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Rich Harrington: Hi, my name's Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich Harrington: And this week, we are taking a look at a camera that's not quite a DSLR, but it still fits that DSLR spirit, which is small, portable, beautiful filmic image. What do we have? Robbie Carman: Well, this is, of course, the Black Magic Pocket Cinema camera. And announced at NAB this past year. It really got a lot of buzz, for a lot of reasons. The first and foremost is that is a hand held point and shoot sized camera that goes pro-res and it does raw. Right? And besides that it does it all for a thousand bucks.
Rich Harrington: Yeah, I mean, this is a small little camera. Robbie Carman: Yep. Rich Harrington: I mean, we've got it attached here but, I mean, that's... Robbie Carman: Yeah. Rich Harrington: It's hand held. Robbie Carman: Absolutely and so the, there's a couple of really neat things about this camera. A lot of times people have been wanting. You know, they want raw. They want pro res. But they want it in a small form factor. So what do they do? They're like. Rich Harrington: I'd like world peace. Robbie Carman: Right you know, they like shoot videos with their iPhone. And of course the quality wasn't very good. But then they step up to pro res and raw. You had to go to much more expensive. Much larger camera bodies, and that was a problem. So when Black Magic came out with this, I was, for one, kind of shocked, but not totally shocked, because of their, y'know, they had just gotten new cameras.
But seeing especially raw and pro-res on this camera, I was amazed. I was expecting it to be like a high-quality issue, six-four or something like that. But they've done a really nice job with this. And I think the biggest benefit of this is its size. Rich Harrington: Yeah. Robbie Carman: You know, and being able to take it anywhere, be inconspicuous about it. And be able to still shoot production quality images. Thanks to a super 16 millimeter size, sensor in there. It's active micro 4 3rds mount. You can get some great shots. Rich Harrington: Oh, yeah. I mean, and let's talk about both of those benefits there.
Robbie Carman: Yeah. Rich Harrington: With that size sensor. And the raw capability. Now raw is not yet shipping at this time of recording. We're anxiously awaiting it, but we are going to take a look at a regular Black Magic Raw. We'll get an idea on that. But, you know, even with just that size sensor, this form factor, you could be totally incognito shooting with this getting beautiful images. And I love Micro 4 3rds lenses, I shoot Olympus. We've got Panasonic AF 100s. I've now got this camera. I can move the lenses between all of those cameras and almost every lens works. Not every micro 4 3rds lens works on this they do have a list of supported lenses, but you can get a beautiful prime lens for 300, 400 bucks.
Robbie Carman: Yeah, and the thing to consider about the Sensor too is that it's not going to be as big as say, your Canon 7D or 5D mark three or your Nikon, it's, you know about that super 16 size. But the nice thing about it is that it produces 1920 by 1080 images, and to be honest with you. A lot of these cameras that are like, hey, we're doing 4K, we're... Rich Harrington: Yeah. Robbie Carman: ...doing 8K, we're doing a million K, a lot of people just want to be able to shoot 1920 by 1080 and have it look pretty cinematic. I think this camera really excels at that. The other thing that I think that's really kind of interesting about this camera is that it's obviously mirrorless so there's no, there's no mirror in it.
And on the back of the camera here, the whole camera is dominated by a large LCD screen. Now it's not touch LCD. Rich Harrington: Right. Robbie Carman: Like the larger the larger cinema camera but this whole thing so light weight. Put it in your pocket. Literally take it out when ever you want. You shooting raw, shooting prores, the other cool thing about it Rich is that it does just like its bigger cousins. It will also record in what black magic calls film mode. Which is essentialy log recording. Rich Harrington: Yeah, and we got a whole episode all about log that that they were going to dig into this but this is cool because this camera had, what, 13 stops of range when you're doing that? Robbie Carman: It's amazing.
So, you know, in terms... Rich Harrington: Explain that to folks. Because a lot of folks, can't, like, you know, we covered stops before but your typical DSLR, three stops, right? Robbie Carman: Yeah, let's put it this way. I mean, sometimes more, but let's put it this way. When people talk to dynamic range, what they're really talking about at the end of the day is in post production when you're pushing and pulling on the image. We're going to make it 13 stops brighter. We're going to make it 13 stops darker. And you have that flexibility with the information that's built into the image to do so. So it gives you a lot of latitude and post production to really make that work.
And when you're recording log. Which again, film mode on this camera. You're going to preserve, highlight, and shadow details. So you're not going to end up with or without seeing them. Regular DSLRs with crushed blacks, blown out highlights, things of that nature. So all in all, it's an amazing camera, and it does have some shortcomings, which we'll talk about coming up next, but I think it's, you know, for 995, the form factor, the capabilities of the camera, it's a really compelling choice. As a principal camera, or even a backup camera to other camera systems. Rich Harrington: Yeah, we actually picked up three of them, with the thought being that we'll use this in a flyaway kit, so when we need to go do small form travel, we want to go do documentaries or interviews, we can have a single kit with multiple cameras, and with those swappable lenses, it's very flexible.
You mentioned there are a couple shortcomings, we'll be right back with that.
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