Thread: Finally get to play with UMPro!

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  1. #1 Finally get to play with UMPro! 
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    So after 2 features with pockets the producer/director team I work with has sprung for UMPro. Anything significant to learn or worry about? I'm old enough to remember ENG cameras so I'll know what most of the buttons and filter wheels are for.

    Is there a best method for incorporating footage from pocket and Bmcc if the finish is HD UMPro will step up to A camera obviously. We have always shot ProRes so I'm thinking 2k 444 might be ok until a project demands 4K or better, or would stepping up to raw give a better chance at matching the colour of the various cameras. I'm thinking getting a passport colour chart is a must at this point.

    I must say I'm looking forward to stripping all the rigging off my pocket and just using it for fun with a loupe.
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  2. #2  
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    Speaking as a finishing editor, I've finished and delivered feature films in UHD and 2k flat DCP as well as FHD. Depending on how deep your post-production and memory management pockets are, and your deadlines, I've always recommended RAW throughout, from 4k UMP and BMPCC 4k (not BMCC or Pockets though, at least in my pipelines thus far, though if I'm editing in Resolve as well as CC'ing then I don't foresee any huge matching problems, the footage being properly lit and exposed). I've recently managed to push through a feature film shot entirely on BMD gear, and several short films, to industry deliverable QC levels, no problems.

    In FHD I'd say that both the BMCC and the Pocket would do acceptably well, the shared color space making matching easier, at least in color timing (and again, no run-and-gun with fast action at midnight in a forest with no lighting, and yes, I've seen people try that and ask me to "quick fix it".)

    Actually any kind of standard color chart is acceptable, as long as it's the exact same one throughout your entire production, including any pickup shots done months after principal. I use two, an old Kodak one I've had for ages, and a digital one off my iPad that's close enough for jazz, and it mostly gives the color timer a good sense of exactly what was shot where and when, with scope image captures to match, and then match up to, if required.

    Then the only other thing is matching your OLPF and IR filters through your NDs. For that, I'd probably go with the Mosaic or RawFix options and stick with a matched set across all cameras.

    Anything else comes up, I'll add it here.

    And of course, this is all
    JM2c
    YMMV
    etc.

    Oh, and you didn't mention - was your UMP lens mount matched to the rest of your kit? Using the same glass obviously makes a difference...

    Best
    Chris
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  3. #3  
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    Ef mount for now, rokinon's across all cameras, none have olpf, I suppose a good question is filtration, has there been a definitive test on which filters best match UMPro internals for other cameras.
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  4. #4  
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    Filters are a somewhat subjective thing. And it depends on the lighting you are using them with. You need to try out and see what looks good to you. As of IR blocking filters, most do a good job. Rick likes the B&W IR filter, the Tiffen works well, but I found it had a slight color cast (easily corrected), and I really like the results on the Pocket and Micro Cameras with the Firecrest IR/ND filters and NiSi filters, which are a bit more of a minimal IR block, so skin colors look more natural to me.

    The UM Pro sensor is different, so IR pollution may not be as big an issue as it was in earlier cameras. See if you can rent some different filters to try out.
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  5. #5  
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    It's hard to ignore the filters that were the most tested and discussed here - Hoya

    Both the Hoya ProND (now EOLed apprently and replaced by the Solas) and the Hoya IR Cut work brilliantly with the previous gen through Micro cams.
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