graphicnatured

Regardless of how this topic went, and yes, frustration can do that to any of us I'll still be visiting your site often. I really do appreciate what you've built here. Thank you, Andrew.

Thanks Karim
And Dan, yes webrunner is right. It's a cultish following around the Pocket camera.
For example, I understand that Facebook targets each post to a subset of my followers on the EOSHD Facebook Page, depending on the subject. It's automatic, I don't have any control over it. But a lot of pitchforks came out for me today on Facebook which confused me because EOSHD supporters, followers and friends don't usually behave like that.... I know why this time was different, because Facebook had targeted a Blackmagic article at the Blackmagic hardcore fanatics and they didn't like what I had to say.
As for typical BM roll out, yes it is. Trade shows have less meaning to everybody outside the bubble. Most customers don't want to be teased for half a year or even more before they can get the damn camera in their hands. Blackmagic should stop syncing their announcements to NAB and instead put the announcement out a week before they start shipping.
The irony is, here I am feeling upset about being passed over for a camera in my hands... with a hardcore of Blackmagic users saying "what a crybaby EOSHD is" when at the last few camera launches, those very same people were moaning about not having a camera in their hands, because it's late or whatever.
At the end of the day, I reflect on the course this thread just took and I regret it. I stand by my hurt over the camera and snub, but I regret what's happened. Take what you read from everyone on forums with a pinch of salt including even yourself whilst saying it! And including me. I am not myself on the internet sometimes, nobody is. The internet is a weird simulation which is causing issues in real society across the globe all the time. It's not real life, it's a machine-assisted facsimile of it. John Brawley and I would not have behaved the same in real life. The internet is an argument generator and a distorted mirror and I might indeed have to shortly go to the pub and have a stiff drink.

I am finding this thread terribly juvenile and just an overreaction by all parties concerned. It was fine till we were discussing the camera.
Let's stick to the camera and keep other things out of it. 

?
 
 

I like the pictures. A lot. 
This camera will probably replace the micro cinema camera for me as it’s not much bigger and is much easier to work with. 
I didn’t feel as strongly about the 4K production camera / Ursa because they were limited, principally by dynamic range.
I have a deep affection for the 4.6K sensor and have shot nearly daily withnit since before it was launched. I know it very well. 
This pocket camera will integrate and sit very nicely alongside the 4.6K. It’s already a closer match than the micro for me without having really tested it in an A/B scenario. 
I was a little worried about it having less DR Than the 4.6K but I think the other clips  show some great examples of what this sensor can do. “Nature” was incredibly tricky material to shoot as anyone who’s been in that situation before would know and it was unfair to see it being derided.  
Those that did so only reveal their own inadequate understanding of what those shots reveal. 
I can think of a million other scenarios I would have rather done but these sequences were specifically produced to illuminate what the camera can do in specific situations. 
What im almost more excited about is the unification that Gen 4 brings. As I mentioned earlier, it’s pretty much the same people at BMD that brought you the first camera working on this camera.
They’ve learned a lot (and so have I) and I think Gen 4 is really strong. I wish this and extended video would get rolled out wide already as I think half the issue I see with users of BMD products is a lack of knowledge in grading. 
Now BMD do have perhaps the greatest colour correction tool on the market BUT they don’t make it easy to get to a great result without a little arcane knowledge.
Even I often run into issues when working by myself and I see extended video being a great step in addressing that shortcoming. There’s no point in talking about how great you can make images shot RAW if you don’t know how to do it and can’t easily or intuitively find a way to do so. 
With regards to the 4k Pocket. 
Its a genuine low light contender. I was really impressed at what a useable picture it produces with little lighting.
I’m laughing at those that said it’s overlit. I mean a 500w chimera dimmed to almost nothing so the background lighting would still show though the tinted hotel windows is very very low light, much lower levels than the idiots demanding I walk out on the street and light by sodium were demanding.
Again, I laugh when I see comments about how noisy ISO3200 is but I’m guessing those users aren’t aware how much image processing their cameras are doing at high ISOs.  BMD allow you as the user to choose your poison. A very very underrated feature. And like colour correction it’s almost too powerful because users haven’t been instructed to change their expectations, nor how to add noise reduction or sharpening so they can season to taste. 
The best testbfootage will be friends users so the sooner they ship the cameras the better.  Hopefully Gen 4 means there will be less hysteria about its performance and a few will realise there’s no point comparing it to a GHx or a Sony and learn to get the most from what it is good at.
JB

I think we're just nostalgic.
When the Ursa Mini 4.6K first started shipping there were many many threads that were EXACTLY the same as some of the complaints on here....  Users complaining that the UM4.6K didn't have the same mojo / look / feel as the 4K sensor which at that point was in the Production camera, the Ursa and the Ursa mini 4K.
This is a new sensor.  
It has the same chef's in the kitchen, working with new ingredients.
Spend some time with the images, look at the RAWS when they're available and learn to get the most from it.  THEN come back and post about what you like or don't like.  But grading from a downloaded 264 and then writing it off as being inferior is a bit premature and simplistic.
JB
 

The lenses are the ones we had available when the photography was done. As @jonpais says, we try to be as agnostic as we can practically be and we often recommend Panasonic lenses and others to people at trade shows etc when they ask.

Isn't that the case with every camera ever made? I can't imagine anyone on this forum expects perfection from anything they buy, especially not if they read the forum posts here and elsewhere. I can't think of a single piece of gear I own that I don't have something I wish was better or different on.

Isn't that the case with every camera ever made? I can't imagine anyone on this forum expects perfection from anything they buy, especially not if they read the forum posts here and elsewhere. I can't think of a single piece of gear I own that I don't have something I wish was better or different on.

Yes. In my signature - "**Any post by me prior to Aug 2014 was before i started working for Blackmagic**"

Yeah, be welcome Hook : ) Nice to see you around over these boards now.
 
@CaptainHook
: -)
 
 

Pocket 4K and UMP on Gen 4 match colour-wise very well IMHO.

I have to say, I’m more excited about this camera than the BMP4K. Especially if This is the work of a collaborative effort with Samsung. Nikon has no dog in the fight where video is concerned, so this might be the camera that properly addresses that shortcoming. 
I bid 5000 qautloos!

Yeah he really drones on during his long monologues. 

I don't think that it's crazy. 
What would be crazy, I think, would be to release less than optimal footage for everyone to squabble over while the sensor is possibly still being tweaked. Their cameras improve and evolve with each product and firmware release, so there's no reason to expect anything different with a camera they've been developing for so long. Obviously the countless people that pre-ordered within hours are confident that this will be the next gen, small camera that they've been anticipating.
But of course it makes sense for anyone, who wants to see footage, to wait until the camera is out in the field and being shot, tested and reviewed, as most people do.
Personally, I had no issue pre-ordering a pair at the end of the press event, without seeing advance footage.
 

Lenses to go with the BMPCC4k needs a new thread. This is something I'd follow.

I'll start with what I've been using and see how everything looks, then I'll start visiting this and other forums to see what you guys are using and the results everyone may share.
Nikon 
24-70, 70-200, 35mm F2, 85mm 1.8
Tokina
100 Macro, 11-16
Sigma 
50 1.4
Helios 40 and 44, Jupiter 9
Kowa 1.5x

Procrastination is your body telling you you need a break. Seriously, take the day off, force yourself to go enjoy something else guilt free. But when you come back to it you just need to force yourself to focus on the task. But break each task down to manageable chunks and give yourself small breaks in between. Your creative energy is finite and needs to be replenished, managing that is as important to your work as the work itself. 

I generally put everything on a timeline on track one and group everything by what it is. Then I quickly scrub through each group, roughly cut out the stuff that looks good, and move the good stuff to track two. Then I duplicate that timeline, ripple delete all the track one stuff, and again scrub through the selects to pull out the good clips. Once I do that I should have gone through all the footage twice, and I should have an idea of what I've shot and how it can go together. From there if I can see a clear path I'll put a very very very rough assembly together, right up until I run into an obstacle -- then I switch gears and go find music. At every turn when I hit a roadblock I change direction and do something else, because at least for me I find that if I hit too many roadblocks it completely drains my motivation and I fall into a rut. I make it a priority to manage my motivation, and in the long run it makes me more efficient.

Of course, ymmv, some might read this as silly touchy feely self help crap, but it works for me!

For holiday videos I separate all the clips into folders per day. Then put that whole folder on a timeline and scrub through it. I cut out anything that's definitely not going to make the cut and leave the rest in the timeline, trimming out the nice bits of each shot. Sometimes I close all the gaps, sometimes not. Now I have a sequence with only usable material. I duplicate that and have a sequence to actually work in, creating your stories.
This way, you have the fun actual editing part laid out, and if you need a clip you saw yesterday, you can scrub through the rushes timeline of the day to find it, and bring it back into the main sequence. To take it one step further, you could also label clips green for 'great', orange for 'possible' and red for 'hopefully not, but if I really need it'. Then you can just skip to the orange bits to find those cutaways or whatever.
I imagine for the most part each day is it's own story, barring a few situations. So you can even just edit the days as they come to breakup the spotting process a little.
Also, what might help is not thinking that your just spotting your footage, but look at it more critically and think how you could have improved each shot, even the good ones. Then it becomes an important part of making the next one even better, which might make it a little easier this time around haha.
Another great way I've seen, for premiere users at least, is automating to sequence. It's absolutely amazing, although I guess can take the fun out of the editing to music? 
(shame about the shitty clickbait title)
 

“Without” adverts even!
My contribution is next to zero but thank you for your generous words.
Raise a glass to EOSHD!
Tim

Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part  I think this place must be the only website on the entire internet without adverts. Long may it continue like that.
Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.

My dear erstwhile member can you please stop attacking John Brawley now.
I have long since given up on camera forum arguments so might not be completely up on who is right and who is wrong-evil / killed-a-kitten, but can we tone it down a bit. It's JB! We could be learning so much and having such interesting cameras talks with a film industry guy and I am sure one of the only people with a Blackmagic Pocket 2 prototype yet instead a handful of you are just bitching. It's pointless. Even if you disagree with him on certain matters, hold your tongue a bit for the benefit of the rest of us who are interested in what he has to tell.

I for one value your posts (here and on BM’s own fora) based as they are on extensive  experience in a genuine professional environment. I hope this experience won’t dissuade you from posting.
Let’s hope the delivery schedule is still realistic for September - any idea when official footage might be available?

You got me wrong. I know all the tools like the back of my hand. Started with Apples Color, read the whole manual, bought a (Ripple? Lynda?) training, graded. Went on with Color Finesse (as part of AAE, in the short period of a year or so when I was pissed after FCP X launch), then learned Resolve 9, again with van Hurkmans Ripple and (also his) manual. I also entertain myself musing about the best workflows for grading.
It's just that the further I tweak the image the less confident I become as to whether what I'm doing makes things better or worse. I'd better just primary color correct, add a tiny bit of "mood" - and leave it alone. This is almost camera-independent.

Great work, nice images! This was done under Jäger Music right? I noticed the Jäger logo in the beginning. Could you share what kind of budget that Jäger Music was providing if involved. But I understand if you can’t share that information.
Shot on what glass?
My experience to fight against this a lot talked about ”digital look” is done by choice of lenses to use. Quite obvious. But that, lighting and art design makes a big difference. My recent musicvideo shot with GH5 with Kowa anamorphic: