Or the BMCC review list. Or the BlackMagic Cinema Camera review roundup. This camera seems to be getting a life of it's own before it hits wide release. Here's a list of reviews so far. This page will be updated as more reviews hit the web.
Personally I’ll be waiting for the Super 35mm version of this camera before I can consider it as my “A” body. That’s my personal view on things of course – as I mentioned at the start of this post: I’m sure (and welcome) others seeing things differently.
Don’t forget though: at the end of the day there is one key factor you’ll never be able to improve: the small sensor size combined with an EF lens mount – and the lack of wide-angle lens choices you will (at least temporarily) be faced with.
I look forward to seeing a Super 35mm version of this camera with some ergonomic improvements and a few extra production-friendly bells and whistles and a greater selection of frame rates.
One thing should be noted: when asked for an alternative to this camera anywhere near this price point…. I don’t have any easy answers. And I’m not even looking to cameras that can shoot RAW – I’m looking for cameras that can produce an image that will come close to this quality for under $6,500 … and I’m having a hard time coming up with one at this time.
So what caused an early skeptic opposed to small sensor cameras to set aside $2,995 on a pre-order for the BMCC? Simple: A camera with RAW and ProRes capability, shooting up to 2.5K resolution with 13 stops of dynamic range while retaining beautiful skin tones and color information in a manner similar to the Arri Alexa – a camera by far viewed as the leader in digital cinema.
When you add in features such as a full copy of Resolve 9 ($999) and UltraScopes over Thunderbolt ($595) and a free 240GB SSD from Safe Harbor ($200), I am buying a baby Alexa for $1,201 (including shipping and tax).
Friends, if that is not a good deal regarding the images and movies you have seen thus far, I do not know what is!
I strongly believe the 5D’s days of being a pro video camera are behind it.
It doesn’t help that the Sony FS100′s used price is now approaching what the 5D Mark III costs new.
Looking forwards there’s trouble coming from Sony who will release a full frame video camera soon. With the Metabones adapter you can use your existing Canon glass on this. Likewise the Blackmagic Cinema Camera does not have to necessitate a reinvestment in lenses, just a Tokina 11-16mm F2.8 to cover the wide end.
I feel that right now amongst many working videographers the benefits of ProRes are more widely understood than raw. In TV production, low budget production, DSLR shoots, corporate videos – ProRes is well used already. Raw exists in the world of Red and Arri but even most Alexa shoots use ProRes only!
This is the first time we’ve ever had raw video at the $3000 mark which is basically a consumer price level and accessible for those hundreds of thousands of 5D / 7D shooters and aspiring filmmakers out there.
Many people’s first taste of raw will be on the Blackmagic Cinema Camera and they should not default to ProRes without giving it some time, effort and learning first even if it isn’t for their current work it may be useful later. There’s significant skills and image quality at stake here. Should you choose to ignore raw, you’ll be missing out.
Philip Bloom looking at the grading potential in the RAW DNG file. His review is forthcoming...
I have my Blackmagic camera now for evaluation. Unfortunately when I say I have it…it’s at home in London and I am in LA just wrapped on a shoot. I wont be doing a review straight away, I don’t want to rush it but if you follow me on twitter and facebook will do mini updates… James Miller my right hand man has been playing with the files and has written the below for you…