Posts Tagged ‘Cinema Camera’



This is the best tutorial on exposure I’ve seen yet. I meant to post it sooner.



Best stuff yet.


Y mas.


Yes, I’m taking this one seriously.  With 13 stops of DR, RAW format, and up to 100fps, this looks to be something to keep a look out for. It has a super 35 sensor with sensor cropping to handle S16 lenses. Price about $3200 for body???

4K RAW In-Camera Recording
100fps@1080p(RAW) / 96fps@2K(RAW)
Multiple Codecs: CinemaDNG, CineformRAW, ProRes, H.264,…
sensor crop function
13 stops dynamic range
3D multicam-sync function
Built-in 2.5” SSD Slot
HDMI & SDI video output
Exchangeable lens mount system
Only 1,9 kg body weight


The KineMini

Posted: June 30, 2014 in -
Tags: , , , , ,



On paper this camera blows away the cameras they filmed Avatar on, which still stands as the biggest movie of all time. So there’s that…

  • 4K RAW In-Camera Recording
  • 100fps@1080p(RAW) / 96fps@2K(RAW)
  • Multiple Codecs: CinemaDNG, CineformRAW, ProRes, H.264,…
  • sensor crop function
  • 13 stops dynamic range
  • 3D multicam-sync function
  • Built-in 2.5” SSD Slot
  • HDMI & SDI video output
  • Exchangeable lens mount system
  • Only 1,9 kg body weight









I did promise to revisit the camera after more footage was out.  Well, it’s out.  And the camera is available for order.






Note the global shutter and the motion characteristics that feel like film, as well as the vintage film color palette.  This camera has a Kodak CCD sensor, which is unique and distinct.  It gives the footage a particular character that other sensors can’t truly emulate.  I like it a lot, and it’s not a very expensive option, either.

Starting at $3299, it comes with an internal SSD drive and XLR audio inputs with 48v phantom power.  The big weakness is the built-in display, but a cheap HDMI add-on screen is an obvious solution.

The Digital Bolex has a character that is different than the competition and in some ways better.  The motion characteristics of its global shutter seem more natural and film like than the BMC 4K camera, which also has a global shutter — but a different feel to the movement.

The big strength of the D16 is for emulating an old time film stock, 1950s, 60s and 70s.  It almost looks like old independent film.

Comparison to BMC


I forgot to mention that the D16 sensor is not nearly as sensitive as other cameras, with a native ISO around 200.  This is a full two stops slower than the BMCs and miles below some of the newer cams from the big names.  So it may make night shooting more difficult, requiring more light.

Also, the dynamic range is pretty good, but maxes out around 12?  That’s a stop less highlight retention than the BMC Pocket cam and BMCC.  It is, however, superior to a bunch of DSLRs.




Long Review:


by Joe Giambrone


(Article is from May 2013, and newer camera models release constantly. The principles remain the same.)

So you’re confused by all the choices, and you don’t know what they really all entail?  Differences in cameras may not seem all that important, until you look carefully, as audiences tend to do when the image is thirty feet tall.

A Little How-To

Note: Images were grabbed from the net to illustrate the points in the text.  Don’t’ take them as the end-all.  As any cinematographer who cashes checks will likely say: “Test.”

Section One: People With Bucks

Okay film, glorious 35mm Kodak or Fuji filmstock.  Here’s why:

Inception used 35mm + 65mm Kodak Vision3 250D 5207, Vision3 500T 5219 INCEPTION

Promised Land used 35mm Fuji Super F-64D 8522, Eterna Vivid 250D 8546, Eterna Vivid 500T 8547promised-land06

The Wrestler used 16 mm Kodak Vision2 200T 7217, Vision3 500T 7219 the-wrestler-3

All-time favorite film stock
35 mm, Eastman EXR 500T 5298Eyes-Wide-Shut-1999-BluRay-720p

Rolling film is expensive, and sometimes the directing style dictates lots of footage, always running improvisation.  Digital can be more amenable to that situation.

Dynamic range is important for capturing smoothly rolled off highlights, before they overexpose to pure white.  This single factor is perhaps the most crucial ingredient for achieving a digital camera look that mimics real film.  Kodak Vision 3 is rated at 13 stops according to the company.  Every F stop of dynamic range doubles the amount of light captured.  Thus, a digital camera with more dynamic range requires a lot more data storage as well as a sensor that is capable of capturing such high contrast of light in the first place.

A unique characteristic of film is the grain structure in the crystals, which comprise the image.  This grain also helps soften the areas of pure whiteness that occur when a part of a negative is blown out to overexposure.  Grain adds a subtle texture to the frames as they flow by at 24 frames per second, which is often lacking in digital footage.  Grain is sometimes mimicked to make digital footage look more like film, but it seldom achieves the total look of actual film, which responds uniquely to light that hits the various layers of emulsion.  Grain can also be too heavy in the case of low-light or underexposed film.  For low-light night shooting, a digital camera with a more sensitive sensor may make more sense.

Film grain also changes depending upon the size of the negative, as an 8mm image blown up to the same size as a 35mm image would show magnified grains.  A happy medium is 16mm, with 4 times the resolution of 8mm.  Well shot 16mm film provides a medium level of grain to the image consistent with crime and grindhouse horror cinema.  For example, The Walking Dead series has been captured on 16mm Kodak film (7219).

Click and zoom in to see the grain BDDefinitionWalkingDead-1-1080

Top-Tier Digital Cinema Cameras

These can be rented by the day, week or longer.


This changes everything for many, many millions who can’t realize the investment a more capable cinema camera would cost.

John Brawley has the scoop (and a unit he’s testing):

The pocket rocket…Blackmagic downsizes the BMCC…

2013-04-02-09-35-54Blackmagic Pocket Cinema Camera

That little guy has more dynamic range than a $35k Red Epic (despite what Red claims), and more than a $16k Canon C300, or $12K 1-DC.

It is the dynamic range (DR) that allows digital cameras to mimic film response in high contrast, bright sunlight situations. The more DR you capture, the more film-like you can get the image. Related is the amount of image data you store without butchering it with high compression schemes. Blackmagic has excelled with their BMC cameras at not compressing the RAW data and capturing more contrast than the competition — AT A MUCH LOWER PRICE.

Colt may have made all men equal in the Old West, but Blackmagic is on its way for filmmakers.



Because I’m such an informative sweety, here is the real reaon you go BMC, with a direct comparison to the Canon 5D-MK3. The original BMC Cinema Camera ($2995 msrp) blows away the 5dMK3 which at the time cost $500 more.


The consumer DSLRs all use 8bit color for their video, with only 256 possible shades per red/green/blue. The Blackmagic processes 16 bit color, stored in a 12 bit lograrithmic format for its RAW DNG capture (uncompressed – very large files). With 16 bit color it captures 65,536 levels of r/g/b for high precision. This isn’t important until you start tweaking the color space around and playing with levels in the image. Then, all that data is crucial and needs to keep away from the floor (noise) and ceiling (clipping) to maintain image integrity. This is where compressed codec cameras fall flat, and can be discarded.