On the left side of the camera, rubber doors hide connections for 1/4-inch left and right balanced audio jacks, headphones, 4K-SDI, Thunderbolt, LANC remote and power. The back has a five-inch LCD screen with the record, transport, and menu buttons below, an iris button on the upper left, and focus on the upper right. Just below the mount is a tiny mic that is helpful to have for emergencies. The front has a mount for canon EF lenses. It has a strong aluminum frame with a rubberized front and back. Out of the box, the Blackmagic Production Camera 4K doesn't look much like a motion-picture camera.
(It's worth noting that what Blackmagic calls "4K" is 4K UHD, with a resolution of 3840×2160, not the larger 4096×2160 frame of DCI 4K, which is supported by some of Blackmagic's competitors.) I primarily see the benefits of 4K in post-production, where you can put the 4K footage in a 1080 sequence and use your NLE to do virtual camera moves such as zooms, tracking, and crops without losing resolution in the final 1080p export. At the outset, I know most of what I produce won't be shown at 4K, but at 1080 HD. No Frills Here, But If You're Looking for an Inexpensive Ultra HD Workhorse, It's Hard to ResistĬoming from the world of ENG/EFP, I was excited to finally get my hands on a 4K digital cinema camera that was made for motion pictures - not like still photography DSLRs that shoot beautiful video at the expense of ergonomics.
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