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I think this thread needs a reality check, and luckily Caleb Wojcik just posted one. Some of the points he made were: He loves the image but the camera is a pain to use and so often stays at home in favour of his 2 x C100 mk2 It was expensive, and the battery life, proprietary accessories like touchscreen, storage, media readers, handle, chargers, and everything else cost about $25K US about two years ago In fact it was so expensive that he left it locked up because of fear of using it (despite having insurance) It's hugely heavy and impractical to use, he had to buy four batteries because two wasn't enough, and it basically requires a team to build and operate it In summary - two years ago one of the most affordable cinema cameras cost $20K plus, was such a PITA to use that he didn't take it places, and he used C100s instead. Now in 2018, they release a 4K60 RAW cinema camera that costs less than 10% of the above RED, is smaller than the C100s but a significant margin, gets similar battery life, is easily hand-holdable, works with all kinds of third-party accessories, and comes with a free copy of an industry leading NLE. Anyone who bitches about the battery life, size, cost or anything like that clearly don't have the faintest idea what a real cinema camera is like. Get a grip - you're just embarrassing yourselves.

I haven't watched any BMPCC4K footage yet. No videos, no test, no reviews, no nothing. All ive seen is the thumbnails in this thread. Never pressed play. Because I was afraid it would spark an unbelievable case of G.A.S. And I was so proud of myself for canceling my preorder (was among the first in line). Then I decided to download the tif-file above. Playing with it in Lightroom was ok. Feels like a decent image. Until you realize its a video frame... wow! The quality is pretty darn crazy. The noise is.. not there. Mind officially blown.

There are now 4 more films that have been uploaded to the Official Blackmagic Design Gallery for the Pocket 4K. https://www.blackmagicdesign.com/au/products/blackmagicpocketcinemacamera/gallery

As mentioned in the episode, when we switched to shooting 1080P I also switched to the RF 24-105mm F4 L IS. The EF-S 17-55mm was only used for the 4K sequences.

Why the hell did he buy it in the first place? Surely you would realise all this before spending $20,000 dollars on something. Clearly more money than sense. Really if he was honest he could sum up his video with "I thought I was a cinematographer but then I realised I was a videographer" Its pretty ridiculous when you think about it. Its like a taxi driver buying a Ferrari and then posting an earnest video explaining all of the reasons why it wasn't right for his taxiing as if people would be surprised. Rich people problems. Though you wonder why someone who could afford a Ferrari so casually would continue to taxi-drive.

At least I’m not worried about battery life... my cFast card (128Gb £275) records for three minutes (UHD raw uncompressed 60fps). And I’ve got six Canon LPE6s so I should be ok. Said in jest, obviously. I’ll never record uncompressed raw. And I have 2 500Gb T5s on order. But the other half did seem pleased that she wouldn’t have to sit through more than 180s of my cinematic holiday films!

I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. For the video below I used the following setup. 6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus) Tiffen Digital Diffusion 5 filter (reduces moire artefacts) EOSM with latest ML build 18fps override (exact) 5x zoom 12bit lossless RAW 4:3 aspect 1440 x 1080 i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8. This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.

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.

No, I have the camera sitting right in front of me right now. Let me just show you how to grade it. In fact I'll have a book on it ready by 9am tomorrow!

Yeah they really showcased some amazing footages. I also admire the filmmakers for being brave enough to shoot with the Sigma 18-35 under snowy conditions and on the other one at the beach where salt water and sand can possibly get into it

This is a really nice testament to how resolution really has gigantic diminishing returns when it comes to perceptual image quality. Manufacturers should be investing in things that actually matter such as color-depth, color-science and dynamic range. This footage looks like it was shot on a 2010 handycam, except with somehow worse color-science.

Nice. But could have been shot on any modern cam over $1000.

I have mine. Made sure it has a return policy Since the 80D and 6DII have some of the worst 1080p images on the market that wouldn't even have impressed vs a GH2 6-7 years ago, it's not hard to kick one in the nuts. I do like Canon's colour science and sure, not everybody will notice how soft the full frame 1080p is. It's no better than a 5D Mark III (again of 6 years ago). The 4K is where it gets interesting. It's actually a very nice result when paired with the Sigma 18-35mm F1.8, but the major reservation I have is the rolling shutter. I don't know if it's because I'm use to the newer cameras but it feels DREADFUL, worse than anything in my memory of all cameras, worse than A6500 and worse than NX1. It's going to be a deal breaker for a lot of people in 4K. Even with a 50mm on there handheld, the jello was intolerable. Hate to think what it's like at telephoto. The ergonomics are ok broadly but in detail, there's some serious fuck-ups. You can't shoot Canon LOG in Aperture Priority mode or Programme Auto. You can only shoot Programme Auto 4K in stills mode. You cannot just hit record and have it keep the same manual settings as for stills. To access movie mode is tricky as well. It takes 3 button presses of 3 different buttons all widely spaced out on the camera. One on top and two on the back. It's very time consuming. If you use an EF-S lens, the camera won't let you shoot 1.6x APS-C 1080p. It changes the crop of 1080p to 1.8x! The Sigma 18-35mm thankfully is an EF mount lens so not affected. The M-fn touch bar is a disaster. Unusable. Complete jack-pot what setting your swipes end up at. Better to use it not at all, or with button-like tapping motion. Then imagine it as the most easy to accidentally knock two buttons on a camera ever. In movie mode you can't take a still. What I do like - Codec, colour, AF (not perfect though), EVF is nice. Back screen nice and detailed. The 4k is a little soft but I actually prefer less sharpening in 4K, easier on the eye and more cinematic. The 1080p is pretty shit and the 120p is atrocious! I think for all but the most die-hard canon STILLS shooters, for video there are better deals out there. A LOT of better deals out there. That said, I don't HATE it. I think the system has potential in the future once they bring out a higher-end model. I think the end-results can still be nice, if you have the fast aperture / nice lenses to match that 1.8x crop and do a locked-down shooting style, little movement. Canon's colour science and motion cadence are the best. It has decent AF. It has a flippy screen. The GH5 falls short on all 3 of those aspects. Also as Mattias pointed out to me, you can use the different digital IS modes like a digital-telephoto feature. The most extreme crop (looks like 2.4x) IS does produce very soft 4K though. The other mode seems to be a nice compromise, but still no replacement for proper IBIS like on the Z6 and Z7. I'd take the X-T3 over this camera any day, with Fuji's wonderful lens line-up and 4K/60p. The EOS R, if I keep it, will only get used for stills. It's a good stills camera, and Mattias will enjoy it for that.

It shouldn't be overlooked as a big pro that the Pocket 4K is a video/cine dedicated camera. Honestly, when using a GH5 I'm bothered by all the photo menus and controls I won't ever need to use. The P4K has got nice, beefy connections, a good menu and just the necessary buttons, I'm certainly will be more confident operating it than any hybrid camera.

I don’t even know who that Caleb guy is... I suppose I should? But it is isn’t rocket science... he never needed a Red. Half the people buying the P4K, doesn’t need one and will be disappointed and I’ll happily buy it from them sometime next year... haha.

The dynamic range is impressive. This shot is waaaaay underexposed and still "just" ProRes. But it can be lifted easily

Just out of curiosity, why is this thread pinned?

My take on it. All cinema cameras I know of have a built in screen of some sort (there probably are those without any screen as well). Many of which cant display the image at all. Its for settings only. On the Blackmagic cameras however they can also display the image so you could, when needed, use only it, I view the screen as I do the battery. It is a Cinema Camera. Cinema Cameras use external power. However BMD has built in an internal hot swap battery in their cameras. Ment to keep the camera going when changing power source. So in a pinch you could use it. And on some of their models its even intechangable, so you could, when needed, use only it for long shoots as well. And the size. It is a Cinema Camera. Cinema Cameras are big. However BMD has made the brain of two of their models really small, pocket sized actually. So you could, in a pinch, strip it down and use it with just a pancake. Making it really light and small.

Isn't the whole point of the big monitor that this is a pocket camera and you don't need an external monitor? If you need to rig up a monitor to mount external power without some unorthodox rigging whatsit designed to prevent blocking the view of the screen, then the rear monitor is just a waste of space and energy. Or are you saying this isn't a real cinema camera because they included a screen on the back? Broken design: halfway between a cinema camera that requires rigging and a low form factor device, in ways that are trampling on each other. The least they could have done here is add a hinge for the screen and then this would be a non-issue.

The Z7 is in stock here. They are few at the time but at least one store per day seems to have one or two. The Z6 might be more popular though. But we have also had no shortage of the D850. How is the Nikon distribution situation in Asia, Australia, Africa, etc? Anyone with local knowledge? The Nikon distribution is a bit of a mystery. Even the rumor sites haven't been able to get an answer to why the US didn't get a decent stock of the D850.

I still find it funny that reviewers of the old BMPCC pulled out the word "pocket" and pretended it belong with the RX100x. IMO, its a Cinema camera. A pocket sized cinema camera. No matter how much you say that lenses, batteries etc makes it bigger. That does not take away the fact that this is a cinema camera. A pocket sized cinema camera.

Make sure you secure the camera body to your body! You do NOT want to drop that. Likely for health and safety reasons they'll make you do this anyway. I was made to do this when I climbed up the SkyTower.

Lol, welcome back to 5y ago with 1080p. By the way, from all videos I have seen it seems to me Z7 AF is actually better than EOS R for video. Everyone assume Canon DPAF is always the best but it does not seem that good in the R compared to other Canons. On the other end, the Z7 people had low expectation yet some footage are incredible AF wise

That footage looks like crap. That looks like Sony A6300 1080p footage!

From wedding shooters: Metabones SB XL & Viltrox with Sigma 18-35 f/1.8 & Sigma 50 f/1.4: Olympus M.Zuiko Digital 12-50mm f/3.5-6.3 and Samyang 16mm T2.2: Sigma 18-35mm f/1.8 coupled to Viltrox adapter: Fuji 8563 RL film stock simulation: Last but not least, from Filippo Chiesa:

I ordered at 19:10 (UK time) and CVP told me that my order falls within the first 20. They also don't know when they will get another shipment. BM should of just said it was a October release then we would all be praising that they managed to get 1 or 2 out in September

@kye Indeed, it would be either VLog, HLG, or Cine-D (with specific settings) 1 In post, a PRE matching the format of the footage (& NLE) is first applied 2 the WB is then corrected with the dedicated WB temp/tint tools of the NLE (exposure wouldn't be corrected here, as it will impact the accuracy of the conversion) 3 Then the conversion is applied, followed by the grade/correction for under/over exposure

This is a quick discussion on the gear that I used to film GO Colombia which can be seen here: https://youtu.be/JhChJh5cOUE

Use common sense and A7III vs A7RIII documentation and facts and you will know. What Z7 can do in video Z6 will and might even do better because 24mpx works better for video. Z7 blows the EOS R in most video aspects so will the Z6.

Well, I am sure it will sell well. It's not like it has any competition or anything ?

Looks like auto ISO is useless in video of that is important to you.

I've been doing more testing and have narrowed it down to problems with DNxHR. When recording in ProRes, any values outside of 16-235 aren't displayed on the Ninja's screen, but are indeed saved in the recording, so behave just like in-camera recordings so no detail is lost as it can all be recovered. When recording in DNxHR however, values outside of 16-235 are lost resulting in heavy clipping. I'm not sure why this is the case - whether it's a bug, or whether DNxHR doesn't actually support 0-255 ranges or something, but they need to provide a fix of some kind, even if that's a 'remap to 16-235' setting for full range inputs. So if you use ProRes, you're fine, if you use DNxHR and your camera can't remap to 16-235 by itself (or if you use Log) you're out of luck until Atomos fixes it (or 'if' they fix it). There IS still a serious problem with LUTs however. No matter what, values above 235 are rendered as black, irrespective of ProRes or DNxHR, 8bit or 10bit. This is annoying for monitoring, as whites are now pure black which is distracting, but it also means you can't bake in LUTs, which is a feature I was looking forward to. Below is a LOG recording with an almost blank LUT applied. As you can see, the highlights, which were lost as this was a DNxHR recording anyway, are just mapped to black. This is a problem even if your camera supports a limited output (16-235) as any sharpening artifacts that push past 235 are shown as black pixels. Basically this makes baked-in luts impossible, and LUT monitoring distracting. This definitely seems like a bug that they'll be able to fix however, so we'll see what they say. I've been in touch with support but have yet to hear back. Definitely try your own tests too so we can eliminate any other possible causes.

Great comparison and really shows the lovely images the Pocket4k produces and what I'm seeing with mine. Much richer images compared to the GH5. Secondly, and what I've been saying all along is that a camera only produces a certain percentage of the 'cinematic look' everyone is so hung up on. Most people who want 'cinematic' here, also want autofocus and IBIS but neither of these features lend themselves to 'cinematic' qualities. IBIS only does so much and you still get a small amount of jitter here and there. Same as AF, it's never perfect with electronic SLR lenses and nothing screams SLR more than small amounts of jitter in the lens or movement of the camera. If you want 'cinematic' with the Pocket4K or any mirrorless camera really, you need to rig them. Being on a Gimbal, a Tripod, a Slider, a good shoulder rig etc. You can always rig the Pocket to get great steady shots, can you improve the GH5 to get the same DR, colour response and flexibility in post? So why don't you do a comparison and show them all how it's done? The same person would have graded the shots in that video. If they are amateurs , this shows that the Pocket 4K was easier to grade for an amateur. Not a bad thing?

The problem with tests like these is they may as well be a review of the tester's grading skills. Ever since RAW and LOG first came out we have had the same issue - are we watching badly graded footage or is the camera to blame?

The Z7 is far superior to the A7R III, and I own both. Guess which one will soon be available on eBay

Snow & ice sealing test in their freezer!

The dynamic range is so nice. Happy with my XT3 right now though.

Nice DR straight out of cam:

Lol yeah. Had the MKIV too, but I think they improved the AF from the V. I have a Crane Plus gimbal which is the smallest weight they have that still accepts an A7III like body + lens. The M + RX100 combo must be much more light for sure.

Do you think the top four videos in this gallery could be? Aside from maybe the 'Color of Light' one. Genuinely asking. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/gallery

How was the RX100 AF tracking in video and which version did you have? In Cuba I had the older one with same slow mo but before they put the improved AF. I remember it was a big pain. At this time the A7 R II (considered shit for AF today) was better even though it still was a pain. Also, I agree the RX100 is a cool setup. But since I need anyway a proper sensor for stills, I would rather have an A7S III type of camera which is still decently light for travel.

I totally accept that the BMPCC4k image will be more robust and gradable with Prores and Raw than the images from my GH5, but overall - especially with viewing on Youtube and other streaming sites - there's not much between the cameras when it comes to the final product, as long as you know what you're doing. The Blackmagic colour science is lovely, and much better than the native colour from the GH5 or Sony A7III, but those two can be graded to have a good look too. I've been playing with @Sage's GHa luts and that give the Panasonic a nice feel, and for me, Feel was always the thing that brought me to Blackmagic cameras. Perhaps it's because when the original Pocket came out the look and feel was so far away from any other small camera, while now it seems to be more of a level playing field.

Jesus Christ, those look good ... Also of course it was Film Convert, Jon Pais, thanks! Don't know why I didn't think of that, I own the software even, haha.

I set the GH5 upper ISO limit to 1600. After that it gets noisy. The GH5S is much better in low light. The X-T3 is at least as good. I'll do a side by side test soon.

I did make exactly that point in the last line though? "I think the video could equally have been called "Why I Don't Need A 4K RAW Cinema Camera Irrespective Of How Much It Costs" as when it comes to the most important aspects the only difference between the two is where the decimal point is in the price." Again, I did actually mention that as a difference in favour of the BM though ? "No built-in XLRs - Its singular but obviously different there."

@Alt Shoo would love to see your footage with your beast:)

Bump for one of my favorite threads! Bump, bump, bumpodito! Let´s keep those super8 raw films rolling! I can only offer some DX1 and XL1 3CCD magic:

Even if it does make it to market, it is the worst-designed camera body I've ever seen. It makes the original Red One (a clunky, heavy, loaf-shaped turd with non-sensical UI) look like a masterpiece of industrial design. Holy fuck, who puts a screen on top? Where am I supposed to attach a handle?