Leaderboard

I am sure probably this new Nikon FF mirrorless will be pretty good, probably great, but it will Not be 2000 bucks, and have all the bells and whistles that Really all work on their first try. They will have all the good stuff in the top end one that cost 3200 dollars or more. But for the average DSLR shooter it will probably be all they have wanted or needed. It is the Video side of it that is still damn hard to make happen, even for Sony, at the lower price points. We want a C300 mk II for 2000 bucks, in a Sony A7 form factor! Maybe the BM PK4 might damn near be that without DPAF. But both Canon and Nikon could surprise us.. I would certainly wait for the 23rd LoL.

Yeah, I think the thing is for the a7R III it is downsampling and doing some line skipping / binning / electric voodoo. The a6500 is downsampling from 6K similar to the a7 III The GH5 is downsampling from around 5K (???) instead of 6K. BTW: No one is going to ever mistake me for an electrical engineer.

LP-E6 canon battery is almost the same size as Panasonic batteries, but not sure if it has the same juice. Blackmagic cameras use FGPA which is a less optimized board compared to an ASIC and requires more power. It has an advantage of shorter production cycles especially in lower volume cameras because you can easily make last-minute adjustments if you want to add more features. ASICs is very locked in as they are expensive to manufacture. They use solid state peltier cooling to handle the heat distribution and that uses a lot of power. I don't know if other cameras use that but it does make a difference. I don't think type of compression plays a big part in heat, it's mainly the sensor. Blackmagic is not very experienced in building DSLR form-factor cameras yet, in what is only their second attempt they produced a camera at half the price of the GH5s that will likely be a serious rival in image quality. I think Blackmagic made the right compromises to get it at the price it is.

Exactly, so... it's wider. So if you're using a FOCAL REDUCER... it gets even wider than before. The 0.64x of course is more limiting in that way than the 0.71x. Therefor it's not the same as fitting two of the same shoes. This is terms is more like: you might have a comfortable fit in a size 46... but that doesn't mean size 42 will work for ya. And as it's doing the same trick as the GH5S, which has probably already been tested for compatibility by a number of people... you should check YouTube videos , blogs and forums for answers, as they already might be out there.

That answer seems to be the other way around then. The sensor in the BMPCC4K (as it isn't quite as 'pocketable' I'd rather call it the 'BMUCC' (Ugly) myself) is bigger than the original. The BMPCC specialized speedboosters therefor will probably vignette severly. The 0.64x apparently remains to be seen... which again depends greatly on the sensor crop. So... I expect similar compatibility to the 2x crop (full 4/3") GH5S.

I applaud that feat! For the side-by-side, be sure to check out the V2 raw footage side-by-sides, which were correctly shot with the exact same settings and same lens (how V2 was made) The 2k All-I mode is really spectacular (for 2K). The downscale is pristine, and with the Olpf settings it is silk. This is what I shoot, and at 59.9Hz, All-I 10 bit 60fps is available Always Already is all 2K All-I with digital OLPF (download the 'Original' file)

Just like you’re saying that it is possible ? How do you know ? The pocket 4k, like every Blackmagic camera uses a custom thermoelectric cooling system. The only other camera platform that uses this approach is made by Arri. In fact this means it draws more power in hotter weather and less power in colder weather. It’s got a larger screen and has custom made hardware boards made internally by BMD themselves. They make the boards. The place the components. They don’t outsource. I beleive they tend to use FPGAs because they’re faster to prototype and totally re-program, but they use more power than ASICs which is what the big guys tend to use. ASICS use less power but are limited to their original design / specs and take longer to develop. They draw more power than consumer cameras that are more purpose built and have longer development cycles, therefore have more time to optimise their power consumption . Feel free to keep droning on about it and reminding everyone how bad it is but it’s not going to change the fact that they use more power than other consumer cameras. JB It’s an automatic process. Just like you can’t do it on Alexa. JB

Despite the poor specs of the 150mbps LongGOP codec it does hold up very well in grading. Mainly I think due to it's 10bits which make the luma channel near immune to banding unless you apply insane curves or tonal shifts and bends. The main reason to avoid it is the stress it places on most editing rigs trying to decode it on teh fly for smooth playback. The 400mbps codec is better in this respect but still harder on the CPU and GPU than ProRes or DNxHD. Given that most people will expose and color balance near optimally and not treat it as RAW the inadequacies you describe are purely academic and do not translate into real world problems. Until other mainstream manufacturers adopt 10bit 4.2.2 internal codecs the GH5 is well ahead of the game at the moment and a joy to work with compared to ubiquitous 8 bit 4.2.0 codecs with often even more compression.

Whew... I just read the entire thread... so I will say this, I don’t know what magic you’ve done here, and I still think the Alexa vs GH5 still is not a comparison but you’ve definitely done something amazing here. So congrats with that. I may be in the market for a second camera (still on the fence because I am SO happy with ML Raw and I’m afraid a second camera would see little use) but if I can find a GH5 for a really good price around the holidays, I could pull the trigger. If I go that route, I’d most likely shoot in CineLikeD at 1080p but I saw a really interesting rig on IG that keeps the portability of the GH5 but adds an external monitor. So... I kinda remember reading that the GH5 does an internal 4K to 1080p downscale when hooked up to a 1080p recorder... is this true and if so, would that all-I 4K downscale to a 5” BMVA recording ProRes HQ be worth the trouble and get even better color and quality than recording 1080p in camera and transcoding to ProRes with your color conversion? Or will the difference be minimal and hardly worth the effort?

Great. Now the ONLY thing I have to do is practice patience until the 23rd. I heard a rumor somewhere that some camera company somewhere might be coming out with some kind of a mirrorless camera or something as well. Pretty obscure rumor, don't think it has been publicized much so maybe not too many people know about it...

A larger and higher resolution LCD would be awesome, why we're stuck in the 3" range - especially with mirrorless makes no sense beyond the fact nobody else is doing it and its a copycat industry. Make the LCD larger and get rid of the buttons to the left of the EVF, instead put a couple custom function buttons on the unused space front of the body. The NX1 had a front button that could be customized. Hopefully they get the touchscreen right too. I was on safari with my Sony's and envious of a woman shooting a 5d4 every time she used the pinch zoom on her LCD to quickly check focus. Chris

Yeah for the money just about impossible to beat for all it offers.

I agree.. YT 'shows' is a pretty good name, although I'd still stress that there are people doing both 'shows' and 'vlogs' and also people who use a mixture of techniques, or even a technique somewhere in the middle. Only earlier today did I watch a video by a lady who shows how she does construction projects (this particular video was about her making a large wood and metal gate) and as we'd been having this conversation I was paying attention to the shots in it. It seemed that she was sitting and talking to camera with the narration of the video and was cutting b-roll of the build over the top, however what was interesting was that her shot was a tripod / lav mic shot but it was outside in uncontrolled conditions, so that's somewhere in-between your two scenarios described above. Also, included in the standard tripod b-roll shots was a fancy dolly shot where the camera follows her from one room of her shed to another (the front face of the shed was open, so it was one of those "looking into the building from outside" style shots). It was an interesting shot because I think it shows she's got an appetite for upping the production value, and the fact she's already got a lav and sound is nice means she's not new to the game. She also sells plans for projects online, so her channel is a business. Would she benefit from having a cinema camera? Maybe. I didn't see any evidence of auto-focus requirements, or IBIS requirements, so a cinema camera wouldn't be ruled out. If she shot 1080 in prores then maybe her edits would go faster, so there's perhaps some benefit. I don't think she'd benefit from having more DR via a flatter profile, but others like her might. I think the lines between (hand-held + selfie + outside) and (tripod + not selfie + studio) scenarios that the industry thinks in are so blurry that they ceased to exist quite some time ago. And yes, I did notice Jon Olsson getting excited about the RED and then it not featuring much again. I heard a mention that their camera guy had a routine of taking it out to get b-roll early in the morning when they were in Monaco before Jon had woken up, but yes, in terms of lugging it around during the day or through airports etc it's not the right camera for the job!!

Of it shooting the Nikon mirrorless

Given these cameras are appear to be based around Sony Starvis sensors, they won’t have OSPDAF and mirrorless afc is pretty poor without it.

Frustrating that this issue is so prevalent, and yet there isn't one solution anywhere on the entire forum? You would expect someone to acknowledge that there is an issue: "we're working on it" or "this is what you do to fix it"

Holographic pr0n of course judging their shocked but intrigued reactions. xD

Footage from the Pocket 4k?

Of course better battery life would've been welcome. Especially since it's targeted as a mobile all-in-one device that can be used for filmmaking standalone. It's more about the flippidy dippedy screen and C-AF that got mentioned. Which as well are welcome additions in many situations, because more = better period, but... as this is a cinema camera, I'm okay with the omission. I'd love me an ARRI Alexa Mini and there it would essentially be no different. Indeed I was refering to the use for 'vloggers' that walk around with one of these, stretching their arms out, pointing the camera at themselves. This particular crowd I see no reason for having a cinema camera that require an extensive knowledge, thoughtprocess and skill, both in operation and in post-production. Now, if you're talking about certain YouTube 'shows' if you will, where there's an actual production environment... perhaps a set, but for sure lighting, audio, et cetera is taken heavily into consideration, as well as post-production and needing the footage to be of a certain standard and look with a ton of gradability, then of course a cinema camera fits right in. I was strictly talking about the Casey Neistat wannabes out there, riding around on their Boosted boards, trying hard to be semi-interesting, all using the same music and effects they've picked up from Sam Kolder and co; that basically would've used Snapchat and their smartphone to get content online easy and quick, but are seeking after bigger sensor aesthetics and optical zoom. There a point-and-shoot makes more sense than a cinema camera... Casey himself uses a smartphone on his runs, tries to have atleast a G7XII with him on-the-go, will be out and about with a Gorillapod and 80D (6DmkII?) for regular vlogs and B-roll and hates on Sony for not really having front-facing displays for vlogging, but doesn't mind so much using them for static tripod/rig shots at his studio. It's all about the application and what I keep on saying: the right tool for the job. Jon Olsson was obsessed with getting a RED. Thought it would make things EPIC. Found that it's a very impractical camera for vlogs and went with Sony/Pansonic/Canon interchangeable lens cameras instead.

I wouldn't be surprised @jonpais, not even a little bit. It's the same in the hifi arena with CD vs SACD - you'd go to a demo where they'd be comparing CD with SACD and the SACD would definitely sound better. You'd look around and people would all be nodding their heads about SACD, but I'd be standing there and thinking "both sound completely awful compared to my CD setup at home - how is this a valid comparison?".

Well... you say that, but I doubt it would make sense, as I said once before... ... a cinema camera should be used as the name would suggest in a product-type environment. Where you'd otherwise would've loved to use a RED/ARRI for, but due to budget or space/weight contraints isn't exactly an option. Rigs, matteboxes, follow focus, tripods, monopods, sliders, dollies, since the HDSLR revolution production style shooting has become accessible to anyone and I loved shooting that way with all the GH-range models. IBIS, C-AF, et cetera sure makes life a bit easier, but I don't actually mind doing it the oldschool way, that's been proven to work for decades and is actually still very much the industry standard of high-end production. That's what cinema cameras are all about. To use a camera with such purpose for vlogging... I do believe it's the wrong tool for the job, so a flippy screen and sweet C-AF... for a LX100 successor... yeahhhss! For a BMPCC4K... ehhh... not really a dealbreaker if left out. I think that they might even do that on purpose. Must've been a lot of consumers buying one of those 475 bucks BMPCCs back when they were on sale that went complaining because they had no idea what a cinema camera can and can not do. It requires an operator with know-how.

Big fan of this LUT! I've been playing around with it for a little bit now. Here's some stills using it. This was graded in Premiere and the border was made by myself using different sources.

I'm running into the same issue. When I imported the files into premiere I noticed the highlights were blown out. I checked again in the back screen of the camera and it looks completely different. If I look at the scopes in Premiere and I uncheck the clamp signal box I see that there's information over the 255 values. As a matter of fact, if you mess with the curves you can recover those highlights and make the image look similar to what you see in the back of the camera. I'm guessing all of this has a lot to do with the color space. In pp1 this happens to me, in pp2, the video files look the same on the camera and the computer. PP1 color mode is sgamut3.cine whereas pp2's is rec 709 which is supposed to be a standard. If this settings are supposed to give you a Canon look straight out of the camera with no need to grade, why does this need to be so complicated? Is this an error that I'm getting cause my premiere is not up to date? Is this the correct functioning? There's nothing in the pdf about this issue, so I'm hoping Andrew Reid will throw some light for the ones that are experiencing problems like these. By the way, I used FCPX and got the same result, so it's not premiere. And interestingly enough, if I select NO PP (PP off) I also run into the issue, I'll have to check the xml file and see the colour space that the camera chooses by default. Also, I tried to import both the mp4 and .xml files into premiere, cause I thought it might be helpful but premiere won't import the xml files, it throws an error.

Yup can do that as well! that's awesome - 6 ASA pretty much at the start of commercial films!!! Man imagine using that indoors! I think that's why the film industry moved from New York to Hollywood - you needed daylight pouring in to get any exposure. And Arclights. Man what a different time now.

I already bought your lut and I also planned to buy pocket 4K and I was thinking about the possibility of having an Alexa Conversion lut designed for it. Great news!

Captain Hook - the man with the best BM LUT if I remember correctly from my Pocket days. Welcome, can't wait for the P4k! Chris

So I went to check out the S9 expecting it to be the boring reheat of the S8 that it seems like on paper. Maybe I have been a bit harsh on them! There are considerable evolutions across the board. Video is 4K 60P and much nicer than the S8. MUCH. I've compared the headphone jack to my Burr Brown stuff and tube amps - it stands up. What's more, Adapt Sound now allows you to save profiles for individual headphones, which it tunes to your ears. Hifiman HE100 sound wonderful on the smartphone, as good as a high-end portable DAC like the Chord Mojo (which I also benchmarked it against in an A/B). They have solved the slow loading of RAW DNG files in the gallery. It's slick. These can be edited within 2 seconds of a press on Advanced Edit. It used to take over 10 seconds to load a single raw photo in Polarr, my main mobile editing app. The raw files allow you to turn off the typical smartphone over processing and get fine grain, better grading. The camera app now defaults to Pro mode if you left off in that mode the first time, it no longer defaults back to auto, which doesn't save JPG+RAW. This makes a big difference to usability. I am comparing it in this instance to the P20 Pro, with it's ridiculously nice 40MP raw.... Will do a review. Performance seems snappier and slicker than S8 with less background apps and bloatware, plus new CPU makes a difference. The speakers are hands-down the most full-bodied I have ever heard from a smartphone, with twice the dynamic range of what I've previously experienced from iPhone X and P20 Pro. YouTube Premium plays music clips in the background on the phone, with it's latest Android OS... That's a nice touch. You can use it like Spotify. Tidal works well on the phone in MQA mode, to get the most out of that new DAC and headphone socket. So it's not a case of iPhone 6S vs 7... There is actually a bigger difference under the surface than expected.

A couple Minolta lenses can be converted by changing out the mount but not with a simple adapter... they require one of the adapters with glass. Same goes for FD lenses. Now I found a Minolta 35mm 1.8 that was converted that I use with my 5D3. It’s a lovely lens. Here’s a few Raw screengrabs from a test shoot... But honestly since you may need EF in the future, you’re probably better off with the Nikon Nikkor lenses. They are so well built and the IQ is simply gorgeous. Some of the ai-s lenses are still sold new today. Here’s a frame from my short film and a test shot from the Nikkor 35mm 1.4... If you can look past my meager color grading skills, you can still see the attributes of the lenses. Unfortunately I had to sell off some of my favorite Nikkor lenses but I may buy new copies. Or I may get a couple Zeiss ZF lenses instead and replace the mounts with Leitax EF mounts. Or if I do go with Nikkors, I’ll probably do the same.

Thanks for the "welcomes". I (and others at BMD) have been following this thread (and threads elsewhere) so we're aware of what people are discussing and asking but in general we don't/can't comment on a lot of things before release sorry. We appreciate the support and are working hard to deliver the best we can offer you all.

Hi, I'm new here, just want to share/promo my review of this unbelievable lens - Review of Minolta MD 135mm F2.0 And some additional samples - MD 135mm F2 Travel Photos examples Like these:

That looks nice. I had the ai-s version and I bought it, despite Ken Rockwell’s review, brand new for 60 bucks and let me tell you, I was pleasantly surprised. I ended up selling it for a profit but I may get another one. Btw, how do you like the D7500? How are you managing with the crop and your F mount options?

Here is frame from 4k file with D7500 (which has a heavy crop) And %100 crop. Remember mini star? ?

He’s one of the main and lead members of the camera development team. He is especially responsible for Gen 4, now available in the beta of Resolve. jb

Exactly my point. Depending on the terms used, you can easily skew results. I'm a mid-level marketing nobody, I've written many reports using this kind of information to paint a picture that makes my subject look good and the competition look bad based on search terms, but its not very useful by itself since '5d video' absolutely crushes everything else, despite what some may say. Cheers Chris

Search trends don't equal sales. Its one metric that factors into the marketing mix, but its not absolute, and like many simple statistics, drawing conclusions based on it places too much weight on one small component without looking at the big picture. But it must get clicks, there was a post about this on SAR a few days ago, which was a lot of fanboy nonsense. This article connects a few dots that aren't really there. Of course over time search interest in a consumer product 2-years after its release is going to decline. But it still compares favorably to the a7III which has only been out a few months and the d850 with came out a year later. Despite a DSLR heavy lineup, we've seen market share reports showing CaNikon owning 3/4 of the camera market. I went worldwide instead of just in the US. And just to demonstrate how irrelevant these numbers can be, I threw in Leica and Pentax.

I would say an even better one without the lock for the PSMA dial Hopefully with a new sensor.

Interesting stats, I often wonder, since I watch most of these videos on my phone if I could tell the difference if a video was originally shot in 4K or in 1080p and if a good lens on 1080p would translate better on YT/V than an okay lens in 4K? I did recently get tricked into thinking a 5D3 Video was shot in Raw when it was really shot in regular Canon firmware 1080p. Even this video, I thought was 4K 5D4, but the guy shot it on the 5D4 in 1080... now the 1080p on the 5D4 is a pretty high bitrate MOV but still, I would have thought I could easily tell the difference between the two... even on my phone... Btw, he is a Sony shooter that recently switched to the 5D Mark IV.