Jim Giberti

The difference in noise is there...if you look closely and more obvious in 12:1 and 8:1
Been doing a bit of testing at all codecs in detailed scenes - doing people today.
Bottom line so far: As far as actual deliverables for broadcast and web and any practical distribution - the final compression for delivery will negate any differences from Q0 to ProRes HQ.
Frank Glencairn just did a great article on just that.
BM has done such a good jog implimenting ProRes in the new P4k that it's remarkably (indistinguishably) similar to the new highest Braw flavor - Q0. The in camera debayering is handled similarly and it shows. Aside from the larger file size, we're sticking with our ProRes HQ to FCPX work stations for simplicity with no IQ compromise.
It's all good no matter which approach you choose. No end viewer will ever see the difference on screen.

The difference in noise is there...if you look closely and more obvious in 12:1 and 8:1
Been doing a bit of testing at all codecs in detailed scenes - doing people today.
Bottom line so far: As far as actual deliverables for broadcast and web and any practical distribution - the final compression for delivery will negate any differences from Q0 to ProRes HQ.
Frank Glencairn just did a great article on just that.
BM has done such a good jog implimenting ProRes in the new P4k that it's remarkably (indistinguishably) similar to the new highest Braw flavor - Q0. The in camera debayering is handled similarly and it shows. Aside from the larger file size, we're sticking with our ProRes HQ to FCPX work stations for simplicity with no IQ compromise.
It's all good no matter which approach you choose. No end viewer will ever see the difference on screen.

Here's what we use in ours and how, so it's all I can attest to but I can attest that they work perfectly.
Everything we produce is for TV or web. We shoot everything in UHD and edit and output in 1080P for distribution.
When the first camera arrived we stuck this SanDisk card in that we had several of from our old Pockets - https://www.bhphotovideo.com/c/product/1282965-REG/sandisk_sdsdxxg_064g_gn4in_extremepro_sdhc_64gb.html?sts=pi
We've shot with them exclusively for a few months - terrabytes worth of footage - without issue.
You'll get 11 minutes of ProRes HQ UHD 24P per card for about $20 each.
Now go and have fun
 

ProRes HQ is great on the P4K.
BM is using an enhanced debayering vs previous cams.
The image is absolutely great and if you nail your WB, there's no real practical need to shoot with anything else.
It's also nice to shoot to simple San Disk Extreme SD cards for everything.

Regarding the person who produced the video about returning his P4K in favor of his Micro - from a straight shooting experience, he needs to have his head examined
We've got a lot of cameras, mostly BM, and a couple of Micros, whose images I love. In fact I wrote at one tome that if BM would take the Micro cinema sensor and put into a real camera body I would buy them for three times their cost.
The Micro is the most disfunctional camera you can shoot. A simple menu change takes forever in any environment. Tiny unrecognizable buttons on tiny stripped down senor box - but what a sensor and color science. And it's that way by design. It's supposed to be a drone or special use crash cam for TV/cinema production - not an actual shooters cam.
The P4K is the exact reverse of that - perhaps the easiest small camera to use on set or in the field - a brilliant camera as far as shooting goes.
And the idea that upressing the Micro footage in Resolve is better than shooting 4K/UHD on the P4K is a real head scratcher. Just spend some time learning how to optimize the image at aquisition and then how to work with the amazingly maleable image to get the look you want.
It took very little time shooting and working in post to get the image to look like the original Pocket or Micro etc.
You can't make any of the previous BM cameras (except the UMP) look like the P4K but you can easily do the reverse if you want to learn how.

I have no idea what you're talking about or why...goofy? This is an amazing camera in the opinion of the pros using it - even with some initial issues that i've spoken to with BM and on the official porum.
We have all of those cameras and others. We've already produced several projects with the P4ks, TV and films - a couple with them only.
I'm offering my experience - what are you offering other than angry, foul language about things you've read on a general forum?
You'll note I even put a little smiley face on my criticism of the vid. 
Go smoke a bowl of something and chill out a little.
Life is too short to be this angry about stuff you're not involved with.
Seriously.
 
 
 

Regarding the person who produced the video about returning his P4K in favor of his Micro - from a straight shooting experience, he needs to have his head examined
We've got a lot of cameras, mostly BM, and a couple of Micros, whose images I love. In fact I wrote at one tome that if BM would take the Micro cinema sensor and put into a real camera body I would buy them for three times their cost.
The Micro is the most disfunctional camera you can shoot. A simple menu change takes forever in any environment. Tiny unrecognizable buttons on tiny stripped down senor box - but what a sensor and color science. And it's that way by design. It's supposed to be a drone or special use crash cam for TV/cinema production - not an actual shooters cam.
The P4K is the exact reverse of that - perhaps the easiest small camera to use on set or in the field - a brilliant camera as far as shooting goes.
And the idea that upressing the Micro footage in Resolve is better than shooting 4K/UHD on the P4K is a real head scratcher. Just spend some time learning how to optimize the image at aquisition and then how to work with the amazingly maleable image to get the look you want.
It took very little time shooting and working in post to get the image to look like the original Pocket or Micro etc.
You can't make any of the previous BM cameras (except the UMP) look like the P4K but you can easily do the reverse if you want to learn how.

Regarding the person who produced the video about returning his P4K in favor of his Micro - from a straight shooting experience, he needs to have his head examined
We've got a lot of cameras, mostly BM, and a couple of Micros, whose images I love. In fact I wrote at one tome that if BM would take the Micro cinema sensor and put into a real camera body I would buy them for three times their cost.
The Micro is the most disfunctional camera you can shoot. A simple menu change takes forever in any environment. Tiny unrecognizable buttons on tiny stripped down senor box - but what a sensor and color science. And it's that way by design. It's supposed to be a drone or special use crash cam for TV/cinema production - not an actual shooters cam.
The P4K is the exact reverse of that - perhaps the easiest small camera to use on set or in the field - a brilliant camera as far as shooting goes.
And the idea that upressing the Micro footage in Resolve is better than shooting 4K/UHD on the P4K is a real head scratcher. Just spend some time learning how to optimize the image at aquisition and then how to work with the amazingly maleable image to get the look you want.
It took very little time shooting and working in post to get the image to look like the original Pocket or Micro etc.
You can't make any of the previous BM cameras (except the UMP) look like the P4K but you can easily do the reverse if you want to learn how.

Regarding the person who produced the video about returning his P4K in favor of his Micro - from a straight shooting experience, he needs to have his head examined
We've got a lot of cameras, mostly BM, and a couple of Micros, whose images I love. In fact I wrote at one tome that if BM would take the Micro cinema sensor and put into a real camera body I would buy them for three times their cost.
The Micro is the most disfunctional camera you can shoot. A simple menu change takes forever in any environment. Tiny unrecognizable buttons on tiny stripped down senor box - but what a sensor and color science. And it's that way by design. It's supposed to be a drone or special use crash cam for TV/cinema production - not an actual shooters cam.
The P4K is the exact reverse of that - perhaps the easiest small camera to use on set or in the field - a brilliant camera as far as shooting goes.
And the idea that upressing the Micro footage in Resolve is better than shooting 4K/UHD on the P4K is a real head scratcher. Just spend some time learning how to optimize the image at aquisition and then how to work with the amazingly maleable image to get the look you want.
It took very little time shooting and working in post to get the image to look like the original Pocket or Micro etc.
You can't make any of the previous BM cameras (except the UMP) look like the P4K but you can easily do the reverse if you want to learn how.

Regarding the person who produced the video about returning his P4K in favor of his Micro - from a straight shooting experience, he needs to have his head examined
We've got a lot of cameras, mostly BM, and a couple of Micros, whose images I love. In fact I wrote at one tome that if BM would take the Micro cinema sensor and put into a real camera body I would buy them for three times their cost.
The Micro is the most disfunctional camera you can shoot. A simple menu change takes forever in any environment. Tiny unrecognizable buttons on tiny stripped down senor box - but what a sensor and color science. And it's that way by design. It's supposed to be a drone or special use crash cam for TV/cinema production - not an actual shooters cam.
The P4K is the exact reverse of that - perhaps the easiest small camera to use on set or in the field - a brilliant camera as far as shooting goes.
And the idea that upressing the Micro footage in Resolve is better than shooting 4K/UHD on the P4K is a real head scratcher. Just spend some time learning how to optimize the image at aquisition and then how to work with the amazingly maleable image to get the look you want.
It took very little time shooting and working in post to get the image to look like the original Pocket or Micro etc.
You can't make any of the previous BM cameras (except the UMP) look like the P4K but you can easily do the reverse if you want to learn how.

Regarding the person who produced the video about returning his P4K in favor of his Micro - from a straight shooting experience, he needs to have his head examined
We've got a lot of cameras, mostly BM, and a couple of Micros, whose images I love. In fact I wrote at one tome that if BM would take the Micro cinema sensor and put into a real camera body I would buy them for three times their cost.
The Micro is the most disfunctional camera you can shoot. A simple menu change takes forever in any environment. Tiny unrecognizable buttons on tiny stripped down senor box - but what a sensor and color science. And it's that way by design. It's supposed to be a drone or special use crash cam for TV/cinema production - not an actual shooters cam.
The P4K is the exact reverse of that - perhaps the easiest small camera to use on set or in the field - a brilliant camera as far as shooting goes.
And the idea that upressing the Micro footage in Resolve is better than shooting 4K/UHD on the P4K is a real head scratcher. Just spend some time learning how to optimize the image at aquisition and then how to work with the amazingly maleable image to get the look you want.
It took very little time shooting and working in post to get the image to look like the original Pocket or Micro etc.
You can't make any of the previous BM cameras (except the UMP) look like the P4K but you can easily do the reverse if you want to learn how.

The camera has arguably the best interface available in a small or large camera and it's incredibly fast to use on set or on the move.
4k ProRes HQ is pretty ideal and we edit it remotely on macbooks all the time.
People who are actually using it seem to be pretty much blown away by both the camera and it's IQ.
 

The camera has arguably the best interface available in a small or large camera and it's incredibly fast to use on set or on the move.
4k ProRes HQ is pretty ideal and we edit it remotely on macbooks all the time.
People who are actually using it seem to be pretty much blown away by both the camera and it's IQ.
 

What kinks are you talking about?
We're producing with them daily and haven't had any issues.
It's the most advanced small camera I've ever worked with.  Incredible image, interface and features.
The rest is all internet speculation.

What kinks are you talking about?
We're producing with them daily and haven't had any issues.
It's the most advanced small camera I've ever worked with.  Incredible image, interface and features.
The rest is all internet speculation.

I've been impressed at how much I've been able to lift the blacks and mids with no noise on a number of challenging scenes.
One shoot was brilliant bright fall light streaming through an autumn canopy for an all day mountain bike segment.
The light and contrast changed constantly with no time to adjust even with a couple of grips with bounces.
Bottom line, I don't even think about ETTR with this. It's a totally different image/negative.
Very clean very gradeable - and all we've shot so far is in ProRes HQ UHD.

I've been impressed at how much I've been able to lift the blacks and mids with no noise on a number of challenging scenes.
One shoot was brilliant bright fall light streaming through an autumn canopy for an all day mountain bike segment.
The light and contrast changed constantly with no time to adjust even with a couple of grips with bounces.
Bottom line, I don't even think about ETTR with this. It's a totally different image/negative.
Very clean very gradeable - and all we've shot so far is in ProRes HQ UHD.

Thanks.
That was in the first hour or so after the Micro arrived. I was still charging the battery and looked out the studio window at the farm and saw the snow falling so I stuck the battery in and ran out to the pasture to grab a few shots of some of our critters.
Still love the image from the Micro.
Think of the P4K as that on steroids as far as a camera is concerned. The image itself is a bit more detailed (in 1080).
I would have gladly paid the same to have the Micro sensor with the new P4k body/interface.

I don't think it's a binary choice like that at all.
We have the Pocket, Micro, UMP and new P4k.
Always loved the look of the original Pocket. The Micro while a bit different is very similar and a bit better over all in noise, moire and detail
I can make the P4k look exactly like the pocket/Micro in a minute in post but I could never make the original Pocket look as good as the P4k.
The P4k is a totally next level camera and image.

I don't think it's a binary choice like that at all.
We have the Pocket, Micro, UMP and new P4k.
Always loved the look of the original Pocket. The Micro while a bit different is very similar and a bit better over all in noise, moire and detail
I can make the P4k look exactly like the pocket/Micro in a minute in post but I could never make the original Pocket look as good as the P4k.
The P4k is a totally next level camera and image.

I don't think it's a binary choice like that at all.
We have the Pocket, Micro, UMP and new P4k.
Always loved the look of the original Pocket. The Micro while a bit different is very similar and a bit better over all in noise, moire and detail
I can make the P4k look exactly like the pocket/Micro in a minute in post but I could never make the original Pocket look as good as the P4k.
The P4k is a totally next level camera and image.

Yes.
It's the next generation color science - Gen 4.
The "negative" coming out of the new camera in Film log is a lot easier to grade than from older cameras.
I dial in the EV LUT at 30% or so after basic color balance and it looks great.

FWIW, especially shooting in ProRes, I'd avoid shooting in Extended Video.
I did extensive testing with EV vs Film log and there's no reason to take the hit on DR...especially baking it in.
Monitor in EV if you like while shooting FIlm and then it's simply one step to apply EV in post which will look identical on scopes to EV in camera but with the latitide to get the full DR of the new camera.
Also, when shooting ProRes I don't bother with Resolve as FCPX is optimized for it and really fast  - even UHD, even on a MB pro.
Also, if using the EV LUT in FCPX, I've found dialing in to around 30% after balancing initially with the scopes is the sweet spot.

FWIW, especially shooting in ProRes, I'd avoid shooting in Extended Video.
I did extensive testing with EV vs Film log and there's no reason to take the hit on DR...especially baking it in.
Monitor in EV if you like while shooting FIlm and then it's simply one step to apply EV in post which will look identical on scopes to EV in camera but with the latitide to get the full DR of the new camera.
Also, when shooting ProRes I don't bother with Resolve as FCPX is optimized for it and really fast  - even UHD, even on a MB pro.
Also, if using the EV LUT in FCPX, I've found dialing in to around 30% after balancing initially with the scopes is the sweet spot.

FWIW I've been shooting this for 2 days and one of the great things vs previous BM cams is the ability to control exposure using ISO on the fly.
Having ISO in small increments starting at ISO100 is a big change and there's virtually no degradation. Clean, very 3D image in UHD and 4K. HD looks beautiful as well.