Thread: Make BMPCC4K truely Cinematic

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  1. #11  
    and if you want to publish your LUT i'm very interested !!
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  2. #12  
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    Cinematic is not the camera. It's everything in front of the camera that either exists or it does not. I've seen cinematic iPhone footage.
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  3. #13  
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    Quote Originally Posted by Chris Adler View Post
    Cinematic is not the camera. It's everything in front of the camera that either exists or it does not. I've seen cinematic iPhone footage.
    This is the most important offcourse, but camera and lenses have a great impact on the image. Everything is important. And I agree that some camera's are way more cinematic then others (like the Alexa, 5D III, F35, actual film...) On these camera's you need softer lenses, shooting with a sigma ART lens on a pocket 4K is for me anything but cinematic, but peoples opinions are different as I always see comments like" get a sigma art 18-35mm and youre set."
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  4. #14  
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    Hollywood productions still put a grain pass on pretty much everything, it is part of the secret sauce. I think that helps take the edge off of anything that reads too sharp or video.
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  5. #15  
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    In my opinion, if you are looking for a cinematic look, switch to the Ursa Mini Pro. The BMPCC 4k can produce "cinematic" images too, and it would be unfair to negate that. However, it is conceived more as a versatile tool (great for high quality documentaries, for example) that as the "ultimate" camera for cinema look. for that use , if you want the best from BM, pick a Ursa Mini Pro, you can buy a used unit for cheap or rent it for peanuts.
    The color science, the extra DR, as well as the highlight rolloff will give you a digital thick negative surprisingly close to the Alexa.
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  6. #16  
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    The biggest factor in the difference between the "look" of those two cameras is the color. It can be fixed, as I demonstrated.

    The $4000 or so difference in price for a UMP, while it may seem high, will pay for itself in saved funds that would have been spent on color-related expenses for only a few projects. You'll also find it a little easier for narrative to work with the UMP. It's designed to make things easier from the start. You trade that for versatility, as Alex said, because the Pocket is more mobile and has dual-gain technology which helps a lot in difficult low light conditions (eng, documentaries etc).

    Quote Originally Posted by aliochaaliocha View Post
    and if you want to publish your LUT i'm very interested !!
    A LUT that can match the two cameras is an oversimplification. I wish it were that easy (well maybe not, I'd be out of a job lol XD). Our post house has something in the works but it's much more complex than a conversion.

    If it helps, I will PM you what I did to match them.
    Last edited by GeranSimpson; 04-12-2019 at 10:26 AM.
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  7. #17  
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    Quote Originally Posted by GeranSimpson View Post

    If it helps, I will PM you what I did to match them.
    Geran, be nice if you share the matching recipe here on the forum. Nice work by the way.
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  8. #18  
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    Quote Originally Posted by polaroid22 View Post
    … shooting with a sigma ART lens on a pocket 4K is for me anything but cinematic, but peoples opinions are different as I always see comments like" get a sigma art 18-35mm and youre set."
    The ART lenses are too sharp that's why some folks using a contrast reducing filter like the Black Promist to soften the image.
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  9. #19  
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    Quote Originally Posted by EYu View Post
    The ART lenses are too sharp that's why some folks using a contrast reducing filter like the Black Promist to soften the image.
    haha yeah I even throw black promist 1/4 on my leica R's ^^ (big downside with filters is shooting in straight sunlight, which milks out the image)
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  10. #20  
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    Vintage Pentax, Zeiss, Nikon, and Jupiter/Helios lenses are great choices for more organic looking rendering on a budget.
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