This is why 16mm was so pivotal in the French New Wave movement, and in the birth of independent filmmaking more broadly. I can’t help but wonder how many other filmmakers are longing for a current, affordable, native Super 16mm digital film camera. Maybe I’m alone on this one… But I certainly hope not. So while Arri & RED may help cover your bases aesthetically by offering a 16mm crop, they won’t help you reduce your footprint (or your budget) in the same way.

A closer look at the Blackmagic Pocket Cinema Camera

cinema grade matte box with 4.56 filters look rediculusly big with it (although on plus side no one thinks of me as an amateur any more) hi there – working on my own indy – due to low/non existant budget i had to do the homework – bolex was a dream… I just wish I bought it for my own when had chance:( – nevertheless – my use and reasons: It really feels like there is a demand out there, and if any camera manufacturers are reading this – I would urge you to consider the possibility. Input/Output: 1/8” (3.5mm) stereo audio input; Micro HDMI Type D Output; 1/8" (3.5mm) stereo headphone output; 2.5mm LANC for remote Rec Start/Stop, Iris Control and Focus Control: USB 2.0 Mini-B port for software updates and configuration We know, we know, when you’re shooting video, a true professional never uses continuous autofocus. But, we’re not true professional videographers, we’re video journalists and on some occasions, needs must.Currently, I have a feature film in development that I aim to shoot on Super 16mm motion picture film. This is something I’ve wanted to do for a long time, but haven’t really been able to pull the trigger until now. As a workaround, you can shoot in a Super 16mm (equivalent) crop mode on an Arri or RED camera, but that just solves the aesthetic issue. The other consideration is practicality. bmpcc 4k – night shots (that can’t be shot during the day and graded to night), slowmo (for the reasons I can’t comprehend) Sometimes the best camera for the job is the one you already own… Even if it’s 6 years old, only shoots 1080p and has since been replaced by newer iterations.

Blackmagic Pocket Cinema Camera – Workflow | Blackmagic Design

Finally, and most importantly, the fundamental quality of its 4K video takes on much pricier cameras and, when you know how to work it, handles noise better than some full frame sensors too, thanks to its the dual native ISOs. Iris Control: Automatically adjusts the lens iris settings so no pixel is clipped (active lenses only) The key noticeable difference in our experience was that the RAW video we captured was better at managing the highlights than ProRes, so we ended up exposing down a bit more than we usually would.

Shoot professional action camera style anywhere!

The value for money this film camera delivers is unrivalled. Despite not articulating, the huge 16:9 screen puts it head and shoulders above other MFT shooters from a video-centric operational point of view. The range of connections on-board is also class-leading, and the fact there’s a dual card slot trumps much pricier cameras like the EOS R. There’s also a USB-C port, supporting data transfer and slow charging. A point to note - this won’t keep the camera alive while shooting, just supplement the battery power to ease the load.

Blackmagic Pocket Cinema Camera | Blackmagic Design

This is a double edged sword - on the one hand, it perfectly matches the limits video places on exposure control by contrast to photography. On the other, it means you really need to know your camera to get the most out of it.

The perfect camera for documentary filmmakers!

What’s also interesting is that the manual electronic focus on MFT lenses requires a very long turn of the focus ring by contrast to, for example, the GH5. It can feel inconsistent and potentially hamper you from getting that pan-focus you want, especially if you’re winging it without any supporting accessories. What’s missing? As we set up each shot, we were floored by how much better of an experience it was just by having a few more tools at our disposal. The larger field monitor made framing and focusing much easier, as did the adjustable mount that allowed us to set the monitor at any angle. The variable ND filters together with the zebra stripes made adjusting exposure a snap and the zoom lens allowed us greater flexibility in tripod placement and framing. A task which was daunting only a few days earlier, had now become fun and exciting! Are you a fan of the Super 16mm look? What would your ideal digital 16mm camera look like? Leave a comment below. So as of right now in 2020, there are no new cinema cameras being manufactured that have native 16mm sensors. And that is really a shame! The Camera has a 5" 800x480 LCD touchscreen display and dedicated buttons that can play and pause, stop, skip, focus and record media, access the menu and to power on the device. It can record raw, CinemaDNG, Apple ProRes and Avid DNxHD onto 2.5K and 1080p resolutions, as well as lossless 2.5K raw, in 23.98, 24, 25, 29.97 and 30 fps.

Why I Am Revisiting Blackmagic’s Original (1080p) Pocket

If a current digital 16mm camera existed, I’d be first in line to buy one. But until that happens, I’ll happily continue to utilize the tool I already own and know can deliver the results I need. My good old BMPCC! The film will require some run and gun insert shots that will be filmed guerrilla style on location. For many of these shots, it won’t be practical (or even possible) to shoot with my Arri SRII, so I’ll likely need to supplement the production with some digital footage. I know what you feel. I’ve owned original BMCC and Micro Camera. Micro was one of my favourite cameras ever. The picture was nice and organic. You could use it super16 and/or add speedbooster for almost super35 look. The noise was there but it was organic and kinda nice. It was small and it had 1080 60p. I wish BM could just release the micro cinema camera with stabilization and build in flip out touch screen and Sony L batteries. I sold it some time ago, but this is the one I miss 🙂

Blackmagic Pocket Cinema Camera 4K

But the lesson here is that newer isn’t always better. Sometimes the best camera for any given situation is the one we already have. Just because it’s “outdated” doesn’t mean it’s no longer a viable tool. With 4K CinemaDNG RAW recording at 272 MB/s and ProRes 422HQ recording at 117.88MB/s, you will want a lot of storage media, even for short projects. Getting specific, a 256GB card will capture 14 minutes of 30fps raw footage. DaVinci Resolve