Thread: Why don't we see BlackMagic cameras used in big festivals?

Page 1 of 5 123 ... LastLast
Results 1 to 10 of 42
  1. #1 Why don't we see BlackMagic cameras used in big festivals? 
    Senior Member
    Join Date
    Aug 2014
    Posts
    2,053
    Every time I check out what cameras and lenses are used in festivals like SXSW, Sundance, and Cannes, BlackMagic cameras are not in the list. I get that most, if not all, will go for an Arri. But if BMD wants their cameras to have a larger market share, they need to get people to know about them, use them, and promote films shot on them, especially in big festivals. As a Blackmagic camera owner, I want my clients to know that it is just a note worthy camera as the Arri or the Red, the Canon 300 or the Sony FS. I have clients who looks at what others are using, and know a number of them read the prints on what cameras were used at films in festivals, and they say why are you using a BlackMagic camera? What's that? You should use a RED or a Canon to shoot my stuff. For me, that's sad because I know my BM camera in my capable hands can perform just as good as that RED or Canon they're talking about.

    https://nofilmschool.com/camera-lenses-sxsw

    So what should BMD do?
    Reply With Quote  
     

  2. #2  
    Senior Member gmfb's Avatar
    Join Date
    Sep 2012
    Posts
    537
    Maybe your clients should start to use their brains and eyes?
    ___________________________
    www.gernemehrfilm.de
    www.berlin3k5.de/

    Will trade my as-new BMPCC 4K v.1.0 for two new BMPCC 4K V.2.0
    Reply With Quote  
     

  3. #3  
    Senior Member
    Join Date
    Mar 2017
    Location
    Melbourne, Australia
    Posts
    829
    I guess it is down to a misconception in cost from your clients and the product your able to deliver by being an owner operator. If it's an issue you run into fairly often it might be worth to creat a very short video run down or comparison about why you work with BMD cameras, the quality in the picture they create and the benefits they obtain by having you on hand as an owner operator. Quicker turn around, the great benefit to understanding a camera and the lower operating costs especially when compared to how good the image quality is. Probably steer clear of technical speak and focus on the cost and how close the BMD actually are to Arri anyway etc.
    Reply With Quote  
     

  4. #4  
    Senior Member kgimedia's Avatar
    Join Date
    Jul 2012
    Posts
    670
    A lot of non-owner operators charge a premium over the rental fee. That premium is more when the camera costs more.
    Reply With Quote  
     

  5. #5  
    Senior Member
    Join Date
    Aug 2014
    Posts
    2,053
    My clients are DPs and Directors for independent films. So they know about equipments. I'm not loosing business and this was not about me or what I offer. I'm just one data point out there. What I'm getting at is why there's no BMD cameras listed in big festival runs? So please shift the conversation here from trying to point out my operation or about me to the more important topic of when will BMD cameras be used in big productions and large festival films so it can have the notoriety of an Arri, RED, Canon, and Sony. Gosh, look at the SWSX festival in the link provided. There is even a Panasonic DSLR but no BlackMagic.
    Reply With Quote  
     

  6. #6  
    Senior Member
    Join Date
    Sep 2013
    Location
    Long Island
    Posts
    1,973
    It's going to take some time...Canon, Sony and Panasonic haven't been able to move ARRI and RED in the cinema world in 10 years time.

    And I hate to say it but it's still very rare that you see Blackmagic cameras used outside of the Blackmagic circles (BMCuser/official forum/ambassadors).

    Go on DVXuser or REDuser (maybe not there) or other forums/industry sites and ask how many people are using BM cameras. I think most will know them and maybe many have used them in the past, but you'll probably find very few using them continuously as their A cameras for whatever reason. IDK.

    I don't use them anymore because they don't have continuous AF or IBIS.

    At one point in my life I'd fight to the death for BM, but priorities have changed.

    I was never much of a real filmmaker though.
    Reply With Quote  
     

  7. #7  
    Senior Member Frank Glencairn's Avatar
    Join Date
    Apr 2012
    Location
    Germany
    Posts
    4,000
    Quote Originally Posted by EYu View Post
    Every time I check out what cameras and lenses are used in festivals like SXSW, Sundance, and Cannes, BlackMagic cameras are not in the list.
    BM cameras where good enough for Fury Road, and they are also often used as B/C cameras in many big Hollywood productions, as in TV productions.
    Usually not as A-cams, but it's not like they are not there at all.

    Also camera rental cost on bigger productions, is usually way less than catering, even if you rent an Alexa.
    So why even bother with anything less? Plus: nobody ever got fired for renting an Alexa.
    Folks like to play it save, and shooting with an Alexa gives people who need this, extra confidence points.

    Personally I don't care, I'm shooting my second feature film on BM cameras as we speak (the first one won "Best Comedy" at the Sidney festival), and pretty much anything else too, unless a client want's something different for some reason.
    Reply With Quote  
     

  8. #8  
    Senior Member
    Join Date
    Sep 2012
    Posts
    1,971
    Yeah. For big boy productions why save a couple hundred a day rental on an Ursa over an Alexa? Hire one less PA and sleep well. Unless there is something specific you're looking for in the UM image....

    For Indies, not Annapurna Indies, thinks like AF, compression, audio, power, sensitivity, ergonomics, and reputation have greater value than in Hollywood. CDNG is an anachronism in a $1000 camera, maybe Braw is the key.

    There is also the fact that there aren't very many BM cameras in the wild. In the States I did music festivals all summer long and I didn't see a single BM camera it's all Sony or Canon. I think as an owner operator it makes more sense to have the camera that people are comfortable and familiar with. Again maybe it's Braw that opens up BM for the Doc segment but only if they can get Braw into Premier, if not forget it.
    Reply With Quote  
     

  9. #9  
    Senior Member
    Join Date
    Aug 2014
    Posts
    2,053
    I hear you all so BM cameras are not just going to be competitive. Maybe BM needs to do a better job of making their name known. That will be a win for them and for us who are owner/operator of BM cameras. Otherwise, why buy and own BM cameras. Might as well just rent the Arri or RED and bill it as part of the service. I know my clients won't care of the added cost because they already would ask me if I offer RED as a premium option. But then, as a BM owner and proud of taking up my BM kit, that really suck. Yes, I get some folks on set that are surprise to see a BM camera and usually I'll hear then say "Black what?".
    Reply With Quote  
     

  10. #10  
    Senior Member jambredz's Avatar
    Join Date
    Apr 2012
    Location
    Kingston, Jamaica
    Posts
    4,329
    Quote Originally Posted by EYu View Post
    I hear you all so BM cameras are not just going to be competitive. Maybe BM needs to do a better job of making their name known. That will be a win for them and for us who are owner/operator of BM cameras. Otherwise, why buy and own BM cameras. Might as well just rent the Arri or RED and bill it as part of the service. I know my clients won't care of the added cost because they already would ask me if I offer RED as a premium option. But then, as a BM owner and proud of taking up my BM kit, that really suck. Yes, I get some folks on set that are surprise to see a BM camera and usually I'll hear then say "Black what?".

    If your clients are DP and Directors dont they already know how powerful BM cams are? Why the need to convince them?

    In regards to the festivals I have no idea. One would think that BMD cameras are perfect for these things but clearly the budget on the films listed could afford Arri mainly...if you can afford Arri why look elsewhere. There are hardly any REDs in that list either. I'd think there would be more. The others it seems its what they DP already owned.
    Last edited by jambredz; 03-17-2019 at 08:32 AM.
    Darren Scott
    Freelance Director/Director of Photography


    https://vimeo.com/jambredzvisions/videos
    Reply With Quote  
     

Similar Threads

  1. Have film festivals become a racket ?
    By TheInternet in forum Filmmaking - General
    Replies: 7
    Last Post: 08-25-2016, 02:35 AM
  2. Film Festivals submission, BMPCC?
    By rshelton in forum Filmmaking - General
    Replies: 8
    Last Post: 01-02-2015, 09:04 PM
  3. festivals for cinematographer
    By twelvetwelves in forum Cinematography
    Replies: 0
    Last Post: 05-20-2014, 07:20 PM
  4. Submitting to Film Festivals
    By Stephen Nguyen in forum General Discussion
    Replies: 9
    Last Post: 10-05-2013, 09:02 AM
  5. sending dl dvd's to film festivals - any issues?
    By kevin baggott in forum Off Topic
    Replies: 6
    Last Post: 05-13-2013, 01:13 PM
Bookmarks
Bookmarks
Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •