shooting with blackamagic 2.5k with slr magic anamorphot on Nikon 28-70 lens. this lens is suuuuuper sharp and makes a huge diff in the clarity of your footage on a big screen tv.
I´ve just realized this footage was shot by you. It´s staggering what this camera paired with good lighting and great lenses can do. This camera is a steal for what´s being asked on the market.
@@fourth1000 Really.......i´ve paid 500 bucks on mine....loving the grading! I am gonna try the slow motion from topaz, and the 4k enhancing. Let´s see!
@@fourth1000 I am still using premiere pro, but will switch to Davinci for good soon! I ll definitely show the results to you as soon as I shoot something!!!
I would go with the mft version. Get yourself a good speedbooster and enjoy the extra frame width and lens option depending on your speedbooster mount. If I could recommend lenses with no regards to your budget.. buy zeiss or voightlanders in nikon or Canon mount. There are a ton of new glass out there but none with the matched character of these... especially ziess.
This looks amazing ! Would you recommend someone getting a second hand BMCC 2.5k in 2018 ? or the new pocket camera ? Also did you use a diopter with the anamorphot . . How is focusing with that adapter like ?
I would recommend a second 2.5k if you had something like an ursa since I know more of what the ursa is like. The 2.5k is like a 16mm camera. Not for just it's sensor size, but for it's sensor handling- meaning it's noise and grit texture even in well lit areas. this camera has personality. I'm getting mine repaired since the charger doesn't register much anymore. In these videos there is no diopter use. I may have some in other videos- the more recent ones. Focusing is easy when using smaller lenses like nikon AIS or D series primes. you can move your fingers to switch the near/far focuser on the adapter then instantly rack focus on the lens when subjects move from far away to close up. You can do a run and gun doc with it. Using a zoom ( I prefer the nikon 28-70) is simple but the further you have to move your hand between lens and adapter you may shake the camera/image going back and forth also because of the weight. But If i use a light weight plasticy zoom like the 25-85mm it's not so bad.
I've used the ursa mini 4.6 for a small project, great camera ! But I don't own one. I'm going for the more cheaper route. Really deciding on BMCC 2.5k or BMPCC 4k
SnapsbyKat I'm on the fence too. I have a pocket 4k on pre order for october 4th. But I feel the ursa will please my taste a lot more. I just have to test my pocket 4k to see if I love it. So far all the videos released look great on a computer monitor but when I play them on my youtube app on my tv screen, the render outputs have the quality looking a little soft in 4k. I'm thinking the real answer is... just stick with my 2.5k and grab some badass lensing for it. I'm looking at the milvus line and the new anamorphot 65.
First of all thats one of the nicest looking BMCC 2.5k footage I've ever seen. I have a BMCC 2.5k as well but with an EF mount and i wanna shoot some music videos with an SLR magic anamorphot. What lenses would you suggest. And do you go from the 12bit DNG> Aftereffects>Prores or use Davinci Resolve for your workflow. And what speed booster u used in this
I'm on the fence with what program to use. My computer before couldn't edit dng raw in after premier, so I'd do all my color edits first in after effects... exported as quicktime uncompress trillions of colors +, then re render the footage in premier to h264 about 150mbts data quality. THEN! Finally edit and make the final export in lower quality h264.... maybe about 130mbts. Thats a lot! I havent' tried my 2.5k bmcc 12bit raw in davinci yet but my 4K pocket files play smoothly in davinci... but I love the color tools so much more in after affect adobe camera raw! Lenses too use with the anamorphot adapter. Any lens 52mm in filter thread size: My quality lenses are voightlander 28mm 2.8 Nikon 35mm f2D Voightlander 58mm 1.4 These lense have a sharp contrasty look with a lot of micro contrast giving your images a 3dimensional pop. Cheaper but really good lenses are the nikon AI/AIS series. 28mm 2.8 E 35mm 2.8 AI (no distortion) 50mm 1.8 E (really fucking good for being so cheap) possibly for your EF setup with the crop you can try an 20mm f2.8 nikon D or AI/AIS lens. Maybe an 18mm as well.
Ohh. Nice. Thank you. Thanks for taking the time to reply. There is no speedbooster for the EF right ? I’m not able to work with 50mm and longer focal lengths. They tend to become like 120mm (~2.4 crop). Is there a workaround for it or sticking on to smaller focal lengths is the only solution ? Thanks again
@@sathish6601 you migh be able to use your 50mm. I use a non speedbooster adapter on my 4k pocket to get my 100mm focal lenghts. You'll probably just have to go wider lens to get comfortable focal lenghts. Great thing about the 20mm f2.8D or AI is it's 62mm should increase the chance of no vignette because no step up ring. I'd buy lenses from a sight that will accept returns so you can try stuff out. OH! GET DIOPTERS... for that super close up focal lenght on eyes and face. I'd buy all three from slr magic.
@@fourth1000 thanks man, the image looks extremely filmic , how do you export something like this ? what settings? and youtube compression didnt seem to affect it at all....
@@boombaphardcore5975 okay, my export settings involve using after effects and premiere pro. If you're a davinci user, then I'm not sure. I make sure my work space to HDTV (rec709) in the timeline settings. the icon is located at the bottom of the import footages window [16bpc]. I only use cinema dng. each imported folder opens adobe camera raw where I tweak the image as close to complete as possible. After all clips have been imported I drop them on my timeline using the LUTS from lumitree under the creative tab-- I reduce strength accordingly as to not over do it. When exporting, I click on lossless-- I leave settings on AVI but select the Channels tab and change settings to RGB + ALPHA it should change color depth to Million colors + You will get a high gb file when finished rendering. I take this render and open it in after effects after making my cuts. then outup my render using MAXIMUM depth. CBR under bit rate encoding, raising settings to 150. then hit render and usually I edit I'll do my final edits and renders to this file. Its a lot of steps but lol thats how I do it.
hopefully it will be at least this good like the 2.5k, surely it will. I may buy a gh5 to continue making money, and then get the pocket 4k. Hate to wait that long, and they decide to push back production, and then we are in winter again. wish it was just available now lol.
Exactly, fingers crossed. I've never been first on tech before. If they push back I'll entertain myself with an ursa pro- which I feel is a great combo with this little low light 12bit raw beast!!
fourth1000 I hear you. My type of shooting, the ursa mini isn't practical, and neither is the pocket. The 2.5k is closer but still lacking a few things. But now the pocket 4k advertising pretty much everything I wanted, for insanely cheap. How does the adapter work, does it just thread on any lens that's 52mm filter thread?
the rear threads are 62mm so step up or stop down rings need apply. i use tiny nikon D or ais lenses tomstep up with. also my 24mm 2.8d works with the adapter with small vignette whrn the slr magic site claims only 35mm on apsc will work.
@@fourth1000 only the camera for the moment, the mft version. I have some Sony A mount lenses(minolta 50mm 1'7, tamron 17-50mm 2.8, sigma 24mm 2.8, 8-16mm 4-5,6). But the is no speedbooster for A mount to Mft. I'd prefer a suggestion of the better image quality lenses I can get form the camera. Anyway I will buy a simple adapter to test my A mount lenses.
