Why is it that the lower the resolution, the more beautiful it is? But if I suppose I use a lens for a 16mm cinema camera with a frame size of 7.45x10.05 mm on a bmcc 2.5k camera in maximum quality mode, will this be of any use, and will it be more cinematic? Is there a minimum resolution threshold that it is better not to cross?
I can't understand why, but Ursa seems to be seriously losing out to the 2.5k camera. I feel a serious advantage of bmcc. But why? Why? Perhaps if you disable the scratched film item in dehancer, you would be able to consider the reason.
The g2 has a second generation fairlight sensor. Bmcc 2.5k has the first gen. So technically speaking the ursa is superior especially with it's resolution and dynamic range
Hello. One question worries me. For shooting black and white video using dehancer or cineprint - is the use of the bmcc 2.5k, bmpcc og camera sensor justified? As I understand it, their greatest strengths are color information. Or will a double-reading sensor play a positive role here?
Hello. It is not only about color information. Contrast, sharpness, grain, bloom, gate wave, exposure... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1w5OLHkSk-I.html
@@_arturjutkowiak_film Thank you. A great contrast, indeed. Do you think dehancer will be able to equalize the chances of a regular old 4K digital crop sensor and this 2.5K sensor? In black and white emulation.
@@_arturjutkowiak_film Yeah, I think it makes it look like a really clean Super-16 which is my preferred look for movies like Hurt Locker and Moonrise Kingdom. S16 has a true film charm that is getting eliminated by the modern sharpness of 35mm so that it almost is indistinguishable from digital.
Your cinematography is one of the most amazing with the bmcc 2.5k!!!! How do you expose? do you use false color? there seems to be no noise even though you use low exposures. Do you use curves to create that washed out black?
