1250 in my experience is fantastic. I usually shoot 400 for most things but in low light if I wanted more exposure for highlights 1250 is great. Pretty much a clean image for night shooting. And I agree focus assist is my weapon for previewing noise. It’s fantastic.
Also a cool note for those without a 6k pro. The beauty of braw is you only have to shoot on one end of the dual iso to be able to bounce through different ISO values. So shooting at (100-1000, native 400) will allow you in post to change the iso to whatever you want on that half. And shooting at (1250-I forgot, native 3200) will let you change the iso to whatever you want in that half. In post.
So true! That is definitely the benefit! I'm shooting a really low lit music video soon, and will probably either shoot at 400 or at 1,250, most likely at 1,250, its such a clean way to shoot, and I don't even have to shoot totally wide open! BRAW is a dream as well
Really great tips and also the footages showed looks really good. I want to point out also that what people dont understand is that the BMPCC basically records what the sensor captures in RAW. Meanwhile cameras like Sony, Canon, Nikon etc. adds denoise and sharpening to the footage in-camera. Which means that you want to denoise and sharpen the footage in post when shooting with BMPCC to get results that looks like mentioned brands.
Thanks Robbin, much appreciated! You’re absolutely right, that’s why in combination with Motion effects in Resolve as I mentioned is a match made in heaven
The 6k camera has been amazing for me. The gyro stabilization update is so good as well as the braw. I do see noise slightly in everything except the lowest iso but the davinci noise reduction is great at low settings. 400 iso seems to work well though still.
best tip is to know when and how you can get a nice image. I got the OG and I always shoot at 800 and I heard on low light it‘s nice to shoot below, bc of the shadows detail, but outside day, it‘s best to shoot 800 for dynamic range. correct exposure and grading is the rest
I've found that between 400-800 ISO is the best quality for me. I have been on sets where we lost light and needed to complete projects on time that I've had to use 1250 and even 1600. That which isnt ideal still gets the job done. I've never had huge issues with large amounts of noise. Using 6kpros 6kG2s and 6kFF
Sweet breakdown man! The closest I envision myself getting into cinema cameras would be the Sony FX3 (I know, it's not even lool). Hows the workflow using the BMPCC6K vs. more mainstream consumer bodies like the Sony A series?
Cheers mate! The best way I can describe it is that filming with a BMPCC compared to a Sony is like driving a Manual Car vs an Auto, a lot of the quality of life features aren't there, especially autofocus. In my honest opinion, stick to the Sony for your everyday UA-cam videos and the blackmagics for creative work!
You showed the dynamic range/iso chart but i don't think you really understood it. Bmpcc 4k/6k is basically ISOless camera. The ISO doesn't control the amplification, the two amplification circuits do. One has low amplification (100-1000) and the second has high amplification (1250-25600). What the iso does is boost the signal electronically after it has been turned into an image, not the raw data itself. It only does that when switching the gain circuit. What you iso does (example. in the first stage 100-1000) is show you what your footage would look like if you digitally raised the exposure or changed the iso in post) What your iso is for is shifting the middle grey. So for example if you're dealing with a situation where most of the shot is in the shadows and there's slight midtone detail and highlights on the scene, the your midgray at iso 400 is in the middle, meaning that for a dark scene, your shadows are now much closer to the noisefloor. If you want the shadows away from the noise floor, you raise the middle grey by sacrificing a few stops from the top end and placing them on the bottom, so there's 2-3 stops more between the middle grey and the shadows. That would be iso 100 and 1000. So for each scene you have to think of how many stops of shadows does The problem with iso 100 is that the amplification is too weak at this point so your image will end up looking dark. No amount of shifting the middle grey will help you. By choosing the second amplification circuit at where the middle grey is at it's highest point, you've now boosted the signal and it's further away from the noise floor. Now you have a really clean image. The bmpcc 4k/6k essentially has the most versatile dynamic range of any camera. It helps to think of the camera as having two ISOs (100-1000/1250-25600) one for low gain and the second for high gain and the numbers in between as anchor points for where the middle grey should be.
Appreciate your technical expertiese! Long story short, I don't think it's necessary to understand the specific technicalities behind the Pocket's ISO features for everyone. Just how to utilise them to get the best noise performance. Shoot at 400, 1250 or 3200 and compare and contrast in my opinion
Depending on the shot the BM graph that shows the stops that they have in light and dark areas may make yiou choose a different iso, lets say you have a dark scene with one bright area on the subject but you don't want losss of detail in the majority dark areas, simply shift your iso to the setting that has the highest number of dark 'steps' of data, and expose for the bright area.
And noise in general it's not so bad, the problem of 12bit footage is the color noise, and with resolve you can remove the color noise and keep just the standard noise. And if you embrace the noise as you said, can delivery some great images with the right purpose. After all, the meaning, composition, lighting it's the real purpose of the footage, not if it is or not technically perfect exposed. anyway nice content :D
I got my BMPCC 6k and after when I filmed on Canon 5D Mark ii (where I absolutely have no noises with a right options) I was a bit shocked why I have noises on 640ISO on BMPCC.
I love shoot in RAW, but can't get people shooting 5:1 or 3:1 Even in movies the shoot 7:1 in RAW, so for us having 12:1 is perfect and already a lot of information. The BRaw problem compared with the prores is the softness that BRaw have compared with the ProRes, but in most cases doesn't affect the image quality. And if you will shoot in ProRes, the blackmagic proxie is f*** insane of how much quality can deliver versus the size of the file.
100%, Mid-tone detail in davinci resolve in a combination with a touch of sharpness to 0.49 is your best friend! Don't you find in Pro-Res though that it does crop in at 4K?
I ´ve recently shot a movie full of noise....played it on the big screen - no one...i said no one noticed any noise Lol. Most comments regarded actors, music, dialogue, plot and sometimes prop details.
From my personal experience, in all types of lowlight shooting environments, ranging from highly controlled gaffer managed setups to pure chaos, the ISO 500-1000 range, particularly 800 is an absolute noise MENACE on all the BMPCC, be it 4K, 6K, Pro or G2. I avoid it like the plague. Particularly, if you're in a pinch and too pressed for time to make the appropriate gamma curve adjustments to coincide with the respective ISO. That type of predicament can also be problematic at both native 400 and 3200 or pretty much any ISO. It's important to take note, especially when shooting BRAW, when operating in the 1000-1250 range, the middle gray drops a couple stops. The reason 1250-1600 performs like a champ and has often served as my proverbial "sweetspot" in the majority of lowlight conditions is I always make sure to shoot at a wider corresponding aperture to appropriately compensate. Remember the word here is "compensate" NOT "substitute." There is no and never will be a legitimate substitute for proper optimum lighting conditions/environment. But when working within your means, 1250-1600 range and a good solid notoriously reliable glass like the ever versatile Sigma Art 18-35, or if you're just rolling in dough, any premium lens above that would do the trick. Ideally, Native 400 with proper light kit or 3200 and proper lighting with f/stop adjusted accordingly, is the way to go. But 1250 is definitely the most versatile and consistently reliable for any low lit occasion. The new Blackmagic Cinema 6K with full-frame is reportedly poised to improve upon all or much of that, but I can't speak to it as I haven't any hands-on time with the model yet. To be continued.
Great analysis! From all of that and from my experience I'll continue to expose at either 400 or 1250 and go from there. 3200 if absolutely needed, but I do tend to avoid going up to that level
Iso 800-1000 are for conditions when there is high amounts of light and most of your scene is highlights like on a sunny day at a beach, with very little amount of shadows or shadows that have even tonality like 3 stops at most. In a scene like that ISO 800-1000 are 100% proper. You'll even manage to get the sun in the picture and not have the areas surrounding it blow out with little amount of noise. Also ISO 1250-1600 do not actually lower the middle grey but actually shift it up. You're essentially taking stops away from the top end and placing them in the bottom. Think of it like a tower of 5 red bricks and 8 green ones at ISO 1000. By shifting to 1250 or ISO 100 you're taking 2 red bricks and placing them on the bottom which turns them green. You now have 2 red bricks and 10 green ones. The red ones capture highlight detail and the green ones capture shadows. The imagined line differentiating their color is middle grey. The further away this line is from the noise floor (last 2 stops) the less noise you'll have in your shadows. So by placing those 2 red bricks in the bottom you've now essentially taken the noise away from your shadows. Boosting the signal by switching to the high circuit (1250-25600) also helped. ISO 800-1000 lower this imaginary line instead. Giving you 5 red bricks and 8 green ones, essentially giving you 1 full stop to capture the highlights over the "native" iso 400. 2 extra stops if you use the highlight recovery tool. So basically there is no "native" iso in the bmpcc. 400 and 3200 are the most balanced iso values meant to work with the most variety of scenes. The bmpcc has two actual ISOs. First is 100-1000 aka the first amplification circuit and 1250-25600 aka the second amplification circuit. The iso stages inside these circuits are just steps for the middle grey to shift. Think of the boost in brightness from iso 1250 to 3200 as digitally boosting the exposure like the exposure slider in your editor. The only cameras that can use iso to actually brighten up your image are canon cameras since they have true analog iso.
I shoot in constant bitrate all the time, never really ventured into constant quality. But I assume it probably is better for low light shooting even more so, given the camera doesn't look for areas it can lower quality to maintain bitrate (such as the shadows)
From what I understand the bmpcc does not have a true dual native iso, in other words two separate circuits that each have a base iso. If im not mistaken, its more like two different amplifiers on the same circuit, wich is why 3200 does not have similar noise performance, it simply has the most even split between highlights and shadows where 1250 is the base for the new amplifiers.. In general native iso simply means best dynamic range split vs noise floor
Do you use an IR cut filter on your bm? Do you only use the internal nds, variable nd or normal nd and add as much as you need? Great video i appreciate it man
@@DesignedbyKirk Since got my Bm, i been struggling with image quality and consistency between shots. I bought a really good Nisi IR cut filter and ND filter and I am finding that it affects image quality very much. Some people say they dont notice any IR pollution on the Bmppc6k pro and you confirmed me that it is true and not needed. Thank you man
I solved the issue, got an A7IV, knowing how to shoot and grade yields the same look as the bmpcc, way, way less noise and for run and gun , top notch AF... No more time wasted running neat video noise reduction with the bmpcc, way more efficient and faster workflow, at least my own personal experience.
I went on a similar root , I sold my bmpcc 6K and bought a sigma FP. The difference is like night and day I in terms of noise. I don't know if I had a bad version of the bmpcc but the amount of noise I got in ISO 1250 and above was absolutely insane. The blacks were never clean and shooting dark scenes was a bit no no for me. Sigma FP solve all of this for me
Have both BMPCC4K and A7IV, clearly easier to grade the Blackmagic especially for green screen work. For easier turnarounds, just slapping Phantom Luts will match both footage pretty well.
Grain management is vital in any commercial production. Camera grain must ALWAYS be maintained. Grain contains important image details, reducing it always results in loss of detail. That is why Nuke is so superior to Davinci Resolve. The freedom that nuke gives you to manage noise and grain issues is spectacular.
1250 in my experience is fantastic. I usually shoot 400 for most things but in low light if I wanted more exposure for highlights 1250 is great. Pretty much a clean image for night shooting. And I agree focus assist is my weapon for previewing noise. It’s fantastic.
Also a cool note for those without a 6k pro. The beauty of braw is you only have to shoot on one end of the dual iso to be able to bounce through different ISO values. So shooting at (100-1000, native 400) will allow you in post to change the iso to whatever you want on that half. And shooting at (1250-I forgot, native 3200) will let you change the iso to whatever you want in that half. In post.
So true! That is definitely the benefit! I'm shooting a really low lit music video soon, and will probably either shoot at 400 or at 1,250, most likely at 1,250, its such a clean way to shoot, and I don't even have to shoot totally wide open! BRAW is a dream as well
@@DesignedbyKirk I totally agree
Really great tips and also the footages showed looks really good. I want to point out also that what people dont understand is that the BMPCC basically records what the sensor captures in RAW. Meanwhile cameras like Sony, Canon, Nikon etc. adds denoise and sharpening to the footage in-camera. Which means that you want to denoise and sharpen the footage in post when shooting with BMPCC to get results that looks like mentioned brands.
Thanks Robbin, much appreciated! You’re absolutely right, that’s why in combination with Motion effects in Resolve as I mentioned is a match made in heaven
The 6k camera has been amazing for me. The gyro stabilization update is so good as well as the braw. I do see noise slightly in everything except the lowest iso but the davinci noise reduction is great at low settings. 400 iso seems to work well though still.
Sure is! The software and hardware work very well together
i tried 400 iso and its so dark...lens is wide open....gotta keep playing with this to get it right....
1,250 sir! Especially when it’s dark
best tip is to know when and how you can get a nice image. I got the OG and I always shoot at 800 and I heard on low light it‘s nice to shoot below, bc of the shadows detail, but outside day, it‘s best to shoot 800 for dynamic range. correct exposure and grading is the rest
Nice! Got to adapt with the gear you are using!
If you shoot in prores then yes iso 800 is proper, but if you shoot raw then iso 800 is actually iso 400
can't trust someone shooting in 4:3 (just kidding, good stuff :) ) i have the pocket 4k and testing the noise in the raw ISOs
Well luckily I shoot in 16:9 and crop to 4:3 ;) haha thanks for watching! For sure give it a go!
I've found that between 400-800 ISO is the best quality for me. I have been on sets where we lost light and needed to complete projects on time that I've had to use 1250 and even 1600. That which isnt ideal still gets the job done. I've never had huge issues with large amounts of noise. Using 6kpros 6kG2s and 6kFF
That sure is the sweet spot i've found! And a bit of NR and you're good to go
Any banding issues with the 6k ff?
Did you colour grad all shots shown in this video?? If so you gotta teach us, that is immaculate work!!!
Thankyou! If there's any particular clips you want a breakdown of, let me know, otherwise some of them I have shared on my channel!
3200 the best for noise in low light??? That’s so bizarre and absolutely not my experience. 3200 looks awful.
I don't think I said that, I always stick with 400 or 1250
Hello great video. What is stops can you explain please ? Tip 1
A stop like going from f1.8 to f2.8 to f3.8, open up your iris to let more light in
If you don’t want noise shoots at 100 ISO and light the scene appropriately. 400 ISO will give you a lot more noise.
lighting is king
Sweet breakdown man! The closest I envision myself getting into cinema cameras would be the Sony FX3 (I know, it's not even lool). Hows the workflow using the BMPCC6K vs. more mainstream consumer bodies like the Sony A series?
Cheers mate! The best way I can describe it is that filming with a BMPCC compared to a Sony is like driving a Manual Car vs an Auto, a lot of the quality of life features aren't there, especially autofocus. In my honest opinion, stick to the Sony for your everyday UA-cam videos and the blackmagics for creative work!
Thank you so much for sharing these information! That is exactly the stuff that you need after buying a new camera. 🙂
Thank you for the support!
You showed the dynamic range/iso chart but i don't think you really understood it.
Bmpcc 4k/6k is basically ISOless camera. The ISO doesn't control the amplification, the two amplification circuits do. One has low amplification (100-1000) and the second has high amplification (1250-25600). What the iso does is boost the signal electronically after it has been turned into an image, not the raw data itself. It only does that when switching the gain circuit.
What you iso does (example. in the first stage 100-1000) is show you what your footage would look like if you digitally raised the exposure or changed the iso in post)
What your iso is for is shifting the middle grey. So for example if you're dealing with a situation where most of the shot is in the shadows and there's slight midtone detail and highlights on the scene, the your midgray at iso 400 is in the middle, meaning that for a dark scene, your shadows are now much closer to the noisefloor. If you want the shadows away from the noise floor, you raise the middle grey by sacrificing a few stops from the top end and placing them on the bottom, so there's 2-3 stops more between the middle grey and the shadows. That would be iso 100 and 1000. So for each scene you have to think of how many stops of shadows does
The problem with iso 100 is that the amplification is too weak at this point so your image will end up looking dark. No amount of shifting the middle grey will help you.
By choosing the second amplification circuit at where the middle grey is at it's highest point, you've now boosted the signal and it's further away from the noise floor. Now you have a really clean image.
The bmpcc 4k/6k essentially has the most versatile dynamic range of any camera.
It helps to think of the camera as having two ISOs (100-1000/1250-25600) one for low gain and the second for high gain and the numbers in between as anchor points for where the middle grey should be.
Appreciate your technical expertiese! Long story short, I don't think it's necessary to understand the specific technicalities behind the Pocket's ISO features for everyone. Just how to utilise them to get the best noise performance.
Shoot at 400, 1250 or 3200 and compare and contrast in my opinion
Depending on the shot the BM graph that shows the stops that they have in light and dark areas may make yiou choose a different iso, lets say you have a dark scene with one bright area on the subject but you don't want losss of detail in the majority dark areas, simply shift your iso to the setting that has the highest number of dark 'steps' of data, and expose for the bright area.
Absolutely. It’s about picking priorities in the end!
One of the clearest informative videos out there. Thanks all the way from Maldives
You're very welcome, cheers for watching!
This is solid. I've been caught out with noise/lack of sharpness simply from not getting focus right on run and gun shoots.
Yep! Focus is a big thing, can't fix that in post that's for sure
Great tip about using focus assist to detect noise - I hadn't come across that one before!
Yeah it's a nice one!
Fantastic video. As a Pocket 4k user these are very helpful tips! Thank you!!
Cheers mate! Now go out and there and filmed great things!
Hey You! Thanks so much for this awesome video. It was verrrrryyyy helpful for me! =)
No worries mate!
Amazing video! Thank you
You're welcome, cheers for watching!
Thanks for the info! Great vid but why the 4:3 frame youtube video???😅
Wonderful question, no reason at all, just trying new things!
Did you shoot this with Open Gate on the 6K? What was the motivation other than the camera not shooting 16:9 internally?
This was shot on the 6K Pro about 2 years ago before the BMCC6K was released, I just cropped the 16 by 9 :)
@@DesignedbyKirk thanks for the response. Why the 4:3 crop though? Very curious about the motivation :)
And noise in general it's not so bad, the problem of 12bit footage is the color noise, and with resolve you can remove the color noise and keep just the standard noise. And if you embrace the noise as you said, can delivery some great images with the right purpose. After all, the meaning, composition, lighting it's the real purpose of the footage, not if it is or not technically perfect exposed. anyway nice content :D
Noise reduction is fantastic, and really makes footage feel like natural film sometimes. Thanks heaps for watching!
I got my BMPCC 6k and after when I filmed on Canon 5D Mark ii (where I absolutely have no noises with a right options) I was a bit shocked why I have noises on 640ISO on BMPCC.
Shoot at 400, 1250 or 3200. It's RAW as well, so requires a denoiser afterwards
This was such a great video thanks so much!
Thanks heaps for watching!
because of raw, i shot at 1000iso to stay on the 400 base, and at 1250 iso when at the 3200 base
not a bad way to go. I just stick to 400 and 1250
And those are good tips ! And they apply to all cameras, thanks for the vid !
Thanks for watching! Glad you found it helpful!
Thank you! Great tips and very to the point, definitely subscribing
Thanks for watching Kim, really appreciate it!
Use neat video for denoise works very well for noisy scans
Fascinating haven't used that before!
If you get a metabones speed booster for the pocket 4k, you can get a 1.1 aperture with the Sigma 18-35!
Very right!
Great video!
Cheers!
Why are you shooting 4:3?
Because why not!
@@DesignedbyKirk 👍
Essentially, this was a very good tutorial.
Cheers!
1250 iso is popular because of the duel native ISO. You probably should have mentioned that. Thats a big one… cheers 🤘
1250 is one of my go to's during night sequences, it's great!
Great tips
thanks!
I love shoot in RAW, but can't get people shooting 5:1 or 3:1 Even in movies the shoot 7:1 in RAW, so for us having 12:1 is perfect and already a lot of information. The BRaw problem compared with the prores is the softness that BRaw have compared with the ProRes, but in most cases doesn't affect the image quality. And if you will shoot in ProRes, the blackmagic proxie is f*** insane of how much quality can deliver versus the size of the file.
100%, Mid-tone detail in davinci resolve in a combination with a touch of sharpness to 0.49 is your best friend! Don't you find in Pro-Res though that it does crop in at 4K?
I do see noise on my footage..will try out these tips and see how it goes.. thanks...
hope it works well for you!
I ´ve recently shot a movie full of noise....played it on the big screen - no one...i said no one noticed any noise Lol. Most comments regarded actors, music, dialogue, plot and sometimes prop details.
As they say, story is the most important thing!
Give me all the noise 😍
When handled well!
too fast. great content but way too fast.
thanks for watching! noted, will slow it down for more in depth stuff in the future!
nah, the pace was good.
You are amazing!
no you are amazing!
Does the focus assist noise trick work on the 4K?
Sure does! All pockets
1250 easily the best for night and 400 during the day
Completely agree with this, it's the only two ISO's I shoot with!
just curious.. are rokinon cine lenses good for the pocket 6k?
Never used them I must say!
From my personal experience, in all types of lowlight shooting environments, ranging from highly controlled gaffer managed setups to pure chaos, the ISO 500-1000 range, particularly 800 is an absolute noise MENACE on all the BMPCC, be it 4K, 6K, Pro or G2. I avoid it like the plague. Particularly, if you're in a pinch and too pressed for time to make the appropriate gamma curve adjustments to coincide with the respective ISO. That type of predicament can also be problematic at both native 400 and 3200 or pretty much any ISO. It's important to take note, especially when shooting BRAW, when operating in the 1000-1250 range, the middle gray drops a couple stops. The reason 1250-1600 performs like a champ and has often served as my proverbial "sweetspot" in the majority of lowlight conditions is I always make sure to shoot at a wider corresponding aperture to appropriately compensate. Remember the word here is "compensate" NOT "substitute." There is no and never will be a legitimate substitute for proper optimum lighting conditions/environment. But when working within your means, 1250-1600 range and a good solid notoriously reliable glass like the ever versatile Sigma Art 18-35, or if you're just rolling in dough, any premium lens above that would do the trick. Ideally, Native 400 with proper light kit or 3200 and proper lighting with f/stop adjusted accordingly, is the way to go. But 1250 is definitely the most versatile and consistently reliable for any low lit occasion. The new Blackmagic Cinema 6K with full-frame is reportedly poised to improve upon all or much of that, but I can't speak to it as I haven't any hands-on time with the model yet. To be continued.
Great analysis! From all of that and from my experience I'll continue to expose at either 400 or 1250 and go from there. 3200 if absolutely needed, but I do tend to avoid going up to that level
@@DesignedbyKirkYeah bruv, good stuff man. Made a sub of me.
Iso 800-1000 are for conditions when there is high amounts of light and most of your scene is highlights like on a sunny day at a beach, with very little amount of shadows or shadows that have even tonality like 3 stops at most. In a scene like that ISO 800-1000 are 100% proper. You'll even manage to get the sun in the picture and not have the areas surrounding it blow out with little amount of noise.
Also ISO 1250-1600 do not actually lower the middle grey but actually shift it up. You're essentially taking stops away from the top end and placing them in the bottom. Think of it like a tower of 5 red bricks and 8 green ones at ISO 1000. By shifting to 1250 or ISO 100 you're taking 2 red bricks and placing them on the bottom which turns them green. You now have 2 red bricks and 10 green ones. The red ones capture highlight detail and the green ones capture shadows. The imagined line differentiating their color is middle grey. The further away this line is from the noise floor (last 2 stops) the less noise you'll have in your shadows. So by placing those 2 red bricks in the bottom you've now essentially taken the noise away from your shadows. Boosting the signal by switching to the high circuit (1250-25600) also helped.
ISO 800-1000 lower this imaginary line instead. Giving you 5 red bricks and 8 green ones, essentially giving you 1 full stop to capture the highlights over the "native" iso 400. 2 extra stops if you use the highlight recovery tool.
So basically there is no "native" iso in the bmpcc. 400 and 3200 are the most balanced iso values meant to work with the most variety of scenes. The bmpcc has two actual ISOs. First is 100-1000 aka the first amplification circuit and 1250-25600 aka the second amplification circuit. The iso stages inside these circuits are just steps for the middle grey to shift. Think of the boost in brightness from iso 1250 to 3200 as digitally boosting the exposure like the exposure slider in your editor.
The only cameras that can use iso to actually brighten up your image are canon cameras since they have true analog iso.
Excellent video! new sub
Cheers for watching and great to have you on board!
Thanks for the tips. I just got the bmpcc 6k g2. Do you use RAW constant bitrate or constant quality?
I shoot in constant bitrate all the time, never really ventured into constant quality. But I assume it probably is better for low light shooting even more so, given the camera doesn't look for areas it can lower quality to maintain bitrate (such as the shadows)
@@DesignedbyKirk great. Thanks 🙏🏽
Great information!
Thankyou!
Great video! keep it up 🔥
Legend! Thanks!
From what I understand the bmpcc does not have a true dual native iso, in other words two separate circuits that each have a base iso. If im not mistaken, its more like two different amplifiers on the same circuit, wich is why 3200 does not have similar noise performance, it simply has the most even split between highlights and shadows where 1250 is the base for the new amplifiers.. In general native iso simply means best dynamic range split vs noise floor
Explains why I never shoot at 3200, it’s a gross image in my experience. Either 400 or 3200 is the way!
@@DesignedbyKirkdid you mean to say “either 400 or 1250 is the way”?
merci
you're welcome
Do you use an IR cut filter on your bm? Do you only use the internal nds, variable nd or normal nd and add as much as you need? Great video i appreciate it man
I don't have an IR cut filter no, and I only use internal NDs I must say!
@@DesignedbyKirk Since got my Bm, i been struggling with image quality and consistency between shots. I bought a really good Nisi IR cut filter and ND filter and I am finding that it affects image quality very much. Some people say they dont notice any IR pollution on the Bmppc6k pro and you confirmed me that it is true and not needed. Thank you man
Thank you for the advice!
No worries!
I solved the issue, got an A7IV, knowing how to shoot and grade yields the same look as the bmpcc, way, way less noise and for run and gun , top notch AF... No more time wasted running neat video noise reduction with the bmpcc, way more efficient and faster workflow, at least my own personal experience.
Whatever works best for you in the end!
I went on a similar root , I sold my bmpcc 6K and bought a sigma FP. The difference is like night and day I in terms of noise. I don't know if I had a bad version of the bmpcc but the amount of noise I got in ISO 1250 and above was absolutely insane. The blacks were never clean and shooting dark scenes was a bit no no for me.
Sigma FP solve all of this for me
False, I own both and am quite good at color grading and it’s much more difficult to get a usable image using the Sony.
If you're having better time grading Sony footage then you were doing something wrong
Have both BMPCC4K and A7IV, clearly easier to grade the Blackmagic
especially for green screen work. For easier turnarounds, just slapping Phantom Luts will match both footage pretty well.
Grain management is vital in any commercial production. Camera grain must ALWAYS be maintained. Grain contains important image details, reducing it always results in loss of detail. That is why Nuke is so superior to Davinci Resolve. The freedom that nuke gives you to manage noise and grain issues is spectacular.
Fair!
Thanks
You're very welcome :)