Tone1k

Native ISO of 3200 plus a speedbooster is plenty for low light.

I would like to see someone make a battery grip for the Pocket 4k that could somehow house something like the Samsung ssd drive within it, can house an extra one or two batteries and have a usb-c connector lock device like the mini hdmi clamp found on some dslr cages. Would sell like hot cakes! 

1 hour ago, IronFilm said:

Yes, I remember this being said as well. That is pretty close to the max fps! Which is nice if you don't wish to window it. 

I imagine for people trying to shoot with 4K on the BMPCC4K with an ultra frugal budget (i.e. not just getting a tonne of CFast cards), that their shooting style will have a lot of similarities to the way RED ONE folks shoot (for those who don't have the SSD module, or only have a limited number of gigs on it). At least until CFast prices fall further.

What they'll do is for the tripod shots they'll use their USB-C (just like RED ONEs using their RED-DRIVE for tripod shots) but then switch over to using their CFast card when handheld (again, just like how RED ONE owners would then switch over to CF or SSD when then going handheld).

Taking this hybrid approach is saner than constantly having a USB-C drive hanging off at all times. 

 

 

Not keen on that idea, makes media managing that much harder on busy shoots. 

6 hours ago, Mokara said:

Well, I am a scientist, and the idea of using tools intended for home use in a professional environment and expecting them to perform like professional tools is ludicrous IMO. That is not to say that you can't use them, sometimes for the odd thing it might be convenient and cost effective, but if I am going to do something routinely where I need reliable performance I get the proper equipment for the job. Why cut corners and take chances with stuff that might not hold up or be completely effective because it was designed for a completely different occasional use in a home setting? When you are working time is money and you want your equipment to always work and always work properly. 

I have one of these Kitchenaid mixers at home, which is fine for the odd baking I do on occasion, but there is NO WAY that I would depend on it if I was running a commercial operation using it 8 hours a day. For that I would buy a proper commercial mixer, because the home mixer would probably last a few weeks before burning out.

This is kind of how I see these arguments fretting about consumer cameras being "not good enough" for professional jobs. News flash, they were not designed for professional use, they were designed for home use. If you are shooting video professionally, then buy the professional tool for the job. IMO any "professional" who wants to use them as professional tools is probably not quite as professional as they might want to be. It does not mean that they are not doing good work, but clearly they have difficulty making a living doing their job if they have to scrimp like that to do work.

On the contrary, true professionals use the right tool for the job and do not rely on one camera to do everything. I've worked on high end TVC's where we have used an Alexa Mini, A7S and the old pocket cinema camera on the same shoot. Nobody cared what the clients would think (had 10 clients/ agency on set last shoot!)  about the A7S, a 'consumer camera' being used. A professional sees the potential in any camera and just gets on with the job of making great pictures while people on forums bitch and moan because they can't find the camera that does it all. 

The pocket 4K will be an amazing camera at an amazing price. Sure, a tilting screen and internel ND Filters would have been nice but they are easy fixes.

A $6000 dollar 'beast'  is unaffordable?  Surely if you need RAW then $6000 is super cheap compared to most other cameras out there.  Not long ago $15,000 got you 2/3" chips and a Hi8 or SVHS back!  You wanted 10bit, you needed to spend double that with similar features to this Ursa Mini Pro.  Sorry  I'm showing my age!

Not sure you can expect another RAW recording camera,  this time with 4.6k S35 sensor (original was s16)  for $995 unless you accept similar flaws to the original pocket.  The reason it was so cheap is because it was so underdeveloped so a sorted one will never fit into the same pricing strategy you mention. 

Id love you to prove me wrong,  but I don't expect it. 

Lenses don't resolve in Megapixels and giving them a Megapixels rating would be misleading.  So your saying that a kit zoom on a 24MP camera would give you the same result as a top end prime on a 6MP camera.  I think you will find it doesn't which is why you can't rate lenses in Megapixels. 

completely agree on the t stop rating though.  It ridiculous that you can buy a an f2.8 lens but only to really get f3.5 or whatever.  False advertising really. 

Image quality is only part of the equation.  For weddings,  I don't think the difference will be all that noticeable. The work flow however,  will be extremely noticeable.  When doing weddings,  workflow is an extremely important factor.  While more systems will support h265 in future,  support is still very thin and requires a much higher spec computer. Also. The h265 macroblocking concerns me. By the time h265 is widely accepted and easy to deal with,  you will probably be wanting a new camera anyway.  GH4 now,  h265 camera in a few years. 

I think for weddings,  the easier work flow of the GH4 would be far better and outweigh the advantages of the NX1.

Well said Andrew.

A movie about a woman accusing a man of something on Facebook and the world believing her straight away with no further proof and him going to jail sounds a little one dimensional and far fetched to me.  I'd wait a little,  do some more research,  keep an open mind and get all the facts before you start putting those megabits to disk. 

Until now they have done it by releasing products that were not finished and with tons of bugs.  Let's hope this changes.

There is no mention in the specs of the video assist having any monitoring features such as peaking,  histogram,  scopes etc and for the price it wouldn't surprise me if it doesn't but on their website there is a mock up of the video assist connected to a Canon Dslr and on screen histogram,  audio levels and other info being overlaid.  So,  anyone know if the Video assist has a histogram or peaking functions? 

The Blackmagic video assist wins hands down for its 50/60p capability.  I shoot 50p often and the atomos recorders just can't handle it.  

I'm really hoping the BM uses an IPS.  I can't go back to TN. 

​Blackmagic say it's the same screen as the one on the ursa mini.  Surely they would use a decent screen on that camera?

JazzBox,  current MFT lenses really aren't suitable for eng style shooting reliably. The decent ones have no servo and are limited in their range.  

Original eng cameras had the B4 mount and interchangeable lenses (and most still do)  but usually only one lens is bought or carried with each camera.  You rarely see eng crews changing lenses in the field.  The lens on this camera has a great range and due to its design,  they have been able to include 5axis stabilisation which you don't get in traditional b4 lenses.  

This is obviously not the camera for you but believe me it will find plenty of customers.  Eng crews just want something that works,  reliably,  ergonomically and with minimal fuss.  Being able to attach a 25 1.4 prime is really not a priority for them.  For you,  it might be,  so choose the camera that allows it. 

Then don't suggest an ENG camera is a mistake. It's just not the tool for you.

I certainly don't want to watch the news shot on a iphone. How information is presented is also important. Does your newspaper print its pages on toilet roll?

Im sure many people could make great images with this camera.

And while ENG might stand for Electronic News Gathering, ENG cameras are used for more than just 'news'.

Sorry Andrew, while your letter to Panasonic may reflect 'your' views, alluding that Panasonic has made a 'mistake' is a bit rich.

While I won't buy a camera with a fixed lens for my use, at work, I see plenty of ENG crews around the world using these types of fixed lens cameras every day.

The one camera doesn't do all jobs. 

​If you want to do 4K it is.

As I am looking at a GH4 or a7s as my next camera, I'd be interested to know if you would 'generally' rather work with the a7s in 1080p or GH4 in 4K. which gives you more advantages? Again, I know there is not one camera that does everything but most of us only by one camera. I'm talking generally from IQ, to DR to options in post. Gh4 4K or A7S 1080p.

So, the a7s without the Atomos doesn't make the list?

So,  the A7s doesn't make the list unless paired with the Atomos?? 

Hi Andrew,

Your list has the a7S with Atomos recorder but as the a7S is already $1000 more than the GH4 I wont be getting a recorder to do 4k with the A7s.

So, how do you compare the GH4 with the a7S on it's own?

Cheers