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All right, let's take a look at some of the 4k footage or as you've pointed out, the Ultra HD or UHD footage. >> Correct. You just want to be technically accurate about these things, but hey, everybody knows what you mean when you say 4K. These days 4K you know, wide swath of humanity means really ultra HD, but there is a distinction to be made. So the first show I want to take a look at here Rich, is actually an interview that we did with the the owner of, of the Sugarloaf Mountain Vineyard that we went to. >> Yeah.
>> I went to shoot at. And I gotta tell you man, I am really impressed by this footage. This is shot obviously on the Blackmagic 4K. And it's shot pro res right, so this is shot pro res not raw yet. >> We got a lot of blacks in this between the black turtle neck the black beret the black jacket, the shadows yet, I can still see all the details and we haven't done anything to this footage, you haven't tweaked it at all yet. >> No, I haven't. This is right out, this is right out of the camera. Now we did experiment with a couple shots on this shooting between sort of the film or sort of the log mode.
What you're seeing here is more of sort of the Rec 709 mode. But I'm really just amazed at the tonality in the detail in this image. Now one thing I will say about when it comes to this camera, is sort of the setup. Just like any other camera, don't expect just to turn it on and get wonderful images. Our DP, Kevin Bradley, spent quite a few moments >> Yes. This, this. >> You know, setting light. We gave Kevin an hour and a half to light the interview and the environment. >> Yeah. >> Which is what you do you want to give your director of photography time to light things and Kevin did a nice job.
>> Absolutely and I think he did a nice job here we have so slider movements that i'll go into and show you. Just the level of detail is just really nice as you look through this. >> So you can see some of those shots playing back. The moves look pretty smooth. Drag through to a couple of good still frames, That's really nice there. >> Yeah, I mean you can see the tonality there. It's just brilliant. I mean, we have these nice highlights here on the barrels. And then this really nice, subtle gradation as it falls off. And now, this is what a camera should do. Lot of cameras will just go to sort of clipping or crushing that black, and I was really just surprised how there's still shadow detail over there in the corner, and that works really, really nice.
>> And there we are, zooming in at 100% to really see that. Look at that. >> Yeah. >> That's a spider web. >> It really is. And I got, I gotta tell you, I, I was thinking when we sort of first started looking at footage of this camera and first started shooting with it, that I was kind of expecting yeah, 4K, big whoop. But this wasn't going to compete with some of the bigger boys out there. And, having you know, what I do day in, day out is evaluate images as a colorist, I gotta tell you, this, this kind of lives up to the hype in the way I'm very impressed by this camera.
Now, one last comment. >> Actually, here's, here's the, here's the real question, folks. Rob, are you going to sell your Cinema camera or are you going to buy this camera and keep your Cinema camera? >> I think I might buy the new one, right? Yeah, because you can't have too many cameras. But here's what I was going to say. The one thing that I am adamant about with this camera and other 4K cameras is lens selection and lens choice. Now what we didn't show you, or we can't show you in the footage, is that everything that you're see here, the interview and then these b-roll shots here, they were all show with Canon Cinema Primes. >> Yeah, or as Zeiss Primes.
>> Or Zeiss CB.2 Compact Primes, right. So these are nice, very high end cinema quality glass. So just be aware of that. That what you put in front of a camera is going to obviously matter. >> Its more so potentially with higher level resolution formats like the black magic production calendar. >> I'm still stuck on the spider web. That's a really good shot. >> Yeah it is really, its really pretty neat. i think we got some pretty good shots with this. I know that as these cameras come out and they are released to the public and there are really widespread numbers. There's going to be a lot of people who feel like us.
So this is a really good camera and now you know you think that hey it's pro res limitation. I found pushing and pulling on this image a little bit and sort of grading it, no it's working pretty brilliantly. Now if they can get this camera to work in raw 4K, then we're really talking about some magic and >> I think that, I think that's more of a limitation on the memory cards right now than it is on the camera. >> A lot of, a lot of, a lot pixels to push around and, I mean, I guess that would be the only last thing I would say about this camera is that if you're new to 4K and high resolution footage, you gotta change your mindset a little bit on how you manage media, because it does take up a lot of space.
But in overall image quality, Black Magic is on to something really nice here. >> Yeah. And what I just want to re-emphasize that Rob put it there, this is a $3,000 camera for 4K that you attach $15,000 to $30,000 lenses to. >> Yeah. >> Which are likely lenses you rent for a production, not necessarily buy. So. >> Yeah. >> This is okay to rent lenses or take different lenses for different jobs or invest in lenses if that's in your future. But this camera does a great job with those compact Cinema Primes or the Canon Cinema Primes.
I'm really happy with the results.
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