A roundup of the current Blackmagic footage.

Well, there’s a little bit of confusion over some of the recent clips I posted.  I did post a second clip with a more *affected* grade and thought I’d addressed the aliasing issue and how it was introduced.  Still, I’m seeing comments attributing this to the camera and not the post workflow that introduced it.

So I’ll have another go. 🙂

This version graded by myself using Resolve V9. I shot the original footage using ProRes 422 (HQ) with the camera in “film” mode.  The ProRes shots were edited in FCPx and then XML exported to Resolve, Graded and then exported to 264, before uploading to Vimeo.

The following BELOW are versions I had done by colourist Annelie Chappel whilst I was grading Puberty Blues at Digital Pictures.

They were done very quickly….In fact, all these grades were done in an hour.

They were using a different colour grading platform, Baselight and their workflow is based on DPX.  As such the ProRes files were converted to DPX, graded, then rendered to uncompressed 10 bit QT’s which were then converters to 264s and uploaded to Vimeo.

With these versions, you’ll notice a bit more aliasing (jaggies0 on them which has been introduced by the DPX conversion.  I’m sure this was something that can be fixed but I’m not at DP right now and I’m putting these clips up more as an example of the different grades you can get from the camera.

The aliasing is not from the camera in this case, as you can see from looking at the very first clip.  This was introduced by the post process.

First.  A bleach bypass look.

Here’s a very simple neutral “rushes” look.

Then we tried a POP grade…pushing everything in a similar way to what I did with my grade.

This is a REVERSAL look.

And finally, this is Annelie’s take on it.  The colourist grade 😉

About johnbrawley

Director Of Photography striving to create compelling images
This entry was posted in Uncategorized and tagged , , , , , , , , , . Bookmark the permalink.

71 Responses to A roundup of the current Blackmagic footage.

  1. Jeremy woods says:

    Honestly man, “Neutral” looks closest to what I think is the “familiar” cinema look… But that’s all opinion. These days, if it isn’t saturated and contrasty as hell, it won’t be seen, lol.

  2. Jahmai Trapp says:

    Great footage, and thanks very much for the variations as that’s exactly what most of us would be doing. I guess we’re all living vicariously through you for the moment. I appreciate it.

  3. Steve says:

    “The fact that folks want pool balls to look REAL isn’t strange at all!

    These are under saturated but at least the hue isCORRECT. Contrast is fine. No no need for so much loss of detail because of the excessively shallow DOF.

    If these shots came from a file of CinemaDNG images — what is the big deal about publishing 125 frames of the pool balls “breaking” a few days before the camera SHOULD ship.

  4. Thanks very much for the different versions of the clip — good to see what the raw footage can become. And yes, I’m sure the aliasing was introduced in post, as the original footage was perfectly clean. Good to see them anyway.

  5. lisawilk says:

    So nice of you to show all these grades, Thanks!
    I’m pretty surprised the colorist decided to push the highlights so far as to “blowout “the windows. I think i like the POP grade the best because of the detail in the shadows and highlights.

    One thing I am a bit confused about. hopefully you can answer my question if you find the time. When you shoot in ProRes does the BMC capture at 2.5K or 1080?Does the camera only output 2.5K when shooting in RAW?

    thanks for all your hard work, and patience with all of us badgering you for any bit of info we can squeeze out of you. 🙂

    • johnbrawley says:

      Hi Lisa.

      We decided to push the grade to a more extreme look. Sometimes, you don’t ALWAYS want to see everything in highlights OR in shadows. If we had the time on those grades, it’s also very likely that we could have returned the highlight info using keys or multiple nodes.

      When shooting ProRes, the full 2.5k Resolution of the sensor is scaled down to 1920×1080. You get all that resolution jammed into 1920….ProRes only shoots 1920.


  6. Donnie King says:

    Thanks for showing us different views of what can be done with the footage. Obviously, if you learn to color grade, then you won’t have many issues with getting that film look. Man people please be easy!

  7. Cedric says:

    Thanks John. There are so many different looks you could take this. I can see how the aliasing could be introduced during the post grade.

  8. Cedric says:

    Hey John I forgot to ask this in my earlier post, but is it possible for you to post a link to an actual dng file of 24p recorded with the camera that we can down load? I am only curious as to how much metadata information is in the file. Just want to see what is there that is editable, iris, iso, color temp, shutter angle, etc. I am editing in Adobe 5.5 and I would like to see how well the footage scales down to 2K and how long it takes to render on my pc.

    I understand if you cannot due to the NDA.

  9. Andrew Deme says:

    I love em all as I am impressed how the clip holds up to being pushed left right and centre

    This can only get better when more time is spent in Resolve and people start to get a feel for what can be accomplished. Have been thinking the whole time, that I will really need to work in CinemaDNG but looking at what ProRes offers I reckon for what I want to do I can more than likely give it a miss and go with a simpler workflow process.

    And to add to all that, those close-ups are stunning !

  10. Big says:

    I like it, but you sot this footage a Long while ago, (the trees are still dormant) Guessing this is not close to the final firmware build?

  11. Innocent says:

    Hi John,

    What frame rate and shutter speed did you use. The clips look quite VIDEO like or is it just the inherent look of the camera motion.

    • johnbrawley says:

      Hi. This was shot at 25 FPS @ 180 Deg.

      Not to be pedantic, but even my 17″ macbook sometimes won’t play the VIMEO file smoothly full screen. Is that what you’re seeing or are you seeing it smoothly and still feel it’s video-like ?

      Honestly, I don’t find it very video like at all.


      • Galen says:

        I think this is again, a product of perceiving the aliasing introduced in the workflow as something other then what it actually is. I can sometimes look like the product of de-interlacing. Something I’m wondering about John, I’m not at all a video guy but could this have something to do with de-bayering? I think I’ve seen this before and I thought it was related to converting between de-bayering patterns? ProRes 422 footage into 420 or 4444 or… Something like that? I’m sure you’re sick of hearing about this but I’d love to get the to bottom of this someday. It seems to come up in my work now and then and it really just befuddles everyone involved.

      • johnbrawley says:

        I don’t think the chroma subsampling (422/420) or how the image is debayered makes much of an impact to the temporal perception of the image. These processes are intra-frame of within the frame and shouldn’t affect frame to frame perception….that’s just my guess though…


      • Galen says:

        Hey John, It looks like I might have replayed to the wrong comment. (like a dork) Sorry about that. I was talking about the aliasing in the footage.

  12. JC says:

    Thank you so much John. I can’t wait to get one of these in my hands. You are a gracious host. I’m really glad you’re doing this as I can’t seem to find much information from Blackmagic themselves concerning updates. If not for you I’d probably be biting my nails and constantly updating the B&H web site until it read “in stock”, which I see is now looking like August 15th.
    Best to you, J

  13. Lorenzo S. says:

    Love the Pop grade. It looks the most natural on a computer monitor.

  14. Gwen23 says:

    this is gold footage 😀
    Cheers john, I like the pop grade best but I do like the last one too.

  15. alvin says:

    is there the possibility, at least in a future, of different shutter speeds ? kinda 1/100 -1/200 ?

  16. Innocent says:

    Hi John,

    I was referring to the lack of motion blur when i talked about the VIDEO like look. It looks like the picture looks very filmic but the motion doesn’t. Perhaps if it was shot at 24P this could be rectified.

    • Galen says:

      I don’t want to speak for John but I would assume this is a function of the shutter angle (shutter speed) and not the frame rate. If it’s more motion blur you are looking for, you would simply need to set a longer exposure. Plus as John mentions above, this footage was shot at 25P so adding a frame per second isn’t going to do much to the motion blur.

    • johnbrawley says:

      @ innocent It seems like you’re talking about the temporal cadence of the image…how does it look from frame to frame and how does that affect motion ? I don’t think shooting at 24P would make much difference here. It’s a shutter speed of 1/50th of a second vs 1/48th. It won’t affect the motion blur much at all. It could be that you’re just hyper sensitive to rolling shutter cameras. Do you feel the same about other DSLRs ?


  17. PLC says:

    Nasty moire between 00:20 & 00:23, on the chair back rest?

    • johnbrawley says:

      Yes i think a few have mentioned that now. 🙂

      I don’t remember seeing it on the day. But. The camera, even without an AA filter rarely shows up that kind of fault. I think in this case, a lot of these chairs have very fine mesh in double layers and even to the naked eye they will cause interference patterns. That chair is kind of the perfect test for this kind of thing.

      You can usually find it if you go looking for it specifically, but it’s nowhere near as bad as you’ll see on line skipped DSLR’s


      • Galen says:

        I mentioned this on EOSDH: It’s not caused by the camera. I have a chair similar to this. It’s the result of looking through two layers of mesh. It’s actual naturally occurring Moire. You would see this with the naked eye. John, if you go take a photo of that chair with a still camera and you’ll see what I’m talking about. Any time you have two layers of mesh that are even a tiny distance from each other, there is no way that both meshes will line up exactly so you get moire. I can’t believe how many people didn’t pick up on this.

  18. Pingback: New Blackmagic Design Cinema Camera Footage Hits the Net

  19. Pingback: Blackmagic Cinema Camera pushed back a few weeks, new footage shown | The Worlds Tech Blog

  20. Saccade says:

    digging what I’ve seen from this camera so far, can’t wait for it to get out to people.

    Can you please tell us the artist and title of the song?

  21. Pingback: Blackmagic Cinema Camera pushed back a few weeks, new footage shown | tekifeed.com – Gadget Feeds, Gadget News and more!

  22. Really like this camera. I hope the delay is to give us timecode/genlock in, that is all it really needs. I would really like to shoot this camera. But timecode syncing is a must.

    • johnbrawley says:

      There won’t be TC or Genlock on shipping.

      They may add TC jam syncing on a future firmware update.


      • That would be awesome John! If they do that then this camera would be an easy choice for most productions. Any thoughts on how one would go about getting some old school 16mm glass to mount up to it?

      • Also John I guess you could for audio just take the Timcode from the camera and Jam the audio recorder to the camera timecode. Do you think that would be a good solution? Does it push TC out of the HD-SDI?

  23. Pingback: Coax Interactive Media Services » Interactive Media Solutions & Services Partner » Blackmagic Cinema Camera pushed back a few weeks, new footage shown

  24. gansmedia says:

    Thanks for showing the grades. Really liking what I am seeing. Wish there was a 60fps option, think that could be added in a firmware update?

  25. oscargoldman says:

    “The aliasing is not from the camera in this case, as you can see from looking at the very first clip. This was introduced by the post process.”

    That’s not clear. Are you saying that the first clip does not exhibit aliasing? And which is the first, the “bleach bypass” one? If not, can you point us to the clip that does NOT have aliasing?

    • johnbrawley says:

      There is one example of colour moire on the back of the chair in the first clip.

      I don’t recall the looking at the chair to confirm this, but some have also theorised that this was caused by a real world situation of having two layers of fine mesh that would cause an interference pattern for ANY camera.

      The subsequent clips have other evidence of aliasing…jaggy diagonals for example, that was MOST DEFINITELY introduced by it’s conversion to DPX and back again…..


      • Galen says:

        Sorry that I keep butting in on this stuff John but this is actually what I was talking about when I mentioned De-Bayering above. The aliasing that was caused by converting from ProRes to DPX and back again. I remember similar issues happening before and I thought it had to do with converting between formats that used different patterns. For instance ProRes 422 to DPX to ProRes 420… Or maybe it was something else entirely but I’ve been trying to get to the bottom of it. I would like to know more about the conversion that was done if possible? What software was used to do the conversion?

  26. wondering if interval recording might ever be an option with this camera? I shoot scenics and would love this quality image for timelapses

  27. Nuno Rocha says:

    Hi John, great work!
    thanks for keeping us posted with new material.
    Is it possible to share an original file Prores HQ? for the first wide shot in the clip? That would be great.
    Thanks in advance,


  28. Innocent says:

    Hi John,

    Firstly, i’d like to say that i like your initial grade compared to anything that was done with your colourist. The skin tones look so natural and the clip shows off the strongest asset of the camera which is dynamic range. These factors make it look like a very high end camera. Great work!

    Secondly, I’ve done comparisons on my HD plasma screen between the clips you posted at first and the newer ones. The motion of the images you posted at first seemed to look a bit more filmic than the ones with the lady with the hair rollers and this current one.

    As for your question about other DSLR cameras, I’ve noticed that the 5DMARK2 has a very filmic motion (depending on the user). Vincent Laforet’s work (even Mobius on the C300) seems to look very filmic. What settings would you recommend to get motion that is as close to film as possible using this camera.

  29. ib says:

    First off, great footage. I like your Resolve grade best, then the colorist’s grade. But if the aliasing issues were cleared up I might like the colorist’s slightly better. You did a better job on the blue felt than she did.

    Now can you give some of the details of the shoot? What lens(es), lighting used, camera support, etc. Why did you choose to shoot in ProRes as opposed to 12-bit RAW? Especially since you were going to try colour correction with a Baselight system?

    Do you have any thoughts on the sensor size of the Blackmagic Cinema Camera vs. 5DMARKIII? Why go with a smaller sensor with a lower pixel per unit area density? Have you been able to compared them?

    Thanks for humouring a curious reader …

  30. Ben Munro says:

    Hi John, I love this footage! I just took a look at the new davinci resolve V9 demo. It seemed to have tutorial clips on it and one of the shot was outside of salford lads club. When I looked up the location it said it was in Melbourne where you the one that filmed these clips? if so was this done which the Blackmagic cinema camera?


  31. Kirubagaran Daniel says:

    The camera is not out yet. John has done a very good job in introducing the camera. The joy of correcting the color is always in Full RAW 4:4:4 . It gives the precise color correction. I am from India. Our skin color is totally different to your bluish skin tone. We cannot use any of the preset and it will give the worst grading. So Indian film stars use excess skin powder to bring that tone. Usually when files undergo conversion they loose many details. as somebody said the blur is bec of the 4:2:2 to 4:2:0 to DPX will cause lot of pixel adjustments. Canon EOS 5D III may have 22MP in stills but while shooting it combines pixels for video in 4:2:0 Black Magic Cinema Camera and Canon 5D III have similar pixels per inch roughly 160 pixels. So it is better for RAW in 4:4:4 For projection also it should be enough. CMOS wil definitely cause moire no escape. When cycladic lighting is exposed funny frames are recorded. The only disgusting factor is cropping issue. x2.5 is bit too much for any focal length. with 1.4 lenses it should give fairly good DOF control. Overall it is cute little camera which can be used anywhere. Once it starts coming in and with firmware updates it should be a fine piece. But any way every 6 months something new will strike the market and the topic will turn towards it and the oldies will be shelved. Good luck folks.

    • johnbrawley says:


      I should say that we should expect that this error that occurred in the DPX conversion will ALWAYS happen. I think it was something specific to the setup that we did in a hurry when we were working there. I’m 99% certain it shouldn’t have happened and there will be a way to do a DPX conversion without the aliasing errors.


  32. Tinder says:


    Great stuff! Thanks for taking the time to create and share your results.The latitude looks pretty incredible!

    What was the light like outside the windows on your shoot day? Was it overcast/cloudy? What are your feelings on how the chip performed?

  33. Ross says:

    Why is the dynamic range so different between the original clip and the DPX converts?

  34. Pingback: Blackmagic Cinema Camera pushed back a few weeks, new footage shown « SP1RACY – All things tech & more

  35. Eric says:

    John quick question, have you shot anything using the 2.5K RAW option yet?
    I’m trying to find this in your blog and cant seem to come up with anything regarding RAW shooting.

  36. At the end, I see this as a choice between the Black Magic and a 5DmkIII. Considering how much better the BMC resolves her images in almost every conceivable away against the Canon, my choice is clear. Thanks for helping me arrive at this conclusion, John.

  37. Hi John. Loved Annelie Chappel’s grading samples.

    For fun I did a RedGiant Mojo Grade with Skin Tone Adjustment.

    to give it that “Taking of Pelham 123” and “Transformers” Grading
    so popular with Hollywood at the moment


  38. Kacey says:

    Wow, just wow! Loving the Neutral grade, looks more feature filmish to my eyes.

    John, how far away is the release now? I’m saving for the Scarlet and every time I have enough cash something else that needs upgrading always seems to get in the way. This BMCC seems to look like its going to do the job perfectly for TV & Web.

  39. Kirubagaran Daniel says:

    hi there, I have done some gradation in my style with raw sequences. Afterglo the Jim Brawley’s best find it here

  40. Pingback: ETCentric

  41. robin cawthorne says:

    I am putting together some videos showing grading workflow on mac and pc. I use lightroom and elements 11. Elements seems to be the only editor that allows the dng’s to be dropped straight to the timeline. Please let me know what you think.On my vimeo page or at robin@one-red.co.uk

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s