Even at 4K, my NLE of choice, Adobe Premiere, flies through it at the full resolution setting. Shooting and editing in ProRes is amazing. If you’re interested, you can check out the video here:Īs for the BMPC 4K, I love the ease of use and professional features that it provides. I once shot an entire music video using only 5Dm3 RAW and the video looks great but it was definitely a pain in the ass to shoot and DIT. The end result is that you get great looking footage but it comes with the high price of taking a lot of time and hard drive space. There’s no reference audio, the RAW file must be converted to CDNG, and most NLEs have a hard time processing the footage so your best bet is to run it through Resolve and then export ProRes. The problem with RAW is that it’s hardly practical.
Otherwise, the built in codecs record a mushy 600 lines of resolution disaster that Canon tries to pass off as 1080p. The only time I’m ever pleased with the image coming from the 5Dm3 is when I’m shooting RAW. Obviously, the 5Dm3 is two years older but it is a widely used camera due to its full frame sensor and low light performance…and mostly, because it works so well with Magic Lantern firmware. Blackmagic Design, hurry up already!Īs the owner of a BMPC 4K and a Canon 5D mark III, of course I’m going to test and compare these two cameras. I can’t wait to see how the cinema DNG turns out. If you look at where the BMPC 4K started it’s a pretty substantial difference, which demonstrates the power and flexibility of ProRes 422 (HQ). In the picture below, you can see the before and after for each camera in order to compare how far the grade can be pushed. I’m not trying to show off my DP skills with this video, I’m trying to push these cameras to their limits. Hopefully this fixed noise pattern issue will be fixed soon (as well as the black super highlights issue) in the next firmware update. It’s possible to shoot beautiful images with the BMPC 4K (without any vertical banding), you just need a good amount of light. I should note that when you push the BMPC 4K this far (or when you’re shooting low light with 800ASA) the vertical banding of the fixed pattern noise becomes apparent. The BMPC 4K was able to retain more of the color information in the skin tones and throughout the scene in general. As expected, the ProRes 422 (HQ) of the BMPC 4K faired much better than the h.264 (ALL-I) of the 5Dm3. This demonstrates just I far I had to push the codec in the color grade in order to get a half way decent looking image.
In the beginning of the video, you can see the ungraded footage followed by the graded footage.
Before you balk at the unflattering video quality, please understand that I shot it this way on purpose – in order to stress test the sensors and codecs of the respective cameras. Drama makes everything more interesting, so I made this video nice and dramatic.
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