….when you start to run out of 260TB of disk space, its an issue.
Not it's internal one, but an NPF plate with a 12v output and an NP-F960, yes can run all day on that... compared to a Red which even with external batteries, drains them
Yes, when you add a battery like a V-lock BP230, the production 4k will run for easily two days of heavy filming. The internal battery was never intended to be used as the sole power source. It was meant to be used as a HOT SWAP backup. Pretty normal in the film production world. Look its clear that you feel burned by the experience you have had with the brand / the cameras. I get it, but take what happened with your cameras up with either BMD or the retailer…this is not the forum for that.
Nice one man! How are you handling the Black Sun artifacts though? Blackmagic removed the Black Sun repair feature from DaVinci. Are you running an older version of DaVinci?
Hi James, very good question, I considered it, but I need a smaller camera - the slowmo in that camera would have been interesting. Big price difference tho…50 dollars compared to around 1000.
I had a look after I commented and it seems like you say in the uk they are about double the price. I have never used that sensor but intrigued to try it now. I am still shooting with my 4.6k I got back in 2016 and I still love it. I will never sell that camera, it did so much for me and my career.
@@cinechimp I think it’s a wicked sensor which they are still using in the G2 I believe just with better readout speeds and frame rates. You definitely notice a dynamic range boost over the 4k at the trade off for rolling shutter.
I know it's hard for some to believe, but the cost difference in data alone is astronomical. When I hit 500TB (250 active + 250 cold) it was time to rethink the camera strategy.
Panasonic varicam Lt or sigma FP was not expecting that ahahaha why not the Ursa 4k with the same sensor ? I own a Ursa 4k and it has been my favorite camera to use ever
Just got the G2. Plan to use it until i get my hands on the venice or an arri mini. The blackmagic 12k or g2 or whatever shouldnt be the endgame. Its a tool until you get a better one and so on and so on :) cheers
I shoot hybrid content (photos & videos) mainly for the internet and I have been shooting on a Fujifilm XT-3 since it was launched. Even with the more powerful X-H2s, I will be upgrading to the XT-4. The best camera is the camera that suits your needs... Point.
Haha, I saw a couple people thinking just like me. Currently using a BMMCC, Xt-3. Since you picked up the 4k why not just get the OG Ursa So your clients won’t bat an eye. The URSA has the “I’m a Professional look” on set for your clients.
I had a BM PC 4K in 2015-2017 I believe and the dynamic range and noise pattern were nowhere near great. Then I changed it to a 5D Mk3 with Magic Lantern and now changed it to a RED DSMC2 Helium 8k which was so cheap. Since all that time, now im getting the great image that I wanted for all those years. Especially the dynamic range is so crazy high, with HDRX it's unbelievable. So I think it's a bit crazy to downgrade to an old cam. Im more into buying a crazy expensive cam for less then 1/10 of the original price and the price won't fall that much in some years.
Great points, I looked at some reds, but here in France the prices for old ones are stupidly high. Buying one here would be akin to smoking a cigar tightly rolled out of 100 dollar bills.
i bought an ursa12k last month and have endless ideas for video scripts, but have no logic in other things. What do i need first to start filming and learning? 2-3x battery Packs, the Viewfinder and an allrounder lens like Sigma 18-35mm f1,8? all the other things can be bought one after one, would you agree? all the best
@@cinechimp Thank you bud, would you buy 2-3x battery Packs, the Viewfinder and this Sigma lens first, or did i forgot something that is necessary to start using the cam?
I've just picked up a Canon C100... as 12 year old camera that still gives amazing results, for next to nothing.. the BMPC 4k is next on my list as its almost impossible to find another camera with a global shutter what would be good to use on the steadicam for such a low price... here in the UK we can get them for sub-£500 second hand.
Thanks for sharing - oh you're just across the pond. Awesome on the c100 purchase, looks like we are both looking for what each other has. If you're going to be using it on a steadicam, have you considered the micro studio 4k that had the same global shutter in it. They are all sub 500 euros in France as its now super seeded by the G2 version with the pocket 4k sensor in it. But if you need the weight, you literally cant beat the OG production 4k, the thing is bullet proof.
@@cinechimp I had considered the micro.. but yes it's all about the weight.. heavier rig, more stable, the C100 works great on the steadicam until I need to do a whip pan and then its rolling shutter for days. I always shake my head when I see people unnecessarily upgrading their cameras every year like its a new phone.
Man I haven't shot with a c100 in years, but I do remember that rolling shutter being bad, otherwise great camera - if I was new to this game, I would grab one ini an instant.
I will be the first to admit that I got caught up in the craze thats gear and new cameras with FOMO. But recently I have been having this same feeling when I look back at footage from my production camera 4K (When I had one). I actually Love this idea cause I currently own the canon c70 (I’m keeping it) but everyone I currently DP for wants me to shoot Sony because they have the FX30 and FX3 cameras. So I’m looking at the Sony F55 at the moment a camera that has everything that I want in a camera but it’s 10 years old and I can get it for around 2500-3500 dollars.
I also own the c70. I love that camera, it's far better than the FX6. But I get you, you have to serve your clients. In terms of the F55 I say go for it Larry. They are fantastic cameras, that are totally overlooked because of their age. But you are also not alone in your thinking, but at least if you get that FOMO feeling again it wont cost your kidney. I think of older sensors now like film stocks. I also haven't used one in a while, but reflecting back on it, all of the productions we made with them looked amazing and have held up over time.
Fantastic content! I think Nikon will do a fx3 type camera with compressed raw! I’m not buying a camera until I see what Nikon releases. :) Even if I won’t want to switch, the next cameras from everyone else will have to compete.
oh my gosh!!! i have that 4k and 2.5k i treat them as gold! i know their worth!. i even wanna buy another set of this cameras. another 4k and another 2.5k. but i also have the ursa mini 4.6k. your the man!!!!
@@cinechimp actually they are more cinematic than the newer cameras available. so thats why i treat them as gold and i knew that even i have the ursa, the ursa shot is so clean, not very organic
Oh I totally agree with you. The UMP 12k feels sterile out of camera and you really need a good colourists to give it life. And by that I don't mean a look. I think you get me.
Yup people always chase the next camera wanting to elevate their work when the issue isn’t with the camera but with them. Most cameras from past 10 years are good enough. I always felt the 12k was a little ridiculous I don’t feel anything over 8k is really beneficial from a quality to storage ratio. Also no film camera captured that much data so as far as sharpness goes it’s not even true to “films shot on film stock” most stuff I shoot on red,Sony or blackmagic I shoot at 4k-5k even if the camera can shoot at higher resolutions.
You're right - camera is not the most important thing. BUT... Apart from skills, I think the lenses are the 2nd most important matter. What lenses did you use in these shots?
I would put the lenses ahead of the camera. Top of the line cameras cost around 100k and change. Top of the line lenses 250k and change. Or cheap / vintage lenses for mood, style, flare…etc - so yeah you are on the money
Im somewhere around here, first the script, then production team, actors…..all the way through all of the gear and right at the bottom of the list is the camera body.
YOOOOO I love it... It did cross my mind or one of the pockets but thats awesome!.... I still have mine and I didn't even get a thought to selling it. I Love my URSA g2 and 6k pro combo BUT i have though about how fun it could be to do some shorts and whip out my first BM camera the Production 4K cam!
Your s5mkiix is an awesome camera thats fairly inexpensive? I would keep it and compliment it with a Sony F55, pocket 6k pro or EVA 1 or vice a versa. Is it the lenses for the Panasonic system that blowout the cost or are you not happy with its performance?
@@cinechimp my main thought with it was that it would be like my 6kpro but full frame and with autofocus. but it doesnt quite feel like it. if i were to consider another camera i would buy the new first and weigh them up against each other tho. im just not quite as happy with it as i thought i would. i do love it dearly tho
I believe the internal ND’s and more complicated menus could be a factor in that. The BMD menus are so underrated and they make a lot of other cameras seem complicated in comparison. I was using the Fujifilm XH2s the other day and just could not get my head around the menus and layout…. How are you finding the Dynamic range between the two systems?
@@cinechimp i think that the s5iix has a bit better noise cuz of the higher second native iso of 4000 but the total amount of stops is practically identical. i do miss internal nd (but ive gotten a tilta mirage with vnd) and the quickness of changing setting on the blackmagic is just so good. on the s5iix you have to change recording modes one place, resolution another place, view assist (lut preview) is finicky and just, you get used to it but not cuz its intuitive. the IBIS and Autofocus is splendid tho. but i wish it did open gate raw output. i use the Video Assist 5 12g and it works well but i think thats more on blackmagics side than Panasonic. i think i want to make a review of the camera soon
Sounds finicky, but like it has some nice upsides. I have heard nothing but good stuff from people with the s5mkiix. But the lack of internal RAW….these old BMD cameras have had RAW for 12 years. And that recent interview with Jarrad Land saying RED has already licensed compressed RAW recording to all the major players, makes me question a lot of companies motives with internal RAW, if that statement is true…..
the only reason take me hesitate to pick on up is the ISO 800 at highest. it concerns me for low light shots but. would you mind review the low light quality too?
I can do that in the future for sure mate. But LOW should never mean NO light, thats a big misconception I have noticed the YTR influencer crowd pushes and why cameras like the A7siii exist. But even big shows, like the creator or even Sobabergs new films are still being lit to a BASE STOP.
The latitude is quite good because of CDNG but the DR is poor and it's best to protect highlights. Also if you can replace the internal battery you'll be doing yourself a favour there's a guy that shows how on TH-cam.
Thanks for this video, but 'running on one battery all day', that must be an external V-lock one for sure. 😅 I had the original cinema camera. Battery life was about 30min.
Certainly is a V-lock, Thomas. I have also since replaced the internal battery with a new generation, which was surprising cheap and super easy to do. Around 8 dollars from amazon and about ten minutes work and runs for well over an hour without the V-lock.
Hi ! Love the video, love your feedback etc but... Be very careful, I had two of them on a shoot a few years ago (a company lended me two tesla X and S to shoot) and BOTH cameras overheated and files were corrupted after maybe 2 hours ? Not even talking of course about the battery but well 7 years ago we didn't have the same solutions and I was a student. But I remember that thankfully at that time I had a Canon 5D Mark II that saved me. I really had one BMCC backup but same thing, it died so easily and files corrupted. Since then, I decided to not use Blackmagic anywore. I'm still leaning towards the BMPCC FF but since I do a lot of corporate, events in low light situations Sony seems to be the best fit. Anyways it was very interesting I'll stay around :)
HI there, totally understand the once bitten twice shy mentality. I don't think you would be happy with a BM6K FF, the rolling shutter is dreadful and there is Zero continuous AF. The most important thing with a camera purchase is to be happy with what YOU choose. I haven't had the same experience as you with BMD cinema cameras, all of the ones I have either rented or owned have worked flawlessly. They have their quirks, but so does every other brand. Its a real shame that you have been away from BMD because that pocket PRO 6k (apart from form factor) is a super amazing camera for the money, but so are many Sony cameras, old and new.
I got my feet wet with the bmpcc og and i was mind blown that a 1080p camera could have such a beautiful deep image. Then i learned all the movies it was used on an again 🤯. Later that year i purchased the bmcc 2.5k when it was released and ive been using those 2 cameras ever since they came out. Im thinking of getting an ursa pro g2 soon while its on sale.
Thats a great question, The EF mount can still be speed boosted, The Global shutter in the production 4k is amazing, but the Fairchild dual gain output sensor in the 2.5k, is pretty special. 2.5k price is much cheaper…. I have recently bought both for less than 350 dollars combined….
After tons of research on which camera would work best for my needs and which produced the best images to my eye, I settled on the black magic 6K pro. And every time I see a new video pop up about a new camera I’ll check it out but while I may hear about some feature that I really like, it’s always clear that the overall new camera still won’t do for me what I want and how I want the same way the black mag 6K pro does. Since getting that camera, I have not had any FOMO about other cameras. I work with someone who uses the FX3 which I think is beautifully designed physically, so sleek and simple and produces fantastic images, great low light, and small enough to fit on an inexpensive gimbal… But still overall I prefer the RAW capabilities of my camera, I far prefer the user experience of my camera which includes the menus, the screen, the recording media options and the price point. I see absolutely no need to spend double what I paid for my black magic on a camera that doesn’t produce images any better than mine and has a worse user experience.
I like Blackmagic Design because it is not proprietary, plus you get a free copy of DaVinci Resolve Studio. I have the original Pocket 4K, and it is just right for me. It's a hobby that I love. Just 3 cinema lenses, filters, a V mount, and I'm happy. Avoid gear porn.
The pocket 4k is an absolutely amazing camera, which I also own. IMO its a better camera than the Ursa mini pro 12k. Another reason why I sold the 12k.
Interesting perspective and right on message about renting if you want to make films rather than just own cameras; people long for the next amazing thing...if only I had that, my films would be great.. when the camera you have now is the best you need👍 If you'll forgive me, since you seem a straight nice bloke who makes sense; we as filmmakers should not use big studio condensers that hide our mouths; rather a discrete lavaliere tucked inside our T-shirts; since we're in the business of image making not podcasting :)
Hey there, oh I totally get you with the mic, but our 150 year old home, with solid stone walls and 6 inch thick solid plaster is a nightmare. I have lavs, but they just sound terrible in the room. I have sound blankets on the floor, walls, custom sound panels and ceilings covered with sound mat as well. But none of it works well enough to stop the reverb or kill the room tone. Only the close proximity to the condenser mic works. Its a bit of a catch 22, use a lav and get feedback the audio is bad, use the podmic get good audio and have to block part of my face. My face is rude anyway, who really wants to look at it…. ;) hahahaha
I don't like what all BM camera do to skin imperfections, as they don't have an OLPF and it leads to over-sharpening. A personal preference, for sure but I would never shot with one for that reason. That said, give me a Red One MX any day and I'm happy.
@@cinechimp I did extensive testing. The thing is A) I want to choose to add diffusion when it fits, not be obligated on every shot. B) Most important: It's not the same. A good OLPF doesn't blur or diffuse highlights, it just blends the adjoining pixels precisely enough to remove the over-sharpening and moire effect of missing sensor space (it spreads light from the black/"dead" part of the sensor to where a pixels exists). This has to be tuned exactly to the sensor and requires precision engineering and manufacturing. No filter would be able to do exactly this, as it would either be too much with tighter lenses or too little for wider ones. C) The end effect of a good OLPF is more like film, and much less "video-ish" - regardless of whether you want to a diffusion look or not.
A lot of really common sense advise. It's hard to break the hype cycle. But that's how capitalist consumerism works. :) I actually enjoy filming 1080p and 4K with a D850.
@@cinechimp it's up to you. House was shot on film and later on Alexa. Not to mention one marketing episode shot on 5dm2. Why you didn't buy 5dm2 instead? If it good enough for House)) Why not buy Canon XL which is used in some shots in 28 Days Later? Today these bricks costs almost the same as MUCH better Pocket4K or even greater 6K, so I don't understand why to buy these pieces of s-t. Even 2.5k looks mediocre compare to modern cameras or high end cameras of the past (Alexa, Epic). I thought to buy Canon C500 for 500$ but when I remembered about recorders, ergonomic limitation (no false color, no proper framerate switch, no anamorphic modes, cable robustness, overheating, and so on), and look closely to it's moire and highlights retention, I decided not doing that mistake)) But this camera just scare me. I remember how I filmed a short film, and highlights was always near clipping. Sometimes sadly they was clipped. Then on the half of the film I decided to change camera to FS700 with Shogun, and it was like you have endless latitude haha. It was a hard times where you have only very expensive good cameras, or you have a very bad inexpensive cameras. Today situation is absolutely different.
@@MichaelWeizenfeld I own 2 x 5dmkiis and yes you are correct only one episode of house was shot on the 5dmkii, but they still did it. A stack of them where also used on MAD MAD FURY ROAD along with other cameras I own, BMD Cinema cameras, can you pick which shots they are? Both cut seamlessly into Alexa footage. Hmmmmm you say these bricks cost as much as the pocket 4k, I paid 50 euros for the camera in question. And I would buy a XL1/2 if I could find one at a decent price, they are great cameras. They have their own look, but they are awesome. The c500 shot need for speed, I cant remember hearing the very experienced DP complaining about any of that stuff, he sung its praises. The production 4k, yes it has less DR, but if you know what you are doing, you shouldn't be getting clipped highlights. The camera even has a button you can push to stop that from happening. Lack of DR is easily fixed by augmenting your lighting contrast ratios. That hasn't changed in over 100 years.
Seriously looked at one thats for sure, straight out of Japan entire kits are stupid cheap. Only thing that stopped us was not being able to buy and inspect in person.
It all depends on what your target market is and whether you work for others or create your own media. But yes, that GS Zcam is a mighty fine looking camera.
@@cinechimp lol yeah I was way off. I got to use one once. It’s a nice status symbol. And I didn’t get a chance to really get familiar with the workflow. But I have shot with the raptor a lot. And I think I prefer being able to punch in on 8k.
@@pilotpencil The RED V-raptor is an excellent camera and is great camera to hire for productions. Everyone thinks AI upscaling is a new thing, but big budget films have been doing it with dedicated scripts in NUKE for well over a decade….with the right post work flow any camera can look like any camera theses days. Unfortunately a lot of Producers don't understand the technology behind it.
Hi Joe, I said I have worked on Millions of dollars of projects, in fact its hundreds of millions worth of projects, but yes I have made over a million, not that hard to do over a long career. It adds up quick. With a wise head and learning from mistakes, not that hard to do.
Love to hear about all your journeys so far …..
I love that the camera was sitting in the background the whole time.
Aha! You are the first one to notice or comment. Awesome work James. If you have a drone or anything that takes a micro SD card - I'll send you a Brand new one from Angelbird. Just shoot me over an email.
I think camera marketing departments just sit back and watch the internet go berserk every time they release a new machine. YT also goes crazy when they hear about 'older' cameras being used on big budget films. Yet the very reason for that cameras existence was to be put to use on the very film they've just watched. As in the photography space, it's not what you've got it's how you use it.
Marty, you nailed it!
Indeed!
I had a feeling it was a BMD camera, but I had no idea it was the original cinema camera 4K.
Yeah, Im a sucker for a good BMD cinema camera
A fascinating journey with real world experience , and a suprising conclusion , great video
Many thanks!
I really appreciate filmmakers like you, that focus more on the skills than the gear we acquire as filmmakers. I wish more creators do that.
Hey thanks a lot, we both know skills pay the bills, but I also love advancements in tech.
Cost has held so many creative people back.. Great to see the pros giving great advice and an heads up for those who have the skills, passion and desire but not the funds. It also gives confidence that in the right hands some of the more reasonably priced hardware can produce the goods. Excellent upload.
Very true and thanks for watching.
I just picked up a Sony f55. I wanted a nice big camera with everything built in. I’m sure I’ll use something smaller when I’m older, but for now I love the workflow on the big cameras
Hi cole, no way man, I have shot a stack of commercials and shorts with an F55 they are crazy good cameras and now super cheap. You made a great choice.
I picked up an F55 as well. Absolutely love this camera!!!
@@kamikaze1213 and I did look long and hard at it, but Ill wait for the price to drop further, because it's the media cost thats the hidden killer.
@@cinechimp Yep, you need a R5 or R7 recorder and the AXS cards are pricey, plus you need the reader to offload the files. The old one you can find for around $1000 the newest reader is $3000. But I love this cam and its workflow.
@@kamikaze1213 yes the images are blazing good, but man those AXS cars….you can buy working cameras for less. It would be great if someone came out with a cheaper media for them as they still get used a lot
Totally loved this video. Thought of getting URSA but didn’t bc it seemed too overpowered for my needs. Eagerly waiting on your next video on how to find these cameras so cheap. Thanks for this content.
Glad you enjoyed it, stay tuned more coming soon. Long list of videos to get through….
Didn't see that coming. But that was great storytelling and a bold move as well... Respect
Oh thanks brother….
We have an Arri Alexa Mini LF, and from a client perspective, it is a good investment. However, personally, I shoot extremely good-looking material with the C70 and C500 MKII, focusing on lighting and my preferred lenses (Leica-R). I have received a lot and more than that of positive feedback. I wouldn’t replace these cameras with the Blackmagic 4K, which I owned for half a year, as it couldn’t capture that magic.
Great points, which are all fair for your user case, but I still wouldn't recommend buying an Alexa LF for corporate client work. It's a price over kill, and you're ROI maybe lower and the investment and ongoing costs are higher. Even if you are primarily doing TV series, high end advertising or features, you're still better renting. Maybe its different in Germany, but Alexa's aren't that expensive to rent, and no camera is worth 100k.
Where Arri is good, is there are super reliable under all conditions, but as for image, any camera from the last decade or so it good enough. You only need to look at the list of films that have intercut footage form these cameras into the final productions to understand that they can capture the magic when used accordingly. The ASC/ACS shot and published a test, showing when you spend money on everything else, the average person watching, can barely tell the difference between an iPhone and an Alexa. I believe I saw those tests published before 2020. And I dont know about you, but the Apple keynotes are very well made, look very good and are also shot on iPhones, which have arguably less dynamic range than these older BMD cameras. Again adjust the way you lens, light, frame, move and dress the shot.
Right on man, Ive got 3 of these for live Multicam production and am planning to get more. For the money they're unbelievable and when you play to their strengths they just make instant cinematic images. I cannot speak more highly of them, truly one of the best kept open secrets in video kit today.
You said it perfectly yourself, clients don't care about the kit as long as the end product is good!
skills pay the bills…not cameras
Did not expect another Blackmagic !!
Yeh - I think the cameras I own are regressing…..hahaha
I’m purchasing 4 ursa cine 12k cams for my upcoming Gospel music videos! Love you Black Magic design company!
Brother can you send me one... ;)
Thank you for TELLING the TRUTH. It's obvious that you're NOT GETTING KICKBACKS from camera manufacturers to promote them. Yes, to make money, we just have to meet our clients' demands, we don't need a high end, expensive camera with the latest technology. We need MORE REVIEWERS like YOU.
I bought my BMPC 4k 5 years ago, and loved it. Just has a charging port issue that came with, so have to shut off after every shot to save battery but the footage holds up for sure!
So the charging port doesn't work at all?
@@cinechimp It has to be at a perfect spot to charge so I have to bend the cord down to have pressure then it will charge. So cant really add a external battery due to that. The camera has been my main setup though just adapted to it. Was thinking of upgrading to something just so I can have something that runs for a couple hours!
By having that limitation though its kind of like shooting on film. Where I really know what I want to shoot before I do, because the battery is so short lived.
😮 I never guessed that camera. What’s your rigging for you it?
One of the cameras I bought came with a stack of wooden camera gear, will be in the next video.
Hey there. Nice true and fair episode. Ya da pixel-wars again :) Even high class theatres project at max. 4k nowadays. Out of curiosity, you really own THE camera which was used on the set of Shining? Best Kim
Hi there, I own a Arri BL2 yes, but I said it was the camera used to shoot the movie the shinning, as in the camera system, not the actual camera. So for any confusion. I believe that is either owned by Garret Brown or the Kubrik family estate.
Superb video, and some greatly appreciated knowledge from your personal experience.
I’m holding out and trying to work out a good setup for a 3 camera rig in studio for TH-cam. I already have an ATEM mini extreme, but my worry is handling autofocus as a beginner and one man band. Will start looking at the used market.
You can do it! You have to remember you can control focus with your atem - you should look up www.middlethings.co/ they make incredible super well built stuff that can help you bridge the tech gap you need. Tell them I sent you. I love what those guys are doing here in France. @MiddleThings
I sold my 12k as well. Haven't purchased anything yet, but I've been using the 6k FF to great success. Really like the images for the work I'm doing right now. I'll be looking out for the next thing from BMD, for sure, but knowing that there's so many products out there already that produce amazing images, is nothing short of privilege. We're spoiled today.
Adam, you are exactly right. Apart from the FRAN camera that flopped big time a few years back, are there actually any bad cameras out there? Yes that FF camera has given me seriously itchy fingers, but I do believe BMD has something coming in the next months as well.
Great stuff! IM a former Bmpcc 4k user, and I love the 6k Full Frame, curious what kind of lens you put on your 6k FF? I love the Leica series
@@SynergyPartners23 I really like my SLR Magic APO Microprimes with the 6k FF. You can get them really cheap used in EF/PL mount.
this cam can produce in a controlled studio environment nice pictures - nice vintage colors (like OG Pocket, first Cinema Cam) but honestly, this cam was so buggy when it came out (blag spots when shooting in sun, pattern noise). People should be aware that this cam has a lot of negatives:
- screen is not usable for outdoor
- akward body design (big and awkward shaped, not good for shoulder use)
- no xlr cable, you need an adapter
- low dynamic range (even compared with first CC / OG Pocket)
global shutter is cool if you need it - most of the time nobody needs a global shutter if you sacrifice a lot of dynamic range for it.
my opinion: there are so many good old cheap cameras out there, selling for almost nothing (Sony FS7, FS5, F-55, PMW-F3, EVA1, Canon C100). the choice of the Production Camera is indeed driven by your subjective needs - if it works and you like it, you made the right choice :)
You make some very valid pointy both for and against buying this camera. I have a separate video coming soon, which answers a lot of your concerns and illustrates a lot f the negatives you have pointed out. And you nailed it, there are so many great cameras out there sub 2k now (mine was sub 100) like the old Sonys, Canons, even the Panasonic Varicam can be snapped up sub 5k for a full production kit….
@@cinechimp cool looking forward! and to be honest: if you know what you are doing and know the limitations of a cam, but you like working with it, you will make good pictures. easy as that. its like the debate with Leica / rangefinder users vs modern cameras. who cares about the gear as long as you are actual working with it
Sony FS7 mk ii
Edit: wow I was way off lol. Good to hear the OG BMCC is still being appreciated. I’ve been giving the Sony F3 too much consideration lately lol
Thats a great camera BTW - and cheap now too.
@@cinechimp man it’s so cheap. You can pick up a fully equipped package for under $1500 it’s wild. I’ve been leaning back to Sony. F55 F3 and FX6 have most of my attention
All of which are fantastic cameras, none will put you in debt, all should all get you work. Whats to lose? Whats the saying “marketing and the availability of products drive consumerism, it's not the other way around” and its crazy how tech companies have become fashion brands pretending to be tech companies with seasonal refreshes.
@@cinechimp wow. I’ve never heard it put like that. Camera companies have become fashionable lol
I totally don’t care about any of that stuff. What excites me most about new cameras, is the last generations get cheaper. 😂 I’d be lying if I said I wasn’t curious about what Blackmagic does next.
@@gnkstudios6138 haha, yeah thats not what I meant. What I meant by that is: cameras are sold like fast fashion disposable clothing lineups. Nothing is really meant to last longer than a season. Then it's out of fashion. Then here’s this years lineup and they already have next years tech waiting in the wings. Gone are the days, like when I bought my film camera where was meant to last for 20+ years. And for people that came before us, they did. If you're an FX6 owner, after its launch came the FX3, smaller and cheaper, now its the Burano. Sony will undercut that camera within one year. If they dont you can come back and roast me in the comments. Next year it will be something else. DP’s are far better of renting and waiting for these cameras to come down in price. Like you I also am fascinated by tech, but I wish stuff was built for longevity, not obsolescence.
I own and still use the BMCC 2.5k. My boss just bought the 4k production camera. Personally I prefer the 2.5k sensor, it upscales to 4k nicely. I don't like the fixed pattern noise in the 4k.
As an owner of both, I completely agree - the 2.5k gives a lot more flexibility to get your exposure right when compared to the production 4k that must be nailed to avoid FNP
I can't belive that you just picked the BMPC4K. I own the Production 4K! I'm going to shoot my indie feature film on this camera, with vintage glass and SLR Magic Anamorphic adapter. It looks amazing! I'm still learning to get the best out of it. A bit light hungry, but with the proper lighting, it does the job very well. I love it. Bless!
Hey you should check out the www.lucadapterstore.com/ they have a fairly inexpensive internal speed booster for EF models that can really help with that. I have a video coming soon….and hey when the projects done, hit me up - I’d love to see what you create
@@cinechimp Thx for your reply. Yes, I know about that magic booster, but I don't know how good the combo is between the anamorphic adaptor and the magic booster. Now I can use 24mm lens without vignetting because of the 1.7x crop factor, the booster will give the sensor 1.3x crop, so it's a huge chance of vignetting. And it's not very quick to swap back and forth the booster because of the IR filter.
well my friend is you can hang tight for a bit, I’m waiting for a set of anamorphic lenses to arrive, they are different, but I have slated that test….but its all dependant on when they arrive
@@cinechimp I have a feeling that you are talking about the Laowa zoom anamorphics :)) Am I right?
@@E.R.U.42 Oh man I would love to get some of those, but no - something else…. you’ll have to wait and see….
I loved that BM Production Camera back in the day. I still talk about how much I miss that global shutter and consider buying back an old one again! That being said, the one thing I keep remembering is how frustrating the black hole sun situation was. Whenever the camera would see the sun in frame or reflect it in waves or on cars, etc, it always had this awful black spot in the middle of the highlight that needed to be corrected in post. I loved the camera but that was such an unpleasant extra step. Has Resolve gotten better about dealing with it these days? I know they made a fix in Resolve at one point but I wondered if they did something to streamline that correction in post since I moved on to the 4k pocket (then to the 6k pocket, then to the 6k pro which is what I use now) or just kind of ignored it since they considered the camera obsolete.
yeah its not great in camera but resolve has plenty of tools that can remove it fairly quickly without fuss now.
I have the same camera with a SSD to M.2 no frame drops.
oh that sounds great what ssd to m.2 caddie? are you using?
Great info!
Thanks for watching!
@@cinechimp are there some unedited videos you've posted online using it? Is it still your favorite?
Which camera?
The BM you reviewed in this video
Ok gotcha - when you say un-edited videos, you mean just RAW footage?
I'm with you. I remember Red in its first steps, with than announcement (3k for 3k) that never came true and i still use my blackmagic 2.5.
Man I also love the image from the BMCC 2.5k….Red did finally do it though, but with 6k for under 6k…before taxes….
@@cinechimp Yes, global shutter and 4k vs 1 stop more of dynamic range and m43 mount. I chose the second. But the 4k is lovely as well.
Red spread the "incoming announcement" for a year, and they never delivered what they promised. I never took the brand seriously after that.
Nikon was my first brand so i saw poetic justice when they bought Red.
You made a great buy with the 4k. Enjoy
@@alex-bohorquez-jimenez What are you mainly shooting with your 2.5k M43? I’m trying to find some good lenses for my (im not big into the m43 world) …did you see REDs out there over the last 24hrs try to reassure customers everything is ok….usually that means they are not and they need to sell off the stock.
@@cinechimp I didn't know about red's statements, you're right, they might be getting nervous.
I use the BM 2.5 when i shoot a concert with multiple cameras. But a couple of days ago i thought it would be a good idea to shoot a few shorts i have in mind with it.
I've been buying several Zeiss Jena lenses through the years. 20,35,85,135. I love the image they produce. I could use any of the ef lenses i have. When i have to go very wide i use the tokina 11-16.
I use them with a metabones 0.64x.ef to m43.
Cheers!
@@alex-bohorquez-jimenez Oh great, getting mileage from the cameras and getting paid. Thats awesome! You're proof to my points in the videos. Ill have to check out those Jena lenses, I’ve seen a lot of them online, any I should avoid?
i agree with you. but i see the 12 as a future investment. you purchase it, and then in 10 years you still having a camera that you can use. i had for long time the 4k and dng is great! but i shoot a lot in low ligth where i cant always light it up, so for my kind of work is not the best. I have my 6k g2 and at 3200 works fantastic. also when i need one really dark scene i use my zv e1,
Great video btw!
thanks captain, all good points and all good cameras at the end of the day
I have the black magic production camera and yes it’s good but it has an annoying green tint. What do you do in post to eliminate it. I’ve tried offset and or temp and tint but never achieved great results. Would love your input. Thanks 🙏🏾
Hi Darren, I haven’t had the experience you have. Sounds strange. Can you send me a test clip from your camera with a list of ALL camera settings and I will check it out for you.
Hi Darren, I haven’t experienced that before, but I am happy to help you out. Can you send me a test clip that really illustrates the issue you're seeing with a list of all your camera settings. That way I can better aid you.
I still don't get it but good on you for bucking the trend. I'm still getting a great image from my P4K even though I have other BMD cams on my list. Glass was the key for me - going to Zeiss Milvus lenses (and 1/8 black pro-mist) re-birthed the camera into a much more cinematic beast a couple of years ago. I think the image from the UMP 12k is incredible but I'll wait for another BMD in-house sensor offering with dual ISO before I buy. My dream would be an 8K version, dual ISO, L-mount with an updated monitor - maybe in a slightly smaller form factor. Dream on!
Hey brother are you still in Scotland? Pocket 4k is an amazing camera for the money and I highly recommend people buy them. They are super cheap, reliable and greta value for money. Totally with you, glass is your paintbrush, light is you paint, sensor is the canvas…dreaming with you...
@@cinechimpI live in Wales but have a holiday home on Skye. Planning to move to France next year though °¬)
I've wanted more detail that the P4K can deliver for some projects but budget it's there right now so I just keep on using it and the more I do, the more I continue to be blown away by it's image. Just drove around France for three weeks and for once took the P4K as a tourist - totally stripped down (which can be a challenge to film with!) The footage I got out of it was so good and would hold it's ground against just about any camera a couple of classes up. I shot on the Milvus 25mm f1.4 with and without a metabones .64xl, internal batteries and cheap internal SD. When I started running out of internal batteries I would stick a big NPF battery on which would charge my last internal battery whilst filming. Bit heavy but totally doable...
Oh wow Jonas, we will have to go shoot something together we you move over. Yeah man, I love the pocket 4k, its an awesome camera. France is awesome. You coming for work?
There’s no bad BMD design camera, the Ursa 12k was just to heavy on data….when you start to run out of 260TB of disk space, its an issue.
@@cinechimpWhat? You live in France? I assumed you were in Oz! Dude, seriously, what's the best way to DM with you? We have a lot to talk about!!
email is in the channel bio
Can run all day on a single battery????
Not it's internal one, but an NPF plate with a 12v output and an NP-F960, yes can run all day on that... compared to a Red which even with external batteries, drains them
Yes, when you add a battery like a V-lock BP230, the production 4k will run for easily two days of heavy filming. The internal battery was never intended to be used as the sole power source. It was meant to be used as a HOT SWAP backup. Pretty normal in the film production world. Look its clear that you feel burned by the experience you have had with the brand / the cameras. I get it, but take what happened with your cameras up with either BMD or the retailer…this is not the forum for that.
Nice one man! How are you handling the Black Sun artifacts though? Blackmagic removed the Black Sun repair feature from DaVinci. Are you running an older version of DaVinci?
no running the most current resolve 18 version. Just use the spot removal tool, but I barely have the issue
That issue was ended in with URSA mini pro , that was an issue with old generation
Why not the URSA Mini 4k? I’m pretty sure it was the same sensor but you would get all the updated ui xlr ports and a miles better screen
Hi James, very good question, I considered it, but I need a smaller camera - the slowmo in that camera would have been interesting. Big price difference tho…50 dollars compared to around 1000.
I had a look after I commented and it seems like you say in the uk they are about double the price.
I have never used that sensor but intrigued to try it now.
I am still shooting with my 4.6k I got back in 2016 and I still love it. I will never sell that camera, it did so much for me and my career.
well thats an amazing camera thats surely on my bucket list…..
@@cinechimp I think it’s a wicked sensor which they are still using in the G2 I believe just with better readout speeds and frame rates.
You definitely notice a dynamic range boost over the 4k at the trade off for rolling shutter.
Peeped the OG 2.5k in the back. That's what's up. Selling the URSA 12k for the old Production 4K seems weird AF!
I know it's hard for some to believe, but the cost difference in data alone is astronomical. When I hit 500TB (250 active + 250 cold) it was time to rethink the camera strategy.
Love it. Picked up the Production 4K camera last year. Thinking of using it on the next shoot. That or the OG Micro 🤔
The OG micro and the production 4k, dream combo
Panasonic varicam Lt or sigma FP was not expecting that ahahaha why not the Ursa 4k with the same sensor ?
I own a Ursa 4k and it has been my favorite camera to use ever
Hi Jean, thats simple to answer, the price point. The BMP4k is so cheap used. The Ursa 4k is much more expensive used here in France.
Just got the G2. Plan to use it until i get my hands on the venice or an arri mini.
The blackmagic 12k or g2 or whatever shouldnt be the endgame. Its a tool until you get a better one and so on and so on :) cheers
solid strategy
I shoot hybrid content (photos & videos) mainly for the internet and I have been shooting on a Fujifilm XT-3 since it was launched.
Even with the more powerful X-H2s, I will be upgrading to the XT-4.
The best camera is the camera that suits your needs... Point.
You said, I believe it! Fuji make awesome cameras BTW.
Paused: Sony f35/55?
Haha, I saw a couple people thinking just like me. Currently using a BMMCC, Xt-3. Since you picked up the 4k why not just get the OG Ursa So your clients won’t bat an eye. The URSA has the “I’m a Professional look” on set for your clients.
Oh man everyone is guessing the F55….Exactly - clients dont care what you use only about the end result...
I had a BM PC 4K in 2015-2017 I believe and the dynamic range and noise pattern were nowhere near great. Then I changed it to a 5D Mk3 with Magic Lantern and now changed it to a RED DSMC2 Helium 8k which was so cheap. Since all that time, now im getting the great image that I wanted for all those years. Especially the dynamic range is so crazy high, with HDRX it's unbelievable. So I think it's a bit crazy to downgrade to an old cam. Im more into buying a crazy expensive cam for less then 1/10 of the original price and the price won't fall that much in some years.
Great points, I looked at some reds, but here in France the prices for old ones are stupidly high. Buying one here would be akin to smoking a cigar tightly rolled out of 100 dollar bills.
fascinating move... love your perspective
Thanks for the positivity - its funny how far we go before we look back and think, how did we end up here...
i bought an ursa12k last month and have endless ideas for video scripts, but have no logic in other things. What do i need first to start filming and learning? 2-3x battery Packs, the Viewfinder and an allrounder lens like Sigma 18-35mm f1,8? all the other things can be bought one after one, would you agree?
all the best
Oh these are some very good questions. You have a great camera, I would just start filming and try to find your voice… then refine from there...
well you have a great camera, I would start film and try to find your voice and refine from there.
@@cinechimp Thank you bud, would you buy 2-3x battery Packs, the Viewfinder and this Sigma lens first, or did i forgot something that is necessary to start using the cam?
I've just picked up a Canon C100... as 12 year old camera that still gives amazing results, for next to nothing.. the BMPC 4k is next on my list as its almost impossible to find another camera with a global shutter what would be good to use on the steadicam for such a low price... here in the UK we can get them for sub-£500 second hand.
Thanks for sharing - oh you're just across the pond. Awesome on the c100 purchase, looks like we are both looking for what each other has. If you're going to be using it on a steadicam, have you considered the micro studio 4k that had the same global shutter in it. They are all sub 500 euros in France as its now super seeded by the G2 version with the pocket 4k sensor in it. But if you need the weight, you literally cant beat the OG production 4k, the thing is bullet proof.
@@cinechimp I had considered the micro.. but yes it's all about the weight.. heavier rig, more stable, the C100 works great on the steadicam until I need to do a whip pan and then its rolling shutter for days. I always shake my head when I see people unnecessarily upgrading their cameras every year like its a new phone.
Man I haven't shot with a c100 in years, but I do remember that rolling shutter being bad, otherwise great camera - if I was new to this game, I would grab one ini an instant.
I will be the first to admit that I got caught up in the craze thats gear and new cameras with FOMO. But recently I have been having this same feeling when I look back at footage from my production camera 4K (When I had one). I actually Love this idea cause I currently own the canon c70 (I’m keeping it) but everyone I currently DP for wants me to shoot Sony because they have the FX30 and FX3 cameras. So I’m looking at the Sony F55 at the moment a camera that has everything that I want in a camera but it’s 10 years old and I can get it for around 2500-3500 dollars.
I also own the c70. I love that camera, it's far better than the FX6. But I get you, you have to serve your clients. In terms of the F55 I say go for it Larry. They are fantastic cameras, that are totally overlooked because of their age. But you are also not alone in your thinking, but at least if you get that FOMO feeling again it wont cost your kidney. I think of older sensors now like film stocks. I also haven't used one in a while, but reflecting back on it, all of the productions we made with them looked amazing and have held up over time.
Fantastic content! I think Nikon will do a fx3 type camera with compressed raw! I’m not buying a camera until I see what Nikon releases. :) Even if I won’t want to switch, the next cameras from everyone else will have to compete.
Totally agree!
oh my gosh!!! i have that 4k and 2.5k i treat them as gold! i know their worth!. i even wanna buy another set of this cameras. another 4k and another 2.5k. but i also have the ursa mini 4.6k. your the man!!!!
Great minds think alike!
@@cinechimp actually they are more cinematic than the newer cameras available. so thats why i treat them as gold and i knew that even i have the ursa, the ursa shot is so clean, not very organic
Oh I totally agree with you. The UMP 12k feels sterile out of camera and you really need a good colourists to give it life. And by that I don't mean a look. I think you get me.
BPCC6k?
oh great choice, but no….
Hi, was the global shutter the main reason to get that camera over other BMCC? Greetings and thanks for the good content. ✌🏾
Yes it was, but only because I also own both the EF and M4/3 BMCC 2.5k cameras.
Yup people always chase the next camera wanting to elevate their work when the issue isn’t with the camera but with them. Most cameras from past 10 years are good enough. I always felt the 12k was a little ridiculous I don’t feel anything over 8k is really beneficial from a quality to storage ratio. Also no film camera captured that much data so as far as sharpness goes it’s not even true to “films shot on film stock” most stuff I shoot on red,Sony or blackmagic I shoot at 4k-5k even if the camera can shoot at higher resolutions.
Argh you get me, quality of image to storage ratio, thats how I should have said it!
You're right - camera is not the most important thing. BUT... Apart from skills, I think the lenses are the 2nd most important matter. What lenses did you use in these shots?
I would put the lenses ahead of the camera. Top of the line cameras cost around 100k and change. Top of the line lenses 250k and change. Or cheap / vintage lenses for mood, style, flare…etc - so yeah you are on the money
@@cinechimp so I say: 1st skills, than lenses, than maybe camera... So what lenses did you use here? 🤔
Im somewhere around here, first the script, then production team, actors…..all the way through all of the gear and right at the bottom of the list is the camera body.
YOOOOO I love it... It did cross my mind or one of the pockets but thats awesome!.... I still have mine and I didn't even get a thought to selling it. I Love my URSA g2 and 6k pro combo BUT i have though about how fun it could be to do some shorts and whip out my first BM camera the Production 4K cam!
Right on! You still have one, awesome!
i have thought of "downgrading" my camera from the S5IIX to a Sony f55, Panasonic eva1 or even just back to a blackmagic 6k pro
Your s5mkiix is an awesome camera thats fairly inexpensive? I would keep it and compliment it with a Sony F55, pocket 6k pro or EVA 1 or vice a versa. Is it the lenses for the Panasonic system that blowout the cost or are you not happy with its performance?
@@cinechimp my main thought with it was that it would be like my 6kpro but full frame and with autofocus. but it doesnt quite feel like it. if i were to consider another camera i would buy the new first and weigh them up against each other tho. im just not quite as happy with it as i thought i would. i do love it dearly tho
I believe the internal ND’s and more complicated menus could be a factor in that. The BMD menus are so underrated and they make a lot of other cameras seem complicated in comparison. I was using the Fujifilm XH2s the other day and just could not get my head around the menus and layout…. How are you finding the Dynamic range between the two systems?
@@cinechimp i think that the s5iix has a bit better noise cuz of the higher second native iso of 4000 but the total amount of stops is practically identical. i do miss internal nd (but ive gotten a tilta mirage with vnd) and the quickness of changing setting on the blackmagic is just so good. on the s5iix you have to change recording modes one place, resolution another place, view assist (lut preview) is finicky and just, you get used to it but not cuz its intuitive. the IBIS and Autofocus is splendid tho. but i wish it did open gate raw output. i use the Video Assist 5 12g and it works well but i think thats more on blackmagics side than Panasonic. i think i want to make a review of the camera soon
Sounds finicky, but like it has some nice upsides. I have heard nothing but good stuff from people with the s5mkiix. But the lack of internal RAW….these old BMD cameras have had RAW for 12 years. And that recent interview with Jarrad Land saying RED has already licensed compressed RAW recording to all the major players, makes me question a lot of companies motives with internal RAW, if that statement is true…..
the only reason take me hesitate to pick on up is the ISO 800 at highest. it concerns me for low light shots but. would you mind review the low light quality too?
I can do that in the future for sure mate. But LOW should never mean NO light, thats a big misconception I have noticed the YTR influencer crowd pushes and why cameras like the A7siii exist. But even big shows, like the creator or even Sobabergs new films are still being lit to a BASE STOP.
@@cinechimpWhat is a base stop? I asked GPT but I’m not sure what it gave me is correct.
@@definingslawek4731 A base T-stop, what you are setting as your base exposure level.
The latitude is quite good because of CDNG but the DR is poor and it's best to protect highlights. Also if you can replace the internal battery you'll be doing yourself a favour there's a guy that shows how on TH-cam.
@@bedenegative I think I have watched that guys video like a hundred times…..
Sony A93?
that would have been a good choice
Thanks for this video, but 'running on one battery all day', that must be an external V-lock one for sure. 😅 I had the original cinema camera. Battery life was about 30min.
Certainly is a V-lock, Thomas. I have also since replaced the internal battery with a new generation, which was surprising cheap and super easy to do. Around 8 dollars from amazon and about ten minutes work and runs for well over an hour without the V-lock.
@@cinechimp wow, cool. Didnt know it was possible! Appreciate your reasoning for going for this model
Hi ! Love the video, love your feedback etc but... Be very careful, I had two of them on a shoot a few years ago (a company lended me two tesla X and S to shoot) and BOTH cameras overheated and files were corrupted after maybe 2 hours ? Not even talking of course about the battery but well 7 years ago we didn't have the same solutions and I was a student.
But I remember that thankfully at that time I had a Canon 5D Mark II that saved me. I really had one BMCC backup but same thing, it died so easily and files corrupted.
Since then, I decided to not use Blackmagic anywore. I'm still leaning towards the BMPCC FF but since I do a lot of corporate, events in low light situations Sony seems to be the best fit.
Anyways it was very interesting I'll stay around :)
HI there, totally understand the once bitten twice shy mentality. I don't think you would be happy with a BM6K FF, the rolling shutter is dreadful and there is Zero continuous AF. The most important thing with a camera purchase is to be happy with what YOU choose. I haven't had the same experience as you with BMD cinema cameras, all of the ones I have either rented or owned have worked flawlessly. They have their quirks, but so does every other brand. Its a real shame that you have been away from BMD because that pocket PRO 6k (apart from form factor) is a super amazing camera for the money, but so are many Sony cameras, old and new.
I got my feet wet with the bmpcc og and i was mind blown that a 1080p camera could have such a beautiful deep image. Then i learned all the movies it was used on an again 🤯. Later that year i purchased the bmcc 2.5k when it was released and ive been using those 2 cameras ever since they came out. Im thinking of getting an ursa pro g2 soon while its on sale.
amazing
Which one do you prefer? 2,5k ef mount or bm production 4k ?
Thats a great question, The EF mount can still be speed boosted, The Global shutter in the production 4k is amazing, but the Fairchild dual gain output sensor in the 2.5k, is pretty special. 2.5k price is much cheaper…. I have recently bought both for less than 350 dollars combined….
lol at the price of 350 combined.@@cinechimp
After tons of research on which camera would work best for my needs and which produced the best images to my eye, I settled on the black magic 6K pro.
And every time I see a new video pop up about a new camera I’ll check it out but while I may hear about some feature that I really like, it’s always clear that the overall new camera still won’t do for me what I want and how I want the same way the black mag 6K pro does. Since getting that camera, I have not had any FOMO about other cameras.
I work with someone who uses the FX3 which I think is beautifully designed physically, so sleek and simple and produces fantastic images, great low light, and small enough to fit on an inexpensive gimbal… But still overall I prefer the RAW capabilities of my camera, I far prefer the user experience of my camera which includes the menus, the screen, the recording media options and the price point.
I see absolutely no need to spend double what I paid for my black magic on a camera that doesn’t produce images any better than mine and has a worse user experience.
Great and very valid points. I have a 6k Pro, amazing cameras.
What about the sigma fp
Absolutely fantastic camera
I like Blackmagic Design because it is not proprietary, plus you get a free copy of DaVinci Resolve Studio. I have the original Pocket 4K, and it is just right for me. It's a hobby that I love. Just 3 cinema lenses, filters, a V mount, and I'm happy. Avoid gear porn.
The pocket 4k is an absolutely amazing camera, which I also own. IMO its a better camera than the Ursa mini pro 12k. Another reason why I sold the 12k.
5:30 is it a Fujifilm GFX 100 II?
Oh I wish
Interesting perspective and right on message about renting if you want to make films rather than just own cameras; people long for the next amazing thing...if only I had that, my films would be great.. when the camera you have now is the best you need👍 If you'll forgive me, since you seem a straight nice bloke who makes sense; we as filmmakers should not use big studio condensers that hide our mouths; rather a discrete lavaliere tucked inside our T-shirts; since we're in the business of image making not podcasting :)
Hey there, oh I totally get you with the mic, but our 150 year old home, with solid stone walls and 6 inch thick solid plaster is a nightmare. I have lavs, but they just sound terrible in the room. I have sound blankets on the floor, walls, custom sound panels and ceilings covered with sound mat as well. But none of it works well enough to stop the reverb or kill the room tone. Only the close proximity to the condenser mic works. Its a bit of a catch 22, use a lav and get feedback the audio is bad, use the podmic get good audio and have to block part of my face. My face is rude anyway, who really wants to look at it…. ;) hahahaha
Fx6 or fx3
both would have been solid choices….
17K or 12K cine? Or the new PYXIS cameras... Soooo many new choices
I know right - too much joy in the world today
I don't like what all BM camera do to skin imperfections, as they don't have an OLPF and it leads to over-sharpening. A personal preference, for sure but I would never shot with one for that reason. That said, give me a Red One MX any day and I'm happy.
Those Red ones are great cameras…shot so many projects on them. Have you tried using mist filters with the BM cameras?
@@cinechimp I did extensive testing. The thing is A) I want to choose to add diffusion when it fits, not be obligated on every shot. B) Most important: It's not the same. A good OLPF doesn't blur or diffuse highlights, it just blends the adjoining pixels precisely enough to remove the over-sharpening and moire effect of missing sensor space (it spreads light from the black/"dead" part of the sensor to where a pixels exists). This has to be tuned exactly to the sensor and requires precision engineering and manufacturing. No filter would be able to do exactly this, as it would either be too much with tighter lenses or too little for wider ones. C) The end effect of a good OLPF is more like film, and much less "video-ish" - regardless of whether you want to a diffusion look or not.
@@robertruffo2134 Have you tried contacting kolarivision.com/
Ha! I've got a production 4k PL camera for sale, wanna buy it?
hmmm possibly….?
The future seems like immersion videos which u need at least 8-12k but if u not shooting that then u can get away with 4k
even 1080
Black magic?
on the money
He sold it for an A7IV and an ND filter off Temu
mate whats with the zee, thought you were Aussie.
trying to keep my mind off the HAWKS losing again….
A lot of really common sense advise. It's hard to break the hype cycle. But that's how capitalist consumerism works. :) I actually enjoy filming 1080p and 4K with a D850.
Thanks, hey that d850 is a fantastic camera.
You're going to have a hard time with it.
Not fore the jobs its being put on, its perfect.
@@cinechimp I had one in 2016, so little dynamic range is too much.
Hmmm, I haven't found the dynamic range limiting, it has more than a lot of older DSLR’s…which we used to shot TV shows like HOUSE.
@@cinechimp it's up to you.
House was shot on film and later on Alexa. Not to mention one marketing episode shot on 5dm2. Why you didn't buy 5dm2 instead? If it good enough for House))
Why not buy Canon XL which is used in some shots in 28 Days Later?
Today these bricks costs almost the same as MUCH better Pocket4K or even greater 6K, so I don't understand why to buy these pieces of s-t. Even 2.5k looks mediocre compare to modern cameras or high end cameras of the past (Alexa, Epic).
I thought to buy Canon C500 for 500$ but when I remembered about recorders, ergonomic limitation (no false color, no proper framerate switch, no anamorphic modes, cable robustness, overheating, and so on), and look closely to it's moire and highlights retention, I decided not doing that mistake))
But this camera just scare me. I remember how I filmed a short film, and highlights was always near clipping. Sometimes sadly they was clipped. Then on the half of the film I decided to change camera to FS700 with Shogun, and it was like you have endless latitude haha. It was a hard times where you have only very expensive good cameras, or you have a very bad inexpensive cameras. Today situation is absolutely different.
@@MichaelWeizenfeld I own 2 x 5dmkiis and yes you are correct only one episode of house was shot on the 5dmkii, but they still did it. A stack of them where also used on MAD MAD FURY ROAD along with other cameras I own, BMD Cinema cameras, can you pick which shots they are? Both cut seamlessly into Alexa footage. Hmmmmm you say these bricks cost as much as the pocket 4k, I paid 50 euros for the camera in question. And I would buy a XL1/2 if I could find one at a decent price, they are great cameras. They have their own look, but they are awesome. The c500 shot need for speed, I cant remember hearing the very experienced DP complaining about any of that stuff, he sung its praises. The production 4k, yes it has less DR, but if you know what you are doing, you shouldn't be getting clipped highlights. The camera even has a button you can push to stop that from happening. Lack of DR is easily fixed by augmenting your lighting contrast ratios. That hasn't changed in over 100 years.
If you say the varicam LT imma shit a brick.
Seriously looked at one thats for sure, straight out of Japan entire kits are stupid cheap. Only thing that stopped us was not being able to buy and inspect in person.
Z cam isn’t ideal unless you spend more for the global stutter
It all depends on what your target market is and whether you work for others or create your own media. But yes, that GS Zcam is a mighty fine looking camera.
I get it, but you're wrong, bro.
a camera is a canvas, nothing more - and there is no wrong or right when it comes to art.
Black magic ???
C70??
Damn almost got it
I own a c70….another reason for the UMP 12k being sold
@@cinechimp I hope we get a full frame C70. The Nd filters and the audio ports on C70 make it an awesome camera.
Yes I think that would be an awesome move if Canon decide to do that...
The canon eos r
I have an EOS R which I strangely decided to keep over the Ursa 12k.
@@cinechimp I’ve got a rigged out A7IV as my b-cam lol
Fantastic they are great cameras! What are you using as your A camera?
@@cinechimp fx3
@@TheLinesEnd Another great camera - you’re living proof that you don't need a bigger cinema camera anymore. Small mirrorless will do.
C300
Good guess, great - in fact excellent camera that I am looking for….
ARRI mini LF
Maybe in another 5 years when those cameras are selling for under 5k, which will happen.
@@cinechimp lol yeah I was way off. I got to use one once. It’s a nice status symbol. And I didn’t get a chance to really get familiar with the workflow. But I have shot with the raptor a lot. And I think I prefer being able to punch in on 8k.
@@pilotpencil The RED V-raptor is an excellent camera and is great camera to hire for productions. Everyone thinks AI upscaling is a new thing, but big budget films have been doing it with dedicated scripts in NUKE for well over a decade….with the right post work flow any camera can look like any camera theses days. Unfortunately a lot of Producers don't understand the technology behind it.
You've made millions??? Maybe I work on the wrong projects...
Hi Joe, I said I have worked on Millions of dollars of projects, in fact its hundreds of millions worth of projects, but yes I have made over a million, not that hard to do over a long career. It adds up quick. With a wise head and learning from mistakes, not that hard to do.
6k pro
already have one in the arsenal….and am pretty sure it will be super-seeded within a month at NAB2024
lol HELL NO you are trippin
Thanks brother you made me laugh.
@@cinechimp same here sir
Gh4 gh5
that would have actually been a good choice.
Bbalckmagic FF
love that camera, but for me its a rental because of the horrendous rolling shutter