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Yes, the company responsible for building the GH line of cameras, which is famous for pushing leading edge technology at this price point, couldn't possibly make a camera that has the RAW capabilities of a $1300 camera just released, for only three times the price. That is completely beyond comprehension!

update: OMG pornhub has a sfw category

Looks to be a lot better. That said contrast detect simply can't match a phase detect system.

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If its the 240 FPS aspect that you are most interested in and don't mind it not having the form factor of a hybrid, have you thought about a used Sony FS5 or even the FS700 with your Shogun Inferno as an alternative? Both would fit into your budget and the FS700 would actually be a big saving.

@BTM_Pix if you tap the battery meter it changes between percentage and vaults. That could help you determine your consumption. I'm not having any luck pairing my phone to the camera. I downloaded the free app tRigger, but it's not showing up - are you using an app or your homemade whatsit?

Its the versatility I'm after rather than it being a real "pocket version" to be honest and I wouldn't baulk if it was the same price. I'm thinking more of stripping it to fit on a small single handed gimbal as an Osmo RAW alternative for one thing. But there have also been some very nice compact setups made for the BMMCC using inexpensive EVFs etc such as the one in this thread here which would give it an edge for handheld shooting. The remote port on the BMCCC is really good for making custom controls and its sad really that the Pocket 4K has dispensed with the LANC port as even a simple start stop if its on a gimbal will require using their app or an as yet unreleased 3rd party Bluetooth LE controller from someone .... With regard to the heat, at least on the BMCCC the battery sits outside the chassis and I've got to say even after just 5 minutes of poking around in the menus of my newly received Pocket 4K earlier it was getting a bit warm inside the grip. From my point of view-and its only a personal preference - if a BMCCC form factor version (not necessarily as small but just the same principle of sensor in a box with no screen but with the ports, external battery etc) had been available then I'd have definitely picked that one over what I've got in front of me. Maybe I'm just a 5" loupe and a next generation compact gimbal away from loving this one

I think there's room above the Pocket 4K for the same image quality in a better built body with more features. Seems like a no brainer to me. People love the image and the back-end monitoring on the Pocket but it's never going to have the depth of features of a GH5 for the price it is - they would have to up the price to make it more ambitious. Around $2500 would bring us all sorts of goodies. I also wish the form factor would be more along the lines of a GH5 as well with an EVF.

Another awesome update, thanks @Sage! Here's some 10-bit 60p stills showing off 1) V-Log w/ Prores PRE 2) Main 3) Linear 4) Properly white balanced Linear. Although I like the warmth of the original "sunny" WB No luma adjustments on these!

I think that amounts to roughly about 40-50 pages per camera actually owned on here though !

No, I think its still there, it just seemed to die. I have been waiting for the update on that. Did he have a faulty camera? Did the problem go away once he stopped down further? I may need to bump it, because that seemed a serious issue.

Man you Need a Sony A7s using Slog 2. The DR on that G85 is just not going to get the job done. And if you light stuff it is not going to look realistic. All stage programs have crazy lighting challenges. But if you modify them they look like something that is not natural looking, foreign. That is sort of the draw of the Stage, it takes you somewhere that is not part of normal life, pretend stuff, dream like. And it is sort of done on purpose to draw your attention to the Actors, not the backdrops. The actors look more 3D. Lighting would ruin that effect. Think about it, bigger productions always have people up in the balcony, or a catwalk using lights, spotlights to highlight the actors. They are not lighting up the background. Maybe at most the areas where the actors are, but they rarely are at the back of the stage. I have been to a bunch of stage shows. I have no clue how you would be able to ever, with any camera, capture it like it is in real life.

An online portfolio is important for a filmmaker or artist or anyone in fact and it should be guaranteed safe, as safe as the files on your hard drive. Vimeo can't guarantee that. They could just remove the DMCA videos, but no - they had to go an extra draconian unnecessary step to satisfy whatever lawyer shit they found themselves in - and delete all the legal videos of that user as well. It's the worst policy... In the history of the internet

Sorry. I couldn't resist asking when you said you're from Cairo....

Between those two, for your situation, I'd take a GH5s. 240fps and lower rolling shutter are big advantages. FS700 is the best choice if you're not bothered by size or weight, ESPECIALLY if you're already using an Atomos.

When BM bought DaVinci nine or ten years ago, the support contract alone for Resolve was $80,000 a year. Even if you bought a used system, DaVinci would charge you $50,000 for their engineers to re-comission it so you could then join the service contract programme and pay them $80,000 a year. So its not just a case of BM bringing the price of the features of high end systems down in price, they have brought the actual system down in price for normal users. Its the same story when they bought Fairlight. When I was using the CMI in studios in the mid 80s, it was the price of a very decent house and when that morphed into a post-tool as the MFX-3 and FAME console from the late 90s onwards it was a similar story and now you get that for free inside Resolve. What BM have done to bring all that stuff to the masses at such a low cost is nothing short of incredible. I just wish they'd buy a company who make accurate on screen battery meters.....

Yeah, even the battery knows it is about to die and its pulling the ejector seat canopy. After a second the battery will fly out the bottom, then release a parachute before it hits the ground.

The BMPCC 4K is already a recorder with a sensor ?

Maybe the battery door falling off is actually to tell us that the battery is at 5% and really must be changed now, even though the meter is showing full

The battery gauge behaviour on this camera just emphasises what a balls up BM have made not having the external power options available from the get go. It appears to go : Full Quite full About half full About a quarter full (showing Red) Off The rate at which it goes from 1-3 is probably reasonably accurate for the expected run time but the step from 3-4 isn't and the almost instant drop from 4-5 (ie Off) is ridiculous. As is the fact that if you switch it back on again, it goes back to 4 for about a minute and then back to 5. And then if you leave it for a few moment, you can do that same thing again. And again. The fact that I wasn't actually taxing the camera at all other than having it sat there while I sent a few Bluetooth messages to it (so there was no variance in power consumption from putting it in and out of record for varying times) is a bit concerning as to how this erratic power indication would work under actual use. I thought the battery gauge behaviour on the original Pocket was random enough but at least that had a percentage indicator to let you know precisely how random it was being. If it behaves like this when it is more or less just sat there then I would be very wary about doing anything critical with this camera once the the battery randometer has gone below half. And before the sock puppets show up and ask, yes I was using the real BM battery and yes I had fully charged the battery out of the box before the camera was switched on.

I like this!

@katlis That looks glorious. Wish I had gotten V3 out earlier - those bright saturated yellows are other bright colors would really sing with V3 (the saturation model with V3 is on a whole new level)

I was expecting you'd need more reach than width! Eh, I disagree, reckon there is a lot of other things you could get instead than another camera

Thanks! I ended up playing a bit more with the grade when I uploaded the video (below) using v2.2 as base last weekend. Although the above screenshots are from Resolve today, the final video was edited in Premiere and as I mentioned in the comments: "I always start with GHAlex as a base, followed by FilmConvert dialed down a bit. Then it's just experimenting in Lumetri for an overall grade, and adjusting luma on individual clips to get consistent exposure." I'm limited in resolution with the free version of Resolve, but I may just have to make the switch and get the full version!

Did you give the 65x go ahead (in the email)? I'm presently inundated with V3 emails and stuck at work, but I will get up to speed later tonight* Looks stunning. I quite like the warm WB as well - I wonder if it might be matched with a correction following the neutral conversion?

Indeed, I'd like to write a guide for FCPX (I'll need to get something better than a Mac Air for it). I assume it doesn't have the unique color space distortions that Premiere does, but I haven't measured it (to make PREs) 65x65x65 is eight times the resolution of 33x33x33 (cubed). The files are ten times larger, and being a fan of efficiency, I wanted to stay with 33x. It gets 90% of the way there, and combined with tetrahedral interpolation (available in Resolve), it can be very smooth. I recoded the color engine to work at 65x (which cleanly downsamples to a cubed 33x), so that the calculation could be done at this finer resolution. But I tested the 65x files against 33x, and the accurate nuance and smoothness (especially in programs with trilinear interpolation, like Premiere) of 65x was simply better. It is subtle, but I decided that the trade off of 10x larger files was minor for those who wanted the utmost in quality (personally, I will only use 65x, but the 33x option is always there) @JeremyDulac Thank you Jeremy for the kind words! 65x all the way ;)

All 200 of us. No 199 of them, count me out LoL. Well maybe. ?

I think what's being described really (APS-C, MFT mount, integral ND, speedboostable, long battery life) is the JVC LS300 with a RAW option but unfortunately I'm not sure JVC are going to update it any time soon. Funnily enough, I'd like to see BM go the opposite way to some extent and offer an alternative with the Pocket 4K internals inside a form factor more akin to the Micro Cinema and Micro Studio cameras.

At first glance this looks like a good idea, even a necessity in a certain sense. But let me play devil's advocate for a moment. The problem is with (a) availability of S35 sensors with the same properties as the one in the BMCC4K and (b) the lens mount. If they somehow manage to overcome the first problem, the one with the mount remains. Having an EF or PL mount defeats the purpose of such a camera; a BMPCC4K with a speedbooster will be its equal or better. They could go for a m43 mount (it can cover a S35 sensor for video) and also perhaps offer their own SB versions, with embedded ND, but I don't consider it probable. I still find the idea of such a camera highly interesting, especially considering the larger physical format could enable updated battery power, cooling, different storage media or even a clever modular design.

Still waiting for that super dumper Sony announcement, oh wait it was one week ago.

Vanilla.

That sentence puts a smile on my face. I am grading A7s Slog lowlight footage at the moment. Camera peeps would have been better off shooting 709 with an G85 at ISO1600 plus speedbooster, producing superiour color for that purpose. "Just not going to get the job done." puts an even greater smile on my face

Maybe the a7Smk3 will record to a AXS-R7 !

@androidlad where you getting this info? I also asked you TWICE for a source on your "leak" about a 4k 12-bit/2k raw canon rf mount camera on the eos r thread and you don't seem to have an answer. Seems like you're pulling this stuff out of your arse mate..

I'm going to be listening to The Kick Inside all afternoon now.

https://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html Spotted the news when I was checking up on the HiSpeedCamera website: http://www.hispeedcams.com/sony-fs5-240fps-full-hd-camera-gets-750-price-drop/ Didn't realise a new FS5 had dropped to well under four grand. But I had already noticed the prices of a FS5 on eBay had been steadily trending down this year. So while the the FS700 had become more and more attractive (around US$1.5K ish is a common price on eBay for a FS700), if the FS5 comes down in price to only be another $1K more (as I'm sure the price drop on a new FS5 will apply pressure to eBay prices!) then it might be a tough ask to buy a FS700 when the FS5 is only a little more. Hmmmm..... But the Sony PMW-F3 on eBay for as low as possibly US$750ish itself for a whole camera (the FS5 price drop equals a whole F3!) remains attractive, especially as I wouldn't need to buy a new recorder at all for a 2nd F3 camera. (although in the last month or two the low end floor price of an F3 seems to have trended back up to $1K, I dunno... just a momentary blip I assume in the overall inevitable decline in prices for everything) Plus of course let's not forget the new BMPCC4K and the many other mirrorless cameras recently released.

Aha, so Magic Lantern Raw is not Raw, right? Raw simply is non-debayered data. There are many ways to reduce pixel count without debayering. When a camera oversamples, it debayers the whole image and then scales it down, but if a camera pixel bins, then it reduces the pixels before debayering, if you take that data you will get raw with reduced resolution from the whole sensor.

The F2 lenses are good lenses... fast focusing and quiet. For quality vs price Sony and Panasonic have nothing that can match them. Now if price is no object I can highly recommend the MKX series... lovely glass.

Hi. Just to update this old question. I tried connecting my NX1 via HDMI and sadly couldn't get the auto trigger feature to work. Tried a range of options...so unless I've missed a setting somewhere I don't think the NX1 can do it. The good news is the Mix Pre is a fantastic pre amp for the camera...I could set the mic level to 1 on the NX1..patch a mic through the Mix Pre and then to the camera from the output. When listening back on headphones it was tough to hear a difference between the audio recorded on the NX1 versus the audio recorded on the SD card of the Mix Pre itself (which saves syncing in post)...possibly still a bit better...but the Mix Pre as a pre amp suddenly turns the audio quality of the NX1 recordings to a very high level.

Got mine couple of days ago. The AF is really impressive ( coming from a a7rii) both in photo and video. A lot more video friendly features as well, like gamma view assist and fully custom zebra ( now you can more or less use it as a replacement for false color for Slog exposure) The big negative point for me is the temporal noise reduction in video, it don t look too bad in Slog-2, but then I get a lot of color noise from poor compression , I ordered a Ninja V so hopefully that will solve the issue. Colors are very decent as well, especially if you use S-log with ACES , and actually look great with filmconvert. I will also use it for street photography for my photo project https://www.instagram.com/ccinis/ , I did shoot a lot with the original A7 and the zeiss 35mm 2.8, but on the A7iii ,from my initial test the autofocus is incredible, by the time I orient the camera toward the subject the face detection already kicked in and got the subject in focus, that will be fantastic for discreet shoots taken from the hips.

A lot of working professionals earn their bread with GH5 all around the world. It is a beast of a video camera and can do lower speced photo jobs. The camera records continuous video in many bitrates and flavors, have IBIS (which is great for some people), good ergonomics and the such, unlimited lens selection and speed boosted stuff, does not overheat or any of these e.t.c I didn't buy it, and I wouldn't, but it is a video (mostly) and photo machine that brings bread in the table. A lot better than any other recent camera (before 2018) of that type (XT-2, other m43, a6xx series, Canonikon e.t.c).

Agreed. I was surprised by how often the EOS-R and A7iii would lose focus on a subject for a bit, whereas the Z7 seemed to stick to its subjects like glue.

Olympus lens looks terrible, it has to hunt for focus without any DFD depth data DFD lens looks way better on my GH5S, I tried a 12/1.4 and 12-60/2.8-4 and AF was smooth. This test looks pretty good

Do you have a SLR Magic Rangefinder for sale?

Singlus prototype focus module test Used gear: Schneider ES Cinelux 2x (Singlus prototype) Porst 50mm F:1.4 Helios 44-2 F:2 projector lens LETI 92mm F:2 Sony a6300

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

Quick test flares 35NAP2-2 / Singlus prototype / Helios 44-2 wideopen on Sony a6300