The Five Best Lenses For the Blackmagic Pocket Cinema Camera

The Five Best Lenses For the Blackmagic Pocket Cinema Camera

I’ve been playing with the BMPCC (Blackmagic Pocket Cinema Camera) for a few weeks now, and have, after much experimentation, finally narrowed the massive selection available for this camera (especially via adapters of various sorts) down to my 5 essential picks. Here they are, in no particular order… Best General-Purpose Lens: Panasonic 12-35mm f/2.8 This is one of those lenses that isn’t just good for the BMPCC; it’s awesome for just about any Micro 4/3 camera. Featuring a focal length of 24-70mm on a standard Micro 4/3 camera like the Olympus OM-D EM-1, a fast f/2.8 aperture, and optical image stabilization, this lens lends itself perfectly for BMPCC shooters. Given the Blackmagic’s 3x crop factor, this lens becomes a still-slightly-wide 36-105mm. Moreover, given the fact that the BMPCC has an active M4/3 mount, the image stabilization works just fine. In short, this is your desert island lens; it’ll work for almost every common scenario you might come across. Best Compact Lens: Olympus 12mm f/2.0   You’d think I’d pick one of the pancake lenses available from Panasonic or Olympus, like the 20mm f/1.7 from Panasonic. To be sure, that’s a solid performer, but I chose the 12mm for 2 key reasons. The first is that it’s still a pretty compact lens, and has a nice, fast f/2.0 aperture with the equivalent of a 36mm focal length. The second is that it’s a lens that lends itself a bit better for the BMPCC in terms of focus. Although the Blackmagic Pocket Camera does have a basic autofocus feature, most video shooters will find themselves using manual focus to nail things...
Things to Know about the Blackmagic Pocket Cinema Camera Raw Update (with Some Sample Footage)

Things to Know about the Blackmagic Pocket Cinema Camera Raw Update (with Some Sample Footage)

The Blackmagic Pocket Cinema Camera is one of the newest additions to our inventory, and is already in demand — every single unit we currently have in our inventory is checked out for the next two weeks at least, so get your orders in as soon as possible. This tiny little package packs a wallop when it comes to delivering outstanding image quality, and as of a couple of weeks ago, it is also the smallest camera in the world that shoots RAW video. We decided to put the BMPCC’s RAW chops to an entirely unscientific test (in low-light, no less) as soon as we had a few spare minutes with a unit in-between your rentals, so check out that video after the jump. Suffice to say that RAW video offers all the advantages that still photographers have enjoyed with RAW images for a while now; the ability to shift white balance, increased exposure latitude, and a fat, robust file that stands up to vigorous post-production. Yet it’s not without its challenges either. Shooting RAW video requires some hefty resources on the shooting and post-production end, and so we thought we’d put together a list of a few things you need to be aware of if you’re going to venture into the land of RAW video. First things first – know WHY you want to shoot RAW. The BMPCC’s ProRes codec is plenty powerful – it has more than twice the bit rate of the Canon 5D Mark III’s All-I codec. Know why you think you need RAW before you shoot it. RAW video takes up a LOT of...
What (Else) to Know When Renting the Hasselblad H4X Medium Format Camera w/ 80MP IQ280 Digital Back

What (Else) to Know When Renting the Hasselblad H4X Medium Format Camera w/ 80MP IQ280 Digital Back

A while back, we did a piece on what to know when renting Hasselblad H4X Medium Format Camera w/ 80MP IQ280 Digital Back. Medium format gear is a pretty different creature from your standard DSLR, even your high-end Canon 1Dx and Nikon D4’s. Like my colleague Alex Huff pointed out, it can be “perhaps a little scary.” Here are a few more things you should keep in mind when shooting with the Medium Format gear, especially with the 80MP IQ280 Phase One back. As Alex mentioned, you will need Capture One to read and work with Phase One’s IQF files. While Capture One is available for free for 60 days, here’s something even better – it’s available for free for an unlimited amount of time in “DB” mode. DB mode restricts you to using Capture One with files from Phase, Mamiya, and Leaf digital backs only, but has the full feature set of Capture One Pro. Alex also mentioned the reverse crop-factor for lenses when you use them with this back. That difference is ridiculously stark when compared to APS-C or even full-frame sensors, let alone Micro 4/3 or smaller. Here’s a shot taken with a 24mm lens. As an image, it’s not particularly remarkable – till you realize that I was standing almost under the tree itself. The reverse crop factor gives you some seriously wide angles. The lenses made by Hasselblad are amazing as far as image quality goes. What they are not, is weather-sealed. I can’t stress this enough, folks – do NOT take these out to Burning Man. Or the beach. I did, and we had...
Gear Spotlight: Is the 24-70mm f/4 IS Canon’s Best General-Purpose Zoom?

Gear Spotlight: Is the 24-70mm f/4 IS Canon’s Best General-Purpose Zoom?

The 24-70mm zoom range is one of the most popular zoom ranges on any camera, and most manufacturers have at least one lens in that category. Canon’s 24-70mm f/2.8 zoom was getting fairly long in the tooth, and its replacement, the Mark II, has garnered widespread praise and accolades from users and reviewers alike. Lost in all of that was Canon’s 24-70mm f/4L IS zoom, which was released a few months after the f/2.8 version. This odd lens, which is, ostensibly, the replacement for Canon’s similarly long in the tooth 24-105mm f/4L IS lens, came as something of a disappointment. Why, people wondered, did Canon kill the additional 35mm of zoom range from this lens, and why would anyone opt for this lens over the sharper and faster f/2.8 Mark II? Well, I’ve been using this lens for the last few weeks as I work up a series of video articles for you folks, and I’m starting to think that this dark horse of a lens is a hidden gem. Bad figures of speech aside, there’s a lot to like about the Canon 24-70mm f/4L IS lens. Let’s start with the “IS” part. IS stands for Image Stabilization, and the 24-70mm f/4 lens, like many of Canon’s other lenses, has that. What’s unusual is that this is only the second lens in Canon’s lineup to feature the newer “Hybrid IS” system. Most image stabilization systems have the ability to compensate for movement or vibration in an up-down and side-to-side direction. Canon’s Hybrid IS system goes one step further, adding compensation for camera shift in both vertical and horizontal planes....
New Gear: The Fuji X-E1 Is Here

New Gear: The Fuji X-E1 Is Here

The Fuji X-Pro1 has been in our inventory for some time now, and we’re pleased to add its newer sibling, the X-E1, to our rental offerings. This younger, lighter, and smaller version of the X-Pro1 ditches a few features of the critically acclaimed (and very successful) X-Pro1, while adding a few welcome ones. Read on to find out what you need to know about the Fuji X-E1. First things first – the X-E1 is, as I just said, lighter and smaller than the X-Pro1. By weight, it’s about 25-30% lighter, but by size, the difference isn’t as drastic as I thought it would be when I bought mine (yes, I bought one not too long before we started carrying the X-E1 – figures!). The X-E1 is shorter than the X-Pro1, and while the difference isn’t great, folks with large hands will notice the difference. The X-E1 is also thinner than the X-Pro1, but again, not by much. The button layouts have also changed a bit. Fuji has relocated the playback button to the left of the display, but otherwise, everything on the back is about where it was on the X-Pro1. The X-E1 also retains the dual dials of the Pro, as well as the assignable “Fn” button on top. Besides the size and button layout, there are some other key differences between the bodies, so let me sum them up. The X-E1 doesn’t have an Optical Viewfinder (OLF). Unlike the X-Pro1, which has a “hybrid” viewfinder that can be switched from OVF to Electronic Viewfinder (EVF) mode, the X-E1 just has an EVF. It is a higher-resolution EVF...