This OG Pocket is so underrated compared to its later incarnations. Black Magic should release a newer version of the OG with touch display, better SD card compatibility, better HDMI port, etc.. One can dream, yea?
Nice video. A couple of comments. 23.976 is a framerate intended for broadcast TV. NTSC specifically. Unless you are shooting for broadcast TV where you need that framerate to sync with broadcast sound, there is no reason to use it unless you are matching to other 23.976 footage. 24FPS will work for everything else including the web which is where 99% of the footage from these cameras is headed for. Shooting at ISO 400 drops the camera's dynamic range from 13 to 12 stops. Shooting at 800 gives you the full 13 stops of DR. If you set resolves color management to use Davinci YRGB Color Managed for the color science and your output color space to SDR Rec 709, resolve will give you an excellent starting grade of your footage from log that many times will need no further adjustment from you (unless you are going for a specific look). Those settings are in the color management section of the project settings (little gear in the lower right).
Dude, this is the best video for someone just getting started with the OG bmpcc. I've had mine for over a year and just couldn't seem to get my settings where I wanted. This is such a huge help. I will be coming back and watching this again when I start my edit. Thanks so much!!
The definitive BMPCC OG course. Detailed and well covered video. Well done. I have a bunch of other cameras, but I always come back to the OG. There is a special sauce in that sensor that is not easily replicated.
@@WillvonTagen What about something like the Tilta pocket follow focus? I’m interested in buying a BMPCC and wondering best options for pulling focus on such a small rig
Hi I bought this camera because of you. I have a question. I want to shoot my first docu in BW. Is it necesario to use Raw in BW ? Or ProRes LT is ok. Thanks !!!
So glad I could help! I would shoot ProRes HQ or 422 at a minimum if you aren’t shooting raw. Try to get as much quality as possible to help yourself out down the production line :)
is the way i import BMPCC og in RAW the same (i recorded in RAW not prores)? do I need to do any fancy shit like selecting rec709 or something non intuitive...
Hi what is the best setting for time laps please i set the camera to 2 hours TIME LAPSE Intervals instead of time laps the video changed to slow motion in resolve thx
Hmmm. I’m not sure what setting you used, the Timelapse function will play back as a Timelapse even while the footage is still on the camera. It depends a bit how much movement is in the shot, but remember you can always speed it up more later, so sometimes the lower settings are better to start with. “1 or 2 seconds” gives good results.
My filmmaking partner slash best friend and I have now acquired the original BMPCC and also the Panasonic Lumix 12-35 zoom. We are very happy with this gear, and since we decided to go this way due to your tutorials and recommendations, logic dictates we should now clean your house and tend to your garden whenever you wish. However, since we are in Norway and you are in a very faraway country, we hope we can come to some kind of practicable solution that's agreeable to both parties.
Great video. But it's Dec 2022, almost 2023 now. Can this still be bought for low budget movie project as main camera. All is good about this camera when you read and see the videos. Except there are some people saying color rendition from this is not reliable all the time. With green/brown tints etc. Please guide. Thank You.
Hi! I am posting a new video tomorrow about shooting a feature with the BMPCC OG. I think it’s a great low budget option. There are no color issues if you use proper ND filters with IR cut. I have also had the film projected theatrically and the quality still holds up on and 80 Foot theatre screen. The BMCC 2.5k is also a great option with some more professional elements added. Both cameras work best when rigged out a little-and quality lenses make all the difference ;)
@@WillvonTagen btw - I just purchased the buttery luts. I had some footage with og bmpcc prores 422 HQ. (not raw). But prores 422 hq files are also big size. When I use buttery luts, results are not that great. I am not sure this is meant to color grade cinema dng raw file only?
Hello. Thank you for great wideo. Do you think Apple Prores is better than DNxHR 10 bit from example or other DNx if i need edit files in Adobr Premiere after export?
I really don’t. All those MFT anamorphics are a bit too long for all around use. Average viewers don’t have a clue what an anamorphic lens looks like except for the “black bars” so I think you would get more mileage and better results from spherical lenses and add the anamorphic look in post. I think it’s very, very important to be able to get wide with these cameras and 24mm isn’t a great starting point.
I need help, I shoot in raw on this camera but it saves as a collection of still images, and I can't for the life of me find a way to import the images in a way that plays them as a video clip?!! Anyone know what to do?
You need to open them I DaVinci Resolve and it will assemble all the clips to play back. There is a way to do it in Premiere (see my video) but it doesn’t seem to always work depending on people’s versions of premiere. However DaVinci is free from Blackmagic and I would suggest starting there.
You can’t just set and forget the shutter angle. If your shot involves panning or significant movement, increasing the shutter angle makes an important visual difference.
I very much disagree. There is no reason to vary from 180 unless you need to dip to 178.2 because of frequency differences from artificial light sources.
Nice and usefull video, I have a question. ( sorry for my bad english because I'm from Italy) I got BMPCC OG with Sigma art 18-35/1.8 and Viltrox speedboster. In order to record an interview located in a house with low-light, wich is the best settings for ISO and SHUTTER ? I use always Raw,Film,24fps and 172,8. Thanks a lot in advance. Bye
Content creators great videos and so much useful information but you all do the same thing wrong as pro as you are. You have the same 4 second music looping for 16 minutes m. Makes it impossible to keep up. Do you know what the CIA used to do? Have someone listen to the same loop for an entire day and they would crack
I’m trying to figure out how to use DaVinci Resolve on iPad with no experience, and I have some Pro Res and Raw shots opened in the media area. The ProRes videos look/play normally, but the raw videos all look like folders with images and sound files. I downloaded all the photos from one of the raw folders into the media area but it’s still just this huge series of photos. I see on the App Store it actually doesn’t list “Raw” as a supported file format, but its does say Black Magic raw (BRAW) which they apparently started after the OG. Is there some way to turn these raw image sequence files into regular videos with sound in DaVinci resolve? Wasn’t expecting it to be this complicated 😅 I’ve searched RU-vid but haven’t found the answer yet.
Will I always appreciate your posts on BMPCC. I am a big fan of this little miracle. QC Hohem M2 Gimbal can we use? If not what gimbal you recommend. Thanks.
I‘ve Never tried a 1GB Card-I don’t think the Kingston Canvas Select Plus line goes to 1GB and that’s the line I trust most in the new market. However the 512GB hold a couple hours in Raw and are only about $50 each on Amazon.
You would do this if you want to edit somewhere other than resolve. If you edit your entire project in DaVinci then there is no need to make proxies. But if you do then you will need proxies as programs like premiere cannot open the DNG raw files.
Best primer on the BMPCC OG yet. Mine is buried inside of a cinema rig, but this makes me want to take it out for some hand-held shooting and see how I like the results with 400 ISO in natural light.
Thanks for the tutorial. Does the K&F variable ND you recommend help eliminate IR pollution. I use non-variable ND's with an IR filter in front with good results. Variable ND is definitely more convenient for exposure control. I'm forced to use aperture to control exposure in my case.
Thanks for the comment and for watching! I just realized the Filter in the link was a different one from what I am currently using, so I have updated it to what I have now :) Sorry for any confusion there.
I use the BMPCC 4k to film the videos. I think the 4K is a better all around camera. Better ports. Great screen. Very usable. I think the image from the OG is more organic. I would consider it a hobby or special project camera where the 4K is what I would use for paid jobs--if that makes sense :)
Very good tutorial! One tip I would add is to buy the slimraw software to offload the dng files to your computer . You can choose raw compression similar to the braw from the pocket 4k! All the pro’s from normal raw shooting still apply but file size will be the same as prores hq. It adds only about 5-10 min extra time depending on your system (2019 macbook pro 16 inch base model here).
95 % on zebra on the bmpcc og as in the 4k wich i keep with the cdng firmware , is because channels dont clip all the same way , in the very top part of the wavescope u can see red clip almost one stop before green and blue , thats why 95 % is also good at 100% u can have more clipping in the red channel , also a good reason to keep ir cut / hot mirror on even when not using a ND 😉
Thank you very much for posting these great videos about this much-beloved little camera. I happen to have one but with almost no accessories, so your gear recommendations are so welcome to be honest, and best of all they're quite affordable! So thank you very much! Cheers.
Great Video! I just have two questions, you said to shoot in 180°, but I heard from a friend that for shooting with 800 ISO and 24 FPS, the setting 172.8° is preferable, is this true? (for context, he mainly shoots with the BM 6k Pro and Arri Mini for Commercials) And the second question is, why do you shoot in 23.98 and not 24 FPS? Does it make a noticeable difference?
This 100% depends on where you live--and I should have remembered to mention this. In Europe (and other countries that operate on different light frequencies) you want to use 172.8 when artificial light is dominant in your frame. 180 will not mesh with the European light frequencies and you will get banding in your image. In daylight it is not a problem. In general, 180 looks better than 172.8, but again, if it means the light will ruin your image you will need 172.8 (ideally though, on a set your lights will work with 180. But normal lights won't.) With regards to 24 vs 23.98... I almost discussed this in the video but wanted to keep it short. There is really not a big difference between the two and your results will be nearly identical, but 23.98 is industry standard and most secondary sound recorders are set to sync with 23.98. It is just closer to the academy standard of what film cameras were designed to run on when crystal synced. Hope this answers your questions for you, thanks for watching!
@@WillvonTagen Thank you for this detailed Answer! I will definitely try and shoot in 180° and see if there is any difference in the light meshing, as I have just bought a Studio light, so I think that it should not affect it. In Regards to the 24 FPS, i never thought about the syncing of the sound recorders, and last time it was kinda off then I tried to sync my footage to the sound recording, so I will also definitely also try out to shoot in 23.98 and see if that solves the issue. Thank you again, your Videos are really helping a lot, I have watched a ton of BMPCC Videos and yours are by fare the most informative and detailed!
Thanks for a good video. Since you can't judge exposure using the LCD screen, how do you ensure that you haven't underexposed once you've got rid of the zebras? With a bright background (e.g. sky), your subject in the foreground, you could leave your subject underexposed. And if the LCD brightness is set high, you might think that it looks ok until you actually view the footage. I would imagine that the histogram function would solve this problem? I noticed that you're using an external power pack for the camera. Regarding Power I.O.S., I read that the following conditions apply for it to work: 1. If the camera is powered by an external source. 2. When the camera is actually recording (this is to save battery life). I thought you might be interested in this: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-iHvxVwa1h8U.html. This guy says that with the BMPCC OG set to RAW, when you shoot 800 ISO, it's really closer to ISO 400 but it's 800 ISO if you're shooting ProRes.
Study up a bit on using the histogram on the screen. Also a few hours of using the camera will help you learn what to trust on the LCD and what not to trust--shadows included.
Great info. You mention color grading raw holds up better than prores. Is there any dynamic range differences between prores and raw? Or is the real benefit only found color grading. Would be a great video break down comparing both raw and prores differences.
QUESTION: My BPCC it’s reading my Sandisk extreme pro 128GB V30 17 MB/s card, I’m not sure where if it’s my camera not being up to date or my camera is actually broken? If anyone can explain that would be great thanks
Thank you for taking the time to do this. Isn't the moire quite noticeable in raw compared to ProRes? Would you recommend fitting an anti-moire filter to the camera?
I’ve owned this camera for 8 years now, and yes. Moire shows itself regardless, but there’s sensor artifacting moire that commonly shows up when you ghost the image, so you do have to avoid lots of direct light onto the sensor. That’s where I notice it most. Still better than the real OG quirks we used to have on this camera, like when the sun would show up as a black dot! Haha
Hello Will Thanks for a great video on the BMPCC. Just quick question/clarification. I read in the comments that you change the link to the Hoya ND filter. But I can't find anything on the Amazon site or the site of Hoya that this filter also works as an IR cut filter. Could verify that it's also working as an IR cut filter? Thanks in advance
Hi Anders. The Hoya filter is the one I use for both my BMPCC and BMMCC and there is zero image corruption/discoloration from the ND. I’m not sure what Hoya says specifically, but I assume the IR cut is sufficient as I have used plenty of non-IR cut filters before with negative results. So you should have no problem whatsoever. 👍🏻
@@WillvonTagen a relief to finally hear it straight from the source. The browning of footage with NDs has always been the achilles heel of shooting exteriors for me :) Could it be that the variable ND is made up of polarizers (not marooning) and the normal ND (marooning) is not? congrats on these key videos that have totally revamped my enthusiasm for bmpcc
Any recommendations for a cage in 2022. You pretty much covered everything else I need as far as settings and the battery and ND but do you think I should get a cage as well?
Keep an eye on eBay for the wooden camera cages-particularly if they include the cable locks. Small rig made a knock off of it that also works well. Keep in mind the cage is more for attaching accessories over physical protection of the camera, so no need to go overboard.
great video. but I'd respectfully disagree about one thing. Buy variable NDs are not good. They use two polarizers in order to create the darken and brighten effect for exposure. They look great on objects that are not people but if you stop down on the ND and aim the camera at a human face, it will remove all the specular highlights from the skin and the end result looks odd. all reflections and bounce light on the skin disappear and it looks dry and abnormal. Id suggest purchasing normal NDs a .9 , 1.2 and a 2.4 to swap between.
Had no idea that shooting RAW give me so much possibilities, for example temp change is so natural, not like in color settings where it feels like you add "mexican" filter 😄
Okay, well, this is something!! Thanks a lot for this mini course! Just one question - when shooting in 25p, what degree would you recommend? Thanks a lot!
For 25p it depends on your light source. If you are using artificial lights outside of the US I would advise 172.8 degree shutter to avoid banding. If you are in the US or it’s natural light then 180 is still preferred :)
idk if this is correct, but you can apply the same color grade to the rest of your clips at once by selecting all but the one you graded, then right click the graded clip and then click apply grade.
I think exposing to the right is great practice for this camera, which is why I set my Zebras to 100%. That usually gets me to that point in the overall exposure.
awesome video man. really helps. a lot of videos out there are so overly complicated with people flexing their knowledge while leaving out crucial details. more bmpcc OG videos please!
Hey, I can't find an answer anywhere to my confusion re the colour space transform settings! I saw from various videos that CST should be applied to the final node, so the rec709 transform doesn't limit the grading potential of the RAW footage. I'd been simply changing it to rec709 in the wee camera raw decode box left of the colour wheels. Everyone seems to add CST to a final node though, so I've started doing it that way, and intuitively I've been setting CST parameters to input colour space: BM Film gen 1; Input gamma: BM design Film; output colour space: rec709; output gamma: rec709. The image seems decent to me, with plenty of latitude to colour grade, but I've no idea if I'm using the right settings, and most of what I can find online refers to or uses the 4K or 6K settings. I'm using the OG bmpcc so just wondering if you have any knowledge or understanding of using a CST node on the OG raw footage..?
Thanks for watching! The 4K has a different menu system but the principles are the same--though you have more forgiveness in post with the wider ISO range. I wouldn't shoot 1080 on the 4k, as it crops the sensor a considerable amount. If you need 1080 with the 4k, I would shoot natively and then downsize in post.
I had the 4k, but sold and kept my original. The original looks more like a movie/film in 1080p compared to the pocket 4k. The original fiilming in cine dng raw of course.
Hey there, been enjoying your videos on this camera. Can you tell me if the menu screens can be outputted over HDMI? Or is it just the status text and histagram? Thanks in advance :)
don't really like the greenish brownish tint this camera produces. The BMCC 2.5K is much much better in terms of color rendition/separation. Then, the BMPC 4K (the one with global shutter) goes back to the awful OG BMPCC color rendition. I have seen few grading getting rid of the greenish/brownish tint the OG produces. Don't get me wrong, I love the OG, but wouldn't really use it because of its color rendering. Gen 4 gives richer colors, however, the tint is still there. I saw in the past a Melara's grading on this camera which was quite ok, but it has disappeared.
Hey Will, I can't seem to get to the menu with six icons.......is because I need to update my cameras firmware, or am I just missing something? When I click the menu button I takes me to settings
Hey, nice Video! My problem is that i shoot in RAW and it plays back fine on cam, but as soon as i move the CinemaDNG files to Davinci Resolve there are missing frames…any solutions how I can fix this? I edit my footage on Mac btw
I tried it with the Kingston but same problem…sometimes it works and sometimes not…maybe it has something to do with the copying process from the sd to mac?
Thanks for watching! I just realized the Filter in the link was a different one from what I am currently using, so I have updated it to what I have now from Hoya :)
Amazing tutorial. This is the first time I've ever seen the full process from setup to shooting the footage to bringing it back into edit. Thanks very much.
