12/18/2022 0 Comments Sweet16 promicro measurements![]() ![]() ![]() I knew my cards were fast enough to capture 24fps of raw footage, but not 60fps. This experience was not wholly unexpected. I had skipped frames when I shot raw at 60fps. I, however, did not have cards as fast as needed. Raw image right off the Micro without any color correction Dropped Frames A 3D LUT added in DaVinci Resolve + a little pushing and pulling the image to lift shadows. If you’re going to shoot raw, then you better buy fast SD cards. It’s like Blackmagic applied all the goodness out of the Pocket Cinema Camera’s sensor and made it better. 1600ISO is free of fixed pattern noise and added grain. As for ISO settings, no surprise here, the Micro Cinema Camera has the usual four options found on some Blackmagic Cameras: 200, 400, 800, 1600. You’ll also find improved color than in the Pocket Cinema Camera. You will find the camera’s stated 13 stops of dynamic range rings true when you push and pull the footage in DaVinci Resolve. The Micro Cinema Camera’s raw lives up to expectations. To correct it, I dropped my ISO and used a small weight Neutral Density filter, but this is problem-solving and not shooting “in the moment.” Raw Files I only found the IR pollution when I stacked a heavy Neutral Density filter with a 2-stop polarizer. Formatt Firecrest filters are a great neutral color IR Neutral Density with minimal color shift. Both the Micro Cinema Camera, just like the Pocket Cinema Camera, has IR pollution and you will want to pick up some IR filters to compensate. One thing both sensors share I am not a fan of finding is Infrared pollution. but not too fast to require bigger and beefier processing power. It’s enough slow-motion to give a shooter creative choices. 60fps has become the defacto HFR to be found on many cameras. For me, the biggest improvement from Version 1 to Version 2 sensors is the camera’s capability to shoot High Frame Rate. This version 2 sensor is the heart of the Micro and why it will succeed as a camera. The reason why? The Micro sports a version 2 of the same sensor found in the Pocket Cinema Camera. The quick, no scientific evidence or charts, camera takeaway I had is this simple fact: The Micro Cinema Camera’s image looks better than The Pocket Cinema Camera’s. There is way more to like about this little camera ![]() Cost alone, the Micro becomes the smart choice, but this camera does not only have size going for it. The big difference, the SI-2K Mini cost close to $15K whereas the Blackmagic Micro Cinema Camera cost $995. They too had an actor wear the camera on his head. In Peugeot’s commercial, the production used the Blackmagic’s Micro Cinema Camera. This was a small enough camera an actor could wear it on his head, which made for a damn good POV shot. ![]() This storytelling feat was made possible because of Silicon Imaging’s SI-2K Mini. The Nike spot shot many years ago, made absolutely fantastic use of POVs to tell the story. Recently, I wrote an article comparing Peugeot’s latest commercial against Guy Ritchie’s “Take It To The Next Level” spot he made for Nike. These four options should only help this camera become mounted to anything: car, bike, helmet, and anything else one can think of mounting it too. There are three mounting points on the underside of the camera and one on top. While the camera itself is small Blackmagic did not give it a small number of mounting points. Hey, if the Blackmagic Pocket Camera can be used on the film “Furious 7” then the Micro Cinema Camera can be used as well. What the small size also means, to me, is the Micro Cinema Camera becomes the Point Of View camera for productions ranging from super low-budget to a Hollywood feature. This single feature opens up the creative options when placing the camera for a shot. By shaping the camera body a certain way, Blackmagic made certain this camera can fit into any corner. Anywhere is exactly where the Micro fits. ![]()
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