dslnc

We had one that contributed to the forum, he shared a ton of great information and got zero respect from users here so left. 
 
Just watched Behrini's video and I think he did a good job of confirming what I already knew. Out in the real world, this camera is useless for video. At least he produced a real world video...Peter Mckinnon zoomed around on quad bikes........as a motorcyclist myself, when you are moving out in the open at 40+kph , the wind chill factor really helps keep things cool!!No wonder his camera didn't overheat, it had constant airflow!
 While Gerald may have given some run times, did he say if these run times where on a tripod or in the hand? Judging by most users here,  people who want a camera with IBIS and AF are wanting a camera that they can use in the hand, nun n gun and to be inconspicuous. I think the camera in the hand will overheat faster than on a tripod. 
No-one has given the perfect review yet but at least Johnny did a good job of providing real world information and a finished product that gave the viewer a rough idea of how he used the camera. 
One thing I do find interesting is that people are more willing to make do with overheating vs poor battery life. As an example, The Pocket4K on release had (and still has!) poor battery life. But, after 45mins I can put in a fresh battery and keep shooting. The uproar from many forum members was way over the top and suggested that the camera was useless.
Now, imagine if your cameras battery died after 30mins but........you couldn't put a new battery in for at least 20mins and even then, the new battery was only going to last 3-4mins of shooting. THIS is what we are pretty much seeing in the R5/6. This is reason to get angry! Who want's a camera that could decide to shut down at ANY given moment and then can't be revived for 20+mins? 
Basically, for video, it's not fit for purpose.
 

For those that aren't visiting BM forum, here is quote of Juan Melara's cheer and ask about gen 5 color science - as mentioned earlier, also with further playing with gen 5, similarity with P4KAlexa lut is astonishing - it seems as that BM engineers took his achievement as pattern to replicate in effect:
"Just spent an hour or so checking out the new Gen5 colour science. The new gamma curve is great. Pretty much exactly what I’ve always wanted from BMD. Top work.
But Captainhook, Blackmagic Design, any chance you could include an option to disable the Gen5 gamut mapping/limiting? Or include a colour space that has it disabled?
A lot of grading workflows require access to the full unconstrained gamut. For example negative film emulation. Currently neg film emulation works so well on BMD cameras as they see and hold onto extremely saturated colours. The results I’m getting on the P6K in Gen4 are as good as any other camera I’ve shot and profiled.
I’ve got extremely saturated test charts shot on the P6K and on Vision3 film and what the P6K sees in Gen4 is pretty amazing. On the Vision3 charts I can see a gradient of red values getting deeper as they saturate, then organically curving towards orange as they reach peak saturation. On the P6K in Gen4 I can see the same smooth gradient of reds as they reach the same end point but with less of the curve towards orange.
In a profiled LUT based match, that organic curve towards orange is easy to achieve. In a procedural Yedlin style match that curve is easy enough to recreate.
But in Gen5, that gradient of deep red values doesn’t exist, as they’ve been constrained and homogenised into a light pink tone. All the amazing colour separation is gone, which makes it difficult if not impossible to accurately emulate neg film. As you can imagine this is slightly disappointing.
If the URSA 12k and the other BMD cameras are expected to integrate into high end workflows when shooting Gen5, make some colourists and colour scientists happy and please allow access to the full unconstrained gamut."

Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours.
Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect...
Shoot on film, you get several colour cast depending which lab is going to develop .
If the image is striking , no one is complaining about the sky being the wrong shade of blue.
Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.

Great blog post from Brawley - as close to the source as we possible can get. At least he is not speculating but actually reporting.
The price of the camera means that it will be pretty economical to rent as too.
good times.
I like the braw codec and how davinci makes my computers feel almost new again. At least comparing to premiere.

 

I can't comment on the hardware side of BM, but I've been using Resolve for some time and I can say that they've made it much more reliable over the last few years.  It used to crash once or twice per hour of use, for me anyway, but I don't think I've seen it crash in the last year even once.  They've done that even while adding the Fairlight, Fusion, and Cut pages, which integrated two other software programs into Resolve, no small feat.
Resolve seems accessible, so I think it's easy to forget that it was only a decade ago that it cost upwards of $100,000 and even today it is one of the two worlds-best colour grading platforms and used by everything up to and including the highest budget productions there are.  In that sense, making it reliable is a must as serious people expect that.
In this sense, I think BM know that reliability and service are fundamental to having a premium product, because they already own one and have customers in that market segment already.
John Brawley includes lots of detail about the sensor here: https://johnbrawley.wordpress.com
It's a great write-up and may answer your question above.

I seriously doubt anybody buying a 12K camera is buying it because they can now show audiences a 12K feature film. 12K opens up other possibilities.
I’m getting pretty sick and tired of the pervasive Luddite mentality being displayed on this forum.
There is always going to be compromises with gear. It will either work for you or it doesn’t. You give feedback. You move on. 

It seems that while i was sleeping last night, binary computing stepped up. I feel so old now that i have to stick with my good old 8K camera which i haven’t bought yet. A paradox maybe?

Take it with a grain of salt, BUT despite the clickbaity title (which is totally intentional), it's a solid piece of advice and shows how a professional DP tackles basic color grading.
 

but if you have it, you may as well use it right 😉
as forest would say, life is like a box of chocolates 😎

More than a year later, seems like braw is a much underrated codec.
It edits quite easily on a budget pc, does not generate huge files, and is free to use for other manufacturers.
There is nothing like the p4k for the money, i needed resolve studio, so the bmpcc4k actually cost me 950 euro. More so, because I already had some decent m43 lenses.
The 6k is another story, plenty of competition there.

Editing BRAW in Resolve is a dream compared to my H264 files I work with from my GH5 and GH5s.  Editing H265 from my drone is even worse, but I think RAW on a Mavic Pro drone is a wish I shall be waiting a long time for.   Thankfully I've never edited MJPEG files, not since the early days of video DSLR.  The Nikon D90 I owned, which first introduced me to the idea of shooting video with a photo camera.  That was almost 10 years ago. Video has progressed a lot since then.
I'm almost reluctant to look at any camera now that uses H264 as it's codec.   Though if my GH5(s) is set to all-i, it's workable.  The only issue with ProRes and BRAW recording is power, which is frankly a pain.  

Well since that quarantine got us all...
I struggle a lot with inactivity, so i had to make a short film... Almost alone, by my self.
The point of this is just to entertain and motivate others to make, create even on this times. 
PD: I had a Panasonic S1 that was let to me for testing. I used this for the film.

This is available for free, new 3D LUT for BMPCC4K (inspired by the industry standard Arri - Rec709)
The LUT is currently available for Blackmagic Pocket Cinema Camera (BMPCC4K, BMPCC6K, orig. BMPCC) I've been bothering a lot of different LUTs for a long time... until I created my own
http://tondadamborsky.cz/2020/03/19/lut-for-bmpcc4k/
BMPCC4K has warmer colors i recommend u bmpcc4k - WB set slightly to minus (-300,500) than other cameras or orig.Pocket (BMMCC)
I hope, you will like it. I tried to keep the max dynamic range, and natural skin color.

pretty couple, awesome video,  nice staging if thats whats its called and the lacquer on that door is incredible. I want one , actually i want both doors 😀

So having shot with the bmpcc4k now for most of 2019 figured I'd share a finished video if anyone is thinking about doing wedding work with one. 
 

I've said it before, delivery in 8K doesn't appeal to me as a consumer. I don't want to sit that close to my TV to appreciate 8K. I don't have room for a TV any bigger than 65 inches without dedicating an entire wall to a single screen. I really am satisfied watching 4K on a 55 inch set from 10 feet away. 
As a creator, I can't think of many times when I've told myself "I really wish I had more resolution to play with." That might change, but the bulk of my work is still exported at 1080p. There really isn't much demand for 4K, from my experience, and most people still watch 1080p video on their 4K TVs because there's a limited amount of 4K channels / content available. 
This push for 8K this quickly really seems silly and little more than a marketing move to sell people TVs they don't really need. 

The future.

Good going Andrew! Nice work. (just couldn't contain yer political shit to twitter)

You have here a full thread specifically on topic:
 

I had a top spec'ed 17" MBP that after two years started to show glitches on the screen and eventually failed. Gpu issues. Almost out of warranty. Later Apple acknowledged a production run glitch that affected a 'few' and ended up  producing a new batch of motherboards (no used parts) and free reparation (so even if under 1% were affected we are still speaking about  thousands of units). All great. But I had the MBP shelved for almost two years before it could be used again. Being quite outdated when it was working again.
That being said. Dealing directly with Apple regarding warranty issues etc for 15+ years I find the services and support great. However getting Applecare for portable devices is recommended  -> Apple are more flexible if shit happens. 
I am not sure how say Dell or HP are dealing with these type of issues nowadays. Some companies have more bad stories than others I suppose. But all have some. Some strives more to make things right in the end.
Leasing/renting the gear can also help minimising that these issues falls back on yourself
I have both Macs and Pcs in the studio.  That will not change.
The latest MBP seems like a nice laptop. But I will probably let others do the benchmarking and stress-tests to se how it fairs with throttling before buying.
The new Mac Pro is also around the corner. Curios to see how it fairs too.
 
 
 
 

I guess I'm in the minority on the forum enjoying Apple. 
When I have to take out my wallet, being on mac sucks, but it's worth it just to be able to use FCPX and avoid Premiere. Maybe one day I'll have the time to learn Resolve for anything besides color and consider Windows then... 
Nahhh just kidding I'm a fanboy I'll never leave.

Yeah I used it on a three day shoot last week. Battery life wasn't that big a deal. Worked great with a monopod and minimal rigging. For handheld a monitor is necessary, we used the small HD and one of these little swivel mounts. Worked great. 

Beginning to get the feel of this camera. It's a beast. Something I am going to avoid doing moving forward,  is watching alot of these cameras reviews from these so called experts. Nothing beats your experience with a cam.
For me, this camera is the best bang for £. 
I hate rigging cameras , unless necessary.  I have kept my setup light. LP batteries and Lens with a hot shoe handle. 
The images below are from a shoot I dod recently.
Set up:
1080p pro res Hq 24, 60 and 120 
Tamron 24-75mm 2.8
Iso: 800 and 1000
Shot in film Graded in fcp x
No lighting setup, just the fluorescent bulbs from the gym. 
When with the green tint for the look. I am a canon fan boy so, I want my colours to be rich and pop.
 
This camera is shockingly better than I expected

It happened to me with the firmware 6.1? (the cdng release version from one year ago) with a sandisk extreme 512GB ssd - with sdcards I never had an issue. It seemed to me as if it was calculating something. Amount minutes left to record and clips recorded and it somehow took quite a bit of time. And worst - one could not start recording until then.
but with the next camera update (the braw one) it was gone (at least for me )