It’s been a while since I’ve had a chance to post a new blog because I moved to Los Angeles last month. But today at NAB, Blackmagic Design dropped two new bombshells into the filmmaking world that deserve immediate release.
For those who don’t know yet. The two new cameras launched are Blackmagic Pocket Theater Camera and Blackmagic production camera 4K. Neither of these new cameras are intended to replace the current Blackmagic digital cinema cameras, but rather to complete their line-ups – presumably after some backlash over the sensor choices made with the original versions. Hopefully catering to a wider range of people. Currently, I own the original EF model and am very happy with it. It’s far from perfect, and I’m working around its limitations like I would with any camera I own, but the results are truly outstanding. I can only assume that the same DNA will be present in these new cameras, and that they will continue to dazzle independent filmmakers around the world.
Specifications for both cameras can be found at www.blackmagicdesign.com, but in a nutshell, the compact camera shoots up to 1080p resolution via an S16mm sensor onto an SD card and uses an MFT mount. Production Camera 4K shoots to SSD at 4K resolution through a near-Super 35mm sensor, and has an EF mount (PL will be launched in the future). Both cameras can currently shoot ProRes, but in a future firmware update will be able to shoot a new compressed version of Cinema DNG, which is useful for those of us who want to reduce file size without losing the flexibility of the original workflow. That would be a huge relief.
What I love about Blackmagic is that they are disruptive in the industry. They create (or in some cases, re-create) tools that are extremely high quality but also very affordable. They’ve accomplished this with DaVinci Resolve, Teranex, and most recently, Blackmagic Cinema Camera. But of their entire product line, I speculate that the compact camera will be the most disruptive of all their cameras, and probably the most disruptive of all their product periods. The main reasons are affordability and quality. Currently, most ultra-low-budget productions tend to be shot using digital SLR cameras, which is likely to soon be a thing of the past for many shooters. Although no images have been released from the compact camera, based on specs alone, it will outperform almost any DSLR. And the camera costs less than $1,000. Based on those two factors, there’s no doubt that Blackmagic will sell these like a pro and we’ll see them flying off the shelves soon (that is, if they manage to get them on shelves in the first place). Just like the original Blackmagic cinema cameras, there will be a huge market for these little cameras, and in the hands of capable people, they will be able to bring better results to no-budget productions, making them look and feel closer to budget Movie. This will directly affect DSLR manufacturers catering to the video market.
Of course, there will always be shooters who want a 5D or GH3 – in most cases, because they also shoot stills. But strictly speaking, for the true independent filmmaker, why spend thousands more on a 5D MKIII when you can buy a 5D MKIII, spend the rest of your camera budget on nice MFT glass, and get the Get better results with a few dollars left. For many people this is a given. Again, there will always be those who want a digital SLR, but I have no doubt this camera will make a huge impact in that market, just like other prosumer camcorders for independent productions. This camera does have a lot going for it, and it’s so small. This in itself is also one of the biggest benefits. For the guerrilla filmmaker or documentary shooter, having pristine 1080p image capture in your pocket is incredibly powerful. At the high end, I have no doubt we’ll start to see it used regularly in Hollywood-level productions as a crash camera or C-camera to hide in tight spaces.
Now, let’s talk about the Production Camera 4K. Another piece of absolutely amazing technology. It’s essentially the same design/build as the original EF camera, but with a Super35mm sized sensor and the ability to capture 4K. The fact that you can buy a camera like this for less than $4,000 is amazing. While in some ways it had advantages over the original movie camera, in other ways it took a step back. It has 1 stop less dynamic range and a lower base ISO, which means it’s less sensitive in low light. These aren’t deal breakers by any means, but in terms of how this camera will change the market, I don’t think it will impact things any differently than the original. I think it will appeal to essentially the same market, and depending on your needs, some buyers may still choose the 2.5K version. For larger budget productions, this camera’s biggest advantage (price) isn’t necessarily a selling point. Camera rental prices are only a small portion of the overall production budget, so typically shooting with Alexa or Blackmagic won’t have a big impact on the overall schedule. So, ultimately, I believe this camera will appeal to the same crowd as the current 2.5K model. That’s not to say that in many ways it’s probably a better camera for a lot of scenarios (especially if you want the S35mm look), just simply stating the fact that I don’t think its impact on the industry will be As big as S35mm.
Personally, I’ve pre-ordered both new cameras, but will probably cancel my order for the 4K model. My current BMCC works just fine, and in some ways I still have a hunch that it might be better suited to the style of film I’m going for. 4K is definitely the future, but when shooting 4K on RED I often end up with footage that looks too sharp and starts to feel more like film. Until I saw some footage of the new 4K Blackmagic Camera, I wasn’t sure I wanted to commit to it. I’m sure it will have its place, but I’m not sure it will serve my purposes as well as the current model. From what I know so far, it’s probably best suited for situational/live TV or documentary work. After all, even in RAW mode, the Alexa can still only shoot 2.7K, and we all know how beautiful that looks. Resolution isn’t everything, of course. Instead, this may be a necessary step for the current model, but at this point – if it ain’t broke, why fix it. I think I might like DR’s 13 stops and 800 base ISO too much to take a step back. But we’ll see – I’ll need a few days to digest it!
No matter who adopts what, it’s certain it will be disruptive to the industry. How can Canon charge $15,000 or more for a C300 that only shoots 8-bit, when you can get raw images from a compact camera for just $995. Obviously, these are for different markets, but there’s still something to point out. Customers who prefer a traditional camera form factor will certainly start to question why they need to pay an extra $14,000 for an XLR input and built-in ND.
I’m shocked that Canon, Sony, Panasonic, and other major camera manufacturers haven’t come up with anything to compete with Blackmagic cameras this year, but then again, that might derail the rest of their product lines. I look forward to seeing the ripple effects from this and I’m sure NAB 2014 will be just as exciting.
