Adept

I’ll be able to post this video tomorrow but heres a grab from my phone. BMPCC4k w/ Sigma 18-35 + Digital Diffusion FX1.
 

That one is easy to set - its a more locked off profile like VLog. I would just recommend Sharpness and NR to be set to -5 for optimal texture. Be sure to check out the PDF (which is attached, as its now only 1.5MB)
GHa Documentation V3.pdf
Another from Ryan, great shots throughout (v2 Soft):
ASHLAND

That's not what I have seen from my tests.
Pictures shot with same lens, at same aperture, at native iso (800 for the BMPCC, 400 for the BP4K) : 

 

Its the versatility I'm after rather than it being a real "pocket version" to be honest and I wouldn't baulk if it was the same price.
I'm thinking more of stripping it to fit on a small single handed gimbal as an Osmo RAW alternative for one thing.
But there have also been some very nice compact setups made for the BMMCC using inexpensive EVFs etc such as the one in this thread here which would give it an edge for handheld shooting.
The remote port on the BMCCC is really good for making custom controls and its sad really that the Pocket 4K has dispensed with the LANC port as even a simple start stop if its on a gimbal will require using their app or an as yet unreleased 3rd party Bluetooth LE controller from someone ....
With regard to the heat, at least on the BMCCC the battery sits outside the chassis and I've got to say even after just 5 minutes of poking around in the menus of my newly received Pocket 4K earlier it was getting a bit warm inside the grip. 
From my point of view-and its only a personal preference - if a BMCCC form factor version (not necessarily as small but just the same principle of sensor in a box with no screen but with the ports, external battery etc) had been available then I'd have definitely picked that one over what I've got in front of me. 
Maybe I'm just a 5" loupe and a next generation compact gimbal away from loving this one  

No.
Read the full article

I shot a music video this weekend, here are some stills using the new V3.
This are from HD slow motion, so there is a little loss in quality. I applied noise reduction to smooth the compression and make the grade more seamless. All was capture with CineD.
The first are with the "Main" lut and then corrected, and the second ones are my grade with LogC.

I don't think this is the right camera for you.

Blackmagic pocket cinema camera 4k test (lowlight) with Panasonic 12-35 f.2.8 first gen (4K DCI Raw Lossless iso 1250 f2.8) shot with only one photography guide light + soft box
 

@Sage Sure! here are Vlog stills.

Hi everybody!
here i wanna share some stills from a little "fiction/experimental" project I shot with some friends. All this are graded with GHa Log-C.

I haven't tested the filter yet, but I want to say how much I absolutely love Formatt Hitech's packaging for their filters. Packed by hand, quality control stamped, and come with cloth pouches for the filter. I wish every piece of glass came like this. 

I made that Gemini vs Pocket video. If you download the original ProRes file, zoom in around 300% and notice the edges of her hair/face is fringing significantly more on the Gemini. I'm extremely impressed with the Pocket 4K thus far.

JSFILMZ on YouTube has uploaded some nice sample footage as either RAW or ProRes, as well as some comparisons to the GH5s which might be interesting.
The footage looks amazing after grading.

Used a BM Pocket 4K film to Rec709 conversion via CST in Resolve at the very end.


Download of the graded video:
https://drive.google.com/open?id=1SAkBhaRRXnWpKY6_b-lKRns9g13ICEMZ

The overexposed super saturated LEDs are clipping the gamut. This will happen with Gen 4 on 4.6K too. You can reduce the issue by soft clipping the gamut using the colour space transform Resolve FX plugin. Here I am using the Broadcast gamut because the Pocket 4K option isn't in the colour space transform plugin at this time but they are actually the same gamut/primaries anyway.



Without soft clipping the gamut:

Here is a quick shootout of the Fuji X-T3, Canon 1DXMk2, Canon C200 and Panasonic GH5S. Granted FCPX refused to not blowout some of the footage of camera B. It's displayed correctly in some of the head to head comparisons. I think it might have been caused by a software bug in FCPX. In any case all four cameras were filming in base ISO in controlled lighting. Opinions welcomed.
 

@Mrrvrn Sigma 18-35 combined with that Viltrox looks pretty good on Pocket 4K.
 




Stills from Note Suwanchote

Hi @Sage
I've had great success with using EC on V-Log footage but I wanted to try it with Cine-D following your recommended settings. I'm having some trouble with the reds, which seem to shift hard to magenta in Premiere.
I shot in Cine-D, with Saturation all the way down, and applied your V2 Cine-D to V-log Pre conversion in the Basic correction Lumetri tab, then used the Soft Lut from your Verde release in the Creative Lumetri tab. I was using a Tiffen Vari ND but I don't think that accounts for the Red distortion. The footage is 8 bit 1080p.
Check out the screen grabs below. First one is straight out of the camera. Second is with the Emotive Color conversion, and third is a quick grade adding contrast and saturation to the Cine-D with no LUT used.
 
Any ideas what I'm doing wrong?

Hang on...I have remembered something that I saw that caught my eye.
Phil Bloom has a very fetching wooden case for his Macbook.
Here he is calmly dealing with some bark/sap related issue that caused the audio from it not to work in his very well attended live demo. 
 
 

In non hot dog related Photokina news....
I had a look at the Laowa cine lens and it looks quite promising. You'd have to waterboard them to get the price out of them though so it may prove to be more expensive than people might imagine.
Erm....
Yeah, I should probably work on my show report game a bit more as I can't remember anything else that really caught my eye.
 

All of the following photos were shot with my Canon FD 85mm F1.2 from 1976 on the Fujifilm GFX 50S. Medium format at F1.2?! Yes, it works and no vignetting!
I am really interested in what Fuji is doing at the moment, but with the most interesting cameras at the show just a development announcement and dummy body-design, we'll have to wait a bit longer for them to truly reveal their cards.
Read the full article

More BMPCC4K footage is starting to appear...
 

Maybe, maybe not.
The Panasonic cameras are really just announcements of things to come next year.
Sony may still surprise with an A7siii that slips in BEFORE the Panasonic cameras are actually released (if the Sony is coming at all that is)!
The issue for me with the Panasonic cameras is that unless you are a shareholder in Panasonic, these new cameras will be as alien to M43 users as Canon, Sony
or Nikon (actually for Canon even more so since Canon EF lenses can be adapted with near native AF at least for AFS).
Think about it, a set of M43 lenses will not work on these new cameras and I doubt the Leica L mount lenses will work anytime soon on a GH5 or other M43 camera
so you would need two sets of lenses if going with Pana FF and M43 but with Canon EF lenses you can go FF AND M43 (and Sony E can too and more).
These Pana/Leica/Sigma cameras will want to be light years better than anything else to be successful since for all but a very small number of people it means an entirely new and expensive system aimed at pros and high end users and a VERY expensive switch.            IF Sony puts out a A7siii, it will be usable along with all
the other Sony stuff right form release so unless they stuff it up big time, I would think it is going to be good (again, assuming it does actually arrive).
 
Choice is good and getting better but it is coming to the point there will be too MUCH choice for them all to survive.

Using Sigma primes? 
 
 

Well, sort of.
I was clearing out some stuff and camera across a flexible mirror with a cutout for a tripod screw.
I used to use it a long time ago for positioning cameras on short floor tripods behind goals etc to keep my knees dry and my back in one piece before live view to phones became a thing.
Because its such a flexible arm I thought it might be worth having a go of re-utilising it to give a low tech solution for cameras that don't have a forward facing screen and its actually not bad at all.

As you can see, you connect it to the camera via a screw into the tripod socket or between the screw of an actual tripod and the camera as I've done here.
You then position the mirror at an angle up and behind the camera and it gives you a view of the screen (albeit reversed  ) over it.
Its hard to convey in a picture but it is actually really effective and more than good enough for anyone wanting to do vlogging on a camera without a forward facing screen. Even cameras with rigid non-moveable screens like this LX100 and the Original BMPCC work fine with it.
Anyway, as the forum is, quite understandably, being dominated by discussions of new cameras with ever increasing price tags I thought it might be nice to show that for a few quid we can still stick it to the man and get round their screen restrictions
Well, I say a few quid but there is one drawback to this particular low-fi solution and that is that at this point you are probably expecting an eBay or amazon link to buy one but, alas, like all good drawer finds I have absolutely no recollection whatsoever of where I got it as a single item (though I know I did and it was less than £5).
However, it is available as part of a Polaroid Selfie Stick bundle for £10 so still a cheap solution if you need it.
http://amzn.eu/d/3QeMCA5
 

There are different types with different looks. The popular 'black pro mist' has some bloom and contrast reduction. But the Tiffen digital diffusion with no contrast reduction or bloom, and the ultra contrast is no diffusion, just contrast reduction, no bloom. The Tiffen hdfx combines those last two for both diffusion and contrast reduction without bloom. There are of course many more options but those are the ones I currently use. 
My favourite (for now) is a Tiffen HDTV (sometimes called hdfx) at 1/2 strength. I use it on Nikon ais lenses for when a softer filmy look is what I'm after. 
I just used one on a Fuji xh1 and (mostly) Nikon ais 35mm 1.4 on a speed booster for part of a short film. I'll see if I can get a screen grab together