Blackmagic Design Production Camera 4K Camcorder

Product Information

Power: Integrated Lithium-ion Polymer rechargeable battery, 12V-30V DC port for external battery power, 12V AC adapter

TTL35: Agree with most what you said, but perhaps yabokkie was thinking about the new and by all accounts, truly great dedicated 4K and HD Sony codec cameras that are just now starting to come out. Using XAVC and XAVC S video codecs. That said, if you opt for the Production Camera 4K you should expect two things. The first is that you'll get some wonderful 4K footage in bright light, with tons of resolution, minimal rolling shutter, and a flat profile that's easy to grade. The other thing you should expect is a series of headaches, as the poor battery life and abysmal low-light shooting preclude pretty much any kind of run-and-gun work. I just wanted to give everyone the heads up about PNY drives and the BMCC. The XLR8 480gb drives seem to have changed, but are still being sold in the same box! The camera features a 6G-SDI connector that allows single-cable 4K transfer. It also includes a Thunderbolt connector and a LANC connector for controlling record, stop, focus and iris settings, remotely.The next day, we headed out to Brooklyn Bridge Park to capture some 4K footage of NYC’s Financial District, just across the East River, and the Statue of Liberty, out in the New York Bay.

Ethernet supports 10/100/1000 BaseT. Allows direct connection between panel and chassis, or vianetwork. Internal Timecode Generator Apologies if this is better suited for the Resolve subforum, but I am a little confused about color space and gamma settings for BMP4K Film mode footage in Resolve. The naming conventions for IDTs/LUTs/transforms/etc seem somewhat inconsistent. So I guess the forum done its job eh? Helped me and others who may have the sandisk II and with no help from BMD or indeed you managed to find out the thing works Its much easier to use ACES with RAW files where it's all handled internally in either Resolve or the SDK.Formatting in-camera using firmware 2.4 usually works well, unless there's a problem with a SSD or the camera. Ethernet supports 10/100/1000 BaseT. Allows direct connection between panel and chassis, or vianetwork. Tally Output For ProRes I'll be honest, I haven't looked at whats available in Resolve but will follow it up. But yes you need IDTs not only for each camera, but for each ISO. This is the same as other cinema cameras like ARRI etc. And prior to Gen 4 you would need IDTs for each colour temperature you shot with, as ARRI has available here for their linear files (you'll see in each EI/ISO folder multiple files for each CCT/correlated colour temperature): We tested color reproduction and separation by shooting some highly saturated and textured clothing on bright green grass. There is no auto white balance function. White balance settings are limited to six presets from 3200 to 7500. If you need to fine tune your white balance more than this you'll need to do it in post. Even after increasing the color saturation in post by 25-percent and viewing at 400 percent, we could not detect any bleeding between colors or reduction in the sharpness of the clothing detail. With ProRes 422 and (later) CinemaDNG RAW, there is plenty of color information to play with without sacrificing image quality.

I'm having trouble recording raw on my BMPC. I have two Kingston HyperX Savage 480 GB (SHSS37A/480G) that are listet as approved for raw recording, but I can only record about 6-10 seconds before I get a red exclamation mark on my display. I have tried formatting the drives in both HFS+ and exFAT. The global shutter means it captures the entire frame at the same moment, rather than reading the sensor one line at a time - avoiding the distorted verticals that can occur with fast moving subjects or whip pans.Yes, we want to do this. A large part of the work has been completed so I don't believe this will be a big effort to implement. However, it is very unlikely that we will support deleting of clips directly in camera due to the risk of media fragmentation. Other Interface: 2.5mm LANC for remote control; Thunderbolt port for capture of HD video and audio; USB 2.0 mini-B port for software updates and configuration

Fran Tormo wrote:I´m a little bit confuse too because Resolve detect that is V4 in RAW tab, but if I tried to select inOur gamma's are currently all specific to each camera as the log curves are specially tailored to the response of each camera/sensor. So you should always use the one labelled for the camera. It doesn’t take much preparation or setup to start capturing solid footage with this camera, which is a huge plus for people working in situations where time is of the essence. In “Film” mode, which is the other capture option, the full dynamic range from the camera’s image sensor is recorded (as with most RAW formats), so there’s much more information available in the clips when it comes to post-production/color correction — which is especially important when it comes to adjusting the highlights and shadows of the images. With DNG the information to linearize and the matrices to convert from sensor RGB to XYZ are all in the DNG metadata tags, so all the information needed to convert to ACES is always in the DNG and Resolve handles this internally. Capturing Ultra HD (3840 X 2160) resolution on a Super 35 sensor in the high-quality ProRes 422 (HQ) format, the Production Camera 4K breaks new ground when it comes to the relationship between quality and price.