Blackmagic 4k Production Camera resurfaces from Limbo

Its a production camera and not really made for run and gun shooting. If I was to go that route I would simply download a days work into resolve adjust WB, exposure and tint and then output to prores. Then delete the raw. Minor tweeks hold up well with prores for the final grading.

 

For me the most difficult thing would be to select what glass to use with an EF mount no less. Kind of wish it was a e-mount with a 12mm Zeiss for WA.

Anyone know what the red guys use for the epics?

 

E.

I know some guys who have been shooting underwater with the Red Epic and the Tokina 11-16mm. It seems to be pretty sharp with a big dome- and I've been happy with it on the 7D. It's better at f8 and beyond.

I know some guys who have been shooting underwater with the Red Epic and the Tokina 11-16mm. It seems to be pretty sharp with a big dome- and I've been happy with it on the 7D. It's better at f8 and beyond.

Thanks Ferg,

Yeah I've been thinking that is one of the possibilities. Here up north its highly unlikely you'll get f8 under normal conditions so it would have to be a lens that does a decent image a bit more open. But there aren't to many to choose from. The Tokinas have quite a bit of CA, do you know if they using any software to get rid of it in post?

Thanks,

Espen

Hi Espen,

The lens itself is pretty good wider open. If you're shooting raw, as I do on the 5D Mark III (with a different lens), it's pretty easy to get rid of CA in post- I just used lightroom, and apply to all frames.

I'm guessing the Tokina would be best with a 9inch + port, then you could probably use it wider open. Then there are the various fisheye options, but not always an ideal look for video....

Regarding RAW vs ProRes, I would strongly suggest keeping the RAW @ 4k, be ruthless with your footage and just buy more HDD's for storage.

I also find the Tokina 11-16 @ 4k useable but at 5K (using the whole S35 sensor) very soft and barely useable on the corners with the Gates 8" dome. The FE's work really well including the 8-15 Canon, 15mm Sigma and also the Tokina 10-17. Personally I am using the Zeiss 15mm and I have to say it is the sharpest lens I have ever used underwater (including the corners) not including the Nikonos 15mm

Regarding RAW vs ProRes, I would strongly suggest keeping the RAW @ 4k, be ruthless with your footage and just buy more HDD's for storage.

 

I also find the Tokina 11-16 @ 4k useable but at 5K (using the whole S35 sensor) very soft and barely useable on the corners with the Gates 8" dome. The FE's work really well including the 8-15 Canon, 15mm Sigma and also the Tokina 10-17. Personally I am using the Zeiss 15mm and I have to say it is the sharpest lens I have ever used underwater (including the corners) not including the Nikonos 15mm

Thanks Jonny,

Would that be the distagon Ziess? Canon or nikon mount or one of the pl mount cine primes?

Thanks,

Espen.

Espen,

It's the Zeiss 15mm Distagon Canon mount, I believe you can actually get it without the shade, mine has it and it just squeezes in behind the port with extender.

J

Agreed with Jon. The zeiss 15mm is a superb wide lens. Gates dome is around 8" dia. And extender. Pretty much distortion free corner to corner. Reminds me of the Arri Zeiss Ultra primes. This is a manual focus lens. I got one with ZF mount. And works well not just with the Epic aps-c size sensor but also on my 5d3 with appropriate adapter. It's a full frame sensor lens.

As for nikonos RS lenses my fav. In the r-uw nikkor13mm fe. They don'.t make them like that anymore.

Cheers

As for nikonos RS lenses my fav. In the r-uw nikkor13mm fe. They don'.t make them like that anymore.

 

Cheers

Cheers guys!

I did see a guy using the Nikonos 15mm on Reds to get good 3d video. Not sure you would be able to get that in front of a BM4k with a EF mount without serious mods if at all. But water contact optics sure would be nice!

E.

So many stories about that!