BlackMagic Cinema Camera roundup – the “baby Alexa”

by planetmatt31 Comments

planetMitch note: I would like to think planetMatt (Matt Battershell) for this excellent roundup of the current status of the Blackmagic Cinema Camera! We're all looking forward to more from planetMatt who will be focussing on this amazing camera for planet5D.

The internet masses have now heard and seen the latest footage from the Blackmagic Cinema Camera (BMCC) – the little camera that is making big news. I have recapped the latest information into a consorted resource for you to enjoy while gathering pertinent details from John Brawley himself (some of which I have learned first hand by simply talking with him).

John is an award winning cinematographer who happens to be friends with the great guys from Blackmagic. He has used the prototype camera exclusively in personal tests as well as on real life productions. While shooting Puberty Blues, Brawley used a few C300's, the BMCC and Arri Alexa. I respect John's technical expertise from his own camera shootout tests pitting 16mm, 35mm, RED MX, Arri Alexa, Sony F3 and the Canon 1D MK IV together in a natural light test, seen here.

baby Alexa

So when John Brawley refers to this Blackmagic Cinema Camera as a “baby Alexa” – I believe we should listen.

While not claiming to be a professional colorist, Brawley shows what can be done with the ProRes 422 file shot with a “film curve” in the BMCC's preferences (again, this is not even a RAW file). Skin tone is being rendered superbly and the detail in the hair is excellent. Bokeh is nice as well from the CP 85mm lens at T2.8. ISO is kept native at 800, noise is extremely low.

While changing ISO from a sensor's native setting can reduce or introduce more noise, it also shifts dynamic range either toward shadow retention or highlight retention while sometimes reducing dynamic range. This is why you should try to keep ISO the same within scenes. (A good article regarding how the Arri Alexa handles ISO/DR is here). Keeping the BMCC at its native 800 ISO, John Brawley exposed for highlight retention.

Casey ungraded

ProRes 422 ungraded still

Casey Graded

ProRes 422 graded still

Below, you can see what an 18mm CP at around T8 can do. Notice, this is a wide shot! Now I know many people shared disdain (even from myself at first) regarding the ‘huge' crop factor of 2.4 compared to our trusty vista vision sensor on the 5dmkII. However, compared to industry standard 35mm cinematography, the crop factor of the BMCC is really only 1.6 (and is a larger sensor than 16mm film).


18mm, ProRes ungraded still


18mm, ProRes graded still

Also, the grade simply includes a push of saturation. No noise reduction, power masks, curves or sharpening was used. View this image in full size and look at the windows, the shadows and my favorite, the light bulbs. The color and highlight retention is amazing.

If you remember from the Zacuto Revenge of the Great Camera Shootout, in part one I noticed only a few cameras dealt well with the front left lamp stand, shade and light-bulb (the Arri Alexa and the Sony F65 winning it for me). Holding color and detail in the highlights are extremely important when it comes to rendering proper flesh tones, since skin has translucent properties and contains all types of subtle orange tones within it. If you compress color information or lose dynamic range, your talent starts to become ‘pasty', grey and muted. This should be the on the forefront of attention regarding image quality for cinematographers – not ISO sensitivity or noise.

And now for the Pool Shark video. Shot in ProRes 422, 1080P, 25 fps. Enjoy.


Click to view Vimeo video

Below is John's latest video share, done for a client. This is shot in ProRes 422, 1080P, 25 fps as well but with no audio. Natural light with no bounce was used. Pay attention to the sky retention and the dynamic range in these high contrast, bright day shots. Again, this was also shot at native ISO 800 on CP lenses except for the two extra wide shots, done with the Canon 15-85 EF-S lens (a softer lens with more contrast and some chromatic aberration to my eyes). No noise reduction or intense grading was done. [tentblogger-vimeo 47013561]

It is confirmed that Blackmagic will not include an AA filter on the shipping model of this camera. Without an AA filter,  the highest and sharpest resolution can be achieved, however moire and aliasing can be introduced with extremely fine details. Remember how upset many people were with the softness of the 5dmkIII in video mode? Right when Canon resolves detail without line skipping, they soften the image with a heavy handed AA filter. Some people even removed it. Many were frustrated.

Not having an AA filter allows the cinematographer more control to filter and diffuse the image to their liking. Below is a result of my pixel peeping by taking screenshots of the Vimeo video in HD. I then zoomed to 300% in Photoshop and took another screen shot (so as not to upres or physically manipulate pixels).

I have been criticized for even posting such images at 300%,  but I saw the color moire even at 100%. Is this a deal breaker for me? Absolutely not. My BMCC is still on preorder. Unlike the shimmery rainbow effect of moire on the 5dmkII, the BMCC does not shimmer or animate with its moire. Also, it resolves far more detail than any 1080P Canon DSLR on the market and even exceeds the GH2 in my opinion based on what I have seen. (These are ProRes 1080P files, so using RAW at 2.5k would theoretically introduce even more fine detail).


Click for full size



Vertical Moire

So what caused an early skeptic opposed to small sensor cameras to set aside $2,995 on a pre-order for the BMCC? Simple: A camera with RAW and ProRes capability, shooting up to 2.5K resolution with 13 stops of dynamic range while retaining beautiful skin tones and color information in a manner similar to the Arri Alexa – a camera by far viewed as the leader in digital cinema.

When you add in features such as a full copy of Resolve 9 ($999) and UltraScopes over Thunderbolt ($595) and a free 240GB SSD from Safe Harbor ($200), I am buying a baby Alexa for $1,201 (including shipping and tax).

Friends, if that is not a good deal regarding the images and movies you have seen thus far, I do not know what is!

planetMitch note: you can pre-order the Blackmagic Cinema Camera (click that link) at B&H and planet5D will get a little small bonus!

(cover photo credit: snap from the video)


  1. 13 stops of range is incredible! I remember trying to light high end images with a Betacam and keeping things to a 5 stop range. We’ve come a long way.
    I am really looking forward to seeing the first user reviews. I’m excited if this is a DSLR on steroids but a baby Alexa would be over the top.
    Thanks Black Magic and thanks for the info Mitch

  2. Hi,

    Did you know than actually the best DSLR for the video is not even the GH2 ?…

    Everybody forget that the Pentax K-5 Record in a Raw mode ! and use MJPEG 2000 that is a ISO 15144 (best for the cinema stuff)

    Did you know that the Pentax K-5 don’t have any bitrate limitation ?

    Have also many features about the color mode, etc… ok the Pentax K-5 don’t have the shutter/iso manual control but check out what you can do with the Pentax K-5… also the Pentax K5 have the best dynamic range, it’s better than the 5DmK2/3

    It’s too bad that nobody know that the Pentax K-5 is actually the best DSLR Cinema Available and offer more than the blackmagic cinema….

    1. Author

      Hi Fail2K, while there are no scientific quality comparison tests of the Pentax K5 in video mode that I could find, I can assure you that we are talking about two entirely different markets here. One being “professional cinema” the other being “point and shoot, amateur.” The reason I make this rather bold judgment is that the K5 does not even shoot 24P nor has full control in video mode, resorting to either automatic or aperture-priority exposure modes. Right there, you have lost the market the BMCC and 5dmkII/III is geared toward.

      Also, with monitoring video and controlling audio, peak focusing, zebras, metadata writing, HD-SDI the BMCC is leaps ahead of the K% and 5dmkII/III.

      We have not even begun to discuss lens mounts. EF mounts with their broad lens selection propelled Canon and will propel the BMCC. What lenses can be adapted to the K5? How much modding has to occur?

      Also, the K5 has significant rolling shutter ( and much less dynamic range in video mode than in its still mode counter part.

      Also, it does NOT record RAW uncompressed video. Like all DSLR’s it compresses video, however, the K5 does so with Motion JPEG-compressed .AVI files, a far less efficient compression than h.264, yielding huge files. True RAW, like the BMCC, is worth the large files for the beautiful manipulation in post, but not a compression codec.

      ProRes 422 is industry standard over AVI and a much better codec/compression, which the BMCC also does.

      Really, there is no comparison here.

      1. Scientific quality comparison ? it’s normal, have too much commercian brainwashing behind the process…

        MJPEG 2000 is a standart cinema digital more than the ProRes 422.. no one on the cinema industry work with ProRes 422 only the people doing indie film or music video clip use this stupid codec that is not even good for the picture…

        I’m sorry to say that but have too much brainwashing behind ProRes 422/Apple and the Canon Product (Blackmagic cinema following the same way)

        Canon using a sensor that is over 10 years
        Apple using old and low budget hardware to win money..

        Do you know really the ProRes 422 ? every cinema industry would tell you is the bad codec that Apple try to impose… the best is actually the DNxHD and the MJPEG 2000

        Do you know the signification of RAW ?… apparently not….

        ProRes 422 = intraframe codecs
        DNxHD = intraframe codecs
        MJPEG 2000 = intraframe codecs

        Go check the real comparaison between the ProRes 422 and the DNxHD from the Alexa… you see what is the best codec…stop lying about the stuff from a DSLR

        Actually the Blackmagic cinema don’t do even better than the GH2, the GH2 can offer better stuff for less price…

        EF mounts seriously ? did you heard about the adaptater that you can mount your lens on other camera ?…

        I can put every lens on my Pentax K-5, i told already to Mitch why i accuse Pentax to keep the best video DSLR…

        The K5 don’t have any significant rolling shutter, you show me one video that is not even show the real power of the Pentax K-5

        The K5 record in YUV422 JPEG 2000 that is the most standart cinema digital… and not even the ProRes 422 stop with that please

        Nobody use FCP on the cinema industry… they use Sony Vegas/Avid etc… FCP is just a toy for the people who want to make video music clip and wedding… stop keep your position with Apple Brainwash thanks

        Pentax K5 is less price than a BMCC…
        have a better AF (but whatever who use AF for the video) the Pentax K5 is weather proof that you can do whatever you want, the Pentax K5 have a strong color mode , the Pentax K5 shoot in 25fps whatever about the 24p that you can easily change on your software edit…

        Pentax K5 can monitoring video (hdmi what’s upp too)
        Controlling audio you can a audio mic input but i prefer to use some better audio capture like a zoom etc…
        peak focusing seriously you didn’t try the Pentax K5
        Zebras serisouly same in here… metadata writing, apparently you don’t even know the Pentax K-5, you judging the product without testing… nice one… i’m a film director that work for many year on movie, document etc… i know exactly what the industry need and is not even a blackmagic cinema that cost 3000$ who gonna change that…

        No Slowmotion
        No True Cinema Codec
        No viewfinder
        Suck in lowlight
        Suck in dof

        Yes the Pentax K5 does record in Raw uncompressed video… Jpeg2000 is a form of uncompressed codec…the jpeg2000 don’t lost any detail…

        Far less efficient compression than h.264 are you kidding me… the H.264 is a bad codec please go read this than say stupidity

        ProRes 422 much better codec… so funny to hear that… i wonder why some company are laughing about the low budget product they sold for 10x the real price…

        Fine enjoy your Blackmagic cinema… don’t go cry after all
        like many people cry about the 5Dmark II/III that have the baddest codec DSLR… also nice chromatic abberation that is totaly don’t exist on the Pentax K-5…

        Pentax made better lens than Canon or Nikon but apparently here again you don’t know the story about Pentax… i don’t defend Pentax i just saying stop to be blind….

        1. Author

          1. You did not answer my questions regarding the amateur status of this camera.

          a. There are no manual video controls AT ALL – just auto or aperture priority. Actually, we can stop right there because that is a deal breaker for a set that needs to shoot fast and be on to the next scene and be specific in the control of light, DOF, ISO and the look the director is going for.

          b. There is no 24P – that is huge. Over 240,000 people signed a petition back in the day with the 5dmkII to get Canon to update the firmware. Software can conform, but motion artifacts do appear.

          c. There is HDMI monitoring BUT the K5 downrezes the output to 480, something Canon has fixed since the 5dmkII. The BMCC includes full HD over HD-SDI and thunderbolt connectivity as well for using UltraScopes. (Thunderbolt will be gaining popularity as PC’s pick it up. It is a nice future proofing aspect).

          d. No audio monitoring, level adjustment while recording, Canon and BMCC have improves this. Yes, I will use external audio recording, but we are talking camera specs. This is a added plus for run and gun or doc shooters.

          e. No autofocus while filming – you are incorrect to assume so. However, Canon and Blackmagic allow a zoom in to focus feature (the BMCC while recording!)

          f. No zebras, peaking while recording from what I have read and seen. Show where it does please.

          g. No RAW ability, 2.5k resolution, 444 12 bit color like the Blackmagic. Again, we can stop here. No DSLR has this amazing RAW ability and higher-than-HD resolution, this is heads and shoulders above the GH2 and Canon DSLR’s (the Pentax K5 is compared to the D7000 and does not even hold it’s own against a 7D for video and image quality )

          h. First, the BMCC does shoot RAW, DNxHD and ProRes. Second, ProRes 422 and 444 ARE industry standard. Why is RED looking at adding it’s features into its workflow?

          Jarred Land when asked about incorporating ProRes/DNxHD into RED’s workflow said this, “Don’t worry, we are listening.”

          But yes, it must not be industry standard right? How biased of a statement! Look at nofilmschool’s writeup here:

          The Arri Alexa includes ProRes out of the box and DNxHD is an upgrade – but I guess the Alexa is not industry standard right? Absurd!

          2. Doesn’t do better than the GH2? Proof please. I have shown tac sharp images with HUGE dynamic range ability, the GH2 suffers from around 8 stops of DR and the K5 is not much better in video mode.

          3. Sucks in low light? Not necessarily.
          With RAW and great dynamic range, super high ISO’s do not mean as much as you think. Unless you want to blast high ISO and have street lamps glowing bulbs of blown out highlights. The BMCC is more true to life and our eyes with a smooth contrast and full dynamic range in all light conditions.

          If you want high ISO, the 5dmkIII blows the socks of the Pentax K5!

          4. No shallow DOF? Did you watch the videos? Pool Shark:

          5. You state: “No True Cinema Codec” – well, that is absolutely false. DNxHD by your ADMISSION, is a true CODEC, and the BMCC does RAW as well. A HUGE plus. What do you think a film scan comes in as? Oh, who acquired Cintel again? That is right, Blackmagic!

          6. Dynamic range on the K5 has been said to be good in still mode, but dpreview measures 8.5 ev. They have a nice review here:

          Video mode is less.

          7. Again, the K5 is compared to the D7000, something higher end DSLR’s blow away like the Canon 7d, 5dmkII/III and Nikon D800. The BMCC is another step ahead of DSLR’s for filmmaking.

          “The K-5 has a very similar sensor inside it to the Nikon D7000’s, and like the Nikon, the K-5 displays excellent image quality across almost its entire ISO span. Things fall apart a bit above ISO 6400″ – dpreview.

          8. No viewfinder? Umm, you are wrong, the BMCC has a brilliant color touch screen that is 5” – quite a bit larger than the K5. Being touch screen (fast and accurate – I have used it) is a brilliant way to add meta data to each scene while shooting so PPro, Avid or FCP can ingest and catalog. Another great feature!

          9. So $900 + DSLR with limited video features vs a $1,201 baby Alexa (when calculating the bundled professional color grade software and scopes from Blackmagic and SSD from Safe Harbor). Hmm, no choice! The BMCC is geared for professional cinema work productions.

          1. Answer to 1 : Who want to stay a amateur ?..

            Answer to A : I saw so many director working with a Pentax K-5 check also the video link i put under and you will see that who much people can use correctly the Pentax K-5
            Also have a way to import your ISO/Shutter setting in manual mode to video mode

            Anwer to B. The motion artefact is a problem of the sensor… it’s easy for Pentax to made a pentax and also if you record in 25p you have exactly the same result of the 24p
            that the Pentax K-5 record more details than the 5DMarkII you compare the 5D to the Pentax K-5 that is not even good…
            the Sensor of the Pentax is far more better than the one of Canon, also over 240000 escuse me if this only include the Canon user you don’t show me any proof about it
            nobody care about the 24p i saw some pro camera that recording only in 25p the rest you do in post production… whatever in 60p/30p/25p everything
            you do in post production in cinema… i’m sure to have a better place than you on the cinema industry…

            Answer to c. There is HDMI monitoring BUT the K5 downrezes the output to 480, something Canon has fixed since the 5dmkII. The BMCC includes full HD over HD-SDI and thunderbolt connectivity as well for using UltraScopes. (Thunderbolt will be gaining popularity as PC’s pick it up. It is a nice future proofing aspect).
            Another Lie the HDMI Monitoring of the K5 ton downsize to the output to 480 you can choose the resolution on your K5 !!! stop lying please
            the K5 include Fullhd tooo, just to let you not the HD-SDI/Thunderbolt is not a FULLHD true connectic… just to let you know
            the fullhd need some validation in HDMI transmission only… also don’t forget that the maximum uncompressed can offer on the HD-SDI is
            422 when the HDMI can offer you 444…

            Answer to D : Seriously tell me again who use the adjustment audio on a DSLR on the cinema industry ? no one… it’s better to take the sound separetly from a external camera
            also the K5 have a mic input you can easily plug à SLR mic to mini jack adapter…

            Answord to E

            Please tell me who use the autofocus during filming ? please tell me who… when you know that have not good AF can do a better job than manual focus control
            i can show many DSLR can focus during filming like the Sony NEX etc.. but i never use the AF during filming, i hate that…
            and all the people who work in the cinema industry that i work with them never use AF !! stupid to say that you need AF on a cam corder… come on
            you can AF for picture etc…

            you can AF before filming your scene but when you do your scene you never AF, that is stupid… is not a the cinema work that…

            Answer to f.

            No Zebras seriously stop lying please ! i’m tired about your comment that don’t make any sense
            on the Pentax K-5 have magnify/Zebra and Histogram too…

            Answer G. No RAW ability, 2.5k resolution , 444 12 bit color like the Blackmagic. Again, we can stop here. No DSLR has this amazing RAW ability and higher-than-HD resolution, this is heads and shoulders above the GH2 and Canon DSLR’s (the Pentax K5 is compared to the D7000 and does not even hold it’s own against a 7D for video and image quality )

            Look the link you show me that is not even a credible link… i told you that the K5 have a raw ability… the K5 keep your setting raw dng or pef… and
            recording in raw, the mjpeg 2000 is just a container that is not even lost quality… also the blackmagic don’t record in 444 12bit, it record really in 422
            10bit when the K5 can do in 444/422 14 bit !…

            Also 2.5 resolution is not even a resolution standart… but fine if you say so you are so proud of it… also buy the BMCC with all the accessories etc… to exploit
            as a dslr you will pay almost 10000$ but you are happy with that nice…

            Again go read the possiblity of the MJPEG 2000 that you say too much bullshit about is…

            Answer to h.

            BMCC doesn’t shoot a correct RAW…DNxHD is not even from Apple but from Avid… the ProRes 422/444 are no a industry standart… they didn’t valid the ProRes as the industry
            standart because it only work with a priority software that call FCP/Apple…

            RED doesn’t looking at this feature… they only do for some user that use FCP… that all… i’m on the cinema industry, i’m also a developper… just in case… i don’t
            say anything about my work but i can tell you that the ProRes 422 is not even close than a industry standart codec… read all what i said again about this codec
            that is only used to import in real time on the FCP work… that all..

            I don’t care about RED…RED actually was Panasonic… they supposed to work with them on a right camera… i don’t like RED
            because they made expensive camera for nothing… inside the RED have nothing than a good software… the hardware take from DSLR Sensor, CPU/mio from different company etc…

            Actually most of the cinema company work on the Alexa, F65 etc… and soon the new cam of Panasonic etc…

            Again you wrong about the Alexa ! the Alexa has the own codec as name of ArriRaw and not ProRes !!! the ProRes was add later to import correctly the video on FCP….
            again if you can stop lying with your pro Apple fanatic i would be nice… also keep in mind this

            Answer to 2 :

            Again i told you that the GH2 can do even better than the BMCC have so many proof you are just too blind and just because that a small company
            made a small camera recording in raw it’s the best camera in the world come on back to the earth please… don’t dream to much
            and yes the K5 have the best dynamic range !! already proove… why you think that the Pentax K5 as so many award ?…. but the people are too blind
            because of the commercial industry behind Canon/Apple/BmCC and co… please stop to be so naive don’t take everything as the best stuff…

            Answer to 3. Sucks in low light?

            Actually i don’t see any good picture on your video… too much flat, don’t have good detail, etc… we don’t have the same cinematic view…

            Again your Canon idea, the 5D Mark II/III don’t blow the K5… go check every comparaison you will see that the K5 beat completely the 5D even
            in high iso that have less grain on the K5 and more detailled picture…

            Escuse me you call that a Shallow DOF ?… so funny…check the making off to be sure… you need also to be so close
            as my Panasonic SD900 can do the same than the BMCC even better… come on..

            5. You state: “No True Cinema Codec” – well, that is absolutely false. DNxHD by your ADMISSION, is a true CODEC, and the BMCC does RAW as well. A HUGE plus. What do you think a film scan comes in as? Oh, who acquired Cintel again? That is right, Blackmagic!

            I’m talking about your ProRes that is not even a True Cinema Codec… apparently you don’t even know what’s going on in here…
            BMCC does Raw as well.. actually not you will see when you will use it…
            Did you know why the BMCC include the Davinci ??? to clean the fail detail with colorgrace even you loose all the rest of the details
            the picture is not sharp, too much flat, ugly, not really natural etc… you will not have the same result as what you see
            on a real movie picture…

            Answer to 6.

            Actually you can put the K5 at iso80/100 and block this setting for the video mode… it’s a astuce i said on many forum

            Escuse me you said ?…

            Answer to 7.

            Actually the test is wrong your can totaly exploit at even 12800 and more… because the K5 offer so much detail and please don’t compare to the D7000
            it’s not because the K5 as the same sensor that it as the same hardware… don’t forget about the different harware and software inside…

            answer to 8.
            Brilliant color touch screen, the people who test say that is not even calibrate and has a wrong red dominante color etc…
            so i prefer to use button than touch the screen that leave finger print etc… that you can even broke a day the lcd screed etc…
            fast than button ?… funny you say that, this is bullshit…

            Answer to 9
            please tell me where is the video limitation of the K5… i don’t see any limitation, you didn’t even test the camera
            you only read and check few videos that is not even show the true… now stop sell yourself to Apple/Canon BMCC… have many different
            brand that can do even better… but too blind and too egocentric to see that…
            Also you talk about the financial investiment on the BMCC = 10000$
            10x less for the K5…
            mini Alexa… come on every DSLR is a mini Alexa anyway…

          2. Author

            Fail2K – could it be English is not your primary language? I’m not trying to be mean, I think something is being lost on our translation end.

            Arguing on my article with false information is not beneficial nor is character bashing or name calling like “but too blind and too egocentric to see that” for example. Regarding the GH2, your ‘facts’ that it surpasses the quality of the BMCC is that I am “just too blind” to notice the difference.

            You are free to like the Pentax K-5, but when you falsely claim the BMCC costs $10,000 (it costs $2,995) or does not shoot RAW 12 bit 4:4:4 (it does, simple tech specs here:, or your confusion of still mode vs video mode on the K-5 (saying it is 14bit RAW in video is not correct, it is Motion JPEG (AVI). JPEG is not RAW!), or your opinion that 24p is not relevant, I begin to doubt you are contributing anything more than pure fanboyism.

            I would hope readers of this site are looking for factual data. I try my best to present facts and samples and leave the rest up to the reader.

            PS: from the Pentax K-5 Manual: When the exposure mode is set to Movie, the output format is fixed to 480p regardless of the HDMI output format setting.

            Therefore, in conclusion, the Pentax K-5 does not offer manual movie exposure controls, HD external monitoring in video mode, peaking, zebras for video mode, custom audio gain level control or monitoring control in video mode, RAW video (no DSLR does), 2.5k resolution in video mode, 4:4:4 color in video mode and suffers from aliasing and moire quite heavily like the 5dmkII in video mode.

            It is not anywhere ready for a professional production set. Still photography is pretty great, it is a very good APS-C sensor camera, though it does not hold water compared to full frame sensor DSLR’s in overall resolution and quality.

            See for yourself:


  3. I shoot for a living and couldn’t even consider aperture-priority control or jpeg-compression. I’ve been shooting a lot of corporate stuff and some regional TV spots with the 7D. I hate transcoding h.264 (even though it looks great) and I hate not being able to record audio on the same device. I’m willing to work with more depth of field (the sensor is smaller then the7D) if I can shoot straight to proRes and record audio simultaneously. Adding Raw and SDI out now those are solid features. The guys at BMCC have been talking to pros and I think they may have bridged the gap here. I think I’m going to buy one:)

  4. Penttax K-5 in low light

    Just a example

    Also don’t forget the Pentax K-5 have a integrate stabilizer (the sensor move as the same direct to keep the picture right)

    It’s so funny to see people that critic a product they didn’t even tested

    Also the dynamic range of the 5D Mark III is 11,7EV
    the dynamic range of the Pentax K-5 is 14,1 EV

    also funny that you don’t even know that

    You many DSLR that has a sensor shift working pretty well ?

    The pentax K5 shoot faster than the 5D MARK III

    You can exploit pretty well the 12800 of the Pentax K5 that you can’t on the 5D Mark III

    Pentax K-5 has the best AF available and hdr multiple exposures

  5. Look at this video how the pentax K-5 can take perfectly all the details in the scene, it’s so incredible and all this in low light !

    and tell me after all that MJPEG 2000 suck… please tell me

    also this one

    the real shame is on won’t back on the website…
    too bad the DSLR users don’t want to understand, see you…

    Thanks to let me comment

    1. Author

      On the second video, 1:18-22, the tree texture is moving with either noise or aliasing artifacts. Interesting – I see motion artifacts as well. Overall, I like the videos.

      There have been some amazing videos shot on the iphone as well.

      This does not mean that movies will use an iphone 4s as standard production equipment, neither the Pentax K-5. I’d say the first thing would be full manual controls and monitoring ability and the second would be taking care of the aliasing and moire issues.

    1. Author

      Aliasing and rainbow moire on the tire at 1:21 – the 5dmkIII fixes that, the BMCC is better as well. The video is soft too. I do like to color grade.

      1. Aliasing and rainbow more…
        funny did you know this is normal in here.. the guy add this on the picture and he work like that…

        don’t have any problem on the picture…
        Also the video is not that stuff have a better detailled picture than what the BMCC can offer

  6. And Matt just to calm you down

    12800 from 5DmarkIII

    12800 from K-5

    The K-5 is better on every ISO !

    Another one just for fun because you are so proud of the 5Dmark III

    25600 ISO 5DmarkIII

    25600 ISO K-5

    Picture don’t lie… you are reaction is all about commercial… i can see that you work with a canon product..

    I tested every product… and the best DSLR was the K-5
    and please don’t compare to the D7000, they only have the same sensor not the same hardware..

    Also K-5 Beat the 5Dmark III in video modeof
    Beat in ISO LVL
    Beat in Dynamic Range
    Beat in Weatherproof (almost every lens Pentax are weatherproof) from Canon no !
    i can continue more long like that…

    You know the world is big… every company can make product… but was is too bad… it’s to only listen company that has a big commercial feature…think by yourself don’t think is better just because a company say is better..

    Pentax don’t say anything release a so nice product, they don’t need commercial

    Panasonic release the GH1 GH2 etc… they don’t need to bring to much commercial they show how strong can be the product….

    Sony release the NEX they didn’t do anything and the people just tested an like it (because the nex has a small body that offer many good things)

    What about Canon… they didn’t do anything

    They bring a bad codec
    They bring bad product
    They bring no real support just talking
    They bring lie
    They make the same product with small update and release many different model of the same one etc…

    watch this and learn

    I show you every result… you, you always said that the 5DmarkIII is better ? in reality no… me too i can receive a product from Canon and make a fake test (free gift from canon wooh!)

    Anyway don’t forget that the BMCC have a small sensor, a big problem of crop, look so fragile, you can’t even hold on your hand etc… have so many lack of this product, that some people don’t realize that they just want to take your money with lying that all, keep in mind that they probably gonna release different model (the same one) but different revision to say is better, oh ! look have new feature (that can be added into the internal software by updating) but no the people are sheep, we gonna release a new one with this small feature and they go buy it anyway…

    Please stop saying that BMCC is good for the price when is not…
    Even a small Nikon J1 offer a 400fps slow motion…

    Just a last thing…

    The ProRes is intraframe codec (also a container) every frame/shot gonna be on this container with lack of put down the bitrate with tiny compression, in the final not really a raw
    same as the DNxHD but the DNxHD do this more better

    Don’t forget about the uncompressed AVI that is what the K-5 have…
    OpenDML AVI 2.0 uncompressed (YUV422 16bit)

    I also let you read another document

    I finish here if you say again that your canon is still better, seriously i can’t do anything for you…

    1. Author
  7. Fail 2k I don’t think you understand. The black magic shoots in three (3) types of ways. (1)RAW, and (2)ProRes and (3)DNXHD.

    Arri Alexa on tv shows I have worked on have shot to ProRes only. Its as professional as you can get. It you don’t like Prores you can shoot RAW. The Pentax cannot compete on that level no matter how much you wish it too.

    Have fun with your camera and let us waste our money

  8. Seriously whatever i’m tired… enjoy your fake cinema camera BMCC…
    Well see later… when everybody gonna cry with all the defaut the BMCC have…

    Anyway you lie about the 4:4:4 that is not possible on the Single HD-SDI you need 2 like that to make the 4:4:4 possible.

    I take a simple a VG20 (clean hdmi 4:2:2) with lens 18-200 + external recorder atomos for the same price of the naked BMCC

    You would even have a better result..

    Now please stop talking about the BMCC a good camera and baby Alexa when is not..

    Bye Bye is my last intervention…

    Dpreview is a partner of Canon/Nikon
    what did you expect from them ??

    Anyway the true about the ISO is ont my post… not on a commercial website that receive help/support from Canon/Nikon to falsify the test

    1. Author

      No lie, the BMCC records 4:4:4 internally via SSD. You do not need an atomos. This is another HUGE plus. HD-SDI is simply for pure monitoring. No need to record a clean signal here since it is clean on the internal capture 🙂

  9. fail2k left a similar stream of false information on my blog..most of it is totally wrong.

    He’s completely desperately trying to compare the STILLS capability of a K5 with the VIDEO capabilities of a motion picture camera.

    He continues to claim that somehow the BMCC doesn’t record RAW. His evidence for this is that the HDSDI output is 10 bit 422, failing to realise that this is a monitoring output and nothing to do with the internal recording which is in fact 12 bit CinemaDNG.

    He also fails to demonstrate that he understands the difference between codecs, by using video subsampling terminology when talking about RAW processing. His assertion that somehow because MJPEG2000 was chosen as the DISTRIBUTION codec for DCP and digital cinema exhibition industry, failing to understand the difference between an Acquisition format and a Distribution format.

    Or that fact that it’s even still compressed whereas DNG is not compressed.

    I’ve banned this guy from posting on my forum. He’s had his say and it’s not about a discussion or debate when he blatantly lies.


    1. Author

      Thank you John, it is always appreciated hearing from professionals in their field! Acquisition vs distribution are, as you say, totally unique subjects.

      Acquiring true RAW data and eventually compressing it for DCP is different than acquiring compressed data and re-compressing or altering it for DCP.

  10. As a guy who works in the camera department in both film and television, Fail2k is straight up trolling. jpeg2000 is compression, and it’s noisy as hell; not a raw file. I would say that the BMCC is to the Alexa as a 16mm is to 35mm.

    There is no need to get up in arms, anyone who wants to know the capabilities of the camera have a wealth of resources available to them. If people are swayed by his comments, they are in the wrong field. The BMCC is the camera i’ve wanted when the DSLR Revolution came out. 12-bit raw is going to be amazing as well as the ProRes/DNxHD capabilities.

    I admit, i’m bummed they are using the EF mount, as i’ll have to adapt to a PL mount, or buy the CP.2 Lenses.

    It’s hard to argue with a guy who says everything that isn’t visually appealing (Moire, Chromatic Aberrations, and aliasing) was put into the film because the director liked it and not from the camera. You guys didn’t mention how bad the stabilization was in the car video, it was bouncing back and forth, shuddering in and out. Incredibly unappealing.

    Also, the BMCC doesn’t shoot 4:4:4. Raw doesn’t have a color space, he is correct but for the wrong reasons, The Pentax doesn’t shoot raw. The Alexa itself oversamples it’s image to get 4:4:4 in ProRes, which only occurs for compression. You can get Raw from the Alexa using the Codex box, and dual 3g-sdi outs.

    So guys, cheers. Don’t feed the trolls, and don’t get bent out of shape. BMCC isn’t the end all be all camera, but for $3000 it is the closest you’ll get to a real professional cinema camera like the Alexa, Red, Sony F3, Phantom, etc; Form Factor and all.

  11. Also, I forgot to mention. Don’t take the BMCC footage as a good comparison. We haven’t seen any true footage from the camera. Everything Shot by JB has been compressed and sent through the Vimeo wringer. That may account for some aliasing and Vertical moire issues, In fact, JB has mentioned that a good percentage is because of the degradation from compression. When the BMCC Ships, that’s when you should be able to see some true ProRes and CinemaDNG footage, without any additional compressions.

  12. @Greg  The aliasing and Vertical moire issues are there in the original footage files.

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