Nathan Gabriel

It has SD, CF AND usb-c, which none other has. It records internal raw and various ProRes. I see no issues here, only options, and no external recorders/monitors needed (but I will be really happy to use my Focus on this one). 

Can you use cfast 1.0 in the 2.0 slot? If so, what resolution and formats are reasonable to expect?
Cfast 1.0 is rated at 80mb/s

BM have confirmed the HDMI is 1080p only, at whatever frame rate you're set to film in. So if the camera is recording 4K60p, HDMI is outputting 1080p60.
I have a question for anyone who knows about C.Fast. I have the Atomos Star with a 128gb C.Fast card (not 2.0) it's rated 80mb/s write speed.
Can I use this in the C.Fast 2.0 slot? If so, in a stretch, what formats/resolutions do you predict I can record. Would it manage 4K Prores 422 or LT at 50p? Am I limited to 1080p25? BM website states 4K prores422 is 73.6mb/s and LT is 51mb/s.
If it can handle any kind of 4K, even if it's the lowest possible configuration, it's going to be great to have that card as an in camera backup to get me out of any tight spots... fingers crossed.
 

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.

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.

No. I'm saying Blackmagic is a PRO camera but it also is affordable for the average user.  If Blackmagic builds a camera that's TOO high-end, you risk losing a lot of mid-range customers.  There aren't a lot of cheap SDI monitors, and the everyday user of this camera will be using HDMI.  
Sure it's a professional camera, but Blackmagic's greatest strength is making their cameras affordable to the masses.  And you have to compromise and build something that both the masses and working professionals agree on.

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.

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.

There are plenty of ways to get HDMI out to a wireless viewable form on a tablet or phone.
BM also provide full documentation to enable developers to create their own apps for remote control.
So, with this camera at least, these aren't issues.

like this ?
 
http://documents.blackmagicdesign.com/Developer/Camera/20180406-ed2af6/BlackmagicCameraControl.pdf
 
jb

I think SDI is "too professional" for the market Blackmagic is in.  Unless you need external recorders, a lot of monitors in the lower-tier are HDMI only.  I don't know how feasible it is to offer both connection types, but I think HDMI is more in-line with the average $1300 camera user.  For pro use, that's a different story.  Hopefully the full-size is a good compromise and offers decent durability.

Agreed. If you're at all into post-processing and grading, the BM cameras are godsend, because they leave all the processing off to your own consideration. That's why they come with Resolve included - and I'd dare say it's way more powerful as a processing tool than any in-camera processors.

Does anyone have experience using Resolve in Linux? How smoothly does it run? Does it have limited video codecs in Linux? Or just any of behaviour that you wouldn't expect?

Does anyone have experience using Resolve in Linux? How smoothly does it run? Does it have limited video codecs in Linux? Or just any of behaviour that you wouldn't expect?

I think that in any serious evaluation of BM impact and consequences it is аdvisable to consider one highly important factor - pure personality behind. If I am not wrong, Grant Petty has total drivе-control of BM policy, and it seems to me that it is a man devoted to personal vision and strong feeling of his world-mission. For him, profit alone is not The most important goal - although of course important - but craving to make/left some relevant trace behind him. Some sort of Steve Jobs, maybe... What BM done with Resolve is wonder - and it seems that Petty decisively follow his idea of democratizing movie-making to the utmost boundaries... So, to me all other reasons/aspects of this one attempt are simply executive and secondary - it seems to me that here we are also witnessing to higher evolution of someone noble self-actualization, in the meaning that, say, Abraham Maslow gave to that syntagm...

In fact, Don. These major players are tough manufacturers. Their glass never disappoints, at least to me :-)
I fully agree on that one, Jon.
We live great times... My own expectations in 2001 when HDCAM arrived (and put my plans out of film path) have been beaten indeed. I personally heard Tonino Guerra to tell me and a few other people there that those Japanese cameras were the future. Michelangelo Antonioni dreamed with when he shot The Mystery of Oberwald two and a half decades before. Pity he had no chance to be with us nowadays.

I just found a Q&A with a 'Black Magic Design Expert'. Let me know if there's a better way to display this. I'll try to add to it as more information comes.
















 

URSA Mini can do just that and so I assume the P4K too since they'll be running the same OS..

Blackmagic should be able to custom white balance, possibly tap to focus (very slow), delete and format in camera, and also has a wide DR setting for a nicely colored image without grading.
It can stabilize with OIS lenses, same as the GH5s, but not like the GH5 with IBIS.  It can't dual-record simultaneously and does not likely have more than 1 hour of battery life.  Blackmagic is not too far off in terms of video features but we may never know until it ships.  That being said if you use a cheap shoulder rig with a v-mount battery as the counterweight, most of the issues with IBIS and battery life are rectified, plus you can plug in an external SSD and record for hours too.

Umm that is a hard NO.  Why do you hate BMD so much?  The guy that filmed it clearly stated he pulled it out of his RX100 mark V to use.  He said it was a very slow SD card but that was all that he had.  He actually got an email from BMD to remove his download link because they are releasing test footage very soon and review models have already been sent out.  So no, this is just the case of poor sd card and not camera performance.  12-bit is not any more difficult than 10-bit beyond the data rate which isn't camera intensive.  Higher frame rates aren't difficult as the GH5, GH5s can easily handle those in a smaller body with limited cooling.  Blackmagic has lots of cooling.
Switching to a new sensor is not easy and it's not like they can do that very easily.  You make it sound like its easy to remove/add features in 5 months before the camera is supposed to release and production needs to begin.  The only feature blackmagic has announced that has ever been removed from a camera was the Global shutter feature of the 4.6k sensor.  They had it working but it had too many problems.  The Turret for the larger URSA is also not likely happening due to the costs and issues with manufacturing it, but it totally does work and there are images released.

Com'on Jon, use the Vehydra 12mm at f/5.6 and and anything that you can follow will be in focus  

I had SLR Magic 12, 25 and 50mm, unfortunately not 17mm - now I have/I kept Voigts 17.5  and 42.5 and SLRM 10mm.
SLRM 10mm is significantly better than SLRM 12mm and actually quite match with  image qualities of Voigts - just little bit warmer in rendition, but that's instantly corrigible in post. There's no known optic aberrations of its 12mm sibling, construction is higher level even in, say, comparison with SLRM 25mm. Focus and aperture rings are not so smooth (i.e. they are calibrated with harder tense, although perfectly even) as those in Voigt's - but, it has to be admitted that I didn't yet meet any other set of lenses with such perfect smoothness as Voigt Noktons, but maybe some Leica R's in excellent conserved shape.
I'd say that I'm very, or even extremely/brutally  strict in selecting/keeping lenses - but I settled with SLRM 10mm as UW choice. It is wonderful lens and its in fact macro focus distance opens so much creative possibilities. What I found especially nice is very low distortion in focusing subject when using such close distance (5cm!). In other words, SLRM 10mm can be used as very interesting and quite real portrait lens! Being picky, I'd just like that focus ring smoothness also match that of Voigts... Contstruction vise, SLRM 10mm shows mature pick level in evolution of Hyperprime line - in hand it makes impression as being made from one piece of hard iron, so it seems that extreme "unibody" robustness is nice word to describe its construction logic. However, it is little bit or two less refine in mechanic operations than m43 Voigts... but, modern Zeiss lenses are even lesser refine than these Noctons.
Later I could extract some snapshots from last clips shot with 10mm...
Yes, of course. Zooms are sometimes indispensable, especially with clumsy rigs. I'd just add that it highly depends of director's pre-chosen concept of directing mood - for perpetually flowing camera movements as choice, actually primes are more practical. As famous examples - Lubetzki in all last movies, being these of Inarritu or Malick. For more static oriented works, where giant dimensions of good zooms are tolerable, they are more convenient.
Problem with m43 (subject of thread) is that there's just no enough fast native zoom lenses, as also with OOC "cinematic" quality. All of them are extremely oversharpened . From adapted lenses I had the most pleasing results (of course, for my criteria) with Leica R 28-70 and Zeiss Contax 28-85. But I had no chance to try that new Fuji...

This is what Grant Petty had to say when they acquired DaVinci in 2009.
"When we were doing the due diligence on DaVinci, I saw a $50,000 price in the price list if you bought a secondhand system, and now wanted to be supported by DaVinci. And not only that, you're paying upward of $80,000 a year for support contract after that."
That was just the service charge price you paid to get it checked out if you bought a second hand one.
At that time he was talking about getting the purchase price of the high end systems down from $850K to $500K
At $1299, I'd say its the camera you are getting for free and not the software.

Cinematographers use diffusion filters on the Alexa and it’s only 2.7K, 3.3K at open gate. The problem is camera resolution has been decided upon by monitor and TV manufacturers. Now if you don’t shoot 4K, your image supposedly doesn’t have enough resolution?
In my opinion, I think a Pocket 2 could have had a 2.5K image and be equally as appealing. 4K at this price point, is usually best for downscaling, so it will be interesting for me to see what the downscale looks like from 4K P2 footage.
But for the most part, I’ll shoot 1080p at the two base ISOs, on a clean sensor, with cheap SD cards. I already have a bunch of Canon batteries for my 5D3, so if battery time is bad (I suspect about 30-45 minutes) I’ll just swap them out. I’ll get a Rode NTG mic, and maybe a couple XLR lavs, for in-camera audio and have an amazing little, run and gun cinema camera... no need to rig up this little beast.

The Alexa Mini in open gate is a 7.5mp camera... I haven’t heard many people complain about detail. Obviously the P2 won’t be nearly as good as an Alexa Mini, but there is a reason why the P1 was often referred to as a Baby Alexa.
But yeah if you prefer Red over Alexa, you may also prefer sLog from the a6500 over BMDFilm on the P2.