What a joke. While everyone else is opening up their architecture, Avid lock everything down to rinse users for money with their inflated prices. And now they’re closing up the ability to use third party storage for project sharing.
Hey everyone! Sharing a few behind-the-scenes shots of our camera setup from a shoot we wrapped recently.
The Build:
Set Notes:
Happy to answer any questions about the rig, power management, LiDAR calibration, or workflow!
Anybody pair their black magic 6k with a fx30. How hard is the grading ? I need a lighter camera to pair my black magic 6k for gimbal/run and gun work.
So, I've been shooting with the BMPCC4k for a while now for YouTube and whatnot, love the camera, but I've never had to shoot in low light.
I'm going to be filming my grandfathers funeral, and live streaming it, and turns out the lighting for it is just not that good and I'm concerned about how the footage will look. I'm recording it all and will denoise after of course, but the livestream needs to at least look decent.
I have a Rokinon 50mm T1.5 lens and it's nice but boy is it soft when it's wide open so I'm not sure I want to use it for this.
I'm debating on getting something like a Meike T2.2 50mm (I have the 16mm and love it, much sharper than the Rokinons), or going with a speedbooster and something like a Vespide Prime 75mm (I know this will not result in the same FOV as the 50mm, but I'm not as worried about that right now).
Any opinions for low light performance using a speedbooster with the vespid primes vs something native? I'm also eyeing the "Nightwalker" series a bit.
Note: I think it's worth mentioning I eventually plan to get a PYXIS 12k, so maybe spending the extra on the booster and getting glass I can use on the FF sensor is more worth it? But obviously in this case I just want to be sure I can get this footage done good. Maybe just using the Rokinon is good enough but at least wanted some thoughts.
**CFexpress
I know the correct answer is both, usually reserving the ssd for copying the footage simultaneously while recording on CFexpress, but if having to choose one to start investing on (especially with data prices now), why choose one over the other?
I’m a multicamera director, and for the last ten years I’ve worked mostly on live music productions: from live shows where the camera feed has to fit tightly around graphics and effects, to some fairly large televised music shows.
Like everyone else, I started cutting everything manually. Over the last few years, especially in television, I’ve found myself working more and more with tools like CuePilot and LiveEdit to build timecoded cueing for heavily scripted shows.
For a lot of live productions, though, I’ve always felt those systems can be a bit of an overkill, both in cost and in the infrastructure and proprietary hardware they require.
My first attempt at solving that for myself was much smaller: I built a sort of virtual music assistant in Reaper, with a few plugins I wrote to give me notes and cues in real time.
Eventually I decided to take it further and started building something that could handle the cuts and transitions as well, and turn the whole thing into a standalone application, that eventually became HotPunch.
The basic idea is pretty simple: you write the rundown as a cue timeline, lock it to LTC or MTC, and HotPunch fires the cuts and transitions on the frame. If you cut manually on the panel, it notices and gets out of the way instead of fighting you. Camera ops see their own tally and next shot through a browser link, and it can be relayed through the internet, so there's nothing to install on anyone else's machine and you don't even need the same wireless network to cover the whole venue.
I’ve been using it myself for a few months now on progressively larger productions, including arenas and stadium shows, and I think it’s finally at the point where it makes sense to let other people use it and find all the assumptions I’ve inevitably built around my own way of working.
So I’m opening the beta up for the next few months, free to use. There’s a short access form rather than a download link because I’m still setting everyone up by hand.
Right now it runs on Windows and macOS. Blackmagic ATEM is the protocol I’d consider properly tested and debugged in production; I have other protocols partially implemented, but they’ve had much less testing and in some cases none at all on real hardware, so I'd rather say that up front than have you find out during a show.
Feedback also comes straight to me. There isn’t a support team between you and the person writing the code, which at this stage is probably a good thing.
If this sounds close to the way you work and you feel like putting it through a real show, there’s a short access form at hotpunch.app.
Hoppas det:)
Hey there!
New to color balancing/grading utilizing scopes. I'm putting together a home photo and video compilation of a family trip (mostly containing iPhone XS video/photo), and am working in Davinci Resolve. I've noticed that after turning on the waveform extents that 95% of the shots have over/underexposed information (screenshots show before and after adjustments for demonstration purposes). The adjustments I'm having to make to get the extents down has been pretty extreme, sometimes reducing highlights -100. This is noticeably reducing the 'pop' of the image, and I'm not happy with the results I'm seeing now that I'm reading the waveform scope for each image.
I have checked everywhere online that iPhone XS video footage is SDR (not HDR), 8 bit, Rec.709, and I have my Project Settings set to accommodate that. Color Space is Rec709 (scene). I currently have Davinci YRGB selected, but have also tried Color Managed -> SDR Rec.709. That did not change anything noticeable, although correct me if I'm mistaken. I have tried going to clip attributes and swapping between 'Data' and 'Video'. I feel like I've got the technical back-end of my project established correctly, and at this point I'm at a loss of what to do. In all honesty, I feel like this has to be a color space issue and I'm overlooking something simple, but I cannot find anything online to alleviate this. Or is iPhone XS video and photo really this egregious when it comes to exposure? Do I just need to do this for every image?
Any help would be greatly appreciated to help tone down my iPhone XS images. They seem to be correctly exposed when viewing the regular waveform scope, but as soon as extents are turned on, I'm able to see a ton of data being lost and have to make extreme adjustments to satisfy not going out of the boundaries. Would love any honest opinions too if I'm overthinking this or going about it incorrectly. Thanks for your time!
Note: the screenshots contain waveform scopes with 64-940 reference levels, not 0-1023, just in case there is any confusion. Also, please disregard any white balance issues. I'm only showing the original images, followed by adjusted images to 'highlights' and 'shadows' only on a singular node. No CSTs used either.
Hi I have Bluetooth enabled, remote control enabled, stream enabled.
Camera is latest firmware as is my phones app
I cannot connect to it wirelessly, on my phone settings I cannot see the device name listed.
I can connect the camera to my list of cameras via Ethernet connection to my phone (entering ip address) but not control it. I have enabled my mobile hotspot the entire time whilst doing this
My phone is an iPhone 15 pro
Is there something I’m missing or is there a different solution via a laptop
I want to change camera settings and run stop camera as it will be in a remote place that i can’t reach
This is my two camera interview setups, love these DZO Lenses and rigged out.
01 02 03 04 a t o m 01 02 03 04 05 06 07 08 - Box or atom "header" tells us that atom it is (moov, mdat, skip, etc..) the 32 bit and the 64 bit size.
I've been covering this for nearly a year; and it's finally been released as a public stable firmware release for both the PYXIS 6K and now the BMCC 6K FF!
Multiple times a day just miss the plus or minus zoom button on the timeline by a pixel and it clicks the bar instead ending up with either a fully zoomed in or out timeline. I keeps me up at night. Pretty please could you enlarge it and spread it out the zoom buttons - i'd love you forever (I already do but i'd love you more).
My previous post: https://www.reddit.com/r/blackmagicdesign/s/A8MAT4TQom
When I bought my Pyxis 12K, it had horizontal banding so I sent it to Blackmagic and they replaced it with a brand new Pyxis 12K.
In my other post above, I explained that they fixed the horizontal banding, but I had to send it back again because the image calibration wasn't working on the "brand new" replacement camera.
I received my camera earlier from Blackmagic. This time they determined I needed another replacement motherboard, so a brand new replacement camera won't be necessary. Everything seems to be in working order now — the image calibration ran successfully. However, the first thing I noticed when opening the box are the vertical and horizontal scratches on the right side of the camera's body. They're pretty noticeable. It looks like their technician scratched it while handling / disassembling the camera. I don't know. It's like Blackmagic keeps fixing one thing and then presenting another issue. That's been my experience so far with them.
Photos of the scratches: https://imgur.com/a/LG8bpvJ
I know they’re just cosmetic flaws, and there will always be people who say, “Cameras are tools. Just use it because over time, it’ll develop its own scuffs anyway. As long as it's working, just use it.”
But if you purchased an expensive camera and haven’t even had the opportunity to use it yet because you’ve had to send it back and forth due to it not being in proper working condition, and then it came back from an RMA with scratches from the repair process, would you be upset? What would you do next? If you've experienced this with Blackmagic support in the past, what did you do?
Haven’t had an opportunity yet to confirm myself, but someone claimed the image quality improved and has “less noise”, is that something anyone else noticed yet or is does that sound like nonsense?
I invite you share your experiences.
Best
I glanced over the new BMD UltraStudio Mini lineup and was quite pleased to see that they were competitively priced but somewhat bulky compared to other 4K60 solutions out there.
What I can't wrap my head around is why they don't support 1440p? I want to switch to a 2560x1440 canvas in OBS and switch to 1440p60 streaming, converting my old 1080p60 workflow. Examining the specs everywhere, including my Atomos Ninja, there is no in-between 1080p60 and 2160p60.
Is this just because 1440p is a some fringe PC standard and not a broadcast standard?
I have been immersed in Darren's educational videos and stumbled across an incredibly helpful function using the scopes (here's the part of Darren's video I'm referring to).
The function I am not getting out of this method is the scope's waveform displaying beyond the reference levels as Darren clearly demonstrates when he intentionally crushes the blacks or peaks the whites.
I really like this method Darren demonstrates because if a waveform is crushed/peaked, it's much more visibly apparent in the scope than just a flat line. Why am I not getting this same result? Is there a step I'm missing? Was there an update that took this function away in 'Video Level Scopes'?
To confirm, I have selected 'Waveform Scale Style' -> 'Video Level Scopes'. I've set my reference points to 64 and 940. 'Show Reference Levels' checked on. For details, this is SDR 8-bit rec709 footage if that's even relevant to my issue.
The first screen shot is from Darren's video where his waveform is still displaying beyond the reference levels, even at crushed values (below 64). Second screenshot is what I'm seeing in my DR (image intentionally peaked/crushed for example purposes, but the waveform does not display beyond the reference levels I manually set. It's as if the waveforms and extents just disappear).
Any help is greatly appreciated! Thanks!
Blackmagic Design released Camera 10.2.2 for the Cinema Camera 6K:
Adds phase detect auto focus (PDAF) support
Adds continuous autofocus support.
Adds face detect autofocus support.
Adds object detect auto focus support.
Adds support for autofocus transition speed settings.
Adds support for assigning autofocus mode toggle to shortcut keys.
Adds support for pausing continuous autofocus when holding down the focus button.
Adds support for Blackmagic Cloud Streaming.
Adds support for 4 channel audio recording.
Adds support for pre-recording.
So where I work we have an Ultrastudio 4k set up to be a media transfer station. It has various older analog formats hooked into it and then it connects to a Mac running Media Express to Log and Capture from the feed from the UltraStudio.
I've used this device for work for various formats: VHS, miniDV, DVD, but never had to use the cassette hooked up to it before. Everything else has played fine with the correct settings. Per the engineering company that put it together, it needs to be set to analog audio on the Blackmagic device and in the Mac in Blackmagic Desktop Video Setup have the audio input set to RCA which it is.
I can see audio levels on the cassette player during playback but no audio levels appear in the Media Express Log and Capture window nor does any audio get captured when I attempt to log and capture.
Pictures of the setup included. I realize there's probably more information needed to resolve this but any suggestions would be greatly appreciated.