graphicnatured

In ProRes it clearly does - even when turned off, you can easily spot sharpening halos around high contrast edges such as trees, lanterns, roofs etc... Also there's noise reduction and other filtering going on using ProRes which causes a low contrast texture loss (which is not as extreme as on Panasonic GHxx, Fuji X-Tx or Sony A7SIII or A7RIII). With the Pocket 4K Blackmagic finally went the route basically every other prosumer camera went: a full blown processing pipeline.
Thankfully these problems completely disappear using RAW when sharpening set to 0 in Resolve.
 
That's why the Pocket 4K is claimed to be a videoish looking camera -  which at least when using ProRes is true.

The shame about this really is that in the BM camera control spec, you can have access to a pretty full range of colour correction tools for lift/gamma/gain, contrast, gamma, offsets etc. to create in camera looks in real time.
There are quite a few full on CCU controllers for the Ursa that use this capability and although it is still in the spec for the Pocket 4K, the commands are ignored by the camera when you send them.
Hopefully they might switch it on in a future update.
How dare you.
My people will be in touch with your people over this scurrilous accusation  

Yeah, I honestly believe a lot of why the Pocket4k looks so clean is the 4k, but i think we all know that definitely plays a role. I don't think the pressure is on too bad. You are helping to facilitate something that gives these clips to the whole forum to give it a shot on their own. I'm really looking forward to what people do with the clips.
I definitely think we should at least shoot them all 1080 Prores. I'll put a color checker in all shots. I'm going to add 4k too as most will shoot 4k with this camera.

Well sure, I think to stand a chance, the PK4 has to be shot in 1080p. I really believe that is why Arri never really wanted to go all the way to 4K on the Alexa is because it would have been too sharp. And I think the new Arri's have lost their signature look to be honest. I really have never like the Red output as of late. Too good. Even the original Red One looks better than the Red One Mysterium X. Same camera, so called better sensor, and it was DR and noise wise, but not looks wise. More resolution is not Always a good thing for a film look.
But for Music videos, Doc, Interviews the PK4 is a Lot better than the OG BMPCC. And lets be honest that is where your money is if you are trying to make a buck. The PK4 is a great camera, it is, maybe amazing, but not for a grungy looking old school look. Nothing wrong with that. You can't have everything in one camera. The old no perfect camera thing. But 98% of the people will never know it. So the camera is a winner IF you can get one of them LoL. But sure I hope we all learn something here in this thread. Knowledge is a good thing. And maybe I will be proven wrong. Has happened a couple of times LoL. ?
I am sure this can be done pretty close. Look how good @icarrere did with his GH5. There are parts in it where you could believe it was shot on the old BMPCC.  He did a good job giving it an old time look. But it IS in 1080p. Probably one reason it looks so good, ehh to some bad LoL.
 

Thanks. Will post here next week.

Our weather is crappy through until about Wednesday so I'll start doing some outdoor shots first since they are the easiest. I'll shoot each in succession and pay attention to shooting things that don't have a ton of change from minute to minute. All on 24-70, and closely match focal length. I'll match the f stops and shoot all with and without IR Cut.

Our weather is crappy through until about Wednesday so I'll start doing some outdoor shots first since they are the easiest. I'll shoot each in succession and pay attention to shooting things that don't have a ton of change from minute to minute. All on 24-70, and closely match focal length. I'll match the f stops and shoot all with and without IR Cut.

I can shoot the same scene with a P4k, a OG Pocket and a Micro Cinema if you want. Tell me what you want shot and I'll do it and share the raw files.

I can shoot the same scene with a P4k, a OG Pocket and a Micro Cinema if you want. Tell me what you want shot and I'll do it and share the raw files.

I can shoot the same scene with a P4k, a OG Pocket and a Micro Cinema if you want. Tell me what you want shot and I'll do it and share the raw files.

Thanks for sharing this. And yeah, this is amazing! The filmmaker really made great choices in that film. And I cannot believe he shot that in ProRes LT onto SD cards. 
He may have just single handedly restored my faith in this camera.

This film was posted on the P4k FB group earlier. WOW.
 
By DAVE HILL
https://vimeo.com/304999893?fbclid=IwAR2eii51lO2jPHV0mQj1JmhplQRhKhp0YYaO_FHc2jEpYXe8KicJKm53PYo

 

I just wanted to share with you my latest music video shot on Ursa and Pocket 4k + Zeiss Cp3 + Black ProMist (how Can i embed a video here : ) ? )
https://vimeo.com/309293561

Personally I think the P4K and a vintage lens is a winning combo. 

I’ve been posting my work in the “share your footage” thread. You can find some in there and for a fact you did comment on my photography with the Pocket when I posted a website for my work a couple of months ago. 
 
Anyway, I’m not talking about A look, as in ONE look. The beauty of higher bitrate, better codec/raw camera is that you can get unlimited looks. I assure you 99% of the “OG” look you’re talking about is hiding beneath multiple layers of color grading, added noise and compression. Just for fun, I’m going to shoot with both my OG and P4K this weekend and then match the footage and post it here to see if you can tell what’s what. Sounds good?

Regarding the person who produced the video about returning his P4K in favor of his Micro - from a straight shooting experience, he needs to have his head examined
We've got a lot of cameras, mostly BM, and a couple of Micros, whose images I love. In fact I wrote at one tome that if BM would take the Micro cinema sensor and put into a real camera body I would buy them for three times their cost.
The Micro is the most disfunctional camera you can shoot. A simple menu change takes forever in any environment. Tiny unrecognizable buttons on tiny stripped down senor box - but what a sensor and color science. And it's that way by design. It's supposed to be a drone or special use crash cam for TV/cinema production - not an actual shooters cam.
The P4K is the exact reverse of that - perhaps the easiest small camera to use on set or in the field - a brilliant camera as far as shooting goes.
And the idea that upressing the Micro footage in Resolve is better than shooting 4K/UHD on the P4K is a real head scratcher. Just spend some time learning how to optimize the image at aquisition and then how to work with the amazingly maleable image to get the look you want.
It took very little time shooting and working in post to get the image to look like the original Pocket or Micro etc.
You can't make any of the previous BM cameras (except the UMP) look like the P4K but you can easily do the reverse if you want to learn how.

To be fair, the filmmaker didn’t ask for his work to be posted here and torn apart.

I think there is something wrong with me. All the videos I see the last couple of years are in a slower motion than I experience in life. I am not sure if reality is slow, and I too fast, or I am just.. well.. slow!

There's a couple of projects I've done with that lens and P4K/Ursa but they're not available online yet. Here's one where I used almost exclusively lenses with distinctive bokeh, however it was shot on the BMCC2.5K and 5DMK2 (ML RAW). In this one I used the aforementioned lens, Super-Takumar 50/1.4 and a Petzval 85/2.3 to max out the old film noir kind of feel.
 

Pairing the Pocket 4K with some good vintage glass is pretty blissful. There's been a lot of talk about how it looks more digital and modern than the previous BMD cameras - and yeah sure, I guess it's not as organic and grainy as the 2,5K. But throw on some c-mount glass or a speedbooster and old Pentax stuff and the camera sings. Haven't used it with this kind of setup on a production yet, (it's playing second fiddle to the Ursa Mini and been on a gimbal on about half a dozen shoots now) but I'm just having a lot of fun taking it on a walk and just taking some throwaway nature shots. It's something I used to do back when I used the 5DMK2 regularly, and I'm happy it has revitalized that habit again.

This was taken with the speedbooster and a Pentax 35/2.3 M42 lens on a cool winter afternoon. One of my favourites due to the very distinctive, oil painting-kinda way it renders out of focus areas and the transition between them and in-focus areas.

Why wouldn't you? Then you have access to Helios 40, Jupiter 9, etc.. I have them adapted to Nikon and then added filter step rings to them for NDs and ProMist. Softens up and adds character to 4k image. Just be careful of flaring. It can get cray in ways that you may not want.

Oh shit, just received confirmation on my order including the G2X and Nano. 5 business day shipping, so definitely next week!

Looked into this and the steps that some lenses report will result in a value that's smaller than the precision of the numbers we show. So for instance the lens may allow two settings around f14 where the "second" one is still closer to f14 than f15 so we display both as f14. The opposite can also happen where some lenses will report settings where it DOES fit in a our precision to show two different values but the lens doesn't actually change aperture enough to see any difference. We assume Panasonic etc know of these settings across the lenses and compensate/ignore them etc as necessary in their cameras.