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Blackmagic Does It Again! - Page 2

post #31 of 133
Quote:
Originally Posted by jogiba View Post

I think short FL C-mount lenses would work on the Pocket Cinema Camera for wide angle use. I have a 12.5mm F1.3 that I purchased for my Pentax Q and have a MFT-C mount adapter for it. I also have a 6.5mm Opteka (Samyang) APS-C lens that I use on my GH2 with adapter.


12.5mm F1.3 C-mount lens and my Pentax Q with 85mm F1.4

I'm definitely going to be looking at some of those 2/3" C-mount lenses. I wonder if any of the 1/3" C-mount wide lenses would work using and extender to fill the Super 16mm frame. Samyang is working on a 10mm F2.8 EF lens that would be great with the Speedbooster.
post #32 of 133
It may sound dumb but will micro four third lenses fit directly on this camera,i have never used ProRes 422 (HQ) does it need special software and is it BD DVD compatable without some form of conversion.
post #33 of 133
Quote:
Originally Posted by flintyplus View Post

It may sound dumb but will micro four third lenses fit directly on this camera,i have never used ProRes 422 (HQ) does it need special software and is it BD DVD compatable without some form of conversion.

Yes, it has an active micro four thirds mount and is made for Micro 4/3rds lenses. ProRes HQ is very high quality low compression. It's good for post color/image grading, because it doesn't fall apart nearly as quickly as the highly compressed images DSLRS use with their video footage. You can edit with Adobe Premiere Pro. Or you can convert it. If you're wanting to burn to Blu-Ray or DVD to play in a stand alone player, yes, it will need to be converted. There is software that does this for you.

A little info on ProRes HQ:

"ProRes is a lossy video compression format developed by Apple Inc. for use in post production that supports up to 4k. It is the successor of the Apple Intermediate Codec and was introduced in 2007 with Final Cut Studio 2.[1]

ProRes is a line of intermediate codecs, which means they are intended for use during video editing, and not for practical end-user viewing. The benefit of an intermediate codec is that it retains higher quality than end-user codecs while still requiring much less expensive disk systems compared to uncompressed video. It is comparable to Avid's DNxHD codec or CineForm who offer similar bitrates which are also intended to be used as intermediate codecs. ProRes 422 is a DCT based[2] intra-frame-only codec and is therefore simpler to decode than distribution oriented formats like H.264."
post #34 of 133
The pocket camera has an electronic capable Micro Four Thirds mount which is something people have been asking for the original Black Magic camera since the M43 mount version is only manual capable so never mind using lenses such as the Olympus 12mm, f/2.0 for example.

Although ProRes is an Apple format, it can be imported into Vegas and Premiere Pro.You just need to make sure you have the latest version of QuickTime and I don't think you can export to ProRes when your done editing but that wont be an issues to people who will export to something like H.264 when their done editing.

____
Crap, someone beat me to it.
post #35 of 133
Quote:
Originally Posted by thedest View Post

what lenses would you guys use for a crop factor of 3? it will be hard to have wide angles

I will be researching Super 16mm C-Mount Lenses and C-Mount lenses designed for 1" sensor size. The BMCUser forum is a good place for lens research. They already have threads going and a new startup company looking to make attractively priced custom lenses for the camera within the next few months. I may start off with Olympus 12mm F2.0 lens or SLR T1.6 hyperprime. Though the Olympus is the better lens, apparently, but the Hyper prime is a stop faster. Of course, ultimately I plan to reduce the crop factor with the Speedbooster and will probably either use the Tokina 11-16mm F2.8 EF as my wide (F2.0 after speedbooster). Then use Rokinon Cine lenses, 24mm F1.0, 35mm F1.0, and 85mm F1.0 (F1.4 before Speedbooster) and my Canon 50mm F1.8 prime. If I can find a good fast Super 16mm C-mount with a nice wide to zoom that won't break the bank I'm may go that route.
post #36 of 133
Quote:
Originally Posted by hatchback View Post

With fast glass (either native MFT glass, or native C-mount glass, or speedboosted-FX glass) it will be easy to get shallow depth of field when you want it, and deep depth of field when you want that.

The RX100 has a bigger sensor and an f1.8 Zeiss and cant get decent sDOF or decent bokehs. I hope the BM will do well, but it wont be a bokehlicious machine. It will probably perform like a camcorder in the DOF department, wich is not the end of the world if you have an APS-C or a fullframe for backup.
Quote:
Originally Posted by hatchback View Post

The only downside is that with only 1920x1080 active pixels, the frames will de-Bayer to only 756 vertical lines of measured resolution. Some cameras offer more measured resolution, but many do not, including all the single-sensor Canon video cameras and all of the large sensor Panasonic video cameras.

Thats a big concern! People are watching footage of the original BM which has a bigger sensor and can create beautifully detailed downscaled 2.7k to 1080p videos. I wonder how it will perform with a smaller sensor, made by other company and cropped, and with a much smaller resolution. We wont see the same amount of details in the 1080p that we can see in the downscaled 2.7k to 1080p.
Quote:
Originally Posted by MTyson View Post

biggrin.gif I'm considering pre ordering a second one. I'm really excited about this little marvel. I've never been interested in a tiny cam like this, but then again no tiny cam has ever had video specs like this before. I'm ready to do some tests. I have a T2i at the moment with magic lantern to compare against. Hope to test against some other cameras in the future and post on YouTube.

MTyson, to create HDR videos in the BM (example: recovering the details from a blown out sky or window) do we need to use masks to create 2 different exposures in the same scene or can we do that with a pre-set in davinci or just playing with some curves?
post #37 of 133
I downloaded DaVinci Resolve 9 that comes with the BMC pocket cinema camera that I pre-ordered and it only works with Nvidia video cards and I have an ATI/AMD 6950 card so I cancelled my pre-order. I also prefer to wait for a 4K camera like the new BMC 4K with global shutter but in a form factor like my Sony NEX-VG900. I think the pocket camera is a perfect companion to their 4K camera or the current 2.5K version.


post #38 of 133
whoo that sucks... as I said, people are too excited about the 1k price tag. it IS NOT a 1k camera. its a 1k camera + 2k-3k in lenses and accesories + a backup DSRL (2-3k) + a new workstation (my pc costs about 4k and it renders RAW videos with some effort - core i7 OC 3rd gen + 2 GTX680 + 16GB RAM)

So if it wont be just a gimmick camera and you want to use it as your main camera for lots of videos it will be a 8k-10k investment. And you will need a lot of free time. wink.gif

Even if you use hacks to make your ATI work with the DaVinci, like you can in Premiere Pro, with that card you would spend like 1 week or more to render a 20minute video lol
post #39 of 133
Quote:
Originally Posted by thedest View Post

The RX100 has a bigger sensor and an f1.8 Zeiss and cant get decent sDOF or decent bokehs. I hope the BM will do well, but it wont be a bokehlicious machine. It will probably perform like a camcorder in the DOF department, wich is not the end of the world if you have an APS-C or a fullframe for backup.
To get shallow depth of field, you need a fast telephoto lens. The RX100 lens is only f1.8 at the wide end (10mm). It's a slow f4.9 at the telephoto end (36mm). You can get much faster telephoto lenses for MFT, which will give you the shallow DOF you desire on a Super 16mm sensor, such as the Panasonic 25mm f1.4, Voigtlander 25mm f0.95, Olympus 45mm f1.8 and Olympus 75mm f1.8.
post #40 of 133
Quote:
Originally Posted by thedest View Post

The RX100 has a bigger sensor and an f1.8 Zeiss and cant get decent sDOF or decent bokehs.
Slightly bigger. Of course, unlike primes or constant aperture zooms the F1.8 aperture is only at the wide end where shallow depth of field is already less likely and as you you zoom in the aperture closes down to F4.9, thus more depth of field. You'd get much better results with a normal-telephoto shot at F1.8 or higher than F4.9. So, one definitely wants some fast primes or even an old fast C-Mount zoom. smile.gif

Quote:
I hope the BM will do well, but it wont be a bokehlicious machine. It will probably perform like a camcorder in the DOF department, wich is not the end of the world if you have an APS-C or a fullframe for backup.
I'll have my APS-C backup just in case. May even consider the Nikon D5200. biggrin.gif I don't think it'll quite perform like a camcorder though if you have the right lenses. The sensor is still quite a bit larger and movies and series have been shot with Super 16mm format with decently shallow dof when required...which for filmmakers is usually doing your two pops after your establishing shot.
Quote:
Thats a big concern! People are watching footage of the original BM which has a bigger sensor and can create beautifully detailed downscaled 2.7k to 1080p videos. I wonder how it will perform with a smaller sensor, made by other company and cropped, and with a much smaller resolution.
I'm still with John Brawley on this that it's the same sensor only cropped. biggrin.gif He was right about all the mistakes the rep made about the BMCC last year, posts regularly on the forum and is a very reliable guy. He does not BS people. He was straight upfront about the new production camera saying you'd lose probably MORE than 1 wholes stop of latitude vs the BMCC and pocket cinema camera....didn't sugar coat it one bit.
Quote:
We wont see the same amount of details in the 1080p that we can see in the downscaled 2.7k to 1080p.
Perhaps not, but one may have to pixel peep to really notice and only us camera guys seems to do that. :P I'd bet money it'll be nowhere near as soft as the Canon DSLRs, one of which I own. They are still capable of nice footage, but I have no fear the BMCC will be soft as they are. lol.
Quote:
MTyson, to create HDR videos in the BM (example: recovering the details from a blown out sky or window) do we need to use masks to create 2 different exposures in the same scene or can we do that with a pre-set in davinci or just playing with some curves?

I haven't used DaVinci yet. I've been using Adobe Camera RAW with After Effects CS6.5 and Photoshop CS6. From what I have seen Adobe Camera RAW is simply superior at pulling out shadow and highlight detail where DaVinci cannot. I don't know if they fixed this, but with the Carnvial shot it was a pretty big difference in what you could accomplish with ACR compared to DaVinci. I'd have to do it again to remember my exact settings, but basically I'd make three exposure for a better tone map, adjust the picture settings for each exposure: One under exposure (using the exposure slider) with crushed black and best highlights, under exposing by 2 or 3 stops. One normal exposure separated by 2-3 stops, best for midtones. One over exposure for shadows placed 2-3 stops ahead of normal. I'd save each one then import into photo matrix and tone map them, adjust the settings too my liking. Of course Adobe also has an HDR simulator so you don't have to make multiple exposures. I'm not sure how it works in comparison though yet.
post #41 of 133
Quote:
Originally Posted by hatchback View Post

To get shallow depth of field, you need a fast telephoto lens. The RX100 lens is only f1.8 at the wide end (10mm). It's a slow f4.9 at the telephoto end (36mm). You can get much faster telephoto lenses for MFT, which will give you the shallow DOF you desire on a Super 16mm sensor, such as the Panasonic 25mm f1.4, Voigtlander 25mm f0.95, Olympus 45mm f1.8 and Olympus 75mm f1.8.

Panasonic 25mm f1.4 ............... 500.00
Voigtlander 25mm f0.95 .............1200.00
Olympus 75mm f1.8 ....................900.00
Speedboster?..............................300.00
TOTAL (+camera).........................4,300.00 USD

(of course you wont buy those 3 lenses, but you will end up spending that much in good accessories for the pocket camera if you want acceptable low light, an acceptable sDOF and a better crop factor or wide angle)

BlackMagic 4k.................4000.00
cheap 1.4 prime..............200.00
TOTAL...............................4,200.00 USD

You guys are thinking like a child that just want his toy, and its willing do do the most absurd stuff to justify it. Thats fanboy stuff. Just admit that the BM is not made for sDOF. Thats acceptable. I have great camcorders that cant do decent sDOF and I still like them.

Even with a fast prime its hard to get a nice bokeh in a m4/3, imagine in a super16. You can get decent bokeh in a m4/3 if your subject is close and the background is far away. but you cant get a nice bokeh in a full body portrait for example. The only way to get sDOF in the super16 will be using old tricks, even with fast primes. Even that way, your bokeh blobs will look different because of the way the BM deals with light - they wont blow out and wont look as creamy as the ones from big sensor cameras.

So, to achieve nice sDOF and decent looking bokehs in the BM you will need:
- to stay really close to your subject and far from the background
- to use REALLY EXPENSIVE lenses
- to use a speedboster
- to post process your bokeh blobs because they will look strange since the camera wont let them blow out.

Yeah... no, thanks. You wont be able to do it easily like in a APS or a full-frame with a 200 bucks 1.4 lens.

And its funny that people are happy about the 1k price tag of the blackmagic and you guys are talking about buying 1.2k lenses lol. If you have that kind of money to spend on a lens, just buy the 2k or 4k camera.

The pocket BM is a camera for enthusiasts and semi-pros. That kind of person dont want to turn the world upside down to get mediocre bokehs. Just use a camera made for that and use the BM for what its made for.

But anyway, I dont think that the BM NEEDS to be a bokeh machine. It just got to prove that its able to do nice looking all-in-focus images like the big sister. If its able to keep the same amount of details, looks and colors, then its a keeper (to be used with a backup for low light and sDOF)
Edited by thedest - 4/10/13 at 12:09pm
post #42 of 133
Quote:
Originally Posted by MTyson View Post

Perhaps not, but one may have to pixel peep to really notice and only us camera guys seems to do that. :P I'd bet money it'll be nowhere near as soft as the Canon DSLRs, one of which I own. They are still capable of nice footage, but I have no fear the BMCC will be soft as they are. lol.

Its really easy to beat the softness of a dSLR lol. I wonder how it will compare to a good camcorder in resolution. Any ideas? If its as good as good camcorders and if the available DR proves to be as good as the one in the big sister, it will definetly be my next buy.
Quote:
Originally Posted by MTyson View Post

I haven't used DaVinci yet. I've been using Adobe Camera RAW with After Effects CS6.5 and Photoshop CS6. From what I have seen Adobe Camera RAW is simply superior at pulling out shadow and highlight detail where DaVinci cannot. I don't know if they fixed this, but with the Carnvial shot it was a pretty big difference in what you could accomplish with ACR compared to DaVinci. I'd have to do it again to remember my exact settings, but basically I'd make three exposure for a better tone map, adjust the picture settings for each exposure: One under exposure (using the exposure slider) with crushed black and best highlights, under exposing by 2 or 3 stops. One normal exposure separated by 2-3 stops, best for midtones. One over exposure for shadows placed 2-3 stops ahead of normal. I'd save each one then import into photo matrix and tone map them, adjust the settings too my liking. Of course Adobe also has an HDR simulator so you don't have to make multiple exposures. I'm not sure how it works in comparison though yet.

Sorry for the stupid question, but can you edit videos in Adobe Camera RAW? Because what you just said is great for images, but I've never seen someone doing that for videos. I usually work with masks and curves to get a better dynamic range
post #43 of 133
Quote:
Originally Posted by thedest View Post

MTyson, to create HDR videos in the BM (example: recovering the details from a blown out sky or window) do we need to use masks to create 2 different exposures in the same scene or can we do that with a pre-set in davinci or just playing with some curves?
BTW, you do not need to do multiple exposures to recover windows or blown out skies. Simply set your Zebras to 100% and make sure they never clip. As long as your zebras aren't showing clipping it's recoverable in post. A guy tested out the BMCC and said was able to recover a shot overexposed by 5 stops. That's impressive.

This is what I had to work with using a clearly under exposed RAW shot at night. I have no idea what F-stop or anything, but normally in a shot like this it's not recoverable....at least not much.

This is one of many different results you can get. Graded on a CRT monitor, btw. You can do the same thing with very blown out skies and whites regardless of what your monitor shows.....as long as your zebras are not showing clipping it can be recovered in post. It clearly shows the power of RAW with the worst shots. You simply do not have this much freedom with DSLRs shooting 8-9 stops of dynamic range once nearing the 800ISO mark.
post #44 of 133
Quote:
Originally Posted by thedest View Post

Panasonic 25mm f1.4 ............... 500.00
Voigtlander 25mm f0.95 .............1200.00
Olympus 75mm f1.8 ....................900.00
Speedboster?..............................300.00
TOTAL (+camera).........................4,300.00 USD
If you're using the Speedbooster you'll be using EF lenses. I'd use the Rokinon 24mm F1.4 cine lens (F1.0 after speedbooster). So forget the $1,200 Voigtlander, Instead, replace it with a Rokinon/Samyang 35mm F1.4 (or T1.6 in cine terms), which will be F1.0....much cheaper and it's a Cine lens with declicked aperture as well. Forget the Olympus. Instead use the Rokinon 85m F1.4 cine version. You can even use the upcoming 10mm F2.8 (F2.0 after speedbooster) Rokinon/Samyang and/or the current 14mm F2.8 cine version. You have a nice selection of 3 or 4 cine lenses for less.

Quote:
And its funny that people are happy about the 1k price tag of the blackmagic and you guys are talking about buying 1.2k lenses lol. If you have that kind of money to spend on a lens, just buy the 2k or 4k camera.
Well, it sure beats paying $10,000 for the body and then more for lenses. :P The less the body the more that can go on lenses I say. If we have the money for the lenses for a $1k body doesn't mean we'll have it if we spend $4k. Say we only have $4k to spend total. is it better to have a camera body and no lenses or a Super 16mm and great set of lenses? wink.gif And lets not forgot there are PLENTY of old C-Mount lenses that are fast and affordable if you search Ebay and other sites. The 2.5k camera is still a good buy though for sure.
post #45 of 133
Quote:
Originally Posted by MTyson View Post

BTW, you do not need to do multiple exposures to recover windows or blown out skies. Simply set your Zebras to 100% and make sure they never clip. As long as your zebras aren't showing clipping it's recoverable in post. A guy tested out the BMCC and said was able to recover a shot overexposed by 5 stops.

Do you know if the Black Magic pocket cam has zebras? It doesn't mention it in the tech specs.
post #46 of 133
Quote:
Originally Posted by xfws View Post

Do you know if the Black Magic pocket cam has zebras? It doesn't mention it in the tech specs.

I highly doubt they'd leave that out given it's the main and only real exposure tool people have to use with the BMCC to judge expsoure. Without it you won't know where you're clipping. I'd bet money it's there.
post #47 of 133
I like the size of the pocket cinema. Would this do fast action (outdoor) sports any justice? Or is the 24-30fps a big negative? I know it limits slow-mo, but would it also "miss" some fast moving ball/foot/hand motion?

Currently using a Panny TM900 and have been pretty happy with it...
post #48 of 133
Quote:
Originally Posted by STR3T View Post

I like the size of the pocket cinema. Would this do fast action (outdoor) sports any justice? Or is the 24-30fps a big negative? I know it limits slow-mo, but would it also "miss" some fast moving ball/foot/hand motion?

Currently using a Panny TM900 and have been pretty happy with it...

30fps plus rolling shutter is a no-no for action scenes.

It will be nice for landscapes, interviews, music videos etc
post #49 of 133
Quote:
Originally Posted by MTyson View Post

If you're using the Speedbooster you'll be using EF lenses. I'd use the Rokinon 24mm F1.4 cine lens (F1.0 after speedbooster). So forget the $1,200 Voigtlander, Instead, replace it with a Rokinon/Samyang 35mm F1.4 (or T1.6 in cine terms), which will be F1.0....much cheaper and it's a Cine lens with declicked aperture as well. Forget the Olympus. Instead use the Rokinon 85m F1.4 cine version. You can even use the upcoming 10mm F2.8 (F2.0 after speedbooster) Rokinon/Samyang and/or the current 14mm F2.8 cine version. You have a nice selection of 3 or 4 cine lenses for less.

yup. thats a better choice. its not impossible, but we will have more work trying to find a good set of lenses for the camera. and its sad that the crop factor will limit the usage of conventional lenses. I have the rokinon 85/f1.4 and I LOVE IT. but in the BM it will be 200mm+ lol. But with that set you will stay in the 3.000-4.000USD price range. Its not cheap. Specially considering you will have a limited use of the camera. we've got to see how it performs smile.gif
Quote:
Originally Posted by MTyson View Post

BTW, you do not need to do multiple exposures to recover windows or blown out skies. Simply set your Zebras to 100% and make sure they never clip. As long as your zebras aren't showing clipping it's recoverable in post. A guy tested out the BMCC and said was able to recover a shot overexposed by 5 stops. That's impressive.

Yeah, but the problem is: if you have the correct exposure in the windows, the rest will be underexposed. in the black magic it doesnt matter if the window is overexposed or the room is with the correct exposure and the window blown out. the thing is that when you correct one of the exposures you will make the other one incorrect, so you NEED 2 exposures in the same shot to get the HDR look. In a picture thats easy, but in a video, specially if the camera or the subject is moving is not that easy. I have 2 ways to do that. one is playing with the lumma curve (wich is very limited). the other way is working with masks (wich give me an awesome result but it gives me a LOT of work). I want to know that if working with the BM and Resolve is the same thing or if we have an easier way to do that or a pre-set that creates automatically the HDR look.

If such a thing doesnt exists, lol, most of the BM buyers will end up will videos that looks almost the same as camcorder videos. most shooters dont know the difference between visible dynamic range and available dynamic range.
post #50 of 133
Quote:
Originally Posted by thedest View Post

Yeah, but the problem is: if you have the correct exposure in the windows, the rest will be underexposed.
Here's a little test I did with a RAW DNG from the BMCC.

Original RAW BlackMagic image....using Adobe Camera RAW 6.4.1 (ie; not even the newest version which is supposed to be quite a bit better I hear):


NORMAL STYLE EDIT:


HDR STYLE EDIT USING ONE EXPOSURE:


HDR Tonemap Using Three Exposures:



I had some version with an extreme HDR style, but I was aiming for less stylistic in this case.
post #51 of 133
I do wonder when Black Magic will release an ENG type camera which is shaped like a camcorder with built in ND's, couple of XLR inputs and last but not least 60p. It would have been nice to have 60p on eighter of their announced cameras but I suspect they'd be heating issues and they;d need extra time to solve it unless they release a bigger ENG version. It's crazy enough as is to offer the current specs with those price-points regardless if it has 60p or not and this is obviously coming from someone who is very pro 60p. I'm sure the next generation models will have 60p.

As for the chip size of the pocket version, without really knowing how good it'll do in low light, it could be truly incredible in daylight. Low light abilities and DOF is only a couple of many factors. Daylight quality, how it deals with moire, aliasing, color reproduction, codec quality, dynamic range, etc are also important.

Anyway, I definitely need to try out that 4K version one day, maybe in a future video gig. Since it's only $4,000, the rental price shouldn't be too bad but that depends on the scale of the project and if it's really needed.
post #52 of 133
When shooting continuously with the BM pocket cam, if you shoot to SDXC cards do the ProRes (and RAW) files span or does it make one huge file on the card?
post #53 of 133
Quote:
Originally Posted by Paulo Teixeira View Post

Personally I'd be extremely happy with the 55" set for $5,000 http://store.sony.com/p/Sony-4K-TV-Ultra-HD/en/p/XBR55X900A but I agree that it's almost a niche at this time but that will surely change.

As expected, companies will be introducing global shutter cameras mostly in 4K so it's not surprising for Black Magic to offer that only on their 4K camera.
https://vimeo.com/63604452

The video quality shouldn't be expected to match a Sony F55 but for under 4 grand, this new Black Magic camera is really insane but as mentioned, they will really need to make sure they make enough for the expected July date. If they can do that, other companies will be extremely worried. The baby version might also be extremely popular and you can already pre-order it at B&H.
http://www.bhphotovideo.com/c/product/964117-REG/Blackmagic_Design_POCKET_CINEMA_CAMERA_BLACKMAGIC_POCKET_CINEMA_CAMERA.html/
I do wonder how the video quality is going to be on the portable version.

It looks like a 4K setup will come sooner than later ! smile.gif
http://www.tigerdirect.com/applications/SearchTools/item-details.asp?EdpNo=7674736

post #54 of 133
Yes, that is a little bit too crazy. For that kind of price, it wont need to be HDMI 2.0 or 3D capable or have the ultra high quality speakers and color reproduction of the Sony 55X900. Just like the new Black Magic cameras, it's actions such as this from certain companies that will force the competition to reduce their prices. I do wonder how the quality will be in this TV and as mentioned, people should not expect 55X900 quality but still good for people who want's to get into 4K right away and can't afford anywhere near 5 grand on a TV.
post #55 of 133
This looks like the card to get for the BMC 4K camera and DaVinci Resolve .

Quote:
Specifications
Mfr Part Number: ZT-60902-10M
Chipset: NVIDIA GeForce GTX 660
Core Clock: 1046 MHz
Boost Clock: 1111 MHz
Video Memory: 2GB GDDR5
Memory Clock: 6608 MHz
Memory Interface: 192-bit
Bus: PCI-Express 3.0 x16
CUDA Cores: 960
RAMDAC: 400 MHz
Max Resolution: 3840 x 2160
Connectors: DVI-I, DVI-D, HDMI, DisplayPort
Thermal: Fansink (Dual Fans)
Dimensions (WxH): 7.530 x 4.376 inch / 191.262 x 111.150 mm
This Video Card Supports: Microsoft Windows XP/ Vista/ 7 (x86/x64)
NVIDIA Adaptive Vertical Sync Technology
NVIDIA 3D Version Surround Technology
NVIDIA GPU Boost Technology
NVIDIA SMX Shader Architecture
NVIDIA PhysX Technology
NVIDIA CUDA Technology
NVIDIA 2-way SLI Ready
HDCP - High-bandwidth Digital Content Protection
Microsoft DirectX 11 and OpenGL 4.2

600W System Power Supply Recommended
http://www.superbiiz.com/detail.php?p=ZT-660AMP2&c=fr&pid=47aafa0b079e5b1932357b1c80c9ff91fee4ce499d39a2e60f165ddfa7feb1e0&gclid=CPXsp57fyLYCFYyY4AodXngA4A



post #56 of 133
It is not. I have two GTX680 in SLI mode in the same computer, and they are not fast enough. One single 680 is better than 2 or 3 GTX660

If you want a good card for that camera, search for the NVIDIA QUADRO. The latest one. And you will probably need more than one.
post #57 of 133
Quote:
Originally Posted by thedest View Post

It is not. I have two GTX680 in SLI mode in the same computer, and they are not fast enough. One single 680 is better than 2 or 3 GTX660

If you want a good card for that camera, search for the NVIDIA QUADRO. The latest one. And you will probably need more than one.

With DaVinci Resolve do not SLI two cards together for better performance. Use both, but one will be for GUI and Resolve will use the other for GPU. SLI is a no-no with Resolve from what I've read.
post #58 of 133
Quote:
Originally Posted by thedest View Post

It is not. I have two GTX680 in SLI mode in the same computer, and they are not fast enough. One single 680 is better than 2 or 3 GTX660

If you want a good card for that camera, search for the NVIDIA QUADRO. The latest one. And you will probably need more than one.
$3,750.99 each !
http://www.newegg.com/Product/Product.aspx?Item=N82E16814133347
post #59 of 133
The pocket cinema camera looks great and I'm sure it will take great video. but some things I am thinking about it...

It requires the fast 64GB SDXC cards that run anywhere from $125 to $140 each. How much time is each card going to give you; 10 to 15 minutes? If you're doing anything serious, you would probably have to buy many of these cards to swap out. You could offload onto a laptop, but carrying a laptop defeats the purpose of a compact camera. Plus, how long will the offloading take? That would seem disruptive.

Will the compressed RAW or ProRes span the 64GB card and get divided into sixteen 4gb chunks that need to be stitched back together every time for each card, like AVCHD? (I don't know/asking).

Will you need a high spec PC system and/or powerful graphics card to handle these files?

With all of this data, you would have to buy +terabyte hard drives. If you want to save the data for any extended period of time, you would have to use those drives for any given project, plus backup drives for those files, then buy even more terabyte drives to continue using the camera for present projects. I may have left out other considerations, if someone else wants to add to this.

I guess it's not a big deal if you have the money and/or you're getting compensated, but it's technically not a $1000 camera when you consider the cards and storage.

Don't get me wrong, this camera looks cool...for me I don't think it's a replacement for the GH2/GH3.
post #60 of 133
Quote:
Originally Posted by jogiba View Post

$3,750.99 each !
http://www.newegg.com/Product/Product.aspx?Item=N82E16814133347

You don't need a card that expensive. Plenty of users get by with a $200-$400 card just fine or using two......just not SLI'd. SLI is not the way to go if you're using DaVinci Resolve. However, I prefer Adobe Canon RAW for grading. It seems to do a better job at recovering highlight and shadows for some reason.
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