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What's one of the best parts about being a video professional? All the cool gear! In this weekly series, Rich Harrington and Robbie Carman team up to discuss the latest and greatest equipment for video production and post. They talk about the newest cameras, like the Blackmagic 4K, pocket cinema cameras, and GoPros; accessories and adapters that will make your shoots run smoother; and the great tech being invented every day. And because they keep both cost and quality in mind, you'll never have to worry about blowing your budget or compromising production value. Come back every Friday for a new tip.
This series is from RHED Pixel. We're honored to host this training in our library.
Now Rich, when it comes to the Production Camera 4K, there's a lot to like. And in fact, these are very similar likes to the Blackmagic Cinema Camera. Start us off. >> Yeah. >> Start us off with what your favorite likes are. >> Well, why dont' we just work from front to back. >> Okay. >> I like the fact that this works with standard sort of lenses. This particular camera is using the EF mount system. Which is allowing us here, we've attached a, a Zeiss Compact Prime. >> Yup. There's lot's of lenses available that use the EF system. So that's what's great is that this will work with a lot of lenses that are already on the market.
You don't have to get anything proprietary. >> That's true but one note about that is that because you are shooting at ultra-high definition. sort of okay lenses are really going to show their flaws at 4K or ultra high definition resolution. So that's why, you know, we have a Compact Prime attached here. Because this is a cinema quality lens. Great optics, if you have that old lens from the 60s and 70s. Yeah, it's going to give you a cool look, but don't expect perfect optical performance out of it when married to a 4K camera. >> Yeah, while you can use normal Canon photography lenses, not all of the photo lenses may give you the results that you want.
All right, so that's all fine. Let's take a look at the site here. I liked how easy it is to swap out cards. You know, we've just got easy access to an SSD. Now, any recommendations on SSDs? >> Yeah. Check out the Black Magic website. They're constantly sort of checking out which cards or which SSDs are supported. I found the best luck actually, recently, with the Samsung EVO series, the EVO PROs. But, also, you know, some of the Intel ones. Just make sure that you have an SSD that is fast enough. And Blackmagic actually has a free little utility that you can download that allows you to check the speed of any disk.
And you're going to want to test if your disk is fast enough prior to putting it in the camera. >> And just because it was fast enough for the 2.5K cinema camera, does not mean it's fast enough for the 4K version. >> Right. Now, one of the advantages that you have when it comes to SSDs with a Production 4K camera. Is, as of right now, it doesn't actually record RAW. It records ProRes, so you are recording, compressed signal. So that should be a little more beneficial in terms of having to get the fastest SSD you might be able to get with one that's sort of mid-range. >> But we do expect that the RAW features.
>> Absolutely. >> Will roll out, much like the other cameras. The RAW features came a few months after the camera started shipping wildly. If we take a look at the other side. >> Yep. >> I think it is a perfect match to the two and a half gig camera, right? There's nothing different here? >> Yeah. We got Remote, Headphones. We have Audio Inputs right here. SDI Out, Thunderbolt out, and Power Out. >> And the Thunderbolt out is useful because you can use this as a series of ultra scopes if you wan to check that out. And actually, Rob, you and I did a whole class all on Blackmagic Cameras. Rob's got a great movie that walks you through how to use the ultra scopes with your video editing system.
You may want to check that out here on lynda.com. Now, one thing I think is important and we'll bring this up more in the next movie. But with the Power Out the advantage is, is that you can run this off wall power or an external battery. >> Absolutely, and so this is just going to be a standard port that you're going to find. And it's actually the same exact port that you'll find on the Cinema Camera. And as you pointed out you can plug this into the wall and power it directly off the wall or you could use an external battery pack. Which will work great and extend the life of the camera as well. >> Now, we're going to talk about the menu system a little bit later. It's one of the easiest menu systems out there I think is worth saying.
And it's nice. Across the top here we have three threads where you can mount a handle or accessories. >> A cage or something like that? >> Yeah, you can put this in a cage this camera is really easy to mount to hang, and it works great. We can actually play video back off of the camera. One of the things I like is that it's intelligent enough to down convert. So, this is just a standard HD monitor hooked up. I can record in 4k, but monitor in HD. Because let's be honest, you may not have tons of 4k monitors lying around you studio. >> Probably not. But you probably have a lot HD ones.
And you actually bring up another big point. And that's actually the sensor on this camera. Which is a big benefit. This is a 35 millimeter size sensor. And the beauty about this sensor, is that it actually uses a global shutter. And if you've ever used a DSLR, or even actually the Blackmagic Cinema Camera, which has a rolling shutter. You know, Rich, rolling shutters, when you start doing those whip pans, and >> Yep. >> I know you're always doing action movies and stuff like that. >> In my spare time. >> In his spare time. You're going to get that jello effect. And because we have a global shutter it's going to work, you know, so you don't have the effect.
The other thing about this, I just want to be clear that this is an Ultra HD camera. Now, from the marketing side of thing, 4K is a lot easier to say than ultra HD or UHD. People go 4K that must be big or important, right? But this isn't actually a true 4K camera. This is recording 3840 x 2160 ProRes currently. True 4K would be a little bit bigger. For example, DCI 4K would be 4096 x 2160. Small difference, but it's an important one. And out there on the market right now, you know, consumer television sets and the way that a 4K in the consumer place is going.
It's all for the most part Ultra HD. >> All right so we are going to take a look at a few of the other drawbacks of working with this camera. Just things to know, not necessarily a negative, but things you need to be aware of. We'll take a look at those next.
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