I chose the Blackmagic Design Pocket Cinema camera to shoot my feature FLYTRAP for several compelling reasons:

1)      Size. The camera is the size of a micro-four thirds still camera.

2)      Sensor. The Super 16 sized sensor shoots full HD. The sensor has a 13 stop range.

3)      Compression. The BMPC shoots both ProRes 4:2:2 and Cinema DNG Raw with lossless compression.

4)     Flexibility: The micro-four thirds format has a very shallow flange focal distance. So a variety of lenses and mounts can be used: Canon EF still and Cine lenses, Nikon still lenses, you can even get a PL mount and use Zeiss and Angenieux Cine Lenses. For FLYTRAP I am using older Super 16 lenses because I love the look of older lenses. And they fit the feel of the film I’m making. I have a Kern Switar 10mm prime in a C-mount and an Angenieux 17.5-68 zoom in a PL mount. For one scene I will be using a Nikon 135mm. This flexibility is a strong selling point for this camera. Also, the camera uses standard ultra-high speed SD Cards (95mb/s).

5)      Cost. The camera body is $995 US.

Since the BMPCC only became able to shoot Cinema DNG Raw last week (via a firmware upgrade) to date there are no NLE’s that can ingest and edit the Raw files. I am hoping Adobe upgrades Premere CC to be able to do that. Until then I have created a workflow for the shoot on the assumption I will not be able to edit native Raw files in Premiere.

THE WORKFLOW: I have already tested this scenario and it works flawlessly. After copying the files from the SD card to my laptop, I ingest them into Davinci Resolve Lite 10 (provided free by Blackmagic). I then use the Final Cut Pro XML Roundtrip preset. This works even for editing in Premiere. This creates proxies I can edit in Premiere. After the picture is locked I export a Premiere Final Cut XML. Import that into Resolve and it re-links the original Raw files for color grade. Done!

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