Blackmagic Design Production Camera 4K Camcorder

Product Information

That said, if you opt for the Production Camera 4K you should expect two things. The first is that you'll get some wonderful 4K footage in bright light, with tons of resolution, minimal rolling shutter, and a flat profile that's easy to grade. The other thing you should expect is a series of headaches, as the poor battery life and abysmal low-light shooting preclude pretty much any kind of run-and-gun work. I just wanted to give everyone the heads up about PNY drives and the BMCC. The XLR8 480gb drives seem to have changed, but are still being sold in the same box! Yes, we want to do this. A large part of the work has been completed so I don't believe this will be a big effort to implement. However, it is very unlikely that we will support deleting of clips directly in camera due to the risk of media fragmentation.

Ethernet supports 10/100/1000 BaseT. Allows direct connection between panel and chassis, or vianetwork. Internal Timecode GeneratorI'm not sure why formatting in camera would solve this. Both in the camera and on the computer the drives are formatted as exFAT. Ethernet supports 10/100/1000 BaseT. Allows direct connection between panel and chassis, or via network. Tally Output Its much easier to use ACES with RAW files where it's all handled internally in either Resolve or the SDK. Fran Tormo wrote:I´m a little bit confuse too because Resolve detect that is V4 in RAW tab, but if I tried to select in

The original 2.5K camera had fundamental architectural differences in firmware compared to the other cameras which doubled the effort when trying to do any bug fixes or add new features to the cameras. As such, we knew we had to re-architect the firmware so as to bring it up to speed with the current cameras. This is not simple and taking longer than we thought. However, we are close now, close enough that beta versions have been seeded to some users for the past few months. The next day, we headed out to Brooklyn Bridge Park to capture some 4K footage of NYC’s Financial District, just across the East River, and the Statue of Liberty, out in the New York Bay. The fact that this camera is most frequently being tested against models from other manufacturers that retail — on the low side — at three or four times the price of the Production Camera 4K speaks volumes. While the ergonomics of this camera (which is clearly made to sit on a tripod, though not impossible to work with hand-held) might be off-putting to some DSLR filmmakers looking to shoot in 4K for the first time, the quality of the footage and the accessibility of the design/interfaces (coupled with the price, of course) will make it hard to resist.The camera features a 6G-SDI connector that allows single-cable 4K transfer. It also includes a Thunderbolt connector and a LANC connector for controlling record, stop, focus and iris settings, remotely. Whooo hoooo....we finally somehow manage to receive an update from an actual employee of BMD....keep em coming as I am sure there are customers that have either spent money or are thinking of spending money and really appreciate it. So yes, use the GH4 for HD video, but don't expect it to deliver much when you are switching it over to 4K mode. The global shutter means it captures the entire frame at the same moment, rather than reading the sensor one line at a time - avoiding the distorted verticals that can occur with fast moving subjects or whip pans. When shooting 4K, focusing becomes more critical than ever, whether your output is to the Internet or to the big screen. The focus button on the upper right of the rear panel does a good job at giving you peaking information. It toggles the feature on or off but does not give the user any other control over intensity, color or range. We found that it worked very well to keep all of our shots in focus. New Sensor

Formatting in-camera using firmware 2.4 usually works well, unless there's a problem with a SSD or the camera. So I guess the forum done its job eh? Helped me and others who may have the sandisk II and with no help from BMD or indeed you managed to find out the thing works Soon Sony will drop AVCHD for video in their cameras like a bag of fermenting potato and replace it with cameras shooting in the XAVC S codec, and the better model shooting in undiluted XAVC. We tested color reproduction and separation by shooting some highly saturated and textured clothing on bright green grass. There is no auto white balance function. White balance settings are limited to six presets from 3200 to 7500. If you need to fine tune your white balance more than this you'll need to do it in post. Even after increasing the color saturation in post by 25-percent and viewing at 400 percent, we could not detect any bleeding between colors or reduction in the sharpness of the clothing detail. With ProRes 422 and (later) CinemaDNG RAW, there is plenty of color information to play with without sacrificing image quality. Apologies if this is better suited for the Resolve subforum, but I am a little confused about color space and gamma settings for BMP4K Film mode footage in Resolve. The naming conventions for IDTs/LUTs/transforms/etc seem somewhat inconsistent.

NP-F570 Battery

Eager to get a feel for the quality of the 4K footage as soon as possible, we set the camera up pointing down from our office — 21 floors up in the Empire State Building — toward the intersection of 34th Street and 5th Avenue. Ethernet supports 10/100/1000 BaseT. Allows direct connection between panel and chassis, or vianetwork. Tally Output Capturing Ultra HD (3840 X 2160) resolution on a Super 35 sensor in the high-quality ProRes 422 (HQ) format, the Production Camera 4K breaks new ground when it comes to the relationship between quality and price.

I'm having trouble recording raw on my BMPC. I have two Kingston HyperX Savage 480 GB (SHSS37A/480G) that are listet as approved for raw recording, but I can only record about 6-10 seconds before I get a red exclamation mark on my display. I have tried formatting the drives in both HFS+ and exFAT. For ProRes I'll be honest, I haven't looked at whats available in Resolve but will follow it up. But yes you need IDTs not only for each camera, but for each ISO. This is the same as other cinema cameras like ARRI etc. And prior to Gen 4 you would need IDTs for each colour temperature you shot with, as ARRI has available here for their linear files (you'll see in each EI/ISO folder multiple files for each CCT/correlated colour temperature): The hassles don't quite end there, either; every time you shut the camera off, the software turns off focus peaking, which is damn annoying if you're shooting on the move. Also a pain: if you switch recording formats, the camera undergoes a mini reboot, and you'll have to refocus on the subject you want to shoot. Power: Integrated Lithium-ion Polymer rechargeable battery, 12V-30V DC port for external battery power, 12V AC adapterOther Interface: 2.5mm LANC for remote control; Thunderbolt port for capture of HD video and audio; USB 2.0 mini-B port for software updates and configuration It doesn’t take much preparation or setup to start capturing solid footage with this camera, which is a huge plus for people working in situations where time is of the essence. In “Film” mode, which is the other capture option, the full dynamic range from the camera’s image sensor is recorded (as with most RAW formats), so there’s much more information available in the clips when it comes to post-production/color correction — which is especially important when it comes to adjusting the highlights and shadows of the images.