cantsin

Blackmagic has not released a list of supported cards for the BM Pocket 4K yet. So at this moment, we simply don't know which cards will be compatible.

Well, I honestly think that the video looks awful in every respect (camera movement/stabilization, colors, image quality) and sounds terribly artificial with the overdubbed studio track. What a waste of a location - Görlitzer Park in Berlin-Kreuzberg - where you get good atmosphere for free.

I used the term "objectively" referring to objective measurements like resolution, low-light capabilities and signal/noise ratio. Nothing beats Sony's modern full frame sensors in that respect. And, yes, Fuji beats them in the subjective departments, but their sensors are the same that Sony uses in its APS-C mirrorless cameras, only with a different color filter and a different (better) JPEG engine. If you use Raw converters (like RawTherapee and DxO) that can use 100% their own color science on a raw image, color rendering differences between two camera manufacturers are nearly invislbe.

We don't know but can only speculate on the sanity of Panasonic's and Olympus' camera body designs.

You can also buy budget Chinese MFT primes by Mitakon, 7artisans etc. The 7artisans 25mm/f1.8 only costs about $100.

Not when the camera downsamples its (4K) video from a higher resolution sensor.

Completely agreed. In addition, you'd lose resolution when deskewing the image in post. The Pocket 4K won't change what has always been true for BM cameras: These are not run-and-gun cameras, but cameras for slower, manual filmmaking.

Photoshop smart object importing doesn't work with CinemaDNG sequences. And Resolve Studio's lens distortion correction is manual only and not based on meta data of the lens used.

For pure image quality, the Sony A7/A9 series (A7 Riii, A7 III, A9) is objectively the best, simply because it offers the best sensor technology and, in combination with Zeiss lenses, top-class optics. Only digital medium format (Fuji GFX, Hasselblad) is better. For handling/shooting experience/ergonomics, the Fuji X series is the best IMHO.

These corrections are done in-camera, but only by Panasonic, Olympus and other MFT photo cameras, for JPEG and video, and off-camera, but only for raw stills, by software like Adobe's. With Blackmagic cameras, there is neither in-camera geometry correction, nor does any video program that reads CinemaDNG apply those corrections in post. - This also includes vignetting and CA corrections on which a lot of MFT system lenses by Panasonic and Olympus do rely.

No.

Could it be that the Flektogon has a protruding rear lens element that clashes with the glass of the Lens Turbo?

In real life, colors will be all over the place (just as with music where no producer can fully anticipate how it will sound on end devices from cell phone speakers to car radios). But technically accurate colors on your monitor will ensure that you will hit the middle ground, and see the colors you'd get in a controlled display environment (such as properly managed DCP cinema projection).

The x-rite i1 is better than the Spyders, but the Spyders are cheaper and their various models AFAIK only differ in their bundled software. By far the best screen calibration software is the Open Source program DisplayCal. One run to calibrate a screen can easily take 6-8 hours, but yields superb results. So a good budget option is to buy the cheapest Spyder and combine it with DisplayCal. An i1 + DisplayCal is probably the highest-end calibration solution available. DisplayCal is also a great companion to Davinci Resolve, since it can save its calibration as 3D LUTs (the only way to get correct colors in Resolve's GUI viewer) and can calibrate external video monitors connected via Decklink cards through Resolve.

There are a few rules for buying MFT lenses for the BM Pocket (the old model as well as the new 4K model) that differ from those for other MFT cameras: Avoid lenses that rely a lot on electronic geometry correction, since they will produce distorted images. This includes most Panasonic and, to a lesser degree, Olympus lenses, particularly wideangle primes and wideangle/standard zooms. Avoid autofocus lenses with focus-by-wire, except maybe the Olympus Pro lenses with their manual focus clutches. If you absolutely need stabilized lenses, there will be no way around Panasonic lenses (most of them zooms), but be aware of their optical and handling (focus-by-wire) shortcomings on the camera. If you buy MFT lenses, preferably buy fully manual (i.e. manual focus + manual aperture), optically corrected lenses by Voigtländer, Veydra, Samyang, SLR Magic and others. Speed Boosters/focal reducers + SLR lenses are a good alternative, with some known drawbacks. But for the Pocket 4K, hold out and wait which Speed Booster adapter model will be the best for the camera, respectively whether Metabones will produce a dedicated/optimized Speed Booster for the Pocket 4K - none which is known yet.

It is.

The BM Pocket, to which I referred, has the option to switch the audio-in minijack port between mic-in and line-in. Using a preamplifier before a mic-in is something I would never do.

Once you try to use your smartphone for real filmmaking, it's a pain in the butt, because manual shooting parameters (including constant framerate), storage for big files, body stabilization, longer battery life and ND filtering for 180 degree shutter often require workarounds and clutches that, in the end, make a smartphone more difficult to use than a classical camera.

Definitely a good low-cost solution for improving in-camera recorded sound, if your camera has a line-in port. Used the same setup for my Blackmagic Pocket.

You're more brutally honest than me. I predict that many Pocket 4K buyers who're new to Blackmagic will face a rude awakening. Not only that their electronic MFT system lenses will not be right for the camera and that any lens will require IR filtration. In addition, raw will be tempting for most people but require huge additional spending for CFast cards, GTX1080-class GPUs, SSDs or RAIDs for editing - and almost no way of editing this material on laptops.

Both are suboptimal lenses on Blackmagic cameras because their optical designs are based on software geometry, vignetting and color fringing correction which the Pocket does not provide. In addition, they're autofocus lenses that are clumsy to use on BM cameras with their push autofocus. In addition, they do not resolve 4K. For best image quality and handling, I would use manual lenses (Voigtlander, Veydra, SLR Magic, Samyang).

Okay, let's do some research: The photographer of the Max Mara campaign was Cass Bird, the model Hana Jirickova: https://modnidny.cz/max-mara-weekend-spring-summer-2018-campaign-by-cass-bird/ The cinematographer is uncredited but was, most likely Chris Bernabeo who states in this interview: "I work for Cass Bird and her work is constantly inspiring me". In the same interview, he also states: "I’d also love a sexy Bolex to shoot my fashion films on 16mm." I'd say that it was shot on 16mm, but all editing and postproduction - including the film burn effects - was done digitally.

All those on Netflix' approved camera list (since Netflix only accepts 4K for its "Netflix Originals" productions): ARRI Alexa LF / Alexa 65 Blackmagic URSA Mini 4.6K / URSA Mini Pro 4.6K Canon C300 MK II / C500 / C700 Panasonic VariCam 35 / LT / Pure; EVA1 Panavision DXL RED Epic / Weapon / Dragon / Monstro / Helium Sony Venice / F55/ F65 / FS7 / HDC-4300 / Z450 https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture

Cameras like the GH5s will never give you true optical 4K resolution, just a 4K pixel matrix, for the following reasons: With a native 4K Bayer sensor, you lose 33-40% resolution through debayering/pixel interpolation, which effectively gives you 2.5K real optical resolution. If you crop/stabilize the image, you're quickly down to 2K real optical resolution. 4K marks the optical resolution limit of the MFT system. Only few, very good MFT lenses resolve the necessary 12 Megapixels for true 4K resolution. (For reference, see DxOMark. Among all MFT lenses they tested, only the following resolve 12MP or more: Panasonic 20mm F1.7, Olympus 25mm F1.2 Pro, Sigma 30mm F1.4 DC DN, Panasonic Leica 25mm F1.4, Panasonic Macro 30mm F2.8, Olympus 12mm f2.0. Most of them lose resolution on a native 4K sensor because of software geometry correction. This - strictly speaking - reduces the list to Panasonic's and Olympus 25mm lenses and Panasonic's and Sigma's 30mm lenses). This is comparable to full frame systems (with their 4x bigger sensor surface) where only very few lenses can resolve 48MP/8K. The main advantage of shooting 4K is that it gives you true 2K - and hence contemporary digital cinema standard resolution. When you shoot FullHD/2K on a consumer/prosumer camera, you'll never get true FullHD/2K for similar reasons.

It's real 16mm, shot on negative stock - as you can see in the few tiny white emulsion spots in the image, despite the low-resolution scan/rendering of the video. Plus, there is zero rolling shutter despite the heavy camera movement. EDIT: It's a typical 16mm handheld look, pioneered in 1960s experimental filmmaking, among others by Jonas Mekas: The previous comments that suggested that this was shot on a DSLR with 4K cropping are completely off and written by people who seem to have no experience with analog filmmaking.