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Here is a 3:1 compressed cDNG file straight from the pocket 4k. I believe that you can only open it in Resolve. https://www.dropbox.com/s/f1yfi1iz0f9xmco/A002_10091348_C019_000024.dng?dl=0

Just got my order allocation at CVP

Unless a YouTuber or any kind of reviewer is an absolute expert at grading they shouldn't bother. Otherwise we get to review their grading and not the performance of the camera. 99% of the videos out there so far on the Pocket 4K have taught me absolutely nothing about how good the image is vs the LOG shooting cameras like the GH5. What I want to see is the absolute data in the files, how much you can pull it around, the noise, the dynamic range and then with an expert grade on both to bring them as close together as possible, what inherent advantages in colour science do we see from the Blackmagic codec vs the others. Of course if Blackmagic had been paying attention to EOSHD for the past 4 years, they'd have realised that I would have done all that out of my own enthusiasm and free time for this camera, and their customers would probably be very happy to see how it does performance wise, but instead we have a load of hacks and PR stunts with the camera. It's sad to see. My friendly advice to Blackmagic, with beer in hand, healthy respect and no personal grudge is simply this... - Quit the long lead-time situation from NAB to shipping. It's infuriating to be teased. Do the marketing from the moment you have the camera finished and manufactured in large quantities and not a moment earlier. - Quit sending 10's to 100's of demo units out as seeds on social media. Let your early adopting customers be the first to put the tests up. We can trust these. We don't trust the shills. If you need great looking films and material to show off the camera, you can do a lot better than looking at YouTube and Instagram subscriber numbers. There are actual top-flight Hollywood cinematographers who are interested in small cameras and a host of big names who take a natural curiosity in new gear, without being marketing shills and without the need to be paid-up or foisted a camera upon. Let their natural enthusiasm get the better of them and at least one of them will shoot. - Put an articulated screen and an EVF on the next model. There are $400 cameras with these. - Keep up the good work on Resolve and the codec side - it is superb.

Hope to make some time to play with this bad boy we just added to the collection. Also picked a second body and another Ninja V. I think these cams play nice as B-cams to the C200. Moreso than the 1DXMK2... if that makes sense.

Thank you, the sample DNG already contains high cliping, left down in those lights, any manipulation with ISO will no longer help with this overexposure. The dynamic range is definitely worse than the old pocket and, unfortunately, the colors, I have been doing a lot of adjusting DNG and ProRes from my old pocket for a long time so I know what it can do. that color noise in the shadows is unpleasant. The colors are much worse than the old pocket! it helped me in that I definitely will not sell the old pocket ? Thank you.

The biggest problem that Sony Alpha has,....is Sony XDCAM. Its going to be politically hard for the Alpha folks to add 10bit, 4k, 60p, 400mbp/s internal recording with no recording limit to a new A7S-III. This is what they will probably face with a Panny S1 competition at NAB 2019. If Apha does this, XDCAM managers with scream bloody blue murder to the highest Sony executives. XDCAM does NOT want a Sony camera like this to exisr for fear that it would cannibalize far more expensive camcorder models. Actually, Im certain our favorite Panny EVA1 manager is very nervous about the idea of a fully loaded FF Panny S1 under his EVA1 either. (No, he has never actually told me this) Guys,...this huge shift we are seeing in the industry scares a lot of marketing execs and is probably making everybody scramble to try and figure out how to fight each other without stabbing themselves in the process!

Aputure are the Blackmagic of the LED lighting world

So much for SAR's A7SIII and A7000 gonna be released anytime sooon before the photokina stuff, now pretty much everything will be released from next year. There wont be major Sony announcement for the reminder of this year for sure. and wolf33d's A7SIII gonna be released one month after GH5 release thread is a good laugh for me everytime ?

By the way he says the camera will be better than customer expectations. Then he says customer want 4K60p 10 bit 4:2:2 with better AF. So this means the camera will be better than that. Looking forward to getting my 4K120p 12bit A7S III with Canon-like DPAF !! ?

The new pocket 4k blows the old one away in terms of dynamic range and color reproduction. Many shots online are just overexposed or lack proper grading. Btw, your shot looks great. Idc about the slight highlight clipping on the left - since it should be compressed anyway. Here's a take at your shot. Without any luts. Just a BM Pocket 4K color science to Rec709 CST at the very end after the grading. I wonder how many here would call the RED Gemini with its basically perfect yet completely realistic reproduction a videoish looking camera. Sensors are getting better. Both RED and BM deliver images without any visible processing with amazing color reproduction and stunning detail with a complete lack of noise - because why not.

Just did a very non scientific power bank test with the X-T3. I fully charged the battery inside the camera with the factory charger, and I wanted to see how much time it takes until 1 unit on the camera display's battery level indicator is lost when using 4K60 recording (and boost mode turned on) with a power bank attached: Anker 20000 PD: 25 mins until heat warning, I decided to stop the test there, indicator still showed full battery Asus ZenPower 10050 (no PD on this one, just a regular power bank): 17 mins No power bank attached: 13 mins It seems it's a good idea to get a power bank with PD support. Actually this is what Fuji recommends as well.

Mine has shipped today as well. I think I ordered it about half an hour after @JordanWright ordered his.

Only if you need controlled motion, in my case it's not worth the extra cost, I only use it for a few slides troughout the weddingday and then it's just fine to manually move the slider. That only works in the beginning of the day.

I'll just hang my 6 pack of "work" beer on it

Hadn't seen @Mattias Burling's video until just now, so sharing it for others as well:

One of the ways that I like to think about it is in terms of "tiers". For the average Joe, a G85 might take pride of place in their setup as an A camera. Their GoPro that used to be their A-cam might then be the tiny / crash cam in their setup. For some, a GH camera might be your A-cam with a G camera being your B-camera, perhaps if you're shooting weddings for instance and need backup angles for coverage and don't need GH quality across the whole kit. For others still, the EVA (or 8K S1?) might be their A-camera and the G or even GH camera lines might only be crash cameras. What I like about this is that is provides a range of cameras with increasing features and IQ that many people can use for whatever scale, budget and IQ is appropriate for their project. In terms of the new lens mount and 8K, do they go together? I'm not sure of the resolution of existing Panny lenses, but the new mount would be a sensible time to mandate a minimum level of sharpness. 8K video has more pixels than most still cameras, so I'd imagine the vast majority of lenses will be at risk of falling short. If that's true, then MFT lens only have to be 4K and 8K lenses are the new mount. That keeps it simple for consumers and would help explain why the new lenses might cost a lot. Agreed. Having the GH line firmly in the "small sensor but large body with many buttons" camp, there's room for things like internal NDs and other circuitry required for RAW recording and associated cooling etc. Panasonic seem to pride themselves at offering lots of new things into the market with the GH line and there's no reason why they can't continue that trend. 8K might be coming, but the excitement around the BMPCC4K proved that interest in high quality 4K is anything but dead. Tell me about it. I bought an XC10 and just upgraded to a GH5! This is the nature of technology conversion. The reason they're all touchy about overlapping product lines is that in the end there will only be one or two product lines and the process to get there will involve almost everyone losing their job. We all talk about convergence like it's the GH5 vs the BMPCC4K, but if you think longer term it's about the death of entire product categories.

Youtube doesn't allow re uploads as far as I know. Its not like Vimeo. Unless they have changed it recently, when you take down a video it is down. As are the stats, comments, likes and dislikes. I for one thought the test above was ok. I did my first 4K vs HD a couple of years ago and just like now, 4K vs HD on youtube is hardly visible, depending on the camera used. In HD they don't have as much aliasing either.

Poor Sony is trying to live up to the claims of that Weibo account, so the release gets postponed by 6 months with every new rumor posted there.

Thank goodness RED has never done that to us! edit: this is a RED thread no?

Read the comments. They are better than the article. It is more hype than truth even on IR's part.

I sold my Kowas and my Rectiluxes a while ago, and just recently got a GH5, so my timing is all wrong. hahaha. There are older versions of the Helios that have 13 blades, that's gotta be smoother. You can see the hexagonal bokeh from the Contax in my early tests using the 3FF-W. Not the loveliest shape, I'll admit.

uh oh

I loved the OG pocket. It had it’s own look. It was a pain in the ass to use for more than 20 min though, without rigging. The P4K is definitely a next gen in every way. Once they add B- Raw ???

I don't think it's a binary choice like that at all. We have the Pocket, Micro, UMP and new P4k. Always loved the look of the original Pocket. The Micro while a bit different is very similar and a bit better over all in noise, moire and detail I can make the P4k look exactly like the pocket/Micro in a minute in post but I could never make the original Pocket look as good as the P4k. The P4k is a totally next level camera and image.

It's 13 stops rated on both. But the FPN and regular noise on the original pocket as well as color shifts are way too distracting to call it usable 13 stops at least. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/techspecs/W-CIN-12

defo 13 stops mate! 'The Blackmagic Pocket Cinema Camera 4K features 4/3 size sensor, 13 stops of dynamic range and dual native ISO up to 25,600 for HDR images and incredible low light performance.'

If you don't like the 4GB file splitting and don't mind a bit of work, download ffmpeg, put ffmpeg.exe and your mov files you want to concatenate into a folder, and create a bat file (in windows) in that same folder with the following two lines: (for %%i in (*.mov) do @echo file '%%i') > mylist.txt ffmpeg -f concat -i mylist.txt -c copy output.mov Running this will concatenate all the mov files in that folder without re-encoding into a file named output.mov. Keep in mind that on an average HDD this can take at least 1 minute/4GB.

You will need to go smaller with the ring - you will be surprised how narrow the diameter needs to be...it is trial and error. I can’t give an exact diameter since I’m away from my lens to check. You can use a thinner ring and cut to the perfect diameter (glue the two ends together with micro spot of superglue well away from the lens). You can then glue that smaller, thinner ring into the thicker outside ring that you already have. It is a bit tricky to explain with words, but the end result is a bit like a plug that is made from one larger diameter ring (like you already have) to fit flush around outside edge, with one smaller diameter ring that is glued to the inside of that ring that acts as the baffle/choke mask for the actual optic edge. From memory, finding one single ring that can be the ideal outer and inner diameter is pretty much impossible...so some experimenting with many combinations should be expected. As stated before, glue a few size options well away from the lens and leave to dry to disperse vapours before test fitting near the rear of the Isco.

I completely disagree but glad it could be helpful.

Why say it is worse when you also can show? I"ll believe it when I can see it.

For single point LED lighting, Aputure's COB lights have been outstanding. Excellent colour, and very reliable. I love the Fotodiox Flapjack lights as well, if you primarily need soft lighting. Not quite as consistent colour wise (my 200RS has a bit of a cyan cast), but the light's shape is beautiful right off the fixture, and the round panels give an amazing catchlight.

Of course.. that makes the list something like: G m43, perhaps with a hi/lo philosophy, as the basic hybrid line GH successor as a proper small-factor cinema camera, with emphasis on video operability while retaining most of GH5/5s stills capabilities S as FF contenders against Sony and Canonikon with 8K ---OR--- EVA as 4K with much larger form factor with dedicated buttons etc Varicam as pro cinema line, including FF sensor and no-compromise operability Even if we started to add their fixed lens cameras below the G series, their entire lineup would still make sense and be useful to almost all film-makers who need A-cam / B-cam / crash-cam options. This clean hierarchy really doesn't seem to be common amongst the other manufacturers, who completely ignore parts of the market, or have large gaps in IQ between their consumer cams and professional cinema lines.

That makes sense @UncleBobsPhotography and would explain why I'm not getting 50MBps in the GH5 on a card that gives 80MBps in the computer I must say though, I went out again today and took some random test shots and the 150Mbps modes just floor me. Even the FHD 180fps mode looks great. The phrase "digital film" keeps coming into my head when I look at a clip, either fullscreen which looks soft and with wonderful colour subtlety or zoomed in hugely where it just looks like film grain. My vintage lenses will be helping with this, but even the 14mm F2.5 still gives that impression too. It's a mile away from the brittle and digital look most 4K mirrorless cameras shoot these days.

If they'd used mine to guide them then they'd still be up there circling it, doing U turns, having to traverse small streams and being unable to find the nearest ATM. Note he's got three different Walkmans there as even then Sony wouldn't put all the features he needed in just one

Exactly this. Zero to hero is a huge understatement here. I've been using Fuji cameras for photography almost exclusively for the last 3+ years and have been an X-Photographer for the last two and a half. "Video with Fuji" was comedy material 3 years ago. Now that I have slowly transitioned (or, to be more precise, returned to my situation 6-7 years ago) into doing 80%+ video work, Fuji has managed becoming a prominent player in the video field. I have the X-T3 sitting on my desk as I write this and I literally can't believe what they've accomplished in such a short time. True, there are several things that need polishing and a "proper" heavily video-centric X-H2 is still in the cards. But in my mind they have proven their commitment to this field. IMO they have to look into expanding and/or coming up with newer versions of their lenses that are more appropriate for video work. I have great hopes for the upcoming 16-80mm for example, since this could be an excellent run-and-gun lens with a future camera featuring IBIS especially. An external sound module or, even better, specialized multi-function interface/power add-on (see Panasonic DMW-YAGH) is also in order, I believe.

You know what: let's take this one tiny (sic!) step further. ? Perhaps it's time for Panasonic to man up and acknowledge the fact that what 99% of their GH5/GH5s customer base really want, is a Panasonic-made BMPCC4K. Meaning a proper small-format cinema camera with enough stills photography features to satisfy certain needs for a cinematographer (i.e. all the basic ones plus timelapse/stop motion animation, etc). They could even get away with using an electronic shutter only and, if global shutter becomes a reality, this is a moot point anyway. They could have IBIS and non-IBIS versions available (5/5S differentiation) with the "S" version perhaps using a multi-aspect Super 35 sensor with enhanced low-light sensitivity. I wouldn't mind the camera becoming bigger, like the BMPCC4K has. Getting rid of the "H" (as in "hybrid") element, or, to be more precise, downplaying it in favor of a video-centric concept will hurt nobody. Let's be honest, if someone really wants a true "hybrid" camera in the Lumix line-up, he has the option of the G9 and soon the S1/S1R will cover this niche in the FF category. Which leads into another hypothesis that is slowly becoming relevant: the S1/S1R will not be so much FF versions of the GH5 but rather of the G9. Panasonic will also have to sometime also make a S-camera with heavier video orientation. Going back to your proposed future Panasonic lineup: G m43, perhaps with a hi/lo philosophy, as the basic hybrid line GH successor as a proper small-factor cinema camera, with emphasis on video operability while retaining most of GH5/5s stills capabilities S as FF contenders against Sony and Canonikon with an additional version with heavier emphasis on video including 8K EVA as pro cinema line, including FF sensor and no-compromise operability

fun in the sun

The weather? The score deserves a chapter in the Holy Book... Super image of the Spanish flags.

Today I was shooting in the vineyard with GH5 and I took the old pocket, and I have to admit bmpcc surprised me again with better color and at least +2 feet of dynamic range extra. I noticed that I use a lot more pictures in my pocket camera. Only add saturation and contrast and it's there. In new pocket I see less DRs and a worse transition of highlights to clipping and of course colors are different and worse for me... the old pocket remains a loyal partner of my GH5 for beautiful B-roll or more cinematic work. Of course, working with old pocket needs more time and patience ?

They're just another tool set, aren't they? I've used monopods a lot for event work and other fast moving stuff. They are absolutely great, although I find some of the claims about them on this thread a bit of an exaggeration. Specifically there's almost always a bit of sway going on with them that distinguishes them from tripod shots. Also, the noise of the latches used to adjust height on my manfrotto monopod is sometimes problematic - not so much for ruining a shot, as for distracting the subjects and drawing attention to myself. On a very small number of occasions (coincidentally, I plan on doing so later today!) - I pull out my little GX80 and go IBIS handheld. It's a really good go-to, which means that I can pack light, be unobtrusive, move around swiftly, and get static shots that are equal in steadiness to a monopod. I say static shots - for tracking shots I find the movement quite unpredictable with IBIS, so I don't really use it in that way. So, yeah - a great new tool, that is going to compliment rather than replace the old methods. I feel similarly about AF. I'm all manual focus and have never had a camera with reliable AF for video. But there are certainly occasions when it would be useful. It would be ridiculous to say that either tool was suddenly 'necessary' though.

Fall is a beautiful time to fall in love

By the footage is seems to have at least as good image quality as the Z7. Rolling shutter seems better, definitely my next camera

Hello Kye, for me the entire world is a film set ? I am agree, new techs must serve creativity not replace it. By the way, A.I. will never replace human mind, we only talk about techs which can make our lives easyer on set.

The real question is "Can we use techs like autofocus or IBIS on a film set ?" I live in France and I can tell you that many people are very conservative about that. They say that you can't use AF because movies are only made with cameras which have PL mount with manual PL glasses so for them it is literally impossible to use AF. Even worse, many people think it is forbidden! There are many exemples of great movies made with DSLRs and photo glasses. If AF works why don't use it on appropriate situations? If IBIS is relevant on some case why don't use it? When I said to some peole it was a pity that P4K lacks AF and IBIS they replied "it is a cinema camera so it is normal if there is no AF and IBIS"... wow... It is time to break the old rules!

I agree with most of the above, but the thinking is wrong. Is super slow-motion required in 2018? Not if you're shooting a doco, but yes if you're shooting a hair or shampoo commercial. Is IBIS required in 2018? Not if you have the time, space and permission to take a stabiliser of some kind and set it up, yes if you're shooting in situations where a tripod/monopod/shoulder-rig/gimbal/etc isn't allowed or isn't practical. Is 4K required in 2018? Not if you're shooting for a client that doesn't mandate it, yes if they do (eg, Netflix). Is RAW required in 2018? Not if the requirements of your scene will be sufficiently captured in a more compressed coded, yes if you need the flexibility or resolution in post (eg, green screening) Is AF required in 2018? Not if you have the ability to manually focus sufficiently on set to track the subject in your images, yes if you don't. Is extreme high ISO performance required in 2018? Not if you are shooting a bright enough subject, or have the ability to light them sufficiently, yes if neither of these is true. Anyone can ask the question of ANY parameter within photography and find examples of both yes and no, depending on the project. ANY DISCUSSION OF REQUIREMENTS BEGINS WITH THE CONTENT TO BE CREATED. CAMERAS ARE TOOLS FOR A JOB. EACH JOB IS DIFFERENT. Anyone who thinks they can generalise is too stupid to understand that other people shoot different projects, using different techniques, in different circumstances.

The title of the topic is ridiculous honestly.

A few months ago, I was shooting with a GH5, and when I asked the -60 years old, mind you - director to set a tripod first, he was really surprised, and didn't like the delay at all! Manual focus is still the best way to control focus and express a lot of notions and emotions. Second best? Touch focus. I am a bit annoyed when people suddenly can't shoot without IBIS/C-AF and less than 200.00ISO cameras.

True. AF can be good if the transition is super smooth and you use tap to focus to manually select the focus points. Without tap to focus, AF isn't smart enough to know which part of the image you want to focus on so the smoothness becomes irrelevant unless you are face tracking one face wihich is where AF shines.

Your Pocket 4K advertising is getting more subliminal. Well done.

Here are some screen grabs from a project I worked on using the Z Cam E1. This camera actually has the same sensor as the GH4.