Carlo Macchiavello

All is possible

How important is a large sensor?

By

On 10 March 2025

In Techinque

For so many years, I have been bored with the nonsense about the size of the sensor, about the fact that it is essential to have at least a full frame (and cinema has always been made with the s35 or aps-c about the size) otherwise the images are ugly, there is no three-dimensionality, not enough light gathering etc etc

You know the funny thing? I have debunked all these myths over the years with explanations, technical proofs of what really makes the difference and what changes three-dimensionality, spaces, light… the fact that there are those who work and those who have to take measurements…

The sad thing is that in 2025 we still have this myth, but nobody has figured out what the real difference with a bigger sensor is, and what the only real reason a bigger sensor makes a difference on image quality is, and it’s nothing I mentioned above.

The topic has come up again today due to the fact that Blackmagic launched both the 12k cine and the 17k with a 65mm sensor and everyone repeating the usual mantra, but… there’s a reason those sensors are bigger, and Blackmagic in this case just went down a familiar path.
In fact several companies were aware of this, which is why the Arri Alexa had 3.5k sensors in open gate and then dropped to 2.7k in 1.85 shooting.
Sony when they made certain video-oriented cameras like the Sony A7S2 onwards, even though they had the R (resolution) series for video they had a less resolved series in relation to the sensor size, and all this not to gather more light, as many have mistakenly written, but because of a principle that old photographers knew well and that many have forgotten today: diffraction.

What diffraction is and how it is calculated
Diffraction is that optical phenomenon whereby given a certain size of focal plane/sensor, given a certain size of hole through which light enters, there is a physical limit that cannot be altered, whereby when the hole (diaphragm) is reduced, the light will be projected incorrectly onto the surface, giving rise to the phenomenon of Diffraction, which will cause a less sharp image.
In practice? depending on the size of the sensor, the resolution of the sensor, and the value of closing the diaphragm, if you close it more than a certain amount, the image will lose sharpness.

So if we raise the capture resolution, for the same sensor size, we will have to keep the aperture more open by a certain amount, otherwise the image will be less sharp.

So if we want to shoot in deep focus, we have to take this factor into account and know what the limit of our camera/lens is, otherwise we may find ourselves in an absurd situation where closing the aperture will reduce the final sharpness of the image.

And I also fell for this by taking this image, where I closed the aperture too tightly.

Mdl Valeria Lariccia

The Rayleigh criterion
mathematical method to give a number at the minimum resolvable detail when an imaging system is diffraction-limited.

θ=1.22λ/D

Where θ is in radians, λ is the wavelength of green light; .55μm , D is the pixel pitch; 2.2μm.

The diameter of the air disc is approximately 2-3 times the pixel pitch. This is because the pixel pitch is the distance between the centre of two adjacent pixels, the smallest resolvable detail, and the diameter would cover at least two pixels. F/stop is 1/2 of the inverse of numerical aperture (NA), because θ is in radians.

We write this value as the smallest resolvable f/stop:

f/stop = 2D/2.44λ

That is, two pixels covered and 2 radians make 1 numerical aperture, the inverse of which is f/stop.

For the UMP12K it is 2 x 2.2 / 2.44 x .55 = f/3.3
For the Cine12K it is 2 x 2.9 / 2.44 x .55 = f/4.3
For the Pocket 6K 2 x 3.8 / 2.44 x .55 = f/5.7
For the UMP4.6G2 it is 2 x 5.5 / 2.44 x. 55 = f/8,2
For the BMCC6K 2 x 6.0 / 2.44 x .55 = f/8.9

If we accept 3 pixels covered by the air disc instead of just two, we can lower the stop to achieve:

For the UMP12K, that’s 3 x 2.2 / 2.44 x .55 = f/4.9
For the Cine12K, 3 x 2.9 / 2.44 x .55 = f/6.5
For the Pocket 6K, 3 x 3.8 / 2.44 x .55 = f/8.5
For the UMP4.6G2, 3 x 5.5 / 2.44 x .55 = f/f12.3
For the BMCC6K, 3 x 6.0 / 2.44 x .55 = f/13.4

As can be seen, diffraction places a limit on the smallest physical details. As the pixel pitch becomes more dense, the sensor will exceed the resolution of the lens at smaller f/stops.

From these simple calculations we can deduce two fundamental things, knowing our camera allows us to use it at its best, knowing the basics of photography allows us to avoid a series of practical technical problems that cannot be taken for granted.
From this simple calculation we have also understood why it is better to work with ND filters of various types and not to close the diaphragms too much if we work with very dense sensors, otherwise it is useless to have high resolutions, because we will waste them optically.

Now the question that will arise in many heads should be: but what about all those phones with 100 mpx and a sensor the size of a pinhead? 😀 Good calculations

Blackmagic Design PYXIS 6K

By

On 21 September 2024

In Techinque

some time ago I had spent some time with an article on Black Magic Design’s Micro box cam pointing out that it was already what everyone was asking for, but no one ultimately had in mind.

At Nab 2024 Grant presented another option for those who want a box cam and have fun rigging it and assembling the parts as they please, the PYXIS 6K Full Frame.

Pyxis is as is often the case with BMD the name of a constellation :
Pyxis is a constellation in the southern celestial hemisphere.
Pyxis is a small and faint constellation in the southern sky.

Its name, abbreviated to Pyxis Nautica, indicates in Latin the sailor’s compass. Introduced by Nicolas-Louis de Lacaille in the 18th century, Pyxis is counted among the 88 modern constellations. The plane of the Milky Way passes through Pyxis. A faint constellation, its three brightest stars-Alpha, Beta and Gamma Pyxidis-are loosely aligned. With a magnitude of 3.68, Alpha is the brightest star in the constellation.

Of course as I predicted in past articles, everyone complaining that Bmd does not make cubic chambers (forgetting the Micro), and down with grumbling…

As soon as this cam was introduced, again making excuses that it doesn’t work (while praising the project of boxing the pocket 6k… with more limitations than the Pyxis, violating the warranty etc…

Now at IBC they have also introduced the new dedicated BMD Monitor, with monitor control, at a really fair price, so even the criticism about the side monitor, or having to be “forced” to buy the viefinder (a very good viewfinder) has become useless.

The Pyxis for many was taken as a cc6k ff frame in box shape, when in fact it is definitely a much more interesting and versatile product.

  • without cage has more mount points for various accessories and rigs, otherwise what’s the point of buying a box cam?
  • 3:2 6k full frame sensor with OpenGate recording
  • Mount L, Mount PL, Mount EF
  • 4-inch HDR monitor. at1500 nits to see even in bright light
  • Already BMD-branded accessories designed for rig expansion, from monitor to handle, ssd mounts etc.
  • SDI 12g
  • External battery, with a choice of different sizes.

But don’t worry, people who talk but don’t really work will find other excuses to say the grapes are sour anyway ;-D

 

 

BlackmagicOs 8.6 Beta at New Hope

By

On 29 March 2024

In Techinque

Blackmagic Os 8.6 beta update… and here as usual they release the bombshells for :

  • Pocket Cinema Camera 4K
  • Pocket Cinema 6K
  • Pocket Cinema 6K G2
  • Pocket Cinema 6K Pro
  • Cinema Camera 6K
 
What is new ?
  • Adds support for using the camera as a webcam or UVC device.
  • Updates the media pool file browser
  • Adds support for deleting clips.
  • Adds uploading of clips to Blackmagic Cloud.
  • Adds direct upload to DaVinci Resolve projects.
  • Adds the ability to update and manage the camera via Ethernet.
  • Adds REST control APIs for remote control.
  • Adds support for secure login and certificate.
  • Adds support for network time protocol.
  • Adds support for web media manager.
  • Adds support for file transfer protocol.
  • Adds support for SMB file sharing.
  • Adds support for cell phone tethering for some models.
  • Improves reliability of gyroscope metadata.
  • Improves the reliability of USB-C drive detection.

In short, without being too intrusive, before NAB they start greasing us with some nice new features, which no one expected, but let’s try to understand well what the most important ones mean :

Support as a webcam or UVC device

It means that now you just connect the Pocket as USB C and it is seen directly as a computer webcam, without using external hardware, without using HDMI signal acquisition and thus simplifying the use of the camera as a webcam for everyone.
Although coming after other brands that during the pandemic resurrected this possibility (present on bridges such as Fuji since the early 2000s), Blackmagic has also updated its Operating System.

UPDATE Media pool file browser

We finally have an update to the clip browsing system that allows us to see all the clips on the media, regardless of codecs and recording settings.In the past it was only possible to see clips of the same type of codec or setting that were active, so if I had clips shot in Prores I couldn’t see them when I had set up recording in Blackmagic raw.

It provides the ability to do file uploads to Cloud and many other operations.

Unfortunately they also add the ability to delete clips, with the risks of media fragmentation, accidental deletions and all that.

The camera can be managed via Ethernet

While not a major revolution for many, the fact that it can be upgraded and managed via Ethernet unlocks an endless array of possibilities for remote control and beyond

tethering via cell phone

The camera becomes more mobile friendly with the ability to use cell phone tethering where a fast line is available

gyro update

several Gyro data updates to be even more reliable with both anamorphic and special lenses.

Improvements in usb-c disk support

As memories and Usb-c media controllers change, updates to the various protocols have been released.

 

 

 

 

Why box cams are not good for those who would want them

By

On 22 January 2024

In Techinque

I remember for a lifetime the desire of gear, hardware of filmmakers, instigated by the manufacturers of camera props, the possiiblity of attaching, adding pieces to one’s camera, “upgrading” it according to them, often putting what they might need, filling and surrounding the camera with anything and everything and then using them for the run-and-gun style… that is, the guerrilla style that is supposed to be grounded in simplicity.

Curious how in parallel fields, such as photography, this kind of Rigging has never caught on, photographers add a cover to the camera, sleek, a larger button … at most a battery grig to increase the range of the camera during prolonged shots, but nothing over the top.

The No. 1 excuse I hear from people who want box cams is :
they want to customize it, because they need the cam with the components arranged differently … mah … mostly because I usually hear this kind of excuse used by people who have no real experience with multiple cameras, if it’s okay with a phone and an SLR, but have never used real cameras, shoulder cams or those kind of cameras where the ergonomics are studied for DECADES and everything is designed to make people work in a certain way.

In fact as soon as I see a rig of these characters I can notice three uncomfortable things :
– weight balance: the structure is not designed to distribute the weight as one moves, walks, or simply holds it on an in hand, causing wobbles and/or problems after a short time that one uses the camera, never mind then the idea of putting it on a gimbal, since weight distribution and monitor position are critical for handling on that type of product.
– ergonomics: the buttons to push, the wheels to turn to control focus, aperture, and zoom are not usable by the same hand.
– transportability: almost all rigs I have seen are prone to damage when transporting the camera because the structure and wiring are not protected and if placed in duffel bags, flycases etc anyway they will risk hitting and damaging camera connectors and other equipment.

Excuse number two is :
if they have to mount it for special shots e.g

  • camera car : a rig to mount any camera on a car, stable, costs from 200 to 500 euros, and you mount cameras for several kilograms, no need to put a box cam, and in most cases a bigger camera is also more stable. however all these rigs have a mount for a tripod head and so you mount what you want.
    If you have to make a light rig, you use action cams like the latest gopros, or like the blackmagic micro studio cam g2, to stay on the light side.
  • drone cam: this is the meaning that makes me laugh the most … because the people who say that don’t have a license, don’t know what it means to fly a drone nor what the logic is to fly it.
    To have a drone that lifts a 300-400 gr camera you have to spend several thousand euros, you have to do it professionally, you have to have spent as many euros for licenses for large drones, insurance etc., not to mention that the camera would fly almost blind, while since there are with lesser expenses drones with cameras that record even in raw, with total control, hassemblad optics, it is ridiculous to even think about it … but admitting you want to do it, it means that there are no budget problems.

The number three excuse is that the camera is not suitable for their type of shooting, so they have to make it from run and gun to shoulder cam, adding shoulder strap, side monitor, handles, hang various cables, more elements from the battery to power the products

  • from box cam to shoulder cam means spending a lot of money add powering many connected elements, monitor/viewfinder, microphone, audio recorder, radiomicrophone; mount a shoulder strap and magic arms to bring monitor in front of them, often too close causing eye fatigue.
  • connecting multiple products to a battery puts you at risk of what is known as ground loop; when connecting multiple devices to the same battery you risk short-circuiting and frying hdmi and sdi connectors like nothing.
  • in the end if the camera is not born to be shouldered it becomes difficult to have a good weight balance, which will result in a camera that is difficult to balance on the shoulder when moving around, when changing focal lengths or focus, when you have to shoot for an extended time.

So in short, those who want a box cam to change the rig and adapt it to more situations and save money instead of buying more cameras will end up spending more on accessories and outlines; those who want to change the nature of the camera will end up with a camera that never has the buttons in the right place, so they will lose time (vital for run-and-gun people) in looking for controls and/or changing settings; those who want to place it in special places will find that they will still have to add at the very least a video transmitter to see its outputs with the rig and will find that it is no longer economical to make these kinds of choices…

my real impression is that those kind of people who love box cams are like those friends who were always behind modifying the scooter, applying mods and bragging about the specs more than using it to get around, now for me it’s all good, everyone does what they want with their equipment and their money, as long as they don’t become obsessive to make you change your choices, to justify theirs ;-D

For everyone else, who has no budget problems, box cams are perfect, because they will be the chambers for what they need, while for other operations, they will use other chambers, because each chamber has its natural environment of action.

An example :
Red Komodo, perfect lightweight, versatile. just the camera body is 6k, then added a monitor, proprietary mounts where to record and two or three other trifles, you get to 10k no problem. so if you have spent 10k on a specific camera it is not a problem to spend more on a second cam more comfortable to put it on your shoulder.

Sony Fx 3, perfect, versatile, lightweight, just the camera body is 4.7k, then add external monitor, external recorder for raw, and we get to 7-8k without problem

Panasonic Lumix DC-BS1HE, light, versatile, good sensor, only the body 3.4k, to add then external monitor and/or external recorder for raw, and we arrive without problem to 5/6k

just to mention well-known brands of box cams of a certain level.

Blackmagic Micro Studio Camera g2, the box cam from Blackmagic that no one or hardly anyone knows about.

By

On 19 January 2024

In Techinque

We live in an absurd world where people cry miracles if some influencer on duty or some social presents a novelty… that maybe novelty is not, and maybe has officially existed for years.

Recently all the major social media are commenting on a mod of the pocket 6k g1 to turn it into a box cam, which seems to be the holy grall of videomakers (we will talk about this in another article), you can see this mod on the official website https://nexus-cameras.com/ and the rendering video on youtube

Now don’t think that I am against these initiatives, on the contrary… I admire those who have the ability to design and create these mods, but that is not the topic of this post, so much as the fact that Blackmagic has been producing a box cam for years, but for some reason, not being advertised as such, it is completely ignored…

Blackmagic Micro Studio Camera G2

Here you find what everyone wants, but doesn’t know is already in production, and it is the second iteration of this type of camera.

Let’s play a little game, question and answer :

Why do you want a box cam?

because I want to rig it the way I want it, because I want it lightweight to put on a gimbal, drone, and do action shots anywhere.

What do you want from a box cam?

light weight, convenience, good quality, versatility, multiple power supplies.

Why haven’t you looked at this box cam?
because most people don’t know it exists….

The Micro Studio cam is based on the design of the pocket4k, in a mini version…
The Micro Studio Cam is a digital camera with:

  • 300gr camera
  • 4/3 sensor and m4/3 mount (sound familiar?)
  • double iso with good sensitivity of a sony sensor
  • 13 stops of dynamic range
  • 23.97 at 60fps
  • timelapse and hyperlapse functions
  • Lut support and all the classic BMD Os functions
  • records in braw to USB port
  • hDMI output, SDI input and output (the pocket does not have this)
  • remote control via HDMI, SDI and USB-ethernet via ARC protocol
  • External microphone input
  • input for 12v power supply
  • support for lp6 classics
  • one 1/4 top and 3 under-camera connections

If I have tickled the curiosity of most I suggest seeing this review, which is very comprehensive and well thought out.

The next time we think something doesn’t exist, let’s try it the old fashioned way, look at the manufacturer’s site and see all the models and their working characteristics, maybe it can be more convenient, especially for those who have to put cameras on drones and want to optimize weight and control.
For those who are more geeky, I have seen several projects that through arduino create very interesting controls for this cam.

 

 

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