BopBill

P4K2Alexa is out. Accurately match BMPCC 4K footage to the ARRI Alexa via a clean, non destructive 3x3 matrix. With none of the downsides of using a LUT. Fully editable, no clipping, no clamping, no snake oil.
https://juanmelara.com.au/products/bmpcc-4k-to-alexa-powergrade-and-luts





 
 

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

After many requests, P4K2Alexa PowerGrade + LUTs coming in the next day or two.
Dawn to dusk, one PowerGrade, no adjustments to the transform.





 



 

I have played a little with these luts today (daylight and tungsten) and I like what I see. Proper exposure and whitebalance and picture look really nice with healthy skin tones. Good job!
I let the more advanced users to comment more later.

"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff."

For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure).

Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709.
P4Ka PDF
Emotive Color

I pre-ordered about 23 of August and still waiting. This is in Finland. I am little upset because BM is so silent. 3 months and not a word what is going on with the camera shipments.

LMAO.
 

I just picked one of these up to serve as a b-cam/gimbal cam alongside my Ursa Mini and ran the first tests with it.
First impressions; it's a beast. The ergonomics are spot on and as a former 5D2 user I feel right at home with it. The UI is essentially the same as in the Ursa Mini which is nice.
And coming from the Ursa, and BMCC2,5K before that, the low light capabilities... they're just like, damn. I just want to go all run 'n gun and shoot my next short with all natural light. I ran a test on how far I could push it  while still getting a clean image - ended up fitting it with a speedbooster and a Pentax SMC 50/1.2. I was able to ETTR at 50fps in city areas, and shoot comfortably in even extremely dim locations. In fact, I had to stop down/up the shutter speed on several occasions.  The image wasn't 100% clean though - I'm assuming it's like in the previous BMD products, in that noise reduction is only applied in prores. I shot RAW so I had to do some cleaning up in Resolve (a process I've accustomed to with previous BMD products mind you - but in ISO 800 in their case), but the image did clean up very nicely and retained all the detail.
It's probably the first time I'm seeing an actual cinema grade camera do low light this well. I felt that I could use a reflector to bounce the available light and the camera would actually pick it up.
Attached two snaps from my short walk with the camera. Not very cinematic - but rather tests on how much data I could get from available nightime light. Quite a bit, even in indirect light, as evidenced by the second picture.

That mini scenes advice I try to remember. Good one!

I just created the first video of hopefully more about how to create a Good Travel Video. All based on my experiences and past, but wanted to see if you guys/gals had any thoughts around things that you would want to see and if you are even interested at all??
 

Damn.

The adaptor for the mini XLR isn't really an issue as it locks in place at both ends so just like having one cable really.
When I first received my camera, I was horrified at the battery life and how unreliable the battery meter was. For a minute, I thought about selling the camera straight away. Once the included battery was charged and discharged a few times, the battery life started to improve and the accuracy of the meter did too. I bought four Wasabi batteries as I have used Wasabi in my GoPro's and X-T2 and had been happy with them but the LP-E6 versions only gave me 25mins of battery life. Even after a few discharges and charges, they didn't improve at all. 
I have now switched to Genuine Canon LP-E6's and now getting just over an hour of continuous run time with the screen at 65% brightness so the battery life is not really a concern for me any longer. Also, the meter accuracy is spot on and I get a good warning when the battery is low
 It was me who reported that the screen was hard to see in bright sun and that was to do with the reflectiveness of it rather than the lack of brightness. I have just fitted an anti glare protector to it. Unfortunately it's night time here, and I can't test it in full sun until tomorrow but even indoors it's obvious that the reflections have been cut substantially without quality loss so hopefully this results in my second major gripe (the battery was my first) with this camera being resolved.
The camera really is fun to use without any rigging at all, the only thing I do now miss is a tilting screen but I knew it didn't have one before I bought it. I might get a SmallHD Focus to remedy this.
 
Ultimately, we need to compare Apples to Apples so let's recap your issues below.  90% of the issues you describe here will be issues for many other mirrorless cameras anyway.
The screen Issues: I have used the A7 series a lot over the years and while it did have a tilting screen, I hated using it for video as it was just too small and also wasn't great in direct sun (most mirrorless screens suffer the same issues), so it too needed an external screen as do most Mirrorless camera for critical work.
Battery Issues: Again, the A7 series battery life sucked, as it does on my own X-T2 (I carry 4 batteries with my X-T2 when I go in holidays!) so apart from the GH series, you need to carry around batteries for any prolonged shooting anyway with most mirrorless cameras. As they are so small, I'm not seeing this as a major problem.
The USB-C/ Hard drive issue: You don't have to use the USB-C feature if you don't want to (and no other camera even gives you the option) so can't see that as being a negative. Once the camera gets BRAW, you will have RAW to SD Cards. To do that with any other mirrorless, you need an external recorder (more rigging, more batteries). 
The Audio XLR adaptor issue: Audio wise, having phantom power is great as is the XLR connection, minijack input and Timecode in. Adding those to a mirrorless camera requires external recorders so more bulk, rigging and batteries. I'll take the XLR- Mini XLR adaptor over a H4N or similar any day.
While it's easy to look at all the negatives of the Pocket4K, you need to compare apples to apples and any camera in the ballpark price range (and even thousands $$$$ more) is going to need external accessories to get the same job done as the pocket. 
The fact is, 90% of of the time, you can easily get away with shooting in a bare bones config on the pocket. I'd only really recommend using an external monitor for shorts where the camera is low to the ground or up above your head. 
BMD really have given you so many options and ways of using this camera.
 
 
 
 

no noise reduction !!!

Well it is plastic, and this was a well known fact from since the camera was announced. I would say that if you are accustomed to magnesium alloy bodies you will be disappointed in the perceived build quality. The original pocket felt much more solid. The new one honestly does feel cheap when compared to all metal bodies. But then again, if they had used all metal construction there is no way they could sell this body for the current low price. It's a trade off for sure. However I do like the images out of camera. It's a shame more reviewer don't shoot at 24p instead of slowmo. We all know slowmo by default looks cinematic. But slowmo is more of a niche use case. Whereas, normal speed playback is much more frequently used. It's hard to judge motion cadence with slowmo.

I am sure many would be intrested to know something about the audio quality recorded with camera's internal mics. I have understood it should be quite good for internal mics. Does it capture camera's fan noise, or how about the noice floor, is there much hiss in sound?
I haven't heard any sound recorded with this camera yet.

I am sure many would be intrested to know something about the audio quality recorded with camera's internal mics. I have understood it should be quite good for internal mics. Does it capture camera's fan noise, or how about the noice floor, is there much hiss in sound?
I haven't heard any sound recorded with this camera yet.

I really wish I had the time! I'll see what I can do. I had a quick play today, literally for all of ten minutes.....
- Sensor Calibration option in menu is greyed out. I'm used to doing a calibration at the beginning of each days shoot on the UMP but doesn't look like it's necessary on the Pocket4K 
- I really wish the screen articulated up slightly. Handholding the camera at chest height is most comfortable but it's not the ideal viewing angle for the screen. I would have payed a few hundred $$$ more for the screen to articulate up 30 degrees or so. Would make the camera so much more ergonomic.
- Camera feels great in the hand. Well balanced and a good size.
- hot air blows out from the bottom vent, not too much of an issue but my left wrist rests partially on the vent while pulling focus.
- I have the Speedbooster XL on it and there is absolutely no autofocus info going to or from the lens. I never use AF and didn't think it would be usable at all during a shot but even push AF not working at all with SB XL and Canon 24-105, Sigma 18-35 (Slight vignette at wide end) and Canon 50 1.8 or Canon 85 1.8. All other lens functions work well and iris response from cameras front scroll wheel very responsive.
-  Did a quick recording on a Sandisk Extreme Pro 95MB/s SDCard. 4K25p RAW 4:1 and camera recorded fine for 3-4 minutes before I stopped it. 
Had a quick look at the Fim, Extended and Video modes just looking at the rear LCD. The difference between Video and Extended video seems to be mainly in the highlights. Blacks look the same and nicely contrasty but the Extended mode holds the highlight better. 
So far so good. Really happy with the camera. 
Sorry, thats all I've got for now. Might get some time for another play tomorrow.
Let me know if you want any specific shots done and I'll see how I go but can't promise anything at the moment..... 
 

Got my DJI Ronin S a few weeks ago and while digging through the app realized that I could program tilt and pan moves and repeat them. I paired the Ronin S with a motorized slider creating a small motion control system. This allowed for some interesting VFX in a music video I just shot. I was able to created several versions of the singer interacting with himself while the camera moved around following the action. Check it out:
 
 

I think only the HDD need external power. And any enclosure that needs external power will have 2 cables coming from it.
I use this wire & the SSD gets powered by the computer:
https://www.amazon.co.uk/Sabrent-2-5-Inch-Adapter-Optimized-EC-SS31/dp/B014T3JRFM/ref=sr_1_sc_2?tag=macr0e-21&s=pc&ie=UTF8&qid=1480434478&sr=1-2-spell&keywords=sabremt%2Busb3%2Bto%2Bssd&th=1
It's exactly the same as the T5, so the camera will power the SSD. Be careful of which enclosure you get, as some aren't great & actually slow down the Read/Write rates, which might mean you might not be able to record. Personally, when I get the P4K I am just going to use the SSD without an enclosure & just keep it in a jacket pocket because the SSD is already in a case.

The guy who shot the Seoul Zoo footage had this to say over on bmcuser:
"I did another shoot yesterday which I'm editing right now. I used Hoya Pro NDs (2-4-6 stops) and I haven't noticed a thing related to IR. Blacks are neutral and clean"
So sounds promising! And yeah, that footage is beautiful.

I like the pictures. A lot. 
This camera will probably replace the micro cinema camera for me as it’s not much bigger and is much easier to work with. 
I didn’t feel as strongly about the 4K production camera / Ursa because they were limited, principally by dynamic range.
I have a deep affection for the 4.6K sensor and have shot nearly daily withnit since before it was launched. I know it very well. 
This pocket camera will integrate and sit very nicely alongside the 4.6K. It’s already a closer match than the micro for me without having really tested it in an A/B scenario. 
I was a little worried about it having less DR Than the 4.6K but I think the other clips  show some great examples of what this sensor can do. “Nature” was incredibly tricky material to shoot as anyone who’s been in that situation before would know and it was unfair to see it being derided.  
Those that did so only reveal their own inadequate understanding of what those shots reveal. 
I can think of a million other scenarios I would have rather done but these sequences were specifically produced to illuminate what the camera can do in specific situations. 
What im almost more excited about is the unification that Gen 4 brings. As I mentioned earlier, it’s pretty much the same people at BMD that brought you the first camera working on this camera.
They’ve learned a lot (and so have I) and I think Gen 4 is really strong. I wish this and extended video would get rolled out wide already as I think half the issue I see with users of BMD products is a lack of knowledge in grading. 
Now BMD do have perhaps the greatest colour correction tool on the market BUT they don’t make it easy to get to a great result without a little arcane knowledge.
Even I often run into issues when working by myself and I see extended video being a great step in addressing that shortcoming. There’s no point in talking about how great you can make images shot RAW if you don’t know how to do it and can’t easily or intuitively find a way to do so. 
With regards to the 4k Pocket. 
Its a genuine low light contender. I was really impressed at what a useable picture it produces with little lighting.
I’m laughing at those that said it’s overlit. I mean a 500w chimera dimmed to almost nothing so the background lighting would still show though the tinted hotel windows is very very low light, much lower levels than the idiots demanding I walk out on the street and light by sodium were demanding.
Again, I laugh when I see comments about how noisy ISO3200 is but I’m guessing those users aren’t aware how much image processing their cameras are doing at high ISOs.  BMD allow you as the user to choose your poison. A very very underrated feature. And like colour correction it’s almost too powerful because users haven’t been instructed to change their expectations, nor how to add noise reduction or sharpening so they can season to taste. 
The best testbfootage will be friends users so the sooner they ship the cameras the better.  Hopefully Gen 4 means there will be less hysteria about its performance and a few will realise there’s no point comparing it to a GHx or a Sony and learn to get the most from what it is good at.
JB

THANK YOU - @CaptainHook @John Brawley Mark Wyatt and Andreas Neumann for all those footages.  I truly believe is right up there with the Ursa and the BMD team really worked hard in providing the tools for independent filmmakers, videographers, and cinematographers.  My hats off to you guys.  I see my Xmas dreams be coming true.

Speaking as someone who’s a long time user of the Olympus 4/3 (anyone remember that format??) and then micro 4/3 format.
I own many 4/3 and m4/3 lenses from Olympus, Panasonic and others (Veydra, SLR Magic, Voigtlander)
Generally speaking Olympus m4/3 lenses are better corrected optically. Panny tend to rely more heavily on in-camera / post correction.  
Olympus also OEM many lenses for others. You’d be surprised what major brands have lenses that are made by Olympus. Optics have always been their primary strength. (They are absolute leaders in other fields like medical where they have near monolopoly market share of endoscopes etc).
Olympus are a really interesting company, very innovative. They were the first to do live view in a stills camera. First to have an ultrasonic cleaning of the sensor. And of course their IBIS has always been the best along with weatherproofing.
In the past few years I have been consulting with Olympus on improving their product and features to appeal to more cinematographers. These things typically take time to filter though their product development cycle. 
The Pro primes are actually beautiful lenses. And they’re great for cinematography.  Hard stops on focus for example.  BMD asked me to shoot with the Olympus primes to show what could be done with inexpensive native 4/3 lenses and they do not disappoint. 
JB