Jonesy Jones

Be nice, it took me 4 minutes to figure out how to spell computational computing, let alone understand it.  Plus photographical photography sort of sounds Dirty LoL! ?

I think what I’m seeing is a similarity in the highlight roll off, not necessarily a DR similarity with the GH5. With that being said, I enjoyed your impromptu family short film.
The Ursa Footage is in a different category than the P4K, as it should be, but I definitely think this is some quality first footage for the P4K. That midday sun, in the middle of the woods is a bitch on almost any sensor.

https://www.youtube.com/watch?v=oAbB4dQOz4I
Mark Wyatt talks about using the Blackmagic Pocket Cinema Camera 4K. ‘Nature’ is Mark’s test of the camera’s 4K performance in the extreme lighting conditions of rainforests and ravines.
“The camera tests I wanted to do were in the forests and waterfalls on the outer West Coast of Canada. I was really interested in seeing how the new sensor would handle these harsh lighting conditions. By increasing the ISO to an impressive 1250 and 2500, it allowed me to capture the dark moss-lined walls and unique emerald color, yet also hold onto the highlight detail of the top of the waterfall and sky. I feel most cameras would likely struggle with this scene.”
“I had the Blackmagic Pocket Cinema Camera 4K for only a few days, but overall I was really impressed by it. The weight of the camera is very liberating, especially when you are used to using larger camera systems. The screen is big and bright enough to use in daylight, which I found great for judging focus and exposure. And, the colors too on the screen, were also nicely represented. In fact, I would argue it is Blackmagic’s best screen yet.”
Blackmagic Pocket Cinema Camera 4K
RAW 
ISO400, 1250 and 2500 
Sigma 18-35mm, Rokinon Cine 50mm EF lenses
Metabones Speedbooster to Micro Four Thirds

Nothing but good spirit was taken from that comment. I post frame grabs because I don’t want to bore people with boring color grade test videos. So when I realized I could export frame grabs, I just started doing that instead of whole test videos and it saves rendering times.
I like stills on a complete fun/hobbyist level, I like video because I am a screenwriter first and foremost, so stills have no real impact on that pursuit. 

The Chinese translation supposedly says its going to fill a void in the photo market. A left handed camera would certainly do just that.

I just installed a new Rawlite OLPF into my UMP, mainly for IR cut purposes, but also to take the edge off of sharpness. Take a look at the before/after below. Skintones are much improved under tungsten lighting.
 
Here is a moire test on Rawlite's site:
http://rawlite.com/olpf-for-blackmagic-ursa-mini-pro-4-6k/
 

Yup, there aren’t many fast options in that focal range for larger sensor cameras.
So you may want to look into native lenses for the GH5. The Olympus 17mm 1.8 is a jewel of a lens and with the focus clutch, you can have your hard stops. And the Olympus 12-40mm, although not as fast as your Sigma, is a great little all purpose lens as well. And obviously there are the Voigtlanders that are unmatched in my opinion.
And then of course there are the Rokinon/Samyang Cine Lenses made for m4/3... the 12 and 21mm, I particularly liked and they’re nice and compact.
I don’t use a follow focus, but I assume you can set them up to have hard stops? But don’t quote me on that.

A couple Minolta lenses can be converted by changing out the mount but not with a simple adapter... they require one of the adapters with glass. Same goes for FD lenses. Now I found a Minolta 35mm 1.8 that was converted that I use with my 5D3. It’s a lovely lens. Here’s a few Raw screengrabs from a test shoot...

But honestly since you may need EF in the future, you’re probably better off with the Nikon Nikkor lenses. They are so well built and the IQ is simply gorgeous. Some of the ai-s lenses are still sold new today.
Here’s a frame from my short film and a test shot from the Nikkor 35mm 1.4...
 
 


If you can look past my meager color grading skills, you can still see the attributes of the lenses.
Unfortunately I had to sell off some of my favorite Nikkor lenses but I may buy new copies. Or I may get a couple Zeiss ZF lenses instead and replace the mounts with Leitax EF mounts. Or if I do go with Nikkors, I’ll probably do the same.

Thanks for the "welcomes".
I (and others at BMD) have been following this thread (and threads elsewhere) so we're aware of what people are discussing and asking but in general we don't/can't comment on a lot of things before release sorry.
We appreciate the support and are working hard to deliver the best we can offer you all.

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

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

Article: https://www.hollywoodreporter.com/behind-screen/netflix-mode-comes-new-sony-master-series-tvs-1130621
Looks like the industry is gradually getting colour and gamma standards in place..
 

I voted move to a sub forum, despite the obvious bias presented in the poll options.
Lots of forums have places for political discussions since they always tend to get heated. The arguments always go in circles since an internet argument isn't going to change anyone's opinion. Its also clear from reading through some of the recent threads here and elsewhere, some people really don't know or understand American politics (especially on a state/local level which had a huge impact on recent elections), our economy and our history.
As an American I fully support free speech. But I don't go to camera, Jeep, mountain bike, guitar and travel forums to read ill-informed political discussions.
Chris

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa.  Pretty amazing to me.
Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot.  The style these days is use what already exists, and augment the lighting, and use grip to subtract light.
Subtracting light.  Before ASA 800, when many of us were shooting at around 200 ASA, you would add light.
Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. 
Toppers, cutters, siders, eggcrates.   
But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera.  The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight.  We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. 
At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again.  
Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest.  It was easier to do, since there were less stands to place on the ground and less rigging to do.
Grip takes up a lot of space and stands.   Lights -  not as much.
And we ended up making the bar more interesting than what it was - we transformed it. 
(I'll post videos and stills once the spots are released.
It was putting on a different brain from an earlier era - cause we had to move a different way. 
And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again.  That color of a tungsten fresnel - it has a golden warmth to it.  Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls.
To rediscover those old tungsten fresnel units, that was also important to me.  These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

@Wild Ranger That looks great! Very vintage. I should mention, in the interest of fidelity, that the 4:3 mode uses a different codec with a bit different color science. For EC, I recommend All-I 2K or 4K, for the organic fluidity of motion, smooth gradients, and edit-ability. I hope to get around to a 4:3 Pre
In any case, your work is always very good!
 
*Edit: Here's a frame shot with All-I 2K in ETC mode, with the new 2.2 Soft (which will be great as a filmic base):

They're all shill accounts and its costing s much money for the pay per clicks so thats why I've had to cancel my Adobe subscription to pay for them
 

More classics from David -

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.

nevermind/
 
let me put a point on this: @jonpais is a raging jerk. hes deleted my posts and threads. i think he needs some time off from the forum
@John Brawley, had a fit over the word "sissy", which infuriates me. in America that isnt "hate speech", you act like he said fa**ot.
/thats it

If you have $99 to spare I highly suggest watching Ron Howard's Masterclass. He has a few dedicated sections on blocking. It's invaluable if you ask me.

Jon, I don't want to argue with you or anyone but I think you need to be aware that sometimes the tone of your posts come across as rude and condescending. I realise that's probably not your intention but maybe worth reflecting on.
 

"so many people can’t interpret the correct target of a film or even a joke, because they are too thick."
A joke, or a film that has to explain itself to the audience is a failure. If the audience don't get it, then you as an artist have failed, you've either marketed it in such a way that the wrong people are going to see it, or you're not a very good artist. Now if you're trying to show something to an audience that they wouldn't usually see, and are trying to show them why your work is good, then you both need to expect the discussion about it, along with the criticism and for only the very pinicle of your genre to have any chance of success. If you are not at the pinnacle, you're likely to fail.
" I remember reading just recently about a top scientist who was in a large elevator with a lot of members from the audience of a conference, and he joked he wanted someone to press the button for him to get out at the women’s lingerie department. The target for this joke was of course himself, a decaying old man finding humour in a desperate fictionalised version of himself, seeking sexual satisfaction by exploring the women’s lingerie department, "
With you completely...
"but he ended up losing his job because people in the elevator took offence"
He didn't lose his job. He didn't lose anything. If he does, it won't be about the joke, it was about how he responded to the complaint. See below.
"saw the target as their gender, thought it misogynistic and wanted him fired. And the community in which he worked was so politically correct that they actually went ahead and did so. A life’s work ruined in a blink of an eye, a career smashed in the time it takes to make a wise crack in a lift.
Actually, the complaint about the joke was, quite rightly about to be dismissed. The big problem wasn't the joke, it was that he tried to intimidate the person who complained. Ex Partie communication is a very bad thing and should never be defended.
"but trivially empty family friendly content has kick started a mental health epidemic"
No it hasn't
"In the lead up to this year’s Cannes, Kate Muir of the Guardian newspaper in the UK lambasted Von Trier’s presence in the festival purely for being male"
It's interesting you think she lambasted him, given that all she did was print his own words, in context. What she was saying was, when there are all these great female directors, why is space being given to this guy. Here's things he has said. She was lambasting Cannes, yes, but him, no - his own words were enough - she even printed his follow up's to complaints about his words. 
"At the screening of the new film, over 100 critics walked out mid-way through, probably because .."
Probably? Hmmm..... anyone can make up stories about why someone did domething that supports their narrative, look:
You probably wrote this article because you have been kidnapped by aliens.
"The Ghostbusters remake and Black Panther were both terrible films "
Black Panther was terrible? Really? Most people disagree with you.
"and were practically immune to criticism"
Not being criticised doesn't mean they were immune to criticism. For starters Ghostbusters was heavily criticised. I've only seen one even slightly positive bit of press about it that they didn't pay for and it was as faint praise as you can get, basically saying that it's for kids, and this is what kids find funny (They don't, as you can see by kid's criticisms of the film). Black Panther meanwhile was not heavily criticised because most people thought it was OK.
"This privileged puritan mindset implies that women and black people are so downtrodden, they need some lightweight popcorn hit to empower them into doing something with their lives. "
Hmmm... No. This "privileged" "puritan" mindset implies that not all successful movies need to be made for straight white guys in their early teens through late 40's.
"it demonstrates to us that Von Trier and artists like him are right not to care, because logically the audience have no right to be offended."
You there, stop feeling the things your feeling and saying the things you are saying! You don't have the right too feel those things and say those things. Von Trier would wholeheartedly disagree with this statement of yours:
“Rebelling is part of my family. If you come to a family gathering, the family says something, you have to say something else. Then my family met my wife’s family, who said yes to everything, but my family often said no. If I see a form or a concept, I’d naturally challenge it, to see if there’s any possibility to gain more from it.”
If everyone loved his film, if no-one was offended, if no-one criticised it, then he's failed, in his own eyes.
"It is the filmmaker who is offering something to the audience."
In exchange for money. Never forget that bit, you can rightly rail against criticism if you are offering it with no expectation of recompense, but as soon as you earn a living from your trade, expect to be compared against others doing the same, and criticised for where you fall short.
"To feel personally insulted afterwards tells me that these critics are grandstanding a superior moral position over a work of FICTION, whereas the job of Von Trier the director is to create art, not a piece of ethical code for society."
Logically then, you are grandstanding a superior moral position over a film writeup, whereas the job of a critic is to guide consumers to work they may enjoy, not a piece of ethical code for society.
"In the puritan society"
Let's talk about this. Can you really call a society puritan when bikinis are acceptable wear, when pornhub exists, when comedians routinely get naked on stage. Society isn't puritan, especially when you understand puritans dislike violence too, but society doesn't want to see tits in nearly every film (It would be nice if violence was in nearly every film too), not because they don't like seeing tits, but because it's so fucking boring seeing the same story points over and over and over again. If every schlocky horror film had gratuitous closeups of amputees limb endings, it would be that which society would be bored of.
" really, it amounts to cultural censorship"
Spoken like someone who has never experienced the horrors of actual censorship. No-one is putting him in prison for his movie, they are just not going to give him as much money as you would like for it. That's not censorship, cultural or otherwise.
"If the industrial pioneers whose technology led to the creation of the camera all sat around raising awareness about empowerment of science, rather than making experiments in a lab"
They did both, actually, because, you know, people aren't one dimensional cardboard cutouts.
"and the way things are going  we’ll be without the future films of one of the world’s most interesting directors because no studio will accept his material."
The irony, on a piece decrying pearl clutching, you scoop up the mightiest pearls you can find and clutch them so hard it's making me think this whole piece is your attempt at comedy.
 
----
 
I do agree with the thrust of your argument - that films like this are important and should be given publicity - I just think you went about it in quite the stupidest way possible. Now excuse me while I write an email to my local arts cinema explaining why they should show this film. Please stop assuming I'm so dumb (and the silent majority) that I swallow critics self serving ramblings hook line and sinker. And try to not say things that are factually wrong.

Thanks Jonesy Jones, now I've got to go shoot a movie with it hehe
Feel free to reach out.
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I think the pocket 4k is intended to deliver professional level quality, which it will. But given it's priced at $1300 and had been marketed at vloggers, I don't think it's being marketed for the traditional/typical professional. Think about how they have emphasized the pocket 4k's microphones, which no traditional professional would use. While the camera can definitely work for a cheap studio set up, I think it can really capture market share from Panasonic and Sony prosumers, and that's a really big market.
I've been really confused by people pitching the pocket 4k as a vlogging camera. But I think I'm starting to understand the idea. Personally, I don't really watch YouTube. So I thought it was basically just people like Logan Paul making light of suicide or PewDiePie being anti semitic. However, I then thought about stuff that I've seen some of my past girlfriend watch. There are a lot of fashion and make-up vloggers who really need incredibly high quality images even though they are basically running the channel on their own. Same thing for food and travel vloggers. No one wants to travel to the Rift Valley, Grand Canyon, Colosseum or Great Wall and capture anything less than the best. The price tag along with things like the low light capability mean that semi professionals, who might have more knowledge about fashion or travel than video, can capture incredible video even if they don't know how to or have the ability to light their scene. I'd bet that they could make great user of the baked in lut capabilities as well. 
I'm not trying to suggest that prosumer vloggers are the primary target audience of the pocket 4k. But I do think that using an HDMI port and also the USB-C connection make the camera accessible to users from a big market that companies like BM don't typically get to tap into. I'm really excited not just for the camera itself, but also to see who uses it and what they produce. If travel vloggers start using the pocket 4k, I might actually start going to their channels instead of watching national geographic reruns. (Though YouTube could certainly improve it's codec)
Just my 2 cents. I understand that there are good reasons to prefer SDI over HDMI.