Leaderboard

Emotive Color Version 3 Core LogC Details - Rewrote engine to work at 65x65x65, main files are now at eight times resolution (supporting files processed at that resolution) - Fine tuned multi-pass/smoothing technique, to achieve absolute smoothness of final files - Introduced Averaging (averaging two separate measurements/conversions of a light source) - Corrected LogC rolloff artifact introduced with Verde - Corrected far magenta-red artifact Emotive Color Component Details - Remade EC component to incorporate new Arri primaries that were quietly revised this summer for Alexa LF release (much deeper, more accurate red placement in relation to blue/green, and subtle hue shifts throughout) - Incorporated 'Sat Lock-Out", like hue lock out, that is fully accurate to saturation distribution between relative hues of Arri RGB primaries (corrects excessive saturation of orange/yellow/green in highlights, and under-saturation of blue in shadows) - Significantly refined saturation model - Unified EC for both WBs (taking a que from Arri's single R709) [Tungsten has significantly more contrast, higher ideal exposure] - Smoother rolloff placement in EC component - Replaced Pop with Linear (no highlight shoulder, better alternative to Arri R709) - Remade all PREs with latest process (at 65, provided at 33) - much more accurate and smooth - Entirely new PDF (and supplemental waveforms) - Added Daylight Skintone SBS - Updated 'Always Already' with V3 (Download 'Original File' - *Avoid watching in Firefox)

Here they are with the new V3 Main, and levels set per the Pdf, with WB correction as best I could:

I don't think this is the right camera for you.

I'm wondering which version of the battery compartment I'm going to get when the courier finally shows up with mine now. One of the ones where you can't get the battery out or the one where it wants to get out all on its own.

Does it come with a free bit of tape to keep the battery door closed?

Why is everything a scandal with you?

As usual, It's all about money. Basically Vimeo has been fighting in court since 2009 over a stupid "lipdubs" videos. The case has taken many twists and turns but it's still there. It seems to be a good analysis: "The case, which was first filed in 2009, initially focused on Vimeo's promotion of so-called "lipdubs." Vimeo is a much smaller competitor to YouTube for hosting videos, but in the 2007 to 2009 timeframe, got some attention for hosting these "lipdubs" of people singing along to famous songs. Perhaps the most famous was one done by the staff of Vimeo itself. And the case continues. As law professor Eric Goldman notes about this case, the fact that such a case is limping along in its 9th year, and still hasn't even reached the summary judgment stage, suggests some worrisome things for innovation in this market. Consider this: have you ever pondered why YouTube is the dominant video hosting platform? Here’s one hypothesis to explore. It took YouTube nearly a decade, and well over $100M, to eventually settle its DMCA lawsuit. YouTube’s competitor Veoh won its DMCA safe harbor defense in court but ran out of money and dropped out of the industry along the way. YouTube’s competitor Vimeo has been hemorrhaging cash fighting this litigation since 2009. And what potential video hosting investor wants to shovel the first $100M+ of raised capital into the inevitable DMCA lawfare with the copyright owners–before you even start building a viable or profitable business? I think we can connect the dots between the lack of competition in video hosting and the safe harbor’s (defective) design." So it may explain why Vimeo is extra sensitive with the DMCA BS and why there isn't much competition in this field. They are hammered by labels in courts while Youtube dominates the market and managed to keep the DMCA under control because it has the resource to fight back.

It's a very anti-customer move. Sorry to hear of your experiences! I am moving it all to YouTube but I will seek out an alternative host for embeds with no ads and original file downloads. Keep the suggestions for those coming.

Well done @Jerome Chiu @noone @MattH Leica M9! Close guess on the 50mm Summicron. It's the "Japanese Summicron" - Canon 50mm F1.4 LTM (M39 thread to Leica M) I am amazed such an old 10 years+ CCD sensor and a 60 year old lens gives this kind of image in 2018 - looks pretty modern doesn't it? High contrast. Superb colour and dynamic range. Hardly any noise. If you have the chance to pick up either one - be it that lens or the Leica M9 - DO IT

@wolf33d I'm not saying Sony protects their cine line. I'm just refuting that Sony has been "ahead of the competition past 5 years" in specs (I'm not talking about sales). While Sony clearly dominates with sensors, their processors always seem to be behind. Maybe it's intentional crippling, but I think it's more likely that they simply have not invested in that area as much. In 2014, the NX1 did a 28MP readout in 30ms. The A7S II, a year later, took the same amount of time to read out 12MP. The a6300 had even worse rolling shutter in 2016 -- almost 40ms! I'm not saying the NX1 is "better," but it's an example of how Sony's processors lag behind their sensors. Perhaps their weak codecs, past overheating issues, and continued lack of 10 bit are all the result of poor processors as well? Sony leads in some areas, but not all. Panasonic has been outputting 10 bit HDMI for 4 years now. Fuji, Nikon, and even Canon have beaten Sony to 10 bit HDMI, with Fuji getting bonus points for having it internally with a modern codec. I'd say that Panasonic has really been the one leading for specs, with Sony getting a pass because they were the ONLY FF mirrorless. I also expect the new Sony APS-C to be close to the XT3. 4k60-- probably. 10 bit-- probably externally, but I think it will still be 8 bit internal. H.265 and 20ms rolling shutter-- I highly doubt these. But we'll see! I certainly hope Sony knock it out of the park. I'd switch to Sony if they deliver.

Kai very positive review of the z7

I remove my car doors so I can get in and out faster.

Vimeo right now..

The camera had been off at least 20 minutes before I tried to take it out - I'll report back the next time I use this battery (tomorrow) I found the LUTs locally, for those without Resolve already, or who want to grab them without diving into folders, you can get them here https://www.dropbox.com/sh/5b3aw8i1dkf8shj/AACnnkI2JfrCVUbMhyjGuSwia?dl=0 For anyone wondering, the Ninja Star works like a dream with this camera. When I press record on the P4K, the Star also starts recording. That's not happened for me with any other camera since I bought it. Apparently it's a known issue, but the product is too old for Atomos to update. Looks like BM did it for them. I'm not sure what I was expecting, but recording on the P4K at 4096x2160 means the Star records a file that's 1920x1062.

I shot a music video this weekend, here are some stills using the new V3. This are from HD slow motion, so there is a little loss in quality. I applied noise reduction to smooth the compression and make the grade more seamless. All was capture with CineD. The first are with the "Main" lut and then corrected, and the second ones are my grade with LogC.

I like a lot what I see here, but seems Sony has some metering issue (or profile?).. look at the clipped highlights in 8 bit part:

The official Canon batteries are the way to go. They're the only ones that will show an accurate percentage and last longer than 45 minutes.

My Japanese cousin who's father in law is president of Panasonic Camcorder division confirms this. He told me that he needs to bribe higher instances to make this happen (even raw internal). Since this is not exactly legal I can't start a kickstarter but if we can all agree on sending money to one western union account I think we could make this happen. Goal would be 100.000$ US (nothing if you ask me, I mean, full frame raw) I'm currently based in Egypt, I hope that's not a problem.

Nope, I was in swimming trunks. And drinking. And filming. Next to a pool. Perfect combo for a summer day!

The 1970's called. It wants Jimmy's profile picture back! SIMPLY THE BEST!

Oh I dunno... I took my Sony PMW-F3 across toWaiheke Island for New Years Eve. The F3 can be a "vaction camera" too ?

So I received the Pocket 4k today. yet to do proper tests but I've had a quick play and the files look decent. What surprised me the most however is that I'm able to record 4k 50p Lossless raw to my Samsung T5 500gb drive. didn't expect that. The only downside so far is the battery door. It opens by itself waaayy to often.

I'm a soundie, and even I bring along extension cords! Handy to run power to my cart, or if I want my charging station to be in a particular place which is slightly different to where the power point itself is. Having extension cords in your kit should just be totally normal if you're a DoP (or rather in your gaffer's kit).

you are right, the cameras you mention will mostly do the job, and they'll do it very well, but the P4k is cheaper if you go by body only prices - any extras you want to add is up to you. Here's a few extra things that I'm excited about that the other cameras don't have: Built in audio options Timecode Fantastic low light performance Flexibility - Big rig or handheld (make a blockbuster or blend in with the tourists and shoot without permission - I know this is also true for the other cameras, but it seems more accessible with the P4k with it's battery/power options) Uncluttered user experience Free Resolve Braw will be unbelievable when it reaches the P4k

It will find it even if set to private. For most music it will just turn off monitisation and the video can remain up with no problems. If you have music from Sony, like their premium music that shipped with Vegas then some spammers will claim it as their own. A simple dispute in that case wins every time for me.

Ah, by Main I'm referring to the end in itself of Alexa color. If a film conversion route is the goal, the LogC variation is the way to go. Main is different from LogC+R709 - its much nicer. It has the R709 primaries built in, and a film styled envelope that is often associated with Alexa color.

The main thing that strikes me about Vimeo's policy - is that it amounts to financial suicide by Vimeo. I see the need for copyright laws but they often seem absurd to me. For instance, I dont see why it is illegal to take a photo or video of the Eiffel Tower at night. https://petapixel.com/2017/10/14/photos-eiffel-tower-night-illegal/

I've been impressed at how much I've been able to lift the blacks and mids with no noise on a number of challenging scenes. One shoot was brilliant bright fall light streaming through an autumn canopy for an all day mountain bike segment. The light and contrast changed constantly with no time to adjust even with a couple of grips with bounces. Bottom line, I don't even think about ETTR with this. It's a totally different image/negative. Very clean very gradeable - and all we've shot so far is in ProRes HQ UHD.

I had the exact same experience. I shoot weddings for a living and after having 2 strikes with the threat of having everything removed upon the 3rd strike, I opted to go into 2018 uploading everything to YouTube instead. About 2 months ago, I received my 3rd strike on a video I had uploaded 4 years ago and my whole video archive was deleted. I still had to re-upload previous 2017 and 2016 projects to YouTube, but at least all my 2018 files were already safe. I'm just bummed I've put money into Vimeo and they wrecked my shit. Edit: All that to say, heed Andrew's warning, because it can and will happen. It's just a matter of time.

I thought it looked terrible ?

Blackmagic and AJA thought so, too!

Yeah the lack of metering in manual mode is annoying but a quick tap of the ISO and you can see the meter for reference.

Typically, lower megapixel versions are better for video, because fewer pixels means less processing for a full sensor readout. So it's likely the S1 will have an advantage over the S1R for video.

I did some test shots with the Sigma 18-35 and the Sigma 50-100 in combination with the viltrox on my P4K. As far as I can tell, the images look great. I have yet to cut it together and properly grade the shots, but they do look great for what I can tell.

A poster on the BM and BMC forums has a useful sheet for different batteries based on user experiences reported in their threads. https://docs.google.com/spreadsheets/d/1aAmZ3u4ZdYQznj_cTCtGcMxsZxT_l2JgmBVj0ADWl1s/edit#gid=0 BM have shot themselves in the foot a bit by not getting the power accessories in place when they shipped the camera. The list their own battery for £35 and, whilst that is still a lot more than other 3rd party batteries, I think that would be by far the best way to go as at least you know you are using the same battery they design for and test with but I can't actually see it at any of their UK dealers. Similarly, it doesn't help that the official cable pack that would enable it be powered externally doesn't seem available anywhere either.

I use the SIgma 18-35 and yes, I think it's a must have even just to experience it with the P4K. I have used it on a GH5 / GH5s / a6500 and the dof and sharpness and contrast is superb compared to other lenses that I used (maybe except the Voigts). I think it's gonna give great images paired since it's contrasty out of the gate plus the dof and you can add a Promist filter if you feel like it's too sharp, and an ND filter for daytime. You can always sell it if it doesnt suit you but you gotta experience it. I was also skeptical since I've used the 12-35, 35-100, 12-40, 12-60 mft zooms and images and video is just better with the Sigma 18-35 before grading and post. Of course you can get the same contrast and sharpness with other mft zooms by adding sharpening and grading in Resolve.

My T5 Is working great. Make sure to use the included USBC cable with the T5 because other cables have issues. I previously stated I can record 4k lossless 50p on the T5... well after more testing, it drops frames after 24 seconds. so not great for longer recordings.

Thanks helium. I don't think its clicking into place fully. ill see what BM say about it. Im hoping that BM can send out a replacement battery door.

No, that's not normal. Pressure on the grip has no effect on mine. I'd say exchange the camera, but of course you can't at this point.

Maybe there will be a cage with it's own replacement battery door, plus cheese plate adapter for a second battery, with a door, behind a door, within a maze. Spooky.

My experience so far also tells me the AF is one firmware update away from reliable Look at what Panasonic have just done with v2.4 on the GH5 - seems an impressive step. So I am sure Nikon can make an already good system more bullet proof. My strategy so far has been to use smaller manual focus lenses - Leica M and Canon FD - along with one Z mount lens (35mm F1.8) for when I REALLY need AF. I am enjoying the camera better this way, than with the FTZ adapter. Big Nikon F mount lenses just feel clunky on it some how.

So that's why Blackmagic shoots always have a gaffer on set!!!

Not yet. But I;ve seen some tests on youtube and facebook and results range from significant improvement to no improvement at all ?

From BMD PDF file on the PK4. "Turning Your Camera On Now that you’ve attached a lens, you will need to supply power to your camera. Blackmagic Pocket Cinema Camera 4K can be powered by inserting an LP-E6 battery into the camera, or by plugging the supplied power adapter into the power input. Inserting a Battery and Powering your Camera Your Blackmagic Pocket Cinema Camera 4K uses standard removable LP-E6 type batteries. One is included with the camera, but if you need additional batteries, they can be purchased from your Blackmagic Design reseller or from most video or photography equipment stores. 1 On the underside of the camera, press the door release to open the battery door. 2 With the contacts facing the terminal, insert the LP-E6 type battery until you feel it click into place under the locking tab. TIP To release the battery, push the locking tab towards the front of the camera and the battery will eject. 3 Close the door to the battery terminal and gently push until it clicks into place. 4 Move the power switch on the top of your camera to the ‘on’ position. To turn off the camera, move the power switch to the ‘off’ position." It looks like the bottom of the camera body must be some Top Secret shit. I can't find a picture Anywhere.

Operation yewtree wont let me change it

Knowing Canon something like that is way more likely to be used in a C-series camera.

Do you guys have any feature-requests? (Besides the obvious - loading and editing already existing LUTs.) Movie Style PhotoMatch-movie-style.mp4 Match Photo PhotoMatch-match-photo.mp4 Movie Style with Skin Protection PhotoMatch-movie-style-with-skin-protection.mp4 Palette Painter PhotoMatch-palette-painter.mp4

Haha, we never forget.

I suggest you buy more sound stuff.

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!