Pay attention to his description of shooting this as a one man band and shooting it without a ton of accessories.
We were thrilled to have Adrian provide some special info for planet5D.
Take a moment to tell the world your thoughts in the comments below!
Shooting “The Delivery” in 4K
From Adrian Tanner:
I direct as well as shoot – so my agenda here was to get as many shots as possible (in an afternoon with my kid) and practice storytelling. I wanted to put something up where the camera wasn’t attached to a hundred expensive peripherals. Philip Bloom has covered that with great style – but the more of his toys he gets out, the further away he moves from the ordinary shooter.
For a software company the code on this camera is pathetic! I would be surprised if it ran to a page! The menus are nice and clear – but there are no options at all. Black Magic really need to recruit the guys from Magic Lantern to beef up this camera. It would probably only cost them a few grand to implement audio levels, clip deletion, better battery indicators, more codecs, remaining memory indicators ETC. ETC.
Clearly Black Magic have worked to eliminate any artifacts – by which I mean moire/aliasing/blocking/rollings shutter – those things we pixel peepers notice consciously in video, and which we hope to hell have a subliminal influence on our audience.
The funny thing though, is that the one artifact they have not removed is clipping – which gives the game away that you are watching video, rather than life, as quickly as anything. Especially when the red dot appears.
My Canon EOS C100 has much more DR.
You might want a better monitor for shooting in bright sun – and 4k focusing – but this one beats my Canon EOS C100 hands down.
You do need extra batteries (although I am using cheap ones – as it charges just like an iPhone – so you don’t need to worry about power cutting out or varying). It’s really not that hard to hand–hold the camera – but it could get very heavy if you add things.
All the outdoor stuff is shot on a Sigma 17-50 with IS. Indoors, I mostly used the new 1.8 18-35 Sigma, bit of Canon 100mm f2.0 for closeups. The only light was from the window. Wobbly monopod, sticky slider etc. – it’s only a test!
In post, my old early 2009 Mac Pro Quad-core running FCPX 10.1 – coped remarkable well, until I tried to add Filmconvert or Neat Video, when it promptly crashed. I am now going to invest in a Hackintosh with the beef to handle 4k AND effects.
I was pretty disappointed in the camera until I started to grade in FCPX (my machine won’t boot Resolve 10 for some reason). Just bang up the mids in exposure and the mids and highlights in Saturation and you realise that the codec will give you so much more life and vibrancy than AVCHD. It also responds really well to sharpening, which, with my focus pulling skills, came in handy a few times.
In a way, I wished I’d bought a more expensive camera. I know people who went for the C300 when it came out and it changed their working lives, just because it was that little bit more than the average guy could afford, so it made them look like real pros.
The main reason why I bought the camera was to slowly begin shooting an indie feature – which probably won’t reach DVD/Streaming for four years. For that reason, I’m glad I got the 4k, and I am confident it will look great on the big screen when the time comes.
Check out Andrew's work at www.manyhandsproductions.com
Testing the BMPC4K Blackmagic Production Camera. Shot in Prores 4k.
As you can see – no crew lights or sound or any of the expensive add ons that people recommend. My initial disappointment in the camera went away when I started pushing the mids and the saturation in the grade.
I always thought the global shutter might enable wobbly hand-held work. Of course it”s not the ideal camera for that – but it can be done.
If anyone wants to grade it let me know and I can make the untouched files available.
(cover photo credit: snap from the video)