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I have conducted a bunch of tests comparing shots between the XT-3 and the Pocket 4k, which unfortunately I can't share because they are of my wife and she won't let me post them online. I will see if I can do some shots of other folks whom are comfortable having video of them shared online. But for now I can give a bit of insight with my findings. The highlight retention/roll off of the Pocket 4k is miles ahead of the XT-3. Having the ability to have RAW, is also miles ahead of the XT-3. Both of these are obvious to me and I pretty much knew them going in. I think we all knew this. The colors straight out of the camera, again, blackmagic wins. So is the obvious choice the Blackmagic Pocket 4k? No. Keep reading... After all that, the combination of a more organic/slightly softer looking image and much MUCH smoother motion cadence of the Fuji XT-3, make it look more cinematic, with less work. When both cameras are out of harsh light, I prefer the video of the XT-3. Just the way the movement looks is immediately apparent and almost jarring. I know a lot has been talked about whether the pocket 4k is the same sensor of the GH5 or not, personally I am not here to say it is or it isn't, but the actual movement (motion cadence) reminded me of my old GH5. You can soften the video all you want, add grain, but tweaking motion cadence is not an easy thing. So I really value the way the motion looks. With both arguments out there, I still don't see it as a clear choice for the XT-3 or Pocket 4k, unless you start factoring what you want out of it. If you do gimbal work, the XT-3 is hands down a better choice with its great auto focus. If you need RAW, then you don't even need to read or bother with your choice and I am not sure why you even read this far, the Pocket 4k is your choice. Screen on the pocket 4k is amazing, fujis is small and harder to use. But, you can use a small Ninja on the Fuji and record prores. With the Pocket 4k, unless you are using CFAST, you will need to mount an SSD on a cage. So with either one, chances are you will have either an ssd or monitor on top of it. I prefer having a monitor on top, because thats an added bonus of easier to focus and choose angles. Here is where I stand. I shoot video and do photography, pretty much 50/50. The specs of the pocket 4k blow my mind. They are amazing. But, for what I do, I am not sure if its worth having 2 cameras, 1 for photography and 1 for video, which means more gear I need to carry - as opposed to just my Fuji to do both.I bought the pocket 4k to see if it would blow my mind. It has impressed me, but has not blown my mind. I lose some, no RAW, not as great of a color science, and far better codecs. But, I also gain some with the Fuji, smaller body, easier to balance on gimbal, autofocus for gimbals, and no need to lug around 2 cameras and more lenses for each system. This last argument is whats making it harder to just keep both. The fuji regardless is staying, because its my main photography camera. Its a keep the fuji or keep both choice for me. I am going to do more tests once the sun goes down a bit and see how they fair outside of the harsh light I tested today. Right now, I am leaning toward sending the pocket 4k back, just to simplify things. When I have too much gear , over stimulated/whelmed with choices - I end up NOT being creative. This is why I have always liked hybrids as a photographer, the camera is always on you and ready to shoot video when you need. Decisions, Decisions... I am open to answering any questions on either camera.

Its not better than P4K only because the 2 simply shouldn't be compared. The GH5 is a video camera and the P4K is a cinema camera. This is another apples to oranges comparison..

I can guarantee the moment we get the miracle that is full frame 4K/60p, we will want medium format 4K/120p

Some threads are starting to read like somebody's personal SMS app. It's ridiculous. Let's calm down, think before we post, if we haven't got anything new to add apart from 20 pages of chitchat!?! No? Let's not post! I am fine with some chat but not EVERY PAGE. Deal?

Nice idea, but would have been more useful if he'd filmed off the HDMI feed to show the AF working, rather than film himself holding the cameras and putting up a rating out of 10.

My 4 year old has a Sony PD170.

Seemed like a mixed bag. Some third party didn’t work at all (yet), some were almost as good, some worse. The Nikkor 105 f1.4 and 85mm 1.4 performed basically the same. Its worth noting that he’s comparing it to one of the fastest AF cameras on the planet. I wish he would have included a Z lens as a baseline for the Z7. Also wonder how it would compare to older cameras like the D800/D700/D610 et c. Mirrorless has come a long way to even be comparable to a new DSLR. Still some ways to go.

If we assume the most probably outcome, it's that the Z7 4K looks like the D850 and the Z6 4K looks like the A7 III. The Z7 4K in full frame mode is excellent, same as my D850. A tiny bit of aliasing on very high contrast diagonal edges, but that is to be expected going 46MP down to 4K. There are no real issues, honestly, same as D850 which I loved. It's detailed, it's cinematic, it's got a ton of dynamic range and a nice codec, with great colour science. Rolling shutter is well controlled. Switch to APS-C mode and it is supersampled from 5K, just like the D850 and the A7R III. In full frame it is slightly superior to the A7R III, slightly smoother looking and less aliasing. Now the Z6 we are told by Nikon is full pixel readout in full frame (like A7 III) but the APS-C mode has to be upscaled from something like 3K, again same as A7 III. So the Z7 is going to have the better APS-C 4K, and the Z6 will have a MARGINALLY better full frame 4K image assuming it does indeed ape the A7 III's full pixel readout (6K to 4K). Until the Z6 actually arrives, we won't know for sure, and there may be issues we're not yet aware of or Nikon might decide to take features out, or reduce their potency. On paper, the specs look fine, but the devil might be in the detail. If it works out as expected, the Z6 is going to be a big fat bargain, and preferable to the A7 III taken as a body in isolation... Once you start talking lenses, adapters, etc. Then it gets more complicated.

The Cameras In this corner, we have the Sony F3--episodic TV and corporate/commercial workhorse, best known for its use on season 1 of Key and Peele and the feature film Safety Not Guaranteed. Super 35 2.4K sensor that downscales to 1080p in-camera. 10-bit output up to 4:4:4 RGB. In this corner, the Sony A7 III--a modern hit, barely out and already one of the most popular mirrorless cameras around. Full frame 24 megapixel sensor that downscales to 4K from both the full sensor and from the APS-C crop. 8-bit 4:20 internally, with the option for 4:2:2 externally. The Test I generally light my work, so I thought I'd test with a scenario I often face: talking head interviews. One big soft key, a soft backlight, something splashing the background, maybe a practical. Now, this is a hella lazy, sloppy lighting execution--the backlight is a little too far around, background splash not nearly strong or interesting enough, and there's a huge bit of blank wall amidst the clutter--but it does contain some useful information. More on that after the camera notes. Just keep in mind that it was a rush job and try not to be too critical. Each camera used the same Leica R 35mm Summicron set to f/5.6. This was to keep color, contrast, and sharpness consistent, as not all my Rs match perfectly and I wanted any differences in the image to be down to the cameras. I did not adjust the tripod distance, instead opting to let precise frame matching go in favor of minimizing inconsistencies. I'll do another test that keeps framing identical. Since I unfortunately couldn't get ahold of a color chart for this test, I have a few various colored objects in the scene to act as references. The sweater is a deep forest green, the hat is a pale pinkish-red, the UHaul logo is a distinct orange, and the furniture blanket is a nice primary blue. They don't line up with anything specific on a vectorscope, but I find the subtle differences in how these colors, along with my skin tone, are rendered is quite telling. Yes, that is me in the video. I am not a model, or really comfortable on camera at all. My being in the hot seat was PURELY a matter of desperation, as my roommate was busy and I didn't have another day free to do the test. So you'll have to deal with my pale, blotchy face and greasy hair this time. The F3 has two sets of clips: one taken internally in XDCAM, one externally in ProRes HQ (10-bit 4:2:2). I don't have access to a 4K recorder, so the A7III files were all recorded internally to the SD card. If you have any other questions on my methodology please feel free to ask. Even with the studio conditions, it's very possible that something was overlooked. What to Watch For Personally, these are the elements I found most interesting. -The colors of the various objects listed above, as well as their relative brightness. The A7, for example, makes the blue moving blanket much brighter. -The big patch of blank wall behind me is a great place to watch for midtone noise, compression artifacts, and banding. -The black portion of the moving blanket, back right corner by the boxes, and the shadow by my left ear under the hair are good spots to look at shadow noise/compression. -Obviously, the face is there for skin tone reference. I'm pretty pale, and exposed a stop above key to keep noise down, as I generally do in a real interview. This pushed my skintones into the flattest part of the LOG curve, smoothing them out a bit, but in this scenario that's not entirely undesirable. Just something to keep in mind. Additionally, my eyes are a pretty deep shade of blue, with some green flecks. The cameras and color profiles render them with mixed levels of success. -My hair, beard, and eyes are all good places to look at for fine detail rendering, noise, and moire/aliasing. -The lightbulb and background splash were an attempt to look at highlight roll-off, but upon review it doesn't seem all that useful. The next test will use a stronger light doing a better scrape for DR/gradient, as well as a bulb with a filament to see how each camera renders hot highlight detail. The Footage These clips are straight out of camera/recorder, with no grading or edits. I could've at least trimmed them for brevity/convenience, but I...didn't want to. So. Sorry. You'll find them at this link: https://drive.google.com/open?id=159ig4Dq7emsxIE6GWpwj8H9SX73XMSQU Feel free to download them and play around. I can show you my grading results, but I find nothing helps more than massaging footage yourself. Here are the settings for each clip: F3 1. 1080p Cine1 F35Like ISO400 172.8* shutter f/5.6 (I don't know if F3 internal profiles suck or I just suck WITH them, but getting a good SOOC result with it still eludes me. Think I'll try the AbelCine stuff next.) 2. 1080p SLog1 SGamut ISO 800 172.8* shutter f/5.6 (ISO 800 is native in SLog, which is why it jumps here. Everything is otherwise identical.) 3. 1080p SLog1 SGamut ISO 1600 172.8* shutter f/5.6 (An attempt to test overexposure. In retrospect, I should've opened up to f/4 instead, but this still shows clipping behavior when cranking up ISO for exposure.) 4. 1080p SLog1 SGamut ISO 6400 172.8* shutter f/16 (High ISO noise test. The levels themselves are pretty good, so this is more a test of how much penalty you pay for cranking ISO to get by with smaller fixtures inside.) A7III 1. 4K Cine4 SGamut3.cine ISO 400 1/50 f/5.6 Full Frame (with +15 or so saturation. My favorite out of camera profile so far.) 2. 1080p Cine4 SGamut3.cine ISO 400 1/50 f/5.6 Full Frame 3. 4K SLog2 SGamut3.cine ISO 800 1/50 f/5.6 Full Frame (I prefer SLog2 to 3 for banding and skin tones. Like F3, 800 is native for SLog) 4. 1080p SLog2 SGamut3.cine ISO 800 1/50 f/5.6 Full Frame 5. 4K SLog2 SGamut3.cine ISO 1600 1/50 f/5.6 Full Frame 6. 4K SLog2 SGamut3.cine ISO 800 1/50 f/5.6 Crop Mode 7. 1080p SLog2 SGamut3.cine ISO 800 1/50 f/5.6 Crop Mode 8. 4K SLog2 SGamut3.cine ISO 6400 1/50 f/5.6 Crop Mode 9. 4K SLog2 SGamut3.cine ISO 6400 1/50 f/5.6 Full Frame Again, I'm happy to clarify any questions on my methodology. This was mainly to give me a nice broad spread of information on how my most used settings compare for quality. Conclusions I'm more curious what you guys think, so I won't say too much right away. My main take-away is that the F3 is nowhere near obsolete yet...in fact, it's my preferred camera for noise, color, skintones, gradation, and overall look. The A7 has the obvious advantages of full frame, strong internal recording, size/weight, and IBIS. Next, I want to see how each camera does with fluorescent, LED, and daylight skintones, as well as mixed color temps, motion, compression/bitrate issues, DR, and resolution/detail. If you have any suggestions for future tests, or anything you'd like to specifically see compared, just let me know and I'll do my best to throw it in. Thanks, and hope you enjoy!

***Warning: this video contains violent imagery*** DIRECT LINK > https://vimeo.com/294887322 As the cinematographer and editor, I was lucky enough to have a big hand in crafting this music video. It was shot in 12 hours, with every facet donated by friends and fans of the band, to coincide with the release of OLD BLOOD's new single "Enjoy. The Devil". Director was thrilled with what he saw from the camera on set. I used my Contax-Zeiss lenses modded with fixed 2x oval apertures, and with a Tiffen Black Pro Mist filter. This was also a great way to break-in two new Aputure 120D Mark II lights I'd just received.

The highlights in general are better on the pocket, but that’s mostly because of the RAW. Not sure I said the DR in general itself was miles ahead. I am going to run some tests in better lighting and hopefully I’ll be able to share. Both great cameras.

True, not much EVA1 DNA, but plenty of human DNA.

Its at least a flop in the UK, because the FS7 was released and Canon couldn’t beat many of its features. Now, the FS7 is the most rented and requested camera. The C300 II is nowhere to be seen, where before the C300 was always No.1. For sure, the Canon has the prettiest image and DPAF, however with more productions calling for high quality HFR - Sony succeeded massively. The FS7 today still has sexier specs than cameras released now. Even on shoots now with many cameras and shooters (at least the ones I’m on) - I’ve seen all the cameras being used are Sony now, where in 2012 it was all Canon. They’ve simply lost their hold. I love the C200 image, it’s stunning. I’d have bought one if the HFR was better. I could see it working with the X-T3 nicely. But with a lot of my clients asking for high quality HFR, EVA1 it is. Like the topic title, camera choice is important. My advice - stick to a brand and just go for it. Minimise swapping them around and only change if the difference is greatly beneficial.

So, rather than fill the Pocket4K thread with useless arguments, lets argue here. DBounce........fire away!

Good find. Yes, the lack of sharpening on the Pocket is another huge plus. I love the smoothness of the image while at the same time not lacking detail at all.

A Picture Profile is nothing like a LUT. Nope, people will still make great home videos/ low budget films etc on the GH5 once the GH6 is out. OK, so the GH5s has TC input but you lose IBIS. Which camera are you comparing here? Yep, needs an iditional add on making it a bigger, more expensive and heavier camera. Again, bigger, heavier, more expensive This is so much more than a codec and it's a massive advantage. No but it suggests that the materials used are strong. Last time I checked, FCPX, Adobe Premiere and AE were not included with any Panasonic cameras. Has this changed? Thats because you can't shoot raw on the GH5. I wasn't all that interested in this feature either when they announced it but having used it, it's actually really handy. ?‍♂️ Good grief.......obviously (or maybe not to some people) the GH3 was not six years old when I had issues with it. It was less than a year old. You can use OIS lenses on the Pocket. You can put the pocket on many gimbals. I really don't know where you are getting your info from? I'm not sure of your background, but I've shot on many cameras from BetacamSP (Manual Focus Only, no weather sealing) to the Red Weapon and Alexa (Again, MF only and no WR) and operated all the cameras without a crew. Just because you don't have AF doesn't mean you need a focus puller. Have you not seen operators pull focus off the barrel while looking through the EVF? It actually works! Skate videos have been shot without AF for years. Personally for my work and even just my creative standards, getting the shot but seeing some AF hunt is personally not acceptable to me. I'm pretty happy with how my eyes and focus ability are though and will trust them over AF. Ive had the camera for two weeks now and used it without a crew. It's an easy camera to operate. I do wish the screen would tilt, it seems a shame to have such a nice big screen and not be able to use it all the time. At the same time, while most mirrorless cameras screens do tilt, I've always found them too small so like to rig a bigger monitor or EVF anyway. Even just the fact that the screen is so big on the Pocket means that using the touch screen is such a joy. Can't say the same about the touch screens I have used on mirrorless cameras. Ive always maintained that most people don't need RAW due to the large file sizes, hardware requirement etc. 10bit is enough for most people. After thinking about Blackmagic RAW recently, I've now changed my mind. While large budget productions have much more control over varying conditions, solo shooters do not. A solo shooter has a lot to think about and it's more likely that a solo shooter is going to have to compromise on DR due to not having a gaffer on hand, or is going to forget to set the WB correctly for a shot due to lack of time and having so much to think about. If that shooter could now shoot RAW but in a flavour like BRAW which is easy for most modern computers to handle, can be shot to cheap SD cards and requires less drive space than many 10bit codecs, then why wouldn't they want that? For run and gun shooters, BRAW makes a lot of sense where CDNG raw didn't. BRAW doesn't make a bad shooter great, but it can be used to fix mistakes easily......Good shooters, bad shooters.....we all make mistakes every now and again. DBounce, this camera is obviously not for you and you have made that quite clear. I just don't understand why you feel the need to get on the Pocket4K thread and constantly argue about why the GH5 is better. I haven't felt the need to get on the GH5 thread and talk up the Pocket or shit can the GH5. Can we keep this thread about the Pocket4k, it's getting really tiring trawling through pages and pages of silly arguments. I have made a new thread.....feel free to continue the argument there please. I'd like to converse here and share information with others that want/ have the camera.

I think it looks very pretty What lens is that?

Thanks for that. Sonetimes I convince myself I have certain needs, and then when it comes to it, I realise i don’t. Theres many reasons why the GH5 has stuck with me, as I feel it makes room for more thought on creative ideas. I’m being asked to do stills more with video these days, and I’ve used the GH5 again for that. Personally, it’s not my flavour. I do have the EVA1 and I can’t give much of a review on that yet, only used it once! But I had an FS5 before and I sold it as the overall “technological” image wasn’t connecting with me. I love Fuji and Canon images, so I’m always curious. In all honestly if I didn’t need great HFR options, I’d have the C200. They really under delivered on the C300 II, and in my opinion, it’s a flop. Again, they lost me as a customer there too. I usually have to leave my emotional desires aside and have to pick the tools that meet the requirements of my briefs, hence the EVA1 having to come in. So I’m going to settle with these Panasonics and forget about all these distracting new releases. I want the quality of my work to step up further, and this will all be down to hard, focused work.

Do you guys think this is a good power supply option for the Blackmagic pocket 4K? https://www.adorama.com/sxpbelpe6.html?gclid=EAIaIQobChMI-ZauyoyE3gIVF6rsCh3IYQkZEAQYAiABEgLbCPD_BwE

Well the guy told me he used one lens, a somewhat cheap one, and a Smoke Machine. I guess it was that damn Smoke that made it happen. ? I have talked to him several times on Facebook where I met him. He is a damn talented guy. And your right, if your good, your shit is good, hmm, I have to go now... ? https://www.youtube.com/results?search_query=Kallie+Skys

They react. BMD case these days. Panny has had some other story though. Not my advice as senior consultant for more than 25 years today. My dear Don, almost any camera can look better than the most recent technology in that so small box like GH5S is. It just depends on the shooter... (E ; -)

I'd tend to never be a fanboy of a company self-centered into the broadcast sector when we live media convergence days as ever before, if some people haven't understood yet. I don't find hybrids to be bad cinema cameras, rather the opposite or this website wouldn't even exist. Neither this thread with more than half million of views, trust me. People come here not because they're not happy with their hybrid cinema cameras. Only because they want much more. Hybrids are reaching that one. As observer and industry player, I'd say 5DII was only the first stone to be followed by that 'S' model by Sony with Panny to include 10-bit 4:2:2 in-camera, now even Fuji has added their 4:2:0 version. How long up to arrive to the BMD standards? Will it be so long? Is anyone sure of that will be a long road from today? C'mon... Why that same GH5S sensor? I've even asked to someone top ranked inside BMD, just a few days ago and he was unable to deny it... Disclosed information, he defended himself. Give us a break for a very simple reason: market and its players will dictate that one, step by step, from any incremental introduction now because giant leaps have been taken. Not marketing -- rather different than market(s) who actually establish the rules.

The 1080/60p is really detailed. I noticed that in my test. Upscaling it to 4K works very well.

I wouldn’t go that far. But whatever advantages it may have comes at the expense of some important functionality when operating alone. Many discount the need for such features with the excuse that it’s a cinema camera. But cinema cameras generally use cinema lenses with distant markings that are used in conjunction with position marks on the set so that focus can be set beforehand. How many P4k users will be doing this? That’s just one example, but needless to say many of these features on hybrid cameras exist to make the task of capturing the shot plausible for a single operator. Don’t worry most will never get those shots. The skills and crew required will keep such imagery safely out of reach of most. Goggle Red Raven footage and get ready for a feast of out of focus shots?

Actually I was referring to Buckminster Fuller and His Bucky Balls LoL. Not that I really have Ever seen His balls in person! ?

The bravest cowboy in the west.

Bloody Hell! Reminds me of Real Snuff Films back in the day. Hmm. I really don't see any EVA1 DNA in it to be honest. I watched 3/4 of it and stopped. Not my cup of tee.

Kye, I'm afraid I have not too usable advice about VFR modes - so far I'm not using slow motion for my needs, except very rarely 60p, and that just because of better stabilization or exposure controlling usage - saying that, as far as I know you can use HLG mod in 60p... But I'm sure Jon Pais have all answers. As I already mentioned, I tend to treat any camera as much as possible as base cinema type with as low as possible bothering with settings - even thinking about AF buttons looks too complicated to me (besides being uninspiring)... Just set ISO and WB, HLG without bothering with lowering sharpening and NR and other settings, as often as possible just 24p, always MF lenses, etc. - sparing all precious time/concentration for evaluating composition of image. And enjoying/trying to master manual focusing precision... that's I'm always shooting with Atomos recorders and why level of smoothness and extremely precise linear focusing respond are, for me, the most important feature searched in lenses. What I missed from BM cameras is corrective advantage of raw files. 10bit image of GH5 offer indeed great and enough flexibility in post, however you have to think about close-to-proper WB... but I tend not to think about anything, just about picture in front of me. In GH5 you are safe up to iso 1600 although in dark conditions there are always some grains above iso 400 but it is very fine and often even desirable. BTW after all talks and personal testing, for me that's where finished GH5s difference - in GH5s you are safe up to iso 3200... of course, I'm talking about aesthetically and professionally most demanding shooting scenarios. Some kind of NR can spread range in one stop above respectively... Internal GH5s NR becomes too aggressive above iso 3200 and image, especially with humans, looks too cheap and plastic. Color science... GHa is a little marvel of devotion and knowledge. Combine it with Resolve's precise grading instruments and you can mimic quality of look of any high end cinema camera for exporting in HD resolution. That's one of the wonderful example when progress in technical side of simulation capability (anatomy of color, digital achievements in providing its impressions) and person's know-how, beat market position. Yes, today you can shoot totally competitive movie with GH5, as also with Fuji XX or Sony A7iii or Canon-Mercer etc.. If you are UK located, I've found that Ex-Pro newer type of battery (those with bigger capacity) are perfect for replacing original one, as also for Sony battery for Atomos recorders... (And in UK you can buy new GH5s for about 1850-1900e at the moment, GH5 for 1380, order Pocket 4K for 1350e...) EDIT: As idea, if you already didn't find it - you can map all important settings just in joystick's positions! I don't know if it is possible with other cameras, but that's so great for lazy persons like me...

Ah, shame on me for having a few drinks and getting sucked back into this constant debate about what is better! Firstly, lets just get this out of the way. No camera is better! Is Panasonic still going to sell plenty of GH5's? YES! Is BMD still going to sell plenty of Pocket4K's? YES. Hasn't everyone learnt yet that no single camera is a 'GH5 Killer' or '>insert other camera model here< killer? Now that that's out of the way other than codec the Pocket4k has the following that the GH5s doesn't: - 5" 1080p screen - LUT support for viewing or also can be baked into recording - Timecode input - XLR input with phantom power capability - USB-C recording - CFast recording - Editable metadata for every shot/ file including lenses used, focal length etc etc in each file - Internal RAW - Soon to get, Internal Blackmagic RAW for 12 bit RAW to SD Cards. BMD have confirmed it will be getting BRAW. - Proper False Colour (not a silly LUT hack) - Arguably, but seemingly better colour science. - A far superior and easier to use menu system. This is a really underrated feature. Shooting with and operating the Pocket is just so much faster than any mirrorless camera. - Build quality is arguable too. The Pocket4k uses a polycarbonate / carbon fibre mix. My $6000 mountain bike that gets a heap of abuse has a frame that is also made of plastic/ carbon fibre! It's extremely tough stuff and lightweight. To the uninitiated, the lightness can be confused with 'cheap feeing'. - A far superior workflow from capture to edit. - Should I list all the features of DaVinci Resolve Studio here? I could go on and on. The Pocket4k is in it's infancy as a product. There is no reason why a battery grip couldn't be made for it. Warranty wise, I had issues back in the day with a GH3 and Panasonic were a PITA to deal with for warranty. Had an issue with an UMP and BMD promptly fixed it. Comparing a mirrorless hybrid to a camera designed more for cine use is really silly. You know most mirrorless cameras also have heaps of features that the Alexa doesn't? Alexa doesn't have AutoFocus, flash support, or NFC, or or dual SD card slots, or work on 100% of gimbals.........is it a bad camera? But where Alexa does win is image, codecs and ease of use for shooting video so it's a bit ridiculous to dismiss these in the Pocket4k as that is what is most important in a cine style camera. Video Codecs are NOT the priority in a hybrid mirrorless camera. While you may look at a spec sheet and see a long list of features on your mirrorless camera, I guarantee that a proper DP, editor or Colourist is not going to give two shits about 99% of those features. But hey, if the feature you find on the GH5 are important to you, then just buy a GH5. The great thing is, you can choose what works best for you. But ultimately, all those features do not contribute to a nice 'cinematic' (I hate that word) image.

Its also a huge boost at a low price for anyone with an LS300 as it allows you to record 4K60p without the additional bulk of something lile the Ninja Assassin. More signifcantly, I can see a lot more 5" loupes becoming available because of this monitor so it can be used as an EVF, which means it can also overcome the LS300's achilles heel of it having an absolutely abysmal EVD and flimsy LCD fold out monitor.

I agree, but I haven't seen those statements either. I have worked extensively with the GH5 and I am 100% sure that P4K will have much better image, like the GH5S has already. Having the same sensor as the GH5S, a bigger monitor and a much better internal video recorder, with half the price (in my country) making it a very interesting option, don't you think?

I don't have Pocket4k, but with previous experience, first to come in my mind for comparing with Panasonic is - question of reliability of parts, connectors, even electronics. Maybe there's no reason to worry, I don't know. Also GH5s is in some sort of discount at many place (in Europe it seems that difference is about 550-600e now even in clean distributors, but Pocket is not yet available) - at the moment that you can really get Pocket in hands, price will be even closer. But - as already being mentioned before - GH5s and Pocket, although similar actually are also very different, highly depending on other components and preferences of your usage chain as whole (starting or not from scratch, other camera in disposal, raw usage, and mostly your budget - it could be easy turning out that Pocket finally become more expensive than GH5s!).

Congratulation... I think that GH5, with its plenty of customization choices, offers also extremely simplified, a la "cinema camera" solution for concentrating mostly on composition's tasks. Maybe as probably totally needless little suggestions that me personally like and use extensively: - explore greatly effective ETC solution and set it to one of the button or mod - try to shoot everything with HLG, because there's so little or nothing of settings to bother with (as with Vlog) and results are the best in DR (resolving shadows/keeping highlghts - besides it will work easy with GHa luts in post - set button switch for two different ibis options, regarding "steady" (IS video lock) and "moving" stabilization goals (also you can set 3 different custom option for quickly change 3 focal lengths) - As you already mention, @Sage approach totally change not just "color science" and resulting look, but also, and more important, DR distribution that greatly bring up usability of tonal range (for my preferences, I like the most conversion to Alexa's log and than look for further grading if I really need it). Regarding 4:3 open gate mode, it seems that there's less sharpening in it, but files are huge and demanding and have to be converted first even for the extremely powerful computers. Of course, for some difficult and unprepared compositions task, it could be life saver... but I'm sure you already guess it better than me. For artistic inspiration - we are happy here to have some talented shooters with obvious open minded freedom and time to explore their talent, say @Oliver Daniel as first to come in mind. For different orientation in professional spectre - If you did not already, maybe check infos and suggestions from that nice professional wedding shooter couple "White in reverie" - although their color preferences wouldn't be your first choice also, but they obviously are very serious in business and not joking at all preferring GH5 for its friendly and wide working flexibility/usability/durability. You have 2-3 more clips on youtube...

And it will have rolling shutter with telephone poles that will look like the palm trees during Hurricane Micheal just did. ?

I'm now an official member of the GH5 owners club. Spent three hours last night trying to understand the settings and set up the camera how I want it. I am so confused!! I'll work it out, but holy wow, the complex interactions of the record format, record quality, VFR option, and system frequency settings are making my brain hurt..

I want IMAX 8k 16bit 120p for 1999€, I already got the lenses

Lol... probably not. If you stick up for the GH5, the BM fanboys attack you, if you stick up for the P4K, the GH5 fans go nuts... I may as well talk to myself in the ML Raw forum... I’ll definitely like what I have to say... ? In the end, these are just cameras and it’s not worth getting angry over.

If you need to color grade then raw is the preffered option. Isolating skintones even in 10 bit is not a perfect science. There is still a fair bit of blockiness. The bmpcc has a good codec but its advantage also lies in the fact that the image, sans grading, is more pleasing as regards skintones etc. This saves a lot of time in post. It also looks more filmic and has better motion cadence, that is, it is generally more like film. Whereas the japanese mirroless cameras dont have the same pedigree and in fact lean more towards a camcorder look. So i dont think codec is the only difference. This was always the appeal of the original pocket.

So my generic knock-off is still working fine. Displaying battery life and everything. You're right, there is probably cause for concern on the build quality of these cheap batteries but I've yet to ever actually hear of one swelling up or exploding *touch wood*

Can I make a small request. If you see a post you want to comment on and it has, like 6 massive images, do us all a favour - don't quote, just reply under it and mention the username. We don't need to scroll through 20 of the same images on one page, thanks!

Yes, it's not good news on that front. It's a shame as the image is actually very pretty. Review coming soon.

Thank you! I didn’t come to this topic to be a dick. I am working on a few short scripts (and features) so of course I’m interested in the P4K, but from what I’ve seen so far, I’m not convinced. However, I am glad that the people that bought it are happy with it. I just hate this mob mentality to attack any person that dislikes a camera, or even dares to question it... it’s like Grant Petty is offering free old fashioneds to anyone that sticks up for the P4K. Yeah, a little hyperbole in my word choices.

Did you crop in post or use Clear Zoom? Clear Zoom works great for jpegs and video and you can effectively turn the lens into a 2x zoom for video with little loss of quality and use it while filming. Sigma has come a long way. I have had four things Sigma, A 28-200 zoom lens that came as a kit lens with a Pentax film camera (Pentax and Sigma had the same distributor in Australia so Sigma lenses were often bundled as kits), it was ok with film but terrible with 6mp Pentax DSLRs. A 200mm MF lens I had briefly before I destroyed it- Was a failed experiment by Sigma I think (had an extra adjustment ring from memory) and it was by far the worst lens I have had that wasn't broken or damaged. An adapter that turns Minolta MC/MD manual focus lenses into auto focus A mount ones (similar to a Pentax 1.7x auto focus adapter and a few others). A 150 2.8 APO macro (non OS version). This one I love though it does play up adapted to FF E mount. The latest art lenses look excellent and quite good value but are a bit too big for my liking generally.

So, I’m not really invested in this conversation since it is doubtful I will buy a P4K for a long while, but here’s my 2 cents... There are some flaws with this camera that didn’t exist once the OG Pocket matured via FW updates. Those FW updates fixed the original camera. So, I know everybody loves their new P4K and don’t want to mention any downsides but they are there so ignoring them won’t help in the long run. We already know that people from BM check this post, so if you have an issue, scream it from the rooftops, so BM will address it with a FW update... they’re really good at that. Ben has some valid points. This camera should theoretically murder the GH5, but from what I’ve seen... it doesn’t. The DR is similar or only modestly better. The GH5 actually handles the highlights as well or better and I am seeing something funky with the color... specifically with greens... I don’t know if it is a slight IR pollution? All in all, I am impressed with the P4K, albeit a little clean and pedestrian for my goals, but this isn’t our spouse we’re talking about here... it’s okay to mention its shortcomings.

You mean 99% of shows, some like game of thrones are so industrial. https://www.facebook.com/TeamARRI/posts/heres-an-inside-look-at-battle-of-the-bastards-its-the-game-of-thrones-biggest-v/10154274524264061/ From what have seen, 99% of amateurs will shoot RAW because they think it is going to make a difference. In fact if you can't do good to very good video/film with a 10 bit log prores file, RAW won't change anything. The garbage in front of the camera won't miraculously transform into gold just because it is raw.

EOSHD TV in 2 years: https://www.youtube.com/watch?v=SVHAd3jwZy0

Pretty confident the Z6 sensor works in a similar way to the A7 III, but I prefer Nikon's colour science and higher bitrate codec to that camera, so for the same price as the A7 III along with the better ergonomics, it's a good choice... going to be more attractive than Sony for a lot of people. Now, if only they would release the damn thing in the shops. What we shouldn't get too hung up on is the pixel binning, vs 1:1 readout, vs supersampling. I am not sold on a "sharp" 4K image. As long as it doesn't have a moire & aliasing problem, I'm fine with the amount of detail I get across a very broad range of 4K cameras. I don't mind that the EOS R is on the soft side. It actually helps it when downsampled on YouTube, or on someone's 1080p laptop screen or TV. A sharp Sony A6500 image tends to get GH2-syndrome and people say it looks too digital, because the downsampling of a streaming browser player creates nasty aliasing and a fatiguing image from that sharp detailed 4K file. That's not nice. With the EOS R, the image is soft to pixel peep, but nice to actually WATCH in the real world. In fact I am warming to it having seen the images, it's not all about specs. We engage emotionally with images when we watch a film. We don't count the pixels. However when we try to qualify the quality of an image from a camera, in a review, we DO count the pixels! It's a strange paradox, a disconnect between how we actually need the image to be on screen, and how we think we need it to be.

Wow thanks Kye, that was really kind of you to say!! I haven't tried the 6th version yet. Is the aperture still f1.8 on the 24mm end? I have only tried the camera controls once. A cable connects to the camera and you can start and stop the recording as well as control the zoom. I don't find it that useful to be honest, but I guess maybe I never got used to using it. I usually preset my zoom and then start from there. Actually now that I think of it, I only tested this out on the Zhiyun crane v2 and not the crane M. I am pretty sure that the Crane M can do the same though... Quick question, does the background knock oof a lot at around 100mm? And is there still macro on the camera for the v6?

None of these recent camera releases has persuaded me to parts ways with the GH5, here’s why: - Ergonomically awesome for video with loads of custom functionality. Feels MADE for video. - 10 bit 4:2:2 codecs are very strong. - MFT sensor, while Speedboosted, is easier to focus than a full frame sensor. Very adaptable. - Great battery life. - IBIS is excellent. - EVF and Flip Out LCD are awesome. - @Sage Alexa conversion makes it a different camera. - Anamorphic modes. - Monitor LUT - super useful! I’ve tried the AF on a gimbal with the GH5 and it works quite well. Not Canon or Sony level, but decent. Theres features in the other cameras that look appealing, but the way I view it, how much will it change my videos? I’ve opted to spend and upgrade my lighting to a full Aputure setup and camera movement. These things directly influence the picture more and invite increased skill and knowledge in composition.

Scary stuff. Glad you got it sorted. I was a victim of something mysteriously draining my bank account recently myself and here I am on my to tell my wife that our account must have been hacked.