Blackmagic Firmware Update 1.9.5 Brings In-Camera Formatting to the 4K Camera - Pocket & Cinema Cams Soon?

This morning, Blackmagic Design rolled out yet another firmware update in the 1.9 series (any bets on when they roll over to 1.10?).  This update fixes a long-standing problem with all of the first generation Blackmagic Cameras - the inability to format media in-camera:

New Camera 1.9.5 update!  Get in camera SSD formatting for Blackmagic Production Camera 4K! Download now!
— Blackmagic Design (@Blackmagic_News) September 5, 2014

You can download it here.

This summer has been terrific for early Blackmagic Camera owners who bought these cameras "on faith", hoping that the company would, over time, fix their shortcomings. Kudos to Blackmagic Design for rewarding that faith.

With the earlier additions of audio meters, histograms and SD/SSD time remaining, Blackmagic dealt with just about every challenge that could be addressed in software. Now, with the addition of in-camera formatting, Production Camera shooters will be free to buy drives and format them in the camera rather than bringing them to their workstations or dragging their laptops and external drives into the field.

This makes the $500 off sale on the 4K Production Camera even more attractive. If you've been waiting for the Production Camera to become even more usable in the field, this may be the time to pull the trigger. If so, please click on one of the links or displays in this post. It won't cost you anything extra and it will help keep these posts coming. Thanks for your support of the revolution.

All of that said, I really want this feature for my Pocket Cam - and I'm sure BMCC owners feel the same way. Faster, please Blackmagic!

Blackmagic update 1.9.3 adds histogram, audio meter, time-to-go - huge usability improvement for BMPCC & BMCC!

Finally, over two years after the introduction of the Blackmagic Cinema Camera at NAB 2012 - and over a year after the introduction of the Pocket Cinema Camera in April 2013 - Blackmagic Design adds basic camera features to the amazing images produced by these cameras. As a business strategy, this makes sense. Early adopters have been willing to guess at audio levels and how much time they had left to shoot, while producing stunning RAW and ProRes images. And revenue generated by sales to early buyers has provided Blackmagic with the time and resources required to fix the cameras' firmware.

Speaking as an early adopter, this has been more than a little frustrating - but now that these basic omissions have been remedied, it will be difficult to stay peeved.

That said, these cameras are still battery hogs - and the BMCC's black sun issue has not been resolved - but Blackmagic owners are a lot happier today than they were yesterday.

Here are the new features provided by the update:

What's new in Blackmagic Camera Utility 1.9.3 

Blackmagic Pocket Cinema Camera 

Add histogram, time remaining and audio level indicators.

Use Up and Down to reveal and hide the meters while Left and Right will adjust the aperture of your active MFT lens. 

Fixed bug where in-camera playback may sometimes drop frames.

Blackmagic Cinema Camera

Add histogram, time remaining and audio level indicators.

Now that my Pocket Cinema Camera is now almost as usable as a real camera - perhaps I'll use it more :)

If usability challenges have kept you from buying a BMCC or BMPCC, now may be the time to jump in. They are still the only straight out-of-the-box RAW video cameras below $2000.

New Blackmagic Firmware Update 1.8.2 - Record 230 min of 1080p ProRes on a 64GB SD or SSD!

Today, Blackmagic Design announced firmware update 1.8.2 for all of its cinema cameras - the $495 (on sale, as of this post) Pocket Cinema Camera, the $1995 Cinema Camera and the $2995 4K (UHD) Production Camera. This update adds three easy-to-edit Apple ProRes file formats to the menus for these cameras - ProRes 422, ProRes 422 Lite and ProRes 422 Proxy.

With the increased compression of these formats, shooters can now record more video on their existing cards and drives - or, buy less expensive SDs and SSDs.

Here are ProRes 1080p data rates at several frame rates of interest (from Apple):

23.98 fps; ProRes HQ is 176 Mbps, ProRes is 117 Mbps, ProRes LT is 82 Mbps and ProRes Proxy is 36 Mbps.

25 fps; ProRes HQ is 184 Mbps, ProRes is 122 Mbps, ProRes LT is 85 Mbps and ProRes Proxy is 38 Mbps.

29.97 fps; ProRes HQ is 220 Mbps, ProRes is 147 Mbps, ProRes LT is 102 Mbps and ProRes Proxy is 45 Mbps.

Here is the Blackmagic press release:

Fremont, CA - July 17, 2014 - Blackmagic Design today announced announced the immediate availability of Camera 1.8.2 software which adds three new Apple ProRes™ file formats for the Blackmagic Cinema Camera, Blackmagic Pocket Cinema Camera and Blackmagic Production Camera 4K. Camera 1.8.2 update is available now free of charge from the Blackmagic Design website.

Blackmagic Design camera customers have always been able to record in both CinemaDNG RAW or compressed ProRes 422 HQ formats, however now this new software update adds three additional Apple ProRes™ file formats, ProRes 422, ProRes 422 LT and ProRes 422 Proxy. This means customers using Blackmagic Design cameras will be able to get significantly smaller video file sizes allowing much longer recording durations on the same media card, all while preserving full frame 10-bit 4:2:2 quality.

Because this update is available to our camera customers free of charge, they simply need to download it, and install the update from their Mac or Windows machine using a simple USB cable connection to the camera. Once the update is complete, customers will see these new formats available in the camera menus.

Because this update reduces the data rate of recording, it means customers can now choose lower cost SSD or SD cards while still recording high quality video in SD, HD and Ultra HD resolutions. Using ProRes 422 Proxy it is possible to record 230 minutes of 1080HD video on a single 64GB SD drive. Selecting the type of ProRes format for recording can be set via the on screen menus and all ProRes types can be played back instantly.

The Apple ProRes 422 formats are designed specifically for multi-stream non linear editing, minimal generation loss and fast export, making them very popular video file formats for post production and broadcast. All ProRes files recorded with Blackmagic Cinema Cameras and Blackmagic Production Camera 4K can be opened directly in DaVinci Resolve 11 and Apple Final Cut Pro X™ for immediate color correction, editing and finishing.

“We are extremely excited to release this next update for our camera customers ,” said Grant Petty, CEO of Blackmagic Design. “With the addition of the 3 new ProRes formats, cinematographers can now record for longer on low cost SSD’s and SD cards without sacrificing image quality, as they are still recording in full 10 bit 4:2:2 quality. Because our cameras feature a software centric design, we are very excited to be able to update our cameras with more and more features over time and make the cameras better and better! And there is more to come!”

Availability and Price Camera 1.8.2 is available now for download from the Blackmagic Design web site free of charge for all Blackmagic Cinema Camera, Blackmagic Pocket Cinema Camera and Blackmagic Production Camera 4K customers.

With this recent spate of software upgrades and price cuts, Blackmagic Design is making a credible attempt to reclaim the spotlight - by fixing some of the longstanding challenges with its cameras and improving its price position in the marketplace. Let's hope the next software release adds some of the other features that shooters have been clamoring for - such as a solution to the BMCC's black spot challenge, in-camera clip deletion and in-camera card/drive formatting.

One thing's for sure, my BMPCC just became a whole lot more usable - for free. Hat tip to Blackmagic for providing four flavors of 10-bit 4:2:2 video in a $495 camera - while Canon is still charging $5000 for 8-bit 4:2:0.

As usual, if anything here has helped you to make a buying decision, please click on one of the links above or the displays below. Even if you're not in the market for a cinema camera, please patronize our sponsors in the margins - it won't cost you anything extra, and it will help keep these posts coming. And to stay on top of the latest cinema and video camera news, deals and tips, please follow HCR on Blogger, on YouTube, on Google+ and on Twitter. Thanks so much for your support of the Hybrid Camera Revolution!

Which is better for Chromakey - the 4K compressed Panasonic GH4 or the 2.5K RAW Blackmagic Cinema Camera?

Here's a very nicely done video from Paul Shillito at Video-Alchemy, who gives us an in-depth discussion of keying with 10-bit ProRes 422 and uncompressed RAW video from the 2.5K Blackmagic Cinema Camera (BMCC)  - and then compares the results to an 8-bit 4:2:0 compressed video key from the 4K Panasonic GH4.

In this 15:25 video, Paul does a 9 minute, detailed walk through of the setup - and then about 6 minutes of side-by-side conclusions. If you'd like to cut straight to the bottom line, please click here.

It would be reasonable to expect that the 8-bit compressed video would not hold up well to the key as uncompressed RAW - but let's take a look at the video and see:




So - to my eyes at least, compressed 4K looks clean enough for a production quality key. This should be interesting to two groups of people. First, those who have already bought their GH4s, and who have had concerns that they'll need to buy an external 10-bit recorder to get a clean key. Those folks can relax - internally recorded 4K works just fine.

The second group is those who have hesitated before buying the GH4 because they were concerned about this issue. Those folks can relax too - and go ahead and order their cameras.  The best price for an in-stock GH4 right now is $1793.95 at Cameta via eBay.

OFFICIAL: Blackmagic Design Releases Camera Utility 1.8!

After yesterday's false start, Blackmagic Design has posted the official version 1.8 of the Blackmagic Camera Utility here for US users and here for UK users.  Here's what's new:

Blackmagic Production Camera 4K

• Updated user interface
• Losslessly compressed RAW DNG recording support
• Addresses an issue where pixel artefacts are seen in edges with strong highlights while shooting in 1080 mode
• Adds autofocus support for compatible EF lenses

Blackmagic Cinema Camera

• Updated user interface
• Adds autofocus support for compatible EF lenses Improved debayering when shooting to ProRes or DNxHD
• Improved focus peaking display
• Improved ISO handling when shooting at ISO 1600
• Improved general audio performance
• Iris setting is retained when switching between camera recording and clip playback

Blackmagic Pocket Cinema Camera

• Updated user interface
• Improved performance when recording using internal microphones
• Improved instances where a grid-like pattern may occur in some flare highlights
• General improvements in autofocus with active MFT lenses
• Adds supports for stabilization in MFT lenses without physical O.I.S switches
• Improved support for Sigma MFT lenses
• Improved support for Lumix 12-42mm PZ lens
• Improved support for Olympus 60mm f/2.8 MFT lens
• Iris setting is retained when switching between camera recording and clip playback

Blackmagic Studio Camera

• Improved phantom power compatibility
• Addresses an issue with interlaced video being output as progressive video

Get the full run down in this video from Blackmagic Design CEO Grant Petty.

The big news, of course, is that the Blackmagic "4K" Production Camera now records to Cinema DNG RAW. The improvements for the other cameras in the line are nice, but not as significant. It would have been a real win for Blackmagic if they had been able to fix the BMCC's black dot problem, for example.

If you want to shoot UHD and want 12-bit color depth and the flexibility and gradeability of RAW in post, the Blackmagic Design 4K Production Camera ($2995 with free Sony UWPV1 Lavalier Microphone, Bodypack Transmitter & Portable RX Wireless System at Adorama) is pretty much the only game in town below $10,000. If anything here has helped you to make a purchase decision, please support our sponsors by clicking on the links or pictures above or the display ads below and in the margins. It won't cost you anything extra, and it will help to keep these posts coming. Thanks so much for your support!

Off to update my BMPCC to see how well these updates work!

Panasonic Announces Pricing and Availability for GH4 and 4K Interface Unit!

Several sources are reporting that Panasonic has announced official pricing and availability for the new DMC-GH4 4K camera and its DMW-YAGH pro audio video interface.

Prices and estimated arrival dates will be:

• Panasonic DMC-GH4 body only - $1699.99 (ETA May 2014)


• Panasonic DMW-YAGH interface unit - $1999.99 (ETA May 2014)


• Panasonic DMC-GH4 body with DMW-YAGH interface unit - $3299.99 (ETA June 2014)

Preorder links are up at some of the smaller retailers (and at Adorama) already.  They are not up at Amazon yet, but should be soon (EDIT: the pre-order link is now up at Amazon ).

It looks like my earlier estimate for the price of the GH4 was about right - but my guess on the price of the YAGH was off by $200 to the high side.

This is very exciting news.  It means that existing micro 4/3 shooters will be able to step up to 8-bit 4K from their existing cameras for less than $1700.  And new micro 4/3 shooters can step up for $1700 plus the price of a lens or adapter.

For indie movie shooters who want to step into the world of 10-bit 4K motion picture production this means that for less than $7000, they can record true cinematic 4096x2160 4K.

That $7000 number is based on $3300 for the GH4 /interface kit, plus either a $2295 for a Convergent Design Odyssey 7Q or a $3495 Aja Ki Pro Quad).

Yes, this setup would be several thousand dollars more than a $2995 Blackmagic Production Camera (and would lack RAW recording capability) - but it would allow indies to start at the lower $1700 entry point (lower than the price of a $1995 Blackmagic Cinema Camera), and would give them an upgrade path to:

• Real 4K recording as opposed to UHD
• The same bit depth and color space as ProRes
• 2 XLR mic inputs on the YAGH (and 2 more with the Ki Pro Quad) with decent sound quality - instead of the Production Camera's 1/4" input jacks and dodgy preamps
• The ability to perform simple camera functions, such as the ability to erase clips in-camera
• A built-in EVF
• A pretty good still camera to boot.

As for Canon and Sony 4K cinema cameras - when it comes to price, they are not even in this conversation.

Welcome to the next phase of the hybrid still/video camera revolution!

NEW Samyang 10mm f2.8 - Perfect Lens for Micro 4/3 Blackmagic Cameras?

A few days ago, Samyang announced its new 10mm f2.8 manual focus prime lens for APS-C and 4/3 cameras.  With this lens, the groundbreaking 18-35mm constant f1.8 from Sigma, SLR Magic's upcoming anamorphot lens and others, it seems that most of the innovation in camera optics is coming from companies that aren't named Canon or Nikon.

Combined with the recently announced Metabones Speed Booster designed specifically for the Blackmagic Cinema MFT and Blackmagic Pocket Cinema cameras, Blackmagic shooters can now approximate the speed and field of view of Super 35 cameras mounting Zeiss cine primes or Angenieux Optimo zoom lenses that cost thousands, if not tens of thousands, of dollars more.

Today, micro 4/3 and Blackmagic shooters can buy a $799 Sigma 18-35mm f1.8 for Nikon mount and a $429 Nikon G to micro 4/3 speed booster to give the wide end of this lens the equivalent FOV of a 30.6mm (BMCC) or 38.5mm (BMPC) lens on a full frame camera.

In early 2014, Blackmagic shooters will be able to buy a $768 Samyang 10mm for Nikon mount and a $489 Nikon to Blackmagic Speed Booster and have the equivalent FOV of a 15.3mm (BMCC) or 17.5mm (BMPC) lens on a full frame camera.

Anyone who has refrained from buying a Blackmagic camera because they "couldn't get the wide angle shots they're used to with a full frame DSLR" can now feel comfortable buying one of these cameras.

If anything here has helped you reach a buying decision, please click on one of the links above or the display ads below to order your BMCC MFT, BMPC, Sigma 18-35 f1.8 for Nikon or Speed Booster.

If you don't need a cinema camera or lens right now, please shop with our other sponsors, Adorama, Amazon, BorrowLenses, CoolLCD, DigitalRev, uBid, Vimeo, the the Warner Brothers Shop and others whose display ads you see in the margins.  It won't cost you anything extra, and it will help to keep these blog posts coming.  Thanks so much!

Blackmagic Pocket Cinema Camera CinemaDNG RAW Files for Download!

While Pocket Cinema Camera owners await the long-promised RAW upgrade, Blackmagic guru John Brawley has posted five CinemaDNG RAW files from the Blackmagic Pocket Cinema Camera for download at copy.com. I am traveling, so I don't have time to experiment with them, but wanted to share, so the community can experiment with them before the RAW upgrade is released.  You can find the downloads here.

I wish I had taken the time to experiment with ProRes before my Pocket Cam arrived - instead of trying to figure out how to shoot with the camera and grade at the same time.  I won't make that mistake twice.  I will make the time to download and experiment with a few RAW files when I get back home.

In the meantime, I look forward to seeing a lot of great grades posted in the next few days!

And if you've been waiting to order your Pocket Cinema Camera until the RAW upgrade was released, please order it from one of the links above or the display ads below or in the margins.  It won't cost you anything extra, and it helps to keep these blog posts coming. Thanks so much.

Blackmagic Fixes "Black Sun" - but for Pocket Cinema Camera Only

The subtitle of this post could be "Original Blackmagic Customers Left Out in the Cold".

There was an interesting thread over on the Blackmagic Forum yesterday.

• First, Kristian Lam of Blackmagic Design announces that the Camera v1.4.2 update addresses the "Black Sun" effect


• Next, BMPCC shooter David Talbert tests it out:

• It seems to work. Thanks and kudos all around.


• But BMCC shooters soon realize that the fix is for the BMPCC only and does not fix their camera's similar problem.


• BMCC shooters are not amused.


• Thread devolves into angry ad hominem insults and oaths to 'never buy a BM camera again'.

I have been tempted over the past few days to turn around and sell my pre-ordered (April 26th) BMPCC at a mark-up as soon as it arrives (they're selling for $1300-$1400 right now on eBay) in order to "upgrade" to a $1995 BMCC.

But why sell a camera that the company is actively working to fix -  in favor of a camera the company has ignored for over a year?

Upon reflection, I think I'll go ahead and open the Pocket Cinema Camera when it gets here - at the very least so I can shoot the detailed side-by-sides with the GH3 I've promised everyone.

If you're in the market for a GH3, a BMPCC or a BMCC, please click on one of the links above or the display ads below.  It won't cost you anything extra, and it will help to keep these posts coming.  Thanks!

Blackmagic Pocket Cinema Camera vs GH3: Dynamic Range

No, my Pocket Cinema Camera is not here yet (grrrr), but Vimeo shooter Rinaldo Lima has posted a graded side-by-side of the two cameras.  Here it is:

Both produce great images, but even in a well lit scene, the BMPCC recovers the backgrounds better than the GH3 - especially the sunlit windows.

As soon as my Pocket Cinema Camera comes in, I will shoot interior and exterior side-by-sides of the two cameras and post the results.  Please stay tuned!

Great Pocket Cinema Camera Travel Video

For some reason, the best travel videos seem to come out of Southeast Asia.  The great "Oh Angkor", shot on the GH2, is one example.  Another is "Thailand Singapore Bali" shot primarily with the Sony RX100.

Now we have another - "Siem Reap 2013" from ThirtySix-O Media - this time shot with the Blackmagic Pocket Cinema Camera and a couple of small lenses - the Panasonic 20mm f1.7 and Olympus 12mm f2.   Again, great dynamic range in this piece:




This is great video quality to bring back from vacation - especially considering that a camera the size of a cellphone and two tiny lenses were used to shoot it.
Some are saying that this is primarily a "professional" camera, but I beg to differ.  In the hands of advanced amateurs who know what they are doing, the Pocket is going to be a terrific little camera to travel with.
Just make sure to bring along a few extra Nikon EN-EL20 batteries, an MH-27 charger and a laptop to manage your cards! 
Again, you can pre-order your Pocket Cinema Camera here or by clicking on the Adorama display ad below.

If you don't want to wait for the Pocket, you can order a Cinema Camera EF or MFT from Amazon. It won't cost you anything extra, and it will help to keep posts like this coming.

First Narrative Short Shot With Pocket Cinema Camera

Another sign that we may be about to get our cameras! They are starting to appear in the hands of consumers who don't seem to have special relationships with either Blackmagic or with dealers.

A talented amateur who goes by "Jsflimz" has posted a 1080p action short on YouTube.  As far as I can tell, this is the first Blackmagic Pocket Cinema Camera footage with the whole package - actors with dialogue, VFX, and post-production (cutting and grading). Check it out (please watch at 1080p):




This is clearly an amateur production with a couple of rough spots, but the dynamic range here is very exciting and, dare I say it, "filmic".

This is what I had hoped the camera could do - give amateurs access to the dynamic range and bitrate to allow them to get past the typical DSLR's horrid compression and 8 bit colorspace.

Reading Jsfimz' notes in the comments section is informative too - but not at all  like reading "American Cinematographer".  Here, the filmmaker describes his motivation:

"btw i dont have any experience at all. i just do this short films for fun. instead of getting drunk everynight. this and fishing is [sic] my outlet"

Nevertheless, he did a great job.

If you're as impressed by the image quality here as I am, and you've been waiting to see some narrative from this camera before ordering, you can go ahead and pre-order your Pocket Cinema Camera here or by clicking on the Adorama display ad below.

If you don't want to wait for the Pocket, you can order a Cinema Camera EF or MFT from Amazon. It won't cost you anything extra, and it will help to keep posts like this coming.

Waiting for the new Blackmagic Cameras - a perspective

It's been interesting, and a little entertaining, to read the comment sections on posts and fora discussing the delay in the ship dates for the Blackmagic Pocket Cinema and Production Cameras.  For those who missed it, here is the official statement from Blackmagic (via Andrew Reid at eoshd):

"Blackmagic Design is making significant progress in production of the new Blackmagic Pocket Cinema Camera and Blackmagic Production Camera 4K. Full production manufacturing is underway on the Pocket Cinema Camera with first production units in final testing. This is inline with our initial expectations of the end of July and means the camera will start to ship in quantity during August. There are several weeks of work to do on Production Camera 4K before this will enter full production manufacturing, however we expect to ship the first quantities of this model before the end of August."

Andrew added this update later:

"We do our best to show off new products at shows like NAB and provide realistic dates these products will come to market. But a lot goes into getting products such as the new cameras to the stage where we’re completely happy with them and can put them into full production. The good news is that we’re pretty much on the schedule we said we’d be on. We said July for both cameras and we’re really not far behind that."

  "The Pocket Cinema Camera is now in full production. We have the final units in test now and expect it to be a matter of days or, at worst, a week or two before we’re ready to shift the camera out to customers. We’re in full product manufacture with the camera and there are no issues with it whatsoever. We have a considerable number of orders for the camera so it will take a period of time to fulfill all these orders."

As someone who has a Pocket Cinema Camera on pre-order, this does not concern me in the least.  Compared to the gap between promised and actual delivery dates for the RED Scarlet, Digital Bolex, Panasonic G6 (promised last month and just now arriving in quantity in North America) - and my months long waits for the Panasonic GH2 and GH3 - a few days is nothing.

The wait for the Production Camera is a little more substantial, and if I had a paying 4K gig in August I'd planned to use the camera on, I would certainly be a little frustrated.

But let's keep things in perspective.  A few days' wait for the Pocket Camera and a month for the Production Camera is nothing compared to the gap between promised and actual delivery dates for many other camera manufacturers, most notably RED, Panasonic and Digital Bolex.

Panasonic's challenges in getting product to market in North America are legend.  And it's happening again with the new G6, which was promised in June, but is just now (late July) arriving in quantity in North America - at a $50 markup from list.  What's up with that?

And then there's RED.  Does anyone remember the promise of "3K for $3K"?  I do.  I also remember the year+ later rollout of the Scarlet, which is a great camera, but not a $3000 camera by any stretch of the imagination.

I won't pile on the Digital Bolex folks, whom I admire, but there is clearly a huge gap between promise and reality with this camera.

And outside of the camera world, has anyone tried to get a new iOS or Nexus phone or tablet on the rollout date?

All of that said, Blackmagic is a real company with real products and a track record of delivering them (eventually).  All the talk about "deception" and that a delay on the new cameras will "bring down the company" is a little over the top, in my view.

For those who can wait a few weeks, and still need to get on the pre-order list, you can get the $995 Pocket Cinema Camera here, and the Production Camera bundled with handles for $3995 here.

For those who need 2.5K RAW now, you can get the original EF mount Cinema Camera from Amazon - and the MFT mount BMCC with handles from Adorama for $2995.

And a little reminder of what the "old" 2.5K RAW camera can do (Trip to Mexico, from Andrew Julian on Vimeo):

Magic Lantern does it again - continuous RAW video from the Canon 5D Mark III!

Andrew Reid at eoshd shot this video on his 5D Mark III with new pre-beta test software from Magic Lantern:



This is very big news - RAW video from a $3300 hybrid still/video camera body. If Magic Lantern can turn this into production software and releases it for free, it is a real game-changer.

First, it undermines the price of the $12,000 Canon 1D C Cinema EOS camera. If this free software upgrade becomes widely available for the 5D Mark III, Canon 1D C sales will likely dry up.

Second, it threatens the use-case for the 2.5K RAW $2995 Blackmagic Cinema Camera, which is yet to ship in large numbers.

The question becomes, would you rather buy a $3299 full frame Canon Mark III still/video camera that is in stock right now and upgrade it to RAW with free software - or would you rather order a $2995 video-only RAW Blackmagic Cinema Camera with a micro 4/3 sized sensor that might ship sometime in the next few months?

I know what I would do.

Blackmagic Does It Again!

They were the talk of last year's NAB - and it looks like they're going to do it again. Blackmagic looks set to announce TWO revolutionary new cameras tomorrow:

1. The "Blackmagic Production Camera", a $3995 EF mount, Super 35 4K camera with a global shutter (!), and

2. The "Blackmagic Pocket Cinema Camera",  a $995 (!!) Micro 4/3 mount (!!) Super 16 camera with 13 stops of dynamic range (!!!) that shoots RAW, and records to SD card (!!!).

The BPCC seriously undercuts the GH3, 5D MkIII and D800 - while the BPC takes clear aim at the F5, the RED Scarlet and others farther up the food chain.

Pic here: https://twitter.com/michaelkammes/status/321082752566964224/photo/1

More info as the official announcement hits the streets.

I'll say it again, these are great times to be a filmmaker!

If you can't wait for Blackmagic to ship these new cameras, you can always get a the "old" 2.5K BMCC for $2995.

Sony F5, BMCC, RED Scarlet Shootout

522 Productions in the DC area just posted this great little shootout between the new Sony F5, the Blackmagic Cinema Camera and the RED Scarlet.

They were able to compare side-by-side video of the BMCC and the RED, but they had to go with screenshots on the F5 because they use Adobe Premiere and the camera is so new it doesn't have an Adobe plugin yet. Nevertheless, they liked the ergonomics, the menus, the manual controls and the overall handling of the F5 most of all.  In part 2 of this shootout, they'll compare workflow in post for all three of these cameras. 

If you need a camera with film-like dynamic range and 2K or greater internal RAW recording, and you don't want to wait for the BMCC, the F5 is pretty much the only game in town.  And, even after the BMCC starts shipping in volume, the F5 will be the only 2K+ RAW camera below $20,000 with 120fps and XLR inputs. They are in stock right now for $16,490 at Adorama.